X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=NEWS.txt;h=ed819b19e343888887a555463893758d4ee4495a;hb=refs%2Fheads%2Fdebian-experimental;hp=8cfbabb20ea026e58a4b266b3a5a63029f379b67;hpb=c4e6444c7b022fa314f7ca36e385fdf44127a7fd;p=lilypond.git
diff --git a/NEWS.txt b/NEWS.txt
index 8cfbabb20e..ed819b19e3 100644
--- a/NEWS.txt
+++ b/NEWS.txt
@@ -1,192 +1,366 @@
New features in 2.20 since 2.18
*******************************
- ⢠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.
+New for musical notation
+------------------------
- ⢠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.
+*Displaying pitch improvements*
- ⢠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.
+ ⢠Pitches that have a sharp or flat in their name now need to be
+ hyphenated;
+
+ \key a-flat \major
+
+ instead of:
+
+ \key aflat \major
+
+ Pitches that contain _double_ sharps or flats in their name,
+ however, do not need a second hyphen. For example using the Dutch
+ notation âcisisâ:
+
+ \key c-sharpsharp \major
+
+ ⢠Accidental rules can now be defined _across_ âChoirStaffâ contexts.
+
+ ⢠Two new accidental rules have been added. Both combine the
+ characteristics of âmodern-voiceâ, âpianoâ and their equivalents:
+ âchoralâ
- ⢠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.
+ This is the now the default accidental style for âChoirStaffâ.
- 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.
+ âchoral-cautionaryâ
- ⢠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
+ The same as âchoralâ but with the extra accidentals typeset as
+ cautionaries instead.
- ⢠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 }
+ Also see *note (lilypond-notation)Automatic accidentals::.
+
+ ⢠Four new clef glyphs are now available; âGGâ (double-G), âTenor Gâ,
+ âvarCâ plus related tessitura and âVarpercussionâ:
+
+ Example Output Example Output
+
+ ----------------------------------------------------------------------------
+ â\clef GGâ image of music â\clef tenorGâ image of music
+ â\clef varCâ image of music â\clef altovarCâ image of music
+ â\clef tenorvarCâ image of music â\clef baritonevarCâ image of music
+ â\clef image of music
+ varpercussionâ
+
+ Also see _Clef styles_.
+
+ ⢠French note names are now explicitly defined â previously they were
+ aliased to Italian note names. The D pitch may be entered as
+ either âreâ or âréâ.
+
+ \language "français"
+ do ré mi fa | sol la si do | ré1
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 {
- \void \displayScheme \system-system-spacing.basic-distance
- }
+ Double sharps are entered using an âxâ suffix.
- In combination with the previously mentioned changes, this allows
- setting and referencing pseudovariables like âviolin.1â.
+ \language "français"
+ dob, rebb misb fabsb | sold ladd six dosd | rédsd1
+ image of music
- ⢠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.
+ *Rhythm improvements*
- ⢠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.
+ ⢠Multi-measure rests have length according to their total duration,
+ under the control of âMultiMeasureRest.space-incrementâ. Note the
+ default value is â2.0â.
- ⢠Additional bass strings (for lute tablature) are supported.
- m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
+ \compressFullBarRests
+ R1*2 R1*4 R1*64 R1*16
+ image of music
- \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")
- }
- }
- }
+ \compressFullBarRests
+ \override Staff.MultiMeasureRest.space-increment = 2.5
+ R1*2 R1*4 R1*64 R1*16
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"
- }
- }
+ ⢠Improvements to the â\partialâ command have been made when used
+ with parallel music and/or multiple contexts.
+
+ ⢠It is now possible to change the time signature mid-measure by
+ using both the â\timeâ and â\partialâ commands together.
+
+ f f f f | f2. \bar "||"
+ \time 3/4 \partial 4
+ f8 8 | f2 f8 f |
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" "!"
- }
+ ⢠Isolated durations in music now stand for unpitched notes. Pitches
+ are taken from the preceding note or chord. This is especially
+ convenient for specifying rhythms in both music and scheme
+ functions and can help improve the readability of LilyPond source
+ files.
+
+ c64[ 64] 32 16 8^- 4~ 2 | 1
+ image of music
+
+ \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
- ⢠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.
