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 music function @code{\\unfoldRepeats} can now take an
66 optional argument-list specifying which type(s) of repeated music
67 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
69 If the optional argument-list is unspecified, @code{repeated-music} will be
73 A new @code{output-attributes} grob property is now used for svg output
74 instead of the @code{id} grob property. It allows multiple attributes
75 to be defined as an association list. For example, @code{#'((id . 123)
76 (class . foo) (data-whatever . @qq{bar}))} will produce the following
77 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
78 data-whatever=@qq{bar}> @dots{} </g>}.
81 Slurs and phrasing slurs may now be started from individual notes
82 in a chord. Several simultanous slurs per @code{Voice} need to be
83 distinguished by @code{spanner-id} setting.
86 The music and grob property @code{spanner-id} for distinguishing
87 simultaneous slurs and phrasing slurs has been changed from a
88 string to a @q{key}, a non-negative integer or symbol.
91 There is a new command @code{\=} for specifying the
92 @code{spanner-id} for simultaneous slurs and phrasing slurs.
93 @lilypond[verbatim,quote]
95 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
100 Blocks introduced with @code{\header} can be stored in variables
101 and used as arguments to music and scheme functions and as the
102 body of @code{#@{@dots{}#@}} constructs. They are represented as
105 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
106 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
107 around in similar manner, they are represented by different data
111 Dot-separated symbol lists like @code{FretBoard.stencil} were
112 already supported as of version@tie{}2.18. They may now also
113 contain unsigned integers, and may alternatively be separated by
114 commata. This allows usage such as
115 @lilypond[quote,verbatim]
116 { \time 2,2,1 5/8 g'8 8 8 8 8 }
120 \tagGroup violin,oboe,bassoon
124 Such lists may also be used in expressions for assignments, sets,
125 and overrides. This allows usage such as
126 @lilypond[quote,verbatim]
127 { \unset Timing.beamExceptions
128 \set Timing.beatStructure = 1,2,1
133 Association list elements could previously be assigned values
134 individually (for example, paper variables like
135 @code{system-system-spacing.basic-distance}). They may now be
136 also referenced in this manner, as with
139 \void \displayScheme \system-system-spacing.basic-distance
143 In combination with the previously mentioned changes, this allows
144 setting and referencing pseudovariables like @code{violin.1}.
147 LilyPond source files may now be embedded inside the generated PDF files.
148 This experimental feature is disabled by default and may be regarded as unsafe,
149 as PDF documents with hidden content tend to present a security risk.
150 Please note that not all PDF viewers have the ability to handle embedded
151 documents (if not, the PDF output will appear normally and source files
152 will remain invisible). This feature only works with the PDF backend.
155 French note names are now defined specifically instead of
156 being aliased to Italian note names: in addition to the
157 generic Italian-derived syntax, the @var{d} pitch may be
158 entered as @code{ré}. Double sharps may also be
159 entered using the @code{-x} suffix.
162 Additional bass strings (for lute tablature) are supported.
163 @lilypond[quote,verbatim]
164 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
171 tablatureFormat = #fret-letter-tablature-format
175 stringTunings = \stringTuning <a, d f a d' f'>
176 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
177 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
184 The markup-list-command @code{\table} is now available.
185 Each column may be aligned differently.
186 @lilypond[quote,verbatim]
188 \override #'(padding . 2)
192 \underline { center-aligned right-aligned center-aligned left-aligned }
193 one "1" thousandth "0.001"
194 eleven "11" hundredth "0.01"
195 twenty "20" tenth "0.1"
196 thousand "1000" one "1.0"
202 A new markup-command, @code{\with-dimensions-from}, makes
203 @code{\with-dimensions} easier to use by taking the new
204 dimensions from a markup object, given as first argument.
205 @lilypond[quote,verbatim]
207 \pattern #5 #Y #0 "x"
208 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
209 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
210 \override #'(baseline-skip . 2)
212 \pattern #5 #X #0 "n"
213 \pattern #5 #X #0 \with-dimensions-from "n" "m"
214 \pattern #5 #X #0 \with-dimensions-from "n" "!"
220 There are two new page breaking functions. @code{ly:one-page-breaking}
221 automatically adjusts the height of the page to fit the music, so that
222 everything fits on one page. @code{ly:one-line-auto-height-breaking}
223 is like @code{ly:one-line-breaking}, placing the music on a single
224 line and adjusting the page width accordingly, however it also
225 automatically adjusts the page height to fit the music.
