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.
65 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
66 the generic markup-command @code{\tie}.
67 @lilypond[quote,verbatim]
74 c''1 \prall -\tweak text \markup \tie "131" -1
77 { \voiceOne \m \voiceTwo \m }
81 @code{TabStaff} is now able to print micro-tones for bendings etc.
82 @lilypond[quote,verbatim]
86 supportNonIntegerFret = ##t
90 mus = \relative { c'4 cih d dih }
93 \new Staff << \clef "G_8" \mus >>
99 A new style of whiteout that approximates the contours of a glyph's
100 outline is now available using @code{whiteout-style}. The shape of the
101 white background is produced from multiple displaced copies of the
102 glyph. The @code{thickness} of both the new @code{outline} style and
103 the default @code{box} style, as a multiple of staff-line thickness, can
105 @lilypond[verbatim,quote]
108 \filled-box #'(-1 . 15) #'(-3 . 4) #1
109 \override #'(thickness . 2)
110 \whiteout whiteout-box
114 \filled-box #'(-1 . 18) #'(-3 . 4) #1
115 \override #'(style . outline)
116 \override #'(thickness . 3)
117 \whiteout whiteout-outline
120 \override Staff.Clef.whiteout-style = #'outline
121 \override Staff.Clef.whiteout = 3
127 All of @code{\override}, @code{\revert}, @code{\set}, and
128 @code{\unset} now work with the @code{\once} prefix for making
130 @lilypond[quote,verbatim]
133 \override NoteHead.color = #red
135 \once \override NoteHead.color = #green
137 \once \revert NoteHead.color
139 \revert NoteHead.color
145 When outputting MIDI, LilyPond will now store the @code{title}
146 defined in a score's @code{\header} block (or, if there is no
147 such definition on the @code{\score} level, the first such
148 definition found in a @code{\header} block of the score's
149 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
150 as the name of the MIDI sequence in the MIDI file. Optionally,
151 the name of the MIDI sequence can be overridden using the new
152 @code{midititle} @code{\header} field independently of
153 @code{title} (for example, in case @code{title} contains markup
154 code which does not render as plain text in a satisfactory way
158 Music (and scheme and void) functions and markup commands that
159 just supply the final parameters to a chain of overrides, music
160 function and markup command calls can now be defined in the form
161 of just writing the expression cut short with @code{\etc}.
163 @lilypond[verbatim,quote]
164 bold-red-markup = \markup \bold \with-color #red \etc
165 highlight = \tweak font-size 3 \tweak color #red \etc
167 \markup \bold-red "text"
168 \markuplist \column-lines \bold-red { One Two }
170 { c' \highlight d' e'2-\highlight -! }
174 LilyPond functions defined with @code{define-music-function},
175 @code{define-event-function}, @code{define-scheme-function} and
176 @code{define-void-function} can now be directly called from Scheme
177 as if they were genuine Scheme procedures. Argument checking and
178 matching will still be performed in the same manner as when
179 calling the function through LilyPond input. This includes the
180 insertion of defaults for optional arguments not matching their
181 predicates. Instead of using @code{\default} in the actual
182 argument list for explicitly skipping a sequence of optional
183 arguments, @code{*unspecified*} can be employed.
186 Current input location and parser are now stored in GUILE fluids
187 and can be referenced via the function calls @code{(*location*)}
188 and @code{(*parser*)}. Consequently, a lot of functions
189 previously taking an explicit @code{parser} argument no longer do
192 Functions defined with @code{define-music-function},
193 @code{define-event-function}, @code{define-scheme-function} and
194 @code{define-void-function} no longer use @code{parser} and
195 @code{location} arguments.
197 With those particular definitions, LilyPond will try to recognize
198 legacy use of @code{parser} and @code{location} arguments,
199 providing backwards-compatible semantics for some time.
202 In the "english" notename language, the long notenames for pitches
203 with accidentals now contain a hyphen for better readability. You
208 instead of the previous
213 Double accidentals do not get another hyphen, so the Dutch
214 @code{cisis} has the long English notename @code{c-sharpsharp}.
217 The visual style of tremolo slashes (shape, style and slope)
218 is now more finely controlled.
219 @lilypond[quote,relative=2]
221 \override StemTremolo.shape = #'beam-like
223 \override StemTremolo.style = #'constant
230 Multi-measure rests have length according to their total duration,
231 under the control of @code{MultiMeasureRest.space-increment}.
233 { \compressFullBarRests
234 \override Staff.MultiMeasureRest.space-increment = 3.0
239 Page numbers may now be printed in roman numerals, by setting the
240 @code{page-number-type} paper variable.
243 It is now possible to use @code{\time} and @code{\partial}
244 together to change the time signature in mid measure.
246 @lilypond[verbatim,quote,relative=1]
247 \override Score.BarNumber.break-visibility = #end-of-line-invisible
248 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
249 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
253 It is now possible to override the @code{text} property of
256 @lilypond[verbatim,fragment,quote]
258 \new ChordNames \chordmode {
260 \once \override ChordName.text = #"foo"
267 Improved horizontal alignment when using @code{TextScript},
268 with @code{DynamicText} or @code{LyricText}.
271 A new command @code{\magnifyStaff} has been added which scales staff
272 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
273 at the @code{Staff} context level. Staff lines are prevented from being
274 scaled smaller than the default since the thickness of stems, slurs, and
275 the like are all based on the staff line thickness.
278 @code{InstrumentName} now supports @code{text-interface}.
281 There is now support for controlling the @q{expression level} of
282 MIDI channels using the @code{Staff.midiExpression} context property.
283 This can be used to alter the perceived volume of even sustained notes
284 (albeit in a very @q{low-level} way) and accepts a number value between
285 @code{0.0} and @code{1.0}.
290 midiExpression = #0.6
291 midiInstrument = #"clarinet"
296 \set Staff.midiExpression = #0.7 s4\f\<
297 \set Staff.midiExpression = #0.8 s4
298 \set Staff.midiExpression = #0.9 s4
299 \set Staff.midiExpression = #1.0 s4
301 \set Staff.midiExpression = #0.9 s4\>
302 \set Staff.midiExpression = #0.8 s4
303 \set Staff.midiExpression = #0.7 s4
304 \set Staff.midiExpression = #0.6 s4\!
312 Support for making it easier to use alternative @q{music} fonts other
313 than the default Emmentaler in LilyPond has been added. See
314 @uref{http://fonts.openlilylib.org/} for more information.
317 Grobs and their parents can now be aligned separately allowing
318 more flexibility for grob positions. For example the @q{left} edge of a
319 grob can now be aligned on the @q{center} of its parent.
322 Improvements to the @code{\partial} command have been made to
323 avoid problems when using multiple, parallel contexts.
325 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
329 A new command @code{\tagGroup} has now been added. This complements
330 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
334 \tagGroup #'(violinI violinII viola cello)
337 declares a list of @q{tags} that belong to a single @q{tag group}.
340 \keepWithTag #'violinI
343 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
345 Any element of the included music tagged with one or more tags from the
346 group, but @emph{not} with @var{violinI}, will be removed.
349 The @code{\addlyrics} function now works with arbitrary contexts
350 incuding @code{Staff}.
353 String numbers can now also be used to print roman numerals
354 (e.g. for unfretted string instruments).
355 @lilypond[verbatim,quote,relative=2]
364 The @code{thin-kern} property of the @code{BarLine} grob has been
365 renamed to @code{segno-kern}.
368 @code{KeyCancellation} grobs now ignore cue clefs (like
369 @code{KeySignature} grobs do).
372 Add support for @code{\once@tie{}\unset}
375 It is now possible to individually color both the dots and parentheses
376 in fret diagrams when using the @code{\fret-diagram-verbose} markup
379 @lilypond[verbatim,quote,relative=1]
382 \override #'(fret-diagram-details . (
383 (finger-code . in-dot))) {
384 \fret-diagram-verbose #'((mute 6)
385 (place-fret 5 3 1 red)
386 (place-fret 4 5 2 inverted)
387 (place-fret 3 5 3 green)
388 (place-fret 2 5 4 blue inverted)
389 (place-fret 1 3 1 violet)
394 \override #'(fret-diagram-details . (
395 (finger-code . below-string))) {
396 \fret-diagram-verbose #'((mute 6)
397 (place-fret 5 3 1 red parenthesized)
398 (place-fret 4 5 2 yellow
401 (place-fret 3 5 3 green)
402 (place-fret 2 5 4 blue )
411 Two new properties have been added for use in
412 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
413 markup command; @code{fret-label-horizontal-offset} which affects the
414 @code{fret-label-indication} and @code{paren-padding} which controls the
415 space between the dot and the parentheses surrounding it.
417 @lilypond[verbatim,quote,relative=1]
420 \fret-diagram-verbose #'((mute 6)
424 (place-fret 1 6 4 parenthesized)
429 \override #'(fret-diagram-details . (
430 (fret-label-horizontal-offset . 2)
431 (paren-padding . 0.25))) {
432 \fret-diagram-verbose #'((mute 6)
436 (place-fret 1 6 4 parenthesized)
445 A new markup command @code{\justify-line} has been added. Similar to
446 the @code{\fill-line} markup command except that instead of setting
447 @emph{words} in columns, the @code{\justify-line} command balances the
448 whitespace between them ensuring that when there are three or more
449 words in a markup, the whitespace is always consistent.
451 @lilypond[quote,verbatim,papersize=a6]
452 \markup \fill-line {oooooo oooooo oooooo oooooo}
453 \markup \fill-line {ooooooooo oooooooo oo ooo}
456 @lilypond[quote,verbatim,papersize=a6]
457 \markup \justify-line {oooooo oooooo oooooo oooooo}
458 \markup \justify-line {ooooooooo oooooooo oo ooo}
462 A new command @code{\magnifyMusic} has been added, which allows
463 the notation size to be changed without changing the staff size,
464 while automatically scaling stems, beams, and horizontal spacing.
466 @lilypond[verbatim,quote]
468 \new Voice \relative {
470 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
472 \new Voice \relative {
475 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
476 r32 c'' a c a c a c r c a c a c a c
477 r c a c a c a c a c a c a c a c
484 A new flexible template suitable for a range of choral music, is now
485 provided. This may be used to create simple choral music, with or
486 without piano accompaniment, in two or four staves. Unlike other
487 templates, this template is @q{built-in}, which means it does not
488 need to be copied and edited: instead it is simply @code{\include}'d
489 in the input file. For details, see @rlearning{Built-in templates}.
492 The positioning of tuplet numbers for kneed beams has been significantly
493 improved. Previously, tuplet numbers were placed according to the
494 position of the tuplet bracket, even if it was not printed. This could
495 lead to stranded tuplet numbers. Now they are now positioned
496 closer to the kneed-beam when an appropriate beam segment exists for its
497 placement and when the the bracket is not drawn.
499 Collision detection is also added, offsetting horizontally if too close
500 to an adjoining note column but preserving the number's vertical
501 distance from the kneed beam. If the number itself is too large to
502 fit in the available space the original, bracket-based, positioning
503 system is used instead; and in the event of a collision (e.g. with an
504 accidental) the tuplet number is moved vertically away instead.
506 @lilypond[verbatim,fragment,quote,relative=1]
508 \override Beam.auto-knee-gap = 3
517 The original kneed-beam tuplet behavior is still available through an
518 @code{\override} via a new, @code{knee-to-beam} property.
520 @lilypond[verbatim,fragment,quote,relative=1]
522 \override Beam.auto-knee-gap = 3
523 \override TupletNumber.knee-to-beam = ##f
532 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
533 now accept the same kind of delimited argument list that @code{\lyrics}
534 and @code{\chords} accept. Backward compatibility has been added so
535 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
536 @code{convert-ly} rule has been added that removes redundant uses of
537 @code{\lyricmode} and rearranges combinations with context starters such
538 that @code{\lyricsto} in general is applied last (i.e. like
539 @code{\lyricmode} would be).
542 Scheme functions and identifiers can now be used as output definitions.
545 Scheme expressions can now be used as chord constituents.
548 Improved visual spacing of small and regular @q{MI} Funk and Walker
549 noteheads so they are now the same width as other shaped notes in
550 their respective sets. @code{SOL} noteheads are also now visually
551 improved when used with both the normal Aiken and Sacred Harp heads, as
552 well as with the thin variants.
555 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
556 @rinternals{LeftEdge}.
559 Added a new @code{make-path-stencil} function that supports all
560 @code{path} commands both relative and absolute:
562 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
563 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
564 supports @q{single-letter} syntax used in standard SVG path commands:
566 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
567 @code{z}. The new command is also backward-compatible with the original
568 @code{make-connected-path-stencil} function. Also see
569 @file{scm/stencil.scm}.
572 Context properties named in the @samp{alternativeRestores} property are
573 restored to their value at the start of the @emph{first} alternative in
574 all subsequent alternatives.
576 Currently the default set restores @q{current meter};
578 @lilypond[verbatim,fragment,quote,relative=2]
580 \repeat volta 2 { c2 e4 | }
589 @q{measure position};
591 @lilypond[verbatim,fragment,quote,relative=2]
593 \repeat volta 2 { c2 e4 | }
596 \set Timing.measurePosition = #(ly:make-moment -1/2)
604 and @q{chord changes};
606 @lilypond[verbatim,fragment,quote]
609 \set chordChanges = ##t
610 \chordmode { c1:m d:m c:m d:m }
613 \repeat volta 2 { \chordmode { c1:m } }
615 { \chordmode { d:m } }
616 { \chordmode { c:m } }
624 Improved MIDI output for breathe marks. After tied notes, breaths take
625 time @emph{only} from the last note of the tie; e.g.
626 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
627 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
628 how humans interpret breaths after ties. It now also makes it easier to
629 align simultaneous breathe marks over multiple parts, all with different
633 A new note head style for Tabulature has been added;
634 @code{TabNoteHead.style = #'slash}.
637 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
638 @emph{Varpercussion} and @emph{varC} and their related tessitura.
639 @lilypond[verbatim,quote,fragment]
640 \override Staff.Clef.full-size-change = ##t
643 \clef "tenorG" c c c c
645 \clef "altovarC" c c c c
646 \clef "tenorvarC" c c c c
647 \clef "baritonevarC" c c c c
648 \clef "varpercussion" c c c c
651 \override Staff.Clef.full-size-change = ##f
654 \clef "tenorG" c c c c
656 \clef "altovarC" c c c c
657 \clef "tenorvarC" c c c c
658 \clef "baritonevarC" c c c
659 \clef "varpercussion" c c c c
663 Isolated durations in music sequences now stand for unpitched
664 notes. This may be useful for specifying rhythms to music or
665 scheme functions. When encountered in the final score, the
666 pitches are provided by the preceding note or chord. Here are two
667 examples where this makes for readable input:
669 @lilypond[verbatim,quote]
670 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
673 tambourine 8 \tuplet 3/2 { 16 16 16 }
674 8 \tuplet 3/2 { 16 16 16 } 8 8 |
678 @lilypond[verbatim,quote]
679 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
683 @code{\displayLilyMusic} and its underlying Scheme functions no
684 longer omit redundant note durations. This makes it easier to
685 reliably recognize and format standalone durations in expressions
692 Beaming exceptions can now be constructed using the
693 @code{\beamExceptions} scheme function. One can now write
695 @lilypond[verbatim,quote,relative=1]
697 \set Timing.beamExceptions =
698 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
700 \repeat unfold 6 { c32 } |
704 with multiple exceptions separated with @code{|} bar checks
705 (writing the exception pattern without pitches is convenient but
706 not mandatory). Previously, setting the beam exceptions would
707 have required writing
710 \set Timing.beamExceptions =
712 (end . ;entry for end of beams
713 ( ;start of alist of end points
714 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
719 The most common articulations are now reflected in MIDI output.
720 Accent and marcato make notes louder; staccato, staccatissimo and
721 portato make them shorter. Breath marks shorten the previous
724 This behavior is customizable through the @code{midiLength} and
725 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
726 See @file{script-init.ly} for examples.
729 The PostScript functionality of stroke adjustment is no longer
730 applied automatically but left to the discretion of the PostScript
731 device (by default, Ghostscript uses it for resolutions up to
732 150dpi when generating raster images). When it is enabled, a more
733 complex drawing algorithm designed to benefit from stroke
734 adjustment is employed mostly for stems and bar lines.
736 Stroke adjustment can be forced by specifying the command line
737 option @samp{-dstrokeadjust} to LilyPond. When generating
738 @code{PDF} files, this will usually result in markedly better
739 looking @code{PDF} previews but significantly larger file size.
740 Print quality at high resolutions will be unaffected.
745 For older news, go to
746 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
747 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
748 or @uref{../,go back} to the Documentation index.