+ ⢠Beaming exceptions can now be constructed using the simpler
+ â\beamExceptionsâ scheme function. Previously, this would have
+ required writing:
- ⢠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
+ \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
+ )))
- \translate #'(3 . 3)
- \override #'(thickness . 4)
- \draw-squiggle-line #0.5 #'(3 . -3) ##t
+ \time #'(2 1) 3/16
+ c16 c c
+ \repeat unfold 6 { c32 }
- \translate #'(6 . 0)
- \override #'(angularity . -5)
- \draw-squiggle-line #0.5 #'(-3 . -3) ##t
+ With the new â\beamExceptionsâ scheme function, this becomes:
- \translate #'(3 . -3)
- \override #'(angularity . 2)
- \override #'(height . 0.3)
- \override #'(orientation . -1)
- \draw-squiggle-line #0.2 #'(-3 . 3) ##t
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+
+ \time #'(2 1) 3/16
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+ image of music
+
+ with multiple exceptions separated by bar checks. Note that
+ writing the exception pattern without pitches is convenient but not
+ mandatory (also see the previous documented rhythm improvement â
+ *note (lilypond-notation)Isolated durations in music now stand for
+ unpitched notes::.
+
+ ⢠The positioning of tuplet numbers for kneed beams has been
+ improved. Previously, tuplet numbers were placed according to the
+ position of the tuplet bracket, even if the bracket was not
+ printed. This could lead to tuplet numbers being âstrandedâ.
+
+ Previously:
+
+ image of music
+
+ Now, when the bracket is not drawn, tuplet numbers are positioned
+ closer.
+
+ image of music
+
+ ⢠Collision detection for the kneed beam tuplet numbers has also been
+ added, shifting the offset horizontally if the number is too close
+ to an adjoining note column (but still preserving the numberâs
+ vertical distance). In the event of a collision â for example with
+ an accidental â the tuplet number will be shifted vertically
+ instead. If the tuplet number is itself too large to fit within
+ the available space, the original, âbracket-basedâ, positioning
+ system will be used instead.
+
+ image of music
+
+ The original kneed-beam tuplet behavior is still available with a
+ new, âknee-to-beamâ property for the âTupletNumberâ layout object.
+
+ \time 2/4
+ \override Beam.auto-knee-gap = 3
+ \override TupletNumber.knee-to-beam = ##f
+ \override TupletBracket.bracket-visibility = ##t
+ \tuplet 3/2 4 { g8 c'' e, }
+ \once \override TupletBracket.bracket-visibility = ##f
+ \tuplet 3/2 4 { g,,8 c'' e, }
+ image of music
+
+ *Expressive mark improvements*
+
+ ⢠The ends of hairpins may now be fine-tuned using the âshorten-pairâ
+ grob property. This previously only affected text-spanners (e.g.
+ âTupletBracketâ and âOttavaBracketâ).
+
+ Positive and negative values offset right and left respectively.
+
+ \once \override Hairpin.shorten-pair = #'(0 . 2)
+ a1\< | a2 a\!
+
+ \once \override Hairpin.shorten-pair = #'(2 . 0)
+ \once \override Hairpin.stencil = #constante-hairpin
+ a1\< | a2 a\!
+
+ \once \override Hairpin.shorten-pair = #'(-1 . -1)
+ \once \override Hairpin.stencil = #flared-hairpin
+ a1\< | a2 a\!
+ image of music
+
+ ⢠Individual slurs and phrasing slurs may now be started from an
+ explicit note within a chord.
+
+ 1 | |
+ image of music
+
+ 1 | |
+ image of music
+
+ ⢠A new command â\=Xâ has been added â where âXâ can be any
+ non-negative integer or symbol â so that a specific âidâ can be
+ assigned to the start and end of slurs and phrasing slurs.
+
+ This is useful when simultaneous slurs are required or if one slur
+ overlaps another or when nesting short slurs within a longer one.
+
+ 1 | |
+ | |
+ image of music
+
+ Also see *note (lilypond-notation)Expressive marks as curves::.
+
+ *Repeat notation improvements*
+
+ ⢠The visual style of tremolo slashes (shape, style and slope) is now
+ more finely controlled.
+ image of music
+
+ ⢠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.
+
+ *Staff notation improvements*
+
+ ⢠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.
+
+ ⢠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 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"
- }
+ ⢠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.
- m = {
- c''1 \prall -\tweak text \markup \tie "131" -1
- }
+ \markup \fill-line {oooooo oooooo oooooo oooooo}
+ \markup \fill-line {ooooooooo oooooooo oo ooo}
+ image of music
- { \voiceOne \m \voiceTwo \m }
+ \markup \justify-line {oooooo oooooo oooooo oooooo}
+ \markup \justify-line {ooooooooo oooooooo oo ooo}
image of music
- ⢠âTabStaffâ is now able to print micro-tones for bendings etc.
+ *Editorial annotation improvements*
+
+ ⢠It is now possible to add text to analysis brackets through the
+ âHorizontalBracketTextâ object.
\layout {
\context {
- \Score
- supportNonIntegerFret = ##t
+ \Voice
+ \consists "Horizontal_bracket_engraver"
}
}
- mus = \relative { c'4 cih d dih }
+ {
+ \once \override HorizontalBracketText.text = "a"
+ c''\startGroup d''\stopGroup
+ e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup
+ }
+ image of music
- <<
- \new Staff << \clef "G_8" \mus >>
- \new TabStaff \mus
- >>
+ *Text formatting improvements*
+
+ ⢠Support for making it easier to use alternative âmusicâ fonts other
+ than the default Emmentaler in LilyPond has been added. See *note
+ (lilypond-notation)Replacing the notation font:: for more
+ information.
+
+ ⢠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.
+
+ ⢠When using OpenType fonts, font features can be used. Note: Not
+ all OpenType fonts have all functions.
+
+ % True small caps
+ \markup { Normal Style: Hello HELLO }
+ \markup { \caps { Small Caps: Hello } }
+ \markup { \override #'(font-features . ("smcp"))
+ { True Small Caps: Hello } }
+
+ % Number styles
+ \markup { Normal Number Style: 0123456789 }
+ \markup { \override #'(font-features . ("onum"))
+ { Old Number Style: 0123456789 } }
+
+ % Stylistic Alternates
+ \markup { \override #'(font-features . ("salt 0"))
+ { Stylistic Alternates 0: εÏÏÏθ } }
+ \markup { \override #'(font-features . ("salt 1"))
+ { Stylistic Alternates 1: εÏÏÏθ } }
+
+ % Multiple features
+ \markup { \override #'(font-features . ("onum" "smcp" "salt 1"))
+ { Multiple features: Hello 0123456789 εÏÏÏθ } }
image of music
⢠Two new styles of whiteout are now available. The âoutlineâ style
@@ -224,197 +398,113 @@ New features in 2.20 since 2.18
}
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
+ ⢠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
- ⢠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.
+ ⢠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
- ⢠âInstrumentNameâ now supports âtext-interfaceâ.
+ \translate #'(3 . 3)
+ \override #'(thickness . 4)
+ \draw-squiggle-line #0.5 #'(3 . -3) ##t
- ⢠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.
+ \translate #'(6 . 0)
+ \override #'(angularity . -5)
+ \draw-squiggle-line #0.5 #'(-3 . -3) ##t
- \score {
- \new Staff \with {
- midiExpression = #0.6
- midiInstrument = #"clarinet"
+ \translate #'(3 . -3)
+ \override #'(angularity . 2)
+ \override #'(height . 0.3)
+ \override #'(orientation . -1)
+ \draw-squiggle-line #0.2 #'(-3 . 3) ##t
}
- <<
- { 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
+ image of music
- \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 { }
+ ⢠Markup-commands â\undertieâ and â\overtieâ are now available, as
+ well as the generic markup-command â\tieâ.
+ \markup {
+ \undertie "undertied"
+ \overtie "overtied"
}
- ⢠Support for making it easier to use alternative âmusicâ fonts other
- than the default Emmentaler in LilyPond has been added. See
- for more information.
+ m = {
+ c''1 \prall -\tweak text \markup \tie "131" -1
+ }
- ⢠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.
+ { \voiceOne \m \voiceTwo \m }
+ image of music
- ⢠Improvements to the â\partialâ command have been made to avoid
- problems when using multiple, parallel contexts.
+New for specialist notation
+---------------------------
- ⢠â\chordmodeâ can now use â< >â and â<< >>â constructs.
+*Vocal music improvements*
- ⢠A new command â\tagGroupâ has now been added. This complements the
- existing â\keepWithTagâ and â\removeWithTagâ commands. For
- Example:
+ ⢠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::.
- \tagGroup #'(violinI violinII viola cello)
+ ⢠The â\addlyricsâ function now works with arbitrary contexts
+ incuding âStaffâ.
- declares a list of âtagsâ that belong to a single âtag groupâ.
+ ⢠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).
- \keepWithTag #'violinI
+ *Unfretted and fretted string instrument improvements*
- Is now only concerned with âtagsâ from âviolinIââs tag group.
+ ⢠A new note head style for Tabulature has been added â
+ âTabNoteHead.style = #'slashâ.
- Any element of the included music tagged with one or more tags from
- the group, but _not_ with VIOLINI, will be removed.
+ ⢠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;" }
- ⢠The â\addlyricsâ function now works with arbitrary contexts
- incuding âStaffâ.
+ \markuplist
+ \override #'(padding . 2)
+ \table #'(0 -1) {
+ "default"
- ⢠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
+ \fretMrkp
- ⢠The âthin-kernâ property of the âBarLineâ grob has been renamed to
- âsegno-kernâ.
+ "fret-distance"
- ⢠âKeyCancellationâ grobs now ignore cue clefs (like âKeySignatureâ
- grobs do).
+ \override #'(fret-diagram-details . ((fret-distance . 2)))
+ \fretMrkp
- ⢠Add support for â\once \unsetâ
+ "string-distance"
+
+ \override #'(fret-diagram-details . ((string-distance . 2)))
+ \fretMrkp
+ }
+ image of music
⢠It is now possible to individually color both the dots and
parentheses in fret diagrams when using the â\fret-diagram-verboseâ
@@ -482,98 +572,234 @@ New features in 2.20 since 2.18
}
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.
+ ⢠Additional bass strings (for lute tablature) are supported.
+ m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
- \markup \fill-line {oooooo oooooo oooooo oooooo}
- \markup \fill-line {ooooooooo oooooooo oo ooo}
+ \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
+
+ ⢠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
+
+ ⢠âTabStaffâ 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
+
+ *Chord notation improvements*
+
+ ⢠â\chordmodeâ can now use â< >â and â<< >>â constructs.
+
+ ⢠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
- \markup \justify-line {oooooo oooooo oooooo oooooo}
- \markup \justify-line {ooooooooo oooooooo oo ooo}
- image of music
+New for input and output
+------------------------
+
+*Input structure improvements*
+
+ ⢠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.
+
+ *Titles and header improvements*
+
+ ⢠Page numbers may now be printed in roman numerals, by setting the
+ âpage-number-typeâ paper variable.
+
+ *Input file improvements*
+
+ ⢠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.
+
+ *Output improvements*
+
+ ⢠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.
+
+ ⢠The âoutput-classic-frameworkâ procedure and the â-dclip-systemsâ
+ are now available with the âSVGâ backend.
+
+ ⢠An argument, â-dcropâ, has been added, formatting âSVGâ and âPDFâ
+ output without margins or page-breaks.
+
+ ⢠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.
+
+ ⢠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.
+
+ ⢠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:
+
+ 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.
+
+ *MIDI improvements*
+
+ ⢠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.
+
+ ⢠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 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.
+ ⢠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.
- \new Staff <<
- \new Voice \relative {
- \voiceOne
- 4 8. 16 8 4 r8
+ \score {
+ \new Staff \with {
+ midiExpression = #0.6
+ midiInstrument = #"clarinet"
}
- \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
+ <<
+ { 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\!
}
- }
- >>
- image of music
+ >>
+ \midi { }
+ }
- ⢠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::.
+ ⢠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).
- ⢠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.
+ *Extracting music improvements*
- \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
+ ⢠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 }
- The original kneed-beam tuplet behavior is still available through
- an â\overrideâ via a new, âknee-to-beamâ property.
+New for spacing issues
+----------------------
- \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
+*Page breaking improvements*
- ⢠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).
+ ⢠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.
- ⢠Scheme functions and identifiers can now be used as output
- definitions.
+ *Vertical and Horizontal spacing improvements*
- ⢠Scheme expressions can now be used as chord constituents.
+ ⢠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.
⢠Improved visual spacing of small and regular âMIâ Funk and Walker
noteheads so they are now the same width as other shaped notes in
@@ -584,22 +810,45 @@ New features in 2.20 since 2.18
⢠âLeftEdgeâ now has a definable âY-extentâ (i.e.vertical). See
*note (lilypond-internals)LeftEdge::.
- ⢠Added a new âmake-path-stencilâ function that supports all âpathâ
- commands both relative and absolute:
+ ⢠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.
- âlinetoâ, ârlinetoâ, âcurvetoâ, ârcurvetoâ, âmovetoâ, ârmovetoâ,
- âclosepathâ. The function also supports âsingle-letterâ syntax
- used in standard SVG path commands:
+ ⢠Improved horizontal alignment when using âTextScriptâ, with
+ âDynamicTextâ or âLyricTextâ.
- 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.
+New for changing defaults
+-------------------------
+
+ ⢠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
+
+New for Internal interfaces and functions
+-----------------------------------------
+
+ ⢠The music and grob property âspanner-idâ, used for distinguishing
+ simultaneous slurs and phrasing slurs, has been changed from a
+ string to a _key_ which can be either a non-negative integer or
+ symbol (also see the previous documented expressive mark
+ improvement â _A new command \=X has been added_).
⢠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;
+ Currently the default set restores âcurrent meterâ:
\time 3/4
\repeat volta 2 { c2 e4 | }
@@ -610,7 +859,7 @@ New features in 2.20 since 2.18
g2. |
image of music
- âmeasure positionâ;
+ âmeasure positionâ:
\time 3/4
\repeat volta 2 { c2 e4 | }
@@ -623,7 +872,7 @@ New features in 2.20 since 2.18
g2. |
image of music
- and âchord changesâ;
+ and âchord changesâ:
<<
\new ChordNames {
@@ -641,102 +890,101 @@ New features in 2.20 since 2.18
>>
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.
+ ⢠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.
- ⢠A new note head style for Tabulature has been added;
- âTabNoteHead.style = #'slashâ.
+ ⢠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.
- ⢠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
+ ⢠Scheme functions and identifiers can now be used as output
+ definitions.
- \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
+ ⢠Scheme expressions can now be used as chord constituents.
- \break
- \override Staff.Clef.full-size-change = ##f
+ ⢠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.
- \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 bold-red = \markup \bold \with-color #red \etc
+ highlight = \tweak font-size 3 \tweak color #red \etc
- ⢠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:
+ \markup \bold-red "text"
+ \markuplist \column-lines \bold-red { One Two }
- \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 |
- }
+ { c' \highlight d' e'2-\highlight -! }
image of music
- \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
+ ⢠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
- ⢠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
+ and
+ \tagGroup violin,oboe,bassoon
- \time #'(2 1) 3/16
- \set Timing.beamExceptions =
- \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
- c16 c c |
- \repeat unfold 6 { c32 } |
+ ⢠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
- 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
+ ⢠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 {
+ \void \displayScheme \system-system-spacing.basic-distance
+ }
- \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
- )))
+ In combination with the previously mentioned changes, this allows
+ setting and referencing pseudovariables like âviolin.1â.
- ⢠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.
+ ⢠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
- This behavior is customizable through the âmidiLengthâ and
- âmidiExtraVelocityâ properties on âArticulationEventâ. See
- âscript-init.lyâ for examples.
+ ⢠âInstrumentNameâ now supports âtext-interfaceâ.
- ⢠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.
+ ⢠The âthin-kernâ property of the âBarLineâ grob has been renamed to
+ âsegno-kernâ.
- 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.
+ ⢠âKeyCancellationâ grobs now ignore cue clefs (like âKeySignatureâ
+ grobs do).
+
+ ⢠Add support for â\once \unsetâ