X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=NEWS.txt;h=f845199263ed86dc6a88d2ed7f80e9b53e7c8505;hb=67f424f6775cc84d4bd6b8ee4270c09c6223f668;hp=33fc4d64f84ac48b87889e36a38cf6752a46af39;hpb=9f6d0fb4a06f79989101ebfd22efdfb9013ab32b;p=lilypond.git
diff --git a/NEWS.txt b/NEWS.txt
index 33fc4d64f8..f845199263 100644
--- a/NEWS.txt
+++ b/NEWS.txt
@@ -1,61 +1,151 @@
New features in 2.20 since 2.18
*******************************
- * Blocks introduced with `\header' can be stored in variables and
+ ⢠It is now possible to move systems with reference to their current
+ position using the âextra-offsetâ subproperty of
+ âNonMusicalPaperColumn.line-break-system-detailsâ. Both vertical
+ and horizontal changes are possible. This feature is especially
+ useful for making slight adjustments to the default vertical
+ position of individual systems. See *note
+ (lilypond-notation)Explicit staff and system positioning:: for more
+ information.
+
+ ⢠It is now possible to add text to analysis brackets through the
+ âHorizontalBracketTextâ object.
+ \layout {
+ \context {
+ \Voice
+ \consists "Horizontal_bracket_engraver"
+ }
+ }
+
+ {
+ \once \override HorizontalBracketText.text = "a"
+ c''\startGroup d''\stopGroup
+ e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup
+ }
+ image of music
+
+ ⢠The ends of hairpins may now be fine-tuned using the âshorten-pairâ
+ grob property, which previously only affected text-spanners like
+ âTupletBracketâ and âOttavaBracketâ. Positive values offset to the
+ right, negative to the left.
+ { \once \override Hairpin.shorten-pair = #'(2 . 2)
+ c'1~\<
+ c'2~ c'\!
+ \once \override Hairpin.shorten-pair = #'(-2 . -2)
+ c'1~\<
+ c'2~ c'\! }
+ image of music
+
+ ⢠In fret-diagrams the distance between frets and the distance
+ between strings is now independently adjustable. Available are
+ âfret-distanceâ and âstring-distanceâ as subproperties of
+ âfret-diagram-detailsâ.
+ fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
+
+ \markuplist
+ \override #'(padding . 2)
+ \table #'(0 -1) {
+ "default"
+
+ \fretMrkp
+
+ "fret-distance"
+
+ \override #'(fret-diagram-details . ((fret-distance . 2)))
+ \fretMrkp
+
+ "string-distance"
+
+ \override #'(fret-diagram-details . ((string-distance . 2)))
+ \fretMrkp
+ }
+ image of music
+
+ ⢠Accidental rules can now be defined across âChoirStaffâ contexts.
+ Two new rules âchoralâ and âchoral-cautionaryâ are available that
+ combine the characteristics of âmodern-voiceâ and âpianoâ or their
+ equivalents with cautionary accidentals.
+
+ ⢠The music function â\unfoldRepeatsâ can now take an optional
+ argument-list specifying which type(s) of repeated music should be
+ unfolded. Possible entries are âpercentâ, âtremoloâ, âvoltaâ. If
+ the optional argument-list is unspecified, ârepeated-musicâ will be
+ used, unfolding all.
+
+ ⢠A new âoutput-attributesâ grob property is now used for svg output
+ instead of the âidâ grob property. It allows multiple attributes
+ to be defined as an association list. For example, â#'((id . 123)
+ (class . foo) (data-whatever . âbarâ))â will produce the following
+ group tag in an SVG file: â ... â.
+
+ ⢠Slurs and phrasing slurs may now be started from individual notes
+ in a chord. Several simultanous slurs per âVoiceâ need to be
+ distinguished by âspanner-idâ setting.
+
+ ⢠The music and grob property âspanner-idâ for distinguishing
+ simultaneous slurs and phrasing slurs has been changed from a
+ string to a âkeyâ, a non-negative integer or symbol.
+
+ ⢠There is a new command â\=â for specifying the âspanner-idâ for
+ simultaneous slurs and phrasing slurs.
+ \fixed c' {
+ 2
+ }
+ image of music
+
+ ⢠Blocks introduced with â\headerâ can be stored in variables and
used as arguments to music and scheme functions and as the body of
- `#{...#}' constructs. They are represented as a Guile module.
+ â#{...#}â 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
+ While â\bookâ, â\bookpartâ, â\scoreâ, â\withâ, â\layoutâ, â\midiâ,
+ â\paperâ blocks can be passed around in similar manner, they are
represented by different data types.
- * Dot-separated symbol lists like `FretBoard.stencil' were already
+ ⢠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]
-
+ image of music
and
- \tagGroup violin,oboe,bassoon
+ \tagGroup violin,oboe,bassoon
- * Such lists may also be used in expressions for assignments, sets,
+ ⢠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]
-
+ image of music
- * Association list elements could previously be assigned values
+ ⢠Association list elements could previously be assigned values
individually (for example, paper variables like
- `system-system-spacing.basic-distance'). They may now be also
+ âsystem-system-spacing.basic-distanceâ). They may now be also
referenced in this manner, as with
- \paper {
- \void \displayScheme \system-system-spacing.basic-distance
- }
+ \paper {
+ \void \displayScheme \system-system-spacing.basic-distance
+ }
In combination with the previously mentioned changes, this allows
- setting and referencing pseudovariables like `violin.1'.
+ setting and referencing pseudovariables like âviolin.1â.
- * LilyPond source files may now be embedded inside the generated PDF
- files. This experimental feature is disabled by default and may
- be regarded as unsafe, as PDF documents with hidden content tend
- to present a security risk. Please note that not all PDF viewers
- have the ability to handle embedded documents (if not, the PDF
- output will appear normally and source files will remain
- invisible). This feature only works with the PDF backend.
+ ⢠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
+ ⢠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.
+ Italian-derived syntax, the D pitch may be entered as âréâ. Double
+ sharps may also be entered using the â-xâ suffix.
+ ⢠Additional bass strings (for lute tablature) are supported.
m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
\score {
@@ -73,12 +163,10 @@ New features in 2.20 since 2.18
}
}
}
- [image of music]
-
-
- * The markup-list-command `\table' is now available. Each column
- may be aligned differently.
+ image of music
+ ⢠The markup-list-command â\tableâ is now available. Each column may
+ be aligned differently.
\markuplist {
\override #'(padding . 2)
\table
@@ -91,13 +179,11 @@ New features in 2.20 since 2.18
thousand "1000" one "1.0"
}
}
- [image of music]
+ image of music
-
- * A new markup-command, `\with-dimensions-from', makes
- `\with-dimensions' easier to use by taking the new dimensions from
+ ⢠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"
@@ -109,19 +195,19 @@ New features in 2.20 since 2.18
\pattern #5 #X #0 \with-dimensions-from "n" "!"
}
}
- [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'
-
+ image of music
+
+ ⢠There are two new page breaking functions. âly:one-page-breakingâ
+ automatically adjusts the height of the page to fit the music, so
+ that everything fits on one page.
+ âly:one-line-auto-height-breakingâ is like âly:one-line-breakingâ,
+ placing the music on a single line and adjusting the page width
+ accordingly, however it also automatically adjusts the page height
+ to fit the music.
+
+ ⢠Markup-command â\draw-squiggle-lineâ is now available. Customizing
+ is possible with overrides of âthicknessâ, âangularityâ, âheightâ
+ and âorientationâ
\markup
\overlay {
\draw-squiggle-line #0.5 #'(3 . 3) ##t
@@ -140,16 +226,14 @@ New features in 2.20 since 2.18
\override #'(orientation . -1)
\draw-squiggle-line #0.2 #'(-3 . 3) ##t
}
- [image of music]
-
+ image of music
- * A new command, `\RemoveAllEmptyStaves', has been made available,
- which acts exactly like `\RemoveEmptyStaves', except for also
+ ⢠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 `\undertie' and `\overtie' are now available, as
- well as the generic markup-command `\tie'.
-
+ ⢠Markup-commands â\undertieâ and â\overtieâ are now available, as
+ well as the generic markup-command â\tieâ.
\markup {
\undertie "undertied"
\overtie "overtied"
@@ -160,11 +244,9 @@ New features in 2.20 since 2.18
}
{ \voiceOne \m \voiceTwo \m }
- [image of music]
-
-
- * `TabStaff' is now able to print micro-tones for bendings etc.
+ image of music
+ ⢠âTabStaffâ is now able to print micro-tones for bendings etc.
\layout {
\context {
\Score
@@ -178,15 +260,14 @@ New features in 2.20 since 2.18
\new Staff << \clef "G_8" \mus >>
\new TabStaff \mus
>>
- [image of music]
-
+ image of music
- * Two new styles of whiteout are now available. The `outline' style
- approximates the contours of a glyph's outline, and its shape is
+ ⢠Two new styles of whiteout are now available. The âoutlineâ style
+ approximates the contours of a glyphâs outline, and its shape is
produced from multiple displaced copies of the glyph. The
- `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
+ ârounded-boxâ style produces a rounded rectangle shape. For all
+ three styles, including the default âboxâ style, the whiteout
+ shapeâs âthicknessâ, as a multiple of staff-line thickness, can be
customized.
\markup {
@@ -214,12 +295,10 @@ New features in 2.20 since 2.18
\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.
+ 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
@@ -231,23 +310,22 @@ New features in 2.20 since 2.18
\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'.
+ 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
@@ -256,69 +334,63 @@ New features in 2.20 since 2.18
\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'
+ 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 `parser' and `location' arguments, providing
+ legacy use of âparserâ and âlocationâ arguments, providing
backwards-compatible semantics for some time.
- * In the "english" notename language, the long notenames for pitches
+ ⢠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
+ \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'.
+ \key aflat \major
- * The visual style of tremolo slashes (shape, style and slope) is
- now more finely controlled.
+ Double accidentals do not get another hyphen, so the Dutch âcisisâ
+ has the long English notename âc-sharpsharpâ.
- [image of music]
+ ⢠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
- * Multi-measure rests have length according to their total duration,
- under the control of `MultiMeasureRest.space-increment'.
+ ⢠Page numbers may now be printed in roman numerals, by setting the
+ âpage-number-typeâ paper variable.
- [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.
+ ⢠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]
+ image of music
-
- * It is now possible to override the `text' property of chord names.
+ ⢠It is now possible to override the âtextâ property of chord names.
<<
\new ChordNames \chordmode {
@@ -327,102 +399,99 @@ New features in 2.20 since 2.18
d
}
>>
- [image of music]
-
+ image of music
- * Improved horizontal alignment when using `TextScript', with
- `DynamicText' or `LyricText'.
+ ⢠Improved horizontal alignment when using âTextScriptâ, with
+ âDynamicTextâ or âLyricTextâ.
- * A new command `\magnifyStaff' has been added which scales staff
+ ⢠A new command â\magnifyStaffâ 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
+ 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.
- * `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
+ ⢠âInstrumentNameâ now supports âtext-interfaceâ.
+
+ ⢠There is now support for controlling the âexpression levelâ of MIDI
+ channels using the âStaff.midiExpressionâ context property. This
+ can be used to alter the perceived volume of even sustained notes
+ (albeit in a very âlow-levelâ way) and accepts a number value
+ between â0.0â and â1.0â.
+
+ \score {
+ \new Staff \with {
+ midiExpression = #0.6
+ midiInstrument = #"clarinet"
+ }
+ <<
+ { a'1~ a'1 }
+ {
+ \set Staff.midiExpression = #0.7 s4\f\<
+ \set Staff.midiExpression = #0.8 s4
+ \set Staff.midiExpression = #0.9 s4
+ \set Staff.midiExpression = #1.0 s4
+
+ \set Staff.midiExpression = #0.9 s4\>
+ \set Staff.midiExpression = #0.8 s4
+ \set Staff.midiExpression = #0.7 s4
+ \set Staff.midiExpression = #0.6 s4\!
+ }
+ >>
+ \midi { }
+ }
+
+ ⢠Support for making it easier to use alternative âmusicâ fonts other
than the default Emmentaler in LilyPond has been added. See
- `http://fonts.openlilylib.org/' for more information.
+ 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.
+ ⢠Grobs and their parents can now be aligned separately allowing more
+ flexibility for grob positions. For example the âleftâ edge of a
+ grob can now be aligned on the âcenterâ of its parent.
- * Improvements to the `\partial' command have been made to avoid
+ ⢠Improvements to the â\partialâ command have been made to avoid
problems when using multiple, parallel contexts.
- * `\chordmode' can now use `< >' and `<< >>' constructs.
+ ⢠â\chordmodeâ can now use â< >â and â<< >>â constructs.
- * A new command `\tagGroup' has now been added. This complements
- the existing `\keepWithTag' and `\removeWithTag' commands. For
+ ⢠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)
+ \tagGroup #'(violinI violinII viola cello)
- declares a list of `tags' that belong to a single `tag group'.
+ declares a list of âtagsâ that belong to a single âtag groupâ.
- \keepWithTag #'violinI
+ \keepWithTag #'violinI
- Is now only concerned with `tags' from `violinI'âs tag group.
+ 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.
+ 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'.
+ ⢠The â\addlyricsâ function now works with arbitrary contexts
+ incuding âStaffâ.
- * String numbers can now also be used to print roman numerals (e.g.
+ ⢠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]
+ image of music
+ ⢠The âthin-kernâ property of the âBarLineâ grob has been renamed to
+ âsegno-kernâ.
- * The `thin-kern' property of the `BarLine' grob has been renamed to
- `segno-kern'.
-
- * `KeyCancellation' grobs now ignore cue clefs (like `KeySignature'
+ ⢠âKeyCancellationâ grobs now ignore cue clefs (like âKeySignatureâ
grobs do).
- * Add support for `\once \unset'
+ ⢠Add support for â\once \unsetâ
- * It is now possible to individually color both the dots and
- parentheses in fret diagrams when using the
- `\fret-diagram-verbose' markup command.
+ ⢠It is now possible to individually color both the dots and
+ parentheses in fret diagrams when using the â\fret-diagram-verboseâ
+ markup command.
\new Voice {
c1^\markup {
@@ -452,13 +521,12 @@ New features in 2.20 since 2.18
}
}
}
- [image of music]
-
+ 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
+ ⢠Two new properties have been added for use in
+ âfret-diagram-detailsâ when using the â\fret-diagram-verboseâ
+ markup command; âfret-label-horizontal-offsetâ which affects the
+ âfret-label-indicationâ and âparen-paddingâ which controls the
space between the dot and the parentheses surrounding it.
\new Voice {
@@ -485,26 +553,23 @@ New features in 2.20 since 2.18
}
}
}
- [image of music]
+ image of music
-
- * A new markup command `\justify-line' has been added. Similar to
- the `\fill-line' markup command except that instead of setting
- _words_ in columns, the `\justify-line' command balances the
+ ⢠A new markup command â\justify-lineâ has been added. Similar to
+ the â\fill-lineâ markup command except that instead of setting
+ _words_ in columns, the â\justify-lineâ command balances the
whitespace between them ensuring that when there are three or more
words in a markup, the whitespace is always consistent.
\markup \fill-line {oooooo oooooo oooooo oooooo}
\markup \fill-line {ooooooooo oooooooo oo ooo}
- [image of music]
-
+ image of music
\markup \justify-line {oooooo oooooo oooooo oooooo}
\markup \justify-line {ooooooooo oooooooo oo ooo}
- [image of music]
+ image of music
-
- * A new command `\magnifyMusic' has been added, which allows the
+ ⢠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.
@@ -522,32 +587,30 @@ New features in 2.20 since 2.18
}
}
>>
- [image of music]
-
+ 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 Built-in templates:
- (lilypond-learning)Built-in templates.
+ ⢠A new flexible template suitable for a range of choral music, is
+ now provided. This may be used to create simple choral music, with
+ or without piano accompaniment, in two or four staves. Unlike
+ other templates, this template is âbuilt-inâ, which means it does
+ not need to be copied and edited: instead it is simply â\includeââd
+ in the input file. For details, see *note
+ (lilypond-learning)Built-in templates::.
- * The positioning of tuplet numbers for kneed beams has been
+ ⢠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.
+ 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.
+ close to an adjoining note column but preserving the numberâs
+ vertical distance from the kneed beam. If the number itself is too
+ large to fit in the available space the original, bracket-based,
+ positioning system is used instead; and in the event of a collision
+ (e.g. with an accidental) the tuplet number is moved vertically
+ away instead.
\time 3/4
\override Beam.auto-knee-gap = 3
@@ -556,11 +619,10 @@ New features in 2.20 since 2.18
c'8 g,, e''
g,,8 e''' c,,
}
- [image of music]
-
+ image of music
The original kneed-beam tuplet behavior is still available through
- an `\override' via a new, `knee-to-beam' property.
+ an â\overrideâ via a new, âknee-to-beamâ property.
\time 3/4
\override Beam.auto-knee-gap = 3
@@ -570,49 +632,47 @@ New features in 2.20 since 2.18
c'8 g,, e''
g,,8 e''' c,,
}
- [image of music]
-
-
- * `\lyricsto' and `\addLyrics' have been `harmonized'. Both now
- accept the same kind of delimited argument list that `\lyrics' and
- `\chords' accept. Backward compatibility has been added so music
- identifiers (i.e. `\mus') are permitted as arguments. A
- `convert-ly' rule has been added that removes redundant uses of
- `\lyricmode' and rearranges combinations with context starters such
- that `\lyricsto' in general is applied last (i.e. like
- `\lyricmode' would be).
-
- * Scheme functions and identifiers can now be used as output
+ image of music
+
+ ⢠â\lyricstoâ and â\addLyricsâ have been âharmonizedâ. Both now
+ accept the same kind of delimited argument list that â\lyricsâ and
+ â\chordsâ accept. Backward compatibility has been added so music
+ identifiers (i.e. â\musâ) are permitted as arguments. A
+ âconvert-lyâ rule has been added that removes redundant uses of
+ â\lyricmodeâ and rearranges combinations with context starters such
+ that â\lyricstoâ in general is applied last (i.e. like
+ â\lyricmodeâ would be).
+
+ ⢠Scheme functions and identifiers can now be used as output
definitions.
- * Scheme expressions can now be used as chord constituents.
+ ⢠Scheme expressions can now be used as chord constituents.
- * Improved visual spacing of small and regular `MI' Funk and Walker
+ ⢠Improved visual spacing of small and regular âMIâ Funk and Walker
noteheads so they are now the same width as other shaped notes in
- their respective sets. `SOL' noteheads are also now visually
+ their respective sets. âSOLâ noteheads are also now visually
improved when used with both the normal Aiken and Sacred Harp
heads, as well as with the thin variants.
- * `LeftEdge' now has a definable `Y-extent' (i.e.vertical). See *note
- LeftEdge: (lilypond-internals)LeftEdge.
+ ⢠âLeftEdgeâ now has a definable âY-extentâ (i.e.vertical). See
+ *note (lilypond-internals)LeftEdge::.
- * Added a new `make-path-stencil' function that supports all `path'
+ ⢠Added a new âmake-path-stencilâ function that supports all âpathâ
commands both relative and absolute:
- `lineto', `rlineto', `curveto', `rcurveto', `moveto', `rmoveto',
- `closepath'. The function also supports `single-letter' syntax
+ âlinetoâ, ârlinetoâ, âcurvetoâ, ârcurvetoâ, âmovetoâ, ârmovetoâ,
+ âclosepathâ. The function also supports âsingle-letterâ 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'.
+ 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.
- * Context properties named in the `alternativeRestores' property are
+ ⢠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 `current meter';
+ Currently the default set restores âcurrent meterâ;
\time 3/4
\repeat volta 2 { c2 e4 | }
@@ -621,10 +681,9 @@ New features in 2.20 since 2.18
{ f2 d4 | }
}
g2. |
- [image of music]
+ image of music
-
- `measure position';
+ âmeasure positionâ;
\time 3/4
\repeat volta 2 { c2 e4 | }
@@ -635,10 +694,9 @@ New features in 2.20 since 2.18
{ f2 d4 | }
}
g2. |
- [image of music]
-
+ image of music
- and `chord changes';
+ and âchord changesâ;
<<
\new ChordNames {
@@ -654,23 +712,21 @@ New features in 2.20 since 2.18
\chordmode { d:m }
}
>>
- [image of music]
+ 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.
