X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;ds=sidebyside;f=NEWS.txt;h=f845199263ed86dc6a88d2ed7f80e9b53e7c8505;hb=41db6cdf839489ad60962894e648f45b9c11ecce;hp=c285a1cdf9713a87e260188acd3093b870b726b4;hpb=84ad4d280942a37859d45c8fce9d52dd34c10972;p=lilypond.git diff --git a/NEWS.txt b/NEWS.txt index c285a1cdf9..f845199263 100644 --- a/NEWS.txt +++ b/NEWS.txt @@ -1,299 +1,848 @@ -New features in 2.16 -******************** - -Fixes and changes after 2.16.0 -============================== - -2.16.1 - Please refer to the bug tracker for issues fixed in 2.16.1 - (http://code.google.com/p/lilypond/issues/list?can=1&q=Fixed_2_16_1). - -New features in 2.16 since 2.14 -=============================== - - * Support for cross-staff stems on chords, using `crossStaff' and - the `Span_stem_engraver'. This calculates the length of - cross-staff stems automatically. - - [image of music] - - - * The syntax of words (character sequences recognized without - enclosing quotes) and commands (now always a backslash `\' - followed by a word) has been unified across all modes: it now - consists of alphabetic characters, possibly enclosing isolated - dashes `-' and underlines `_'. - - As one consequence, using unquoted text scripts like (literally!) - { c-script c\f_script } - will now tend to result in invalid music. Omitting quote marks - for arbitrary text rather than keywords has never been good - practice or even documented, and it is unlikely to have seen - significant use. - - Staying with established conventions (like not using dashes or - underlines for command names intended to be used inside of music) - remains advisable. The reason for this change is more robust - recognition of LilyPond's lexical units for LilyPond itself as - well as external tools interpreting its syntax. - - * Support for Kievan square notation: - - \new KievanVoice { - \cadenzaOn - c d e f g a bes - \bar "kievan" +New features in 2.20 since 2.18 +******************************* + + • It is now possible to move systems with reference to their current + position using the ‘extra-offset’ subproperty of + ‘NonMusicalPaperColumn.line-break-system-details’. Both vertical + and horizontal changes are possible. This feature is especially + useful for making slight adjustments to the default vertical + position of individual systems. See *note + (lilypond-notation)Explicit staff and system positioning:: for more + information. + + • It is now possible to add text to analysis brackets through the + ‘HorizontalBracketText’ object. + \layout { + \context { + \Voice + \consists "Horizontal_bracket_engraver" + } } - [image of music] - - - * Augmentation dots now avoid the other voice in two-voice polyphony - so that users can move the `Dot_column_engraver' to set dots - independently for each `Voice'. - - [image of music] - - - * A Scheme function to adjust the control points of curves such as - slurs and ties, developed by several users, is now included in - LilyPond. - - g8->( bes,-.) d4 - \shape Slur #'((-0.5 . 1.5) (-3 . 0) (0 . 0) (0 . 0)) - g8->( bes,!-.) d4 - [image of music] - - - * Use of `\tempo' specifications in `\midi' blocks (removed in - 2.9.16 in favor of explicit `tempoWholesPerMinute' settings) has - seen a revival: now any kind of property-setting music is turned - into context definitions within output specifications, allowing for - declarations like - \layout { \accidentalStyle modern } - \midi { \tempo 4. = 66 } - - * The LilyPond G clef has been redesigned - upper loop is now more - balanced, bottom crook sticks out less and the "spine" (main - vertical line) is more evenly curved. The old and new versions can - be compared by looking at the documentation: old version - (http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#clef-glyphs), - new version - (http://lilypond.org/doc/v2.15/Documentation/notation/the-feta-font.html#clef-glyphs). - - * Lilypond's stencil commands have been simplified to allow for less - code duplication and better height approximations of graphical - objects. The following stencil commands have been eliminated: - * `beam' - - * `bezier-sandwich' - - * `bracket' - - * `dashed-slur' - - * `dot' - - * `oval' - - * `repeat-slash' - - * `zigzag-line' - - * Flags are now treated as separate objects rather than as stem - parts. - - [image of music] - - - * Two alternative methods for bar numbering can be set, especially - for when using repeated music; - - [image of music] - - - * The following is a fundamental change in LilyPond's music - representation: Rhythmic events like `LyricEvent' and `NoteEvent' - are no longer wrapped in `EventChord' unless they have been - actually entered as part of a chord in the input. If you - manipulate music expressions in Scheme, the new behavior may - require changes in your code. Calling the