228 Markup-command @code{\draw-squiggle-line} is now available.
229 Customizing is possible with overrides of @code{thickness}, @code{angularity},
230 @code{height} and @code{orientation}
231 @lilypond[quote,verbatim]
234 \draw-squiggle-line #0.5 #'(3 . 3) ##t
237 \override #'(thickness . 4)
238 \draw-squiggle-line #0.5 #'(3 . -3) ##t
241 \override #'(angularity . -5)
242 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
244 \translate #'(3 . -3)
245 \override #'(angularity . 2)
246 \override #'(height . 0.3)
247 \override #'(orientation . -1)
248 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
253 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
254 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
255 staves on the first system in a score.
258 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
259 as the generic markup-command @code{\tie}.
260 @lilypond[quote,verbatim]
262 \undertie "undertied"
267 c''1 \prall -\tweak text \markup \tie "131" -1
270 { \voiceOne \m \voiceTwo \m }
274 @code{TabStaff} is now able to print micro-tones for bendings etc.
275 @lilypond[quote,verbatim]
279 supportNonIntegerFret = ##t
283 mus = \relative { c'4 cih d dih }
286 \new Staff << \clef "G_8" \mus >>
292 Two new styles of whiteout are now available. The @code{outline} style
293 approximates the contours of a glyph's outline, and its shape is
294 produced from multiple displaced copies of the glyph. The
295 @code{rounded-box} style produces a rounded rectangle shape. For all
296 three styles, including the default @code{box} style, the whiteout
297 shape's @code{thickness}, as a multiple of staff-line thickness, can be
300 @lilypond[verbatim,quote]
303 \filled-box #'(-1 . 15) #'(-3 . 4) #1
304 \override #'(thickness . 3)
305 \whiteout whiteout-box
309 \filled-box #'(-1 . 24) #'(-3 . 4) #1
310 \override #'(style . rounded-box)
311 \override #'(thickness . 3)
312 \whiteout whiteout-rounded-box
316 \filled-box #'(-1 . 18) #'(-3 . 4) #1
317 \override #'(style . outline)
318 \override #'(thickness . 3)
319 \whiteout whiteout-outline
322 \override Staff.Clef.whiteout-style = #'outline
323 \override Staff.Clef.whiteout = 3
329 All of @code{\override}, @code{\revert}, @code{\set}, and
330 @code{\unset} now work with the @code{\once} prefix for making
332 @lilypond[quote,verbatim]
335 \override NoteHead.color = #red
337 \once \override NoteHead.color = #green
339 \once \revert NoteHead.color
341 \revert NoteHead.color
347 When outputting MIDI, LilyPond will now store the @code{title}
348 defined in a score's @code{\header} block (or, if there is no
349 such definition on the @code{\score} level, the first such
350 definition found in a @code{\header} block of the score's
351 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
352 as the name of the MIDI sequence in the MIDI file. Optionally,
353 the name of the MIDI sequence can be overridden using the new
354 @code{midititle} @code{\header} field independently of
355 @code{title} (for example, in case @code{title} contains markup
356 code which does not render as plain text in a satisfactory way
360 Music (and scheme and void) functions and markup commands that
361 just supply the final parameters to a chain of overrides, music
362 function and markup command calls can now be defined in the form
363 of just writing the expression cut short with @code{\etc}.
365 @lilypond[verbatim,quote]
366 bold-red-markup = \markup \bold \with-color #red \etc
367 highlight = \tweak font-size 3 \tweak color #red \etc
369 \markup \bold-red "text"
370 \markuplist \column-lines \bold-red { One Two }
372 { c' \highlight d' e'2-\highlight -! }
376 LilyPond functions defined with @code{define-music-function},
377 @code{define-event-function}, @code{define-scheme-function} and
378 @code{define-void-function} can now be directly called from Scheme
379 as if they were genuine Scheme procedures. Argument checking and
380 matching will still be performed in the same manner as when
381 calling the function through LilyPond input. This includes the
382 insertion of defaults for optional arguments not matching their
383 predicates. Instead of using @code{\default} in the actual
384 argument list for explicitly skipping a sequence of optional
385 arguments, @code{*unspecified*} can be employed.
388 Current input location and parser are now stored in GUILE fluids
389 and can be referenced via the function calls @code{(*location*)}
390 and @code{(*parser*)}. Consequently, a lot of functions
391 previously taking an explicit @code{parser} argument no longer do
394 Functions defined with @code{define-music-function},
395 @code{define-event-function}, @code{define-scheme-function} and
396 @code{define-void-function} no longer use @code{parser} and
397 @code{location} arguments.
399 With those particular definitions, LilyPond will try to recognize
400 legacy use of @code{parser} and @code{location} arguments,
401 providing backwards-compatible semantics for some time.
404 In the "english" notename language, the long notenames for pitches
405 with accidentals now contain a hyphen for better readability. You
410 instead of the previous
415 Double accidentals do not get another hyphen, so the Dutch
416 @code{cisis} has the long English notename @code{c-sharpsharp}.
419 The visual style of tremolo slashes (shape, style and slope)
420 is now more finely controlled.
421 @lilypond[quote,relative=2]
423 \override StemTremolo.shape = #'beam-like
425 \override StemTremolo.style = #'constant
432 Multi-measure rests have length according to their total duration,
433 under the control of @code{MultiMeasureRest.space-increment}.
435 { \compressFullBarRests
436 \override Staff.MultiMeasureRest.space-increment = 3.0
441 Page numbers may now be printed in roman numerals, by setting the
442 @code{page-number-type} paper variable.
445 It is now possible to use @code{\time} and @code{\partial}
446 together to change the time signature in mid measure.
448 @lilypond[verbatim,quote,relative=1]
449 \override Score.BarNumber.break-visibility = #end-of-line-invisible
450 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
451 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
455 It is now possible to override the @code{text} property of
458 @lilypond[verbatim,fragment,quote]
460 \new ChordNames \chordmode {
462 \once \override ChordName.text = #"foo"
469 Improved horizontal alignment when using @code{TextScript},
470 with @code{DynamicText} or @code{LyricText}.
473 A new command @code{\magnifyStaff} has been added which scales staff
474 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
475 at the @code{Staff} context level. Staff lines are prevented from being
476 scaled smaller than the default since the thickness of stems, slurs, and
477 the like are all based on the staff line thickness.
480 @code{InstrumentName} now supports @code{text-interface}.
483 There is now support for controlling the @q{expression level} of
484 MIDI channels using the @code{Staff.midiExpression} context property.
485 This can be used to alter the perceived volume of even sustained notes
486 (albeit in a very @q{low-level} way) and accepts a number value between
487 @code{0.0} and @code{1.0}.
492 midiExpression = #0.6
493 midiInstrument = #"clarinet"
498 \set Staff.midiExpression = #0.7 s4\f\<
499 \set Staff.midiExpression = #0.8 s4
500 \set Staff.midiExpression = #0.9 s4
501 \set Staff.midiExpression = #1.0 s4
503 \set Staff.midiExpression = #0.9 s4\>
504 \set Staff.midiExpression = #0.8 s4
505 \set Staff.midiExpression = #0.7 s4
506 \set Staff.midiExpression = #0.6 s4\!
514 Support for making it easier to use alternative @q{music} fonts other
515 than the default Emmentaler in LilyPond has been added. See
516 @uref{http://fonts.openlilylib.org/} for more information.
519 Grobs and their parents can now be aligned separately allowing
520 more flexibility for grob positions. For example the @q{left} edge of a
521 grob can now be aligned on the @q{center} of its parent.
524 Improvements to the @code{\partial} command have been made to
525 avoid problems when using multiple, parallel contexts.
527 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
531 A new command @code{\tagGroup} has now been added. This complements
532 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
536 \tagGroup #'(violinI violinII viola cello)
539 declares a list of @q{tags} that belong to a single @q{tag group}.
542 \keepWithTag #'violinI
545 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
547 Any element of the included music tagged with one or more tags from the
548 group, but @emph{not} with @var{violinI}, will be removed.
551 The @code{\addlyrics} function now works with arbitrary contexts
552 incuding @code{Staff}.
555 String numbers can now also be used to print roman numerals
556 (e.g. for unfretted string instruments).
557 @lilypond[verbatim,quote,relative=2]
566 The @code{thin-kern} property of the @code{BarLine} grob has been
567 renamed to @code{segno-kern}.
570 @code{KeyCancellation} grobs now ignore cue clefs (like
571 @code{KeySignature} grobs do).
