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 Markup-command @code{\draw-squiggle-line} is now available.
66 Customizing is possible with overrides of @code{thickness}, @code{angularity},
67 @code{height} and @code{orientation}
68 @lilypond[quote,verbatim]
71 \draw-squiggle-line #0.5 #'(3 . 3) ##t
74 \override #'(thickness . 4)
75 \draw-squiggle-line #0.5 #'(3 . -3) ##t
78 \override #'(angularity . -5)
79 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
82 \override #'(angularity . 2)
83 \override #'(height . 0.3)
84 \override #'(orientation . -1)
85 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
90 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
91 the generic markup-command @code{\tie}.
92 @lilypond[quote,verbatim]
99 c''1 \prall -\tweak text \markup \tie "131" -1
102 { \voiceOne \m \voiceTwo \m }
106 @code{TabStaff} is now able to print micro-tones for bendings etc.
107 @lilypond[quote,verbatim]
111 supportNonIntegerFret = ##t
115 mus = \relative { c'4 cih d dih }
118 \new Staff << \clef "G_8" \mus >>
124 Two new styles of whiteout are now available. The @code{outline} style
125 approximates the contours of a glyph's outline, and its shape is
126 produced from multiple displaced copies of the glyph. The
127 @code{rounded-box} style produces a rounded rectangle shape. For all
128 three styles, including the default @code{box} style, the whiteout
129 shape's @code{thickness}, as a multiple of staff-line thickness, can be
132 @lilypond[verbatim,quote]
135 \filled-box #'(-1 . 15) #'(-3 . 4) #1
136 \override #'(thickness . 3)
137 \whiteout whiteout-box
141 \filled-box #'(-1 . 24) #'(-3 . 4) #1
142 \override #'(style . rounded-box)
143 \override #'(thickness . 3)
144 \whiteout whiteout-rounded-box
148 \filled-box #'(-1 . 18) #'(-3 . 4) #1
149 \override #'(style . outline)
150 \override #'(thickness . 3)
151 \whiteout whiteout-outline
154 \override Staff.Clef.whiteout-style = #'outline
155 \override Staff.Clef.whiteout = 3
161 All of @code{\override}, @code{\revert}, @code{\set}, and
162 @code{\unset} now work with the @code{\once} prefix for making
164 @lilypond[quote,verbatim]
167 \override NoteHead.color = #red
169 \once \override NoteHead.color = #green
171 \once \revert NoteHead.color
173 \revert NoteHead.color
179 When outputting MIDI, LilyPond will now store the @code{title}
180 defined in a score's @code{\header} block (or, if there is no
181 such definition on the @code{\score} level, the first such
182 definition found in a @code{\header} block of the score's
183 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
184 as the name of the MIDI sequence in the MIDI file. Optionally,
185 the name of the MIDI sequence can be overridden using the new
186 @code{midititle} @code{\header} field independently of
187 @code{title} (for example, in case @code{title} contains markup
188 code which does not render as plain text in a satisfactory way
192 Music (and scheme and void) functions and markup commands that
193 just supply the final parameters to a chain of overrides, music
194 function and markup command calls can now be defined in the form
195 of just writing the expression cut short with @code{\etc}.
197 @lilypond[verbatim,quote]
198 bold-red-markup = \markup \bold \with-color #red \etc
199 highlight = \tweak font-size 3 \tweak color #red \etc
201 \markup \bold-red "text"
202 \markuplist \column-lines \bold-red { One Two }
204 { c' \highlight d' e'2-\highlight -! }
208 LilyPond functions defined with @code{define-music-function},
209 @code{define-event-function}, @code{define-scheme-function} and
210 @code{define-void-function} can now be directly called from Scheme
211 as if they were genuine Scheme procedures. Argument checking and
212 matching will still be performed in the same manner as when
213 calling the function through LilyPond input. This includes the
214 insertion of defaults for optional arguments not matching their
215 predicates. Instead of using @code{\default} in the actual
216 argument list for explicitly skipping a sequence of optional
217 arguments, @code{*unspecified*} can be employed.
220 Current input location and parser are now stored in GUILE fluids
221 and can be referenced via the function calls @code{(*location*)}
222 and @code{(*parser*)}. Consequently, a lot of functions
223 previously taking an explicit @code{parser} argument no longer do
226 Functions defined with @code{define-music-function},
227 @code{define-event-function}, @code{define-scheme-function} and
228 @code{define-void-function} no longer use @code{parser} and
229 @code{location} arguments.
231 With those particular definitions, LilyPond will try to recognize
232 legacy use of @code{parser} and @code{location} arguments,
233 providing backwards-compatible semantics for some time.
236 In the "english" notename language, the long notenames for pitches
237 with accidentals now contain a hyphen for better readability. You
242 instead of the previous
247 Double accidentals do not get another hyphen, so the Dutch
248 @code{cisis} has the long English notename @code{c-sharpsharp}.
251 The visual style of tremolo slashes (shape, style and slope)
252 is now more finely controlled.
253 @lilypond[quote,relative=2]
255 \override StemTremolo.shape = #'beam-like
257 \override StemTremolo.style = #'constant
264 Multi-measure rests have length according to their total duration,
265 under the control of @code{MultiMeasureRest.space-increment}.
267 { \compressFullBarRests
268 \override Staff.MultiMeasureRest.space-increment = 3.0
273 Page numbers may now be printed in roman numerals, by setting the
274 @code{page-number-type} paper variable.
277 It is now possible to use @code{\time} and @code{\partial}
278 together to change the time signature in mid measure.
280 @lilypond[verbatim,quote,relative=1]
281 \override Score.BarNumber.break-visibility = #end-of-line-invisible
282 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
283 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
287 It is now possible to override the @code{text} property of
290 @lilypond[verbatim,fragment,quote]
292 \new ChordNames \chordmode {
294 \once \override ChordName.text = #"foo"
301 Improved horizontal alignment when using @code{TextScript},
302 with @code{DynamicText} or @code{LyricText}.
305 A new command @code{\magnifyStaff} has been added which scales staff
306 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
307 at the @code{Staff} context level. Staff lines are prevented from being
308 scaled smaller than the default since the thickness of stems, slurs, and
309 the like are all based on the staff line thickness.
312 @code{InstrumentName} now supports @code{text-interface}.
315 There is now support for controlling the @q{expression level} of
316 MIDI channels using the @code{Staff.midiExpression} context property.
317 This can be used to alter the perceived volume of even sustained notes
318 (albeit in a very @q{low-level} way) and accepts a number value between
319 @code{0.0} and @code{1.0}.
324 midiExpression = #0.6
325 midiInstrument = #"clarinet"
330 \set Staff.midiExpression = #0.7 s4\f\<
331 \set Staff.midiExpression = #0.8 s4
332 \set Staff.midiExpression = #0.9 s4
333 \set Staff.midiExpression = #1.0 s4
335 \set Staff.midiExpression = #0.9 s4\>
336 \set Staff.midiExpression = #0.8 s4
337 \set Staff.midiExpression = #0.7 s4
338 \set Staff.midiExpression = #0.6 s4\!
346 Support for making it easier to use alternative @q{music} fonts other
347 than the default Emmentaler in LilyPond has been added. See
348 @uref{http://fonts.openlilylib.org/} for more information.
351 Grobs and their parents can now be aligned separately allowing
352 more flexibility for grob positions. For example the @q{left} edge of a
353 grob can now be aligned on the @q{center} of its parent.
356 Improvements to the @code{\partial} command have been made to
357 avoid problems when using multiple, parallel contexts.
359 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
363 A new command @code{\tagGroup} has now been added. This complements
364 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
368 \tagGroup #'(violinI violinII viola cello)
371 declares a list of @q{tags} that belong to a single @q{tag group}.
374 \keepWithTag #'violinI
377 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
379 Any element of the included music tagged with one or more tags from the
380 group, but @emph{not} with @var{violinI}, will be removed.
383 The @code{\addlyrics} function now works with arbitrary contexts
384 incuding @code{Staff}.
387 String numbers can now also be used to print roman numerals
388 (e.g. for unfretted string instruments).
389 @lilypond[verbatim,quote,relative=2]
398 The @code{thin-kern} property of the @code{BarLine} grob has been
399 renamed to @code{segno-kern}.
402 @code{KeyCancellation} grobs now ignore cue clefs (like
403 @code{KeySignature} grobs do).
406 Add support for @code{\once@tie{}\unset}
409 It is now possible to individually color both the dots and parentheses
410 in fret diagrams when using the @code{\fret-diagram-verbose} markup
413 @lilypond[verbatim,quote,relative=1]
416 \override #'(fret-diagram-details . (
417 (finger-code . in-dot))) {
418 \fret-diagram-verbose #'((mute 6)
419 (place-fret 5 3 1 red)
420 (place-fret 4 5 2 inverted)
421 (place-fret 3 5 3 green)
422 (place-fret 2 5 4 blue inverted)
423 (place-fret 1 3 1 violet)
428 \override #'(fret-diagram-details . (
429 (finger-code . below-string))) {
430 \fret-diagram-verbose #'((mute 6)
431 (place-fret 5 3 1 red parenthesized)
432 (place-fret 4 5 2 yellow
435 (place-fret 3 5 3 green)
436 (place-fret 2 5 4 blue )
445 Two new properties have been added for use in
446 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
447 markup command; @code{fret-label-horizontal-offset} which affects the
448 @code{fret-label-indication} and @code{paren-padding} which controls the
449 space between the dot and the parentheses surrounding it.
451 @lilypond[verbatim,quote,relative=1]
454 \fret-diagram-verbose #'((mute 6)
458 (place-fret 1 6 4 parenthesized)
463 \override #'(fret-diagram-details . (
464 (fret-label-horizontal-offset . 2)
465 (paren-padding . 0.25))) {
466 \fret-diagram-verbose #'((mute 6)
470 (place-fret 1 6 4 parenthesized)
479 A new markup command @code{\justify-line} has been added. Similar to
480 the @code{\fill-line} markup command except that instead of setting
481 @emph{words} in columns, the @code{\justify-line} command balances the
482 whitespace between them ensuring that when there are three or more
483 words in a markup, the whitespace is always consistent.
485 @lilypond[quote,verbatim,papersize=a6]
486 \markup \fill-line {oooooo oooooo oooooo oooooo}
487 \markup \fill-line {ooooooooo oooooooo oo ooo}
490 @lilypond[quote,verbatim,papersize=a6]
491 \markup \justify-line {oooooo oooooo oooooo oooooo}
492 \markup \justify-line {ooooooooo oooooooo oo ooo}
496 A new command @code{\magnifyMusic} has been added, which allows
497 the notation size to be changed without changing the staff size,
498 while automatically scaling stems, beams, and horizontal spacing.
500 @lilypond[verbatim,quote]
502 \new Voice \relative {
504 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
506 \new Voice \relative {
509 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
510 r32 c'' a c a c a c r c a c a c a c
511 r c a c a c a c a c a c a c a c
518 A new flexible template suitable for a range of choral music, is now
519 provided. This may be used to create simple choral music, with or
520 without piano accompaniment, in two or four staves. Unlike other
521 templates, this template is @q{built-in}, which means it does not
522 need to be copied and edited: instead it is simply @code{\include}'d
523 in the input file. For details, see @rlearning{Built-in templates}.
526 The positioning of tuplet numbers for kneed beams has been significantly
527 improved. Previously, tuplet numbers were placed according to the
528 position of the tuplet bracket, even if it was not printed. This could
529 lead to stranded tuplet numbers. Now they are now positioned
530 closer to the kneed-beam when an appropriate beam segment exists for its
531 placement and when the the bracket is not drawn.
533 Collision detection is also added, offsetting horizontally if too close
534 to an adjoining note column but preserving the number's vertical
535 distance from the kneed beam. If the number itself is too large to
536 fit in the available space the original, bracket-based, positioning
537 system is used instead; and in the event of a collision (e.g. with an
538 accidental) the tuplet number is moved vertically away instead.
540 @lilypond[verbatim,fragment,quote,relative=1]
542 \override Beam.auto-knee-gap = 3
551 The original kneed-beam tuplet behavior is still available through an
552 @code{\override} via a new, @code{knee-to-beam} property.
554 @lilypond[verbatim,fragment,quote,relative=1]
556 \override Beam.auto-knee-gap = 3
557 \override TupletNumber.knee-to-beam = ##f
566 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
567 now accept the same kind of delimited argument list that @code{\lyrics}
568 and @code{\chords} accept. Backward compatibility has been added so
569 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
570 @code{convert-ly} rule has been added that removes redundant uses of
571 @code{\lyricmode} and rearranges combinations with context starters such
572 that @code{\lyricsto} in general is applied last (i.e. like
573 @code{\lyricmode} would be).
576 Scheme functions and identifiers can now be used as output definitions.
579 Scheme expressions can now be used as chord constituents.
582 Improved visual spacing of small and regular @q{MI} Funk and Walker
583 noteheads so they are now the same width as other shaped notes in
584 their respective sets. @code{SOL} noteheads are also now visually
585 improved when used with both the normal Aiken and Sacred Harp heads, as
586 well as with the thin variants.
589 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
590 @rinternals{LeftEdge}.
593 Added a new @code{make-path-stencil} function that supports all
594 @code{path} commands both relative and absolute:
596 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
597 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
598 supports @q{single-letter} syntax used in standard SVG path commands:
600 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
601 @code{z}. The new command is also backward-compatible with the original
602 @code{make-connected-path-stencil} function. Also see
603 @file{scm/stencil.scm}.
606 Context properties named in the @samp{alternativeRestores} property are
607 restored to their value at the start of the @emph{first} alternative in
608 all subsequent alternatives.
610 Currently the default set restores @q{current meter};
612 @lilypond[verbatim,fragment,quote,relative=2]
614 \repeat volta 2 { c2 e4 | }
623 @q{measure position};
625 @lilypond[verbatim,fragment,quote,relative=2]
627 \repeat volta 2 { c2 e4 | }
630 \set Timing.measurePosition = #(ly:make-moment -1/2)
638 and @q{chord changes};
640 @lilypond[verbatim,fragment,quote]
643 \set chordChanges = ##t
644 \chordmode { c1:m d:m c:m d:m }
647 \repeat volta 2 { \chordmode { c1:m } }
649 { \chordmode { d:m } }
650 { \chordmode { c:m } }
658 Improved MIDI output for breathe marks. After tied notes, breaths take
659 time @emph{only} from the last note of the tie; e.g.
660 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
661 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
662 how humans interpret breaths after ties. It now also makes it easier to
663 align simultaneous breathe marks over multiple parts, all with different
667 A new note head style for Tabulature has been added;
668 @code{TabNoteHead.style = #'slash}.
671 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
672 @emph{Varpercussion} and @emph{varC} and their related tessitura.
673 @lilypond[verbatim,quote,fragment]
674 \override Staff.Clef.full-size-change = ##t
677 \clef "tenorG" c c c c
679 \clef "altovarC" c c c c
680 \clef "tenorvarC" c c c c
681 \clef "baritonevarC" c c c c
682 \clef "varpercussion" c c c c
685 \override Staff.Clef.full-size-change = ##f
688 \clef "tenorG" c c c c
690 \clef "altovarC" c c c c
691 \clef "tenorvarC" c c c c
692 \clef "baritonevarC" c c c
693 \clef "varpercussion" c c c c
697 Isolated durations in music sequences now stand for unpitched
698 notes. This may be useful for specifying rhythms to music or
699 scheme functions. When encountered in the final score, the
700 pitches are provided by the preceding note or chord. Here are two
701 examples where this makes for readable input:
703 @lilypond[verbatim,quote]
704 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
707 tambourine 8 \tuplet 3/2 { 16 16 16 }
708 8 \tuplet 3/2 { 16 16 16 } 8 8 |
712 @lilypond[verbatim,quote]
713 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
717 @code{\displayLilyMusic} and its underlying Scheme functions no
718 longer omit redundant note durations. This makes it easier to
719 reliably recognize and format standalone durations in expressions
726 Beaming exceptions can now be constructed using the
727 @code{\beamExceptions} scheme function. One can now write
729 @lilypond[verbatim,quote,relative=1]
731 \set Timing.beamExceptions =
732 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
734 \repeat unfold 6 { c32 } |
738 with multiple exceptions separated with @code{|} bar checks
739 (writing the exception pattern without pitches is convenient but
740 not mandatory). Previously, setting the beam exceptions would
741 have required writing
744 \set Timing.beamExceptions =
746 (end . ;entry for end of beams
747 ( ;start of alist of end points
748 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
753 The most common articulations are now reflected in MIDI output.
754 Accent and marcato make notes louder; staccato, staccatissimo and
755 portato make them shorter. Breath marks shorten the previous
758 This behavior is customizable through the @code{midiLength} and
759 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
760 See @file{script-init.ly} for examples.
763 The PostScript functionality of stroke adjustment is no longer
764 applied automatically but left to the discretion of the PostScript
765 device (by default, Ghostscript uses it for resolutions up to
766 150dpi when generating raster images). When it is enabled, a more
767 complex drawing algorithm designed to benefit from stroke
768 adjustment is employed mostly for stems and bar lines.
770 Stroke adjustment can be forced by specifying the command line
771 option @samp{-dstrokeadjust} to LilyPond. When generating
772 @code{PDF} files, this will usually result in markedly better
773 looking @code{PDF} previews but significantly larger file size.
774 Print quality at high resolutions will be unaffected.
779 For older news, go to
780 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
781 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
782 or @uref{../,go back} to the Documentation index.