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
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--- 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 âextra-offsetâ subproperty of
+ âNonMusicalPaperColumn.line-break-system-detailsâ. 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
+ âHorizontalBracketTextâ 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 âshorten-pairâ
+ grob property, which previously only affected text-spanners like
+ âTupletBracketâ and âOttavaBracketâ. 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
+ âfret-distanceâ and âstring-distanceâ as subproperties of
+ âfret-diagram-detailsâ.
+ 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 âChoirStaffâ contexts.
+ Two new rules âchoralâ and âchoral-cautionaryâ are available that
+ combine the characteristics of âmodern-voiceâ and âpianoâ or their
+ equivalents with cautionary accidentals.
+
+ ⢠The music function â\unfoldRepeatsâ can now take an optional
+ argument-list specifying which type(s) of repeated music should be
+ unfolded. Possible entries are âpercentâ, âtremoloâ, âvoltaâ. If
+ the optional argument-list is unspecified, ârepeated-musicâ will be
+ used, unfolding all.
+
+ ⢠A new âoutput-attributesâ grob property is now used for svg output
+ instead of the âidâ grob property. It allows multiple attributes
+ to be defined as an association list. For example, â#'((id . 123)
+ (class . foo) (data-whatever . âbarâ))â will produce the following
+ group tag in an SVG file: â ... â.
+
+ ⢠Slurs and phrasing slurs may now be started from individual notes
+ in a chord. Several simultanous slurs per âVoiceâ need to be
+ distinguished by âspanner-idâ setting.
+
+ ⢠The music and grob property âspanner-idâ for distinguishing
+ simultaneous slurs and phrasing slurs has been changed from a
+ string to a âkeyâ, a non-negative integer or symbol.
+
+ ⢠There is a new command â\=â for specifying the âspanner-idâ for
+ simultaneous slurs and phrasing slurs.
+ \fixed c' {
+ 2
+ }
+ image of music
+
+ ⢠Blocks introduced with â\headerâ can be stored in variables and
+ used as arguments to music and scheme functions and as the body of
+ â#{...#}â constructs. They are represented as a Guile module.
+
+ While â\bookâ, â\bookpartâ, â\scoreâ, â\withâ, â\layoutâ, â\midiâ,
+ â\paperâ blocks can be passed around in similar manner, they are
+ represented by different data types.
+
+ ⢠Dot-separated symbol lists like âFretBoard.stencilâ 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
+ âsystem-system-spacing.basic-distanceâ). 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 âviolin.1â.
+
+ ⢠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 âréâ. Double
+ sharps may also be entered using the â-xâ 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 â\tableâ 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, â\with-dimensions-fromâ, makes
+ â\with-dimensionsâ 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. âly:one-page-breakingâ
+ automatically adjusts the height of the page to fit the music, so
+ that everything fits on one page.
+ âly:one-line-auto-height-breakingâ is like âly:one-line-breakingâ,
+ 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 â\draw-squiggle-lineâ is now available. Customizing
+ is possible with overrides of âthicknessâ, âangularityâ, âheightâ
+ and âorientationâ
+ \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, â\RemoveAllEmptyStavesâ, has been made available,
+ which acts exactly like â\RemoveEmptyStavesâ, except for also
+ removing empty staves on the first system in a score.
+
+ ⢠Markup-commands â\undertieâ and â\overtieâ are now available, as
+ well as the generic markup-command â\tieâ.
+ \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
+ ⢠âTabStaffâ 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 âoutlineâ style
+ approximates the contours of a glyphâs outline, and its shape is
+ produced from multiple displaced copies of the glyph. The
+ ârounded-boxâ style produces a rounded rectangle shape. For all
+ three styles, including the default âboxâ style, the whiteout
+ shapeâs âthicknessâ, 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 â\overrideâ, â\revertâ, â\setâ, and â\unsetâ now work with
+ the â\onceâ 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 âtitleâ defined
+ in a scoreâs â\headerâ block (or, if there is no such definition on
+ the â\scoreâ level, the first such definition found in a â\headerâ
+ block of the scoreâs enclosing â\bookpartâ, â\bookâ, 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 âmidititleâ â\headerâ field independently of âtitleâ (for
+ example, in case âtitleâ 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 â\etcâ.
