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 Multi-measure rests have length according to their total duration,
66 under the control of @code{MultiMeasureRest.space-increment}.
68 { \compressFullBarRests
69 \override Staff.MultiMeasureRest.space-increment = 3.0
74 Page numbers may now be printed in roman numerals, by setting the
75 @code{page-number-type} paper variable.
78 It is now possible to use @code{\time} and @code{\partial}
79 together to change the time signature in mid measure.
81 @lilypond[verbatim,quote,relative=1]
82 \override Score.BarNumber.break-visibility = #end-of-line-invisible
83 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
84 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
88 It is now possible to override the @code{text} property of
91 @lilypond[verbatim,fragment,quote]
93 \new ChordNames \chordmode {
95 \once \override ChordName.text = #"foo"
102 Improved horizontal alignment when using @code{TextScript},
103 with @code{DynamicText} or @code{LyricText}.
106 A new command @code{\magnifyStaff} has been added which scales staff
107 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
108 at the @code{Staff} context level. Staff lines are prevented from being
109 scaled smaller than the default since the thickness of stems, slurs, and
110 the like are all based on the staff line thickness.
113 @code{InstrumentName} now supports @code{text-interface}.
116 There is now support for controlling the @q{expression level} of
117 MIDI channels using the @code{Staff.midiExpression} context property.
118 This can be used to alter the perceived volume of even sustained notes
119 (albeit in a very @q{low-level} way) and accepts a number value between
120 @code{0.0} and @code{1.0}.
125 midiExpression = #0.6
126 midiInstrument = #"clarinet"
131 \set Staff.midiExpression = #0.7 s4\f\<
132 \set Staff.midiExpression = #0.8 s4
133 \set Staff.midiExpression = #0.9 s4
134 \set Staff.midiExpression = #1.0 s4
136 \set Staff.midiExpression = #0.9 s4\>
137 \set Staff.midiExpression = #0.8 s4
138 \set Staff.midiExpression = #0.7 s4
139 \set Staff.midiExpression = #0.6 s4\!
147 Support for making it easier to use alternative @q{music} fonts other
148 than the default Emmentaler in LilyPond has been added. See
149 @uref{http://fonts.openlilylib.org/} for more information.
152 Grobs and their parents can now be aligned separately allowing
153 more flexibility for grob positions. For example the @q{left} edge of a
154 grob can now be aligned on the @q{center} of its parent.
157 Improvements to the @code{\partial} command have been made to
158 avoid problems when using multiple, parallel contexts.
160 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
164 The @code{NullVoice} context is now @q{below} @code{Score}.
167 A new command @code{\tagGroup} has now been added. This compliments
168 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
172 \tagGroup #'(violinI violinII viola cello)
175 declares a list of @q{tags} that belong to a single @q{tag group}.
178 \keepwithTag#'violinI
181 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
183 Any element of the included music tagged with one or more tags from the
184 group, but @emph{not} with @var{violinI}, will be removed.
187 The @code{\addlyrics} function now works with arbitrary contexts
188 incuding @code{Staff}.
191 String numbers can now also be used to print roman numerals
192 (e.g. for unfretted string instruments).
193 @lilypond[verbatim,quote,relative=2]
202 The @code{thin-kern} property of the @code{BarLine} grob has been
203 renamed to @code{segno-kern}.
206 @code{KeyCancellation} grobs now ignore cue clefs (like
207 @code{KeySignature} grobs do).
210 Add support for @code{\once@tie{}\unset}
213 It is now possible to individually color both the dots and parentheses
214 in fret diagrams when using the @code{\fret-diagram-verbose} markup
217 @lilypond[verbatim,quote,relative=1]
220 \override #'(fret-diagram-details . (
221 (finger-code . in-dot))) {
222 \fret-diagram-verbose #'((mute 6)
223 (place-fret 5 3 1 red)
224 (place-fret 4 5 2 inverted)
225 (place-fret 3 5 3 green)
226 (place-fret 2 5 4 blue inverted)
227 (place-fret 1 3 1 violet)
232 \override #'(fret-diagram-details . (
233 (finger-code . below-string))) {
234 \fret-diagram-verbose #'((mute 6)
235 (place-fret 5 3 1 red parenthesized)
236 (place-fret 4 5 2 yellow
239 (place-fret 3 5 3 green)
240 (place-fret 2 5 4 blue )
249 Two new properties have been added for use in
250 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
251 markup command; @code{fret-label-horizontal-offset} which affects the
252 @code{fret-label-indication} and @code{paren-padding} which controls the
253 space between the dot and the parentheses surrounding it.
