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 Music (and scheme and void) functions and markup commands that
66 just supply the final parameters to a chain of music and function
67 and markup command calls, respectively, can now be defined in the
68 form of just writing the expression cut short with @code{\etc}.
69 @lilypond[verbatim,quote]
70 bold-red-markup = \markup \bold \with-color #red \etc
71 highlight = \tweak font-size 3 \tweak color #red \etc
73 \markup \bold-red "text"
74 \markuplist \column-lines \bold-red { One Two }
76 { c' \highlight d' e'2-\highlight -! }
80 LilyPond functions defined with @code{define-music-function},
81 @code{define-event-function}, @code{define-scheme-function} and
82 @code{define-void-function} can now be directly called from Scheme
83 as if they were genuine Scheme procedures. Argument checking and
84 matching will still be performed in the same manner as when
85 calling the function through LilyPond input. This includes the
86 insertion of defaults for optional arguments not matching their
87 predicates. Instead of using @code{\default} in the actual
88 argument list for explicitly skipping a sequence of optional
89 arguments, @code{*unspecified*} can be employed.
92 Current input location and parser are now stored in GUILE fluids
93 and can be referenced via the function calls @code{(*location*)}
94 and @code{(*parser*)}. Consequently, a lot of functions
95 previously taking an explicit @code{parser} argument no longer do
98 Functions defined with @code{define-music-function},
99 @code{define-event-function}, @code{define-scheme-function} and
100 @code{define-void-function} no longer use @code{parser} and
101 @code{location} arguments.
103 With those particular definitions, LilyPond will try to recognize
104 legacy use of @code{parser} and @code{location} arguments,
105 providing backwards-compatible semantics for some time.
108 The @code{whiteout} grob property and @code{\whiteout} markup command
109 now create a white background built from multiple displaced copies of
110 the glyph in order to approximate the contours of its outline.
111 The previous rounded box white background can be achieved with the
112 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
113 command. Setting the @code{whiteout} property to a number now sets
114 the thickness of the white outline as a multiple of staff-line
115 thickness. Similarly, overriding the @code{thickness} property of
116 the @code{\whiteout} markup command sets the thickness of the white
120 In the "english" notename language, the long notenames for pitches
121 with accidentals now contain a hyphen for better readability. You
126 instead of the previous
131 Double accidentals do not get another hyphen, so the Dutch
132 @code{cisis} has the long English notename @code{c-sharpsharp}.
135 The visual style of tremolo slashes (shape, style and slope)
136 is now more finely controlled.
137 @lilypond[quote,relative=2]
139 \override StemTremolo.shape = #'beam-like
141 \override StemTremolo.style = #'constant
148 Multi-measure rests have length according to their total duration,
149 under the control of @code{MultiMeasureRest.space-increment}.
151 { \compressFullBarRests
152 \override Staff.MultiMeasureRest.space-increment = 3.0
157 Page numbers may now be printed in roman numerals, by setting the
158 @code{page-number-type} paper variable.
161 It is now possible to use @code{\time} and @code{\partial}
162 together to change the time signature in mid measure.
164 @lilypond[verbatim,quote,relative=1]
165 \override Score.BarNumber.break-visibility = #end-of-line-invisible
166 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
167 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
171 It is now possible to override the @code{text} property of
174 @lilypond[verbatim,fragment,quote]
176 \new ChordNames \chordmode {
178 \once \override ChordName.text = #"foo"
185 Improved horizontal alignment when using @code{TextScript},
186 with @code{DynamicText} or @code{LyricText}.
189 A new command @code{\magnifyStaff} has been added which scales staff
190 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
191 at the @code{Staff} context level. Staff lines are prevented from being
192 scaled smaller than the default since the thickness of stems, slurs, and
193 the like are all based on the staff line thickness.
196 @code{InstrumentName} now supports @code{text-interface}.
199 There is now support for controlling the @q{expression level} of
200 MIDI channels using the @code{Staff.midiExpression} context property.
201 This can be used to alter the perceived volume of even sustained notes
202 (albeit in a very @q{low-level} way) and accepts a number value between
203 @code{0.0} and @code{1.0}.
208 midiExpression = #0.6
209 midiInstrument = #"clarinet"
214 \set Staff.midiExpression = #0.7 s4\f\<
215 \set Staff.midiExpression = #0.8 s4
216 \set Staff.midiExpression = #0.9 s4
217 \set Staff.midiExpression = #1.0 s4
219 \set Staff.midiExpression = #0.9 s4\>
220 \set Staff.midiExpression = #0.8 s4
221 \set Staff.midiExpression = #0.7 s4
222 \set Staff.midiExpression = #0.6 s4\!
230 Support for making it easier to use alternative @q{music} fonts other
231 than the default Emmentaler in LilyPond has been added. See
232 @uref{http://fonts.openlilylib.org/} for more information.
235 Grobs and their parents can now be aligned separately allowing
236 more flexibility for grob positions. For example the @q{left} edge of a
237 grob can now be aligned on the @q{center} of its parent.
240 Improvements to the @code{\partial} command have been made to
241 avoid problems when using multiple, parallel contexts.
243 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
247 A new command @code{\tagGroup} has now been added. This complements
248 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
252 \tagGroup #'(violinI violinII viola cello)
255 declares a list of @q{tags} that belong to a single @q{tag group}.
258 \keepwithTag#'violinI
261 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
263 Any element of the included music tagged with one or more tags from the
264 group, but @emph{not} with @var{violinI}, will be removed.
267 The @code{\addlyrics} function now works with arbitrary contexts
268 incuding @code{Staff}.
271 String numbers can now also be used to print roman numerals
272 (e.g. for unfretted string instruments).
273 @lilypond[verbatim,quote,relative=2]
282 The @code{thin-kern} property of the @code{BarLine} grob has been
283 renamed to @code{segno-kern}.
286 @code{KeyCancellation} grobs now ignore cue clefs (like
287 @code{KeySignature} grobs do).
290 Add support for @code{\once@tie{}\unset}
293 It is now possible to individually color both the dots and parentheses
294 in fret diagrams when using the @code{\fret-diagram-verbose} markup
297 @lilypond[verbatim,quote,relative=1]
300 \override #'(fret-diagram-details . (
301 (finger-code . in-dot))) {
302 \fret-diagram-verbose #'((mute 6)
303 (place-fret 5 3 1 red)
304 (place-fret 4 5 2 inverted)
305 (place-fret 3 5 3 green)
306 (place-fret 2 5 4 blue inverted)
307 (place-fret 1 3 1 violet)
312 \override #'(fret-diagram-details . (
313 (finger-code . below-string))) {
314 \fret-diagram-verbose #'((mute 6)
315 (place-fret 5 3 1 red parenthesized)
316 (place-fret 4 5 2 yellow
319 (place-fret 3 5 3 green)
320 (place-fret 2 5 4 blue )
329 Two new properties have been added for use in
330 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
331 markup command; @code{fret-label-horizontal-offset} which affects the
332 @code{fret-label-indication} and @code{paren-padding} which controls the
333 space between the dot and the parentheses surrounding it.
335 @lilypond[verbatim,quote,relative=1]
338 \fret-diagram-verbose #'((mute 6)
342 (place-fret 1 6 4 parenthesized)
347 \override #'(fret-diagram-details . (
348 (fret-label-horizontal-offset . 2)
349 (paren-padding . 0.25))) {
350 \fret-diagram-verbose #'((mute 6)
354 (place-fret 1 6 4 parenthesized)
363 A new markup command @code{\justify-line} has been added. Similar to
364 the @code{\fill-line} markup command except that instead of setting
365 @emph{words} in columns, the @code{\justify-line} command balances the
366 whitespace between them ensuring that when there are three or more
367 words in a markup, the whitespace is always consistent.