+
+ 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 âdefine-music-functionâ,
+ âdefine-event-functionâ, âdefine-scheme-functionâ and
+ âdefine-void-functionâ 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 â\defaultâ in the actual argument list for
+ explicitly skipping a sequence of optional arguments,
+ â*unspecified*â can be employed.
+
+ ⢠Current input location and parser are now stored in GUILE fluids
+ and can be referenced via the function calls â(*location*)â and
+ â(*parser*)â. Consequently, a lot of functions previously taking
+ an explicit âparserâ argument no longer do so.
+
+ Functions defined with âdefine-music-functionâ,
+ âdefine-event-functionâ, âdefine-scheme-functionâ and
+ âdefine-void-functionâ no longer use âparserâ and âlocationâ
+ arguments.
+
+ With those particular definitions, LilyPond will try to recognize
+ legacy use of âparserâ and âlocationâ 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 âcisisâ
+ has the long English notename âc-sharpsharpâ.
+
+ ⢠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 âMultiMeasureRest.space-incrementâ.
+ image of music
+
+ ⢠Page numbers may now be printed in roman numerals, by setting the
+ âpage-number-typeâ paper variable.
+
+ ⢠It is now possible to use â\timeâ and â\partialâ 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 âtextâ 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 âTextScriptâ, with
+ âDynamicTextâ or âLyricTextâ.
+
+ ⢠A new command â\magnifyStaffâ has been added which scales staff
+ sizes, staff lines, bar lines, beamlets and horizontal spacing
+ generally at the âStaffâ 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.
+
+ ⢠âInstrumentNameâ now supports âtext-interfaceâ.
+
+ ⢠There is now support for controlling the âexpression levelâ of MIDI
+ channels using the âStaff.midiExpressionâ context property. This
+ can be used to alter the perceived volume of even sustained notes
+ (albeit in a very âlow-levelâ way) and accepts a number value
+ between â0.0â and â1.0â.
+
+ \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 âmusicâ 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 âleftâ edge of a
+ grob can now be aligned on the âcenterâ of its parent.
+
+ ⢠Improvements to the â\partialâ command have been made to avoid
+ problems when using multiple, parallel contexts.
+
+ ⢠â\chordmodeâ can now use â< >â and â<< >>â constructs.
+
+ ⢠A new command â\tagGroupâ has now been added. This complements the
+ existing â\keepWithTagâ and â\removeWithTagâ commands. For
+ Example:
+
+ \tagGroup #'(violinI violinII viola cello)
+
+ declares a list of âtagsâ that belong to a single âtag groupâ.
+
+ \keepWithTag #'violinI
+
+ Is now only concerned with âtagsâ from âviolinIââs 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 â\addlyricsâ function now works with arbitrary contexts
+ incuding âStaffâ.
+
+ ⢠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 âthin-kernâ property of the âBarLineâ grob has been renamed to
+ âsegno-kernâ.
+
+ ⢠âKeyCancellationâ grobs now ignore cue clefs (like âKeySignatureâ
+ grobs do).
+
+ ⢠Add support for â\once \unsetâ
+
+ ⢠It is now possible to individually color both the dots and
+ parentheses in fret diagrams when using the â\fret-diagram-verboseâ
+ 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
+ âfret-diagram-detailsâ when using the â\fret-diagram-verboseâ
+ markup command; âfret-label-horizontal-offsetâ which affects the
+ âfret-label-indicationâ and âparen-paddingâ 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 â\justify-lineâ has been added. Similar to
+ the â\fill-lineâ markup command except that instead of setting
+ _words_ in columns, the â\justify-lineâ 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 â\magnifyMusicâ 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 âbuilt-inâ, which means it does
+ not need to be copied and edited: instead it is simply â\includeââd
+ 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 numberâs
+ 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 â\overrideâ via a new, âknee-to-beamâ 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
+ ⢠â\lyricstoâ and â\addLyricsâ have been âharmonizedâ. Both now
+ accept the same kind of delimited argument list that â\lyricsâ and
+ â\chordsâ accept. Backward compatibility has been added so music
+ identifiers (i.e. â\musâ) are permitted as arguments. A
+ âconvert-lyâ rule has been added that removes redundant uses of
+ â\lyricmodeâ and rearranges combinations with context starters such
+ that â\lyricstoâ in general is applied last (i.e. like
+ â\lyricmodeâ 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 âMIâ Funk and Walker
+ noteheads so they are now the same width as other shaped notes in
+ their respective sets. âSOLâ 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.
+ ⢠âLeftEdgeâ now has a definable âY-extentâ (i.e.vertical). See
+ *note (lilypond-internals)LeftEdge::.
- [image of music]
+ ⢠Added a new âmake-path-stencilâ function that supports all âpathâ
+ commands both relative and absolute:
+ âlinetoâ, ârlinetoâ, âcurvetoâ, ârcurvetoâ, âmovetoâ, ârmovetoâ,
+ âclosepathâ. The function also supports âsingle-letterâ syntax
+ used in standard SVG path commands:
- * LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
+ âLâ, âlâ, âCâ, âcâ, âMâ, âmâ, âZâ and âzâ. The new command is also
+ backward-compatible with the original âmake-connected-path-stencilâ
+ function. Also see âscm/stencil.scmâ.
- * Glissandi can now span multiple lines.
+ ⢠Context properties named in the âalternativeRestoresâ property are
+ restored to their value at the start of the _first_ alternative in
+ all subsequent alternatives.
+ Currently the default set restores âcurrent meterâ;
+ \time 3/4
+ \repeat volta 2 { c2 e4 | }
+ \alternative {
+ { \time 4/4 f2 d | }
+ { f2 d4 | }
+ }
+ g2. |
+ image of music
+
+ âmeasure positionâ;
+
+ \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 âchord changesâ;
+
+ <<
+ \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. â{ c4~ c8
+ \breathe }â performs as â{ c4~ c16 r }â instead of â{ c4 r8 }â.
+ 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;
+ âTabNoteHead.style = #'slashâ.
+
+ ⢠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
+
+ ⢠â\displayLilyMusicâ 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
+ â\beamExceptionsâ 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 â|â 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 âmidiLengthâ and
+ âmidiExtraVelocityâ properties on âArticulationEventâ. See
+ âscript-init.lyâ 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 â-dstrokeadjustâ to LilyPond. When generating âPDFâ files,
+ this will usually result in markedly better looking âPDFâ previews
+ but significantly larger file size. Print quality at high
+ resolutions will be unaffected.
+
+ ⢠Default text fonts have been changed from âCentury Schoolbook Lâ,
+ âsans-serifâ, and âmonospaceâ.
+
+ For âsvgâ backend:
+ Family Default font
+ -----------------------------------
+ _roman_ âserifâ
+ _sans_ âsans-serifâ
+ _typewriter_âmonospaceâ
+
+ âserifâ, âsans-serifâ, and âmonospaceâ are âgeneric-familyâ in SVG
+ and CSS specifications.
+
+ For other backends:
+ Family Default font (alias) Alias definition lists
+ ----------------------------------------------------------------------------
+ _roman_ âLilyPond Serifâ TeX Gyre Schola, C059, Century
+ SchoolBook URW, Century Schoolbook L,
+ DejaVu Serif, ..., serif
+ _sans_ âLilyPond Sans TeX Gyre Heros, Nimbus Sans, Nimbus
+ Serifâ Sans L, DejaVu Sans, ..., sans-serif
+ _typewriter_âLilyPond Monospaceâ TeX Gyre Cursor, Nimbus Mono PS,
+ Nimbus Mono, Nimbus Mono L, DejaVu
+ Sans Mono, ..., monospace
+
+ âLilyPond Serifâ, âLilyPond Sans Serifâ, and âLilyPond Monospaceâ
+ are font aliases defined in the LilyPond dedicated FontConfig
+ configuration file â00-lilypond-fonts.confâ. Where a character
+ dosenât 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 â00-lilypond-fonts.confâ under the
+ installed directory.
-
-Local Variables:
-coding: utf-8
-End: