1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename lilypond-changes.info
3 @settitle LilyPond Changes
8 @macro inputfileref{DIR,NAME}
9 @uref{../../\DIR\/collated-files.html#\NAME\,@file{\DIR\/\NAME\}}@c
11 @macro usermanref{NAME}
12 @inforef{\NAME\,,../user/lilypond/lilypond}@c
17 @macro inputfileref{DIR,NAME}
20 @macro usermanref{NAME}
21 See user manual, \NAME\
25 @macro textanchor{NAME}
32 @documentencoding UTF-8
39 @top New features in 2.20 since 2.18
41 @allowcodebreaks false
49 * add new items at the top
51 * only show verbatim input for syntax/input changes
53 * try to be as brief possible in those cases
55 * don't try to provide real-world examples, they often get too big,
56 which scares away people.
58 * Write complete sentences.
60 * only show user-visible changes.
65 Accidental rules can now be defined across @code{ChoirStaff} contexts.
66 Two new rules @code{choral} and @code{choral-cautionary} are available
67 that combine the characteristics of @code{modern-voice} and @code{piano}
68 or their equivalents with cautionary accidentals.
71 The music function @code{\\unfoldRepeats} can now take an
72 optional argument-list specifying which type(s) of repeated music
73 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
75 If the optional argument-list is unspecified, @code{repeated-music} will be
79 A new @code{output-attributes} grob property is now used for svg output
80 instead of the @code{id} grob property. It allows multiple attributes
81 to be defined as an association list. For example, @code{#'((id . 123)
82 (class . foo) (data-whatever . @qq{bar}))} will produce the following
83 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
84 data-whatever=@qq{bar}> @dots{} </g>}.
87 Slurs and phrasing slurs may now be started from individual notes
88 in a chord. Several simultanous slurs per @code{Voice} need to be
89 distinguished by @code{spanner-id} setting.
92 The music and grob property @code{spanner-id} for distinguishing
93 simultaneous slurs and phrasing slurs has been changed from a
94 string to a @q{key}, a non-negative integer or symbol.
97 There is a new command @code{\=} for specifying the
98 @code{spanner-id} for simultaneous slurs and phrasing slurs.
99 @lilypond[verbatim,quote]
101 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
106 Blocks introduced with @code{\header} can be stored in variables
107 and used as arguments to music and scheme functions and as the
108 body of @code{#@{@dots{}#@}} constructs. They are represented as
111 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
112 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
113 around in similar manner, they are represented by different data
117 Dot-separated symbol lists like @code{FretBoard.stencil} were
118 already supported as of version@tie{}2.18. They may now also
119 contain unsigned integers, and may alternatively be separated by
120 commata. This allows usage such as
121 @lilypond[quote,verbatim]
122 { \time 2,2,1 5/8 g'8 8 8 8 8 }
126 \tagGroup violin,oboe,bassoon
130 Such lists may also be used in expressions for assignments, sets,
131 and overrides. This allows usage such as
132 @lilypond[quote,verbatim]
133 { \unset Timing.beamExceptions
134 \set Timing.beatStructure = 1,2,1
139 Association list elements could previously be assigned values
140 individually (for example, paper variables like
141 @code{system-system-spacing.basic-distance}). They may now be
142 also referenced in this manner, as with
145 \void \displayScheme \system-system-spacing.basic-distance
149 In combination with the previously mentioned changes, this allows
150 setting and referencing pseudovariables like @code{violin.1}.
153 LilyPond source files may now be embedded inside the generated PDF files.
154 This experimental feature is disabled by default and may be regarded as unsafe,
155 as PDF documents with hidden content tend to present a security risk.
156 Please note that not all PDF viewers have the ability to handle embedded
157 documents (if not, the PDF output will appear normally and source files
158 will remain invisible). This feature only works with the PDF backend.
161 French note names are now defined specifically instead of
162 being aliased to Italian note names: in addition to the
163 generic Italian-derived syntax, the @var{d} pitch may be
164 entered as @code{ré}. Double sharps may also be
165 entered using the @code{-x} suffix.
