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 Blocks introduced with @code{\header} can be stored in variables
66 and used as arguments to music and scheme functions and as the
67 body of @code{#@{@dots{}#@}} constructs. They are represented as
70 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
71 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
72 around in similar manner, they are represented by different data
76 Dot-separated symbol lists like @code{FretBoard.stencil} were
77 already supported as of version@tie{}2.18. They may now also
78 contain unsigned integers, and may alternatively be separated by
79 commata. This allows usage such as
80 @lilypond[quote,verbatim]
81 { \time 2,2,1 5/8 g'8 8 8 8 8 }
85 \tagGroup violin,oboe,bassoon
89 Such lists may also be used in expressions for assignments, sets,
90 and overrides. This allows usage such as
91 @lilypond[quote,verbatim]
92 { \unset Timing.beamExceptions
93 \set Timing.beatStructure = 1,2,1
98 Association list elements could previously be assigned values
99 individually (for example, paper variables like
100 @code{system-system-spacing.basic-distance}). They may now be
101 also referenced in this manner, as with
104 \void \displayScheme \system-system-spacing.basic-distance
108 In combination with the previously mentioned changes, this allows
109 setting and referencing pseudovariables like @code{violin.1}.
112 LilyPond source files may now be embedded inside the generated PDF files.
113 This experimental feature is disabled by default and may be regarded as unsafe,
114 as PDF documents with hidden content tend to present a security risk.
115 Please note that not all PDF viewers have the ability to handle embedded
116 documents (if not, the PDF output will appear normally and source files
117 will remain invisible). This feature only works with the PDF backend.
120 French note names are now defined specifically instead of
121 being aliased to Italian note names: in addition to the
122 generic Italian-derived syntax, the @var{d} pitch may be
123 entered as @code{ré}. Double sharps may also be
124 entered using the @code{-x} suffix.
127 Additional bass strings (for lute tablature) are supported.
128 @lilypond[quote,verbatim]
129 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
136 tablatureFormat = #fret-letter-tablature-format
140 stringTunings = \stringTuning <a, d f a d' f'>
141 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
142 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
149 The markup-list-command @code{\table} is now available.
150 Each column may be aligned differently.
151 @lilypond[quote,verbatim]
153 \override #'(padding . 2)
157 \underline { center-aligned right-aligned center-aligned left-aligned }
158 one "1" thousandth "0.001"
159 eleven "11" hundredth "0.01"
160 twenty "20" tenth "0.1"
161 thousand "1000" one "1.0"
167 A new markup-command, @code{\with-dimensions-from}, makes
168 @code{\with-dimensions} easier to use by taking the new
169 dimensions from a markup object, given as first argument.
170 @lilypond[quote,verbatim]
172 \pattern #5 #Y #0 "x"
173 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
174 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
175 \override #'(baseline-skip . 2)
177 \pattern #5 #X #0 "n"
178 \pattern #5 #X #0 \with-dimensions-from "n" "m"
179 \pattern #5 #X #0 \with-dimensions-from "n" "!"
185 A new page breaking function @code{ly:one-line-auto-height-breaking}
186 places a whole score on a single line and changes the page width
187 to match, just like @code{ly:one-line-breaking}. The difference is that
188 it also automatically modifies the height of the page to fit the height
192 Markup-command @code{\draw-squiggle-line} is now available.
193 Customizing is possible with overrides of @code{thickness}, @code{angularity},
194 @code{height} and @code{orientation}
195 @lilypond[quote,verbatim]
198 \draw-squiggle-line #0.5 #'(3 . 3) ##t
201 \override #'(thickness . 4)
202 \draw-squiggle-line #0.5 #'(3 . -3) ##t
205 \override #'(angularity . -5)
206 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
208 \translate #'(3 . -3)
209 \override #'(angularity . 2)
210 \override #'(height . 0.3)
211 \override #'(orientation . -1)
212 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
217 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
218 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
219 staves on the first system in a score.
222 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
223 as the generic markup-command @code{\tie}.
224 @lilypond[quote,verbatim]
226 \undertie "undertied"
231 c''1 \prall -\tweak text \markup \tie "131" -1
234 { \voiceOne \m \voiceTwo \m }
238 @code{TabStaff} is now able to print micro-tones for bendings etc.
