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 @code{TabStaff} is now able to print micro-tones for bendings etc.
66 @lilypond[quote,verbatim]
70 noteToFretFunction = #(determine-frets #t)
74 mus = \relative { c'4 cih d dih }
77 \new Staff << \clef "G_8" \mus >>
83 A new style of whiteout that approximates the contours of a glyph's
84 outline is now available using @code{whiteout-style}. The shape of the
85 white background is produced from multiple displaced copies of the
86 glyph. The @code{thickness} of both the new @code{outline} style and
87 the default @code{box} style, as a multiple of staff-line thickness, can
89 @lilypond[verbatim,quote]
92 \filled-box #'(-1 . 15) #'(-3 . 4) #1
93 \override #'(thickness . 2)
94 \whiteout whiteout-box
98 \filled-box #'(-1 . 18) #'(-3 . 4) #1
99 \override #'(style . outline)
100 \override #'(thickness . 3)
101 \whiteout whiteout-outline
104 \override Staff.Clef.whiteout-style = #'outline
105 \override Staff.Clef.whiteout = 3
111 All of @code{\override}, @code{\revert}, @code{\set}, and
112 @code{\unset} now work with the @code{\once} prefix for making
114 @lilypond[quote,verbatim]
117 \override NoteHead.color = #red
119 \once \override NoteHead.color = #green
121 \once \revert NoteHead.color
123 \revert NoteHead.color
129 When outputting MIDI, LilyPond will now store the @code{title}
130 defined in a score's @code{\header} block (or, if there is no
131 such definition on the @code{\score} level, the first such
132 definition found in a @code{\header} block of the score's
133 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
134 as the name of the MIDI sequence in the MIDI file. Optionally,
135 the name of the MIDI sequence can be overridden using the new
136 @code{midititle} @code{\header} field independently of
137 @code{title} (for example, in case @code{title} contains markup
138 code which does not render as plain text in a satisfactory way
142 Music (and scheme and void) functions and markup commands that
143 just supply the final parameters to a chain of overrides, music
144 function and markup command calls can now be defined in the form
145 of just writing the expression cut short with @code{\etc}.
147 @lilypond[verbatim,quote]
148 bold-red-markup = \markup \bold \with-color #red \etc
149 highlight = \tweak font-size 3 \tweak color #red \etc
151 \markup \bold-red "text"
152 \markuplist \column-lines \bold-red { One Two }
154 { c' \highlight d' e'2-\highlight -! }
158 LilyPond functions defined with @code{define-music-function},
159 @code{define-event-function}, @code{define-scheme-function} and
160 @code{define-void-function} can now be directly called from Scheme
161 as if they were genuine Scheme procedures. Argument checking and
162 matching will still be performed in the same manner as when
163 calling the function through LilyPond input. This includes the
164 insertion of defaults for optional arguments not matching their
165 predicates. Instead of using @code{\default} in the actual
166 argument list for explicitly skipping a sequence of optional
167 arguments, @code{*unspecified*} can be employed.
170 Current input location and parser are now stored in GUILE fluids
171 and can be referenced via the function calls @code{(*location*)}
172 and @code{(*parser*)}. Consequently, a lot of functions
173 previously taking an explicit @code{parser} argument no longer do
176 Functions defined with @code{define-music-function},
177 @code{define-event-function}, @code{define-scheme-function} and
178 @code{define-void-function} no longer use @code{parser} and
179 @code{location} arguments.
181 With those particular definitions, LilyPond will try to recognize
182 legacy use of @code{parser} and @code{location} arguments,
183 providing backwards-compatible semantics for some time.
186 In the "english" notename language, the long notenames for pitches
187 with accidentals now contain a hyphen for better readability. You
192 instead of the previous
197 Double accidentals do not get another hyphen, so the Dutch
198 @code{cisis} has the long English notename @code{c-sharpsharp}.
201 The visual style of tremolo slashes (shape, style and slope)
202 is now more finely controlled.
203 @lilypond[quote,relative=2]
205 \override StemTremolo.shape = #'beam-like
207 \override StemTremolo.style = #'constant
214 Multi-measure rests have length according to their total duration,
215 under the control of @code{MultiMeasureRest.space-increment}.
217 { \compressFullBarRests
218 \override Staff.MultiMeasureRest.space-increment = 3.0
223 Page numbers may now be printed in roman numerals, by setting the
224 @code{page-number-type} paper variable.
227 It is now possible to use @code{\time} and @code{\partial}
228 together to change the time signature in mid measure.
230 @lilypond[verbatim,quote,relative=1]
231 \override Score.BarNumber.break-visibility = #end-of-line-invisible
232 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
233 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
237 It is now possible to override the @code{text} property of
240 @lilypond[verbatim,fragment,quote]
242 \new ChordNames \chordmode {
244 \once \override ChordName.text = #"foo"
251 Improved horizontal alignment when using @code{TextScript},
252 with @code{DynamicText} or @code{LyricText}.
255 A new command @code{\magnifyStaff} has been added which scales staff
256 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
257 at the @code{Staff} context level. Staff lines are prevented from being
258 scaled smaller than the default since the thickness of stems, slurs, and
259 the like are all based on the staff line thickness.
262 @code{InstrumentName} now supports @code{text-interface}.
265 There is now support for controlling the @q{expression level} of
266 MIDI channels using the @code{Staff.midiExpression} context property.
267 This can be used to alter the perceived volume of even sustained notes
268 (albeit in a very @q{low-level} way) and accepts a number value between
269 @code{0.0} and @code{1.0}.
274 midiExpression = #0.6
275 midiInstrument = #"clarinet"
280 \set Staff.midiExpression = #0.7 s4\f\<
281 \set Staff.midiExpression = #0.8 s4
282 \set Staff.midiExpression = #0.9 s4
283 \set Staff.midiExpression = #1.0 s4
285 \set Staff.midiExpression = #0.9 s4\>
286 \set Staff.midiExpression = #0.8 s4
287 \set Staff.midiExpression = #0.7 s4
288 \set Staff.midiExpression = #0.6 s4\!
296 Support for making it easier to use alternative @q{music} fonts other
297 than the default Emmentaler in LilyPond has been added. See
298 @uref{http://fonts.openlilylib.org/} for more information.
301 Grobs and their parents can now be aligned separately allowing
302 more flexibility for grob positions. For example the @q{left} edge of a
303 grob can now be aligned on the @q{center} of its parent.
306 Improvements to the @code{\partial} command have been made to
307 avoid problems when using multiple, parallel contexts.
309 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
313 A new command @code{\tagGroup} has now been added. This complements
314 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
318 \tagGroup #'(violinI violinII viola cello)
321 declares a list of @q{tags} that belong to a single @q{tag group}.
324 \keepWithTag #'violinI
327 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
329 Any element of the included music tagged with one or more tags from the
330 group, but @emph{not} with @var{violinI}, will be removed.
333 The @code{\addlyrics} function now works with arbitrary contexts
334 incuding @code{Staff}.
337 String numbers can now also be used to print roman numerals
338 (e.g. for unfretted string instruments).
339 @lilypond[verbatim,quote,relative=2]
348 The @code{thin-kern} property of the @code{BarLine} grob has been
349 renamed to @code{segno-kern}.
352 @code{KeyCancellation} grobs now ignore cue clefs (like
353 @code{KeySignature} grobs do).
356 Add support for @code{\once@tie{}\unset}
359 It is now possible to individually color both the dots and parentheses
360 in fret diagrams when using the @code{\fret-diagram-verbose} markup
363 @lilypond[verbatim,quote,relative=1]
366 \override #'(fret-diagram-details . (
367 (finger-code . in-dot))) {
368 \fret-diagram-verbose #'((mute 6)
369 (place-fret 5 3 1 red)
370 (place-fret 4 5 2 inverted)
371 (place-fret 3 5 3 green)
372 (place-fret 2 5 4 blue inverted)
373 (place-fret 1 3 1 violet)
378 \override #'(fret-diagram-details . (
379 (finger-code . below-string))) {
380 \fret-diagram-verbose #'((mute 6)
381 (place-fret 5 3 1 red parenthesized)
382 (place-fret 4 5 2 yellow
385 (place-fret 3 5 3 green)
386 (place-fret 2 5 4 blue )
395 Two new properties have been added for use in
396 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
397 markup command; @code{fret-label-horizontal-offset} which affects the
398 @code{fret-label-indication} and @code{paren-padding} which controls the
399 space between the dot and the parentheses surrounding it.
401 @lilypond[verbatim,quote,relative=1]
404 \fret-diagram-verbose #'((mute 6)
408 (place-fret 1 6 4 parenthesized)
413 \override #'(fret-diagram-details . (
414 (fret-label-horizontal-offset . 2)
415 (paren-padding . 0.25))) {
416 \fret-diagram-verbose #'((mute 6)
420 (place-fret 1 6 4 parenthesized)
429 A new markup command @code{\justify-line} has been added. Similar to
430 the @code{\fill-line} markup command except that instead of setting
431 @emph{words} in columns, the @code{\justify-line} command balances the
432 whitespace between them ensuring that when there are three or more
433 words in a markup, the whitespace is always consistent.
435 @lilypond[quote,verbatim,papersize=a6]
436 \markup \fill-line {oooooo oooooo oooooo oooooo}
437 \markup \fill-line {ooooooooo oooooooo oo ooo}
440 @lilypond[quote,verbatim,papersize=a6]
441 \markup \justify-line {oooooo oooooo oooooo oooooo}
442 \markup \justify-line {ooooooooo oooooooo oo ooo}
446 A new command @code{\magnifyMusic} has been added, which allows
447 the notation size to be changed without changing the staff size,
448 while automatically scaling stems, beams, and horizontal spacing.
450 @lilypond[verbatim,quote]
452 \new Voice \relative {
454 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
456 \new Voice \relative {
459 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
460 r32 c'' a c a c a c r c a c a c a c
461 r c a c a c a c a c a c a c a c
468 A new flexible template suitable for a range of choral music, is now
469 provided. This may be used to create simple choral music, with or
470 without piano accompaniment, in two or four staves. Unlike other
471 templates, this template is @q{built-in}, which means it does not
472 need to be copied and edited: instead it is simply @code{\include}'d
473 in the input file. For details, see @rlearning{Built-in templates}.
476 The positioning of tuplet numbers for kneed beams has been significantly
477 improved. Previously, tuplet numbers were placed according to the
478 position of the tuplet bracket, even if it was not printed. This could
479 lead to stranded tuplet numbers. Now they are now positioned
480 closer to the kneed-beam when an appropriate beam segment exists for its
481 placement and when the the bracket is not drawn.
483 Collision detection is also added, offsetting horizontally if too close
484 to an adjoining note column but preserving the number's vertical
485 distance from the kneed beam. If the number itself is too large to
486 fit in the available space the original, bracket-based, positioning
487 system is used instead; and in the event of a collision (e.g. with an
488 accidental) the tuplet number is moved vertically away instead.
490 @lilypond[verbatim,fragment,quote,relative=1]
492 \override Beam.auto-knee-gap = 3
501 The original kneed-beam tuplet behavior is still available through an
502 @code{\override} via a new, @code{knee-to-beam} property.
504 @lilypond[verbatim,fragment,quote,relative=1]
506 \override Beam.auto-knee-gap = 3
507 \override TupletNumber.knee-to-beam = ##f
516 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
517 now accept the same kind of delimited argument list that @code{\lyrics}
518 and @code{\chords} accept. Backward compatibility has been added so
519 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
520 @code{convert-ly} rule has been added that removes redundant uses of
521 @code{\lyricmode} and rearranges combinations with context starters such
522 that @code{\lyricsto} in general is applied last (i.e. like
523 @code{\lyricmode} would be).
526 Scheme functions and identifiers can now be used as output definitions.
529 Scheme expressions can now be used as chord constituents.
532 Improved visual spacing of small and regular @q{MI} Funk and Walker
533 noteheads so they are now the same width as other shaped notes in
534 their respective sets. @code{SOL} noteheads are also now visually
535 improved when used with both the normal Aiken and Sacred Harp heads, as
536 well as with the thin variants.
539 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
540 @rinternals{LeftEdge}.
543 Added a new @code{make-path-stencil} function that supports all
544 @code{path} commands both relative and absolute:
546 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
547 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
548 supports @q{single-letter} syntax used in standard SVG path commands:
550 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
551 @code{z}. The new command is also backward-compatible with the original
552 @code{make-connected-path-stencil} function. Also see
553 @file{scm/stencil.scm}.
556 Context properties named in the @samp{alternativeRestores} property are
557 restored to their value at the start of the @emph{first} alternative in
558 all subsequent alternatives.
560 Currently the default set restores @q{current meter};
562 @lilypond[verbatim,fragment,quote,relative=2]
564 \repeat volta 2 { c2 e4 | }
573 @q{measure position};
575 @lilypond[verbatim,fragment,quote,relative=2]
577 \repeat volta 2 { c2 e4 | }
580 \set Timing.measurePosition = #(ly:make-moment -1/2)
588 and @q{chord changes};
590 @lilypond[verbatim,fragment,quote]
593 \set chordChanges = ##t
594 \chordmode { c1:m d:m c:m d:m }
597 \repeat volta 2 { \chordmode { c1:m } }
599 { \chordmode { d:m } }
600 { \chordmode { c:m } }
608 Improved MIDI output for breathe marks. After tied notes, breaths take
609 time @emph{only} from the last note of the tie; e.g.
610 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
611 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
612 how humans interpret breaths after ties. It now also makes it easier to
613 align simultaneous breathe marks over multiple parts, all with different
617 A new note head style for Tabulature has been added;
618 @code{TabNoteHead.style = #'slash}.
621 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
622 @emph{Varpercussion} and @emph{varC} and their related tessitura.
623 @lilypond[verbatim,quote,fragment]
624 \override Staff.Clef.full-size-change = ##t
627 \clef "tenorG" c c c c
629 \clef "altovarC" c c c c
630 \clef "tenorvarC" c c c c
631 \clef "baritonevarC" c c c c
632 \clef "varpercussion" c c c c
635 \override Staff.Clef.full-size-change = ##f
638 \clef "tenorG" c c c c
640 \clef "altovarC" c c c c
641 \clef "tenorvarC" c c c c
642 \clef "baritonevarC" c c c
643 \clef "varpercussion" c c c c
647 Isolated durations in music sequences now stand for unpitched
648 notes. This may be useful for specifying rhythms to music or
649 scheme functions. When encountered in the final score, the
650 pitches are provided by the preceding note or chord. Here are two
651 examples where this makes for readable input:
653 @lilypond[verbatim,quote]
654 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
657 tambourine 8 \tuplet 3/2 { 16 16 16 }
658 8 \tuplet 3/2 { 16 16 16 } 8 8 |
662 @lilypond[verbatim,quote]
663 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
667 @code{\displayLilyMusic} and its underlying Scheme functions no
668 longer omit redundant note durations. This makes it easier to
669 reliably recognize and format standalone durations in expressions
676 Beaming exceptions can now be constructed using the
677 @code{\beamExceptions} scheme function. One can now write
679 @lilypond[verbatim,quote,relative=1]
681 \set Timing.beamExceptions =
682 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
684 \repeat unfold 6 { c32 } |
688 with multiple exceptions separated with @code{|} bar checks
689 (writing the exception pattern without pitches is convenient but
690 not mandatory). Previously, setting the beam exceptions would
691 have required writing
694 \set Timing.beamExceptions =
696 (end . ;entry for end of beams
697 ( ;start of alist of end points
698 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
703 The most common articulations are now reflected in MIDI output.
704 Accent and marcato make notes louder; staccato, staccatissimo and
705 portato make them shorter. Breath marks shorten the previous
708 This behavior is customizable through the @code{midiLength} and
709 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
710 See @file{script-init.ly} for examples.
713 The PostScript functionality of stroke adjustment is no longer
714 applied automatically but left to the discretion of the PostScript
715 device (by default, Ghostscript uses it for resolutions up to
716 150dpi when generating raster images). When it is enabled, a more
717 complex drawing algorithm designed to benefit from stroke
718 adjustment is employed mostly for stems and bar lines.
720 Stroke adjustment can be forced by specifying the command line
721 option @samp{-dstrokeadjust} to LilyPond. When generating
722 @code{PDF} files, this will usually result in markedly better
723 looking @code{PDF} previews but significantly larger file size.
724 Print quality at high resolutions will be unaffected.
729 For older news, go to
730 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
731 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
732 or @uref{../,go back} to the Documentation index.