168 Additional bass strings (for lute tablature) are supported.
169 @lilypond[quote,verbatim]
170 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
177 tablatureFormat = #fret-letter-tablature-format
181 stringTunings = \stringTuning <a, d f a d' f'>
182 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
183 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
190 The markup-list-command @code{\table} is now available.
191 Each column may be aligned differently.
192 @lilypond[quote,verbatim]
194 \override #'(padding . 2)
198 \underline { center-aligned right-aligned center-aligned left-aligned }
199 one "1" thousandth "0.001"
200 eleven "11" hundredth "0.01"
201 twenty "20" tenth "0.1"
202 thousand "1000" one "1.0"
208 A new markup-command, @code{\with-dimensions-from}, makes
209 @code{\with-dimensions} easier to use by taking the new
210 dimensions from a markup object, given as first argument.
211 @lilypond[quote,verbatim]
213 \pattern #5 #Y #0 "x"
214 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
215 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
216 \override #'(baseline-skip . 2)
218 \pattern #5 #X #0 "n"
219 \pattern #5 #X #0 \with-dimensions-from "n" "m"
220 \pattern #5 #X #0 \with-dimensions-from "n" "!"
226 There are two new page breaking functions. @code{ly:one-page-breaking}
227 automatically adjusts the height of the page to fit the music, so that
228 everything fits on one page. @code{ly:one-line-auto-height-breaking}
229 is like @code{ly:one-line-breaking}, placing the music on a single
230 line and adjusting the page width accordingly, however it also
231 automatically adjusts the page height to fit the music.
234 Markup-command @code{\draw-squiggle-line} is now available.
235 Customizing is possible with overrides of @code{thickness}, @code{angularity},
236 @code{height} and @code{orientation}
237 @lilypond[quote,verbatim]
240 \draw-squiggle-line #0.5 #'(3 . 3) ##t
243 \override #'(thickness . 4)
244 \draw-squiggle-line #0.5 #'(3 . -3) ##t
247 \override #'(angularity . -5)
248 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
250 \translate #'(3 . -3)
251 \override #'(angularity . 2)
252 \override #'(height . 0.3)
253 \override #'(orientation . -1)
254 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
259 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
260 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
261 staves on the first system in a score.
264 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
265 as the generic markup-command @code{\tie}.
266 @lilypond[quote,verbatim]
268 \undertie "undertied"
273 c''1 \prall -\tweak text \markup \tie "131" -1
276 { \voiceOne \m \voiceTwo \m }
280 @code{TabStaff} is now able to print micro-tones for bendings etc.
281 @lilypond[quote,verbatim]
285 supportNonIntegerFret = ##t
289 mus = \relative { c'4 cih d dih }
292 \new Staff << \clef "G_8" \mus >>
298 Two new styles of whiteout are now available. The @code{outline} style
299 approximates the contours of a glyph's outline, and its shape is
300 produced from multiple displaced copies of the glyph. The
301 @code{rounded-box} style produces a rounded rectangle shape. For all
302 three styles, including the default @code{box} style, the whiteout
303 shape's @code{thickness}, as a multiple of staff-line thickness, can be
306 @lilypond[verbatim,quote]
309 \filled-box #'(-1 . 15) #'(-3 . 4) #1
310 \override #'(thickness . 3)
311 \whiteout whiteout-box
315 \filled-box #'(-1 . 24) #'(-3 . 4) #1
316 \override #'(style . rounded-box)
317 \override #'(thickness . 3)
318 \whiteout whiteout-rounded-box
322 \filled-box #'(-1 . 18) #'(-3 . 4) #1
323 \override #'(style . outline)
324 \override #'(thickness . 3)
325 \whiteout whiteout-outline
328 \override Staff.Clef.whiteout-style = #'outline
329 \override Staff.Clef.whiteout = 3
335 All of @code{\override}, @code{\revert}, @code{\set}, and
336 @code{\unset} now work with the @code{\once} prefix for making
338 @lilypond[quote,verbatim]
341 \override NoteHead.color = #red
343 \once \override NoteHead.color = #green
345 \once \revert NoteHead.color
347 \revert NoteHead.color
353 When outputting MIDI, LilyPond will now store the @code{title}
354 defined in a score's @code{\header} block (or, if there is no
355 such definition on the @code{\score} level, the first such
356 definition found in a @code{\header} block of the score's
357 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
358 as the name of the MIDI sequence in the MIDI file. Optionally,
359 the name of the MIDI sequence can be overridden using the new
360 @code{midititle} @code{\header} field independently of
361 @code{title} (for example, in case @code{title} contains markup
362 code which does not render as plain text in a satisfactory way
366 Music (and scheme and void) functions and markup commands that
367 just supply the final parameters to a chain of overrides, music
368 function and markup command calls can now be defined in the form
369 of just writing the expression cut short with @code{\etc}.
