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 It is now possible to move systems with reference to their current
66 position using the @code{extra-offset} subproperty of
67 @code{NonMusicalPaperColumn.line-break-system-details}. Both vertical
68 and horizontal changes are possible. This feature is especially useful
69 for making slight adjustments to the default vertical position of
70 individual systems. See @ruser{Explicit staff and system positioning} for
74 It is now possible to add text to analysis brackets through the
75 @code{HorizontalBracketText} object.
76 @lilypond[quote,verbatim]
80 \consists "Horizontal_bracket_engraver"
85 \once \override HorizontalBracketText.text = "a"
86 c''\startGroup d''\stopGroup
87 e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup
92 The ends of hairpins may now be fine-tuned using the @code{shorten-pair}
93 grob property, which previously only affected text-spanners like
94 @code{TupletBracket} and @code{OttavaBracket}. Positive values offset
95 to the right, negative to the left.
96 @lilypond[quote,verbatim]
97 { \once \override Hairpin.shorten-pair = #'(2 . 2)
100 \once \override Hairpin.shorten-pair = #'(-2 . -2)
106 In fret-diagrams the distance between frets and the distance between strings is
107 now independently adjustable. Available are @code{fret-distance} and
108 @code{string-distance} as subproperties of @code{fret-diagram-details}.
109 @lilypond[verbatim,quote]
110 fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
113 \override #'(padding . 2)
121 \override #'(fret-diagram-details . ((fret-distance . 2)))
126 \override #'(fret-diagram-details . ((string-distance . 2)))
132 Accidental rules can now be defined across @code{ChoirStaff} contexts.
133 Two new rules @code{choral} and @code{choral-cautionary} are available
134 that combine the characteristics of @code{modern-voice} and @code{piano}
135 or their equivalents with cautionary accidentals.
138 The music function @code{\unfoldRepeats} can now take an
139 optional argument-list specifying which type(s) of repeated music
140 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
142 If the optional argument-list is unspecified, @code{repeated-music} will be
146 A new @code{output-attributes} grob property is now used for svg output
147 instead of the @code{id} grob property. It allows multiple attributes
148 to be defined as an association list. For example, @code{#'((id . 123)
149 (class . foo) (data-whatever . @qq{bar}))} will produce the following
150 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
151 data-whatever=@qq{bar}> @dots{} </g>}.
154 Slurs and phrasing slurs may now be started from individual notes
155 in a chord. Several simultanous slurs per @code{Voice} need to be
156 distinguished by @code{spanner-id} setting.
159 The music and grob property @code{spanner-id} for distinguishing
160 simultaneous slurs and phrasing slurs has been changed from a
161 string to a @q{key}, a non-negative integer or symbol.
164 There is a new command @code{\=} for specifying the
165 @code{spanner-id} for simultaneous slurs and phrasing slurs.
166 @lilypond[verbatim,quote]
168 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
173 Blocks introduced with @code{\header} can be stored in variables
174 and used as arguments to music and scheme functions and as the
175 body of @code{#@{@dots{}#@}} constructs. They are represented as
178 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
179 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
180 around in similar manner, they are represented by different data
184 Dot-separated symbol lists like @code{FretBoard.stencil} were
185 already supported as of version@tie{}2.18. They may now also
186 contain unsigned integers, and may alternatively be separated by
187 commata. This allows usage such as
188 @lilypond[quote,verbatim]
189 { \time 2,2,1 5/8 g'8 8 8 8 8 }
193 \tagGroup violin,oboe,bassoon
197 Such lists may also be used in expressions for assignments, sets,
198 and overrides. This allows usage such as
199 @lilypond[quote,verbatim]
200 { \unset Timing.beamExceptions
201 \set Timing.beatStructure = 1,2,1
206 Association list elements could previously be assigned values
207 individually (for example, paper variables like
208 @code{system-system-spacing.basic-distance}). They may now be
209 also referenced in this manner, as with
212 \void \displayScheme \system-system-spacing.basic-distance
216 In combination with the previously mentioned changes, this allows
217 setting and referencing pseudovariables like @code{violin.1}.
220 LilyPond source files may now be embedded inside the generated PDF files.
221 This experimental feature is disabled by default and may be regarded as unsafe,
222 as PDF documents with hidden content tend to present a security risk.
223 Please note that not all PDF viewers have the ability to handle embedded
224 documents (if not, the PDF output will appear normally and source files
225 will remain invisible). This feature only works with the PDF backend.
228 French note names are now defined specifically instead of
229 being aliased to Italian note names: in addition to the
230 generic Italian-derived syntax, the @var{d} pitch may be
231 entered as @code{ré}. Double sharps may also be
232 entered using the @code{-x} suffix.
235 Additional bass strings (for lute tablature) are supported.
236 @lilypond[quote,verbatim]
237 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
244 tablatureFormat = #fret-letter-tablature-format
248 stringTunings = \stringTuning <a, d f a d' f'>
249 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
250 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
257 The markup-list-command @code{\table} is now available.
258 Each column may be aligned differently.
259 @lilypond[quote,verbatim]
261 \override #'(padding . 2)
265 \underline { center-aligned right-aligned center-aligned left-aligned }
266 one "1" thousandth "0.001"
267 eleven "11" hundredth "0.01"
268 twenty "20" tenth "0.1"
269 thousand "1000" one "1.0"
275 A new markup-command, @code{\with-dimensions-from}, makes
276 @code{\with-dimensions} easier to use by taking the new
277 dimensions from a markup object, given as first argument.
278 @lilypond[quote,verbatim]
280 \pattern #5 #Y #0 "x"
281 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
282 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
283 \override #'(baseline-skip . 2)
285 \pattern #5 #X #0 "n"
286 \pattern #5 #X #0 \with-dimensions-from "n" "m"
287 \pattern #5 #X #0 \with-dimensions-from "n" "!"
293 There are two new page breaking functions. @code{ly:one-page-breaking}
294 automatically adjusts the height of the page to fit the music, so that
295 everything fits on one page. @code{ly:one-line-auto-height-breaking}
296 is like @code{ly:one-line-breaking}, placing the music on a single
297 line and adjusting the page width accordingly, however it also
298 automatically adjusts the page height to fit the music.
301 Markup-command @code{\draw-squiggle-line} is now available.
302 Customizing is possible with overrides of @code{thickness}, @code{angularity},
303 @code{height} and @code{orientation}
304 @lilypond[quote,verbatim]
307 \draw-squiggle-line #0.5 #'(3 . 3) ##t
310 \override #'(thickness . 4)
311 \draw-squiggle-line #0.5 #'(3 . -3) ##t
314 \override #'(angularity . -5)
315 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
317 \translate #'(3 . -3)
318 \override #'(angularity . 2)
319 \override #'(height . 0.3)
320 \override #'(orientation . -1)
321 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
326 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
327 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
328 staves on the first system in a score.
331 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
332 as the generic markup-command @code{\tie}.
333 @lilypond[quote,verbatim]
335 \undertie "undertied"
340 c''1 \prall -\tweak text \markup \tie "131" -1
343 { \voiceOne \m \voiceTwo \m }
347 @code{TabStaff} is now able to print micro-tones for bendings etc.
