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 Music (and scheme and void) functions and markup commands that
66 just supply the final parameters to a chain of overrides, music
67 function and markup command calls can now be defined in the form
68 of just writing the expression cut short with @code{\etc}.
70 @lilypond[verbatim,quote]
71 bold-red-markup = \markup \bold \with-color #red \etc
72 highlight = \tweak font-size 3 \tweak color #red \etc
74 \markup \bold-red "text"
75 \markuplist \column-lines \bold-red { One Two }
77 { c' \highlight d' e'2-\highlight -! }
81 LilyPond functions defined with @code{define-music-function},
82 @code{define-event-function}, @code{define-scheme-function} and
83 @code{define-void-function} can now be directly called from Scheme
84 as if they were genuine Scheme procedures. Argument checking and
85 matching will still be performed in the same manner as when
86 calling the function through LilyPond input. This includes the
87 insertion of defaults for optional arguments not matching their
88 predicates. Instead of using @code{\default} in the actual
89 argument list for explicitly skipping a sequence of optional
90 arguments, @code{*unspecified*} can be employed.
93 Current input location and parser are now stored in GUILE fluids
94 and can be referenced via the function calls @code{(*location*)}
95 and @code{(*parser*)}. Consequently, a lot of functions
96 previously taking an explicit @code{parser} argument no longer do
99 Functions defined with @code{define-music-function},
100 @code{define-event-function}, @code{define-scheme-function} and
101 @code{define-void-function} no longer use @code{parser} and
102 @code{location} arguments.
104 With those particular definitions, LilyPond will try to recognize
105 legacy use of @code{parser} and @code{location} arguments,
106 providing backwards-compatible semantics for some time.
109 The @code{whiteout} grob property and @code{\whiteout} markup command
110 now create a white background built from multiple displaced copies of
111 the glyph in order to approximate the contours of its outline.
112 The previous rounded box white background can be achieved with the
113 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
114 command. Setting the @code{whiteout} property to a number now sets
115 the thickness of the white outline as a multiple of staff-line
116 thickness. Similarly, overriding the @code{thickness} property of
117 the @code{\whiteout} markup command sets the thickness of the white
121 In the "english" notename language, the long notenames for pitches
122 with accidentals now contain a hyphen for better readability. You
127 instead of the previous
132 Double accidentals do not get another hyphen, so the Dutch
133 @code{cisis} has the long English notename @code{c-sharpsharp}.
136 The visual style of tremolo slashes (shape, style and slope)
137 is now more finely controlled.
138 @lilypond[quote,relative=2]
140 \override StemTremolo.shape = #'beam-like
142 \override StemTremolo.style = #'constant
149 Multi-measure rests have length according to their total duration,
150 under the control of @code{MultiMeasureRest.space-increment}.
152 { \compressFullBarRests
153 \override Staff.MultiMeasureRest.space-increment = 3.0
158 Page numbers may now be printed in roman numerals, by setting the
159 @code{page-number-type} paper variable.
162 It is now possible to use @code{\time} and @code{\partial}
163 together to change the time signature in mid measure.
165 @lilypond[verbatim,quote,relative=1]
166 \override Score.BarNumber.break-visibility = #end-of-line-invisible
167 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
168 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
172 It is now possible to override the @code{text} property of
175 @lilypond[verbatim,fragment,quote]
177 \new ChordNames \chordmode {
179 \once \override ChordName.text = #"foo"
186 Improved horizontal alignment when using @code{TextScript},
187 with @code{DynamicText} or @code{LyricText}.
190 A new command @code{\magnifyStaff} has been added which scales staff
191 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
192 at the @code{Staff} context level. Staff lines are prevented from being
193 scaled smaller than the default since the thickness of stems, slurs, and
194 the like are all based on the staff line thickness.
197 @code{InstrumentName} now supports @code{text-interface}.
200 There is now support for controlling the @q{expression level} of
201 MIDI channels using the @code{Staff.midiExpression} context property.
202 This can be used to alter the perceived volume of even sustained notes
203 (albeit in a very @q{low-level} way) and accepts a number value between
204 @code{0.0} and @code{1.0}.
209 midiExpression = #0.6
210 midiInstrument = #"clarinet"
215 \set Staff.midiExpression = #0.7 s4\f\<
216 \set Staff.midiExpression = #0.8 s4
217 \set Staff.midiExpression = #0.9 s4
218 \set Staff.midiExpression = #1.0 s4
220 \set Staff.midiExpression = #0.9 s4\>
221 \set Staff.midiExpression = #0.8 s4
222 \set Staff.midiExpression = #0.7 s4
223 \set Staff.midiExpression = #0.6 s4\!
231 Support for making it easier to use alternative @q{music} fonts other
232 than the default Emmentaler in LilyPond has been added. See
233 @uref{http://fonts.openlilylib.org/} for more information.
236 Grobs and their parents can now be aligned separately allowing
237 more flexibility for grob positions. For example the @q{left} edge of a
238 grob can now be aligned on the @q{center} of its parent.
241 Improvements to the @code{\partial} command have been made to
242 avoid problems when using multiple, parallel contexts.
244 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
248 A new command @code{\tagGroup} has now been added. This complements
249 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
253 \tagGroup #'(violinI violinII viola cello)
256 declares a list of @q{tags} that belong to a single @q{tag group}.
259 \keepwithTag#'violinI
262 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
264 Any element of the included music tagged with one or more tags from the
265 group, but @emph{not} with @var{violinI}, will be removed.
268 The @code{\addlyrics} function now works with arbitrary contexts
269 incuding @code{Staff}.
272 String numbers can now also be used to print roman numerals
273 (e.g. for unfretted string instruments).
274 @lilypond[verbatim,quote,relative=2]
283 The @code{thin-kern} property of the @code{BarLine} grob has been
284 renamed to @code{segno-kern}.
287 @code{KeyCancellation} grobs now ignore cue clefs (like
288 @code{KeySignature} grobs do).
291 Add support for @code{\once@tie{}\unset}
294 It is now possible to individually color both the dots and parentheses
295 in fret diagrams when using the @code{\fret-diagram-verbose} markup
298 @lilypond[verbatim,quote,relative=1]
301 \override #'(fret-diagram-details . (
302 (finger-code . in-dot))) {
303 \fret-diagram-verbose #'((mute 6)
304 (place-fret 5 3 1 red)
305 (place-fret 4 5 2 inverted)
306 (place-fret 3 5 3 green)
307 (place-fret 2 5 4 blue inverted)
308 (place-fret 1 3 1 violet)
313 \override #'(fret-diagram-details . (
314 (finger-code . below-string))) {
315 \fret-diagram-verbose #'((mute 6)
316 (place-fret 5 3 1 red parenthesized)
317 (place-fret 4 5 2 yellow
320 (place-fret 3 5 3 green)
321 (place-fret 2 5 4 blue )
330 Two new properties have been added for use in
331 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
332 markup command; @code{fret-label-horizontal-offset} which affects the
333 @code{fret-label-indication} and @code{paren-padding} which controls the
334 space between the dot and the parentheses surrounding it.
336 @lilypond[verbatim,quote,relative=1]
339 \fret-diagram-verbose #'((mute 6)
343 (place-fret 1 6 4 parenthesized)
348 \override #'(fret-diagram-details . (
349 (fret-label-horizontal-offset . 2)
350 (paren-padding . 0.25))) {
351 \fret-diagram-verbose #'((mute 6)
355 (place-fret 1 6 4 parenthesized)
364 A new markup command @code{\justify-line} has been added. Similar to
365 the @code{\fill-line} markup command except that instead of setting
366 @emph{words} in columns, the @code{\justify-line} command balances the
367 whitespace between them ensuring that when there are three or more
368 words in a markup, the whitespace is always consistent.
370 @lilypond[quote,verbatim,papersize=a6]
371 \markup \fill-line {oooooo oooooo oooooo oooooo}
372 \markup \fill-line {ooooooooo oooooooo oo ooo}
375 @lilypond[quote,verbatim,papersize=a6]
376 \markup \justify-line {oooooo oooooo oooooo oooooo}
377 \markup \justify-line {ooooooooo oooooooo oo ooo}
381 A new command @code{\magnifyMusic} has been added, which allows
382 the notation size to be changed without changing the staff size,
383 while automatically scaling stems, beams, and horizontal spacing.
385 @lilypond[verbatim,quote]
387 \new Voice \relative {
389 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
391 \new Voice \relative {
394 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
395 r32 c'' a c a c a c r c a c a c a c
396 r c a c a c a c a c a c a c a c
403 A new flexible template suitable for a range of choral music, is now
404 provided. This may be used to create simple choral music, with or
405 without piano accompaniment, in two or four staves. Unlike other
406 templates, this template is @q{built-in}, which means it does not
407 need to be copied and edited: instead it is simply @code{\include}'d
408 in the input file. For details, see @rlearning{Built-in templates}.
411 The positioning of tuplet numbers for kneed beams has been significantly
412 improved. Previously, tuplet numbers were placed according to the
413 position of the tuplet bracket, even if it was not printed. This could
414 lead to stranded tuplet numbers. Now they are now positioned
415 closer to the kneed-beam when an appropriate beam segment exists for its
416 placement and when the the bracket is not drawn.
418 Collision detection is also added, offsetting horizontally if too close
419 to an adjoining note column but preserving the number's vertical
420 distance from the kneed beam. If the number itself is too large to
421 fit in the available space the original, bracket-based, positioning
422 system is used instead; and in the event of a collision (e.g. with an
423 accidental) the tuplet number is moved vertically away instead.
425 @lilypond[verbatim,fragment,quote,relative=1]
427 \override Beam.auto-knee-gap = 3
436 The original kneed-beam tuplet behavior is still available through an
437 @code{\override} via a new, @code{knee-to-beam} property.
439 @lilypond[verbatim,fragment,quote,relative=1]
441 \override Beam.auto-knee-gap = 3
442 \override TupletNumber.knee-to-beam = ##f
451 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
452 now accept the same kind of delimited argument list that @code{\lyrics}
453 and @code{\chords} accept. Backward compatibility has been added so
454 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
455 @code{convert-ly} rule has been added that removes redundant uses of
456 @code{\lyricmode} and rearranges combinations with context starters such
457 that @code{\lyricsto} in general is applied last (i.e. like
458 @code{\lyricmode} would be).
461 Scheme functions and identifiers can now be used as output definitions.
464 Scheme expressions can now be used as chord constituents.
467 Improved visual spacing of small and regular @q{MI} Funk and Walker
468 noteheads so they are now the same width as other shaped notes in
469 their respective sets. @code{SOL} noteheads are also now visually
470 improved when used with both the normal Aiken and Sacred Harp heads, as
471 well as with the thin variants.
474 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
475 @rinternals{LeftEdge}.
478 Added a new @code{make-path-stencil} function that supports all
479 @code{path} commands both relative and absolute:
481 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
482 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
483 supports @q{single-letter} syntax used in standard SVG path commands:
485 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
486 @code{z}. The new command is also backward-compatible with the original
487 @code{make-connected-path-stencil} function. Also see
488 @file{scm/stencil.scm}.
491 Context properties named in the @samp{alternativeRestores} property are
492 restored to their value at the start of the @emph{first} alternative in
493 all subsequent alternatives.
495 Currently the default set restores @q{current meter};
497 @lilypond[verbatim,fragment,quote,relative=2]
499 \repeat volta 2 { c2 e4 | }
508 @q{measure position};
510 @lilypond[verbatim,fragment,quote,relative=2]
512 \repeat volta 2 { c2 e4 | }
515 \set Timing.measurePosition = #(ly:make-moment -1/2)
523 and @q{chord changes};
525 @lilypond[verbatim,fragment,quote]
528 \set chordChanges = ##t
529 \chordmode { c1:m d:m c:m d:m }
532 \repeat volta 2 { \chordmode { c1:m } }
534 { \chordmode { d:m } }
535 { \chordmode { c:m } }
543 Improved MIDI output for breathe marks. After tied notes, breaths take
544 time @emph{only} from the last note of the tie; e.g.
545 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
546 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
547 how humans interpret breaths after ties. It now also makes it easier to
548 align simultaneous breathe marks over multiple parts, all with different
552 A new note head style for Tabulature has been added;
553 @code{TabNoteHead.style = #'slash}.
556 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
557 @emph{Varpercussion} and @emph{varC} and their related tessitura.
558 @lilypond[verbatim,quote,fragment]
559 \override Staff.Clef.full-size-change = ##t
562 \clef "tenorG" c c c c
564 \clef "altovarC" c c c c
565 \clef "tenorvarC" c c c c
566 \clef "baritonevarC" c c c c
567 \clef "varpercussion" c c c c
570 \override Staff.Clef.full-size-change = ##f
573 \clef "tenorG" c c c c
575 \clef "altovarC" c c c c
576 \clef "tenorvarC" c c c c
577 \clef "baritonevarC" c c c
578 \clef "varpercussion" c c c c
582 Isolated durations in music sequences now stand for unpitched
583 notes. This may be useful for specifying rhythms to music or
584 scheme functions. When encountered in the final score, the
585 pitches are provided by the preceding note or chord. Here are two
586 examples where this makes for readable input:
588 @lilypond[verbatim,quote]
589 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
592 tambourine 8 \tuplet 3/2 { 16 16 16 }
593 8 \tuplet 3/2 { 16 16 16 } 8 8 |
597 @lilypond[verbatim,quote]
598 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
602 @code{\displayLilyMusic} and its underlying Scheme functions no
603 longer omit redundant note durations. This makes it easier to
604 reliably recognize and format standalone durations in expressions
611 Beaming exceptions can now be constructed using the
612 @code{\beamExceptions} scheme function. One can now write
614 @lilypond[verbatim,quote,relative=1]
616 \set Timing.beamExceptions =
617 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
619 \repeat unfold 6 { c32 } |
623 with multiple exceptions separated with @code{|} bar checks
624 (writing the exception pattern without pitches is convenient but
625 not mandatory). Previously, setting the beam exceptions would
626 have required writing
629 \set Timing.beamExceptions =
631 (end . ;entry for end of beams
632 ( ;start of alist of end points
633 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
638 The most common articulations are now reflected in MIDI output.
639 Accent and marcato make notes louder; staccato, staccatissimo and
640 portato make them shorter. Breath marks shorten the previous
643 This behavior is customizable through the @code{midiLength} and
644 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
645 See @file{script-init.ly} for examples.
648 The PostScript functionality of stroke adjustment is no longer
649 applied automatically but left to the discretion of the PostScript
650 device (by default, Ghostscript uses it for resolutions up to
651 150dpi when generating raster images). When it is enabled, a more
652 complex drawing algorithm designed to benefit from stroke
653 adjustment is employed mostly for stems and bar lines.
655 Stroke adjustment can be forced by specifying the command line
656 option @samp{-dstrokeadjust} to LilyPond. When generating
657 @code{PDF} files, this will usually result in markedly better
658 looking @code{PDF} previews but significantly larger file size.
659 Print quality at high resolutions will be unaffected.
664 For older news, go to
665 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
666 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
667 or @uref{../,go back} to the Documentation index.