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 Dot-separated symbol lists like @code{FretBoard.stencil} were
66 already supported as of version@tie{}2.18. They may now also
67 contain unsigned integers, and may alternatively be separated by
68 commata. This allows usage such as
69 @lilypond[quote,verbatim]
70 { \time 2,2,1 5/8 g'8 8 8 8 8 }
74 \tagGroup violin,oboe,bassoon
78 Such lists may also be used in expressions for assignments, sets,
79 and overrides. This allows usage such as
80 @lilypond[quote,verbatim]
81 { \unset Timing.beamExceptions
82 \set Timing.beatStructure = 1,2,1
87 Association list elements could previously be assigned values
88 individually (for example, paper variables like
89 @code{system-system-spacing.basic-distance}). They may now be
90 also referenced in this manner, as with
93 \void \displayScheme \system-system-spacing.basic-distance
97 In combination with the previously mentioned changes, this allows
98 setting and referencing pseudovariables like @code{violin.1}.
101 LilyPond source files may now be embedded inside the generated PDF files.
102 This experimental feature is disabled by default and may be regarded as unsafe,
103 as PDF documents with hidden content tend to present a security risk.
104 Please note that not all PDF viewers have the ability to handle embedded
105 documents (if not, the PDF output will appear normally and source files
106 will remain invisible). This feature only works with the PDF backend.
109 French note names are now defined specifically instead of
110 being aliased to Italian note names: in addition to the
111 generic Italian-derived syntax, the @var{d} pitch may be
112 entered as @code{ré}. Double sharps may also be
113 entered using the @code{-x} suffix.
116 Additional bass strings (for lute tablature) are supported.
117 @lilypond[quote,verbatim]
118 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
125 tablatureFormat = #fret-letter-tablature-format
129 stringTunings = \stringTuning <a, d f a d' f'>
130 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
131 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
138 The markup-list-command @code{\table} is now available.
139 Each column may be aligned differently.
140 @lilypond[quote,verbatim]
142 \override #'(padding . 2)
146 \underline { center-aligned right-aligned center-aligned left-aligned }
147 one "1" thousandth "0.001"
148 eleven "11" hundredth "0.01"
149 twenty "20" tenth "0.1"
150 thousand "1000" one "1.0"
156 A new markup-command, @code{\with-dimensions-from}, makes
157 @code{\with-dimensions} easier to use by taking the new
158 dimensions from a markup object, given as first argument.
159 @lilypond[quote,verbatim]
161 \pattern #5 #Y #0 "x"
162 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
163 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
164 \override #'(baseline-skip . 2)
166 \pattern #5 #X #0 "n"
167 \pattern #5 #X #0 \with-dimensions-from "n" "m"
168 \pattern #5 #X #0 \with-dimensions-from "n" "!"
174 A new page breaking function @code{ly:one-line-auto-height-breaking}
175 places a whole score on a single line and changes the page width
176 to match, just like @code{ly:one-line-breaking}. The difference is that
177 it also automatically modifies the height of the page to fit the height
181 Markup-command @code{\draw-squiggle-line} is now available.
182 Customizing is possible with overrides of @code{thickness}, @code{angularity},
183 @code{height} and @code{orientation}
184 @lilypond[quote,verbatim]
187 \draw-squiggle-line #0.5 #'(3 . 3) ##t
190 \override #'(thickness . 4)
191 \draw-squiggle-line #0.5 #'(3 . -3) ##t
194 \override #'(angularity . -5)
195 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
197 \translate #'(3 . -3)
198 \override #'(angularity . 2)
199 \override #'(height . 0.3)
200 \override #'(orientation . -1)
201 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
206 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
207 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
208 staves on the first system in a score.
211 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
212 as the generic markup-command @code{\tie}.
213 @lilypond[quote,verbatim]
215 \undertie "undertied"
220 c''1 \prall -\tweak text \markup \tie "131" -1
223 { \voiceOne \m \voiceTwo \m }
227 @code{TabStaff} is now able to print micro-tones for bendings etc.
228 @lilypond[quote,verbatim]
232 supportNonIntegerFret = ##t
236 mus = \relative { c'4 cih d dih }
239 \new Staff << \clef "G_8" \mus >>
245 Two new styles of whiteout are now available. The @code{outline} style
246 approximates the contours of a glyph's outline, and its shape is
247 produced from multiple displaced copies of the glyph. The
248 @code{rounded-box} style produces a rounded rectangle shape. For all
249 three styles, including the default @code{box} style, the whiteout
250 shape's @code{thickness}, as a multiple of staff-line thickness, can be
253 @lilypond[verbatim,quote]
256 \filled-box #'(-1 . 15) #'(-3 . 4) #1
257 \override #'(thickness . 3)
258 \whiteout whiteout-box
262 \filled-box #'(-1 . 24) #'(-3 . 4) #1
263 \override #'(style . rounded-box)
264 \override #'(thickness . 3)
265 \whiteout whiteout-rounded-box
269 \filled-box #'(-1 . 18) #'(-3 . 4) #1
270 \override #'(style . outline)
271 \override #'(thickness . 3)
272 \whiteout whiteout-outline
275 \override Staff.Clef.whiteout-style = #'outline
276 \override Staff.Clef.whiteout = 3
282 All of @code{\override}, @code{\revert}, @code{\set}, and
283 @code{\unset} now work with the @code{\once} prefix for making
285 @lilypond[quote,verbatim]
288 \override NoteHead.color = #red
290 \once \override NoteHead.color = #green
292 \once \revert NoteHead.color
294 \revert NoteHead.color
300 When outputting MIDI, LilyPond will now store the @code{title}
301 defined in a score's @code{\header} block (or, if there is no
302 such definition on the @code{\score} level, the first such
303 definition found in a @code{\header} block of the score's
304 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
305 as the name of the MIDI sequence in the MIDI file. Optionally,
306 the name of the MIDI sequence can be overridden using the new
307 @code{midititle} @code{\header} field independently of
308 @code{title} (for example, in case @code{title} contains markup
309 code which does not render as plain text in a satisfactory way
313 Music (and scheme and void) functions and markup commands that
314 just supply the final parameters to a chain of overrides, music
315 function and markup command calls can now be defined in the form
316 of just writing the expression cut short with @code{\etc}.
318 @lilypond[verbatim,quote]
319 bold-red-markup = \markup \bold \with-color #red \etc
320 highlight = \tweak font-size 3 \tweak color #red \etc
322 \markup \bold-red "text"
323 \markuplist \column-lines \bold-red { One Two }
325 { c' \highlight d' e'2-\highlight -! }
329 LilyPond functions defined with @code{define-music-function},
330 @code{define-event-function}, @code{define-scheme-function} and
331 @code{define-void-function} can now be directly called from Scheme
332 as if they were genuine Scheme procedures. Argument checking and
333 matching will still be performed in the same manner as when
334 calling the function through LilyPond input. This includes the
335 insertion of defaults for optional arguments not matching their
336 predicates. Instead of using @code{\default} in the actual
337 argument list for explicitly skipping a sequence of optional
338 arguments, @code{*unspecified*} can be employed.
341 Current input location and parser are now stored in GUILE fluids
342 and can be referenced via the function calls @code{(*location*)}
343 and @code{(*parser*)}. Consequently, a lot of functions
344 previously taking an explicit @code{parser} argument no longer do
347 Functions defined with @code{define-music-function},
348 @code{define-event-function}, @code{define-scheme-function} and
349 @code{define-void-function} no longer use @code{parser} and
350 @code{location} arguments.
352 With those particular definitions, LilyPond will try to recognize
353 legacy use of @code{parser} and @code{location} arguments,
354 providing backwards-compatible semantics for some time.
357 In the "english" notename language, the long notenames for pitches
358 with accidentals now contain a hyphen for better readability. You
363 instead of the previous
368 Double accidentals do not get another hyphen, so the Dutch
369 @code{cisis} has the long English notename @code{c-sharpsharp}.
372 The visual style of tremolo slashes (shape, style and slope)
373 is now more finely controlled.
374 @lilypond[quote,relative=2]
376 \override StemTremolo.shape = #'beam-like
378 \override StemTremolo.style = #'constant
385 Multi-measure rests have length according to their total duration,
386 under the control of @code{MultiMeasureRest.space-increment}.
388 { \compressFullBarRests
389 \override Staff.MultiMeasureRest.space-increment = 3.0
394 Page numbers may now be printed in roman numerals, by setting the
395 @code{page-number-type} paper variable.
398 It is now possible to use @code{\time} and @code{\partial}
399 together to change the time signature in mid measure.
401 @lilypond[verbatim,quote,relative=1]
402 \override Score.BarNumber.break-visibility = #end-of-line-invisible
403 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
404 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
408 It is now possible to override the @code{text} property of
411 @lilypond[verbatim,fragment,quote]
413 \new ChordNames \chordmode {
415 \once \override ChordName.text = #"foo"
422 Improved horizontal alignment when using @code{TextScript},
423 with @code{DynamicText} or @code{LyricText}.
426 A new command @code{\magnifyStaff} has been added which scales staff
427 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
428 at the @code{Staff} context level. Staff lines are prevented from being
429 scaled smaller than the default since the thickness of stems, slurs, and
430 the like are all based on the staff line thickness.
433 @code{InstrumentName} now supports @code{text-interface}.
436 There is now support for controlling the @q{expression level} of
437 MIDI channels using the @code{Staff.midiExpression} context property.
438 This can be used to alter the perceived volume of even sustained notes
439 (albeit in a very @q{low-level} way) and accepts a number value between
440 @code{0.0} and @code{1.0}.
445 midiExpression = #0.6
446 midiInstrument = #"clarinet"
451 \set Staff.midiExpression = #0.7 s4\f\<
452 \set Staff.midiExpression = #0.8 s4
453 \set Staff.midiExpression = #0.9 s4
454 \set Staff.midiExpression = #1.0 s4
456 \set Staff.midiExpression = #0.9 s4\>
457 \set Staff.midiExpression = #0.8 s4
458 \set Staff.midiExpression = #0.7 s4
459 \set Staff.midiExpression = #0.6 s4\!
467 Support for making it easier to use alternative @q{music} fonts other
468 than the default Emmentaler in LilyPond has been added. See
469 @uref{http://fonts.openlilylib.org/} for more information.
472 Grobs and their parents can now be aligned separately allowing
473 more flexibility for grob positions. For example the @q{left} edge of a
474 grob can now be aligned on the @q{center} of its parent.
477 Improvements to the @code{\partial} command have been made to
478 avoid problems when using multiple, parallel contexts.
480 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
484 A new command @code{\tagGroup} has now been added. This complements
485 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
489 \tagGroup #'(violinI violinII viola cello)
492 declares a list of @q{tags} that belong to a single @q{tag group}.
495 \keepWithTag #'violinI
498 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
500 Any element of the included music tagged with one or more tags from the
501 group, but @emph{not} with @var{violinI}, will be removed.
504 The @code{\addlyrics} function now works with arbitrary contexts
505 incuding @code{Staff}.
508 String numbers can now also be used to print roman numerals
509 (e.g. for unfretted string instruments).
510 @lilypond[verbatim,quote,relative=2]
519 The @code{thin-kern} property of the @code{BarLine} grob has been
520 renamed to @code{segno-kern}.
523 @code{KeyCancellation} grobs now ignore cue clefs (like
524 @code{KeySignature} grobs do).
527 Add support for @code{\once@tie{}\unset}
530 It is now possible to individually color both the dots and parentheses
531 in fret diagrams when using the @code{\fret-diagram-verbose} markup
534 @lilypond[verbatim,quote,relative=1]
537 \override #'(fret-diagram-details . (
538 (finger-code . in-dot))) {
539 \fret-diagram-verbose #'((mute 6)
540 (place-fret 5 3 1 red)
541 (place-fret 4 5 2 inverted)
542 (place-fret 3 5 3 green)
543 (place-fret 2 5 4 blue inverted)
544 (place-fret 1 3 1 violet)
549 \override #'(fret-diagram-details . (
550 (finger-code . below-string))) {
551 \fret-diagram-verbose #'((mute 6)
552 (place-fret 5 3 1 red parenthesized)
553 (place-fret 4 5 2 yellow
556 (place-fret 3 5 3 green)
557 (place-fret 2 5 4 blue )
566 Two new properties have been added for use in
567 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
568 markup command; @code{fret-label-horizontal-offset} which affects the
569 @code{fret-label-indication} and @code{paren-padding} which controls the
570 space between the dot and the parentheses surrounding it.
572 @lilypond[verbatim,quote,relative=1]
575 \fret-diagram-verbose #'((mute 6)
579 (place-fret 1 6 4 parenthesized)
584 \override #'(fret-diagram-details . (
585 (fret-label-horizontal-offset . 2)
586 (paren-padding . 0.25))) {
587 \fret-diagram-verbose #'((mute 6)
591 (place-fret 1 6 4 parenthesized)
600 A new markup command @code{\justify-line} has been added. Similar to
601 the @code{\fill-line} markup command except that instead of setting
602 @emph{words} in columns, the @code{\justify-line} command balances the
603 whitespace between them ensuring that when there are three or more
604 words in a markup, the whitespace is always consistent.
606 @lilypond[quote,verbatim,papersize=a6]
607 \markup \fill-line {oooooo oooooo oooooo oooooo}
608 \markup \fill-line {ooooooooo oooooooo oo ooo}
611 @lilypond[quote,verbatim,papersize=a6]
612 \markup \justify-line {oooooo oooooo oooooo oooooo}
613 \markup \justify-line {ooooooooo oooooooo oo ooo}
617 A new command @code{\magnifyMusic} has been added, which allows
618 the notation size to be changed without changing the staff size,
619 while automatically scaling stems, beams, and horizontal spacing.
621 @lilypond[verbatim,quote]
623 \new Voice \relative {
625 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
627 \new Voice \relative {
630 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
631 r32 c'' a c a c a c r c a c a c a c
632 r c a c a c a c a c a c a c a c
639 A new flexible template suitable for a range of choral music, is now
640 provided. This may be used to create simple choral music, with or
641 without piano accompaniment, in two or four staves. Unlike other
642 templates, this template is @q{built-in}, which means it does not
643 need to be copied and edited: instead it is simply @code{\include}'d
644 in the input file. For details, see @rlearning{Built-in templates}.
647 The positioning of tuplet numbers for kneed beams has been significantly
648 improved. Previously, tuplet numbers were placed according to the
649 position of the tuplet bracket, even if it was not printed. This could
650 lead to stranded tuplet numbers. Now they are now positioned
651 closer to the kneed-beam when an appropriate beam segment exists for its
652 placement and when the bracket is not drawn.
654 Collision detection is also added, offsetting horizontally if too close
655 to an adjoining note column but preserving the number's vertical
656 distance from the kneed beam. If the number itself is too large to
657 fit in the available space the original, bracket-based, positioning
658 system is used instead; and in the event of a collision (e.g. with an
659 accidental) the tuplet number is moved vertically away instead.
661 @lilypond[verbatim,fragment,quote,relative=1]
663 \override Beam.auto-knee-gap = 3
672 The original kneed-beam tuplet behavior is still available through an
673 @code{\override} via a new, @code{knee-to-beam} property.
675 @lilypond[verbatim,fragment,quote,relative=1]
677 \override Beam.auto-knee-gap = 3
678 \override TupletNumber.knee-to-beam = ##f
687 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
688 now accept the same kind of delimited argument list that @code{\lyrics}
689 and @code{\chords} accept. Backward compatibility has been added so
690 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
691 @code{convert-ly} rule has been added that removes redundant uses of
692 @code{\lyricmode} and rearranges combinations with context starters such
693 that @code{\lyricsto} in general is applied last (i.e. like
694 @code{\lyricmode} would be).
697 Scheme functions and identifiers can now be used as output definitions.
700 Scheme expressions can now be used as chord constituents.
703 Improved visual spacing of small and regular @q{MI} Funk and Walker
704 noteheads so they are now the same width as other shaped notes in
705 their respective sets. @code{SOL} noteheads are also now visually
706 improved when used with both the normal Aiken and Sacred Harp heads, as
707 well as with the thin variants.
710 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
711 @rinternals{LeftEdge}.
714 Added a new @code{make-path-stencil} function that supports all
715 @code{path} commands both relative and absolute:
717 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
718 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
719 supports @q{single-letter} syntax used in standard SVG path commands:
721 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
722 @code{z}. The new command is also backward-compatible with the original
723 @code{make-connected-path-stencil} function. Also see
724 @file{scm/stencil.scm}.
727 Context properties named in the @samp{alternativeRestores} property are
728 restored to their value at the start of the @emph{first} alternative in
729 all subsequent alternatives.
731 Currently the default set restores @q{current meter};
733 @lilypond[verbatim,fragment,quote,relative=2]
735 \repeat volta 2 { c2 e4 | }
744 @q{measure position};
746 @lilypond[verbatim,fragment,quote,relative=2]
748 \repeat volta 2 { c2 e4 | }
751 \set Timing.measurePosition = #(ly:make-moment -1/2)
759 and @q{chord changes};
761 @lilypond[verbatim,fragment,quote]
764 \set chordChanges = ##t
765 \chordmode { c1:m d:m c:m d:m }
768 \repeat volta 2 { \chordmode { c1:m } }
770 { \chordmode { d:m } }
771 { \chordmode { c:m } }
779 Improved MIDI output for breathe marks. After tied notes, breaths take
780 time @emph{only} from the last note of the tie; e.g.
781 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
782 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
783 how humans interpret breaths after ties. It now also makes it easier to
784 align simultaneous breathe marks over multiple parts, all with different
788 A new note head style for Tabulature has been added;
789 @code{TabNoteHead.style = #'slash}.
792 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
793 @emph{Varpercussion} and @emph{varC} and their related tessitura.
794 @lilypond[verbatim,quote,fragment]
795 \override Staff.Clef.full-size-change = ##t
798 \clef "tenorG" c c c c
800 \clef "altovarC" c c c c
801 \clef "tenorvarC" c c c c
802 \clef "baritonevarC" c c c c
803 \clef "varpercussion" c c c c
806 \override Staff.Clef.full-size-change = ##f
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
818 Isolated durations in music sequences now stand for unpitched
819 notes. This may be useful for specifying rhythms to music or
820 scheme functions. When encountered in the final score, the
821 pitches are provided by the preceding note or chord. Here are two
822 examples where this makes for readable input:
824 @lilypond[verbatim,quote]
825 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
828 tambourine 8 \tuplet 3/2 { 16 16 16 }
829 8 \tuplet 3/2 { 16 16 16 } 8 8 |
833 @lilypond[verbatim,quote]
834 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
838 @code{\displayLilyMusic} and its underlying Scheme functions no
839 longer omit redundant note durations. This makes it easier to
840 reliably recognize and format standalone durations in expressions
847 Beaming exceptions can now be constructed using the
848 @code{\beamExceptions} scheme function. One can now write
850 @lilypond[verbatim,quote,relative=1]
852 \set Timing.beamExceptions =
853 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
855 \repeat unfold 6 { c32 } |
859 with multiple exceptions separated with @code{|} bar checks
860 (writing the exception pattern without pitches is convenient but
861 not mandatory). Previously, setting the beam exceptions would
862 have required writing
865 \set Timing.beamExceptions =
867 (end . ;entry for end of beams
868 ( ;start of alist of end points
869 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
874 The most common articulations are now reflected in MIDI output.
875 Accent and marcato make notes louder; staccato, staccatissimo and
876 portato make them shorter. Breath marks shorten the previous
879 This behavior is customizable through the @code{midiLength} and
880 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
881 See @file{script-init.ly} for examples.
884 The PostScript functionality of stroke adjustment is no longer
885 applied automatically but left to the discretion of the PostScript
886 device (by default, Ghostscript uses it for resolutions up to
887 150dpi when generating raster images). When it is enabled, a more
888 complex drawing algorithm designed to benefit from stroke
889 adjustment is employed mostly for stems and bar lines.
891 Stroke adjustment can be forced by specifying the command line
892 option @samp{-dstrokeadjust} to LilyPond. When generating
893 @code{PDF} files, this will usually result in markedly better
894 looking @code{PDF} previews but significantly larger file size.
895 Print quality at high resolutions will be unaffected.
900 For older news, go to
901 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
902 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
903 or @uref{../,go back} to the Documentation index.