239 @lilypond[quote,verbatim]
243 supportNonIntegerFret = ##t
247 mus = \relative { c'4 cih d dih }
250 \new Staff << \clef "G_8" \mus >>
256 Two new styles of whiteout are now available. The @code{outline} style
257 approximates the contours of a glyph's outline, and its shape is
258 produced from multiple displaced copies of the glyph. The
259 @code{rounded-box} style produces a rounded rectangle shape. For all
260 three styles, including the default @code{box} style, the whiteout
261 shape's @code{thickness}, as a multiple of staff-line thickness, can be
264 @lilypond[verbatim,quote]
267 \filled-box #'(-1 . 15) #'(-3 . 4) #1
268 \override #'(thickness . 3)
269 \whiteout whiteout-box
273 \filled-box #'(-1 . 24) #'(-3 . 4) #1
274 \override #'(style . rounded-box)
275 \override #'(thickness . 3)
276 \whiteout whiteout-rounded-box
280 \filled-box #'(-1 . 18) #'(-3 . 4) #1
281 \override #'(style . outline)
282 \override #'(thickness . 3)
283 \whiteout whiteout-outline
286 \override Staff.Clef.whiteout-style = #'outline
287 \override Staff.Clef.whiteout = 3
293 All of @code{\override}, @code{\revert}, @code{\set}, and
294 @code{\unset} now work with the @code{\once} prefix for making
296 @lilypond[quote,verbatim]
299 \override NoteHead.color = #red
301 \once \override NoteHead.color = #green
303 \once \revert NoteHead.color
305 \revert NoteHead.color
311 When outputting MIDI, LilyPond will now store the @code{title}
312 defined in a score's @code{\header} block (or, if there is no
313 such definition on the @code{\score} level, the first such
314 definition found in a @code{\header} block of the score's
315 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
316 as the name of the MIDI sequence in the MIDI file. Optionally,
317 the name of the MIDI sequence can be overridden using the new
318 @code{midititle} @code{\header} field independently of
319 @code{title} (for example, in case @code{title} contains markup
320 code which does not render as plain text in a satisfactory way
324 Music (and scheme and void) functions and markup commands that
325 just supply the final parameters to a chain of overrides, music
326 function and markup command calls can now be defined in the form
327 of just writing the expression cut short with @code{\etc}.
329 @lilypond[verbatim,quote]
330 bold-red-markup = \markup \bold \with-color #red \etc
331 highlight = \tweak font-size 3 \tweak color #red \etc
333 \markup \bold-red "text"
334 \markuplist \column-lines \bold-red { One Two }
336 { c' \highlight d' e'2-\highlight -! }
340 LilyPond functions defined with @code{define-music-function},
341 @code{define-event-function}, @code{define-scheme-function} and
342 @code{define-void-function} can now be directly called from Scheme
343 as if they were genuine Scheme procedures. Argument checking and
344 matching will still be performed in the same manner as when
345 calling the function through LilyPond input. This includes the
346 insertion of defaults for optional arguments not matching their
347 predicates. Instead of using @code{\default} in the actual
348 argument list for explicitly skipping a sequence of optional
349 arguments, @code{*unspecified*} can be employed.
352 Current input location and parser are now stored in GUILE fluids
353 and can be referenced via the function calls @code{(*location*)}
354 and @code{(*parser*)}. Consequently, a lot of functions
355 previously taking an explicit @code{parser} argument no longer do
358 Functions defined with @code{define-music-function},
359 @code{define-event-function}, @code{define-scheme-function} and
360 @code{define-void-function} no longer use @code{parser} and
361 @code{location} arguments.
363 With those particular definitions, LilyPond will try to recognize
364 legacy use of @code{parser} and @code{location} arguments,
365 providing backwards-compatible semantics for some time.
368 In the "english" notename language, the long notenames for pitches
369 with accidentals now contain a hyphen for better readability. You
374 instead of the previous
379 Double accidentals do not get another hyphen, so the Dutch
380 @code{cisis} has the long English notename @code{c-sharpsharp}.
383 The visual style of tremolo slashes (shape, style and slope)
384 is now more finely controlled.
385 @lilypond[quote,relative=2]
387 \override StemTremolo.shape = #'beam-like
389 \override StemTremolo.style = #'constant
396 Multi-measure rests have length according to their total duration,
397 under the control of @code{MultiMeasureRest.space-increment}.
