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 visual style of tremolo slashes (shape, style and slope)
66 is now more finely controlled.
67 @lilypond[quote,relative=2]
69 \override StemTremolo.shape = #'beam-like
71 \override StemTremolo.style = #'constant
78 Multi-measure rests have length according to their total duration,
79 under the control of @code{MultiMeasureRest.space-increment}.
81 { \compressFullBarRests
82 \override Staff.MultiMeasureRest.space-increment = 3.0
87 Page numbers may now be printed in roman numerals, by setting the
88 @code{page-number-type} paper variable.
91 It is now possible to use @code{\time} and @code{\partial}
92 together to change the time signature in mid measure.
94 @lilypond[verbatim,quote,relative=1]
95 \override Score.BarNumber.break-visibility = #end-of-line-invisible
96 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
97 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
101 It is now possible to override the @code{text} property of
104 @lilypond[verbatim,fragment,quote]
106 \new ChordNames \chordmode {
108 \once \override ChordName.text = #"foo"
115 Improved horizontal alignment when using @code{TextScript},
116 with @code{DynamicText} or @code{LyricText}.
119 A new command @code{\magnifyStaff} has been added which scales staff
120 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
121 at the @code{Staff} context level. Staff lines are prevented from being
122 scaled smaller than the default since the thickness of stems, slurs, and
123 the like are all based on the staff line thickness.
126 @code{InstrumentName} now supports @code{text-interface}.
129 There is now support for controlling the @q{expression level} of
130 MIDI channels using the @code{Staff.midiExpression} context property.
131 This can be used to alter the perceived volume of even sustained notes
132 (albeit in a very @q{low-level} way) and accepts a number value between
133 @code{0.0} and @code{1.0}.
138 midiExpression = #0.6
139 midiInstrument = #"clarinet"
144 \set Staff.midiExpression = #0.7 s4\f\<
145 \set Staff.midiExpression = #0.8 s4
146 \set Staff.midiExpression = #0.9 s4
147 \set Staff.midiExpression = #1.0 s4
149 \set Staff.midiExpression = #0.9 s4\>
150 \set Staff.midiExpression = #0.8 s4
151 \set Staff.midiExpression = #0.7 s4
152 \set Staff.midiExpression = #0.6 s4\!
160 Support for making it easier to use alternative @q{music} fonts other
161 than the default Emmentaler in LilyPond has been added. See
162 @uref{http://fonts.openlilylib.org/} for more information.
165 Grobs and their parents can now be aligned separately allowing
166 more flexibility for grob positions. For example the @q{left} edge of a
167 grob can now be aligned on the @q{center} of its parent.
170 Improvements to the @code{\partial} command have been made to
171 avoid problems when using multiple, parallel contexts.
173 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
177 The @code{NullVoice} context is now @q{below} @code{Score}.
180 A new command @code{\tagGroup} has now been added. This compliments
181 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
185 \tagGroup #'(violinI violinII viola cello)
188 declares a list of @q{tags} that belong to a single @q{tag group}.
191 \keepwithTag#'violinI
194 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
196 Any element of the included music tagged with one or more tags from the
197 group, but @emph{not} with @var{violinI}, will be removed.
200 The @code{\addlyrics} function now works with arbitrary contexts
201 incuding @code{Staff}.
204 String numbers can now also be used to print roman numerals
205 (e.g. for unfretted string instruments).
206 @lilypond[verbatim,quote,relative=2]
215 The @code{thin-kern} property of the @code{BarLine} grob has been
216 renamed to @code{segno-kern}.
219 @code{KeyCancellation} grobs now ignore cue clefs (like
220 @code{KeySignature} grobs do).
223 Add support for @code{\once@tie{}\unset}
226 It is now possible to individually color both the dots and parentheses
227 in fret diagrams when using the @code{\fret-diagram-verbose} markup
230 @lilypond[verbatim,quote,relative=1]
233 \override #'(fret-diagram-details . (
234 (finger-code . in-dot))) {
235 \fret-diagram-verbose #'((mute 6)
236 (place-fret 5 3 1 red)
237 (place-fret 4 5 2 inverted)
238 (place-fret 3 5 3 green)
239 (place-fret 2 5 4 blue inverted)
240 (place-fret 1 3 1 violet)
245 \override #'(fret-diagram-details . (
246 (finger-code . below-string))) {
247 \fret-diagram-verbose #'((mute 6)
248 (place-fret 5 3 1 red parenthesized)
249 (place-fret 4 5 2 yellow
252 (place-fret 3 5 3 green)
253 (place-fret 2 5 4 blue )
262 Two new properties have been added for use in
263 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
264 markup command; @code{fret-label-horizontal-offset} which affects the
265 @code{fret-label-indication} and @code{paren-padding} which controls the
266 space between the dot and the parentheses surrounding it.