371 @lilypond[verbatim,quote]
372 bold-red-markup = \markup \bold \with-color #red \etc
373 highlight = \tweak font-size 3 \tweak color #red \etc
375 \markup \bold-red "text"
376 \markuplist \column-lines \bold-red { One Two }
378 { c' \highlight d' e'2-\highlight -! }
382 LilyPond functions defined with @code{define-music-function},
383 @code{define-event-function}, @code{define-scheme-function} and
384 @code{define-void-function} can now be directly called from Scheme
385 as if they were genuine Scheme procedures. Argument checking and
386 matching will still be performed in the same manner as when
387 calling the function through LilyPond input. This includes the
388 insertion of defaults for optional arguments not matching their
389 predicates. Instead of using @code{\default} in the actual
390 argument list for explicitly skipping a sequence of optional
391 arguments, @code{*unspecified*} can be employed.
394 Current input location and parser are now stored in GUILE fluids
395 and can be referenced via the function calls @code{(*location*)}
396 and @code{(*parser*)}. Consequently, a lot of functions
397 previously taking an explicit @code{parser} argument no longer do
400 Functions defined with @code{define-music-function},
401 @code{define-event-function}, @code{define-scheme-function} and
402 @code{define-void-function} no longer use @code{parser} and
403 @code{location} arguments.
405 With those particular definitions, LilyPond will try to recognize
406 legacy use of @code{parser} and @code{location} arguments,
407 providing backwards-compatible semantics for some time.
410 In the "english" notename language, the long notenames for pitches
411 with accidentals now contain a hyphen for better readability. You
416 instead of the previous
421 Double accidentals do not get another hyphen, so the Dutch
422 @code{cisis} has the long English notename @code{c-sharpsharp}.
425 The visual style of tremolo slashes (shape, style and slope)
426 is now more finely controlled.
427 @lilypond[quote,relative=2]
429 \override StemTremolo.shape = #'beam-like
431 \override StemTremolo.style = #'constant
438 Multi-measure rests have length according to their total duration,
439 under the control of @code{MultiMeasureRest.space-increment}.
441 { \compressFullBarRests
442 \override Staff.MultiMeasureRest.space-increment = 3.0
447 Page numbers may now be printed in roman numerals, by setting the
448 @code{page-number-type} paper variable.
451 It is now possible to use @code{\time} and @code{\partial}
452 together to change the time signature in mid measure.
454 @lilypond[verbatim,quote,relative=1]
455 \override Score.BarNumber.break-visibility = #end-of-line-invisible
456 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
457 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
461 It is now possible to override the @code{text} property of
464 @lilypond[verbatim,fragment,quote]
466 \new ChordNames \chordmode {
468 \once \override ChordName.text = #"foo"
475 Improved horizontal alignment when using @code{TextScript},
476 with @code{DynamicText} or @code{LyricText}.
479 A new command @code{\magnifyStaff} has been added which scales staff
480 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
481 at the @code{Staff} context level. Staff lines are prevented from being
482 scaled smaller than the default since the thickness of stems, slurs, and
483 the like are all based on the staff line thickness.
486 @code{InstrumentName} now supports @code{text-interface}.
489 There is now support for controlling the @q{expression level} of
490 MIDI channels using the @code{Staff.midiExpression} context property.
491 This can be used to alter the perceived volume of even sustained notes
492 (albeit in a very @q{low-level} way) and accepts a number value between
493 @code{0.0} and @code{1.0}.
498 midiExpression = #0.6
499 midiInstrument = #"clarinet"
504 \set Staff.midiExpression = #0.7 s4\f\<
505 \set Staff.midiExpression = #0.8 s4
506 \set Staff.midiExpression = #0.9 s4
507 \set Staff.midiExpression = #1.0 s4
509 \set Staff.midiExpression = #0.9 s4\>
510 \set Staff.midiExpression = #0.8 s4
511 \set Staff.midiExpression = #0.7 s4
512 \set Staff.midiExpression = #0.6 s4\!
520 Support for making it easier to use alternative @q{music} fonts other
521 than the default Emmentaler in LilyPond has been added. See
522 @uref{http://fonts.openlilylib.org/} for more information.
525 Grobs and their parents can now be aligned separately allowing
526 more flexibility for grob positions. For example the @q{left} edge of a
527 grob can now be aligned on the @q{center} of its parent.
530 Improvements to the @code{\partial} command have been made to
531 avoid problems when using multiple, parallel contexts.
533 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
537 A new command @code{\tagGroup} has now been added. This complements
538 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
542 \tagGroup #'(violinI violinII viola cello)
545 declares a list of @q{tags} that belong to a single @q{tag group}.
548 \keepWithTag #'violinI
551 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
553 Any element of the included music tagged with one or more tags from the
554 group, but @emph{not} with @var{violinI}, will be removed.
557 The @code{\addlyrics} function now works with arbitrary contexts
558 incuding @code{Staff}.
561 String numbers can now also be used to print roman numerals
562 (e.g. for unfretted string instruments).
563 @lilypond[verbatim,quote,relative=2]
572 The @code{thin-kern} property of the @code{BarLine} grob has been
573 renamed to @code{segno-kern}.
576 @code{KeyCancellation} grobs now ignore cue clefs (like
577 @code{KeySignature} grobs do).
580 Add support for @code{\once@tie{}\unset}
583 It is now possible to individually color both the dots and parentheses
584 in fret diagrams when using the @code{\fret-diagram-verbose} markup
587 @lilypond[verbatim,quote,relative=1]
590 \override #'(fret-diagram-details . (
591 (finger-code . in-dot))) {
592 \fret-diagram-verbose #'((mute 6)
593 (place-fret 5 3 1 red)
594 (place-fret 4 5 2 inverted)
595 (place-fret 3 5 3 green)
596 (place-fret 2 5 4 blue inverted)
597 (place-fret 1 3 1 violet)
602 \override #'(fret-diagram-details . (
603 (finger-code . below-string))) {
604 \fret-diagram-verbose #'((mute 6)
605 (place-fret 5 3 1 red parenthesized)
606 (place-fret 4 5 2 yellow
609 (place-fret 3 5 3 green)
610 (place-fret 2 5 4 blue )
619 Two new properties have been added for use in
620 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
621 markup command; @code{fret-label-horizontal-offset} which affects the
622 @code{fret-label-indication} and @code{paren-padding} which controls the
623 space between the dot and the parentheses surrounding it.
625 @lilypond[verbatim,quote,relative=1]
628 \fret-diagram-verbose #'((mute 6)
632 (place-fret 1 6 4 parenthesized)
637 \override #'(fret-diagram-details . (
638 (fret-label-horizontal-offset . 2)
639 (paren-padding . 0.25))) {
640 \fret-diagram-verbose #'((mute 6)
644 (place-fret 1 6 4 parenthesized)
653 A new markup command @code{\justify-line} has been added. Similar to
654 the @code{\fill-line} markup command except that instead of setting
655 @emph{words} in columns, the @code{\justify-line} command balances the
656 whitespace between them ensuring that when there are three or more
657 words in a markup, the whitespace is always consistent.
659 @lilypond[quote,verbatim,papersize=a6]
660 \markup \fill-line {oooooo oooooo oooooo oooooo}
661 \markup \fill-line {ooooooooo oooooooo oo ooo}
664 @lilypond[quote,verbatim,papersize=a6]
665 \markup \justify-line {oooooo oooooo oooooo oooooo}
666 \markup \justify-line {ooooooooo oooooooo oo ooo}
670 A new command @code{\magnifyMusic} has been added, which allows
671 the notation size to be changed without changing the staff size,
672 while automatically scaling stems, beams, and horizontal spacing.
674 @lilypond[verbatim,quote]
676 \new Voice \relative {
678 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
680 \new Voice \relative {
683 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
684 r32 c'' a c a c a c r c a c a c a c
685 r c a c a c a c a c a c a c a c
692 A new flexible template suitable for a range of choral music, is now
693 provided. This may be used to create simple choral music, with or
694 without piano accompaniment, in two or four staves. Unlike other
695 templates, this template is @q{built-in}, which means it does not
696 need to be copied and edited: instead it is simply @code{\include}'d
697 in the input file. For details, see @rlearning{Built-in templates}.
700 The positioning of tuplet numbers for kneed beams has been significantly
701 improved. Previously, tuplet numbers were placed according to the
702 position of the tuplet bracket, even if it was not printed. This could
703 lead to stranded tuplet numbers. Now they are now positioned
704 closer to the kneed-beam when an appropriate beam segment exists for its
705 placement and when the bracket is not drawn.
707 Collision detection is also added, offsetting horizontally if too close
708 to an adjoining note column but preserving the number's vertical
709 distance from the kneed beam. If the number itself is too large to
710 fit in the available space the original, bracket-based, positioning
711 system is used instead; and in the event of a collision (e.g. with an
712 accidental) the tuplet number is moved vertically away instead.
714 @lilypond[verbatim,fragment,quote,relative=1]
716 \override Beam.auto-knee-gap = 3
725 The original kneed-beam tuplet behavior is still available through an
726 @code{\override} via a new, @code{knee-to-beam} property.
728 @lilypond[verbatim,fragment,quote,relative=1]
730 \override Beam.auto-knee-gap = 3
731 \override TupletNumber.knee-to-beam = ##f
740 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
741 now accept the same kind of delimited argument list that @code{\lyrics}
742 and @code{\chords} accept. Backward compatibility has been added so
743 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
744 @code{convert-ly} rule has been added that removes redundant uses of
745 @code{\lyricmode} and rearranges combinations with context starters such
746 that @code{\lyricsto} in general is applied last (i.e. like
747 @code{\lyricmode} would be).
750 Scheme functions and identifiers can now be used as output definitions.
753 Scheme expressions can now be used as chord constituents.
756 Improved visual spacing of small and regular @q{MI} Funk and Walker
757 noteheads so they are now the same width as other shaped notes in
758 their respective sets. @code{SOL} noteheads are also now visually
759 improved when used with both the normal Aiken and Sacred Harp heads, as
760 well as with the thin variants.
763 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
764 @rinternals{LeftEdge}.
767 Added a new @code{make-path-stencil} function that supports all
768 @code{path} commands both relative and absolute:
770 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
771 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
772 supports @q{single-letter} syntax used in standard SVG path commands:
774 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
775 @code{z}. The new command is also backward-compatible with the original
776 @code{make-connected-path-stencil} function. Also see
777 @file{scm/stencil.scm}.
780 Context properties named in the @samp{alternativeRestores} property are
781 restored to their value at the start of the @emph{first} alternative in
782 all subsequent alternatives.