574 Add support for @code{\once@tie{}\unset}
577 It is now possible to individually color both the dots and parentheses
578 in fret diagrams when using the @code{\fret-diagram-verbose} markup
581 @lilypond[verbatim,quote,relative=1]
584 \override #'(fret-diagram-details . (
585 (finger-code . in-dot))) {
586 \fret-diagram-verbose #'((mute 6)
587 (place-fret 5 3 1 red)
588 (place-fret 4 5 2 inverted)
589 (place-fret 3 5 3 green)
590 (place-fret 2 5 4 blue inverted)
591 (place-fret 1 3 1 violet)
596 \override #'(fret-diagram-details . (
597 (finger-code . below-string))) {
598 \fret-diagram-verbose #'((mute 6)
599 (place-fret 5 3 1 red parenthesized)
600 (place-fret 4 5 2 yellow
603 (place-fret 3 5 3 green)
604 (place-fret 2 5 4 blue )
613 Two new properties have been added for use in
614 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
615 markup command; @code{fret-label-horizontal-offset} which affects the
616 @code{fret-label-indication} and @code{paren-padding} which controls the
617 space between the dot and the parentheses surrounding it.
619 @lilypond[verbatim,quote,relative=1]
622 \fret-diagram-verbose #'((mute 6)
626 (place-fret 1 6 4 parenthesized)
631 \override #'(fret-diagram-details . (
632 (fret-label-horizontal-offset . 2)
633 (paren-padding . 0.25))) {
634 \fret-diagram-verbose #'((mute 6)
638 (place-fret 1 6 4 parenthesized)
647 A new markup command @code{\justify-line} has been added. Similar to
648 the @code{\fill-line} markup command except that instead of setting
649 @emph{words} in columns, the @code{\justify-line} command balances the
650 whitespace between them ensuring that when there are three or more
651 words in a markup, the whitespace is always consistent.
653 @lilypond[quote,verbatim,papersize=a6]
654 \markup \fill-line {oooooo oooooo oooooo oooooo}
655 \markup \fill-line {ooooooooo oooooooo oo ooo}
658 @lilypond[quote,verbatim,papersize=a6]
659 \markup \justify-line {oooooo oooooo oooooo oooooo}
660 \markup \justify-line {ooooooooo oooooooo oo ooo}
664 A new command @code{\magnifyMusic} has been added, which allows
665 the notation size to be changed without changing the staff size,
666 while automatically scaling stems, beams, and horizontal spacing.
668 @lilypond[verbatim,quote]
670 \new Voice \relative {
672 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
674 \new Voice \relative {
677 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
678 r32 c'' a c a c a c r c a c a c a c
679 r c a c a c a c a c a c a c a c
686 A new flexible template suitable for a range of choral music, is now
687 provided. This may be used to create simple choral music, with or
688 without piano accompaniment, in two or four staves. Unlike other
689 templates, this template is @q{built-in}, which means it does not
690 need to be copied and edited: instead it is simply @code{\include}'d
691 in the input file. For details, see @rlearning{Built-in templates}.
694 The positioning of tuplet numbers for kneed beams has been significantly
695 improved. Previously, tuplet numbers were placed according to the
696 position of the tuplet bracket, even if it was not printed. This could
697 lead to stranded tuplet numbers. Now they are now positioned
698 closer to the kneed-beam when an appropriate beam segment exists for its
699 placement and when the bracket is not drawn.
701 Collision detection is also added, offsetting horizontally if too close
702 to an adjoining note column but preserving the number's vertical
703 distance from the kneed beam. If the number itself is too large to
704 fit in the available space the original, bracket-based, positioning
705 system is used instead; and in the event of a collision (e.g. with an
706 accidental) the tuplet number is moved vertically away instead.
708 @lilypond[verbatim,fragment,quote,relative=1]
710 \override Beam.auto-knee-gap = 3
719 The original kneed-beam tuplet behavior is still available through an
720 @code{\override} via a new, @code{knee-to-beam} property.
722 @lilypond[verbatim,fragment,quote,relative=1]
724 \override Beam.auto-knee-gap = 3
725 \override TupletNumber.knee-to-beam = ##f
734 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
735 now accept the same kind of delimited argument list that @code{\lyrics}
736 and @code{\chords} accept. Backward compatibility has been added so
737 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
738 @code{convert-ly} rule has been added that removes redundant uses of
739 @code{\lyricmode} and rearranges combinations with context starters such
740 that @code{\lyricsto} in general is applied last (i.e. like
741 @code{\lyricmode} would be).
744 Scheme functions and identifiers can now be used as output definitions.
747 Scheme expressions can now be used as chord constituents.
750 Improved visual spacing of small and regular @q{MI} Funk and Walker
751 noteheads so they are now the same width as other shaped notes in
752 their respective sets. @code{SOL} noteheads are also now visually
753 improved when used with both the normal Aiken and Sacred Harp heads, as
754 well as with the thin variants.
757 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
758 @rinternals{LeftEdge}.
761 Added a new @code{make-path-stencil} function that supports all
762 @code{path} commands both relative and absolute:
764 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
765 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
766 supports @q{single-letter} syntax used in standard SVG path commands:
768 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
769 @code{z}. The new command is also backward-compatible with the original
770 @code{make-connected-path-stencil} function. Also see
771 @file{scm/stencil.scm}.
774 Context properties named in the @samp{alternativeRestores} property are
775 restored to their value at the start of the @emph{first} alternative in
776 all subsequent alternatives.
778 Currently the default set restores @q{current meter};
780 @lilypond[verbatim,fragment,quote,relative=2]
782 \repeat volta 2 { c2 e4 | }
791 @q{measure position};
793 @lilypond[verbatim,fragment,quote,relative=2]
795 \repeat volta 2 { c2 e4 | }
798 \set Timing.measurePosition = #(ly:make-moment -1/2)
806 and @q{chord changes};
808 @lilypond[verbatim,fragment,quote]
811 \set chordChanges = ##t
812 \chordmode { c1:m d:m c:m d:m }
815 \repeat volta 2 { \chordmode { c1:m } }
817 { \chordmode { d:m } }
818 { \chordmode { c:m } }
826 Improved MIDI output for breathe marks. After tied notes, breaths take
827 time @emph{only} from the last note of the tie; e.g.
828 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
829 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
830 how humans interpret breaths after ties. It now also makes it easier to
831 align simultaneous breathe marks over multiple parts, all with different
835 A new note head style for Tabulature has been added;
836 @code{TabNoteHead.style = #'slash}.
839 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
840 @emph{Varpercussion} and @emph{varC} and their related tessitura.
841 @lilypond[verbatim,quote,fragment]
842 \override Staff.Clef.full-size-change = ##t
845 \clef "tenorG" c c c c
847 \clef "altovarC" c c c c
848 \clef "tenorvarC" c c c c
849 \clef "baritonevarC" c c c c
850 \clef "varpercussion" c c c c
853 \override Staff.Clef.full-size-change = ##f
856 \clef "tenorG" c c c c
858 \clef "altovarC" c c c c
859 \clef "tenorvarC" c c c c
860 \clef "baritonevarC" c c c c
861 \clef "varpercussion" c c c c
865 Isolated durations in music sequences now stand for unpitched
866 notes. This may be useful for specifying rhythms to music or
867 scheme functions. When encountered in the final score, the
868 pitches are provided by the preceding note or chord. Here are two
869 examples where this makes for readable input:
871 @lilypond[verbatim,quote]
872 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
875 tambourine 8 \tuplet 3/2 { 16 16 16 }
876 8 \tuplet 3/2 { 16 16 16 } 8 8 |
880 @lilypond[verbatim,quote]
881 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
885 @code{\displayLilyMusic} and its underlying Scheme functions no
886 longer omit redundant note durations. This makes it easier to
887 reliably recognize and format standalone durations in expressions
894 Beaming exceptions can now be constructed using the
895 @code{\beamExceptions} scheme function. One can now write
897 @lilypond[verbatim,quote,relative=1]
899 \set Timing.beamExceptions =
900 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
902 \repeat unfold 6 { c32 } |
906 with multiple exceptions separated with @code{|} bar checks
907 (writing the exception pattern without pitches is convenient but
908 not mandatory). Previously, setting the beam exceptions would
909 have required writing
912 \set Timing.beamExceptions =
914 (end . ;entry for end of beams
915 ( ;start of alist of end points
916 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
921 The most common articulations are now reflected in MIDI output.
922 Accent and marcato make notes louder; staccato, staccatissimo and
923 portato make them shorter. Breath marks shorten the previous
926 This behavior is customizable through the @code{midiLength} and
927 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
928 See @file{script-init.ly} for examples.
931 The PostScript functionality of stroke adjustment is no longer
932 applied automatically but left to the discretion of the PostScript
933 device (by default, Ghostscript uses it for resolutions up to
934 150dpi when generating raster images). When it is enabled, a more
935 complex drawing algorithm designed to benefit from stroke
936 adjustment is employed mostly for stems and bar lines.
938 Stroke adjustment can be forced by specifying the command line
939 option @samp{-dstrokeadjust} to LilyPond. When generating
940 @code{PDF} files, this will usually result in markedly better
941 looking @code{PDF} previews but significantly larger file size.
942 Print quality at high resolutions will be unaffected.
947 For older news, go to
948 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
949 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
950 or @uref{../,go back} to the Documentation index.