music function - `\eventChords' or the Scheme function `event-chord-wrap!' - converts to the old representation; using one of those might be - easiest for keeping legacy code operative. - - The following three items are consequences of this change. - - * The repetitive chord entry aid `q' has been reimplemented. - Repeated chords are now replaced right before interpreting a music - expression. In case the user wants to retain some events of the - original chord, he can run the repeat chord replacement function - `\chordRepeats' manually. - - * String numbers and right hand fingerings on single notes now appear - without having to be written inside of chord brackets. - - * Music functions now work the same when used inside or outside of - chords, including all the possibilities of argument parsing. - Music variables can be used inside of chords: a construct like - - tonic=fis' - { <\tonic \transpose c g \tonic> } - [image of music] - - - now works as expected. One can use `#{...#}' for constructing - chord constituents. `\tweak' now works on single notes without - needing to wrap them in a chord. Using it on command events and - lyrics is now possible, but not likely to give results yet. - - * `\tweak' now takes an optional layout object specification. It can - be used for tweaking layout objects that are only indirectly - caused by the tweaked event, like accidentals, stems, and flags: - - <\tweak Accidental #'color #red cis4 - \tweak Accidental #'color #green es - g> - [image of music] - - - * Scheme expressions inside of embedded Lilypond (`#{...#}') are now - executed in lexical closure of the surrounding Scheme code. `$' - is no longer special in embedded Lilypond. It can be used - unconditionally in Lilypond code for immediate evaluation of Scheme - expressions, similar to how `ly:export' could previously be used. - `ly:export' has been removed. As a consequence, `#' is now free - to delay evaluation of its argument until the parser actually - reduces the containing expression, greatly reducing the potential - for premature evaluation. There are also `splicing' operators `$@' - and `#@' for interpreting the members of a list individually. - - * To reduce the necessity for using `$', Scheme expressions written - with `#' are interpreted as music inside of music lists, and as - markups or markup lists inside of markups. - - * Support for jazz-like chords has been improved: Lydian and altered - chords are recognised; separators between chord modifiers are now - treated independently of separators between "slash" chords and - their bass notes (and by default, slashes are now only used for - the latter type of separator); additional pitches are no longer - prefixed with "add" by default; and the "m" in minor chords can be - customized. *note Customizing chord names: - (lilypond-notation)Customizing chord names. for more information. - - * The `\markuplines' command has been renamed to `\markuplist' for a - better match with its semantics and general Lilypond nomenclature. - - * The interface for specifying string tunings in tablature has been - simplified considerably and employs the scheme function - `\stringTuning' for most purposes. - - * Beams can now have their slopes preserved over line breaks. - - [image of music] - - - To do this, several callback functions are now deprecated. - * `ly:beam::calc-least-squares-positions' - - * `ly:beam::slope-damping' - - * `ly:beam::shift-region-to-valid' - Furthermore, `ly:beam::quanting' now takes an additional argument - to help calculations over line breaks. All of these functions are - now automatically called when setting the `positions' parameter. - - * In function arguments music, markups and Scheme expressions (as - well as several other syntactic entities) have become mostly - interchangeable and are told apart only by evaluating the - respective predicate. In several cases, the predicate is - consulted by the parser, like when deciding whether to interpret - `-3' as a number or a fingering event. - - * Music functions (and their close relatives) can now be defined with - optional arguments. - - * For defining commands executed only for their side-effects, - `define-void-function' is now available. - - * There is a new `define-event-function' command in analogy to - `define-music-function' that can be used for defining music - functions acting as post events without requiring a direction - specifier (`-', `^', or `_') placed before them. - - dyn=#(define-event-function (parser location arg) (markup?) - (make-dynamic-script arg)) - \relative c' { c\dyn pfsss } - [image of music] - - - * A list of ASCII aliases for special characters can be included. + { + \once \override HorizontalBracketText.text = "a" + c''\startGroup d''\stopGroup + e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup + } + image of music + + • The ends of hairpins may now be fine-tuned using the ‘shorten-pair’ + grob property, which previously only affected text-spanners like + ‘TupletBracket’ and ‘OttavaBracket’. Positive values offset to the + right, negative to the left. + { \once \override Hairpin.shorten-pair = #'(2 . 2) + c'1~\< + c'2~ c'\! + \once \override Hairpin.shorten-pair = #'(-2 . -2) + c'1~\< + c'2~ c'\! } + image of music + + • In fret-diagrams the distance between frets and the distance + between strings is now independently adjustable. Available are + ‘fret-distance’ and ‘string-distance’ as subproperties of + ‘fret-diagram-details’. + fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" } + + \markuplist + \override #'(padding . 2) + \table #'(0 -1) { + "default" + + \fretMrkp + + "fret-distance" + + \override #'(fret-diagram-details . ((fret-distance . 2))) + \fretMrkp + + "string-distance" + + \override #'(fret-diagram-details . ((string-distance . 2))) + \fretMrkp + } + image of music + + • Accidental rules can now be defined across ‘ChoirStaff’ contexts. + Two new rules ‘choral’ and ‘choral-cautionary’ are available that + combine the characteristics of ‘modern-voice’ and ‘piano’ or their + equivalents with cautionary accidentals. + + • The music function ‘\unfoldRepeats’ can now take an optional + argument-list specifying which type(s) of repeated music should be + unfolded. Possible entries are ‘percent’, ‘tremolo’, ‘volta’. If + the optional argument-list is unspecified, ‘repeated-music’ will be + used, unfolding all. + + • A new ‘output-attributes’ grob property is now used for svg output + instead of the ‘id’ grob property. It allows multiple attributes + to be defined as an association list. For example, ‘#'((id . 123) + (class . foo) (data-whatever . “bar”))’ will produce the following + group tag in an SVG file: ‘ ... ’. + + • Slurs and phrasing slurs may now be started from individual notes + in a chord. Several simultanous slurs per ‘Voice’ need to be + distinguished by ‘spanner-id’ setting. + + • The music and grob property ‘spanner-id’ for distinguishing + simultaneous slurs and phrasing slurs has been changed from a + string to a ‘key’, a non-negative integer or symbol. + + • There is a new command ‘\=’ for specifying the ‘spanner-id’ for + simultaneous slurs and phrasing slurs. + \fixed c' { + 2 + } + image of music + + • Blocks introduced with ‘\header’ can be stored in variables and + used as arguments to music and scheme functions and as the body of + ‘#{...#}’ constructs. They are represented as a Guile module. + + While ‘\book’, ‘\bookpart’, ‘\score’, ‘\with’, ‘\layout’, ‘\midi’, + ‘\paper’ blocks can be passed around in similar manner, they are + represented by different data types. + + • Dot-separated symbol lists like ‘FretBoard.stencil’ were already + supported as of version 2.18. They may now also contain unsigned + integers, and may alternatively be separated by commata. This + allows usage such as + { \time 2,2,1 5/8 g'8 8 8 8 8 } + image of music + + and + \tagGroup violin,oboe,bassoon + + • Such lists may also be used in expressions for assignments, sets, + and overrides. This allows usage such as + { \unset Timing.beamExceptions + \set Timing.beatStructure = 1,2,1 + g'8 8 8 8 8 8 8 8 } + image of music + + • Association list elements could previously be assigned values + individually (for example, paper variables like + ‘system-system-spacing.basic-distance’). They may now be also + referenced in this manner, as with \paper { - #(include-special-characters) + \void \displayScheme \system-system-spacing.basic-distance } - \markup "• † ©right; &OE; &ss; ¶" - [image of music] - - - * There is a new `define-scheme-function' command in analogy to - `define-music-function' that can be used to define functions - evaluating to Scheme expressions while accepting arguments in - Lilypond syntax. - - * The construct `#{ ... #}' can now be used not just for - constructing sequential music lists, but also for pitches - (distinguished from single note events by the absence of a - duration or other information that can't be part of a pitch), - single music events, void music expressions, post events, markups - (mostly freeing users from having to use the `markup' macro), - markup lists, number expressions, context definitions and - modifications, and a few other things. If it encloses nothing or - only a single music event, it no longer returns a sequential music - list but rather a void music expression or just the music event - itself, respectively. - * Pitches can be used on the right side of assignments. They are - distinguished from single note events by the absence of a duration - or other information that can't be part of a pitch. - - * New command-line option `--loglevel=LEVEL' to control how much - output LilyPond creates. Possible values are ERROR, WARN, - BASIC_PROGRESS, PROGRESS, DEBUG. + In combination with the previously mentioned changes, this allows + setting and referencing pseudovariables like ‘violin.1’. + + • LilyPond source files may now be embedded inside the generated PDF + files. This experimental feature is disabled by default and may be + regarded as unsafe, as PDF documents with hidden content tend to + present a security risk. Please note that not all PDF viewers have + the ability to handle embedded documents (if not, the PDF output + will appear normally and source files will remain invisible). This + feature only works with the PDF backend. + + • French note names are now defined specifically instead of being + aliased to Italian note names: in addition to the generic + Italian-derived syntax, the D pitch may be entered as ‘ré’. Double + sharps may also be entered using the ‘-x’ suffix. + + • Additional bass strings (for lute tablature) are supported. + m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." } + + \score { + \new TabStaff \m + \layout { + \context { + \Score + tablatureFormat = #fret-letter-tablature-format + } + \context { + \TabStaff + stringTunings = \stringTuning + additionalBassStrings = \stringTuning + fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k") + } + } + } + image of music + + • The markup-list-command ‘\table’ is now available. Each column may + be aligned differently. + \markuplist { + \override #'(padding . 2) + \table + #'(0 1 0 -1) + { + \underline { center-aligned right-aligned center-aligned left-aligned } + one "1" thousandth "0.001" + eleven "11" hundredth "0.01" + twenty "20" tenth "0.1" + thousand "1000" one "1.0" + } + } + image of music + + • A new markup-command, ‘\with-dimensions-from’, makes + ‘\with-dimensions’ easier to use by taking the new dimensions from + a markup object, given as first argument. + \markup { + \pattern #5 #Y #0 "x" + \pattern #5 #Y #0 \with-dimensions-from "x" "f" + \pattern #5 #Y #0 \with-dimensions-from "x" "g" + \override #'(baseline-skip . 2) + \column { + \pattern #5 #X #0 "n" + \pattern #5 #X #0 \with-dimensions-from "n" "m" + \pattern #5 #X #0 \with-dimensions-from "n" "!" + } + } + image of music + + • There are two new page breaking functions. ‘ly:one-page-breaking’ + automatically adjusts the height of the page to fit the music, so + that everything fits on one page. + ‘ly:one-line-auto-height-breaking’ is like ‘ly:one-line-breaking’, + placing the music on a single line and adjusting the page width + accordingly, however it also automatically adjusts the page height + to fit the music. + + • Markup-command ‘\draw-squiggle-line’ is now available. Customizing + is possible with overrides of ‘thickness’, ‘angularity’, ‘height’ + and ‘orientation’ + \markup + \overlay { + \draw-squiggle-line #0.5 #'(3 . 3) ##t + + \translate #'(3 . 3) + \override #'(thickness . 4) + \draw-squiggle-line #0.5 #'(3 . -3) ##t + + \translate #'(6 . 0) + \override #'(angularity . -5) + \draw-squiggle-line #0.5 #'(-3 . -3) ##t + + \translate #'(3 . -3) + \override #'(angularity . 2) + \override #'(height . 0.3) + \override #'(orientation . -1) + \draw-squiggle-line #0.2 #'(-3 . 3) ##t + } + image of music + + • A new command, ‘\RemoveAllEmptyStaves’, has been made available, + which acts exactly like ‘\RemoveEmptyStaves’, except for also + removing empty staves on the first system in a score. + + • Markup-commands ‘\undertie’ and ‘\overtie’ are now available, as + well as the generic markup-command ‘\tie’. + \markup { + \undertie "undertied" + \overtie "overtied" + } - * `\once \set' now correctly resets the property value to the - previous value. + m = { + c''1 \prall -\tweak text \markup \tie "131" -1 + } - [image of music] + { \voiceOne \m \voiceTwo \m } + image of music + • ‘TabStaff’ is now able to print micro-tones for bendings etc. + \layout { + \context { + \Score + supportNonIntegerFret = ##t + } + } - * The alignment of dynamic spanners (hairpins, text crescendo, etc.) - is now automatically broken if a different direction is explicitly - given. + mus = \relative { c'4 cih d dih } + + << + \new Staff << \clef "G_8" \mus >> + \new TabStaff \mus + >> + image of music + + • Two new styles of whiteout are now available. The ‘outline’ style + approximates the contours of a glyph’s outline, and its shape is + produced from multiple displaced copies of the glyph. The + ‘rounded-box’ style produces a rounded rectangle shape. For all + three styles, including the default ‘box’ style, the whiteout + shape’s ‘thickness’, as a multiple of staff-line thickness, can be + customized. + + \markup { + \combine + \filled-box #'(-1 . 15) #'(-3 . 4) #1 + \override #'(thickness . 3) + \whiteout whiteout-box + } + \markup { + \combine + \filled-box #'(-1 . 