1 New features in 2.20 since 2.18
2 *******************************
4 * Blocks introduced with `\header' can be stored in variables and
5 used as arguments to music and scheme functions and as the body of
6 `#{...#}' constructs. They are represented as a Guile module.
8 While `\book', `\bookpart', `\score', `\with', `\layout', `\midi',
9 `\paper' blocks can be passed around in similar manner, they are
10 represented by different data types.
12 * Dot-separated symbol lists like `FretBoard.stencil' were already
13 supported as of version 2.18. They may now also contain unsigned
14 integers, and may alternatively be separated by commata. This
17 { \time 2,2,1 5/8 g'8 8 8 8 8 }
22 \tagGroup violin,oboe,bassoon
24 * Such lists may also be used in expressions for assignments, sets,
25 and overrides. This allows usage such as
27 { \unset Timing.beamExceptions
28 \set Timing.beatStructure = 1,2,1
33 * Association list elements could previously be assigned values
34 individually (for example, paper variables like
35 `system-system-spacing.basic-distance'). They may now be also
36 referenced in this manner, as with
38 \void \displayScheme \system-system-spacing.basic-distance
41 In combination with the previously mentioned changes, this allows
42 setting and referencing pseudovariables like `violin.1'.
44 * LilyPond source files may now be embedded inside the generated PDF
45 files. This experimental feature is disabled by default and may
46 be regarded as unsafe, as PDF documents with hidden content tend
47 to present a security risk. Please note that not all PDF viewers
48 have the ability to handle embedded documents (if not, the PDF
49 output will appear normally and source files will remain
50 invisible). This feature only works with the PDF backend.
52 * French note names are now defined specifically instead of being
53 aliased to Italian note names: in addition to the generic
54 Italian-derived syntax, the D pitch may be entered as `ré'.
55 Double sharps may also be entered using the `-x' suffix.
57 * Additional bass strings (for lute tablature) are supported.
59 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
66 tablatureFormat = #fret-letter-tablature-format
70 stringTunings = \stringTuning <a, d f a d' f'>
71 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
72 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
79 * The markup-list-command `\table' is now available. Each column
80 may be aligned differently.
83 \override #'(padding . 2)
87 \underline { center-aligned right-aligned center-aligned left-aligned }
88 one "1" thousandth "0.001"
89 eleven "11" hundredth "0.01"
90 twenty "20" tenth "0.1"
91 thousand "1000" one "1.0"
97 * A new markup-command, `\with-dimensions-from', makes
98 `\with-dimensions' easier to use by taking the new dimensions from
99 a markup object, given as first argument.
102 \pattern #5 #Y #0 "x"
103 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
104 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
105 \override #'(baseline-skip . 2)
107 \pattern #5 #X #0 "n"
108 \pattern #5 #X #0 \with-dimensions-from "n" "m"
109 \pattern #5 #X #0 \with-dimensions-from "n" "!"
115 * A new page breaking function `ly:one-line-auto-height-breaking'
116 places a whole score on a single line and changes the page width
117 to match, just like `ly:one-line-breaking'. The difference is that
118 it also automatically modifies the height of the page to fit the
121 * Markup-command `\draw-squiggle-line' is now available.
122 Customizing is possible with overrides of `thickness',
123 `angularity', `height' and `orientation'
127 \draw-squiggle-line #0.5 #'(3 . 3) ##t
130 \override #'(thickness . 4)
131 \draw-squiggle-line #0.5 #'(3 . -3) ##t
134 \override #'(angularity . -5)
135 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
137 \translate #'(3 . -3)
138 \override #'(angularity . 2)
139 \override #'(height . 0.3)
140 \override #'(orientation . -1)
141 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
146 * A new command, `\RemoveAllEmptyStaves', has been made available,
147 which acts exactly like `\RemoveEmptyStaves', except for also
148 removing empty staves on the first system in a score.