268 @lilypond[verbatim,quote,relative=1]
271 \fret-diagram-verbose #'((mute 6)
275 (place-fret 1 6 4 parenthesized)
280 \override #'(fret-diagram-details . (
281 (fret-label-horizontal-offset . 2)
282 (paren-padding . 0.25))) {
283 \fret-diagram-verbose #'((mute 6)
287 (place-fret 1 6 4 parenthesized)
296 A new markup command @code{\justify-line} has been added. Similar to
297 the @code{\fill-line} markup command except that instead of setting
298 @emph{words} in columns, the @code{\justify-line} command balances the
299 whitespace between them ensuring that when there are three or more
300 words in a markup, the whitespace is always consistent.
302 @lilypond[quote,verbatim,papersize=a6]
303 \markup \fill-line {oooooo oooooo oooooo oooooo}
304 \markup \fill-line {ooooooooo oooooooo oo ooo}
307 @lilypond[quote,verbatim,papersize=a6]
308 \markup \justify-line {oooooo oooooo oooooo oooooo}
309 \markup \justify-line {ooooooooo oooooooo oo ooo}
313 A new command @code{\magnifyMusic} has been added, which allows
314 the notation size to be changed without changing the staff size,
315 while automatically scaling stems, beams, and horizontal spacing.
317 @lilypond[verbatim,quote]
319 \new Voice \relative {
321 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
323 \new Voice \relative {
326 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
327 r32 c'' a c a c a c r c a c a c a c
328 r c a c a c a c a c a c a c a c
335 A new flexible template suitable for a range of choral music, is now
336 provided. This may be used to create simple choral music, with or
337 without piano accompaniment, in two or four staves. Unlike other
338 templates, this template is @q{built-in}, which means it does not
339 need to be copied and edited: instead it is simply @code{\include}'d
340 in the input file. For details, see @rlearning{Built-in templates}.
343 The positioning of tuplet numbers for kneed beams has been significantly
344 improved. Previously, tuplet numbers were placed according to the
345 position of the tuplet bracket, even if it was not printed. This could
346 lead to stranded tuplet numbers. Now they are now positioned
347 closer to the kneed-beam when an appropriate beam segment exists for its
348 placement and when the the bracket is not drawn.
350 Collision detection is also added, offsetting horizontally if too close
351 to an adjoining note column but preserving the number's vertical
352 distance from the kneed beam. If the number itself is too large to
353 fit in the available space the original, bracket-based, positioning
354 system is used instead; and in the event of a collision (e.g. with an
355 accidental) the tuplet number is moved vertically away instead.
357 @lilypond[verbatim,fragment,quote,relative=1]
359 \override Beam.auto-knee-gap = 3
368 The original kneed-beam tuplet behavior is still available through an
369 @code{\override} via a new, @code{knee-to-beam} property.
371 @lilypond[verbatim,fragment,quote,relative=1]
373 \override Beam.auto-knee-gap = 3
374 \override TupletNumber.knee-to-beam = ##f
383 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
384 now accept the same kind of delimited argument list that @code{\lyrics}
385 and @code{\chords} accept. Backward compatibility has been added so
386 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
387 @code{convert-ly} rule has been added that removes redundant uses of
388 @code{\lyricmode} and rearranges combinations with context starters such
389 that @code{\lyricsto} in general is applied last (i.e. like
390 @code{\lyricmode} would be).
393 Scheme functions and identifiers can now be used as output definitions.
396 Scheme expressions can now be used as chord constituents.
399 Improved visual spacing of small and regular @q{MI} Funk and Walker
400 noteheads so they are now the same width as other shaped notes in
401 their respective sets. @code{SOL} noteheads are also now visually
402 improved when used with both the normal Aiken and Sacred Harp heads, as
403 well as with the thin variants.
406 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
407 @rinternals{LeftEdge}.
410 Added a new @code{make-path-stencil} function that supports all
411 @code{path} commands both relative and absolute:
413 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
414 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
415 supports @q{single-letter} syntax used in standard SVG path commands:
417 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
418 @code{z}. The new command is also backward-compatible with the original
419 @code{make-connected-path-stencil} function. Also see
420 @file{scm/stencil.scm}.
423 Context properties named in the @samp{alternativeRestores} property are
424 restored to their value at the start of the @emph{first} alternative in
425 all subsequent alternatives.
427 Currently the default set restores @q{current meter};
429 @lilypond[verbatim,fragment,quote,relative=2]
431 \repeat volta 2 { c2 e4 | }
440 @q{measure position};
442 @lilypond[verbatim,fragment,quote,relative=2]
444 \repeat volta 2 { c2 e4 | }
447 \set Timing.measurePosition = #(ly:make-moment -1/2)
455 and @q{chord changes};
457 @lilypond[verbatim,fragment,quote]
460 \set chordChanges = ##t
461 \chordmode { c1:m d:m c:m d:m }
464 \repeat volta 2 { \chordmode { c1:m } }
466 { \chordmode { d:m } }
467 { \chordmode { c:m } }
475 Improved MIDI output for breathe marks. After tied notes, breaths take
476 time @emph{only} from the last note of the tie; e.g.
477 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
478 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
479 how humans interpret breaths after ties. It now also makes it easier to
480 align simultaneous breathe marks over multiple parts, all with different
484 A new note head style for Tabulature has been added;
485 @code{TabNoteHead.style = #'slash}.
488 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
489 @emph{Varpercussion} and @emph{varC} and their related tessitura.
490 @lilypond[verbatim,quote,fragment]
491 \override Staff.Clef.full-size-change = ##t
494 \clef "tenorG" c c c c
496 \clef "altovarC" c c c c
497 \clef "tenorvarC" c c c c
498 \clef "baritonevarC" c c c c
499 \clef "varpercussion" c c c c
502 \override Staff.Clef.full-size-change = ##f
505 \clef "tenorG" c c c c
507 \clef "altovarC" c c c c
508 \clef "tenorvarC" c c c c
509 \clef "baritonevarC" c c c
510 \clef "varpercussion" c c c c
514 Isolated durations in music sequences now stand for unpitched
515 notes. This may be useful for specifying rhythms to music or
516 scheme functions. When encountered in the final score, the
517 pitches are provided by the preceding note or chord. Here are two
518 examples where this makes for readable input:
520 @lilypond[verbatim,quote]
521 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
524 tambourine 8 \tuplet 3/2 { 16 16 16 }
525 8 \tuplet 3/2 { 16 16 16 } 8 8 |
529 @lilypond[verbatim,quote]
530 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
534 @code{\displayLilyMusic} and its underlying Scheme functions no
535 longer omit redundant note durations. This makes it easier to
536 reliably recognize and format standalone durations in expressions
543 Beaming exceptions can now be constructed using the
544 @code{\beamExceptions} scheme function. One can now write
546 @lilypond[verbatim,quote,relative=1]
548 \set Timing.beamExceptions =
549 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
551 \repeat unfold 6 { c32 } |
555 with multiple exceptions separated with @code{|} bar checks
556 (writing the exception pattern without pitches is convenient but
557 not mandatory). Previously, setting the beam exceptions would
558 have required writing
561 \set Timing.beamExceptions =
563 (end . ;entry for end of beams
564 ( ;start of alist of end points
565 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
570 The most common articulations are now reflected in MIDI output.
571 Accent and marcato make notes louder; staccato, staccatissimo and
572 portato make them shorter. Breath marks shorten the previous
575 This behavior is customizable through the @code{midiLength} and
576 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
577 See @file{script-init.ly} for examples.
580 The PostScript functionality of stroke adjustment is no longer
581 applied automatically but left to the discretion of the PostScript
582 device (by default, Ghostscript uses it for resolutions up to
583 150dpi when generating raster images). When it is enabled, a more
584 complex drawing algorithm designed to benefit from stroke
585 adjustment is employed mostly for stems and bar lines.
587 Stroke adjustment can be forced by specifying the command line
588 option @samp{-dstrokeadjust} to LilyPond. When generating
589 @code{PDF} files, this will usually result in markedly better
590 looking @code{PDF} previews but significantly larger file size.
591 Print quality at high resolutions will be unaffected.
596 For older news, go to
597 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
598 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
599 or @uref{../,go back} to the Documentation index.