X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=NEWS.txt;h=0aac6fc370a468f1bca907d369cd908027c986c9;hb=1e60a76810edffd1a8ee5ba35ec4c41df1a67f23;hp=a0cefcd144f8ca4e2c64e3f92b3e43aa99bed69d;hpb=a5489b4d1b6c7c8aac55e887ec29edcbb84fdff1;p=lilypond.git diff --git a/NEWS.txt b/NEWS.txt index a0cefcd144..0aac6fc370 100644 --- a/NEWS.txt +++ b/NEWS.txt @@ -1,361 +1,733 @@ -New features in 2.18 since 2.16 +New features in 2.20 since 2.18 ******************************* - * 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. + • 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. - 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. - - * There is now a new context type called `NullVoice' which, while not - appearing in the printed output, can be used to align lyrics. - This can be particularly convenient when used in parallel with a - `\partcombine' construct. + • 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. - soprano = \relative c' { c e g c } - alto = \relative c' { a c e g } - verse = \lyricmode { This is my song } - - \score { - \new Staff << - \partcombine \soprano \alto - \new NullVoice = "aligner" \soprano - \new Lyrics \lyricsto "aligner" \verse - >> - \layout {} + • 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 { + \void \displayScheme \system-system-spacing.basic-distance } - [image of music] + In combination with the previously mentioned changes, this allows + setting and referencing pseudovariables like ‘violin.1’. - * Several articulations can be put into a single variable or - returned from an event function: + • 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. - sempreStacc = -. ^\markup \italic sempre - \relative { c''4\sempreStacc c c c } - [image of music] + • 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 "|." } - * The baseline of score markups is now taken from the reference - point (usually the middle of the staff) of the first bottom system - rather than the top of the bounding rectangle. The following + \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 { - violin: \score { \new Staff { 1 } - \layout { indent=0 } } , - cello: \score { \new Staff { \clef "bass" } - \layout { indent=0 } } + \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] - + image of music + + • A new page breaking function ‘ly:one-line-auto-height-breaking’ + places a whole score on a single line and changes the page width to + match, just like ‘ly:one-line-breaking’. The difference is that it + also automatically modifies the height of the page to fit the + height of 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 - previously looked like + • 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. - [image of music] + • Markup-commands ‘\undertie’ and ‘\overtie’ are now available, as + well as the generic markup-command ‘\tie’. + \markup { + \undertie "undertied" + \overtie "overtied" + } + m = { + c''1 \prall -\tweak text \markup \tie "131" -1 + } - without a reliable way to get both scores to line up. + { \voiceOne \m \voiceTwo \m } + image of music - * LilyPond no longer automatically infers a `\defaultchild' context - in a context definition with `\accepts' clauses. Any context - definition without an explicit or inherited `\defaultchild' - definition counts as a `Bottom' context and will be eligible for - rhythmic events and overrides without causing the implicit - creation of other contexts. Be sure to specify a `\defaultchild' - for non-`Bottom' contexts when defining them from scratch. + • ‘TabStaff’ is now able to print micro-tones for bendings etc. + \layout { + \context { + \Score + supportNonIntegerFret = ##t + } + } - * There is now extensive support for both discant and bass accordion - register symbols in the `scm accreg' module, see *note Accordion - Registers: (lilypond-notation)Accordion Registers. + mus = \relative { c'4 cih d dih } - #(use-modules (scm accreg)) - \new PianoStaff << - \new Staff \relative - { \clef "treble" \discant "10" - r8 s32 f'[ bes f] s e[ a e] s d[ g d] s16 e32[ a] - \discant "121" - << { r16 r r } \\ - { d r a r bes r } >> | - 1 - } - \new Staff \relative - { \clef "treble" \freeBass "1" - r8 d'32 s16. c32 s16. bes32 s16. a32[ cis] s16 - \clef "bass" \stdBass "Master" - << { r16 ^"b" r ^"am" r ^"gm" | - 1^"a" } \\ - { d8_"D" c_"C" bes_"B" | a1_"A" } - >> - } + \new Staff << \clef "G_8" \mus >> + \new TabStaff \mus >> - [image of music] - - - * New commands `markLengthOn' and `markLengthOff' control the - allowance of horizontal space for tempo and rehearsal marks. - - [image of music] - + image of music - * Rehearsal marks at the beginning of a line are now placed to the - right of the clef and key signature by default. As in previous - versions, the `break-alignable-interface' controls the behavior. + • 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. - [image of music] - - - * Decimal numbers can now be written directly in music, without a - hash sign. Together with the previous change in the way object - properties are specified, the code to change the length of stems - has changed from this: - \override Stem #'length = #5.6 - e' f' g' a' - to this: - \override Stem.length = 5.6 - e' f' g' a' - - One has to write a digit on both sides of the dot - values like - `4.' or `-.3' are not allowed. - - Decimal fractions are also not accepted in `\chordmode'. - - * A number of shorthands like `(', `)', `|', `[', `]', `~', `\(', - `\)' and others can now freely be redefined like normal commands. - An example would be - - "\\{" = ( - "\\}" = ) - "(" = \melisma - ")" = \melismaEnd + \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 Staff << - \relative c' { - c8 \{ d e f \} % slurred - g ( a b c ) % no slur, but with melisma - c,1 \bar "|." - } - \addlyrics { Li -- ly -- pond. } + << + \new ChordNames \chordmode { + a' b c:7 + \once \override ChordName.text = #"foo" + d + } >> - [image of music] + image of music + • Improved horizontal alignment when using ‘TextScript’, with + ‘DynamicText’ or ‘LyricText’. - * The articulation shorthand for `\staccatissimo' has been renamed - from `-|' to `-!'. + • 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. - * Tempo change ranges are now written as `\tempo 4 = 60 - 68' rather - than `\tempo 4 = 60 ~ 68'. + • ‘InstrumentName’ now supports ‘text-interface’. - * Grob `OctavateEight' was renamed to `ClefModifier'. Related - context properties were renamed from `xxxOctavationyyy' to - `xxxTranspositionyyy'. + • 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’. - * There is a new `\absolute' command explicitly marking music as - being entered in absolute pitch. While this has been the default - previously, an explicit `\absolute' also prevents reinterpretation - when the passage is placed inside of `\relative': + \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 { } + } - \relative c { c'4 \absolute { f'' g'' } c } - [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. - * When `\relative' is used without an explicit reference pitch, the - reference pitch now is the middle of the first octave, making the - first entered pitch indistinguishable from absolute pitch. - Previously, omitting the reference pitch would have lead to a - default of `c''. Since that choice was somewhat arbitrary, - recommended usage was to always specify the reference pitch. + • Improvements to the ‘\partial’ command have been made to avoid + problems when using multiple, parallel contexts. - * A new command `\single' can be used for converting a property - override into a tweak to be applied on a single music expression: + • ‘\chordmode’ can now use ‘< >’ and ‘<< >>’ constructs. - 1 - [image of music] + • A new command ‘\tagGroup’ has now been added. This complements the + existing ‘\keepWithTag’ and ‘\removeWithTag’ commands. For + Example: + \tagGroup #'(violinI violinII viola cello) - * Two ways of letting graphical objects not appear in the output are - overriding its `transparent' property with `#t' (retaining the - original spacing) or overriding its `stencil' property with `#f' - (not using any space at all). Those two operations now have the - shorthands `\hide' and `\omit', respectively. They can either be - given a music expression to tweak, or the name of a graphical - object for which an override should be created (for specifying - both, use `\single' on the override form): + declares a list of ‘tags’ that belong to a single ‘tag group’. - \new Staff \with { \omit Clef } - \relative c'' 1 - [image of music] + \keepWithTag #'violinI + Is now only concerned with ‘tags’ from ‘violinI’’s tag group. - * A new command `\temporary' can be applied to overrides in order to - not have them replace previous property settings. If a `\revert' - is applied to the same property subsequently, the previous setting - reappears: + Any element of the included music tagged with one or more tags from + the group, but _not_ with VIOLINI, will be removed. - \override NoteHead.color = #red c4 - \override NoteHead.color = #green d - \revert NoteHead.color e2 - \override NoteHead.color = #red c4 - \temporary\override NoteHead.color = #green d - \revert NoteHead.color e - \revert NoteHead.color c - [image of music] + • 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 - This is mainly useful for writing music functions that need to - have some property changed just for the duration of the function. + • The ‘thin-kern’ property of the ‘BarLine’ grob has been renamed to + ‘segno-kern’. - * `\tag', `\removeWithTag', and `\keepWithTag' can now accept a list - of symbols rather than just a single symbol for marking, removing, - and keeping music with any of multiple tags. This is particularly - important for `\keepWithTag' since one cannot achieve the same - effect by using multiple consecutive `\keepWithTag' commands. + • ‘KeyCancellation’ grobs now ignore cue clefs (like ‘KeySignature’ + grobs do). - * The `-d old-relative' option has been removed. Not actually - accessible from the command line any more, its remaining use was - for interpretating `\relative' in LilyPond files converted - automatically from version 1.8 or older. It is unclear how much - of this was actually still operative. + • Add support for ‘\once \unset’ - * The meaning of `instrumentTransposition' has been reversed. After - \set instrumentTransposition = #{ b #} - a written `c'' now sounds like `b'. Previously, this would have - been the other way round. This and the following change should - make dealing with transposing instruments more straightforward. + • It is now possible to individually color both the dots and + parentheses in fret diagrams when using the ‘\fret-diagram-verbose’ + markup command. - * The music generated by `\set' and `\override' commands is no - longer affected by `\transpose'. The main consequence is that - `\transpose' will transpose audible/concert pitch and printed - pitch by the same amount even when the transposed music contains - `\transposition'. Previously, - \transpose c' f' \transposition bes' - was equivalent to `\transposition f''. Now it stays equivalent to - `\transposition bes''. + \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 - * When checking for collisions, LilyPond no longer treats objects as - rectangles. Instead, the actual shape of objects is approximated - using an integral-like approach. This generally results in more - even and snug positioning of objects and systems: + • 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. - [image of music] + \markup \fill-line {oooooo oooooo oooooo oooooo} + \markup \fill-line {ooooooooo oooooooo oo ooo} + image of music - Previously, the above snippet looked like this: - - [image of music] - - Affected objects include `Accidentals', `Beams', `Clefs', - `Dynamics', `FiguredBass', `Flags', `Glissandos', `Lyrics', - `MetronomeMarks', `OttavaBrackets', `Pedals', `RehearsalMarks', - `Rests', `Scripts', `TextScripts', `Ties', `Tuplets' and - `VoltaBrackets'. - - * Tuplets are now created with the `\tuplet' command, which takes a - fraction `T/N' to specify that T notes are played in the time - usually allowed for N. One `\tuplet' command can create several - tuplet groups if their duration is typed after the fraction. - - \tuplet 3/2 { c8 d e } \tuplet 3/2 { f e d } c2 - \tuplet 3/2 4 { c8 d e f e d } c2 - [image of music] - - - The `\times' command with its inverted fraction order `N/T' is - still available. - - * Introducing two new markup-commands; `\draw-dashed-line' and - `\draw-dotted-line'. - - The dashed-line extends to the whole length given by DEST, if - `full-length' is set to `#t' (this is the default) without any - space at the beginning or end. `off' will then be altered to fit. - To insist on the given (or default) values of `on', `off' use - `\override #'(full-length . #f)'. Manual settings for `on', `off' - and `phase' are possible. - - The dotted-line always extends to the whole length given by DEST, - without any space at the beginning or end. Manual settings for - `off' are possible to get larger or smaller space between the dots. - The given (or default) value of `off' will be altered to fit the - line-length. + \markup \justify-line {oooooo oooooo oooooo oooooo} + \markup \justify-line {ooooooooo oooooooo oo ooo} + image of music - \markup { - \draw-dashed-line #'(5.1 . 2.3) - \override #'(on . 0.3) - \override #'(off . 0.5) - \draw-dashed-line #'(5.1 . 2.3) - \draw-dotted-line #'(5.1 . 2.3) - \override #'(thickness . 2) - \override #'(off . 0.2) - \draw-dotted-line #'(5.1 . 2.3) - } - [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 - * Starting with version 2.17.10, error messages or the `textedit' - URI used for point-and-click functionality specify column numbers - starting with 1 rather than 0. The byte offset (also part of - `textedit' URIs) still starts at 0. + • ‘\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). - * The `\clef' command supports optional transposition: + • Scheme functions and identifiers can now be used as output + definitions. - \clef "treble_(8)" - c2 c - \clef "bass^[15]" - c2 c - [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. - * The LilyPond syntax of dot-separated words `Voice.Accidental' has - been made interchangeable with `#'(Voice Accidental)', a Scheme - list of symbols. As one result, code like - \override Voice.TextSpanner #'(bound-details left text) = "rit." - is now equivalent to - \override Voice.TextSpanner bound-details.left.text = "rit." - or even - \override #'(Voice TextSpanner) bound-details.left.text = "rit." + • ‘LeftEdge’ now has a definable ‘Y-extent’ (i.e.vertical). See + *note (lilypond-internals)LeftEdge::. - * Grob and grob property path no longer need to be specified as two - separate arguments to commands like `\override' and `\revert', - allowing for the syntax - \override Voice.TextSpanner.bound-details.left.text = "rit." - Since complementary music functions like `\overrideProperty' - cannot support forms with and without separating space at the same - time, using a single dotted path is now the preferred form. - Specifying grob path and grob property path separately, currently - still supported with `\override' and `\revert' for compatibility - reasons, is deprecated. + • Added a new ‘make-path-stencil’ function that supports all ‘path’ + commands both relative and absolute: - * Due to words now being accepted as symbol function arguments, the - interfaces of `\accidentalStyle', `\alterBroken', `\footnote' and - `\tweak' had to be redesigned where optional symbol arguments were - involved. Please check the respective music function - documentation for details. + ‘lineto’, ‘rlineto’, ‘curveto’, ‘rcurveto’, ‘moveto’, ‘rmoveto’, + ‘closepath’. The function also supports ‘single-letter’ syntax + used in standard SVG path commands: - * Several commands now accept symbol lists (conveniently entered as - dot-separated words) for various kinds of arguments. These - include `\accidentalStyle', `\alterBroken', `\footnote', `\hide', - `\omit', `\overrideProperty', `\shape', and `\tweak'. + ‘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’. - * The bar line user interface has changed. Bar glyphs now resemble - the appearance of the bar line, so a left repeat sign has to be - coded as `.|:'. The command `\defineBarLine' provides an easy way - to define additional bar line styles. + • Context properties named in the ‘alternativeRestores’ property are + restored to their value at the start of the _first_ alternative in + all subsequent alternatives. - * Accidentals in the key signature may be printed in octaves other - than their traditional positions, or in multiple octaves. + Currently the default set restores ‘current meter’; - [image of music] + \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. - -Local Variables: -coding: utf-8 -End: