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 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
66 the generic markup-command @code{\tie}.
67 @lilypond[quote,verbatim]
74 c''1 \prall -\tweak text \markup \tie "131" -1
77 { \voiceOne \m \voiceTwo \m }
81 @code{TabStaff} is now able to print micro-tones for bendings etc.
82 @lilypond[quote,verbatim]
86 supportNonIntegerFret = ##t
90 mus = \relative { c'4 cih d dih }
93 \new Staff << \clef "G_8" \mus >>
99 Two new styles of whiteout are now available. The @code{outline} style
100 approximates the contours of a glyph's outline, and its shape is
101 produced from multiple displaced copies of the glyph. The
102 @code{rounded-box} style produces a rounded rectangle shape. For all
103 three styles, including the default @code{box} style, the whiteout
104 shape's @code{thickness}, as a multiple of staff-line thickness, can be
107 @lilypond[verbatim,quote]
110 \filled-box #'(-1 . 15) #'(-3 . 4) #1
111 \override #'(thickness . 3)
112 \whiteout whiteout-box
116 \filled-box #'(-1 . 24) #'(-3 . 4) #1
117 \override #'(style . rounded-box)
118 \override #'(thickness . 3)
119 \whiteout whiteout-rounded-box
123 \filled-box #'(-1 . 18) #'(-3 . 4) #1
124 \override #'(style . outline)
125 \override #'(thickness . 3)
126 \whiteout whiteout-outline
129 \override Staff.Clef.whiteout-style = #'outline
130 \override Staff.Clef.whiteout = 3
136 All of @code{\override}, @code{\revert}, @code{\set}, and
137 @code{\unset} now work with the @code{\once} prefix for making
139 @lilypond[quote,verbatim]
142 \override NoteHead.color = #red
144 \once \override NoteHead.color = #green
146 \once \revert NoteHead.color
148 \revert NoteHead.color
154 When outputting MIDI, LilyPond will now store the @code{title}
155 defined in a score's @code{\header} block (or, if there is no
156 such definition on the @code{\score} level, the first such
157 definition found in a @code{\header} block of the score's
158 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
159 as the name of the MIDI sequence in the MIDI file. Optionally,
160 the name of the MIDI sequence can be overridden using the new
161 @code{midititle} @code{\header} field independently of
162 @code{title} (for example, in case @code{title} contains markup
163 code which does not render as plain text in a satisfactory way
167 Music (and scheme and void) functions and markup commands that
168 just supply the final parameters to a chain of overrides, music
169 function and markup command calls can now be defined in the form
170 of just writing the expression cut short with @code{\etc}.
172 @lilypond[verbatim,quote]
173 bold-red-markup = \markup \bold \with-color #red \etc
174 highlight = \tweak font-size 3 \tweak color #red \etc
176 \markup \bold-red "text"
177 \markuplist \column-lines \bold-red { One Two }
179 { c' \highlight d' e'2-\highlight -! }
183 LilyPond functions defined with @code{define-music-function},
184 @code{define-event-function}, @code{define-scheme-function} and
185 @code{define-void-function} can now be directly called from Scheme
186 as if they were genuine Scheme procedures. Argument checking and
187 matching will still be performed in the same manner as when
188 calling the function through LilyPond input. This includes the
189 insertion of defaults for optional arguments not matching their
190 predicates. Instead of using @code{\default} in the actual
191 argument list for explicitly skipping a sequence of optional
192 arguments, @code{*unspecified*} can be employed.
195 Current input location and parser are now stored in GUILE fluids
196 and can be referenced via the function calls @code{(*location*)}
197 and @code{(*parser*)}. Consequently, a lot of functions
198 previously taking an explicit @code{parser} argument no longer do
201 Functions defined with @code{define-music-function},
202 @code{define-event-function}, @code{define-scheme-function} and
203 @code{define-void-function} no longer use @code{parser} and
204 @code{location} arguments.
206 With those particular definitions, LilyPond will try to recognize
207 legacy use of @code{parser} and @code{location} arguments,
208 providing backwards-compatible semantics for some time.
211 In the "english" notename language, the long notenames for pitches
212 with accidentals now contain a hyphen for better readability. You
217 instead of the previous
222 Double accidentals do not get another hyphen, so the Dutch
223 @code{cisis} has the long English notename @code{c-sharpsharp}.
226 The visual style of tremolo slashes (shape, style and slope)
227 is now more finely controlled.
228 @lilypond[quote,relative=2]
230 \override StemTremolo.shape = #'beam-like
232 \override StemTremolo.style = #'constant
239 Multi-measure rests have length according to their total duration,
240 under the control of @code{MultiMeasureRest.space-increment}.
242 { \compressFullBarRests
243 \override Staff.MultiMeasureRest.space-increment = 3.0
248 Page numbers may now be printed in roman numerals, by setting the
249 @code{page-number-type} paper variable.
252 It is now possible to use @code{\time} and @code{\partial}
253 together to change the time signature in mid measure.
255 @lilypond[verbatim,quote,relative=1]
256 \override Score.BarNumber.break-visibility = #end-of-line-invisible
257 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
258 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
262 It is now possible to override the @code{text} property of
265 @lilypond[verbatim,fragment,quote]
267 \new ChordNames \chordmode {
269 \once \override ChordName.text = #"foo"
276 Improved horizontal alignment when using @code{TextScript},
277 with @code{DynamicText} or @code{LyricText}.
280 A new command @code{\magnifyStaff} has been added which scales staff
281 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
282 at the @code{Staff} context level. Staff lines are prevented from being
283 scaled smaller than the default since the thickness of stems, slurs, and
284 the like are all based on the staff line thickness.
287 @code{InstrumentName} now supports @code{text-interface}.
290 There is now support for controlling the @q{expression level} of
291 MIDI channels using the @code{Staff.midiExpression} context property.
292 This can be used to alter the perceived volume of even sustained notes
293 (albeit in a very @q{low-level} way) and accepts a number value between
294 @code{0.0} and @code{1.0}.
299 midiExpression = #0.6
300 midiInstrument = #"clarinet"
305 \set Staff.midiExpression = #0.7 s4\f\<
306 \set Staff.midiExpression = #0.8 s4
307 \set Staff.midiExpression = #0.9 s4
308 \set Staff.midiExpression = #1.0 s4
310 \set Staff.midiExpression = #0.9 s4\>
311 \set Staff.midiExpression = #0.8 s4
312 \set Staff.midiExpression = #0.7 s4
313 \set Staff.midiExpression = #0.6 s4\!
321 Support for making it easier to use alternative @q{music} fonts other
322 than the default Emmentaler in LilyPond has been added. See
323 @uref{http://fonts.openlilylib.org/} for more information.
326 Grobs and their parents can now be aligned separately allowing
327 more flexibility for grob positions. For example the @q{left} edge of a
328 grob can now be aligned on the @q{center} of its parent.
331 Improvements to the @code{\partial} command have been made to
332 avoid problems when using multiple, parallel contexts.
334 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
338 A new command @code{\tagGroup} has now been added. This complements
339 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
343 \tagGroup #'(violinI violinII viola cello)
346 declares a list of @q{tags} that belong to a single @q{tag group}.
349 \keepWithTag #'violinI
352 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
354 Any element of the included music tagged with one or more tags from the
355 group, but @emph{not} with @var{violinI}, will be removed.
358 The @code{\addlyrics} function now works with arbitrary contexts
359 incuding @code{Staff}.
362 String numbers can now also be used to print roman numerals
363 (e.g. for unfretted string instruments).
364 @lilypond[verbatim,quote,relative=2]
373 The @code{thin-kern} property of the @code{BarLine} grob has been
374 renamed to @code{segno-kern}.
377 @code{KeyCancellation} grobs now ignore cue clefs (like
378 @code{KeySignature} grobs do).
381 Add support for @code{\once@tie{}\unset}
384 It is now possible to individually color both the dots and parentheses
385 in fret diagrams when using the @code{\fret-diagram-verbose} markup
388 @lilypond[verbatim,quote,relative=1]
391 \override #'(fret-diagram-details . (
392 (finger-code . in-dot))) {
393 \fret-diagram-verbose #'((mute 6)
394 (place-fret 5 3 1 red)
395 (place-fret 4 5 2 inverted)
396 (place-fret 3 5 3 green)
397 (place-fret 2 5 4 blue inverted)
398 (place-fret 1 3 1 violet)
403 \override #'(fret-diagram-details . (
404 (finger-code . below-string))) {
405 \fret-diagram-verbose #'((mute 6)
406 (place-fret 5 3 1 red parenthesized)
407 (place-fret 4 5 2 yellow
410 (place-fret 3 5 3 green)
411 (place-fret 2 5 4 blue )
420 Two new properties have been added for use in
421 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
422 markup command; @code{fret-label-horizontal-offset} which affects the
423 @code{fret-label-indication} and @code{paren-padding} which controls the
424 space between the dot and the parentheses surrounding it.
426 @lilypond[verbatim,quote,relative=1]
429 \fret-diagram-verbose #'((mute 6)
433 (place-fret 1 6 4 parenthesized)
438 \override #'(fret-diagram-details . (
439 (fret-label-horizontal-offset . 2)
440 (paren-padding . 0.25))) {
441 \fret-diagram-verbose #'((mute 6)
445 (place-fret 1 6 4 parenthesized)
454 A new markup command @code{\justify-line} has been added. Similar to
455 the @code{\fill-line} markup command except that instead of setting
456 @emph{words} in columns, the @code{\justify-line} command balances the
457 whitespace between them ensuring that when there are three or more
458 words in a markup, the whitespace is always consistent.
460 @lilypond[quote,verbatim,papersize=a6]
461 \markup \fill-line {oooooo oooooo oooooo oooooo}
462 \markup \fill-line {ooooooooo oooooooo oo ooo}
465 @lilypond[quote,verbatim,papersize=a6]
466 \markup \justify-line {oooooo oooooo oooooo oooooo}
467 \markup \justify-line {ooooooooo oooooooo oo ooo}
471 A new command @code{\magnifyMusic} has been added, which allows
472 the notation size to be changed without changing the staff size,
473 while automatically scaling stems, beams, and horizontal spacing.
475 @lilypond[verbatim,quote]
477 \new Voice \relative {
479 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
481 \new Voice \relative {
484 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
485 r32 c'' a c a c a c r c a c a c a c
486 r c a c a c a c a c a c a c a c
493 A new flexible template suitable for a range of choral music, is now
494 provided. This may be used to create simple choral music, with or
495 without piano accompaniment, in two or four staves. Unlike other
496 templates, this template is @q{built-in}, which means it does not
497 need to be copied and edited: instead it is simply @code{\include}'d
498 in the input file. For details, see @rlearning{Built-in templates}.
501 The positioning of tuplet numbers for kneed beams has been significantly
502 improved. Previously, tuplet numbers were placed according to the
503 position of the tuplet bracket, even if it was not printed. This could
504 lead to stranded tuplet numbers. Now they are now positioned
505 closer to the kneed-beam when an appropriate beam segment exists for its
506 placement and when the the bracket is not drawn.
508 Collision detection is also added, offsetting horizontally if too close
509 to an adjoining note column but preserving the number's vertical
510 distance from the kneed beam. If the number itself is too large to
511 fit in the available space the original, bracket-based, positioning
512 system is used instead; and in the event of a collision (e.g. with an
513 accidental) the tuplet number is moved vertically away instead.
515 @lilypond[verbatim,fragment,quote,relative=1]
517 \override Beam.auto-knee-gap = 3
526 The original kneed-beam tuplet behavior is still available through an
527 @code{\override} via a new, @code{knee-to-beam} property.
529 @lilypond[verbatim,fragment,quote,relative=1]
531 \override Beam.auto-knee-gap = 3
532 \override TupletNumber.knee-to-beam = ##f
541 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
542 now accept the same kind of delimited argument list that @code{\lyrics}
543 and @code{\chords} accept. Backward compatibility has been added so
544 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
545 @code{convert-ly} rule has been added that removes redundant uses of
546 @code{\lyricmode} and rearranges combinations with context starters such
547 that @code{\lyricsto} in general is applied last (i.e. like
548 @code{\lyricmode} would be).
551 Scheme functions and identifiers can now be used as output definitions.
554 Scheme expressions can now be used as chord constituents.
557 Improved visual spacing of small and regular @q{MI} Funk and Walker
558 noteheads so they are now the same width as other shaped notes in
559 their respective sets. @code{SOL} noteheads are also now visually
560 improved when used with both the normal Aiken and Sacred Harp heads, as
561 well as with the thin variants.
564 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
565 @rinternals{LeftEdge}.
568 Added a new @code{make-path-stencil} function that supports all
569 @code{path} commands both relative and absolute:
571 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
572 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
573 supports @q{single-letter} syntax used in standard SVG path commands:
575 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
576 @code{z}. The new command is also backward-compatible with the original
577 @code{make-connected-path-stencil} function. Also see
578 @file{scm/stencil.scm}.
581 Context properties named in the @samp{alternativeRestores} property are
582 restored to their value at the start of the @emph{first} alternative in
583 all subsequent alternatives.
585 Currently the default set restores @q{current meter};
587 @lilypond[verbatim,fragment,quote,relative=2]
589 \repeat volta 2 { c2 e4 | }
598 @q{measure position};
600 @lilypond[verbatim,fragment,quote,relative=2]
602 \repeat volta 2 { c2 e4 | }
605 \set Timing.measurePosition = #(ly:make-moment -1/2)
613 and @q{chord changes};
615 @lilypond[verbatim,fragment,quote]
618 \set chordChanges = ##t
619 \chordmode { c1:m d:m c:m d:m }
622 \repeat volta 2 { \chordmode { c1:m } }
624 { \chordmode { d:m } }
625 { \chordmode { c:m } }
633 Improved MIDI output for breathe marks. After tied notes, breaths take
634 time @emph{only} from the last note of the tie; e.g.
635 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
636 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
637 how humans interpret breaths after ties. It now also makes it easier to
638 align simultaneous breathe marks over multiple parts, all with different
642 A new note head style for Tabulature has been added;
643 @code{TabNoteHead.style = #'slash}.
646 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
647 @emph{Varpercussion} and @emph{varC} and their related tessitura.
648 @lilypond[verbatim,quote,fragment]
649 \override Staff.Clef.full-size-change = ##t
652 \clef "tenorG" c c c c
654 \clef "altovarC" c c c c
655 \clef "tenorvarC" c c c c
656 \clef "baritonevarC" c c c c
657 \clef "varpercussion" c c c c
660 \override Staff.Clef.full-size-change = ##f
663 \clef "tenorG" c c c c
665 \clef "altovarC" c c c c
666 \clef "tenorvarC" c c c c
667 \clef "baritonevarC" c c c
668 \clef "varpercussion" c c c c
672 Isolated durations in music sequences now stand for unpitched
673 notes. This may be useful for specifying rhythms to music or
674 scheme functions. When encountered in the final score, the
675 pitches are provided by the preceding note or chord. Here are two
676 examples where this makes for readable input:
678 @lilypond[verbatim,quote]
679 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
682 tambourine 8 \tuplet 3/2 { 16 16 16 }
683 8 \tuplet 3/2 { 16 16 16 } 8 8 |
687 @lilypond[verbatim,quote]
688 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
692 @code{\displayLilyMusic} and its underlying Scheme functions no
693 longer omit redundant note durations. This makes it easier to
694 reliably recognize and format standalone durations in expressions
701 Beaming exceptions can now be constructed using the
702 @code{\beamExceptions} scheme function. One can now write
704 @lilypond[verbatim,quote,relative=1]
706 \set Timing.beamExceptions =
707 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
709 \repeat unfold 6 { c32 } |
713 with multiple exceptions separated with @code{|} bar checks
714 (writing the exception pattern without pitches is convenient but
715 not mandatory). Previously, setting the beam exceptions would
716 have required writing
719 \set Timing.beamExceptions =
721 (end . ;entry for end of beams
722 ( ;start of alist of end points
723 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
728 The most common articulations are now reflected in MIDI output.
729 Accent and marcato make notes louder; staccato, staccatissimo and
730 portato make them shorter. Breath marks shorten the previous
733 This behavior is customizable through the @code{midiLength} and
734 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
735 See @file{script-init.ly} for examples.
738 The PostScript functionality of stroke adjustment is no longer
739 applied automatically but left to the discretion of the PostScript
740 device (by default, Ghostscript uses it for resolutions up to
741 150dpi when generating raster images). When it is enabled, a more
742 complex drawing algorithm designed to benefit from stroke
743 adjustment is employed mostly for stems and bar lines.
745 Stroke adjustment can be forced by specifying the command line
746 option @samp{-dstrokeadjust} to LilyPond. When generating
747 @code{PDF} files, this will usually result in markedly better
748 looking @code{PDF} previews but significantly larger file size.
749 Print quality at high resolutions will be unaffected.
754 For older news, go to
755 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
756 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
757 or @uref{../,go back} to the Documentation index.