348 @lilypond[quote,verbatim]
352 supportNonIntegerFret = ##t
356 mus = \relative { c'4 cih d dih }
359 \new Staff << \clef "G_8" \mus >>
365 Two new styles of whiteout are now available. The @code{outline} style
366 approximates the contours of a glyph's outline, and its shape is
367 produced from multiple displaced copies of the glyph. The
368 @code{rounded-box} style produces a rounded rectangle shape. For all
369 three styles, including the default @code{box} style, the whiteout
370 shape's @code{thickness}, as a multiple of staff-line thickness, can be
373 @lilypond[verbatim,quote]
376 \filled-box #'(-1 . 15) #'(-3 . 4) #1
377 \override #'(thickness . 3)
378 \whiteout whiteout-box
382 \filled-box #'(-1 . 24) #'(-3 . 4) #1
383 \override #'(style . rounded-box)
384 \override #'(thickness . 3)
385 \whiteout whiteout-rounded-box
389 \filled-box #'(-1 . 18) #'(-3 . 4) #1
390 \override #'(style . outline)
391 \override #'(thickness . 3)
392 \whiteout whiteout-outline
395 \override Staff.Clef.whiteout-style = #'outline
396 \override Staff.Clef.whiteout = 3
402 All of @code{\override}, @code{\revert}, @code{\set}, and
403 @code{\unset} now work with the @code{\once} prefix for making
405 @lilypond[quote,verbatim]
408 \override NoteHead.color = #red
410 \once \override NoteHead.color = #green
412 \once \revert NoteHead.color
414 \revert NoteHead.color
420 When outputting MIDI, LilyPond will now store the @code{title}
421 defined in a score's @code{\header} block (or, if there is no
422 such definition on the @code{\score} level, the first such
423 definition found in a @code{\header} block of the score's
424 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
425 as the name of the MIDI sequence in the MIDI file. Optionally,
426 the name of the MIDI sequence can be overridden using the new
427 @code{midititle} @code{\header} field independently of
428 @code{title} (for example, in case @code{title} contains markup
429 code which does not render as plain text in a satisfactory way
433 Music (and scheme and void) functions and markup commands that
434 just supply the final parameters to a chain of overrides, music
435 function and markup command calls can now be defined in the form
436 of just writing the expression cut short with @code{\etc}.
438 @lilypond[verbatim,quote]
439 bold-red-markup = \markup \bold \with-color #red \etc
440 highlight = \tweak font-size 3 \tweak color #red \etc
442 \markup \bold-red "text"
443 \markuplist \column-lines \bold-red { One Two }
445 { c' \highlight d' e'2-\highlight -! }
449 LilyPond functions defined with @code{define-music-function},
450 @code{define-event-function}, @code{define-scheme-function} and
451 @code{define-void-function} can now be directly called from Scheme
452 as if they were genuine Scheme procedures. Argument checking and
453 matching will still be performed in the same manner as when
454 calling the function through LilyPond input. This includes the
455 insertion of defaults for optional arguments not matching their
456 predicates. Instead of using @code{\default} in the actual
457 argument list for explicitly skipping a sequence of optional
458 arguments, @code{*unspecified*} can be employed.
461 Current input location and parser are now stored in GUILE fluids
462 and can be referenced via the function calls @code{(*location*)}
463 and @code{(*parser*)}. Consequently, a lot of functions
464 previously taking an explicit @code{parser} argument no longer do
467 Functions defined with @code{define-music-function},
468 @code{define-event-function}, @code{define-scheme-function} and
469 @code{define-void-function} no longer use @code{parser} and
470 @code{location} arguments.
472 With those particular definitions, LilyPond will try to recognize
473 legacy use of @code{parser} and @code{location} arguments,
474 providing backwards-compatible semantics for some time.
477 In the "english" notename language, the long notenames for pitches
478 with accidentals now contain a hyphen for better readability. You
483 instead of the previous
488 Double accidentals do not get another hyphen, so the Dutch
489 @code{cisis} has the long English notename @code{c-sharpsharp}.
492 The visual style of tremolo slashes (shape, style and slope)
493 is now more finely controlled.
494 @lilypond[quote,relative=2]
496 \override StemTremolo.shape = #'beam-like
498 \override StemTremolo.style = #'constant
505 Multi-measure rests have length according to their total duration,
506 under the control of @code{MultiMeasureRest.space-increment}.
508 { \compressFullBarRests
509 \override Staff.MultiMeasureRest.space-increment = 3.0
514 Page numbers may now be printed in roman numerals, by setting the
515 @code{page-number-type} paper variable.
518 It is now possible to use @code{\time} and @code{\partial}
519 together to change the time signature in mid measure.
521 @lilypond[verbatim,quote,relative=1]
522 \override Score.BarNumber.break-visibility = #end-of-line-invisible
523 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
524 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
528 It is now possible to override the @code{text} property of
531 @lilypond[verbatim,fragment,quote]
533 \new ChordNames \chordmode {
535 \once \override ChordName.text = #"foo"
542 Improved horizontal alignment when using @code{TextScript},
543 with @code{DynamicText} or @code{LyricText}.
546 A new command @code{\magnifyStaff} has been added which scales staff
547 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
548 at the @code{Staff} context level. Staff lines are prevented from being
549 scaled smaller than the default since the thickness of stems, slurs, and
550 the like are all based on the staff line thickness.
553 @code{InstrumentName} now supports @code{text-interface}.
556 There is now support for controlling the @q{expression level} of
557 MIDI channels using the @code{Staff.midiExpression} context property.
558 This can be used to alter the perceived volume of even sustained notes
559 (albeit in a very @q{low-level} way) and accepts a number value between
560 @code{0.0} and @code{1.0}.
565 midiExpression = #0.6
566 midiInstrument = #"clarinet"
571 \set Staff.midiExpression = #0.7 s4\f\<
572 \set Staff.midiExpression = #0.8 s4
573 \set Staff.midiExpression = #0.9 s4
574 \set Staff.midiExpression = #1.0 s4
576 \set Staff.midiExpression = #0.9 s4\>
577 \set Staff.midiExpression = #0.8 s4
578 \set Staff.midiExpression = #0.7 s4
579 \set Staff.midiExpression = #0.6 s4\!
587 Support for making it easier to use alternative @q{music} fonts other
588 than the default Emmentaler in LilyPond has been added. See
589 @uref{http://fonts.openlilylib.org/} for more information.
592 Grobs and their parents can now be aligned separately allowing
593 more flexibility for grob positions. For example the @q{left} edge of a
594 grob can now be aligned on the @q{center} of its parent.
597 Improvements to the @code{\partial} command have been made to
598 avoid problems when using multiple, parallel contexts.
600 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
604 A new command @code{\tagGroup} has now been added. This complements
605 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
609 \tagGroup #'(violinI violinII viola cello)
612 declares a list of @q{tags} that belong to a single @q{tag group}.
615 \keepWithTag #'violinI
618 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
620 Any element of the included music tagged with one or more tags from the
621 group, but @emph{not} with @var{violinI}, will be removed.
624 The @code{\addlyrics} function now works with arbitrary contexts
625 incuding @code{Staff}.
628 String numbers can now also be used to print roman numerals
629 (e.g. for unfretted string instruments).
630 @lilypond[verbatim,quote,relative=2]
639 The @code{thin-kern} property of the @code{BarLine} grob has been
640 renamed to @code{segno-kern}.
643 @code{KeyCancellation} grobs now ignore cue clefs (like
644 @code{KeySignature} grobs do).
647 Add support for @code{\once@tie{}\unset}
650 It is now possible to individually color both the dots and parentheses
651 in fret diagrams when using the @code{\fret-diagram-verbose} markup
654 @lilypond[verbatim,quote,relative=1]
657 \override #'(fret-diagram-details . (
658 (finger-code . in-dot))) {
659 \fret-diagram-verbose #'((mute 6)
660 (place-fret 5 3 1 red)
661 (place-fret 4 5 2 inverted)
662 (place-fret 3 5 3 green)
663 (place-fret 2 5 4 blue inverted)
664 (place-fret 1 3 1 violet)
669 \override #'(fret-diagram-details . (
670 (finger-code . below-string))) {
671 \fret-diagram-verbose #'((mute 6)
672 (place-fret 5 3 1 red parenthesized)
673 (place-fret 4 5 2 yellow
676 (place-fret 3 5 3 green)
677 (place-fret 2 5 4 blue )
686 Two new properties have been added for use in
687 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
688 markup command; @code{fret-label-horizontal-offset} which affects the
689 @code{fret-label-indication} and @code{paren-padding} which controls the
690 space between the dot and the parentheses surrounding it.
692 @lilypond[verbatim,quote,relative=1]
695 \fret-diagram-verbose #'((mute 6)
699 (place-fret 1 6 4 parenthesized)
704 \override #'(fret-diagram-details . (
705 (fret-label-horizontal-offset . 2)
706 (paren-padding . 0.25))) {
707 \fret-diagram-verbose #'((mute 6)
711 (place-fret 1 6 4 parenthesized)
720 A new markup command @code{\justify-line} has been added. Similar to
721 the @code{\fill-line} markup command except that instead of setting
722 @emph{words} in columns, the @code{\justify-line} command balances the
723 whitespace between them ensuring that when there are three or more
724 words in a markup, the whitespace is always consistent.
726 @lilypond[quote,verbatim,papersize=a6]
727 \markup \fill-line {oooooo oooooo oooooo oooooo}
728 \markup \fill-line {ooooooooo oooooooo oo ooo}
731 @lilypond[quote,verbatim,papersize=a6]
732 \markup \justify-line {oooooo oooooo oooooo oooooo}
733 \markup \justify-line {ooooooooo oooooooo oo ooo}
737 A new command @code{\magnifyMusic} has been added, which allows
738 the notation size to be changed without changing the staff size,
739 while automatically scaling stems, beams, and horizontal spacing.
741 @lilypond[verbatim,quote]
743 \new Voice \relative {
745 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
747 \new Voice \relative {
750 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
751 r32 c'' a c a c a c r c a c a c a c
752 r c a c a c a c a c a c a c a c
759 A new flexible template suitable for a range of choral music, is now
760 provided. This may be used to create simple choral music, with or
761 without piano accompaniment, in two or four staves. Unlike other
762 templates, this template is @q{built-in}, which means it does not
763 need to be copied and edited: instead it is simply @code{\include}'d
764 in the input file. For details, see @rlearning{Built-in templates}.
767 The positioning of tuplet numbers for kneed beams has been significantly
768 improved. Previously, tuplet numbers were placed according to the
769 position of the tuplet bracket, even if it was not printed. This could
770 lead to stranded tuplet numbers. Now they are now positioned
771 closer to the kneed-beam when an appropriate beam segment exists for its
772 placement and when the bracket is not drawn.
774 Collision detection is also added, offsetting horizontally if too close
775 to an adjoining note column but preserving the number's vertical
776 distance from the kneed beam. If the number itself is too large to
777 fit in the available space the original, bracket-based, positioning
778 system is used instead; and in the event of a collision (e.g. with an
779 accidental) the tuplet number is moved vertically away instead.
781 @lilypond[verbatim,fragment,quote,relative=1]
783 \override Beam.auto-knee-gap = 3
792 The original kneed-beam tuplet behavior is still available through an
793 @code{\override} via a new, @code{knee-to-beam} property.
795 @lilypond[verbatim,fragment,quote,relative=1]
797 \override Beam.auto-knee-gap = 3
798 \override TupletNumber.knee-to-beam = ##f
807 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
808 now accept the same kind of delimited argument list that @code{\lyrics}
809 and @code{\chords} accept. Backward compatibility has been added so
810 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
811 @code{convert-ly} rule has been added that removes redundant uses of
812 @code{\lyricmode} and rearranges combinations with context starters such
813 that @code{\lyricsto} in general is applied last (i.e. like
814 @code{\lyricmode} would be).
817 Scheme functions and identifiers can now be used as output definitions.
820 Scheme expressions can now be used as chord constituents.
823 Improved visual spacing of small and regular @q{MI} Funk and Walker
824 noteheads so they are now the same width as other shaped notes in
825 their respective sets. @code{SOL} noteheads are also now visually
826 improved when used with both the normal Aiken and Sacred Harp heads, as
827 well as with the thin variants.
830 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
831 @rinternals{LeftEdge}.
834 Added a new @code{make-path-stencil} function that supports all
835 @code{path} commands both relative and absolute:
837 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
838 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
839 supports @q{single-letter} syntax used in standard SVG path commands:
841 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
842 @code{z}. The new command is also backward-compatible with the original
843 @code{make-connected-path-stencil} function. Also see
844 @file{scm/stencil.scm}.
847 Context properties named in the @samp{alternativeRestores} property are
848 restored to their value at the start of the @emph{first} alternative in
849 all subsequent alternatives.
851 Currently the default set restores @q{current meter};
853 @lilypond[verbatim,fragment,quote,relative=2]
855 \repeat volta 2 { c2 e4 | }
864 @q{measure position};
866 @lilypond[verbatim,fragment,quote,relative=2]
868 \repeat volta 2 { c2 e4 | }
871 \set Timing.measurePosition = #(ly:make-moment -1/2)
879 and @q{chord changes};
881 @lilypond[verbatim,fragment,quote]
884 \set chordChanges = ##t
885 \chordmode { c1:m d:m c:m d:m }
888 \repeat volta 2 { \chordmode { c1:m } }
890 { \chordmode { d:m } }
891 { \chordmode { c:m } }
899 Improved MIDI output for breathe marks. After tied notes, breaths take
900 time @emph{only} from the last note of the tie; e.g.
901 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
902 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
903 how humans interpret breaths after ties. It now also makes it easier to
904 align simultaneous breathe marks over multiple parts, all with different
908 A new note head style for Tabulature has been added;
909 @code{TabNoteHead.style = #'slash}.
912 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
913 @emph{Varpercussion} and @emph{varC} and their related tessitura.
914 @lilypond[verbatim,quote,fragment]
915 \override Staff.Clef.full-size-change = ##t
918 \clef "tenorG" c c c c
920 \clef "altovarC" c c c c
921 \clef "tenorvarC" c c c c
922 \clef "baritonevarC" c c c c
923 \clef "varpercussion" c c c c
926 \override Staff.Clef.full-size-change = ##f
929 \clef "tenorG" c c c c
931 \clef "altovarC" c c c c
932 \clef "tenorvarC" c c c c
933 \clef "baritonevarC" c c c c
934 \clef "varpercussion" c c c c
938 Isolated durations in music sequences now stand for unpitched
939 notes. This may be useful for specifying rhythms to music or
940 scheme functions. When encountered in the final score, the
941 pitches are provided by the preceding note or chord. Here are two
942 examples where this makes for readable input:
944 @lilypond[verbatim,quote]
945 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
948 tambourine 8 \tuplet 3/2 { 16 16 16 }
949 8 \tuplet 3/2 { 16 16 16 } 8 8 |
953 @lilypond[verbatim,quote]
954 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
958 @code{\displayLilyMusic} and its underlying Scheme functions no
959 longer omit redundant note durations. This makes it easier to
960 reliably recognize and format standalone durations in expressions
967 Beaming exceptions can now be constructed using the
968 @code{\beamExceptions} scheme function. One can now write
970 @lilypond[verbatim,quote,relative=1]
972 \set Timing.beamExceptions =
973 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
975 \repeat unfold 6 { c32 } |
979 with multiple exceptions separated with @code{|} bar checks
980 (writing the exception pattern without pitches is convenient but
981 not mandatory). Previously, setting the beam exceptions would
982 have required writing
985 \set Timing.beamExceptions =
987 (end . ;entry for end of beams
988 ( ;start of alist of end points
989 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
994 The most common articulations are now reflected in MIDI output.
995 Accent and marcato make notes louder; staccato, staccatissimo and
996 portato make them shorter. Breath marks shorten the previous
999 This behavior is customizable through the @code{midiLength} and
1000 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
1001 See @file{script-init.ly} for examples.
1004 The PostScript functionality of stroke adjustment is no longer
1005 applied automatically but left to the discretion of the PostScript
1006 device (by default, Ghostscript uses it for resolutions up to
1007 150dpi when generating raster images). When it is enabled, a more
1008 complex drawing algorithm designed to benefit from stroke
1009 adjustment is employed mostly for stems and bar lines.
1011 Stroke adjustment can be forced by specifying the command line
1012 option @samp{-dstrokeadjust} to LilyPond. When generating
1013 @code{PDF} files, this will usually result in markedly better
1014 looking @code{PDF} previews but significantly larger file size.
1015 Print quality at high resolutions will be unaffected.
1020 For older news, go to
1021 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
1022 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
1023 or @uref{../,go back} to the Documentation index.