X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=NEWS.txt;h=33fc4d64f84ac48b87889e36a38cf6752a46af39;hb=f94e2ee62c8915158af82047acaf49b6165bf88a;hp=a0cefcd144f8ca4e2c64e3f92b3e43aa99bed69d;hpb=652ed35a2013489d0a14fede6307cd2595abb2c4;p=lilypond.git diff --git a/NEWS.txt b/NEWS.txt index a0cefcd144..33fc4d64f8 100644 --- a/NEWS.txt +++ b/NEWS.txt @@ -1,357 +1,766 @@ -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. + * 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] - 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. + * 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 + } - soprano = \relative c' { c e g c } - alto = \relative c' { a c e g } - verse = \lyricmode { This is my song } + 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 Staff << - \partcombine \soprano \alto - \new NullVoice = "aligner" \soprano - \new Lyrics \lyricsto "aligner" \verse - >> - \layout {} + \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] - * Several articulations can be put into a single variable or - returned from an event function: - - sempreStacc = -. ^\markup \italic sempre - \relative { c''4\sempreStacc c c c } + * 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] - * 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 + * 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] - previously looked like - - [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' - without a reliable way to get both scores to line up. + \markup + \overlay { + \draw-squiggle-line #0.5 #'(3 . 3) ##t - * 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. + \translate #'(3 . 3) + \override #'(thickness . 4) + \draw-squiggle-line #0.5 #'(3 . -3) ##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. + \translate #'(6 . 0) + \override #'(angularity . -5) + \draw-squiggle-line #0.5 #'(-3 . -3) ##t - #(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 + \translate #'(3 . -3) + \override #'(angularity . 2) + \override #'(height . 0.3) + \override #'(orientation . -1) + \draw-squiggle-line #0.2 #'(-3 . 3) ##t } - \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" } - >> + [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" + } + + m = { + c''1 \prall -\tweak text \markup \tie "131" -1 + } + + { \voiceOne \m \voiceTwo \m } + [image of music] + + + * `TabStaff' is now able to print micro-tones for bendings etc. + + \layout { + \context { + \Score + supportNonIntegerFret = ##t } + } + + mus = \relative { c'4 cih d dih } + + << + \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. + * 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] - * 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. + * Multi-measure rests have length according to their total duration, + under the control of `MultiMeasureRest.space-increment'. [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' + * Page numbers may now be printed in roman numerals, by setting the + `page-number-type' paper variable. - One has to write a digit on both sides of the dot - values like - `4.' or `-.3' are not allowed. + * It is now possible to use `\time' and `\partial' together to + change the time signature in mid measure. - Decimal fractions are also not accepted in `\chordmode'. + \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] - * A number of shorthands like `(', `)', `|', `[', `]', `~', `\(', - `\)' and others can now freely be redefined like normal commands. - An example would be - "\\{" = ( - "\\}" = ) - "(" = \melisma - ")" = \melismaEnd + * 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] - * The articulation shorthand for `\staccatissimo' has been renamed - from `-|' to `-!'. + * 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 { } + } + + * Support for making it easier to use alternative `music' fonts other + than the default Emmentaler in LilyPond has been added. See + `http://fonts.openlilylib.org/' 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] + - * Tempo change ranges are now written as `\tempo 4 = 60 - 68' rather - than `\tempo 4 = 60 ~ 68'. + * 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. - * Grob `OctavateEight' was renamed to `ClefModifier'. Related - context properties were renamed from `xxxOctavationyyy' to - `xxxTranspositionyyy'. + \markup \fill-line {oooooo oooooo oooooo oooooo} + \markup \fill-line {ooooooooo oooooooo oo ooo} + [image of music] - * 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': - \relative c { c'4 \absolute { f'' g'' } c } + \markup \justify-line {oooooo oooooo oooooo oooooo} + \markup \justify-line {ooooooooo oooooooo oo ooo} [image of music] - * 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. + * 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 command `\single' can be used for converting a property - override into a tweak to be applied on a single music expression: - 1 + * 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 Built-in templates: + (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] - * 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): + The original kneed-beam tuplet behavior is still available through + an `\override' via a new, `knee-to-beam' property. - \new Staff \with { \omit Clef } - \relative c'' 1 + \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] - * 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: + * `\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). + + * Scheme functions and identifiers can now be used as output + definitions. + + * 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. + + * `LeftEdge' now has a definable `Y-extent' (i.e.vertical). See *note + LeftEdge: (lilypond-internals)LeftEdge. + + * 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: + + `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'. + + * 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'; - \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 + \time 3/4 + \repeat volta 2 { c2 e4 | } + \alternative { + { \time 4/4 f2 d | } + { f2 d4 | } + } + g2. | [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. - - * `\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. - - * 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. - - * 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. - - * 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''. - - * 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: - - [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 + `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] - The `\times' command with its inverted fraction order `N/T' is - still available. + and `chord changes'; - * Introducing two new markup-commands; `\draw-dashed-line' and - `\draw-dotted-line'. + << + \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] - 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. + * 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] - \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) + + * 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] - * 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. + \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 } - * The `\clef' command supports optional transposition: + * Beaming exceptions can now be constructed using the + `\beamExceptions' scheme function. One can now write - \clef "treble_(8)" - c2 c - \clef "bass^[15]" - c2 c + \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] - * 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." - - * 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. - - * 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. - - * 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'. - - * 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. - - * Accidentals in the key signature may be printed in octaves other - than their traditional positions, or in multiple octaves. + 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 - [image of music] + \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.