[lilypond.git] / Documentation / changes.tely

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@setfilename lilypond-changes.info
@settitle LilyPond Changes

@include macros.itexi

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@documentencoding utf-8
@documentlanguage en
@afourpaper

@finalout

@node Top
@top New features in 2.20 since 2.18

@allowcodebreaks false

@itemize

@ignore

HINTS

* add new items at the top

* only show verbatim input for syntax/input changes

* try to be as brief possible in those cases

* don't try to provide real-world examples, they often get too big,
which scares away people.

* Write complete sentences.

* only show user-visible changes.

@end ignore
@item
A new command @code{\magnifyMusic} has been added, which allows
the notation size to be changed without changing the staff size,
while automatically scaling stems, beams, and horizontal spacing.

@lilypond[verbatim,quote]
\new Staff <<
  \new Voice \relative {
    \voiceOne
    <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>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
    }
  }
>>
@end lilypond

@item
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 @q{built-in}, which means it does not
need to be copied and edited: instead it is simply @code{\include}'d
in the input file.  For details, see @rlearning{Built-in templates}.

@item
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 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.

@lilypond[verbatim,fragment,quote,relative=1]
\time 3/4
\override Beam.auto-knee-gap = 3
\tuplet 3/2 4 {
  g8 c'' e,
  c'8 g,, e''
  g,,8 e''' c,,
}
@end lilypond

@noindent
The original kneed-beam tuplet behavior is still available through an
@code{\override} via a new, @code{knee-to-beam} property.

@lilypond[verbatim,fragment,quote,relative=1]
\time 3/4
\override Beam.auto-knee-gap = 3
\override TupletNumber.knee-to-beam = ##f
\tuplet 3/2 4 {
  g8 c'' e,
  c'8 g,, e''
  g,,8 e''' c,,
}
@end lilypond

@item
@code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}.  Both
now accept the same kind of delimited argument list that @code{\lyrics}
and @code{\chords} accept.  Backward compatibility has been added so
music identifiers (i.e. @code{\mus}) are permitted as arguments.  A
@code{convert-ly} rule has been added that removes redundant uses of
@code{\lyricmode} and rearranges combinations with context starters such
that @code{\lyricsto} in general is applied last (i.e. like
@code{\lyricmode} would be).

@item
Scheme functions and identifiers can now be used as output definitions.

@item
Scheme expressions can now be used as chord constituents.

@item
Improved visual spacing of small and regular @q{MI} Funk and Walker
noteheads so they are now the same width as other shaped notes in
their respective sets.  @code{SOL} noteheads are also now visually
improved when used with both the normal Aiken and Sacred Harp heads, as
well as with the thin variants.

@item
@code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical).  See
@rinternals{LeftEdge}.

@item
Added a new @code{make-path-stencil} function that supports all
@code{path} commands both relative and absolute:

@code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
@code{moveto}, @code{rmoveto}, @code{closepath}.  The function also
supports @q{single-letter} syntax used in standard SVG path commands:

@code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
@code{z}.  The new command is also backward-compatible with the original
@code{make-connected-path-stencil} function.  Also see
@file{scm/stencil.scm}.

@item
Context properties named in the @samp{alternativeRestores} property are
restored to their value at the start of the @emph{first} alternative in
all subsequent alternatives.

Currently the default set restores @q{current meter};

@lilypond[verbatim,fragment,quote,relative=2]
\time 3/4
\repeat volta 2 { c2 e4 | }
\alternative {
  { \time 4/4 f2 d | }
  { f2 d4 | }
}
g2. |
@end lilypond

@noindent
@q{measure position};

@lilypond[verbatim,fragment,quote,relative=2]
\time 3/4
\repeat volta 2 { c2 e4 | }
\alternative {
  { \time 4/4
    \set Timing.measurePosition = #(ly:make-moment -1/2)
    f2 | }
  { f2 d4 | }
}
g2. |
@end lilypond

@noindent
and @q{chord changes};

@lilypond[verbatim,fragment,quote]
<<
  \new ChordNames {
    \set chordChanges = ##t
    \chordmode { c1:m d:m c:m d:m }
  }
  \new Staff {
    \repeat volta 2 { \chordmode { c1:m } }
    \alternative {
      { \chordmode { d:m } }
      { \chordmode { c:m } }
    }
  \chordmode { d:m }
}
>>
@end lilypond

@item
Improved MIDI output for breathe marks.  After tied notes, breaths take
time @emph{only} from the last note of the tie; e.g.
@code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
of @code{@{ 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.

@item
A new note head style for Tabulature has been added;
@code{TabNoteHead.style = #'slash}.

@item
Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
@emph{Varpercussion} and @emph{varC} and their related tessitura.
@lilypond[verbatim,quote,fragment]
  \override Staff.Clef.full-size-change = ##t

  \clef "GG" c c c c
  \clef "tenorG" c c c c
  \clef "varC" c c c c
  \clef "altovarC" c c c c
  \clef "tenorvarC" c c c c
  \clef "baritonevarC" c c c c
  \clef "varpercussion" c c c c

  \break
  \override Staff.Clef.full-size-change = ##f

  \clef "GG" c c c c
  \clef "tenorG" c c c c
  \clef "varC" c c c c
  \clef "altovarC" c c c c
  \clef "tenorvarC" c c c c
  \clef "baritonevarC" c c c
  \clef "varpercussion" c c c c
@end lilypond

@item
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:

@lilypond[verbatim,quote]
\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 |
}
@end lilypond

@lilypond[verbatim,quote]
\new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
@end lilypond

@item
Beaming exceptions can now be constructed using the
@code{\beamExceptions} scheme function.  One can now write

@lilypond[verbatim,quote,relative=1]
\time #'(2 1) 3/16
\set Timing.beamExceptions =
  \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
c16 c c |
\repeat unfold 6 { c32 } |
@end lilypond

@noindent
with multiple exceptions separated with @code{|} bar checks
(writing the exception pattern without pitches is convenient but
not mandatory).  Previously, setting the beam exceptions would
have required writing

@example
\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
    )))
@end example

@item
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 @code{midiLength} and
@code{midiExtraVelocity} properties on @code{ArticulationEvent}.
See @file{script-init.ly} for examples.

@item
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 @samp{-dstrokeadjust} to LilyPond.  When generating
@code{PDF} files, this will usually result in markedly better
looking @code{PDF} previews but significantly larger file size.
Print quality at high resolutions will be unaffected.

@end itemize

@ifhtml
For older news, go to
@uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
@uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
or @uref{../,go back} to the Documentation index.


@end ifhtml

@bye