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 When outputting MIDI, LilyPond will now store the @code{title}
66 defined in a score's @code{\header} block (or, if there is no
67 such definition on the @code{\score} level, the first such
68 definition found in a @code{\header} block of the score's
69 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
70 as the name of the MIDI sequence in the MIDI file. Optionally,
71 the name of the MIDI sequence can be overridden using the new
72 @code{midititle} @code{\header} field independently of
73 @code{title} (for example, in case @code{title} contains markup
74 code which does not render as plain text in a satisfactory way
78 Music (and scheme and void) functions and markup commands that
79 just supply the final parameters to a chain of overrides, music
80 function and markup command calls can now be defined in the form
81 of just writing the expression cut short with @code{\etc}.
83 @lilypond[verbatim,quote]
84 bold-red-markup = \markup \bold \with-color #red \etc
85 highlight = \tweak font-size 3 \tweak color #red \etc
87 \markup \bold-red "text"
88 \markuplist \column-lines \bold-red { One Two }
90 { c' \highlight d' e'2-\highlight -! }
94 LilyPond functions defined with @code{define-music-function},
95 @code{define-event-function}, @code{define-scheme-function} and
96 @code{define-void-function} can now be directly called from Scheme
97 as if they were genuine Scheme procedures. Argument checking and
98 matching will still be performed in the same manner as when
99 calling the function through LilyPond input. This includes the
100 insertion of defaults for optional arguments not matching their
101 predicates. Instead of using @code{\default} in the actual
102 argument list for explicitly skipping a sequence of optional
103 arguments, @code{*unspecified*} can be employed.
106 Current input location and parser are now stored in GUILE fluids
107 and can be referenced via the function calls @code{(*location*)}
108 and @code{(*parser*)}. Consequently, a lot of functions
109 previously taking an explicit @code{parser} argument no longer do
112 Functions defined with @code{define-music-function},
113 @code{define-event-function}, @code{define-scheme-function} and
114 @code{define-void-function} no longer use @code{parser} and
115 @code{location} arguments.
117 With those particular definitions, LilyPond will try to recognize
118 legacy use of @code{parser} and @code{location} arguments,
119 providing backwards-compatible semantics for some time.
122 The @code{whiteout} grob property and @code{\whiteout} markup command
123 now create a white background built from multiple displaced copies of
124 the glyph in order to approximate the contours of its outline.
125 The previous rounded box white background can be achieved with the
126 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
127 command. Setting the @code{whiteout} property to a number now sets
128 the thickness of the white outline as a multiple of staff-line
129 thickness. Similarly, overriding the @code{thickness} property of
130 the @code{\whiteout} markup command sets the thickness of the white
134 In the "english" notename language, the long notenames for pitches
135 with accidentals now contain a hyphen for better readability. You
140 instead of the previous
145 Double accidentals do not get another hyphen, so the Dutch
146 @code{cisis} has the long English notename @code{c-sharpsharp}.
149 The visual style of tremolo slashes (shape, style and slope)
150 is now more finely controlled.
151 @lilypond[quote,relative=2]
153 \override StemTremolo.shape = #'beam-like
155 \override StemTremolo.style = #'constant
162 Multi-measure rests have length according to their total duration,
163 under the control of @code{MultiMeasureRest.space-increment}.
165 { \compressFullBarRests
166 \override Staff.MultiMeasureRest.space-increment = 3.0
171 Page numbers may now be printed in roman numerals, by setting the
172 @code{page-number-type} paper variable.
175 It is now possible to use @code{\time} and @code{\partial}
176 together to change the time signature in mid measure.
178 @lilypond[verbatim,quote,relative=1]
179 \override Score.BarNumber.break-visibility = #end-of-line-invisible
180 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
181 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
185 It is now possible to override the @code{text} property of
188 @lilypond[verbatim,fragment,quote]
190 \new ChordNames \chordmode {
192 \once \override ChordName.text = #"foo"
199 Improved horizontal alignment when using @code{TextScript},
200 with @code{DynamicText} or @code{LyricText}.
