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 An argument, @code{-dcrop}, has been added, formatting @code{SVG} and
66 @code{PDF} output without margins or page-breaks.
69 It is now possible to move systems with reference to their current
70 position using the @code{extra-offset} subproperty of
71 @code{NonMusicalPaperColumn.line-break-system-details}. Both vertical
72 and horizontal changes are possible. This feature is especially useful
73 for making slight adjustments to the default vertical position of
74 individual systems. See @ruser{Explicit staff and system positioning} for
78 It is now possible to add text to analysis brackets through the
79 @code{HorizontalBracketText} object.
80 @lilypond[quote,verbatim]
84 \consists "Horizontal_bracket_engraver"
89 \once \override HorizontalBracketText.text = "a"
90 c''\startGroup d''\stopGroup
91 e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup
96 The ends of hairpins may now be fine-tuned using the @code{shorten-pair}
97 grob property, which previously only affected text-spanners like
98 @code{TupletBracket} and @code{OttavaBracket}. Positive values offset
99 to the right, negative to the left.
100 @lilypond[quote,verbatim]
101 { \once \override Hairpin.shorten-pair = #'(2 . 2)
104 \once \override Hairpin.shorten-pair = #'(-2 . -2)
110 In fret-diagrams the distance between frets and the distance between strings is
111 now independently adjustable. Available are @code{fret-distance} and
112 @code{string-distance} as subproperties of @code{fret-diagram-details}.
113 @lilypond[verbatim,quote]
114 fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
117 \override #'(padding . 2)
125 \override #'(fret-diagram-details . ((fret-distance . 2)))
130 \override #'(fret-diagram-details . ((string-distance . 2)))
136 Accidental rules can now be defined across @code{ChoirStaff} contexts.
137 Two new rules @code{choral} and @code{choral-cautionary} are available
138 that combine the characteristics of @code{modern-voice} and @code{piano}
139 or their equivalents with cautionary accidentals.
142 The music function @code{\unfoldRepeats} can now take an
143 optional argument-list specifying which type(s) of repeated music
144 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
146 If the optional argument-list is unspecified, @code{repeated-music} will be
150 A new @code{output-attributes} grob property is now used for svg output
151 instead of the @code{id} grob property. It allows multiple attributes
152 to be defined as an association list. For example, @code{#'((id . 123)
153 (class . foo) (data-whatever . @qq{bar}))} will produce the following
154 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
155 data-whatever=@qq{bar}> @dots{} </g>}.
158 Slurs and phrasing slurs may now be started from individual notes
159 in a chord. Several simultanous slurs per @code{Voice} need to be
160 distinguished by @code{spanner-id} setting.
163 The music and grob property @code{spanner-id} for distinguishing
164 simultaneous slurs and phrasing slurs has been changed from a
165 string to a @q{key}, a non-negative integer or symbol.
168 There is a new command @code{\=} for specifying the
169 @code{spanner-id} for simultaneous slurs and phrasing slurs.
170 @lilypond[verbatim,quote]
172 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
177 Blocks introduced with @code{\header} can be stored in variables
178 and used as arguments to music and scheme functions and as the
179 body of @code{#@{@dots{}#@}} constructs. They are represented as
182 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
183 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
184 around in similar manner, they are represented by different data
188 Dot-separated symbol lists like @code{FretBoard.stencil} were
189 already supported as of version@tie{}2.18. They may now also
190 contain unsigned integers, and may alternatively be separated by
191 commata. This allows usage such as
192 @lilypond[quote,verbatim]
193 { \time 2,2,1 5/8 g'8 8 8 8 8 }
197 \tagGroup violin,oboe,bassoon
201 Such lists may also be used in expressions for assignments, sets,
202 and overrides. This allows usage such as
203 @lilypond[quote,verbatim]
204 { \unset Timing.beamExceptions
205 \set Timing.beatStructure = 1,2,1
210 Association list elements could previously be assigned values
211 individually (for example, paper variables like
212 @code{system-system-spacing.basic-distance}). They may now be
213 also referenced in this manner, as with
216 \void \displayScheme \system-system-spacing.basic-distance
220 In combination with the previously mentioned changes, this allows
221 setting and referencing pseudovariables like @code{violin.1}.
