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 A new command @code{\magnifyMusic} has been added, which allows
65 the notation size to be changed without changing the staff size,
66 while automatically scaling stems, beams, and horizontal spacing.
68 @lilypond[verbatim,quote]
70 \new Voice \relative {
72 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
74 \new Voice \relative {
77 r32 c'' a c a c a c r c a c a c a c
78 r c a c a c a c a c a c a c a c
85 A new flexible template suitable for a range of choral music, is now
86 provided. This may be used to create simple choral music, with or
87 without piano accompaniment, in two or four staves. Unlike other
88 templates, this template is @q{built-in}, which means it does not
89 need to be copied and edited: instead it is simply @code{\include}'d
90 in the input file. For details, see @rlearning{Built-in templates}.
93 The positioning of tuplet numbers for kneed beams has been significantly
94 improved. Previously, tuplet numbers were placed according to the
95 position of the tuplet bracket, even if it was not printed. This could
96 lead to stranded tuplet numbers. Now they are now positioned
97 closer to the kneed-beam when an appropriate beam segment exists for its
98 placement and when the the bracket is not drawn.
100 Collision detection is also added, offsetting horizontally if too close
101 to an adjoining note column but preserving the number's vertical
102 distance from the kneed beam. If the number itself is too large to
103 fit in the available space the original, bracket-based, positioning
104 system is used instead; and in the event of a collision (e.g. with an
105 accidental) the tuplet number is moved vertically away instead.
107 @lilypond[verbatim,fragment,quote,relative=1]
109 \override Beam.auto-knee-gap = 3
118 The original kneed-beam tuplet behavior is still available through an
119 @code{\override} via a new, @code{knee-to-beam} property.
121 @lilypond[verbatim,fragment,quote,relative=1]
123 \override Beam.auto-knee-gap = 3
124 \override TupletNumber.knee-to-beam = ##f
133 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
134 now accept the same kind of delimited argument list that @code{\lyrics}
135 and @code{\chords} accept. Backward compatibility has been added so
136 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
137 @code{convert-ly} rule has been added that removes redundant uses of
138 @code{\lyricmode} and rearranges combinations with context starters such
139 that @code{\lyricsto} in general is applied last (i.e. like
140 @code{\lyricmode} would be).
143 Scheme functions and identifiers can now be used as output definitions.
146 Scheme expressions can now be used as chord constituents.
149 Improved visual spacing of small and regular @q{MI} Funk and Walker
150 noteheads so they are now the same width as other shaped notes in
151 their respective sets. @code{SOL} noteheads are also now visually
152 improved when used with both the normal Aiken and Sacred Harp heads, as
153 well as with the thin variants.
156 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
157 @rinternals{LeftEdge}.
160 Added a new @code{make-path-stencil} function that supports all
161 @code{path} commands both relative and absolute:
163 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
164 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
165 supports @q{single-letter} syntax used in standard SVG path commands:
167 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
168 @code{z}. The new command is also backward-compatible with the original
169 @code{make-connected-path-stencil} function. Also see
170 @file{scm/stencil.scm}.
173 Context properties named in the @samp{alternativeRestores} property are
174 restored to their value at the start of the @emph{first} alternative in
175 all subsequent alternatives.
177 Currently the default set restores @q{current meter};
179 @lilypond[verbatim,fragment,quote,relative=2]
181 \repeat volta 2 { c2 e4 | }
190 @q{measure position};
192 @lilypond[verbatim,fragment,quote,relative=2]
194 \repeat volta 2 { c2 e4 | }
197 \set Timing.measurePosition = #(ly:make-moment -1/2)
205 and @q{chord changes};
207 @lilypond[verbatim,fragment,quote]
210 \set chordChanges = ##t
211 \chordmode { c1:m d:m c:m d:m }
214 \repeat volta 2 { \chordmode { c1:m } }
216 { \chordmode { d:m } }
217 { \chordmode { c:m } }
225 Improved MIDI output for breathe marks. After tied notes, breaths take
226 time @emph{only} from the last note of the tie; e.g.
227 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
228 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
229 how humans interpret breaths after ties. It now also makes it easier to
230 align simultaneous breathe marks over multiple parts, all with different
234 A new note head style for Tabulature has been added;
235 @code{TabNoteHead.style = #'slash}.
238 Four new Clefs have been added. @emph{Double G}, @emph{Tenor G},
239 @emph{Varpercussion} and @emph{varC}.
240 @lilypond[verbatim,quote,fragment]
241 \override Staff.Clef.full-size-change = ##t
244 \clef "tenorG" c c c c
246 \clef "varpercussion" c c c c
249 \override Staff.Clef.full-size-change = ##f
252 \clef "tenorG" c c c c
254 \clef "varpercussion" c c c c
258 Isolated durations in music sequences now stand for unpitched
259 notes. This may be useful for specifying rhythms to music or
260 scheme functions. When encountered in the final score, the
261 pitches are provided by the preceding note or chord. Here are two
262 examples where this makes for readable input:
264 @lilypond[verbatim,quote]
265 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
268 tambourine 8 \tuplet 3/2 { 16 16 16 }
269 8 \tuplet 3/2 { 16 16 16 } 8 8 |
273 @lilypond[verbatim,quote]
274 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
278 Beaming exceptions can now be constructed using the
279 @code{\beamExceptions} scheme function. One can now write
281 @lilypond[verbatim,quote,relative=1]
283 \set Timing.beamExceptions =
284 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
286 \repeat unfold 6 { c32 } |
290 with multiple exceptions separated with @code{|} bar checks
291 (writing the exception pattern without pitches is convenient but
292 not mandatory). Previously, setting the beam exceptions would
293 have required writing
296 \set Timing.beamExceptions =
298 (end . ;entry for end of beams
299 ( ;start of alist of end points
300 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
305 The most common articulations are now reflected in MIDI output.
306 Accent and marcato make notes louder; staccato, staccatissimo and
307 portato make them shorter. Breath marks shorten the previous
310 This behavior is customizable through the @code{midiLength} and
311 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
312 See @file{script-init.ly} for examples.
315 The PostScript functionality of stroke adjustment is no longer
316 applied automatically but left to the discretion of the PostScript
317 device (by default, Ghostscript uses it for resolutions up to
318 150dpi when generating raster images). When it is enabled, a more
319 complex drawing algorithm designed to benefit from stroke
320 adjustment is employed mostly for stems and bar lines.
322 Stroke adjustment can be forced by specifying the command line
323 option @samp{-dstrokeadjust} to LilyPond. When generating
324 @code{PDF} files, this will usually result in markedly better
325 looking @code{PDF} previews but significantly larger file size.
326 Print quality at high resolutions will be unaffected.
331 For older news, go to
332 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
333 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
334 or @uref{../,go back} to the Documentation index.