150 * Markup-commands `\undertie' and `\overtie' are now available, as
151 well as the generic markup-command `\tie'.
154 \undertie "undertied"
159 c''1 \prall -\tweak text \markup \tie "131" -1
162 { \voiceOne \m \voiceTwo \m }
166 * `TabStaff' is now able to print micro-tones for bendings etc.
171 supportNonIntegerFret = ##t
175 mus = \relative { c'4 cih d dih }
178 \new Staff << \clef "G_8" \mus >>
184 * Two new styles of whiteout are now available. The `outline' style
185 approximates the contours of a glyph's outline, and its shape is
186 produced from multiple displaced copies of the glyph. The
187 `rounded-box' style produces a rounded rectangle shape. For all
188 three styles, including the default `box' style, the whiteout
189 shape's `thickness', as a multiple of staff-line thickness, can be
194 \filled-box #'(-1 . 15) #'(-3 . 4) #1
195 \override #'(thickness . 3)
196 \whiteout whiteout-box
200 \filled-box #'(-1 . 24) #'(-3 . 4) #1
201 \override #'(style . rounded-box)
202 \override #'(thickness . 3)
203 \whiteout whiteout-rounded-box
207 \filled-box #'(-1 . 18) #'(-3 . 4) #1
208 \override #'(style . outline)
209 \override #'(thickness . 3)
210 \whiteout whiteout-outline
213 \override Staff.Clef.whiteout-style = #'outline
214 \override Staff.Clef.whiteout = 3
220 * All of `\override', `\revert', `\set', and `\unset' now work with
221 the `\once' prefix for making one-time settings.
225 \override NoteHead.color = #red
227 \once \override NoteHead.color = #green
229 \once \revert NoteHead.color
231 \revert NoteHead.color
237 * When outputting MIDI, LilyPond will now store the `title' defined
238 in a score's `\header' block (or, if there is no such definition
239 on the `\score' level, the first such definition found in a
240 `\header' block of the score's enclosing `\bookpart', `\book', or
241 top-level scope) as the name of the MIDI sequence in the MIDI
242 file. Optionally, the name of the MIDI sequence can be overridden
243 using the new `midititle' `\header' field independently of `title'
244 (for example, in case `title' contains markup code which does not
245 render as plain text in a satisfactory way automatically).
247 * Music (and scheme and void) functions and markup commands that
248 just supply the final parameters to a chain of overrides, music
249 function and markup command calls can now be defined in the form
250 of just writing the expression cut short with `\etc'.
252 bold-red-markup = \markup \bold \with-color #red \etc
253 highlight = \tweak font-size 3 \tweak color #red \etc
255 \markup \bold-red "text"
256 \markuplist \column-lines \bold-red { One Two }
258 { c' \highlight d' e'2-\highlight -! }
262 * LilyPond functions defined with `define-music-function',
263 `define-event-function', `define-scheme-function' and
264 `define-void-function' can now be directly called from Scheme as
265 if they were genuine Scheme procedures. Argument checking and
266 matching will still be performed in the same manner as when
267 calling the function through LilyPond input. This includes the
268 insertion of defaults for optional arguments not matching their
269 predicates. Instead of using `\default' in the actual argument
270 list for explicitly skipping a sequence of optional arguments,
271 `*unspecified*' can be employed.
273 * Current input location and parser are now stored in GUILE fluids
274 and can be referenced via the function calls `(*location*)' and
275 `(*parser*)'. Consequently, a lot of functions previously taking
276 an explicit `parser' argument no longer do so.
278 Functions defined with `define-music-function',
279 `define-event-function', `define-scheme-function' and
280 `define-void-function' no longer use `parser' and `location'
283 With those particular definitions, LilyPond will try to recognize
284 legacy use of `parser' and `location' arguments, providing
285 backwards-compatible semantics for some time.