224 LilyPond source files may now be embedded inside the generated PDF files.
225 This experimental feature is disabled by default and may be regarded as unsafe,
226 as PDF documents with hidden content tend to present a security risk.
227 Please note that not all PDF viewers have the ability to handle embedded
228 documents (if not, the PDF output will appear normally and source files
229 will remain invisible). This feature only works with the PDF backend.
232 French note names are now defined specifically instead of
233 being aliased to Italian note names: in addition to the
234 generic Italian-derived syntax, the @var{d} pitch may be
235 entered as @code{ré}. Double sharps may also be
236 entered using the @code{-x} suffix.
239 Additional bass strings (for lute tablature) are supported.
240 @lilypond[quote,verbatim]
241 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
248 tablatureFormat = #fret-letter-tablature-format
252 stringTunings = \stringTuning <a, d f a d' f'>
253 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
254 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
261 The markup-list-command @code{\table} is now available.
262 Each column may be aligned differently.
263 @lilypond[quote,verbatim]
265 \override #'(padding . 2)
269 \underline { center-aligned right-aligned center-aligned left-aligned }
270 one "1" thousandth "0.001"
271 eleven "11" hundredth "0.01"
272 twenty "20" tenth "0.1"
273 thousand "1000" one "1.0"
279 A new markup-command, @code{\with-dimensions-from}, makes
280 @code{\with-dimensions} easier to use by taking the new
281 dimensions from a markup object, given as first argument.
282 @lilypond[quote,verbatim]
284 \pattern #5 #Y #0 "x"
285 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
286 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
287 \override #'(baseline-skip . 2)
289 \pattern #5 #X #0 "n"
290 \pattern #5 #X #0 \with-dimensions-from "n" "m"
291 \pattern #5 #X #0 \with-dimensions-from "n" "!"
297 There are two new page breaking functions. @code{ly:one-page-breaking}
298 automatically adjusts the height of the page to fit the music, so that
299 everything fits on one page. @code{ly:one-line-auto-height-breaking}
300 is like @code{ly:one-line-breaking}, placing the music on a single
301 line and adjusting the page width accordingly, however it also
302 automatically adjusts the page height to fit the music.
305 Markup-command @code{\draw-squiggle-line} is now available.
306 Customizing is possible with overrides of @code{thickness}, @code{angularity},
307 @code{height} and @code{orientation}
308 @lilypond[quote,verbatim]
311 \draw-squiggle-line #0.5 #'(3 . 3) ##t
314 \override #'(thickness . 4)
315 \draw-squiggle-line #0.5 #'(3 . -3) ##t
318 \override #'(angularity . -5)
319 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
321 \translate #'(3 . -3)
322 \override #'(angularity . 2)
323 \override #'(height . 0.3)
324 \override #'(orientation . -1)
325 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
330 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
331 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
332 staves on the first system in a score.
335 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
336 as the generic markup-command @code{\tie}.
337 @lilypond[quote,verbatim]
339 \undertie "undertied"
344 c''1 \prall -\tweak text \markup \tie "131" -1
347 { \voiceOne \m \voiceTwo \m }
351 @code{TabStaff} is now able to print micro-tones for bendings etc.
352 @lilypond[quote,verbatim]
356 supportNonIntegerFret = ##t
360 mus = \relative { c'4 cih d dih }
363 \new Staff << \clef "G_8" \mus >>
369 Two new styles of whiteout are now available. The @code{outline} style
370 approximates the contours of a glyph's outline, and its shape is
371 produced from multiple displaced copies of the glyph. The
372 @code{rounded-box} style produces a rounded rectangle shape. For all
373 three styles, including the default @code{box} style, the whiteout
374 shape's @code{thickness}, as a multiple of staff-line thickness, can be
377 @lilypond[verbatim,quote]
380 \filled-box #'(-1 . 15) #'(-3 . 4) #1
381 \override #'(thickness . 3)
382 \whiteout whiteout-box
386 \filled-box #'(-1 . 24) #'(-3 . 4) #1
387 \override #'(style . rounded-box)
388 \override #'(thickness . 3)
389 \whiteout whiteout-rounded-box
393 \filled-box #'(-1 . 18) #'(-3 . 4) #1
394 \override #'(style . outline)
395 \override #'(thickness . 3)
396 \whiteout whiteout-outline
399 \override Staff.Clef.whiteout-style = #'outline
400 \override Staff.Clef.whiteout = 3
406 All of @code{\override}, @code{\revert}, @code{\set}, and
407 @code{\unset} now work with the @code{\once} prefix for making
409 @lilypond[quote,verbatim]
412 \override NoteHead.color = #red
414 \once \override NoteHead.color = #green
416 \once \revert NoteHead.color
418 \revert NoteHead.color
424 When outputting MIDI, LilyPond will now store the @code{title}
425 defined in a score's @code{\header} block (or, if there is no
426 such definition on the @code{\score} level, the first such
427 definition found in a @code{\header} block of the score's
428 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
429 as the name of the MIDI sequence in the MIDI file. Optionally,
430 the name of the MIDI sequence can be overridden using the new
431 @code{midititle} @code{\header} field independently of
432 @code{title} (for example, in case @code{title} contains markup
433 code which does not render as plain text in a satisfactory way
437 Music (and scheme and void) functions and markup commands that
438 just supply the final parameters to a chain of overrides, music
439 function and markup command calls can now be defined in the form
440 of just writing the expression cut short with @code{\etc}.
442 @lilypond[verbatim,quote]
443 \markup bold-red = \markup \bold \with-color #red \etc
444 highlight = \tweak font-size 3 \tweak color #red \etc
446 \markup \bold-red "text"
447 \markuplist \column-lines \bold-red { One Two }
449 { c' \highlight d' e'2-\highlight -! }
453 LilyPond functions defined with @code{define-music-function},
454 @code{define-event-function}, @code{define-scheme-function} and
455 @code{define-void-function} can now be directly called from Scheme
456 as if they were genuine Scheme procedures. Argument checking and
457 matching will still be performed in the same manner as when
458 calling the function through LilyPond input. This includes the
459 insertion of defaults for optional arguments not matching their
460 predicates. Instead of using @code{\default} in the actual
461 argument list for explicitly skipping a sequence of optional
462 arguments, @code{*unspecified*} can be employed.
465 Current input location and parser are now stored in GUILE fluids
466 and can be referenced via the function calls @code{(*location*)}
467 and @code{(*parser*)}. Consequently, a lot of functions
468 previously taking an explicit @code{parser} argument no longer do
471 Functions defined with @code{define-music-function},
472 @code{define-event-function}, @code{define-scheme-function} and
473 @code{define-void-function} no longer use @code{parser} and
474 @code{location} arguments.
476 With those particular definitions, LilyPond will try to recognize
477 legacy use of @code{parser} and @code{location} arguments,
478 providing backwards-compatible semantics for some time.
481 In the "english" notename language, the long notenames for pitches
482 with accidentals now contain a hyphen for better readability. You
487 instead of the previous
492 Double accidentals do not get another hyphen, so the Dutch
493 @code{cisis} has the long English notename @code{c-sharpsharp}.
496 The visual style of tremolo slashes (shape, style and slope)
497 is now more finely controlled.
498 @lilypond[quote,relative=2]
500 \override StemTremolo.shape = #'beam-like
502 \override StemTremolo.style = #'constant
509 Multi-measure rests have length according to their total duration,
510 under the control of @code{MultiMeasureRest.space-increment}.
512 { \compressFullBarRests
513 \override Staff.MultiMeasureRest.space-increment = 3.0
518 Page numbers may now be printed in roman numerals, by setting the
519 @code{page-number-type} paper variable.
522 It is now possible to use @code{\time} and @code{\partial}
523 together to change the time signature in mid measure.
525 @lilypond[verbatim,quote,relative=1]
526 \override Score.BarNumber.break-visibility = #end-of-line-invisible
527 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
528 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
532 It is now possible to override the @code{text} property of
535 @lilypond[verbatim,fragment,quote]
537 \new ChordNames \chordmode {
539 \once \override ChordName.text = #"foo"
546 Improved horizontal alignment when using @code{TextScript},
547 with @code{DynamicText} or @code{LyricText}.
550 A new command @code{\magnifyStaff} has been added which scales staff
551 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
552 at the @code{Staff} context level. Staff lines are prevented from being
553 scaled smaller than the default since the thickness of stems, slurs, and
554 the like are all based on the staff line thickness.
557 @code{InstrumentName} now supports @code{text-interface}.
560 There is now support for controlling the @q{expression level} of
561 MIDI channels using the @code{Staff.midiExpression} context property.
562 This can be used to alter the perceived volume of even sustained notes
563 (albeit in a very @q{low-level} way) and accepts a number value between
564 @code{0.0} and @code{1.0}.
569 midiExpression = #0.6
570 midiInstrument = #"clarinet"
575 \set Staff.midiExpression = #0.7 s4\f\<
576 \set Staff.midiExpression = #0.8 s4
577 \set Staff.midiExpression = #0.9 s4
578 \set Staff.midiExpression = #1.0 s4
580 \set Staff.midiExpression = #0.9 s4\>
581 \set Staff.midiExpression = #0.8 s4
582 \set Staff.midiExpression = #0.7 s4
583 \set Staff.midiExpression = #0.6 s4\!
591 Support for making it easier to use alternative @q{music} fonts other
592 than the default Emmentaler in LilyPond has been added. See
593 @uref{http://fonts.openlilylib.org/} for more information.
596 Grobs and their parents can now be aligned separately allowing
597 more flexibility for grob positions. For example the @q{left} edge of a
598 grob can now be aligned on the @q{center} of its parent.
601 Improvements to the @code{\partial} command have been made to
602 avoid problems when using multiple, parallel contexts.
604 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
608 A new command @code{\tagGroup} has now been added. This complements
609 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
613 \tagGroup #'(violinI violinII viola cello)
616 declares a list of @q{tags} that belong to a single @q{tag group}.
619 \keepWithTag #'violinI
622 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
624 Any element of the included music tagged with one or more tags from the
625 group, but @emph{not} with @var{violinI}, will be removed.
628 The @code{\addlyrics} function now works with arbitrary contexts
629 incuding @code{Staff}.
632 String numbers can now also be used to print roman numerals
633 (e.g. for unfretted string instruments).
634 @lilypond[verbatim,quote,relative=2]
643 The @code{thin-kern} property of the @code{BarLine} grob has been
644 renamed to @code{segno-kern}.
647 @code{KeyCancellation} grobs now ignore cue clefs (like
648 @code{KeySignature} grobs do).
651 Add support for @code{\once@tie{}\unset}
654 It is now possible to individually color both the dots and parentheses
655 in fret diagrams when using the @code{\fret-diagram-verbose} markup
658 @lilypond[verbatim,quote,relative=1]
661 \override #'(fret-diagram-details . (
662 (finger-code . in-dot))) {
663 \fret-diagram-verbose #'((mute 6)
664 (place-fret 5 3 1 red)
665 (place-fret 4 5 2 inverted)
666 (place-fret 3 5 3 green)
667 (place-fret 2 5 4 blue inverted)
668 (place-fret 1 3 1 violet)
673 \override #'(fret-diagram-details . (
674 (finger-code . below-string))) {
675 \fret-diagram-verbose #'((mute 6)
676 (place-fret 5 3 1 red parenthesized)
677 (place-fret 4 5 2 yellow
680 (place-fret 3 5 3 green)
681 (place-fret 2 5 4 blue )
690 Two new properties have been added for use in
691 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
692 markup command; @code{fret-label-horizontal-offset} which affects the
693 @code{fret-label-indication} and @code{paren-padding} which controls the
694 space between the dot and the parentheses surrounding it.
696 @lilypond[verbatim,quote,relative=1]
699 \fret-diagram-verbose #'((mute 6)
703 (place-fret 1 6 4 parenthesized)
708 \override #'(fret-diagram-details . (
709 (fret-label-horizontal-offset . 2)
710 (paren-padding . 0.25))) {
711 \fret-diagram-verbose #'((mute 6)
715 (place-fret 1 6 4 parenthesized)
724 A new markup command @code{\justify-line} has been added. Similar to
725 the @code{\fill-line} markup command except that instead of setting
726 @emph{words} in columns, the @code{\justify-line} command balances the
727 whitespace between them ensuring that when there are three or more
728 words in a markup, the whitespace is always consistent.
730 @lilypond[quote,verbatim,papersize=a6]
731 \markup \fill-line {oooooo oooooo oooooo oooooo}
732 \markup \fill-line {ooooooooo oooooooo oo ooo}
735 @lilypond[quote,verbatim,papersize=a6]
736 \markup \justify-line {oooooo oooooo oooooo oooooo}
737 \markup \justify-line {ooooooooo oooooooo oo ooo}
741 A new command @code{\magnifyMusic} has been added, which allows
742 the notation size to be changed without changing the staff size,
743 while automatically scaling stems, beams, and horizontal spacing.
745 @lilypond[verbatim,quote]
747 \new Voice \relative {
749 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
751 \new Voice \relative {
754 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
755 r32 c'' a c a c a c r c a c a c a c
756 r c a c a c a c a c a c a c a c
763 A new flexible template suitable for a range of choral music, is now
764 provided. This may be used to create simple choral music, with or
765 without piano accompaniment, in two or four staves. Unlike other
766 templates, this template is @q{built-in}, which means it does not
767 need to be copied and edited: instead it is simply @code{\include}'d
768 in the input file. For details, see @rlearning{Built-in templates}.
771 The positioning of tuplet numbers for kneed beams has been significantly
772 improved. Previously, tuplet numbers were placed according to the
773 position of the tuplet bracket, even if it was not printed. This could
774 lead to stranded tuplet numbers. Now they are now positioned
775 closer to the kneed-beam when an appropriate beam segment exists for its
776 placement and when the bracket is not drawn.
778 Collision detection is also added, offsetting horizontally if too close
779 to an adjoining note column but preserving the number's vertical
780 distance from the kneed beam. If the number itself is too large to
781 fit in the available space the original, bracket-based, positioning
782 system is used instead; and in the event of a collision (e.g. with an
783 accidental) the tuplet number is moved vertically away instead.
785 @lilypond[verbatim,fragment,quote,relative=1]
787 \override Beam.auto-knee-gap = 3
796 The original kneed-beam tuplet behavior is still available through an
797 @code{\override} via a new, @code{knee-to-beam} property.
799 @lilypond[verbatim,fragment,quote,relative=1]
801 \override Beam.auto-knee-gap = 3
802 \override TupletNumber.knee-to-beam = ##f
811 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
812 now accept the same kind of delimited argument list that @code{\lyrics}
813 and @code{\chords} accept. Backward compatibility has been added so
814 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
815 @code{convert-ly} rule has been added that removes redundant uses of
816 @code{\lyricmode} and rearranges combinations with context starters such
817 that @code{\lyricsto} in general is applied last (i.e. like
818 @code{\lyricmode} would be).
821 Scheme functions and identifiers can now be used as output definitions.
824 Scheme expressions can now be used as chord constituents.
827 Improved visual spacing of small and regular @q{MI} Funk and Walker
828 noteheads so they are now the same width as other shaped notes in
829 their respective sets. @code{SOL} noteheads are also now visually
830 improved when used with both the normal Aiken and Sacred Harp heads, as
831 well as with the thin variants.
834 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
835 @rinternals{LeftEdge}.
838 Added a new @code{make-path-stencil} function that supports all
839 @code{path} commands both relative and absolute:
841 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
842 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
843 supports @q{single-letter} syntax used in standard SVG path commands:
845 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
846 @code{z}. The new command is also backward-compatible with the original
847 @code{make-connected-path-stencil} function. Also see
848 @file{scm/stencil.scm}.
851 Context properties named in the @samp{alternativeRestores} property are
852 restored to their value at the start of the @emph{first} alternative in
853 all subsequent alternatives.
855 Currently the default set restores @q{current meter};
857 @lilypond[verbatim,fragment,quote,relative=2]
859 \repeat volta 2 { c2 e4 | }
868 @q{measure position};
870 @lilypond[verbatim,fragment,quote,relative=2]
872 \repeat volta 2 { c2 e4 | }
875 \set Timing.measurePosition = #(ly:make-moment -1/2)
883 and @q{chord changes};
885 @lilypond[verbatim,fragment,quote]
888 \set chordChanges = ##t
889 \chordmode { c1:m d:m c:m d:m }
892 \repeat volta 2 { \chordmode { c1:m } }
894 { \chordmode { d:m } }
895 { \chordmode { c:m } }
903 Improved MIDI output for breathe marks. After tied notes, breaths take
904 time @emph{only} from the last note of the tie; e.g.
905 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
906 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
907 how humans interpret breaths after ties. It now also makes it easier to
908 align simultaneous breathe marks over multiple parts, all with different
912 A new note head style for Tabulature has been added;
913 @code{TabNoteHead.style = #'slash}.
916 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
917 @emph{Varpercussion} and @emph{varC} and their related tessitura.
918 @lilypond[verbatim,quote,fragment]
919 \override Staff.Clef.full-size-change = ##t
922 \clef "tenorG" c c c c
924 \clef "altovarC" c c c c
925 \clef "tenorvarC" c c c c
926 \clef "baritonevarC" c c c c
927 \clef "varpercussion" c c c c
930 \override Staff.Clef.full-size-change = ##f
933 \clef "tenorG" c c c c
935 \clef "altovarC" c c c c
936 \clef "tenorvarC" c c c c
937 \clef "baritonevarC" c c c c
938 \clef "varpercussion" c c c c
942 Isolated durations in music sequences now stand for unpitched
943 notes. This may be useful for specifying rhythms to music or
944 scheme functions. When encountered in the final score, the
945 pitches are provided by the preceding note or chord. Here are two
946 examples where this makes for readable input:
948 @lilypond[verbatim,quote]
949 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
952 tambourine 8 \tuplet 3/2 { 16 16 16 }
953 8 \tuplet 3/2 { 16 16 16 } 8 8 |
957 @lilypond[verbatim,quote]
958 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
962 @code{\displayLilyMusic} and its underlying Scheme functions no
963 longer omit redundant note durations. This makes it easier to
964 reliably recognize and format standalone durations in expressions
971 Beaming exceptions can now be constructed using the
972 @code{\beamExceptions} scheme function. One can now write
974 @lilypond[verbatim,quote,relative=1]
976 \set Timing.beamExceptions =
977 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
979 \repeat unfold 6 { c32 } |
983 with multiple exceptions separated with @code{|} bar checks
984 (writing the exception pattern without pitches is convenient but
985 not mandatory). Previously, setting the beam exceptions would
986 have required writing
989 \set Timing.beamExceptions =
991 (end . ;entry for end of beams
992 ( ;start of alist of end points
993 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
998 The most common articulations are now reflected in MIDI output.
999 Accent and marcato make notes louder; staccato, staccatissimo and
1000 portato make them shorter. Breath marks shorten the previous
1003 This behavior is customizable through the @code{midiLength} and
1004 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
1005 See @file{script-init.ly} for examples.
1008 The PostScript functionality of stroke adjustment is no longer
1009 applied automatically but left to the discretion of the PostScript
1010 device (by default, Ghostscript uses it for resolutions up to
1011 150dpi when generating raster images). When it is enabled, a more
1012 complex drawing algorithm designed to benefit from stroke
1013 adjustment is employed mostly for stems and bar lines.
1015 Stroke adjustment can be forced by specifying the command line
1016 option @samp{-dstrokeadjust} to LilyPond. When generating
1017 @code{PDF} files, this will usually result in markedly better
1018 looking @code{PDF} previews but significantly larger file size.
1019 Print quality at high resolutions will be unaffected.
1022 Default text fonts have been changed from
1023 @code{Century Schoolbook L}, @code{sans-serif}, and @code{monospace}.
1025 For @code{svg} backend:
1026 @multitable @columnfractions .15 .30
1027 @headitem Family @tab Default font
1028 @item @emph{roman} @tab @code{serif}
1029 @item @emph{sans} @tab @code{sans-serif}
1030 @item @emph{typewriter} @tab @code{monospace}
1033 @code{serif}, @code{sans-serif}, and @code{monospace} are
1034 @code{generic-family} in SVG and CSS specifications.
1037 @multitable @columnfractions .15 .30 .55
1038 @headitem Family @tab Default font (alias) @tab Alias definition lists
1040 @tab @code{LilyPond Serif}
1043 C059, Century SchoolBook URW, Century Schoolbook L,
1047 @tab @code{LilyPond Sans Serif}
1050 Nimbus Sans, Nimbus Sans L, DejaVu Sans,
1052 @item @emph{typewriter}
1053 @tab @code{LilyPond Monospace}
1056 Nimbus Mono PS, Nimbus Mono, Nimbus Mono L,
1061 @code{LilyPond Serif}, @code{LilyPond Sans Serif},
1062 and @code{LilyPond Monospace} are font aliases defined
1063 in the LilyPond dedicated FontConfig configuration file
1064 @code{00-lilypond-fonts.conf}.
1065 Where a character dosen't exist in the first font listed,
1066 the next font listed will be used instead for that character.
1067 For details of alias definitions, please see
1068 to @code{00-lilypond-fonts.conf} under the installed directory.
1071 When using OpenType fonts, font features can be used.
1072 Note: Not all OpenType fonts have all functions.
1074 @lilypond[quote,verbatim]
1076 \markup { Normal Style: Hello HELLO }
1077 \markup { \caps { Small Caps: Hello } }
1078 \markup { \override #'(font-features . ("smcp"))
1079 { True Small Caps: Hello } }
1082 \markup { Normal Number Style: 0123456789 }
1083 \markup { \override #'(font-features . ("onum"))
1084 { Old Number Style: 0123456789 } }
1086 % Stylistic Alternates
1087 \markup { \override #'(font-features . ("salt 0"))
1088 { Stylistic Alternates 0: εφπρθ } }
1089 \markup { \override #'(font-features . ("salt 1"))
1090 { Stylistic Alternates 1: εφπρθ } }
1093 \markup { \override #'(font-features . ("onum" "smcp" "salt 1"))
1094 { Multiple features: Hello 0123456789 εφπρθ } }
1100 For older news, go to
1101 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
1102 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
1103 or @uref{../,go back} to the Documentation index.