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.
64 The @code{thin-kern} property of the @code{BarLine} grob has been
65 renamed to @code{segno-kern}.
68 @code{KeyCancellation} grobs now ignore cue clefs (like
69 @code{KeySignature} grobs do).
72 Add support for @code{\once@tie{}\unset}
75 It is now possible to individually color both the dots and parentheses
76 in fret diagrams when using the @code{\fret-diagram-verbose} markup
79 @lilypond[verbatim,quote,relative=1]
82 \override #'(fret-diagram-details . (
83 (finger-code . in-dot))) {
84 \fret-diagram-verbose #'((mute 6)
85 (place-fret 5 3 1 red)
86 (place-fret 4 5 2 inverted)
87 (place-fret 3 5 3 green)
88 (place-fret 2 5 4 blue inverted)
89 (place-fret 1 3 1 violet)
94 \override #'(fret-diagram-details . (
95 (finger-code . below-string))) {
96 \fret-diagram-verbose #'((mute 6)
97 (place-fret 5 3 1 red parenthesized)
98 (place-fret 4 5 2 yellow
101 (place-fret 3 5 3 green)
102 (place-fret 2 5 4 blue )
111 Two new properties have been added for use in
112 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
113 markup command; @code{fret-label-horizontal-offset} which affects the
114 @code{fret-label-indication} and @code{paren-padding} which controls the
115 space between the dot and the parentheses surrounding it.
117 @lilypond[verbatim,quote,relative=1]
120 \fret-diagram-verbose #'((mute 6)
124 (place-fret 1 6 4 parenthesized)
129 \override #'(fret-diagram-details . (
130 (fret-label-horizontal-offset . 2)
131 (paren-padding . 0.25))) {
132 \fret-diagram-verbose #'((mute 6)
136 (place-fret 1 6 4 parenthesized)
145 A new markup command @code{\justify-line} has been added. Similar to
146 the @code{\fill-line} markup command except that instead of setting
147 @emph{words} in columns, the @code{\justify-line} command balances the
148 whitespace between them ensuring that when there are three or more
149 words in a markup, the whitespace is always consistent.
151 @lilypond[quote,verbatim,papersize=a6]
152 \markup \fill-line {oooooo oooooo oooooo oooooo}
153 \markup \fill-line {ooooooooo oooooooo oo ooo}
156 @lilypond[quote,verbatim,papersize=a6]
157 \markup \justify-line {oooooo oooooo oooooo oooooo}
158 \markup \justify-line {ooooooooo oooooooo oo ooo}
162 A new command @code{\magnifyMusic} has been added, which allows
163 the notation size to be changed without changing the staff size,
164 while automatically scaling stems, beams, and horizontal spacing.
166 @lilypond[verbatim,quote]
168 \new Voice \relative {
170 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
172 \new Voice \relative {
175 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
176 r32 c'' a c a c a c r c a c a c a c
177 r c a c a c a c a c a c a c a c
184 A new flexible template suitable for a range of choral music, is now
185 provided. This may be used to create simple choral music, with or
186 without piano accompaniment, in two or four staves. Unlike other
187 templates, this template is @q{built-in}, which means it does not
188 need to be copied and edited: instead it is simply @code{\include}'d
189 in the input file. For details, see @rlearning{Built-in templates}.
192 The positioning of tuplet numbers for kneed beams has been significantly
193 improved. Previously, tuplet numbers were placed according to the
194 position of the tuplet bracket, even if it was not printed. This could
195 lead to stranded tuplet numbers. Now they are now positioned
196 closer to the kneed-beam when an appropriate beam segment exists for its
197 placement and when the the bracket is not drawn.
199 Collision detection is also added, offsetting horizontally if too close
200 to an adjoining note column but preserving the number's vertical
201 distance from the kneed beam. If the number itself is too large to
202 fit in the available space the original, bracket-based, positioning
203 system is used instead; and in the event of a collision (e.g. with an
204 accidental) the tuplet number is moved vertically away instead.
206 @lilypond[verbatim,fragment,quote,relative=1]
208 \override Beam.auto-knee-gap = 3
217 The original kneed-beam tuplet behavior is still available through an
218 @code{\override} via a new, @code{knee-to-beam} property.
220 @lilypond[verbatim,fragment,quote,relative=1]
222 \override Beam.auto-knee-gap = 3
223 \override TupletNumber.knee-to-beam = ##f
232 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
233 now accept the same kind of delimited argument list that @code{\lyrics}
234 and @code{\chords} accept. Backward compatibility has been added so
235 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
236 @code{convert-ly} rule has been added that removes redundant uses of
237 @code{\lyricmode} and rearranges combinations with context starters such
238 that @code{\lyricsto} in general is applied last (i.e. like
239 @code{\lyricmode} would be).
242 Scheme functions and identifiers can now be used as output definitions.
245 Scheme expressions can now be used as chord constituents.
248 Improved visual spacing of small and regular @q{MI} Funk and Walker
249 noteheads so they are now the same width as other shaped notes in
250 their respective sets. @code{SOL} noteheads are also now visually
251 improved when used with both the normal Aiken and Sacred Harp heads, as
252 well as with the thin variants.
255 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
256 @rinternals{LeftEdge}.
259 Added a new @code{make-path-stencil} function that supports all
260 @code{path} commands both relative and absolute:
262 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
263 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
264 supports @q{single-letter} syntax used in standard SVG path commands:
266 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
267 @code{z}. The new command is also backward-compatible with the original
268 @code{make-connected-path-stencil} function. Also see
269 @file{scm/stencil.scm}.
272 Context properties named in the @samp{alternativeRestores} property are
273 restored to their value at the start of the @emph{first} alternative in
274 all subsequent alternatives.
276 Currently the default set restores @q{current meter};
278 @lilypond[verbatim,fragment,quote,relative=2]
280 \repeat volta 2 { c2 e4 | }
289 @q{measure position};
291 @lilypond[verbatim,fragment,quote,relative=2]
293 \repeat volta 2 { c2 e4 | }
296 \set Timing.measurePosition = #(ly:make-moment -1/2)
304 and @q{chord changes};
306 @lilypond[verbatim,fragment,quote]
309 \set chordChanges = ##t
310 \chordmode { c1:m d:m c:m d:m }
313 \repeat volta 2 { \chordmode { c1:m } }
315 { \chordmode { d:m } }
316 { \chordmode { c:m } }
324 Improved MIDI output for breathe marks. After tied notes, breaths take
325 time @emph{only} from the last note of the tie; e.g.
326 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
327 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
328 how humans interpret breaths after ties. It now also makes it easier to
329 align simultaneous breathe marks over multiple parts, all with different
333 A new note head style for Tabulature has been added;
334 @code{TabNoteHead.style = #'slash}.
337 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
338 @emph{Varpercussion} and @emph{varC} and their related tessitura.
339 @lilypond[verbatim,quote,fragment]
340 \override Staff.Clef.full-size-change = ##t
343 \clef "tenorG" c c c c
345 \clef "altovarC" c c c c
346 \clef "tenorvarC" c c c c
347 \clef "baritonevarC" c c c c
348 \clef "varpercussion" c c c c
351 \override Staff.Clef.full-size-change = ##f
354 \clef "tenorG" c c c c
356 \clef "altovarC" c c c c
357 \clef "tenorvarC" c c c c
358 \clef "baritonevarC" c c c
359 \clef "varpercussion" c c c c
363 Isolated durations in music sequences now stand for unpitched
364 notes. This may be useful for specifying rhythms to music or
365 scheme functions. When encountered in the final score, the
366 pitches are provided by the preceding note or chord. Here are two
367 examples where this makes for readable input:
369 @lilypond[verbatim,quote]
370 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
373 tambourine 8 \tuplet 3/2 { 16 16 16 }
374 8 \tuplet 3/2 { 16 16 16 } 8 8 |
378 @lilypond[verbatim,quote]
379 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
383 Beaming exceptions can now be constructed using the
384 @code{\beamExceptions} scheme function. One can now write
386 @lilypond[verbatim,quote,relative=1]
388 \set Timing.beamExceptions =
389 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
391 \repeat unfold 6 { c32 } |
395 with multiple exceptions separated with @code{|} bar checks
396 (writing the exception pattern without pitches is convenient but
397 not mandatory). Previously, setting the beam exceptions would
398 have required writing
401 \set Timing.beamExceptions =
403 (end . ;entry for end of beams
404 ( ;start of alist of end points
405 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
410 The most common articulations are now reflected in MIDI output.
411 Accent and marcato make notes louder; staccato, staccatissimo and
412 portato make them shorter. Breath marks shorten the previous
415 This behavior is customizable through the @code{midiLength} and
416 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
417 See @file{script-init.ly} for examples.
420 The PostScript functionality of stroke adjustment is no longer
421 applied automatically but left to the discretion of the PostScript
422 device (by default, Ghostscript uses it for resolutions up to
423 150dpi when generating raster images). When it is enabled, a more
424 complex drawing algorithm designed to benefit from stroke
425 adjustment is employed mostly for stems and bar lines.
427 Stroke adjustment can be forced by specifying the command line
428 option @samp{-dstrokeadjust} to LilyPond. When generating
429 @code{PDF} files, this will usually result in markedly better
430 looking @code{PDF} previews but significantly larger file size.
431 Print quality at high resolutions will be unaffected.
436 For older news, go to
437 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
438 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
439 or @uref{../,go back} to the Documentation index.