287 * In the "english" notename language, the long notenames for pitches
288 with accidentals now contain a hyphen for better readability. You
291 instead of the previous
294 Double accidentals do not get another hyphen, so the Dutch `cisis'
295 has the long English notename `c-sharpsharp'.
297 * The visual style of tremolo slashes (shape, style and slope) is
298 now more finely controlled.
303 * Multi-measure rests have length according to their total duration,
304 under the control of `MultiMeasureRest.space-increment'.
309 * Page numbers may now be printed in roman numerals, by setting the
310 `page-number-type' paper variable.
312 * It is now possible to use `\time' and `\partial' together to
313 change the time signature in mid measure.
315 \override Score.BarNumber.break-visibility = #end-of-line-invisible
316 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
317 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
321 * It is now possible to override the `text' property of chord names.
324 \new ChordNames \chordmode {
326 \once \override ChordName.text = #"foo"
333 * Improved horizontal alignment when using `TextScript', with
334 `DynamicText' or `LyricText'.
336 * A new command `\magnifyStaff' has been added which scales staff
337 sizes, staff lines, bar lines, beamlets and horizontal spacing
338 generally at the `Staff' context level. Staff lines are prevented
339 from being scaled smaller than the default since the thickness of
340 stems, slurs, and the like are all based on the staff line
343 * `InstrumentName' now supports `text-interface'.
345 * There is now support for controlling the `expression level' of
346 MIDI channels using the `Staff.midiExpression' context property.
347 This can be used to alter the perceived volume of even sustained
348 notes (albeit in a very `low-level' way) and accepts a number
349 value between `0.0' and `1.0'.
353 midiExpression = #0.6
354 midiInstrument = #"clarinet"
359 \set Staff.midiExpression = #0.7 s4\f\<
360 \set Staff.midiExpression = #0.8 s4
361 \set Staff.midiExpression = #0.9 s4
362 \set Staff.midiExpression = #1.0 s4
364 \set Staff.midiExpression = #0.9 s4\>
365 \set Staff.midiExpression = #0.8 s4
366 \set Staff.midiExpression = #0.7 s4
367 \set Staff.midiExpression = #0.6 s4\!
373 * Support for making it easier to use alternative `music' fonts other
374 than the default Emmentaler in LilyPond has been added. See
375 `http://fonts.openlilylib.org/' for more information.
377 * Grobs and their parents can now be aligned separately allowing
378 more flexibility for grob positions. For example the `left' edge
379 of a grob can now be aligned on the `center' of its parent.
381 * Improvements to the `\partial' command have been made to avoid
382 problems when using multiple, parallel contexts.
384 * `\chordmode' can now use `< >' and `<< >>' constructs.
386 * A new command `\tagGroup' has now been added. This complements
387 the existing `\keepWithTag' and `\removeWithTag' commands. For
390 \tagGroup #'(violinI violinII viola cello)
392 declares a list of `tags' that belong to a single `tag group'.
394 \keepWithTag #'violinI
396 Is now only concerned with `tags' from `violinI'’s tag group.
398 Any element of the included music tagged with one or more tags
399 from the group, but _not_ with VIOLINI, will be removed.
401 * The `\addlyrics' function now works with arbitrary contexts
404 * String numbers can now also be used to print roman numerals (e.g.
405 for unfretted string instruments).
415 * The `thin-kern' property of the `BarLine' grob has been renamed to
418 * `KeyCancellation' grobs now ignore cue clefs (like `KeySignature'
421 * Add support for `\once \unset'
423 * It is now possible to individually color both the dots and
424 parentheses in fret diagrams when using the
425 `\fret-diagram-verbose' markup command.
429 \override #'(fret-diagram-details . (
430 (finger-code . in-dot))) {
431 \fret-diagram-verbose #'((mute 6)
432 (place-fret 5 3 1 red)
433 (place-fret 4 5 2 inverted)
434 (place-fret 3 5 3 green)
435 (place-fret 2 5 4 blue inverted)
436 (place-fret 1 3 1 violet)
441 \override #'(fret-diagram-details . (
442 (finger-code . below-string))) {
443 \fret-diagram-verbose #'((mute 6)
444 (place-fret 5 3 1 red parenthesized)
445 (place-fret 4 5 2 yellow
448 (place-fret 3 5 3 green)
449 (place-fret 2 5 4 blue )
458 * Two new properties have been added for use in
459 `fret-diagram-details' when using the `\fret-diagram-verbose'
460 markup command; `fret-label-horizontal-offset' which affects the
461 `fret-label-indication' and `paren-padding' which controls the
462 space between the dot and the parentheses surrounding it.
466 \fret-diagram-verbose #'((mute 6)
470 (place-fret 1 6 4 parenthesized)
475 \override #'(fret-diagram-details . (
476 (fret-label-horizontal-offset . 2)
477 (paren-padding . 0.25))) {
478 \fret-diagram-verbose #'((mute 6)
482 (place-fret 1 6 4 parenthesized)
491 * A new markup command `\justify-line' has been added. Similar to
492 the `\fill-line' markup command except that instead of setting
493 _words_ in columns, the `\justify-line' command balances the
494 whitespace between them ensuring that when there are three or more
495 words in a markup, the whitespace is always consistent.
497 \markup \fill-line {oooooo oooooo oooooo oooooo}
498 \markup \fill-line {ooooooooo oooooooo oo ooo}
502 \markup \justify-line {oooooo oooooo oooooo oooooo}
503 \markup \justify-line {ooooooooo oooooooo oo ooo}
507 * A new command `\magnifyMusic' has been added, which allows the
508 notation size to be changed without changing the staff size, while
509 automatically scaling stems, beams, and horizontal spacing.
512 \new Voice \relative {
514 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
516 \new Voice \relative {
519 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
520 r32 c'' a c a c a c r c a c a c a c
521 r c a c a c a c a c a c a c a c
528 * A new flexible template suitable for a range of choral music, is
529 now provided. This may be used to create simple choral music,
530 with or without piano accompaniment, in two or four staves. Unlike
531 other templates, this template is `built-in', which means it does
532 not need to be copied and edited: instead it is simply `\include''d
533 in the input file. For details, see *note Built-in templates:
534 (lilypond-learning)Built-in templates.
536 * The positioning of tuplet numbers for kneed beams has been
537 significantly improved. Previously, tuplet numbers were placed
538 according to the position of the tuplet bracket, even if it was
539 not printed. This could lead to stranded tuplet numbers. Now
540 they are now positioned closer to the kneed-beam when an
541 appropriate beam segment exists for its placement and when the
542 bracket is not drawn.
544 Collision detection is also added, offsetting horizontally if too
545 close to an adjoining note column but preserving the number's
546 vertical distance from the kneed beam. If the number itself is
547 too large to fit in the available space the original,
548 bracket-based, positioning system is used instead; and in the
549 event of a collision (e.g. with an accidental) the tuplet number
550 is moved vertically away instead.
553 \override Beam.auto-knee-gap = 3
562 The original kneed-beam tuplet behavior is still available through
563 an `\override' via a new, `knee-to-beam' property.
566 \override Beam.auto-knee-gap = 3
567 \override TupletNumber.knee-to-beam = ##f
576 * `\lyricsto' and `\addLyrics' have been `harmonized'. Both now
577 accept the same kind of delimited argument list that `\lyrics' and
578 `\chords' accept. Backward compatibility has been added so music
579 identifiers (i.e. `\mus') are permitted as arguments. A
580 `convert-ly' rule has been added that removes redundant uses of
581 `\lyricmode' and rearranges combinations with context starters such
582 that `\lyricsto' in general is applied last (i.e. like
583 `\lyricmode' would be).
585 * Scheme functions and identifiers can now be used as output
588 * Scheme expressions can now be used as chord constituents.
590 * Improved visual spacing of small and regular `MI' Funk and Walker
591 noteheads so they are now the same width as other shaped notes in
592 their respective sets. `SOL' noteheads are also now visually
593 improved when used with both the normal Aiken and Sacred Harp
594 heads, as well as with the thin variants.
596 * `LeftEdge' now has a definable `Y-extent' (i.e.vertical). See *note
597 LeftEdge: (lilypond-internals)LeftEdge.
599 * Added a new `make-path-stencil' function that supports all `path'
600 commands both relative and absolute:
602 `lineto', `rlineto', `curveto', `rcurveto', `moveto', `rmoveto',
603 `closepath'. The function also supports `single-letter' syntax
604 used in standard SVG path commands:
606 `L', `l', `C', `c', `M', `m', `Z' and `z'. The new command is
607 also backward-compatible with the original
608 `make-connected-path-stencil' function. Also see
611 * Context properties named in the `alternativeRestores' property are
612 restored to their value at the start of the _first_ alternative in
613 all subsequent alternatives.
615 Currently the default set restores `current meter';
618 \repeat volta 2 { c2 e4 | }
630 \repeat volta 2 { c2 e4 | }
633 \set Timing.measurePosition = #(ly:make-moment -1/2)
645 \set chordChanges = ##t
646 \chordmode { c1:m d:m c:m d:m }
649 \repeat volta 2 { \chordmode { c1:m } }
651 { \chordmode { d:m } }
652 { \chordmode { c:m } }
660 * Improved MIDI output for breathe marks. After tied notes, breaths
661 take time _only_ from the last note of the tie; e.g. `{ c4~ c8
662 \breathe }' performs as `{ c4~ c16 r }' instead of `{ c4 r8 }'.
663 This is more consistent with articulations and how humans
664 interpret breaths after ties. It now also makes it easier to
665 align simultaneous breathe marks over multiple parts, all with
666 different note lengths.
668 * A new note head style for Tabulature has been added;
669 `TabNoteHead.style = #'slash'.
671 * Four new Clef glyphs have been added _Double G_, _Tenor G_,
672 _Varpercussion_ and _varC_ and their related tessitura.
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 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 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
706 tambourine 8 \tuplet 3/2 { 16 16 16 }
707 8 \tuplet 3/2 { 16 16 16 } 8 8 |
712 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
716 * `\displayLilyMusic' and its underlying Scheme functions no longer
717 omit redundant note durations. This makes it easier to reliably
718 recognize and format standalone durations in expressions like
721 * Beaming exceptions can now be constructed using the
722 `\beamExceptions' scheme function. One can now write
725 \set Timing.beamExceptions =
726 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
728 \repeat unfold 6 { c32 } |
732 with multiple exceptions separated with `|' bar checks (writing
733 the exception pattern without pitches is convenient but not
734 mandatory). Previously, setting the beam exceptions would have
737 \set Timing.beamExceptions =
739 (end . ;entry for end of beams
740 ( ;start of alist of end points
741 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
744 * The most common articulations are now reflected in MIDI output.
745 Accent and marcato make notes louder; staccato, staccatissimo and
746 portato make them shorter. Breath marks shorten the previous note.
748 This behavior is customizable through the `midiLength' and
749 `midiExtraVelocity' properties on `ArticulationEvent'. See
750 `script-init.ly' for examples.
752 * The PostScript functionality of stroke adjustment is no longer
753 applied automatically but left to the discretion of the PostScript
754 device (by default, Ghostscript uses it for resolutions up to
755 150dpi when generating raster images). When it is enabled, a more
756 complex drawing algorithm designed to benefit from stroke
757 adjustment is employed mostly for stems and bar lines.
759 Stroke adjustment can be forced by specifying the command line
760 option `-dstrokeadjust' to LilyPond. When generating `PDF' files,
761 this will usually result in markedly better looking `PDF' previews
762 but significantly larger file size. Print quality at high
763 resolutions will be unaffected.