- * 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;
+ âTabNoteHead.style = #'slashâ.
- * A new note head style for Tabulature has been added;
- `TabNoteHead.style = #'slash'.
-
- * Four new Clef glyphs have been added _Double G_, _Tenor G_,
+ ⢠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
@@ -691,14 +747,13 @@ New features in 2.20 since 2.18
\clef "tenorvarC" c c c c
\clef "baritonevarC" c c c c
\clef "varpercussion" c c c c
- [image of music]
+ image of music
-
- * Isolated durations in music sequences now stand for unpitched
+ ⢠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:
+ 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 {
@@ -706,50 +761,46 @@ New features in 2.20 since 2.18
tambourine 8 \tuplet 3/2 { 16 16 16 }
8 \tuplet 3/2 { 16 16 16 } 8 8 |
}
- [image of music]
-
+ image of music
\new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
- [image of music]
+ image of music
-
- * `\displayLilyMusic' and its underlying Scheme functions no longer
+ ⢠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 }
+ { c4 d4 8 }
- * Beaming exceptions can now be constructed using the
- `\beamExceptions' scheme function. One can now write
+ ⢠Beaming exceptions can now be constructed using the
+ â\beamExceptionsâ scheme function. One can now write
\time #'(2 1) 3/16
\set Timing.beamExceptions =
\beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
c16 c c |
\repeat unfold 6 { c32 } |
- [image of music]
-
+ 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
+ with multiple exceptions separated with â|â bar checks (writing the
+ exception pattern without pitches is convenient but not mandatory).
+ Previously, setting the beam exceptions would have required writing
- \set Timing.beamExceptions =
- #'( ;start of alist
- (end . ;entry for end of beams
- ( ;start of alist of end points
- ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
- )))
+ \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.
+ ⢠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.
+ 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.
+ This behavior is customizable through the âmidiLengthâ and
+ âmidiExtraVelocityâ properties on âArticulationEventâ. See
+ âscript-init.lyâ for examples.
- * The PostScript functionality of stroke adjustment is no longer
+ ⢠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
@@ -757,14 +808,41 @@ New features in 2.20 since 2.18
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
+ option â-dstrokeadjustâ to LilyPond. When generating âPDFâ files,
+ this will usually result in markedly better looking âPDFâ previews
but significantly larger file size. Print quality at high
resolutions will be unaffected.
+ ⢠Default text fonts have been changed from âCentury Schoolbook Lâ,
+ âsans-serifâ, and âmonospaceâ.
+
+ For âsvgâ backend:
+ Family Default font
+ -----------------------------------
+ _roman_ âserifâ
+ _sans_ âsans-serifâ
+ _typewriter_âmonospaceâ
+
+ âserifâ, âsans-serifâ, and âmonospaceâ are âgeneric-familyâ in SVG
+ and CSS specifications.
+
+ For other backends:
+ Family Default font (alias) Alias definition lists
+ ----------------------------------------------------------------------------
+ _roman_ âLilyPond Serifâ TeX Gyre Schola, C059, Century
+ SchoolBook URW, Century Schoolbook L,
+ DejaVu Serif, ..., serif
+ _sans_ âLilyPond Sans TeX Gyre Heros, Nimbus Sans, Nimbus
+ Serifâ Sans L, DejaVu Sans, ..., sans-serif
+ _typewriter_âLilyPond Monospaceâ TeX Gyre Cursor, Nimbus Mono PS,
+ Nimbus Mono, Nimbus Mono L, DejaVu
+ Sans Mono, ..., monospace
+
+ âLilyPond Serifâ, âLilyPond Sans Serifâ, and âLilyPond Monospaceâ
+ are font aliases defined in the LilyPond dedicated FontConfig
+ configuration file â00-lilypond-fonts.confâ. Where a character
+ dosenât exist in the first font listed, the next font listed will
+ be used instead for that character. For details of alias
+ definitions, please see to â00-lilypond-fonts.confâ under the
+ installed directory.
-
-
-Local Variables:
-coding: utf-8
-End: