1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename lilypond-changes.info
3 @settitle LilyPond Changes
8 @macro inputfileref{DIR,NAME}
9 @uref{../../\DIR\/collated-files.html#\NAME\,@file{\DIR\/\NAME\}}@c
11 @macro usermanref{NAME}
12 @inforef{\NAME\,,../user/lilypond/lilypond}@c
17 @macro inputfileref{DIR,NAME}
20 @macro usermanref{NAME}
21 See user manual, \NAME\
25 @macro textanchor{NAME}
32 @documentencoding utf-8
39 @top New features in 2.20 since 2.18
41 @allowcodebreaks false
49 * add new items at the top
51 * only show verbatim input for syntax/input changes
53 * try to be as brief possible in those cases
55 * don't try to provide real-world examples, they often get too big,
56 which scares away people.
58 * Write complete sentences.
60 * only show user-visible changes.
64 @code{KeyCancellation} grobs now ignore cue clefs (like
65 @code{KeySignature} grobs do).
68 Add support for @code{\once@tie{}\unset}
71 It is now possible to individually color both the dots and parentheses
72 in fret diagrams when using the @code{\fret-diagram-verbose} markup
75 @lilypond[verbatim,quote,relative=1]
78 \override #'(fret-diagram-details . (
79 (finger-code . in-dot))) {
80 \fret-diagram-verbose #'((mute 6)
81 (place-fret 5 3 1 red)
82 (place-fret 4 5 2 inverted)
83 (place-fret 3 5 3 green)
84 (place-fret 2 5 4 blue inverted)
85 (place-fret 1 3 1 violet)
90 \override #'(fret-diagram-details . (
91 (finger-code . below-string))) {
92 \fret-diagram-verbose #'((mute 6)
93 (place-fret 5 3 1 red parenthesized)
94 (place-fret 4 5 2 yellow
97 (place-fret 3 5 3 green)
98 (place-fret 2 5 4 blue )
107 Two new properties have been added for use in
108 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
109 markup command; @code{fret-label-horizontal-offset} which affects the
110 @code{fret-label-indication} and @code{paren-padding} which controls the
111 space between the dot and the parentheses surrounding it.
113 @lilypond[verbatim,quote,relative=1]
116 \fret-diagram-verbose #'((mute 6)
120 (place-fret 1 6 4 parenthesized)
125 \override #'(fret-diagram-details . (
126 (fret-label-horizontal-offset . 2)
127 (paren-padding . 0.25))) {
128 \fret-diagram-verbose #'((mute 6)
132 (place-fret 1 6 4 parenthesized)
141 A new markup command @code{\justify-line} has been added. Similar to
142 the @code{\fill-line} markup command except that instead of setting
143 @emph{words} in columns, the @code{\justify-line} command balances the
144 whitespace between them ensuring that when there are three or more
145 words in a markup, the whitespace is always consistent.
147 @lilypond[quote,verbatim,papersize=a6]
148 \markup \fill-line {oooooo oooooo oooooo oooooo}
149 \markup \fill-line {ooooooooo oooooooo oo ooo}
152 @lilypond[quote,verbatim,papersize=a6]
153 \markup \justify-line {oooooo oooooo oooooo oooooo}
154 \markup \justify-line {ooooooooo oooooooo oo ooo}
158 A new command @code{\magnifyMusic} has been added, which allows
159 the notation size to be changed without changing the staff size,
160 while automatically scaling stems, beams, and horizontal spacing.
162 @lilypond[verbatim,quote]
164 \new Voice \relative {
166 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
168 \new Voice \relative {
171 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
172 r32 c'' a c a c a c r c a c a c a c
173 r c a c a c a c a c a c a c a c
180 A new flexible template suitable for a range of choral music, is now
181 provided. This may be used to create simple choral music, with or
182 without piano accompaniment, in two or four staves. Unlike other
183 templates, this template is @q{built-in}, which means it does not
184 need to be copied and edited: instead it is simply @code{\include}'d
185 in the input file. For details, see @rlearning{Built-in templates}.
188 The positioning of tuplet numbers for kneed beams has been significantly
189 improved. Previously, tuplet numbers were placed according to the
190 position of the tuplet bracket, even if it was not printed. This could
191 lead to stranded tuplet numbers. Now they are now positioned
192 closer to the kneed-beam when an appropriate beam segment exists for its
193 placement and when the the bracket is not drawn.
195 Collision detection is also added, offsetting horizontally if too close
196 to an adjoining note column but preserving the number's vertical
197 distance from the kneed beam. If the number itself is too large to
198 fit in the available space the original, bracket-based, positioning
199 system is used instead; and in the event of a collision (e.g. with an
200 accidental) the tuplet number is moved vertically away instead.
202 @lilypond[verbatim,fragment,quote,relative=1]
204 \override Beam.auto-knee-gap = 3
213 The original kneed-beam tuplet behavior is still available through an
214 @code{\override} via a new, @code{knee-to-beam} property.
216 @lilypond[verbatim,fragment,quote,relative=1]
218 \override Beam.auto-knee-gap = 3
219 \override TupletNumber.knee-to-beam = ##f
228 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
229 now accept the same kind of delimited argument list that @code{\lyrics}
230 and @code{\chords} accept. Backward compatibility has been added so
231 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
232 @code{convert-ly} rule has been added that removes redundant uses of
233 @code{\lyricmode} and rearranges combinations with context starters such
234 that @code{\lyricsto} in general is applied last (i.e. like
235 @code{\lyricmode} would be).
238 Scheme functions and identifiers can now be used as output definitions.
241 Scheme expressions can now be used as chord constituents.
244 Improved visual spacing of small and regular @q{MI} Funk and Walker
245 noteheads so they are now the same width as other shaped notes in
246 their respective sets. @code{SOL} noteheads are also now visually
247 improved when used with both the normal Aiken and Sacred Harp heads, as
248 well as with the thin variants.
251 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
252 @rinternals{LeftEdge}.
255 Added a new @code{make-path-stencil} function that supports all
256 @code{path} commands both relative and absolute:
258 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
259 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
260 supports @q{single-letter} syntax used in standard SVG path commands:
262 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
263 @code{z}. The new command is also backward-compatible with the original
264 @code{make-connected-path-stencil} function. Also see
265 @file{scm/stencil.scm}.
268 Context properties named in the @samp{alternativeRestores} property are
269 restored to their value at the start of the @emph{first} alternative in
270 all subsequent alternatives.
272 Currently the default set restores @q{current meter};
274 @lilypond[verbatim,fragment,quote,relative=2]
276 \repeat volta 2 { c2 e4 | }
285 @q{measure position};
287 @lilypond[verbatim,fragment,quote,relative=2]
289 \repeat volta 2 { c2 e4 | }
292 \set Timing.measurePosition = #(ly:make-moment -1/2)
300 and @q{chord changes};
302 @lilypond[verbatim,fragment,quote]
305 \set chordChanges = ##t
306 \chordmode { c1:m d:m c:m d:m }
309 \repeat volta 2 { \chordmode { c1:m } }
311 { \chordmode { d:m } }
312 { \chordmode { c:m } }
320 Improved MIDI output for breathe marks. After tied notes, breaths take
321 time @emph{only} from the last note of the tie; e.g.
322 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
323 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
324 how humans interpret breaths after ties. It now also makes it easier to
325 align simultaneous breathe marks over multiple parts, all with different
329 A new note head style for Tabulature has been added;
330 @code{TabNoteHead.style = #'slash}.
333 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
334 @emph{Varpercussion} and @emph{varC} and their related tessitura.
335 @lilypond[verbatim,quote,fragment]
336 \override Staff.Clef.full-size-change = ##t
339 \clef "tenorG" c c c c
341 \clef "altovarC" c c c c
342 \clef "tenorvarC" c c c c
343 \clef "baritonevarC" c c c c
344 \clef "varpercussion" c c c c
347 \override Staff.Clef.full-size-change = ##f
350 \clef "tenorG" c c c c
352 \clef "altovarC" c c c c
353 \clef "tenorvarC" c c c c
354 \clef "baritonevarC" c c c
355 \clef "varpercussion" c c c c
359 Isolated durations in music sequences now stand for unpitched
360 notes. This may be useful for specifying rhythms to music or
361 scheme functions. When encountered in the final score, the
362 pitches are provided by the preceding note or chord. Here are two
363 examples where this makes for readable input:
365 @lilypond[verbatim,quote]
366 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
369 tambourine 8 \tuplet 3/2 { 16 16 16 }
370 8 \tuplet 3/2 { 16 16 16 } 8 8 |
374 @lilypond[verbatim,quote]
375 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
379 Beaming exceptions can now be constructed using the
380 @code{\beamExceptions} scheme function. One can now write
382 @lilypond[verbatim,quote,relative=1]
384 \set Timing.beamExceptions =
385 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
387 \repeat unfold 6 { c32 } |
391 with multiple exceptions separated with @code{|} bar checks
392 (writing the exception pattern without pitches is convenient but
393 not mandatory). Previously, setting the beam exceptions would
394 have required writing
397 \set Timing.beamExceptions =
399 (end . ;entry for end of beams
400 ( ;start of alist of end points
401 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
406 The most common articulations are now reflected in MIDI output.
407 Accent and marcato make notes louder; staccato, staccatissimo and
408 portato make them shorter. Breath marks shorten the previous
411 This behavior is customizable through the @code{midiLength} and
412 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
413 See @file{script-init.ly} for examples.
416 The PostScript functionality of stroke adjustment is no longer
417 applied automatically but left to the discretion of the PostScript
418 device (by default, Ghostscript uses it for resolutions up to
419 150dpi when generating raster images). When it is enabled, a more
420 complex drawing algorithm designed to benefit from stroke
421 adjustment is employed mostly for stems and bar lines.
423 Stroke adjustment can be forced by specifying the command line
424 option @samp{-dstrokeadjust} to LilyPond. When generating
425 @code{PDF} files, this will usually result in markedly better
426 looking @code{PDF} previews but significantly larger file size.
427 Print quality at high resolutions will be unaffected.
432 For older news, go to
433 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
434 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
435 or @uref{../,go back} to the Documentation index.