784 Currently the default set restores @q{current meter};
786 @lilypond[verbatim,fragment,quote,relative=2]
788 \repeat volta 2 { c2 e4 | }
797 @q{measure position};
799 @lilypond[verbatim,fragment,quote,relative=2]
801 \repeat volta 2 { c2 e4 | }
804 \set Timing.measurePosition = #(ly:make-moment -1/2)
812 and @q{chord changes};
814 @lilypond[verbatim,fragment,quote]
817 \set chordChanges = ##t
818 \chordmode { c1:m d:m c:m d:m }
821 \repeat volta 2 { \chordmode { c1:m } }
823 { \chordmode { d:m } }
824 { \chordmode { c:m } }
832 Improved MIDI output for breathe marks. After tied notes, breaths take
833 time @emph{only} from the last note of the tie; e.g.
834 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
835 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
836 how humans interpret breaths after ties. It now also makes it easier to
837 align simultaneous breathe marks over multiple parts, all with different
841 A new note head style for Tabulature has been added;
842 @code{TabNoteHead.style = #'slash}.
845 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
846 @emph{Varpercussion} and @emph{varC} and their related tessitura.
847 @lilypond[verbatim,quote,fragment]
848 \override Staff.Clef.full-size-change = ##t
851 \clef "tenorG" c c c c
853 \clef "altovarC" c c c c
854 \clef "tenorvarC" c c c c
855 \clef "baritonevarC" c c c c
856 \clef "varpercussion" c c c c
859 \override Staff.Clef.full-size-change = ##f
862 \clef "tenorG" c c c c
864 \clef "altovarC" c c c c
865 \clef "tenorvarC" c c c c
866 \clef "baritonevarC" c c c c
867 \clef "varpercussion" c c c c
871 Isolated durations in music sequences now stand for unpitched
872 notes. This may be useful for specifying rhythms to music or
873 scheme functions. When encountered in the final score, the
874 pitches are provided by the preceding note or chord. Here are two
875 examples where this makes for readable input:
877 @lilypond[verbatim,quote]
878 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
881 tambourine 8 \tuplet 3/2 { 16 16 16 }
882 8 \tuplet 3/2 { 16 16 16 } 8 8 |
886 @lilypond[verbatim,quote]
887 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
891 @code{\displayLilyMusic} and its underlying Scheme functions no
892 longer omit redundant note durations. This makes it easier to
893 reliably recognize and format standalone durations in expressions
900 Beaming exceptions can now be constructed using the
901 @code{\beamExceptions} scheme function. One can now write
903 @lilypond[verbatim,quote,relative=1]
905 \set Timing.beamExceptions =
906 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
908 \repeat unfold 6 { c32 } |
912 with multiple exceptions separated with @code{|} bar checks
913 (writing the exception pattern without pitches is convenient but
914 not mandatory). Previously, setting the beam exceptions would
915 have required writing
918 \set Timing.beamExceptions =
920 (end . ;entry for end of beams
921 ( ;start of alist of end points
922 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
927 The most common articulations are now reflected in MIDI output.
928 Accent and marcato make notes louder; staccato, staccatissimo and
929 portato make them shorter. Breath marks shorten the previous
932 This behavior is customizable through the @code{midiLength} and
933 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
934 See @file{script-init.ly} for examples.
937 The PostScript functionality of stroke adjustment is no longer
938 applied automatically but left to the discretion of the PostScript
939 device (by default, Ghostscript uses it for resolutions up to
940 150dpi when generating raster images). When it is enabled, a more
941 complex drawing algorithm designed to benefit from stroke
942 adjustment is employed mostly for stems and bar lines.
944 Stroke adjustment can be forced by specifying the command line
945 option @samp{-dstrokeadjust} to LilyPond. When generating
946 @code{PDF} files, this will usually result in markedly better
947 looking @code{PDF} previews but significantly larger file size.
948 Print quality at high resolutions will be unaffected.
953 For older news, go to
954 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
955 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
956 or @uref{../,go back} to the Documentation index.