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 French note names are now defined specifically instead of
66 being aliased to Italian note names: in addition to the
67 generic Italian-derived syntax, the @var{d} pitch may be
68 entered as @code{ré}. Double sharps may also be
69 entered using the @code{-x} suffix.
72 Additional bass strings (for lute tablature) are supported.
73 @lilypond[quote,verbatim]
74 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
81 tablatureFormat = #fret-letter-tablature-format
85 stringTunings = \stringTuning <a, d f a d' f'>
86 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
87 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
94 The markup-list-command @code{\table} is now available.
95 Each column may be aligned differently.
96 @lilypond[quote,verbatim]
98 \override #'(padding . 2)
102 \underline { center-aligned right-aligned center-aligned left-aligned }
103 one "1" thousandth "0.001"
104 eleven "11" hundredth "0.01"
105 twenty "20" tenth "0.1"
106 thousand "1000" one "1.0"
112 A new markup-command, @code{\with-dimensions-from}, makes
113 @code{\with-dimensions} easier to use by taking the new
114 dimensions from a markup object, given as first argument.
115 @lilypond[quote,verbatim]
117 \pattern #5 #Y #0 "x"
118 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
119 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
120 \override #'(baseline-skip . 2)
122 \pattern #5 #X #0 "n"
123 \pattern #5 #X #0 \with-dimensions-from "n" "m"
124 \pattern #5 #X #0 \with-dimensions-from "n" "!"
130 A new page breaking function @code{ly:one-line-auto-height-breaking}
131 places a whole score on a single line and changes the page width
132 to match, just like @code{ly:one-line-breaking}. The difference is that
133 it also automatically modifies the height of the page to fit the height
137 Markup-command @code{\draw-squiggle-line} is now available.
138 Customizing is possible with overrides of @code{thickness}, @code{angularity},
139 @code{height} and @code{orientation}
140 @lilypond[quote,verbatim]
143 \draw-squiggle-line #0.5 #'(3 . 3) ##t
146 \override #'(thickness . 4)
147 \draw-squiggle-line #0.5 #'(3 . -3) ##t
150 \override #'(angularity . -5)
151 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
153 \translate #'(3 . -3)
154 \override #'(angularity . 2)
155 \override #'(height . 0.3)
156 \override #'(orientation . -1)
157 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
162 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
163 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
164 staves on the first system in a score.
167 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
168 as the generic markup-command @code{\tie}.
169 @lilypond[quote,verbatim]
171 \undertie "undertied"
176 c''1 \prall -\tweak text \markup \tie "131" -1
179 { \voiceOne \m \voiceTwo \m }
183 @code{TabStaff} is now able to print micro-tones for bendings etc.
184 @lilypond[quote,verbatim]
188 supportNonIntegerFret = ##t
192 mus = \relative { c'4 cih d dih }
195 \new Staff << \clef "G_8" \mus >>
201 Two new styles of whiteout are now available. The @code{outline} style
202 approximates the contours of a glyph's outline, and its shape is
203 produced from multiple displaced copies of the glyph. The
204 @code{rounded-box} style produces a rounded rectangle shape. For all
205 three styles, including the default @code{box} style, the whiteout
206 shape's @code{thickness}, as a multiple of staff-line thickness, can be
209 @lilypond[verbatim,quote]
212 \filled-box #'(-1 . 15) #'(-3 . 4) #1
213 \override #'(thickness . 3)
214 \whiteout whiteout-box
218 \filled-box #'(-1 . 24) #'(-3 . 4) #1
219 \override #'(style . rounded-box)
220 \override #'(thickness . 3)
221 \whiteout whiteout-rounded-box
225 \filled-box #'(-1 . 18) #'(-3 . 4) #1
226 \override #'(style . outline)
227 \override #'(thickness . 3)
228 \whiteout whiteout-outline
231 \override Staff.Clef.whiteout-style = #'outline
232 \override Staff.Clef.whiteout = 3
238 All of @code{\override}, @code{\revert}, @code{\set}, and
239 @code{\unset} now work with the @code{\once} prefix for making
241 @lilypond[quote,verbatim]
244 \override NoteHead.color = #red
246 \once \override NoteHead.color = #green
248 \once \revert NoteHead.color
250 \revert NoteHead.color
256 When outputting MIDI, LilyPond will now store the @code{title}
257 defined in a score's @code{\header} block (or, if there is no
258 such definition on the @code{\score} level, the first such
259 definition found in a @code{\header} block of the score's
260 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
261 as the name of the MIDI sequence in the MIDI file. Optionally,
262 the name of the MIDI sequence can be overridden using the new
263 @code{midititle} @code{\header} field independently of
264 @code{title} (for example, in case @code{title} contains markup
265 code which does not render as plain text in a satisfactory way
269 Music (and scheme and void) functions and markup commands that
270 just supply the final parameters to a chain of overrides, music
271 function and markup command calls can now be defined in the form
272 of just writing the expression cut short with @code{\etc}.
274 @lilypond[verbatim,quote]
275 bold-red-markup = \markup \bold \with-color #red \etc
276 highlight = \tweak font-size 3 \tweak color #red \etc
278 \markup \bold-red "text"
279 \markuplist \column-lines \bold-red { One Two }
281 { c' \highlight d' e'2-\highlight -! }
285 LilyPond functions defined with @code{define-music-function},
286 @code{define-event-function}, @code{define-scheme-function} and
287 @code{define-void-function} can now be directly called from Scheme
288 as if they were genuine Scheme procedures. Argument checking and
289 matching will still be performed in the same manner as when
290 calling the function through LilyPond input. This includes the
291 insertion of defaults for optional arguments not matching their
292 predicates. Instead of using @code{\default} in the actual
293 argument list for explicitly skipping a sequence of optional
294 arguments, @code{*unspecified*} can be employed.
297 Current input location and parser are now stored in GUILE fluids
298 and can be referenced via the function calls @code{(*location*)}
299 and @code{(*parser*)}. Consequently, a lot of functions
300 previously taking an explicit @code{parser} argument no longer do
303 Functions defined with @code{define-music-function},
304 @code{define-event-function}, @code{define-scheme-function} and
305 @code{define-void-function} no longer use @code{parser} and
306 @code{location} arguments.
308 With those particular definitions, LilyPond will try to recognize
309 legacy use of @code{parser} and @code{location} arguments,
310 providing backwards-compatible semantics for some time.
313 In the "english" notename language, the long notenames for pitches
314 with accidentals now contain a hyphen for better readability. You
319 instead of the previous
324 Double accidentals do not get another hyphen, so the Dutch
325 @code{cisis} has the long English notename @code{c-sharpsharp}.
328 The visual style of tremolo slashes (shape, style and slope)
329 is now more finely controlled.
330 @lilypond[quote,relative=2]
332 \override StemTremolo.shape = #'beam-like
334 \override StemTremolo.style = #'constant
341 Multi-measure rests have length according to their total duration,
342 under the control of @code{MultiMeasureRest.space-increment}.
344 { \compressFullBarRests
345 \override Staff.MultiMeasureRest.space-increment = 3.0
350 Page numbers may now be printed in roman numerals, by setting the
351 @code{page-number-type} paper variable.
354 It is now possible to use @code{\time} and @code{\partial}
355 together to change the time signature in mid measure.
357 @lilypond[verbatim,quote,relative=1]
358 \override Score.BarNumber.break-visibility = #end-of-line-invisible
359 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
360 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
364 It is now possible to override the @code{text} property of
367 @lilypond[verbatim,fragment,quote]
369 \new ChordNames \chordmode {
371 \once \override ChordName.text = #"foo"
378 Improved horizontal alignment when using @code{TextScript},
379 with @code{DynamicText} or @code{LyricText}.
382 A new command @code{\magnifyStaff} has been added which scales staff
383 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
384 at the @code{Staff} context level. Staff lines are prevented from being
385 scaled smaller than the default since the thickness of stems, slurs, and
386 the like are all based on the staff line thickness.
389 @code{InstrumentName} now supports @code{text-interface}.
392 There is now support for controlling the @q{expression level} of
393 MIDI channels using the @code{Staff.midiExpression} context property.
394 This can be used to alter the perceived volume of even sustained notes
395 (albeit in a very @q{low-level} way) and accepts a number value between
396 @code{0.0} and @code{1.0}.
401 midiExpression = #0.6
402 midiInstrument = #"clarinet"
407 \set Staff.midiExpression = #0.7 s4\f\<
408 \set Staff.midiExpression = #0.8 s4
409 \set Staff.midiExpression = #0.9 s4
410 \set Staff.midiExpression = #1.0 s4
412 \set Staff.midiExpression = #0.9 s4\>
413 \set Staff.midiExpression = #0.8 s4
414 \set Staff.midiExpression = #0.7 s4
415 \set Staff.midiExpression = #0.6 s4\!
423 Support for making it easier to use alternative @q{music} fonts other
424 than the default Emmentaler in LilyPond has been added. See
425 @uref{http://fonts.openlilylib.org/} for more information.
428 Grobs and their parents can now be aligned separately allowing
429 more flexibility for grob positions. For example the @q{left} edge of a
430 grob can now be aligned on the @q{center} of its parent.
433 Improvements to the @code{\partial} command have been made to
434 avoid problems when using multiple, parallel contexts.
436 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
440 A new command @code{\tagGroup} has now been added. This complements
441 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
445 \tagGroup #'(violinI violinII viola cello)
448 declares a list of @q{tags} that belong to a single @q{tag group}.
451 \keepWithTag #'violinI
454 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
456 Any element of the included music tagged with one or more tags from the
457 group, but @emph{not} with @var{violinI}, will be removed.
460 The @code{\addlyrics} function now works with arbitrary contexts
461 incuding @code{Staff}.
464 String numbers can now also be used to print roman numerals
465 (e.g. for unfretted string instruments).
466 @lilypond[verbatim,quote,relative=2]
475 The @code{thin-kern} property of the @code{BarLine} grob has been
476 renamed to @code{segno-kern}.
479 @code{KeyCancellation} grobs now ignore cue clefs (like
480 @code{KeySignature} grobs do).
483 Add support for @code{\once@tie{}\unset}
486 It is now possible to individually color both the dots and parentheses
487 in fret diagrams when using the @code{\fret-diagram-verbose} markup
490 @lilypond[verbatim,quote,relative=1]
493 \override #'(fret-diagram-details . (
494 (finger-code . in-dot))) {
495 \fret-diagram-verbose #'((mute 6)
496 (place-fret 5 3 1 red)
497 (place-fret 4 5 2 inverted)
498 (place-fret 3 5 3 green)
499 (place-fret 2 5 4 blue inverted)
500 (place-fret 1 3 1 violet)
505 \override #'(fret-diagram-details . (
506 (finger-code . below-string))) {
507 \fret-diagram-verbose #'((mute 6)
508 (place-fret 5 3 1 red parenthesized)
509 (place-fret 4 5 2 yellow
512 (place-fret 3 5 3 green)
513 (place-fret 2 5 4 blue )
522 Two new properties have been added for use in
523 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
524 markup command; @code{fret-label-horizontal-offset} which affects the
525 @code{fret-label-indication} and @code{paren-padding} which controls the
526 space between the dot and the parentheses surrounding it.
528 @lilypond[verbatim,quote,relative=1]
531 \fret-diagram-verbose #'((mute 6)
535 (place-fret 1 6 4 parenthesized)
540 \override #'(fret-diagram-details . (
541 (fret-label-horizontal-offset . 2)
542 (paren-padding . 0.25))) {
543 \fret-diagram-verbose #'((mute 6)
547 (place-fret 1 6 4 parenthesized)
556 A new markup command @code{\justify-line} has been added. Similar to
557 the @code{\fill-line} markup command except that instead of setting
558 @emph{words} in columns, the @code{\justify-line} command balances the
559 whitespace between them ensuring that when there are three or more
560 words in a markup, the whitespace is always consistent.
562 @lilypond[quote,verbatim,papersize=a6]
563 \markup \fill-line {oooooo oooooo oooooo oooooo}
564 \markup \fill-line {ooooooooo oooooooo oo ooo}
567 @lilypond[quote,verbatim,papersize=a6]
568 \markup \justify-line {oooooo oooooo oooooo oooooo}
569 \markup \justify-line {ooooooooo oooooooo oo ooo}
573 A new command @code{\magnifyMusic} has been added, which allows
574 the notation size to be changed without changing the staff size,
575 while automatically scaling stems, beams, and horizontal spacing.
577 @lilypond[verbatim,quote]
579 \new Voice \relative {
581 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
583 \new Voice \relative {
586 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
587 r32 c'' a c a c a c r c a c a c a c
588 r c a c a c a c a c a c a c a c
595 A new flexible template suitable for a range of choral music, is now
596 provided. This may be used to create simple choral music, with or
597 without piano accompaniment, in two or four staves. Unlike other
598 templates, this template is @q{built-in}, which means it does not
599 need to be copied and edited: instead it is simply @code{\include}'d
600 in the input file. For details, see @rlearning{Built-in templates}.
603 The positioning of tuplet numbers for kneed beams has been significantly
604 improved. Previously, tuplet numbers were placed according to the
605 position of the tuplet bracket, even if it was not printed. This could
606 lead to stranded tuplet numbers. Now they are now positioned
607 closer to the kneed-beam when an appropriate beam segment exists for its
608 placement and when the bracket is not drawn.
610 Collision detection is also added, offsetting horizontally if too close
611 to an adjoining note column but preserving the number's vertical
612 distance from the kneed beam. If the number itself is too large to
613 fit in the available space the original, bracket-based, positioning
614 system is used instead; and in the event of a collision (e.g. with an
615 accidental) the tuplet number is moved vertically away instead.
617 @lilypond[verbatim,fragment,quote,relative=1]
619 \override Beam.auto-knee-gap = 3
628 The original kneed-beam tuplet behavior is still available through an
629 @code{\override} via a new, @code{knee-to-beam} property.
631 @lilypond[verbatim,fragment,quote,relative=1]
633 \override Beam.auto-knee-gap = 3
634 \override TupletNumber.knee-to-beam = ##f
643 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
644 now accept the same kind of delimited argument list that @code{\lyrics}
645 and @code{\chords} accept. Backward compatibility has been added so
646 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
647 @code{convert-ly} rule has been added that removes redundant uses of
648 @code{\lyricmode} and rearranges combinations with context starters such
649 that @code{\lyricsto} in general is applied last (i.e. like
650 @code{\lyricmode} would be).
653 Scheme functions and identifiers can now be used as output definitions.
656 Scheme expressions can now be used as chord constituents.
659 Improved visual spacing of small and regular @q{MI} Funk and Walker
660 noteheads so they are now the same width as other shaped notes in
661 their respective sets. @code{SOL} noteheads are also now visually
662 improved when used with both the normal Aiken and Sacred Harp heads, as
663 well as with the thin variants.
666 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
667 @rinternals{LeftEdge}.
670 Added a new @code{make-path-stencil} function that supports all
671 @code{path} commands both relative and absolute:
673 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
674 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
675 supports @q{single-letter} syntax used in standard SVG path commands:
677 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
678 @code{z}. The new command is also backward-compatible with the original
679 @code{make-connected-path-stencil} function. Also see
680 @file{scm/stencil.scm}.
683 Context properties named in the @samp{alternativeRestores} property are
684 restored to their value at the start of the @emph{first} alternative in
685 all subsequent alternatives.