255 @lilypond[verbatim,quote,relative=1]
258 \fret-diagram-verbose #'((mute 6)
262 (place-fret 1 6 4 parenthesized)
267 \override #'(fret-diagram-details . (
268 (fret-label-horizontal-offset . 2)
269 (paren-padding . 0.25))) {
270 \fret-diagram-verbose #'((mute 6)
274 (place-fret 1 6 4 parenthesized)
283 A new markup command @code{\justify-line} has been added. Similar to
284 the @code{\fill-line} markup command except that instead of setting
285 @emph{words} in columns, the @code{\justify-line} command balances the
286 whitespace between them ensuring that when there are three or more
287 words in a markup, the whitespace is always consistent.
289 @lilypond[quote,verbatim,papersize=a6]
290 \markup \fill-line {oooooo oooooo oooooo oooooo}
291 \markup \fill-line {ooooooooo oooooooo oo ooo}
294 @lilypond[quote,verbatim,papersize=a6]
295 \markup \justify-line {oooooo oooooo oooooo oooooo}
296 \markup \justify-line {ooooooooo oooooooo oo ooo}
300 A new command @code{\magnifyMusic} has been added, which allows
301 the notation size to be changed without changing the staff size,
302 while automatically scaling stems, beams, and horizontal spacing.
304 @lilypond[verbatim,quote]
306 \new Voice \relative {
308 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
310 \new Voice \relative {
313 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
314 r32 c'' a c a c a c r c a c a c a c
315 r c a c a c a c a c a c a c a c
322 A new flexible template suitable for a range of choral music, is now
323 provided. This may be used to create simple choral music, with or
324 without piano accompaniment, in two or four staves. Unlike other
325 templates, this template is @q{built-in}, which means it does not
326 need to be copied and edited: instead it is simply @code{\include}'d
327 in the input file. For details, see @rlearning{Built-in templates}.
330 The positioning of tuplet numbers for kneed beams has been significantly
331 improved. Previously, tuplet numbers were placed according to the
332 position of the tuplet bracket, even if it was not printed. This could
333 lead to stranded tuplet numbers. Now they are now positioned
334 closer to the kneed-beam when an appropriate beam segment exists for its
335 placement and when the the bracket is not drawn.
337 Collision detection is also added, offsetting horizontally if too close
338 to an adjoining note column but preserving the number's vertical
339 distance from the kneed beam. If the number itself is too large to
340 fit in the available space the original, bracket-based, positioning
341 system is used instead; and in the event of a collision (e.g. with an
342 accidental) the tuplet number is moved vertically away instead.
344 @lilypond[verbatim,fragment,quote,relative=1]
346 \override Beam.auto-knee-gap = 3
355 The original kneed-beam tuplet behavior is still available through an
356 @code{\override} via a new, @code{knee-to-beam} property.
358 @lilypond[verbatim,fragment,quote,relative=1]
360 \override Beam.auto-knee-gap = 3
361 \override TupletNumber.knee-to-beam = ##f
370 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
371 now accept the same kind of delimited argument list that @code{\lyrics}
372 and @code{\chords} accept. Backward compatibility has been added so
373 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
374 @code{convert-ly} rule has been added that removes redundant uses of
375 @code{\lyricmode} and rearranges combinations with context starters such
376 that @code{\lyricsto} in general is applied last (i.e. like
377 @code{\lyricmode} would be).
380 Scheme functions and identifiers can now be used as output definitions.
383 Scheme expressions can now be used as chord constituents.
386 Improved visual spacing of small and regular @q{MI} Funk and Walker
387 noteheads so they are now the same width as other shaped notes in
388 their respective sets. @code{SOL} noteheads are also now visually
389 improved when used with both the normal Aiken and Sacred Harp heads, as
390 well as with the thin variants.
393 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
394 @rinternals{LeftEdge}.
397 Added a new @code{make-path-stencil} function that supports all
398 @code{path} commands both relative and absolute:
400 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
401 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
402 supports @q{single-letter} syntax used in standard SVG path commands:
404 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
405 @code{z}. The new command is also backward-compatible with the original
406 @code{make-connected-path-stencil} function. Also see
407 @file{scm/stencil.scm}.
410 Context properties named in the @samp{alternativeRestores} property are
411 restored to their value at the start of the @emph{first} alternative in
412 all subsequent alternatives.
414 Currently the default set restores @q{current meter};
416 @lilypond[verbatim,fragment,quote,relative=2]
418 \repeat volta 2 { c2 e4 | }
427 @q{measure position};
429 @lilypond[verbatim,fragment,quote,relative=2]
431 \repeat volta 2 { c2 e4 | }
434 \set Timing.measurePosition = #(ly:make-moment -1/2)
442 and @q{chord changes};
444 @lilypond[verbatim,fragment,quote]
447 \set chordChanges = ##t
448 \chordmode { c1:m d:m c:m d:m }
451 \repeat volta 2 { \chordmode { c1:m } }
453 { \chordmode { d:m } }
454 { \chordmode { c:m } }
462 Improved MIDI output for breathe marks. After tied notes, breaths take
463 time @emph{only} from the last note of the tie; e.g.
464 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
465 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
466 how humans interpret breaths after ties. It now also makes it easier to
467 align simultaneous breathe marks over multiple parts, all with different
471 A new note head style for Tabulature has been added;
472 @code{TabNoteHead.style = #'slash}.
475 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
476 @emph{Varpercussion} and @emph{varC} and their related tessitura.
477 @lilypond[verbatim,quote,fragment]
478 \override Staff.Clef.full-size-change = ##t
481 \clef "tenorG" c c c c
483 \clef "altovarC" c c c c
484 \clef "tenorvarC" c c c c
485 \clef "baritonevarC" c c c c
486 \clef "varpercussion" c c c c
489 \override Staff.Clef.full-size-change = ##f
492 \clef "tenorG" c c c c
494 \clef "altovarC" c c c c
495 \clef "tenorvarC" c c c c
496 \clef "baritonevarC" c c c
497 \clef "varpercussion" c c c c
501 Isolated durations in music sequences now stand for unpitched
502 notes. This may be useful for specifying rhythms to music or
503 scheme functions. When encountered in the final score, the
504 pitches are provided by the preceding note or chord. Here are two
505 examples where this makes for readable input:
507 @lilypond[verbatim,quote]
508 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
511 tambourine 8 \tuplet 3/2 { 16 16 16 }
512 8 \tuplet 3/2 { 16 16 16 } 8 8 |
516 @lilypond[verbatim,quote]
517 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
521 @code{\displayLilyMusic} and its underlying Scheme functions no
522 longer omit redundant note durations. This makes it easier to
523 reliably recognize and format standalone durations in expressions
530 Beaming exceptions can now be constructed using the
531 @code{\beamExceptions} scheme function. One can now write
533 @lilypond[verbatim,quote,relative=1]
535 \set Timing.beamExceptions =
536 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
538 \repeat unfold 6 { c32 } |
542 with multiple exceptions separated with @code{|} bar checks
543 (writing the exception pattern without pitches is convenient but
544 not mandatory). Previously, setting the beam exceptions would
545 have required writing
548 \set Timing.beamExceptions =
550 (end . ;entry for end of beams
551 ( ;start of alist of end points
552 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
557 The most common articulations are now reflected in MIDI output.
558 Accent and marcato make notes louder; staccato, staccatissimo and
559 portato make them shorter. Breath marks shorten the previous
562 This behavior is customizable through the @code{midiLength} and
563 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
564 See @file{script-init.ly} for examples.
567 The PostScript functionality of stroke adjustment is no longer
568 applied automatically but left to the discretion of the PostScript
569 device (by default, Ghostscript uses it for resolutions up to
570 150dpi when generating raster images). When it is enabled, a more
571 complex drawing algorithm designed to benefit from stroke
572 adjustment is employed mostly for stems and bar lines.
574 Stroke adjustment can be forced by specifying the command line
575 option @samp{-dstrokeadjust} to LilyPond. When generating
576 @code{PDF} files, this will usually result in markedly better
577 looking @code{PDF} previews but significantly larger file size.
578 Print quality at high resolutions will be unaffected.
583 For older news, go to
584 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
585 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
586 or @uref{../,go back} to the Documentation index.