399 { \compressFullBarRests
400 \override Staff.MultiMeasureRest.space-increment = 3.0
405 Page numbers may now be printed in roman numerals, by setting the
406 @code{page-number-type} paper variable.
409 It is now possible to use @code{\time} and @code{\partial}
410 together to change the time signature in mid measure.
412 @lilypond[verbatim,quote,relative=1]
413 \override Score.BarNumber.break-visibility = #end-of-line-invisible
414 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
415 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
419 It is now possible to override the @code{text} property of
422 @lilypond[verbatim,fragment,quote]
424 \new ChordNames \chordmode {
426 \once \override ChordName.text = #"foo"
433 Improved horizontal alignment when using @code{TextScript},
434 with @code{DynamicText} or @code{LyricText}.
437 A new command @code{\magnifyStaff} has been added which scales staff
438 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
439 at the @code{Staff} context level. Staff lines are prevented from being
440 scaled smaller than the default since the thickness of stems, slurs, and
441 the like are all based on the staff line thickness.
444 @code{InstrumentName} now supports @code{text-interface}.
447 There is now support for controlling the @q{expression level} of
448 MIDI channels using the @code{Staff.midiExpression} context property.
449 This can be used to alter the perceived volume of even sustained notes
450 (albeit in a very @q{low-level} way) and accepts a number value between
451 @code{0.0} and @code{1.0}.
456 midiExpression = #0.6
457 midiInstrument = #"clarinet"
462 \set Staff.midiExpression = #0.7 s4\f\<
463 \set Staff.midiExpression = #0.8 s4
464 \set Staff.midiExpression = #0.9 s4
465 \set Staff.midiExpression = #1.0 s4
467 \set Staff.midiExpression = #0.9 s4\>
468 \set Staff.midiExpression = #0.8 s4
469 \set Staff.midiExpression = #0.7 s4
470 \set Staff.midiExpression = #0.6 s4\!
478 Support for making it easier to use alternative @q{music} fonts other
479 than the default Emmentaler in LilyPond has been added. See
480 @uref{http://fonts.openlilylib.org/} for more information.
483 Grobs and their parents can now be aligned separately allowing
484 more flexibility for grob positions. For example the @q{left} edge of a
485 grob can now be aligned on the @q{center} of its parent.
488 Improvements to the @code{\partial} command have been made to
489 avoid problems when using multiple, parallel contexts.
491 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
495 A new command @code{\tagGroup} has now been added. This complements
496 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
500 \tagGroup #'(violinI violinII viola cello)
503 declares a list of @q{tags} that belong to a single @q{tag group}.
506 \keepWithTag #'violinI
509 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
511 Any element of the included music tagged with one or more tags from the
512 group, but @emph{not} with @var{violinI}, will be removed.
515 The @code{\addlyrics} function now works with arbitrary contexts
516 incuding @code{Staff}.
519 String numbers can now also be used to print roman numerals
520 (e.g. for unfretted string instruments).
521 @lilypond[verbatim,quote,relative=2]
530 The @code{thin-kern} property of the @code{BarLine} grob has been
531 renamed to @code{segno-kern}.
534 @code{KeyCancellation} grobs now ignore cue clefs (like
535 @code{KeySignature} grobs do).
538 Add support for @code{\once@tie{}\unset}
541 It is now possible to individually color both the dots and parentheses
542 in fret diagrams when using the @code{\fret-diagram-verbose} markup
545 @lilypond[verbatim,quote,relative=1]
548 \override #'(fret-diagram-details . (
549 (finger-code . in-dot))) {
550 \fret-diagram-verbose #'((mute 6)
551 (place-fret 5 3 1 red)
552 (place-fret 4 5 2 inverted)
553 (place-fret 3 5 3 green)
554 (place-fret 2 5 4 blue inverted)
555 (place-fret 1 3 1 violet)
560 \override #'(fret-diagram-details . (
561 (finger-code . below-string))) {
562 \fret-diagram-verbose #'((mute 6)
563 (place-fret 5 3 1 red parenthesized)
564 (place-fret 4 5 2 yellow
567 (place-fret 3 5 3 green)
568 (place-fret 2 5 4 blue )
577 Two new properties have been added for use in
578 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
579 markup command; @code{fret-label-horizontal-offset} which affects the
580 @code{fret-label-indication} and @code{paren-padding} which controls the
581 space between the dot and the parentheses surrounding it.
583 @lilypond[verbatim,quote,relative=1]
586 \fret-diagram-verbose #'((mute 6)
590 (place-fret 1 6 4 parenthesized)
595 \override #'(fret-diagram-details . (
596 (fret-label-horizontal-offset . 2)
597 (paren-padding . 0.25))) {
598 \fret-diagram-verbose #'((mute 6)
602 (place-fret 1 6 4 parenthesized)
611 A new markup command @code{\justify-line} has been added. Similar to
612 the @code{\fill-line} markup command except that instead of setting
613 @emph{words} in columns, the @code{\justify-line} command balances the
614 whitespace between them ensuring that when there are three or more
615 words in a markup, the whitespace is always consistent.
617 @lilypond[quote,verbatim,papersize=a6]
618 \markup \fill-line {oooooo oooooo oooooo oooooo}
619 \markup \fill-line {ooooooooo oooooooo oo ooo}
622 @lilypond[quote,verbatim,papersize=a6]
623 \markup \justify-line {oooooo oooooo oooooo oooooo}
624 \markup \justify-line {ooooooooo oooooooo oo ooo}
628 A new command @code{\magnifyMusic} has been added, which allows
629 the notation size to be changed without changing the staff size,
630 while automatically scaling stems, beams, and horizontal spacing.
632 @lilypond[verbatim,quote]
634 \new Voice \relative {
636 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
638 \new Voice \relative {
641 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
642 r32 c'' a c a c a c r c a c a c a c
643 r c a c a c a c a c a c a c a c
650 A new flexible template suitable for a range of choral music, is now
651 provided. This may be used to create simple choral music, with or
652 without piano accompaniment, in two or four staves. Unlike other
653 templates, this template is @q{built-in}, which means it does not
654 need to be copied and edited: instead it is simply @code{\include}'d
655 in the input file. For details, see @rlearning{Built-in templates}.
658 The positioning of tuplet numbers for kneed beams has been significantly
659 improved. Previously, tuplet numbers were placed according to the
660 position of the tuplet bracket, even if it was not printed. This could
661 lead to stranded tuplet numbers. Now they are now positioned
662 closer to the kneed-beam when an appropriate beam segment exists for its
663 placement and when the bracket is not drawn.
665 Collision detection is also added, offsetting horizontally if too close
666 to an adjoining note column but preserving the number's vertical
667 distance from the kneed beam. If the number itself is too large to
668 fit in the available space the original, bracket-based, positioning
669 system is used instead; and in the event of a collision (e.g. with an
670 accidental) the tuplet number is moved vertically away instead.
672 @lilypond[verbatim,fragment,quote,relative=1]
674 \override Beam.auto-knee-gap = 3
683 The original kneed-beam tuplet behavior is still available through an
684 @code{\override} via a new, @code{knee-to-beam} property.
686 @lilypond[verbatim,fragment,quote,relative=1]
688 \override Beam.auto-knee-gap = 3
689 \override TupletNumber.knee-to-beam = ##f
698 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
699 now accept the same kind of delimited argument list that @code{\lyrics}
700 and @code{\chords} accept. Backward compatibility has been added so
701 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
702 @code{convert-ly} rule has been added that removes redundant uses of
703 @code{\lyricmode} and rearranges combinations with context starters such
704 that @code{\lyricsto} in general is applied last (i.e. like
705 @code{\lyricmode} would be).
708 Scheme functions and identifiers can now be used as output definitions.
711 Scheme expressions can now be used as chord constituents.
714 Improved visual spacing of small and regular @q{MI} Funk and Walker
715 noteheads so they are now the same width as other shaped notes in
716 their respective sets. @code{SOL} noteheads are also now visually
717 improved when used with both the normal Aiken and Sacred Harp heads, as
718 well as with the thin variants.
721 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
722 @rinternals{LeftEdge}.
725 Added a new @code{make-path-stencil} function that supports all
726 @code{path} commands both relative and absolute:
728 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
729 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
730 supports @q{single-letter} syntax used in standard SVG path commands:
732 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
733 @code{z}. The new command is also backward-compatible with the original
734 @code{make-connected-path-stencil} function. Also see
735 @file{scm/stencil.scm}.
738 Context properties named in the @samp{alternativeRestores} property are
739 restored to their value at the start of the @emph{first} alternative in
740 all subsequent alternatives.
742 Currently the default set restores @q{current meter};
744 @lilypond[verbatim,fragment,quote,relative=2]
746 \repeat volta 2 { c2 e4 | }
755 @q{measure position};
757 @lilypond[verbatim,fragment,quote,relative=2]
759 \repeat volta 2 { c2 e4 | }
762 \set Timing.measurePosition = #(ly:make-moment -1/2)
770 and @q{chord changes};
772 @lilypond[verbatim,fragment,quote]
775 \set chordChanges = ##t
776 \chordmode { c1:m d:m c:m d:m }
779 \repeat volta 2 { \chordmode { c1:m } }
781 { \chordmode { d:m } }
782 { \chordmode { c:m } }
790 Improved MIDI output for breathe marks. After tied notes, breaths take
791 time @emph{only} from the last note of the tie; e.g.
792 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
793 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
794 how humans interpret breaths after ties. It now also makes it easier to
795 align simultaneous breathe marks over multiple parts, all with different
799 A new note head style for Tabulature has been added;
800 @code{TabNoteHead.style = #'slash}.
803 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
804 @emph{Varpercussion} and @emph{varC} and their related tessitura.
805 @lilypond[verbatim,quote,fragment]
806 \override Staff.Clef.full-size-change = ##t
809 \clef "tenorG" c c c c
811 \clef "altovarC" c c c c
812 \clef "tenorvarC" c c c c
813 \clef "baritonevarC" c c c c
814 \clef "varpercussion" c c c c
817 \override Staff.Clef.full-size-change = ##f
820 \clef "tenorG" c c c c
822 \clef "altovarC" c c c c
823 \clef "tenorvarC" c c c c
824 \clef "baritonevarC" c c c c
825 \clef "varpercussion" c c c c
829 Isolated durations in music sequences now stand for unpitched
830 notes. This may be useful for specifying rhythms to music or
831 scheme functions. When encountered in the final score, the
832 pitches are provided by the preceding note or chord. Here are two
833 examples where this makes for readable input:
835 @lilypond[verbatim,quote]
836 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
839 tambourine 8 \tuplet 3/2 { 16 16 16 }
840 8 \tuplet 3/2 { 16 16 16 } 8 8 |
844 @lilypond[verbatim,quote]
845 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
849 @code{\displayLilyMusic} and its underlying Scheme functions no
850 longer omit redundant note durations. This makes it easier to
851 reliably recognize and format standalone durations in expressions
858 Beaming exceptions can now be constructed using the
859 @code{\beamExceptions} scheme function. One can now write
861 @lilypond[verbatim,quote,relative=1]
863 \set Timing.beamExceptions =
864 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
866 \repeat unfold 6 { c32 } |
870 with multiple exceptions separated with @code{|} bar checks
871 (writing the exception pattern without pitches is convenient but
872 not mandatory). Previously, setting the beam exceptions would
873 have required writing
876 \set Timing.beamExceptions =
878 (end . ;entry for end of beams
879 ( ;start of alist of end points
880 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
885 The most common articulations are now reflected in MIDI output.
886 Accent and marcato make notes louder; staccato, staccatissimo and
887 portato make them shorter. Breath marks shorten the previous
890 This behavior is customizable through the @code{midiLength} and
891 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
892 See @file{script-init.ly} for examples.
895 The PostScript functionality of stroke adjustment is no longer
896 applied automatically but left to the discretion of the PostScript
897 device (by default, Ghostscript uses it for resolutions up to
898 150dpi when generating raster images). When it is enabled, a more
899 complex drawing algorithm designed to benefit from stroke
900 adjustment is employed mostly for stems and bar lines.
902 Stroke adjustment can be forced by specifying the command line
903 option @samp{-dstrokeadjust} to LilyPond. When generating
904 @code{PDF} files, this will usually result in markedly better
905 looking @code{PDF} previews but significantly larger file size.
906 Print quality at high resolutions will be unaffected.
911 For older news, go to
912 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
913 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
914 or @uref{../,go back} to the Documentation index.