Merge branch 'master' into translation

[lilypond.git] / Documentation / changes.tely

\input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
@setfilename lilypond-changes.info
@settitle LilyPond Changes

@include macros.itexi

@ifhtml
@macro inputfileref{DIR,NAME}
@uref{../../\DIR\/collated-files.html#\NAME\,@file{\DIR\/\NAME\}}@c
@end macro
@macro usermanref{NAME}
@inforef{\NAME\,,../user/lilypond/lilypond}@c
@end macro
@end ifhtml

@ifnothtml
@macro inputfileref{DIR,NAME}
@file{\DIR\/\NAME\}@c
@end macro
@macro usermanref{NAME}
See user manual, \NAME\
@end macro
@end ifnothtml

@macro textanchor{NAME}
@html
<a name="\NAME\"></a>
@end html
@end macro


@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
Slurs and phrasing slurs may now be started from individual notes
in a chord.  Several simultanous slurs per @code{Voice} need to be
distinguished by @code{spanner-id} setting.

@item
The music and grob property @code{spanner-id} for distinguishing
simultaneous slurs and phrasing slurs has been changed from a
string to a @q{key}, a non-negative integer or symbol.

@item
There is a new command @code{\=} for specifying the
@code{spanner-id} for simultaneous slurs and phrasing slurs.
@lilypond[verbatim,quote]
\fixed c' {
  <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
}
@end lilypond

@item
Blocks introduced with @code{\header} can be stored in variables
and used as arguments to music and scheme functions and as the
body of @code{#@{@dots{}#@}} constructs.  They are represented as
a Guile module.

While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
@code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
around in similar manner, they are represented by different data
types.

@item
Dot-separated symbol lists like @code{FretBoard.stencil} were
already supported as of version@tie{}2.18.  They may now also
contain unsigned integers, and may alternatively be separated by
commata.  This allows usage such as
@lilypond[quote,verbatim]
{ \time 2,2,1 5/8  g'8 8 8 8 8 }
@end lilypond
and
@example
\tagGroup violin,oboe,bassoon
@end example

@item
Such lists may also be used in expressions for assignments, sets,
and overrides.  This allows usage such as
@lilypond[quote,verbatim]
{ \unset Timing.beamExceptions
  \set Timing.beatStructure = 1,2,1
  g'8 8 8 8 8 8 8 8 }
@end lilypond

@item
Association list elements could previously be assigned values
individually (for example, paper variables like
@code{system-system-spacing.basic-distance}).  They may now be
also referenced in this manner, as with
@example
\paper @{
  \void \displayScheme \system-system-spacing.basic-distance
@}
@end example

In combination with the previously mentioned changes, this allows
setting and referencing pseudovariables like @code{violin.1}.

@item
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.

@item
French note names are now defined specifically instead of
being aliased to Italian note names: in addition to the
generic Italian-derived syntax, the @var{d} pitch may be
entered as @code{ré}.  Double sharps may also be
entered using the @code{-x} suffix.

@item
Additional bass strings (for lute tablature) are supported.
@lilypond[quote,verbatim]
m = { f'4 d' a f d a, g, fis, e, d, c,  \bar "|." }

\score {
  \new TabStaff \m
  \layout {
    \context {
      \Score
      tablatureFormat = #fret-letter-tablature-format
    }
    \context {
      \TabStaff
      stringTunings = \stringTuning <a, d f a d' f'>
      additionalBassStrings = \stringTuning <c, d, e, fis, g,>
      fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
    }
  }
}
@end lilypond

@item
The markup-list-command @code{\table} is now available.
Each column may be aligned differently.
@lilypond[quote,verbatim]
\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"
      }
}
@end lilypond

@item
A new markup-command, @code{\with-dimensions-from}, makes
@code{\with-dimensions} easier to use by taking the new
dimensions from a markup object, given as first argument.
@lilypond[quote,verbatim]
\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" "!"
  }
}
@end lilypond

@item
A new page breaking function @code{ly:one-line-auto-height-breaking}
places a whole score on a single line and changes the page width
to match, just like @code{ly:one-line-breaking}.  The difference is that
it also automatically modifies the height of the page to fit the height
of the music.

@item
Markup-command @code{\draw-squiggle-line} is now available.
Customizing is possible with overrides of @code{thickness}, @code{angularity},
@code{height} and @code{orientation}
@lilypond[quote,verbatim]
\markup
  \overlay {
    \draw-squiggle-line #0.5 #'(3 . 3) ##t

    \translate #'(3 . 3)
    \override #'(thickness . 4)
    \draw-squiggle-line #0.5 #'(3 . -3) ##t

    \translate #'(6 . 0)
    \override #'(angularity . -5)
    \draw-squiggle-line #0.5 #'(-3 . -3) ##t

    \translate #'(3 . -3)
    \override #'(angularity . 2)
    \override #'(height . 0.3)
    \override #'(orientation . -1)
    \draw-squiggle-line #0.2 #'(-3 . 3) ##t
  }
@end lilypond

@item
A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
staves on the first system in a score.

@item
Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
as the generic markup-command @code{\tie}.
@lilypond[quote,verbatim]
\markup {
  \undertie "undertied"
  \overtie "overtied"
}

m = {
  c''1 \prall -\tweak text \markup \tie "131" -1
}

{ \voiceOne \m \voiceTwo \m }
@end lilypond

@item
@code{TabStaff} is now able to print micro-tones for bendings etc.
@lilypond[quote,verbatim]
\layout {
  \context {
    \Score
    supportNonIntegerFret = ##t
  }
}

mus = \relative { c'4 cih d dih }

<<
  \new Staff << \clef "G_8" \mus >>
  \new TabStaff \mus
>>
@end lilypond

@item
Two new styles of whiteout are now available.  The @code{outline} style
approximates the contours of a glyph's outline, and its shape is
produced from multiple displaced copies of the glyph.  The
@code{rounded-box} style produces a rounded rectangle shape.  For all
three styles, including the default @code{box} style, the whiteout
shape's @code{thickness}, as a multiple of staff-line thickness, can be
customized.

@lilypond[verbatim,quote]
\markup {
  \combine
    \filled-box #'(-1 . 15) #'(-3 . 4) #1
    \override #'(thickness . 3)
    \whiteout whiteout-box
}
\markup {
  \combine
    \filled-box #'(-1 . 24) #'(-3 . 4) #1
    \override #'(style . rounded-box)
    \override #'(thickness . 3)
    \whiteout whiteout-rounded-box
}
\markup {
  \combine
    \filled-box #'(-1 . 18) #'(-3 . 4) #1
    \override #'(style . outline)
    \override #'(thickness . 3)
    \whiteout whiteout-outline
}
\relative {
  \override Staff.Clef.whiteout-style = #'outline
  \override Staff.Clef.whiteout = 3
  g'1
}
@end lilypond

@item
All of @code{\override}, @code{\revert}, @code{\set}, and
@code{\unset} now work with the @code{\once} prefix for making
one-time settings.
@lilypond[quote,verbatim]
\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 |
}
@end lilypond

@item
When outputting MIDI, LilyPond will now store the @code{title}
defined in a score's @code{\header} block (or, if there is no
such definition on the @code{\score} level, the first such
definition found in a @code{\header} block of the score's
enclosing @code{\bookpart}, @code{\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
@code{midititle} @code{\header} field independently of
@code{title} (for example, in case @code{title} contains markup
code which does not render as plain text in a satisfactory way
automatically).

@item
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 @code{\etc}.

@lilypond[verbatim,quote]
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 -! }
@end lilypond

@item
LilyPond functions defined with @code{define-music-function},
@code{define-event-function}, @code{define-scheme-function} and
@code{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 @code{\default} in the actual
argument list for explicitly skipping a sequence of optional
arguments, @code{*unspecified*} can be employed.

@item
Current input location and parser are now stored in GUILE fluids
and can be referenced via the function calls @code{(*location*)}
and @code{(*parser*)}.  Consequently, a lot of functions
previously taking an explicit @code{parser} argument no longer do
so.

Functions defined with @code{define-music-function},
@code{define-event-function}, @code{define-scheme-function} and
@code{define-void-function} no longer use @code{parser} and
@code{location} arguments.

With those particular definitions, LilyPond will try to recognize
legacy use of @code{parser} and @code{location} arguments,
providing backwards-compatible semantics for some time.

@item
In the "english" notename language, the long notenames for pitches
with accidentals now contain a hyphen for better readability.  You
now have to write
@example
\key a-flat \major
@end example
instead of the previous
@example
\key aflat \major
@end example

Double accidentals do not get another hyphen, so the Dutch
@code{cisis} has the long English notename @code{c-sharpsharp}.

@item
The visual style of tremolo slashes (shape, style and slope)
is now more finely controlled.
@lilypond[quote,relative=2]
  a8:32 b: c: d:
  \override StemTremolo.shape = #'beam-like
  a: b: c: d:
  \override StemTremolo.style = #'constant
  a: b: c: d:
  g,2
@end lilypond


@item
Multi-measure rests have length according to their total duration,
under the control of @code{MultiMeasureRest.space-increment}.
@lilypond[quote]
{ \compressFullBarRests
  \override Staff.MultiMeasureRest.space-increment = 3.0
  R1*2 R1*12 R1*64 }
@end lilypond

@item
Page numbers may now be printed in roman numerals, by setting the
@code{page-number-type} paper variable.

@item
It is now possible to use @code{\time} and @code{\partial}
together to change the time signature in mid measure.

@lilypond[verbatim,quote,relative=1]
\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 |
@end lilypond

@item
It is now possible to override the @code{text} property of
chord names.

@lilypond[verbatim,fragment,quote]
<<
\new ChordNames \chordmode {
  a' b c:7
  \once \override ChordName.text = #"foo"
  d
}
>>
@end lilypond

@item
Improved horizontal alignment when using @code{TextScript},
with @code{DynamicText} or @code{LyricText}.

@item
A new command @code{\magnifyStaff} has been added which scales staff
sizes, staff lines, bar lines, beamlets and horizontal spacing generally
at the @code{Staff} 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.

@item
@code{InstrumentName} now supports @code{text-interface}.

@item
There is now support for controlling the @q{expression level} of
MIDI channels using the @code{Staff.midiExpression} context property.
This can be used to alter the perceived volume of even sustained notes
(albeit in a very @q{low-level} way) and accepts a number value between
@code{0.0} and @code{1.0}.

@example
\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 @{ @}
@}
@end example

@item
Support for making it easier to use alternative @q{music} fonts other
than the default Emmentaler in LilyPond has been added.  See
@uref{http://fonts.openlilylib.org/} for more information.

@item
Grobs and their parents can now be aligned separately allowing
more flexibility for grob positions.  For example the @q{left} edge of a
grob can now be aligned on the @q{center} of its parent.

@item
Improvements to the @code{\partial} command have been made to
avoid problems when using multiple, parallel contexts.

@item @code{\chordmode} can now use @code{< >} and @code{<< >>}
constructs.

@item
A new command @code{\tagGroup} has now been added.  This complements
the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
For Example:

@example
\tagGroup #'(violinI violinII viola cello)
@end example

declares a list of @q{tags} that belong to a single @q{tag group}.

@example
\keepWithTag #'violinI
@end example

Is now only concerned with @q{tags} from @q{violinI}’s tag group.

Any element of the included music tagged with one or more tags from the
group, but @emph{not} with @var{violinI}, will be removed.

@item
The @code{\addlyrics} function now works with arbitrary contexts
incuding @code{Staff}.

@item
String numbers can now also be used to print roman numerals
(e.g. for unfretted string instruments).
@lilypond[verbatim,quote,relative=2]
c2\2
\romanStringNumbers
c\2
\arabicStringNumbers
c1\3
@end lilypond

@item
The @code{thin-kern} property of the @code{BarLine} grob has been
renamed to @code{segno-kern}.

@item
@code{KeyCancellation} grobs now ignore cue clefs (like
@code{KeySignature} grobs do).

@item
Add support for @code{\once@tie{}\unset}

@item
It is now possible to individually color both the dots and parentheses
in fret diagrams when using the @code{\fret-diagram-verbose} markup
command.

@lilypond[verbatim,quote,relative=1]
\new Voice {
  c1^\markup {
    \override #'(fret-diagram-details . (
                 (finger-code . in-dot))) {
      \fret-diagram-verbose #'((mute 6)
                               (place-fret 5 3 1 red)
                               (place-fret 4 5 2 inverted)
                               (place-fret 3 5 3 green)
                               (place-fret 2 5 4 blue inverted)
                               (place-fret 1 3 1 violet)
                               (barre 5 1 3 ))
    }
  }
  c1^\markup {
    \override #'(fret-diagram-details . (
                 (finger-code . below-string))) {
      \fret-diagram-verbose #'((mute 6)
                             (place-fret 5 3 1 red parenthesized)
                             (place-fret 4 5 2 yellow
                                               default-paren-color
                                               parenthesized)
                             (place-fret 3 5 3 green)
                             (place-fret 2 5 4 blue )
                             (place-fret 1 3 1)
                             (barre 5 1 3))
    }
  }
}
@end lilypond

@item
Two new properties have been added for use in
@code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
markup command; @code{fret-label-horizontal-offset} which affects the
@code{fret-label-indication} and @code{paren-padding} which controls the
space between the dot and the parentheses surrounding it.

@lilypond[verbatim,quote,relative=1]
\new Voice {
  c1^\markup {
    \fret-diagram-verbose #'((mute 6)
                             (place-fret 5 3 1)
                             (place-fret 4 5 2)
                             (place-fret 3 5 3)
                             (place-fret 1 6 4 parenthesized)
                             (place-fret 2 3 1)
                             (barre 5 2 3))
  }
  c1^\markup {
    \override #'(fret-diagram-details . (
                 (fret-label-horizontal-offset . 2)
                 (paren-padding . 0.25))) {
      \fret-diagram-verbose #'((mute 6)
                               (place-fret 5 3 1)
                               (place-fret 4 5 2)
                               (place-fret 3 5 3)
                               (place-fret 1 6 4 parenthesized)
                               (place-fret 2 3 1)
                               (barre 5 2 3))
    }
  }
}
@end lilypond

@item
A new markup command @code{\justify-line} has been added.  Similar to
the @code{\fill-line} markup command except that instead of setting
@emph{words} in columns, the @code{\justify-line} command balances the
whitespace between them ensuring that when there are three or more
words in a markup, the whitespace is always consistent.

@lilypond[quote,verbatim,papersize=a6]
\markup \fill-line {oooooo oooooo oooooo oooooo}
\markup \fill-line {ooooooooo oooooooo oo ooo}
@end lilypond

@lilypond[quote,verbatim,papersize=a6]
\markup \justify-line {oooooo oooooo oooooo oooooo}
\markup \justify-line {ooooooooo oooooooo oo ooo}
@end lilypond

@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 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 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
@code{\displayLilyMusic} 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
@example
@{ c4 d4 8 @}
@end example

@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