24) #'(-3 . 4) #1 + \override #'(style . rounded-box) + \override #'(thickness . 3) + \whiteout whiteout-rounded-box + } + \markup { + \combine + \filled-box #'(-1 . 18) #'(-3 . 4) #1 + \override #'(style . outline) + \override #'(thickness . 3) + \whiteout whiteout-outline + } + \relative { + \override Staff.Clef.whiteout-style = #'outline + \override Staff.Clef.whiteout = 3 + g'1 + } + image of music + + • All of ‘\override’, ‘\revert’, ‘\set’, and ‘\unset’ now work with + the ‘\once’ prefix for making one-time settings. + \relative { + c'4 d + \override NoteHead.color = #red + e4 f | + \once \override NoteHead.color = #green + g4 a + \once \revert NoteHead.color + b c | + \revert NoteHead.color + f2 c | + } + image of music + + • When outputting MIDI, LilyPond will now store the ‘title’ defined + in a score’s ‘\header’ block (or, if there is no such definition on + the ‘\score’ level, the first such definition found in a ‘\header’ + block of the score’s enclosing ‘\bookpart’, ‘\book’, or top-level + scope) as the name of the MIDI sequence in the MIDI file. + Optionally, the name of the MIDI sequence can be overridden using + the new ‘midititle’ ‘\header’ field independently of ‘title’ (for + example, in case ‘title’ contains markup code which does not render + as plain text in a satisfactory way automatically). + + • Music (and scheme and void) functions and markup commands that just + supply the final parameters to a chain of overrides, music function + and markup command calls can now be defined in the form of just + writing the expression cut short with ‘\etc’. + + bold-red-markup = \markup \bold \with-color #red \etc + highlight = \tweak font-size 3 \tweak color #red \etc + + \markup \bold-red "text" + \markuplist \column-lines \bold-red { One Two } + + { c' \highlight d' e'2-\highlight -! } + image of music + + • LilyPond functions defined with ‘define-music-function’, + ‘define-event-function’, ‘define-scheme-function’ and + ‘define-void-function’ can now be directly called from Scheme as if + they were genuine Scheme procedures. Argument checking and + matching will still be performed in the same manner as when calling + the function through LilyPond input. This includes the insertion + of defaults for optional arguments not matching their predicates. + Instead of using ‘\default’ in the actual argument list for + explicitly skipping a sequence of optional arguments, + ‘*unspecified*’ can be employed. + + • Current input location and parser are now stored in GUILE fluids + and can be referenced via the function calls ‘(*location*)’ and + ‘(*parser*)’. Consequently, a lot of functions previously taking + an explicit ‘parser’ argument no longer do so. + + Functions defined with ‘define-music-function’, + ‘define-event-function’, ‘define-scheme-function’ and + ‘define-void-function’ no longer use ‘parser’ and ‘location’ + arguments. + + With those particular definitions, LilyPond will try to recognize + legacy use of ‘parser’ and ‘location’ arguments, providing + backwards-compatible semantics for some time. + + • In the "english" notename language, the long notenames for pitches + with accidentals now contain a hyphen for better readability. You + now have to write + \key a-flat \major + instead of the previous + \key aflat \major + + Double accidentals do not get another hyphen, so the Dutch ‘cisis’ + has the long English notename ‘c-sharpsharp’. + + • The visual style of tremolo slashes (shape, style and slope) is now + more finely controlled. + image of music + + • Multi-measure rests have length according to their total duration, + under the control of ‘MultiMeasureRest.space-increment’. + image of music + + • Page numbers may now be printed in roman numerals, by setting the + ‘page-number-type’ paper variable. + + • It is now possible to use ‘\time’ and ‘\partial’ together to change + the time signature in mid measure. + + \override Score.BarNumber.break-visibility = #end-of-line-invisible + \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||" + \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 | + image of music + + • It is now possible to override the ‘text’ property of chord names. + + << + \new ChordNames \chordmode { + a' b c:7 + \once \override ChordName.text = #"foo" + d + } + >> + image of music + + • Improved horizontal alignment when using ‘TextScript’, with + ‘DynamicText’ or ‘LyricText’. + + • A new command ‘\magnifyStaff’ has been added which scales staff + sizes, staff lines, bar lines, beamlets and horizontal spacing + generally at the ‘Staff’ context level. Staff lines are prevented + from being scaled smaller than the default since the thickness of + stems, slurs, and the like are all based on the staff line + thickness. + + • ‘InstrumentName’ now supports ‘text-interface’. + + • There is now support for controlling the ‘expression level’ of MIDI + channels using the ‘Staff.midiExpression’ context property. This + can be used to alter the perceived volume of even sustained notes + (albeit in a very ‘low-level’ way) and accepts a number value + between ‘0.0’ and ‘1.0’. + + \score { + \new Staff \with { + midiExpression = #0.6 + midiInstrument = #"clarinet" + } + << + { a'1~ a'1 } + { + \set Staff.midiExpression = #0.7 s4\f\< + \set Staff.midiExpression = #0.8 s4 + \set Staff.midiExpression = #0.9 s4 + \set Staff.midiExpression = #1.0 s4 + + \set Staff.midiExpression = #0.9 s4\> + \set Staff.midiExpression = #0.8 s4 + \set Staff.midiExpression = #0.7 s4 + \set Staff.midiExpression = #0.6 s4\! + } + >> + \midi { } + } - [image of music] + • Support for making it easier to use alternative ‘music’ fonts other + than the default Emmentaler in LilyPond has been added. See + for more information. + + • Grobs and their parents can now be aligned separately allowing more + flexibility for grob positions. For example the ‘left’ edge of a + grob can now be aligned on the ‘center’ of its parent. + + • Improvements to the ‘\partial’ command have been made to avoid + problems when using multiple, parallel contexts. + + • ‘\chordmode’ can now use ‘< >’ and ‘<< >>’ constructs. + + • A new command ‘\tagGroup’ has now been added. This complements the + existing ‘\keepWithTag’ and ‘\removeWithTag’ commands. For + Example: + + \tagGroup #'(violinI violinII viola cello) + + declares a list of ‘tags’ that belong to a single ‘tag group’. + + \keepWithTag #'violinI + + Is now only concerned with ‘tags’ from ‘violinI’’s tag group. + + Any element of the included music tagged with one or more tags from + the group, but _not_ with VIOLINI, will be removed. + + • The ‘\addlyrics’ function now works with arbitrary contexts + incuding ‘Staff’. + + • String numbers can now also be used to print roman numerals (e.g. + for unfretted string instruments). + c2\2 + \romanStringNumbers + c\2 + \arabicStringNumbers + c1\3 + image of music + + • The ‘thin-kern’ property of the ‘BarLine’ grob has been renamed to + ‘segno-kern’. + + • ‘KeyCancellation’ grobs now ignore cue clefs (like ‘KeySignature’ + grobs do). + + • Add support for ‘\once \unset’ + + • It is now possible to individually color both the dots and + parentheses in fret diagrams when using the ‘\fret-diagram-verbose’ + markup command. + + \new Voice { + c1^\markup { + \override #'(fret-diagram-details . ( + (finger-code . in-dot))) { + \fret-diagram-verbose #'((mute 6) + (place-fret 5 3 1 red) + (place-fret 4 5 2 inverted) + (place-fret 3 5 3 green) + (place-fret 2 5 4 blue inverted) + (place-fret 1 3 1 violet) + (barre 5 1 3 )) + } + } + c1^\markup { + \override #'(fret-diagram-details . ( + (finger-code . below-string))) { + \fret-diagram-verbose #'((mute 6) + (place-fret 5 3 1 red parenthesized) + (place-fret 4 5 2 yellow + default-paren-color + parenthesized) + (place-fret 3 5 3 green) + (place-fret 2 5 4 blue ) + (place-fret 1 3 1) + (barre 5 1 3)) + } + } + } + image of music + + • Two new properties have been added for use in + ‘fret-diagram-details’ when using the ‘\fret-diagram-verbose’ + markup command; ‘fret-label-horizontal-offset’ which affects the + ‘fret-label-indication’ and ‘paren-padding’ which controls the + space between the dot and the parentheses surrounding it. + + \new Voice { + c1^\markup { + \fret-diagram-verbose #'((mute 6) + (place-fret 5 3 1) + (place-fret 4 5 2) + (place-fret 3 5 3) + (place-fret 1 6 4 parenthesized) + (place-fret 2 3 1) + (barre 5 2 3)) + } + c1^\markup { + \override #'(fret-diagram-details . ( + (fret-label-horizontal-offset . 2) + (paren-padding . 0.25))) { + \fret-diagram-verbose #'((mute 6) + (place-fret 5 3 1) + (place-fret 4 5 2) + (place-fret 3 5 3) + (place-fret 1 6 4 parenthesized) + (place-fret 2 3 1) + (barre 5 2 3)) + } + } + } + image of music + + • A new markup command ‘\justify-line’ has been added. Similar to + the ‘\fill-line’ markup command except that instead of setting + _words_ in columns, the ‘\justify-line’ command balances the + whitespace between them ensuring that when there are three or more + words in a markup, the whitespace is always consistent. + + \markup \fill-line {oooooo oooooo oooooo oooooo} + \markup \fill-line {ooooooooo oooooooo oo ooo} + image of music + + \markup \justify-line {oooooo oooooo oooooo oooooo} + \markup \justify-line {ooooooooo oooooooo oo ooo} + image of music + + • A new command ‘\magnifyMusic’ has been added, which allows the + notation size to be changed without changing the staff size, while + automatically scaling stems, beams, and horizontal spacing. + + \new Staff << + \new Voice \relative { + \voiceOne + 4 8. 16 8 4 r8 + } + \new Voice \relative { + \voiceTwo + \magnifyMusic 0.63 { + \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63) + r32 c'' a c a c a c r c a c a c a c + r c a c a c a c a c a c a c a c + } + } + >> + image of music + + • A new flexible template suitable for a range of choral music, is + now provided. This may be used to create simple choral music, with + or without piano accompaniment, in two or four staves. Unlike + other templates, this template is ‘built-in’, which means it does + not need to be copied and edited: instead it is simply ‘\include’’d + in the input file. For details, see *note + (lilypond-learning)Built-in templates::. + + • The positioning of tuplet numbers for kneed beams has been + significantly improved. Previously, tuplet numbers were placed + according to the position of the tuplet bracket, even if it was not + printed. This could lead to stranded tuplet numbers. Now they are + now positioned closer to the kneed-beam when an appropriate beam + segment exists for its placement and when the bracket is not drawn. + + Collision detection is also added, offsetting horizontally if too + close to an adjoining note column but preserving the number’s + vertical distance from the kneed beam. If the number itself is too + large to fit in the available space the original, bracket-based, + positioning system is used instead; and in the event of a collision + (e.g. with an accidental) the tuplet number is moved vertically + away instead. + + \time 3/4 + \override Beam.auto-knee-gap = 3 + \tuplet 3/2 4 { + g8 c'' e, + c'8 g,, e'' + g,,8 e''' c,, + } + image of music + + The original kneed-beam tuplet behavior is still available through + an ‘\override’ via a new, ‘knee-to-beam’ property. + + \time 3/4 + \override Beam.auto-knee-gap = 3 + \override TupletNumber.knee-to-beam = ##f + \tuplet 3/2 4 { + g8 c'' e, + c'8 g,, e'' + g,,8 e''' c,, + } + image of music + • ‘\lyricsto’ and ‘\addLyrics’ have been ‘harmonized’. Both now + accept the same kind of delimited argument list that ‘\lyrics’ and + ‘\chords’ accept. Backward compatibility has been added so music + identifiers (i.e. ‘\mus’) are permitted as arguments. A + ‘convert-ly’ rule has been added that removes redundant uses of + ‘\lyricmode’ and rearranges combinations with context starters such + that ‘\lyricsto’ in general is applied last (i.e. like + ‘\lyricmode’ would be). - * Appoggiaturas and acciaccaturas now also work inside a slur, not - only inside a phrasing slur. Also, a function `\slashedGrace' was - added that does not use a slur from the acciaccatura note. + • Scheme functions and identifiers can now be used as output + definitions. - [image of music] + • Scheme expressions can now be used as chord constituents. + • Improved visual spacing of small and regular ‘MI’ Funk and Walker + noteheads so they are now the same width as other shaped notes in + their respective sets. ‘SOL’ noteheads are also now visually + improved when used with both the normal Aiken and Sacred Harp + heads, as well as with the thin variants. - * To suppress the line on a crescendo text spanner (and other - similar spanners), LilyPond now fully supports the `#'style = - #'none' property. + • ‘LeftEdge’ now has a definable ‘Y-extent’ (i.e.vertical). See + *note (lilypond-internals)LeftEdge::. - [image of music] + • Added a new ‘make-path-stencil’ function that supports all ‘path’ + commands both relative and absolute: + ‘lineto’, ‘rlineto’, ‘curveto’, ‘rcurveto’, ‘moveto’, ‘rmoveto’, + ‘closepath’. The function also supports ‘single-letter’ syntax + used in standard SVG path commands: - * LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz! + ‘L’, ‘l’, ‘C’, ‘c’, ‘M’, ‘m’, ‘Z’ and ‘z’. The new command is also + backward-compatible with the original ‘make-connected-path-stencil’ + function. Also see ‘scm/stencil.scm’. - * Glissandi can now span multiple lines. + • Context properties named in the ‘alternativeRestores’ property are + restored to their value at the start of the _first_ alternative in + all subsequent alternatives. + Currently the default set restores ‘current meter’; + \time 3/4 + \repeat volta 2 { c2 e4 | } + \alternative { + { \time 4/4 f2 d | } + { f2 d4 | } + } + g2. | + image of music + + ‘measure position’; + + \time 3/4 + \repeat volta 2 { c2 e4 | } + \alternative { + { \time 4/4 + \set Timing.measurePosition = #(ly:make-moment -1/2) + f2 | } + { f2 d4 | } + } + g2. | + image of music + + and ‘chord changes’; + + << + \new ChordNames { + \set chordChanges = ##t + \chordmode { c1:m d:m c:m d:m } + } + \new Staff { + \repeat volta 2 { \chordmode { c1:m } } + \alternative { + { \chordmode { d:m } } + { \chordmode { c:m } } + } + \chordmode { d:m } + } + >> + image of music + + • Improved MIDI output for breathe marks. After tied notes, breaths + take time _only_ from the last note of the tie; e.g. ‘{ c4~ c8 + \breathe }’ performs as ‘{ c4~ c16 r }’ instead of ‘{ c4 r8 }’. + This is more consistent with articulations and how humans interpret + breaths after ties. It now also makes it easier to align + simultaneous breathe marks over multiple parts, all with different + note lengths. + + • A new note head style for Tabulature has been added; + ‘TabNoteHead.style = #'slash’. + + • Four new Clef glyphs have been added _Double G_, _Tenor G_, + _Varpercussion_ and _varC_ and their related tessitura. + \override Staff.Clef.full-size-change = ##t + + \clef "GG" c c c c + \clef "tenorG" c c c c + \clef "varC" c c c c + \clef "altovarC" c c c c + \clef "tenorvarC" c c c c + \clef "baritonevarC" c c c c + \clef "varpercussion" c c c c + + \break + \override Staff.Clef.full-size-change = ##f + + \clef "GG" c c c c + \clef "tenorG" c c c c + \clef "varC" c c c c + \clef "altovarC" c c c c + \clef "tenorvarC" c c c c + \clef "baritonevarC" c c c c + \clef "varpercussion" c c c c + image of music + + • Isolated durations in music sequences now stand for unpitched + notes. This may be useful for specifying rhythms to music or + scheme functions. When encountered in the final score, the pitches + are provided by the preceding note or chord. Here are two examples + where this makes for readable input: + + \new DrumStaff \with { \override StaffSymbol.line-count = 1 } + \drummode { + \time 3/4 + tambourine 8 \tuplet 3/2 { 16 16 16 } + 8 \tuplet 3/2 { 16 16 16 } 8 8 | + } + image of music + + \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | } + image of music + + • ‘\displayLilyMusic’ and its underlying Scheme functions no longer + omit redundant note durations. This makes it easier to reliably + recognize and format standalone durations in expressions like + { c4 d4 8 } + + • Beaming exceptions can now be constructed using the + ‘\beamExceptions’ scheme function. One can now write + + \time #'(2 1) 3/16 + \set Timing.beamExceptions = + \beamExceptions { 32[ 32] 32[ 32] 32[ 32] } + c16 c c | + \repeat unfold 6 { c32 } | + image of music + + with multiple exceptions separated with ‘|’ bar checks (writing the + exception pattern without pitches is convenient but not mandatory). + Previously, setting the beam exceptions would have required writing + + \set Timing.beamExceptions = + #'( ;start of alist + (end . ;entry for end of beams + ( ;start of alist of end points + ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16 + ))) + + • The most common articulations are now reflected in MIDI output. + Accent and marcato make notes louder; staccato, staccatissimo and + portato make them shorter. Breath marks shorten the previous note. + + This behavior is customizable through the ‘midiLength’ and + ‘midiExtraVelocity’ properties on ‘ArticulationEvent’. See + ‘script-init.ly’ for examples. + + • The PostScript functionality of stroke adjustment is no longer + applied automatically but left to the discretion of the PostScript + device (by default, Ghostscript uses it for resolutions up to + 150dpi when generating raster images). When it is enabled, a more + complex drawing algorithm designed to benefit from stroke + adjustment is employed mostly for stems and bar lines. + + Stroke adjustment can be forced by specifying the command line + option ‘-dstrokeadjust’ to LilyPond. When generating ‘PDF’ files, + this will usually result in markedly better looking ‘PDF’ previews + but significantly larger file size. Print quality at high + resolutions will be unaffected. + + • Default text fonts have been changed from ‘Century Schoolbook L’, + ‘sans-serif’, and ‘monospace’. + + For ‘svg’ backend: + Family Default font + ----------------------------------- + _roman_ ‘serif’ + _sans_ ‘sans-serif’ + _typewriter_‘monospace’ + + ‘serif’, ‘sans-serif’, and ‘monospace’ are ‘generic-family’ in SVG + and CSS specifications. + + For other backends: + Family Default font (alias) Alias definition lists + ---------------------------------------------------------------------------- + _roman_ ‘LilyPond Serif’ TeX Gyre Schola, C059, Century + SchoolBook URW, Century Schoolbook L, + DejaVu Serif, ..., serif + _sans_ ‘LilyPond Sans TeX Gyre Heros, Nimbus Sans, Nimbus + Serif’ Sans L, DejaVu Sans, ..., sans-serif + _typewriter_‘LilyPond Monospace’ TeX Gyre Cursor, Nimbus Mono PS, + Nimbus Mono, Nimbus Mono L, DejaVu + Sans Mono, ..., monospace + + ‘LilyPond Serif’, ‘LilyPond Sans Serif’, and ‘LilyPond Monospace’ + are font aliases defined in the LilyPond dedicated FontConfig + configuration file ‘00-lilypond-fonts.conf’. Where a character + dosen’t exist in the first font listed, the next font listed will + be used instead for that character. For details of alias + definitions, please see to ‘00-lilypond-fonts.conf’ under the + installed directory. - -Local Variables: -coding: utf-8 -End: