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 The ends of hairpins may now be fine-tuned using the @code{shorten-pair}
66 grob property, which previously only affected text-spanners like
67 @code{TupletBracket} and @code{OttavaBracket}. Positive values offset
68 to the right, negative to the left.
69 @lilypond[quote,verbatim]
70 { \once \override Hairpin.shorten-pair = #'(2 . 2)
73 \once \override Hairpin.shorten-pair = #'(-2 . -2)
79 In fret-diagrams the distance between frets and the distance between strings is
80 now independently adjustable. Available are @code{fret-distance} and
81 @code{string-distance} as subproperties of @code{fret-diagram-details}.
82 @lilypond[verbatim,quote]
83 fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
86 \override #'(padding . 2)
94 \override #'(fret-diagram-details . ((fret-distance . 2)))
99 \override #'(fret-diagram-details . ((string-distance . 2)))
105 Accidental rules can now be defined across @code{ChoirStaff} contexts.
106 Two new rules @code{choral} and @code{choral-cautionary} are available
107 that combine the characteristics of @code{modern-voice} and @code{piano}
108 or their equivalents with cautionary accidentals.
111 The music function @code{\unfoldRepeats} can now take an
112 optional argument-list specifying which type(s) of repeated music
113 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
115 If the optional argument-list is unspecified, @code{repeated-music} will be
119 A new @code{output-attributes} grob property is now used for svg output
120 instead of the @code{id} grob property. It allows multiple attributes
121 to be defined as an association list. For example, @code{#'((id . 123)
122 (class . foo) (data-whatever . @qq{bar}))} will produce the following
123 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
124 data-whatever=@qq{bar}> @dots{} </g>}.
127 Slurs and phrasing slurs may now be started from individual notes
128 in a chord. Several simultanous slurs per @code{Voice} need to be
129 distinguished by @code{spanner-id} setting.
132 The music and grob property @code{spanner-id} for distinguishing
133 simultaneous slurs and phrasing slurs has been changed from a
134 string to a @q{key}, a non-negative integer or symbol.
137 There is a new command @code{\=} for specifying the
138 @code{spanner-id} for simultaneous slurs and phrasing slurs.
139 @lilypond[verbatim,quote]
141 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
146 Blocks introduced with @code{\header} can be stored in variables
147 and used as arguments to music and scheme functions and as the
148 body of @code{#@{@dots{}#@}} constructs. They are represented as
151 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
152 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
153 around in similar manner, they are represented by different data
157 Dot-separated symbol lists like @code{FretBoard.stencil} were
158 already supported as of version@tie{}2.18. They may now also
159 contain unsigned integers, and may alternatively be separated by
160 commata. This allows usage such as
161 @lilypond[quote,verbatim]
162 { \time 2,2,1 5/8 g'8 8 8 8 8 }
166 \tagGroup violin,oboe,bassoon
170 Such lists may also be used in expressions for assignments, sets,
171 and overrides. This allows usage such as
172 @lilypond[quote,verbatim]
173 { \unset Timing.beamExceptions
174 \set Timing.beatStructure = 1,2,1
179 Association list elements could previously be assigned values
180 individually (for example, paper variables like
181 @code{system-system-spacing.basic-distance}). They may now be
182 also referenced in this manner, as with
185 \void \displayScheme \system-system-spacing.basic-distance
189 In combination with the previously mentioned changes, this allows
190 setting and referencing pseudovariables like @code{violin.1}.
193 LilyPond source files may now be embedded inside the generated PDF files.
194 This experimental feature is disabled by default and may be regarded as unsafe,
195 as PDF documents with hidden content tend to present a security risk.
196 Please note that not all PDF viewers have the ability to handle embedded
197 documents (if not, the PDF output will appear normally and source files
198 will remain invisible). This feature only works with the PDF backend.
201 French note names are now defined specifically instead of
202 being aliased to Italian note names: in addition to the
203 generic Italian-derived syntax, the @var{d} pitch may be
204 entered as @code{ré}. Double sharps may also be
205 entered using the @code{-x} suffix.
208 Additional bass strings (for lute tablature) are supported.
209 @lilypond[quote,verbatim]
210 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
217 tablatureFormat = #fret-letter-tablature-format
221 stringTunings = \stringTuning <a, d f a d' f'>
222 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
223 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
230 The markup-list-command @code{\table} is now available.
231 Each column may be aligned differently.
232 @lilypond[quote,verbatim]
234 \override #'(padding . 2)
238 \underline { center-aligned right-aligned center-aligned left-aligned }
239 one "1" thousandth "0.001"
240 eleven "11" hundredth "0.01"
241 twenty "20" tenth "0.1"
242 thousand "1000" one "1.0"
248 A new markup-command, @code{\with-dimensions-from}, makes
249 @code{\with-dimensions} easier to use by taking the new
250 dimensions from a markup object, given as first argument.
251 @lilypond[quote,verbatim]
253 \pattern #5 #Y #0 "x"
254 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
255 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
256 \override #'(baseline-skip . 2)
258 \pattern #5 #X #0 "n"
259 \pattern #5 #X #0 \with-dimensions-from "n" "m"
260 \pattern #5 #X #0 \with-dimensions-from "n" "!"
266 There are two new page breaking functions. @code{ly:one-page-breaking}
267 automatically adjusts the height of the page to fit the music, so that
268 everything fits on one page. @code{ly:one-line-auto-height-breaking}
269 is like @code{ly:one-line-breaking}, placing the music on a single
270 line and adjusting the page width accordingly, however it also
271 automatically adjusts the page height to fit the music.
274 Markup-command @code{\draw-squiggle-line} is now available.
275 Customizing is possible with overrides of @code{thickness}, @code{angularity},
276 @code{height} and @code{orientation}
277 @lilypond[quote,verbatim]
280 \draw-squiggle-line #0.5 #'(3 . 3) ##t
283 \override #'(thickness . 4)
284 \draw-squiggle-line #0.5 #'(3 . -3) ##t
287 \override #'(angularity . -5)
288 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
290 \translate #'(3 . -3)
291 \override #'(angularity . 2)
292 \override #'(height . 0.3)
293 \override #'(orientation . -1)
294 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
299 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
300 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
301 staves on the first system in a score.
304 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
305 as the generic markup-command @code{\tie}.
306 @lilypond[quote,verbatim]
308 \undertie "undertied"
313 c''1 \prall -\tweak text \markup \tie "131" -1
316 { \voiceOne \m \voiceTwo \m }
320 @code{TabStaff} is now able to print micro-tones for bendings etc.
321 @lilypond[quote,verbatim]
325 supportNonIntegerFret = ##t
329 mus = \relative { c'4 cih d dih }
332 \new Staff << \clef "G_8" \mus >>
338 Two new styles of whiteout are now available. The @code{outline} style
339 approximates the contours of a glyph's outline, and its shape is
340 produced from multiple displaced copies of the glyph. The
341 @code{rounded-box} style produces a rounded rectangle shape. For all
342 three styles, including the default @code{box} style, the whiteout
343 shape's @code{thickness}, as a multiple of staff-line thickness, can be
346 @lilypond[verbatim,quote]
349 \filled-box #'(-1 . 15) #'(-3 . 4) #1
350 \override #'(thickness . 3)
351 \whiteout whiteout-box
355 \filled-box #'(-1 . 24) #'(-3 . 4) #1
356 \override #'(style . rounded-box)
357 \override #'(thickness . 3)
358 \whiteout whiteout-rounded-box
362 \filled-box #'(-1 . 18) #'(-3 . 4) #1
363 \override #'(style . outline)
364 \override #'(thickness . 3)
365 \whiteout whiteout-outline
368 \override Staff.Clef.whiteout-style = #'outline
369 \override Staff.Clef.whiteout = 3
375 All of @code{\override}, @code{\revert}, @code{\set}, and
376 @code{\unset} now work with the @code{\once} prefix for making
378 @lilypond[quote,verbatim]
381 \override NoteHead.color = #red
383 \once \override NoteHead.color = #green
385 \once \revert NoteHead.color
387 \revert NoteHead.color
393 When outputting MIDI, LilyPond will now store the @code{title}
394 defined in a score's @code{\header} block (or, if there is no
395 such definition on the @code{\score} level, the first such
396 definition found in a @code{\header} block of the score's
397 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
398 as the name of the MIDI sequence in the MIDI file. Optionally,
399 the name of the MIDI sequence can be overridden using the new
400 @code{midititle} @code{\header} field independently of
401 @code{title} (for example, in case @code{title} contains markup
402 code which does not render as plain text in a satisfactory way
406 Music (and scheme and void) functions and markup commands that
407 just supply the final parameters to a chain of overrides, music
408 function and markup command calls can now be defined in the form
409 of just writing the expression cut short with @code{\etc}.
411 @lilypond[verbatim,quote]
412 bold-red-markup = \markup \bold \with-color #red \etc
413 highlight = \tweak font-size 3 \tweak color #red \etc
415 \markup \bold-red "text"
416 \markuplist \column-lines \bold-red { One Two }
418 { c' \highlight d' e'2-\highlight -! }
422 LilyPond functions defined with @code{define-music-function},
423 @code{define-event-function}, @code{define-scheme-function} and
424 @code{define-void-function} can now be directly called from Scheme
425 as if they were genuine Scheme procedures. Argument checking and
426 matching will still be performed in the same manner as when
427 calling the function through LilyPond input. This includes the
428 insertion of defaults for optional arguments not matching their
429 predicates. Instead of using @code{\default} in the actual
430 argument list for explicitly skipping a sequence of optional
431 arguments, @code{*unspecified*} can be employed.
434 Current input location and parser are now stored in GUILE fluids
435 and can be referenced via the function calls @code{(*location*)}
436 and @code{(*parser*)}. Consequently, a lot of functions
437 previously taking an explicit @code{parser} argument no longer do
440 Functions defined with @code{define-music-function},
441 @code{define-event-function}, @code{define-scheme-function} and
442 @code{define-void-function} no longer use @code{parser} and
443 @code{location} arguments.
445 With those particular definitions, LilyPond will try to recognize
446 legacy use of @code{parser} and @code{location} arguments,
447 providing backwards-compatible semantics for some time.
450 In the "english" notename language, the long notenames for pitches
451 with accidentals now contain a hyphen for better readability. You
456 instead of the previous
461 Double accidentals do not get another hyphen, so the Dutch
462 @code{cisis} has the long English notename @code{c-sharpsharp}.
465 The visual style of tremolo slashes (shape, style and slope)
466 is now more finely controlled.
467 @lilypond[quote,relative=2]
469 \override StemTremolo.shape = #'beam-like
471 \override StemTremolo.style = #'constant
478 Multi-measure rests have length according to their total duration,
479 under the control of @code{MultiMeasureRest.space-increment}.
481 { \compressFullBarRests
482 \override Staff.MultiMeasureRest.space-increment = 3.0
487 Page numbers may now be printed in roman numerals, by setting the
488 @code{page-number-type} paper variable.
491 It is now possible to use @code{\time} and @code{\partial}
492 together to change the time signature in mid measure.
494 @lilypond[verbatim,quote,relative=1]
495 \override Score.BarNumber.break-visibility = #end-of-line-invisible
496 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
497 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
501 It is now possible to override the @code{text} property of
504 @lilypond[verbatim,fragment,quote]
506 \new ChordNames \chordmode {
508 \once \override ChordName.text = #"foo"
515 Improved horizontal alignment when using @code{TextScript},
516 with @code{DynamicText} or @code{LyricText}.
519 A new command @code{\magnifyStaff} has been added which scales staff
520 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
521 at the @code{Staff} context level. Staff lines are prevented from being
522 scaled smaller than the default since the thickness of stems, slurs, and
523 the like are all based on the staff line thickness.
526 @code{InstrumentName} now supports @code{text-interface}.
529 There is now support for controlling the @q{expression level} of
530 MIDI channels using the @code{Staff.midiExpression} context property.
531 This can be used to alter the perceived volume of even sustained notes
532 (albeit in a very @q{low-level} way) and accepts a number value between
533 @code{0.0} and @code{1.0}.
538 midiExpression = #0.6
539 midiInstrument = #"clarinet"
544 \set Staff.midiExpression = #0.7 s4\f\<
545 \set Staff.midiExpression = #0.8 s4
546 \set Staff.midiExpression = #0.9 s4
547 \set Staff.midiExpression = #1.0 s4
549 \set Staff.midiExpression = #0.9 s4\>
550 \set Staff.midiExpression = #0.8 s4
551 \set Staff.midiExpression = #0.7 s4
552 \set Staff.midiExpression = #0.6 s4\!
560 Support for making it easier to use alternative @q{music} fonts other
561 than the default Emmentaler in LilyPond has been added. See
562 @uref{http://fonts.openlilylib.org/} for more information.
565 Grobs and their parents can now be aligned separately allowing
566 more flexibility for grob positions. For example the @q{left} edge of a
567 grob can now be aligned on the @q{center} of its parent.
570 Improvements to the @code{\partial} command have been made to
571 avoid problems when using multiple, parallel contexts.
573 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
577 A new command @code{\tagGroup} has now been added. This complements
578 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
582 \tagGroup #'(violinI violinII viola cello)
585 declares a list of @q{tags} that belong to a single @q{tag group}.
588 \keepWithTag #'violinI
591 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
593 Any element of the included music tagged with one or more tags from the
594 group, but @emph{not} with @var{violinI}, will be removed.
597 The @code{\addlyrics} function now works with arbitrary contexts
598 incuding @code{Staff}.
601 String numbers can now also be used to print roman numerals
602 (e.g. for unfretted string instruments).
603 @lilypond[verbatim,quote,relative=2]
612 The @code{thin-kern} property of the @code{BarLine} grob has been
613 renamed to @code{segno-kern}.
616 @code{KeyCancellation} grobs now ignore cue clefs (like
617 @code{KeySignature} grobs do).
620 Add support for @code{\once@tie{}\unset}
623 It is now possible to individually color both the dots and parentheses
624 in fret diagrams when using the @code{\fret-diagram-verbose} markup
627 @lilypond[verbatim,quote,relative=1]
630 \override #'(fret-diagram-details . (
631 (finger-code . in-dot))) {
632 \fret-diagram-verbose #'((mute 6)
633 (place-fret 5 3 1 red)
634 (place-fret 4 5 2 inverted)
635 (place-fret 3 5 3 green)
636 (place-fret 2 5 4 blue inverted)
637 (place-fret 1 3 1 violet)
642 \override #'(fret-diagram-details . (
643 (finger-code . below-string))) {
644 \fret-diagram-verbose #'((mute 6)
645 (place-fret 5 3 1 red parenthesized)
646 (place-fret 4 5 2 yellow
649 (place-fret 3 5 3 green)
650 (place-fret 2 5 4 blue )
659 Two new properties have been added for use in
660 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
661 markup command; @code{fret-label-horizontal-offset} which affects the
662 @code{fret-label-indication} and @code{paren-padding} which controls the
663 space between the dot and the parentheses surrounding it.
665 @lilypond[verbatim,quote,relative=1]
668 \fret-diagram-verbose #'((mute 6)
672 (place-fret 1 6 4 parenthesized)
677 \override #'(fret-diagram-details . (
678 (fret-label-horizontal-offset . 2)
679 (paren-padding . 0.25))) {
680 \fret-diagram-verbose #'((mute 6)
684 (place-fret 1 6 4 parenthesized)
693 A new markup command @code{\justify-line} has been added. Similar to
694 the @code{\fill-line} markup command except that instead of setting
695 @emph{words} in columns, the @code{\justify-line} command balances the
696 whitespace between them ensuring that when there are three or more
697 words in a markup, the whitespace is always consistent.
699 @lilypond[quote,verbatim,papersize=a6]
700 \markup \fill-line {oooooo oooooo oooooo oooooo}
701 \markup \fill-line {ooooooooo oooooooo oo ooo}
704 @lilypond[quote,verbatim,papersize=a6]
705 \markup \justify-line {oooooo oooooo oooooo oooooo}
706 \markup \justify-line {ooooooooo oooooooo oo ooo}
710 A new command @code{\magnifyMusic} has been added, which allows
711 the notation size to be changed without changing the staff size,
712 while automatically scaling stems, beams, and horizontal spacing.
714 @lilypond[verbatim,quote]
716 \new Voice \relative {
718 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
720 \new Voice \relative {
723 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
724 r32 c'' a c a c a c r c a c a c a c
725 r c a c a c a c a c a c a c a c
732 A new flexible template suitable for a range of choral music, is now
733 provided. This may be used to create simple choral music, with or
734 without piano accompaniment, in two or four staves. Unlike other
735 templates, this template is @q{built-in}, which means it does not
736 need to be copied and edited: instead it is simply @code{\include}'d
737 in the input file. For details, see @rlearning{Built-in templates}.
740 The positioning of tuplet numbers for kneed beams has been significantly
741 improved. Previously, tuplet numbers were placed according to the
742 position of the tuplet bracket, even if it was not printed. This could
743 lead to stranded tuplet numbers. Now they are now positioned
744 closer to the kneed-beam when an appropriate beam segment exists for its
745 placement and when the bracket is not drawn.
747 Collision detection is also added, offsetting horizontally if too close
748 to an adjoining note column but preserving the number's vertical
749 distance from the kneed beam. If the number itself is too large to
750 fit in the available space the original, bracket-based, positioning
751 system is used instead; and in the event of a collision (e.g. with an
752 accidental) the tuplet number is moved vertically away instead.
754 @lilypond[verbatim,fragment,quote,relative=1]
756 \override Beam.auto-knee-gap = 3
765 The original kneed-beam tuplet behavior is still available through an
766 @code{\override} via a new, @code{knee-to-beam} property.
768 @lilypond[verbatim,fragment,quote,relative=1]
770 \override Beam.auto-knee-gap = 3
771 \override TupletNumber.knee-to-beam = ##f
780 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
781 now accept the same kind of delimited argument list that @code{\lyrics}
782 and @code{\chords} accept. Backward compatibility has been added so
783 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
784 @code{convert-ly} rule has been added that removes redundant uses of
785 @code{\lyricmode} and rearranges combinations with context starters such
786 that @code{\lyricsto} in general is applied last (i.e. like
787 @code{\lyricmode} would be).
790 Scheme functions and identifiers can now be used as output definitions.
793 Scheme expressions can now be used as chord constituents.
796 Improved visual spacing of small and regular @q{MI} Funk and Walker
797 noteheads so they are now the same width as other shaped notes in
798 their respective sets. @code{SOL} noteheads are also now visually
799 improved when used with both the normal Aiken and Sacred Harp heads, as
800 well as with the thin variants.
803 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
804 @rinternals{LeftEdge}.
807 Added a new @code{make-path-stencil} function that supports all
808 @code{path} commands both relative and absolute:
810 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
811 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
812 supports @q{single-letter} syntax used in standard SVG path commands:
814 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
815 @code{z}. The new command is also backward-compatible with the original
816 @code{make-connected-path-stencil} function. Also see
817 @file{scm/stencil.scm}.
820 Context properties named in the @samp{alternativeRestores} property are
821 restored to their value at the start of the @emph{first} alternative in
822 all subsequent alternatives.
824 Currently the default set restores @q{current meter};
826 @lilypond[verbatim,fragment,quote,relative=2]
828 \repeat volta 2 { c2 e4 | }
837 @q{measure position};
839 @lilypond[verbatim,fragment,quote,relative=2]
841 \repeat volta 2 { c2 e4 | }
844 \set Timing.measurePosition = #(ly:make-moment -1/2)
852 and @q{chord changes};
854 @lilypond[verbatim,fragment,quote]
857 \set chordChanges = ##t
858 \chordmode { c1:m d:m c:m d:m }
861 \repeat volta 2 { \chordmode { c1:m } }
863 { \chordmode { d:m } }
864 { \chordmode { c:m } }
872 Improved MIDI output for breathe marks. After tied notes, breaths take
873 time @emph{only} from the last note of the tie; e.g.
874 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
875 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
876 how humans interpret breaths after ties. It now also makes it easier to
877 align simultaneous breathe marks over multiple parts, all with different
881 A new note head style for Tabulature has been added;
882 @code{TabNoteHead.style = #'slash}.
885 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
886 @emph{Varpercussion} and @emph{varC} and their related tessitura.
887 @lilypond[verbatim,quote,fragment]
888 \override Staff.Clef.full-size-change = ##t
891 \clef "tenorG" c c c c
893 \clef "altovarC" c c c c
894 \clef "tenorvarC" c c c c
895 \clef "baritonevarC" c c c c
896 \clef "varpercussion" c c c c
899 \override Staff.Clef.full-size-change = ##f
902 \clef "tenorG" c c c c
904 \clef "altovarC" c c c c
905 \clef "tenorvarC" c c c c
906 \clef "baritonevarC" c c c c
907 \clef "varpercussion" c c c c
911 Isolated durations in music sequences now stand for unpitched
912 notes. This may be useful for specifying rhythms to music or
913 scheme functions. When encountered in the final score, the
914 pitches are provided by the preceding note or chord. Here are two
915 examples where this makes for readable input:
917 @lilypond[verbatim,quote]
918 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
921 tambourine 8 \tuplet 3/2 { 16 16 16 }
922 8 \tuplet 3/2 { 16 16 16 } 8 8 |
926 @lilypond[verbatim,quote]
927 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
931 @code{\displayLilyMusic} and its underlying Scheme functions no
932 longer omit redundant note durations. This makes it easier to
933 reliably recognize and format standalone durations in expressions
940 Beaming exceptions can now be constructed using the
941 @code{\beamExceptions} scheme function. One can now write
943 @lilypond[verbatim,quote,relative=1]
945 \set Timing.beamExceptions =
946 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
948 \repeat unfold 6 { c32 } |
952 with multiple exceptions separated with @code{|} bar checks
953 (writing the exception pattern without pitches is convenient but
954 not mandatory). Previously, setting the beam exceptions would
955 have required writing
958 \set Timing.beamExceptions =
960 (end . ;entry for end of beams
961 ( ;start of alist of end points
962 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
967 The most common articulations are now reflected in MIDI output.
968 Accent and marcato make notes louder; staccato, staccatissimo and
969 portato make them shorter. Breath marks shorten the previous
972 This behavior is customizable through the @code{midiLength} and
973 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
974 See @file{script-init.ly} for examples.
977 The PostScript functionality of stroke adjustment is no longer
978 applied automatically but left to the discretion of the PostScript
979 device (by default, Ghostscript uses it for resolutions up to
980 150dpi when generating raster images). When it is enabled, a more
981 complex drawing algorithm designed to benefit from stroke
982 adjustment is employed mostly for stems and bar lines.
984 Stroke adjustment can be forced by specifying the command line
985 option @samp{-dstrokeadjust} to LilyPond. When generating
986 @code{PDF} files, this will usually result in markedly better
987 looking @code{PDF} previews but significantly larger file size.
988 Print quality at high resolutions will be unaffected.
993 For older news, go to
994 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
995 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
996 or @uref{../,go back} to the Documentation index.