203 A new command @code{\magnifyStaff} has been added which scales staff
204 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
205 at the @code{Staff} context level. Staff lines are prevented from being
206 scaled smaller than the default since the thickness of stems, slurs, and
207 the like are all based on the staff line thickness.
210 @code{InstrumentName} now supports @code{text-interface}.
213 There is now support for controlling the @q{expression level} of
214 MIDI channels using the @code{Staff.midiExpression} context property.
215 This can be used to alter the perceived volume of even sustained notes
216 (albeit in a very @q{low-level} way) and accepts a number value between
217 @code{0.0} and @code{1.0}.
222 midiExpression = #0.6
223 midiInstrument = #"clarinet"
228 \set Staff.midiExpression = #0.7 s4\f\<
229 \set Staff.midiExpression = #0.8 s4
230 \set Staff.midiExpression = #0.9 s4
231 \set Staff.midiExpression = #1.0 s4
233 \set Staff.midiExpression = #0.9 s4\>
234 \set Staff.midiExpression = #0.8 s4
235 \set Staff.midiExpression = #0.7 s4
236 \set Staff.midiExpression = #0.6 s4\!
244 Support for making it easier to use alternative @q{music} fonts other
245 than the default Emmentaler in LilyPond has been added. See
246 @uref{http://fonts.openlilylib.org/} for more information.
249 Grobs and their parents can now be aligned separately allowing
250 more flexibility for grob positions. For example the @q{left} edge of a
251 grob can now be aligned on the @q{center} of its parent.
254 Improvements to the @code{\partial} command have been made to
255 avoid problems when using multiple, parallel contexts.
257 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
261 A new command @code{\tagGroup} has now been added. This complements
262 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
266 \tagGroup #'(violinI violinII viola cello)
269 declares a list of @q{tags} that belong to a single @q{tag group}.
272 \keepwithTag#'violinI
275 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
277 Any element of the included music tagged with one or more tags from the
278 group, but @emph{not} with @var{violinI}, will be removed.
281 The @code{\addlyrics} function now works with arbitrary contexts
282 incuding @code{Staff}.
285 String numbers can now also be used to print roman numerals
286 (e.g. for unfretted string instruments).
287 @lilypond[verbatim,quote,relative=2]
296 The @code{thin-kern} property of the @code{BarLine} grob has been
297 renamed to @code{segno-kern}.
300 @code{KeyCancellation} grobs now ignore cue clefs (like
301 @code{KeySignature} grobs do).
304 Add support for @code{\once@tie{}\unset}
307 It is now possible to individually color both the dots and parentheses
308 in fret diagrams when using the @code{\fret-diagram-verbose} markup
311 @lilypond[verbatim,quote,relative=1]
314 \override #'(fret-diagram-details . (
315 (finger-code . in-dot))) {
316 \fret-diagram-verbose #'((mute 6)
317 (place-fret 5 3 1 red)
318 (place-fret 4 5 2 inverted)
319 (place-fret 3 5 3 green)
320 (place-fret 2 5 4 blue inverted)
321 (place-fret 1 3 1 violet)
326 \override #'(fret-diagram-details . (
327 (finger-code . below-string))) {
328 \fret-diagram-verbose #'((mute 6)
329 (place-fret 5 3 1 red parenthesized)
330 (place-fret 4 5 2 yellow
333 (place-fret 3 5 3 green)
334 (place-fret 2 5 4 blue )
343 Two new properties have been added for use in
344 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
345 markup command; @code{fret-label-horizontal-offset} which affects the
346 @code{fret-label-indication} and @code{paren-padding} which controls the
347 space between the dot and the parentheses surrounding it.