369 @lilypond[quote,verbatim,papersize=a6]
370 \markup \fill-line {oooooo oooooo oooooo oooooo}
371 \markup \fill-line {ooooooooo oooooooo oo ooo}
374 @lilypond[quote,verbatim,papersize=a6]
375 \markup \justify-line {oooooo oooooo oooooo oooooo}
376 \markup \justify-line {ooooooooo oooooooo oo ooo}
380 A new command @code{\magnifyMusic} has been added, which allows
381 the notation size to be changed without changing the staff size,
382 while automatically scaling stems, beams, and horizontal spacing.
384 @lilypond[verbatim,quote]
386 \new Voice \relative {
388 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
390 \new Voice \relative {
393 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
394 r32 c'' a c a c a c r c a c a c a c
395 r c a c a c a c a c a c a c a c
402 A new flexible template suitable for a range of choral music, is now
403 provided. This may be used to create simple choral music, with or
404 without piano accompaniment, in two or four staves. Unlike other
405 templates, this template is @q{built-in}, which means it does not
406 need to be copied and edited: instead it is simply @code{\include}'d
407 in the input file. For details, see @rlearning{Built-in templates}.
410 The positioning of tuplet numbers for kneed beams has been significantly
411 improved. Previously, tuplet numbers were placed according to the
412 position of the tuplet bracket, even if it was not printed. This could
413 lead to stranded tuplet numbers. Now they are now positioned
414 closer to the kneed-beam when an appropriate beam segment exists for its
415 placement and when the the bracket is not drawn.
417 Collision detection is also added, offsetting horizontally if too close
418 to an adjoining note column but preserving the number's vertical
419 distance from the kneed beam. If the number itself is too large to
420 fit in the available space the original, bracket-based, positioning
421 system is used instead; and in the event of a collision (e.g. with an
422 accidental) the tuplet number is moved vertically away instead.
424 @lilypond[verbatim,fragment,quote,relative=1]
426 \override Beam.auto-knee-gap = 3
435 The original kneed-beam tuplet behavior is still available through an
436 @code{\override} via a new, @code{knee-to-beam} property.
438 @lilypond[verbatim,fragment,quote,relative=1]
440 \override Beam.auto-knee-gap = 3
441 \override TupletNumber.knee-to-beam = ##f
450 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
451 now accept the same kind of delimited argument list that @code{\lyrics}
452 and @code{\chords} accept. Backward compatibility has been added so
453 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
454 @code{convert-ly} rule has been added that removes redundant uses of
455 @code{\lyricmode} and rearranges combinations with context starters such
456 that @code{\lyricsto} in general is applied last (i.e. like
457 @code{\lyricmode} would be).
460 Scheme functions and identifiers can now be used as output definitions.
463 Scheme expressions can now be used as chord constituents.
466 Improved visual spacing of small and regular @q{MI} Funk and Walker
467 noteheads so they are now the same width as other shaped notes in
468 their respective sets. @code{SOL} noteheads are also now visually
469 improved when used with both the normal Aiken and Sacred Harp heads, as
470 well as with the thin variants.
473 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
474 @rinternals{LeftEdge}.
477 Added a new @code{make-path-stencil} function that supports all
478 @code{path} commands both relative and absolute:
480 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
481 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
482 supports @q{single-letter} syntax used in standard SVG path commands:
484 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
485 @code{z}. The new command is also backward-compatible with the original
486 @code{make-connected-path-stencil} function. Also see
487 @file{scm/stencil.scm}.
490 Context properties named in the @samp{alternativeRestores} property are
491 restored to their value at the start of the @emph{first} alternative in
492 all subsequent alternatives.
494 Currently the default set restores @q{current meter};
496 @lilypond[verbatim,fragment,quote,relative=2]
498 \repeat volta 2 { c2 e4 | }
507 @q{measure position};
509 @lilypond[verbatim,fragment,quote,relative=2]
511 \repeat volta 2 { c2 e4 | }
514 \set Timing.measurePosition = #(ly:make-moment -1/2)
522 and @q{chord changes};
524 @lilypond[verbatim,fragment,quote]
527 \set chordChanges = ##t
528 \chordmode { c1:m d:m c:m d:m }
531 \repeat volta 2 { \chordmode { c1:m } }
533 { \chordmode { d:m } }
534 { \chordmode { c:m } }
542 Improved MIDI output for breathe marks. After tied notes, breaths take
543 time @emph{only} from the last note of the tie; e.g.
544 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
545 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
546 how humans interpret breaths after ties. It now also makes it easier to
547 align simultaneous breathe marks over multiple parts, all with different
551 A new note head style for Tabulature has been added;
552 @code{TabNoteHead.style = #'slash}.
555 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
556 @emph{Varpercussion} and @emph{varC} and their related tessitura.
557 @lilypond[verbatim,quote,fragment]
558 \override Staff.Clef.full-size-change = ##t
561 \clef "tenorG" c c c c
563 \clef "altovarC" c c c c
564 \clef "tenorvarC" c c c c
565 \clef "baritonevarC" c c c c
566 \clef "varpercussion" c c c c
569 \override Staff.Clef.full-size-change = ##f
572 \clef "tenorG" c c c c
574 \clef "altovarC" c c c c
575 \clef "tenorvarC" c c c c
576 \clef "baritonevarC" c c c
577 \clef "varpercussion" c c c c
581 Isolated durations in music sequences now stand for unpitched
582 notes. This may be useful for specifying rhythms to music or
583 scheme functions. When encountered in the final score, the
584 pitches are provided by the preceding note or chord. Here are two
585 examples where this makes for readable input:
587 @lilypond[verbatim,quote]
588 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
591 tambourine 8 \tuplet 3/2 { 16 16 16 }
592 8 \tuplet 3/2 { 16 16 16 } 8 8 |
596 @lilypond[verbatim,quote]
597 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
601 @code{\displayLilyMusic} and its underlying Scheme functions no
602 longer omit redundant note durations. This makes it easier to
603 reliably recognize and format standalone durations in expressions
610 Beaming exceptions can now be constructed using the
611 @code{\beamExceptions} scheme function. One can now write
613 @lilypond[verbatim,quote,relative=1]
615 \set Timing.beamExceptions =
616 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
618 \repeat unfold 6 { c32 } |
622 with multiple exceptions separated with @code{|} bar checks
623 (writing the exception pattern without pitches is convenient but
624 not mandatory). Previously, setting the beam exceptions would
625 have required writing
628 \set Timing.beamExceptions =
630 (end . ;entry for end of beams
631 ( ;start of alist of end points
632 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
637 The most common articulations are now reflected in MIDI output.
638 Accent and marcato make notes louder; staccato, staccatissimo and
639 portato make them shorter. Breath marks shorten the previous
642 This behavior is customizable through the @code{midiLength} and
643 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
644 See @file{script-init.ly} for examples.
647 The PostScript functionality of stroke adjustment is no longer
648 applied automatically but left to the discretion of the PostScript
649 device (by default, Ghostscript uses it for resolutions up to
650 150dpi when generating raster images). When it is enabled, a more
651 complex drawing algorithm designed to benefit from stroke
652 adjustment is employed mostly for stems and bar lines.
654 Stroke adjustment can be forced by specifying the command line
655 option @samp{-dstrokeadjust} to LilyPond. When generating
656 @code{PDF} files, this will usually result in markedly better
657 looking @code{PDF} previews but significantly larger file size.
658 Print quality at high resolutions will be unaffected.
663 For older news, go to
664 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
665 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
666 or @uref{../,go back} to the Documentation index.