687 Currently the default set restores @q{current meter};
689 @lilypond[verbatim,fragment,quote,relative=2]
691 \repeat volta 2 { c2 e4 | }
700 @q{measure position};
702 @lilypond[verbatim,fragment,quote,relative=2]
704 \repeat volta 2 { c2 e4 | }
707 \set Timing.measurePosition = #(ly:make-moment -1/2)
715 and @q{chord changes};
717 @lilypond[verbatim,fragment,quote]
720 \set chordChanges = ##t
721 \chordmode { c1:m d:m c:m d:m }
724 \repeat volta 2 { \chordmode { c1:m } }
726 { \chordmode { d:m } }
727 { \chordmode { c:m } }
735 Improved MIDI output for breathe marks. After tied notes, breaths take
736 time @emph{only} from the last note of the tie; e.g.
737 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
738 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
739 how humans interpret breaths after ties. It now also makes it easier to
740 align simultaneous breathe marks over multiple parts, all with different
744 A new note head style for Tabulature has been added;
745 @code{TabNoteHead.style = #'slash}.
748 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
749 @emph{Varpercussion} and @emph{varC} and their related tessitura.
750 @lilypond[verbatim,quote,fragment]
751 \override Staff.Clef.full-size-change = ##t
754 \clef "tenorG" c c c c
756 \clef "altovarC" c c c c
757 \clef "tenorvarC" c c c c
758 \clef "baritonevarC" c c c c
759 \clef "varpercussion" c c c c
762 \override Staff.Clef.full-size-change = ##f
765 \clef "tenorG" c c c c
767 \clef "altovarC" c c c c
768 \clef "tenorvarC" c c c c
769 \clef "baritonevarC" c c c c
770 \clef "varpercussion" c c c c
774 Isolated durations in music sequences now stand for unpitched
775 notes. This may be useful for specifying rhythms to music or
776 scheme functions. When encountered in the final score, the
777 pitches are provided by the preceding note or chord. Here are two
778 examples where this makes for readable input:
780 @lilypond[verbatim,quote]
781 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
784 tambourine 8 \tuplet 3/2 { 16 16 16 }
785 8 \tuplet 3/2 { 16 16 16 } 8 8 |
789 @lilypond[verbatim,quote]
790 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
794 @code{\displayLilyMusic} and its underlying Scheme functions no
795 longer omit redundant note durations. This makes it easier to
796 reliably recognize and format standalone durations in expressions
803 Beaming exceptions can now be constructed using the
804 @code{\beamExceptions} scheme function. One can now write
806 @lilypond[verbatim,quote,relative=1]
808 \set Timing.beamExceptions =
809 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
811 \repeat unfold 6 { c32 } |
815 with multiple exceptions separated with @code{|} bar checks
816 (writing the exception pattern without pitches is convenient but
817 not mandatory). Previously, setting the beam exceptions would
818 have required writing
821 \set Timing.beamExceptions =
823 (end . ;entry for end of beams
824 ( ;start of alist of end points
825 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
830 The most common articulations are now reflected in MIDI output.
831 Accent and marcato make notes louder; staccato, staccatissimo and
832 portato make them shorter. Breath marks shorten the previous
835 This behavior is customizable through the @code{midiLength} and
836 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
837 See @file{script-init.ly} for examples.
840 The PostScript functionality of stroke adjustment is no longer
841 applied automatically but left to the discretion of the PostScript
842 device (by default, Ghostscript uses it for resolutions up to
843 150dpi when generating raster images). When it is enabled, a more
844 complex drawing algorithm designed to benefit from stroke
845 adjustment is employed mostly for stems and bar lines.
847 Stroke adjustment can be forced by specifying the command line
848 option @samp{-dstrokeadjust} to LilyPond. When generating
849 @code{PDF} files, this will usually result in markedly better
850 looking @code{PDF} previews but significantly larger file size.
851 Print quality at high resolutions will be unaffected.
856 For older news, go to
857 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
858 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
859 or @uref{../,go back} to the Documentation index.