349 @lilypond[verbatim,quote,relative=1]
352 \fret-diagram-verbose #'((mute 6)
356 (place-fret 1 6 4 parenthesized)
361 \override #'(fret-diagram-details . (
362 (fret-label-horizontal-offset . 2)
363 (paren-padding . 0.25))) {
364 \fret-diagram-verbose #'((mute 6)
368 (place-fret 1 6 4 parenthesized)
377 A new markup command @code{\justify-line} has been added. Similar to
378 the @code{\fill-line} markup command except that instead of setting
379 @emph{words} in columns, the @code{\justify-line} command balances the
380 whitespace between them ensuring that when there are three or more
381 words in a markup, the whitespace is always consistent.
383 @lilypond[quote,verbatim,papersize=a6]
384 \markup \fill-line {oooooo oooooo oooooo oooooo}
385 \markup \fill-line {ooooooooo oooooooo oo ooo}
388 @lilypond[quote,verbatim,papersize=a6]
389 \markup \justify-line {oooooo oooooo oooooo oooooo}
390 \markup \justify-line {ooooooooo oooooooo oo ooo}
394 A new command @code{\magnifyMusic} has been added, which allows
395 the notation size to be changed without changing the staff size,
396 while automatically scaling stems, beams, and horizontal spacing.
398 @lilypond[verbatim,quote]
400 \new Voice \relative {
402 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
404 \new Voice \relative {
407 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
408 r32 c'' a c a c a c r c a c a c a c
409 r c a c a c a c a c a c a c a c
416 A new flexible template suitable for a range of choral music, is now
417 provided. This may be used to create simple choral music, with or
418 without piano accompaniment, in two or four staves. Unlike other
419 templates, this template is @q{built-in}, which means it does not
420 need to be copied and edited: instead it is simply @code{\include}'d
421 in the input file. For details, see @rlearning{Built-in templates}.
424 The positioning of tuplet numbers for kneed beams has been significantly
425 improved. Previously, tuplet numbers were placed according to the
426 position of the tuplet bracket, even if it was not printed. This could
427 lead to stranded tuplet numbers. Now they are now positioned
428 closer to the kneed-beam when an appropriate beam segment exists for its
429 placement and when the the bracket is not drawn.
431 Collision detection is also added, offsetting horizontally if too close
432 to an adjoining note column but preserving the number's vertical
433 distance from the kneed beam. If the number itself is too large to
434 fit in the available space the original, bracket-based, positioning
435 system is used instead; and in the event of a collision (e.g. with an
436 accidental) the tuplet number is moved vertically away instead.
438 @lilypond[verbatim,fragment,quote,relative=1]
440 \override Beam.auto-knee-gap = 3
449 The original kneed-beam tuplet behavior is still available through an
450 @code{\override} via a new, @code{knee-to-beam} property.
452 @lilypond[verbatim,fragment,quote,relative=1]
454 \override Beam.auto-knee-gap = 3
455 \override TupletNumber.knee-to-beam = ##f
464 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
465 now accept the same kind of delimited argument list that @code{\lyrics}
466 and @code{\chords} accept. Backward compatibility has been added so
467 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
468 @code{convert-ly} rule has been added that removes redundant uses of
469 @code{\lyricmode} and rearranges combinations with context starters such
470 that @code{\lyricsto} in general is applied last (i.e. like
471 @code{\lyricmode} would be).
474 Scheme functions and identifiers can now be used as output definitions.
477 Scheme expressions can now be used as chord constituents.
480 Improved visual spacing of small and regular @q{MI} Funk and Walker
481 noteheads so they are now the same width as other shaped notes in
482 their respective sets. @code{SOL} noteheads are also now visually
483 improved when used with both the normal Aiken and Sacred Harp heads, as
484 well as with the thin variants.
487 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
488 @rinternals{LeftEdge}.
491 Added a new @code{make-path-stencil} function that supports all
492 @code{path} commands both relative and absolute:
494 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
495 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
496 supports @q{single-letter} syntax used in standard SVG path commands:
498 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
499 @code{z}. The new command is also backward-compatible with the original
500 @code{make-connected-path-stencil} function. Also see
501 @file{scm/stencil.scm}.
504 Context properties named in the @samp{alternativeRestores} property are
505 restored to their value at the start of the @emph{first} alternative in
506 all subsequent alternatives.
508 Currently the default set restores @q{current meter};
510 @lilypond[verbatim,fragment,quote,relative=2]
512 \repeat volta 2 { c2 e4 | }
521 @q{measure position};
523 @lilypond[verbatim,fragment,quote,relative=2]
525 \repeat volta 2 { c2 e4 | }
528 \set Timing.measurePosition = #(ly:make-moment -1/2)
536 and @q{chord changes};
538 @lilypond[verbatim,fragment,quote]
541 \set chordChanges = ##t
542 \chordmode { c1:m d:m c:m d:m }
545 \repeat volta 2 { \chordmode { c1:m } }
547 { \chordmode { d:m } }
548 { \chordmode { c:m } }
556 Improved MIDI output for breathe marks. After tied notes, breaths take
557 time @emph{only} from the last note of the tie; e.g.
558 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
559 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
560 how humans interpret breaths after ties. It now also makes it easier to
561 align simultaneous breathe marks over multiple parts, all with different
565 A new note head style for Tabulature has been added;
566 @code{TabNoteHead.style = #'slash}.
569 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
570 @emph{Varpercussion} and @emph{varC} and their related tessitura.
571 @lilypond[verbatim,quote,fragment]
572 \override Staff.Clef.full-size-change = ##t
575 \clef "tenorG" c c c c
577 \clef "altovarC" c c c c
578 \clef "tenorvarC" c c c c
579 \clef "baritonevarC" c c c c
580 \clef "varpercussion" c c c c
583 \override Staff.Clef.full-size-change = ##f
586 \clef "tenorG" c c c c
588 \clef "altovarC" c c c c
589 \clef "tenorvarC" c c c c
590 \clef "baritonevarC" c c c
591 \clef "varpercussion" c c c c
595 Isolated durations in music sequences now stand for unpitched
596 notes. This may be useful for specifying rhythms to music or
597 scheme functions. When encountered in the final score, the
598 pitches are provided by the preceding note or chord. Here are two
599 examples where this makes for readable input:
601 @lilypond[verbatim,quote]
602 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
605 tambourine 8 \tuplet 3/2 { 16 16 16 }
606 8 \tuplet 3/2 { 16 16 16 } 8 8 |
610 @lilypond[verbatim,quote]
611 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
615 @code{\displayLilyMusic} and its underlying Scheme functions no
616 longer omit redundant note durations. This makes it easier to
617 reliably recognize and format standalone durations in expressions
624 Beaming exceptions can now be constructed using the
625 @code{\beamExceptions} scheme function. One can now write
627 @lilypond[verbatim,quote,relative=1]
629 \set Timing.beamExceptions =
630 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
632 \repeat unfold 6 { c32 } |
636 with multiple exceptions separated with @code{|} bar checks
637 (writing the exception pattern without pitches is convenient but
638 not mandatory). Previously, setting the beam exceptions would
639 have required writing
642 \set Timing.beamExceptions =
644 (end . ;entry for end of beams
645 ( ;start of alist of end points
646 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
651 The most common articulations are now reflected in MIDI output.
652 Accent and marcato make notes louder; staccato, staccatissimo and
653 portato make them shorter. Breath marks shorten the previous
656 This behavior is customizable through the @code{midiLength} and
657 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
658 See @file{script-init.ly} for examples.
661 The PostScript functionality of stroke adjustment is no longer
662 applied automatically but left to the discretion of the PostScript
663 device (by default, Ghostscript uses it for resolutions up to
664 150dpi when generating raster images). When it is enabled, a more
665 complex drawing algorithm designed to benefit from stroke
666 adjustment is employed mostly for stems and bar lines.
668 Stroke adjustment can be forced by specifying the command line
669 option @samp{-dstrokeadjust} to LilyPond. When generating
670 @code{PDF} files, this will usually result in markedly better
671 looking @code{PDF} previews but significantly larger file size.
672 Print quality at high resolutions will be unaffected.
677 For older news, go to
678 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
679 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
680 or @uref{../,go back} to the Documentation index.