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 A new @code{output-attributes} grob property is now used for svg output
66 instead of the @code{id} grob property. It allows multiple attributes
67 to be defined as an association list. For example, @code{#'((id . 123)
68 (class . foo) (data-whatever . @qq{bar}))} will produce the following
69 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
70 data-whatever=@qq{bar}> @dots{} </g>}.
73 Slurs and phrasing slurs may now be started from individual notes
74 in a chord. Several simultanous slurs per @code{Voice} need to be
75 distinguished by @code{spanner-id} setting.
78 The music and grob property @code{spanner-id} for distinguishing
79 simultaneous slurs and phrasing slurs has been changed from a
80 string to a @q{key}, a non-negative integer or symbol.
83 There is a new command @code{\=} for specifying the
84 @code{spanner-id} for simultaneous slurs and phrasing slurs.
85 @lilypond[verbatim,quote]
87 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
92 Blocks introduced with @code{\header} can be stored in variables
93 and used as arguments to music and scheme functions and as the
94 body of @code{#@{@dots{}#@}} constructs. They are represented as
97 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
98 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
99 around in similar manner, they are represented by different data
103 Dot-separated symbol lists like @code{FretBoard.stencil} were
104 already supported as of version@tie{}2.18. They may now also
105 contain unsigned integers, and may alternatively be separated by
106 commata. This allows usage such as
107 @lilypond[quote,verbatim]
108 { \time 2,2,1 5/8 g'8 8 8 8 8 }
112 \tagGroup violin,oboe,bassoon
116 Such lists may also be used in expressions for assignments, sets,
117 and overrides. This allows usage such as
118 @lilypond[quote,verbatim]
119 { \unset Timing.beamExceptions
120 \set Timing.beatStructure = 1,2,1
125 Association list elements could previously be assigned values
126 individually (for example, paper variables like
127 @code{system-system-spacing.basic-distance}). They may now be
128 also referenced in this manner, as with
131 \void \displayScheme \system-system-spacing.basic-distance
135 In combination with the previously mentioned changes, this allows
136 setting and referencing pseudovariables like @code{violin.1}.
139 LilyPond source files may now be embedded inside the generated PDF files.
140 This experimental feature is disabled by default and may be regarded as unsafe,
141 as PDF documents with hidden content tend to present a security risk.
142 Please note that not all PDF viewers have the ability to handle embedded
143 documents (if not, the PDF output will appear normally and source files
144 will remain invisible). This feature only works with the PDF backend.
147 French note names are now defined specifically instead of
148 being aliased to Italian note names: in addition to the
149 generic Italian-derived syntax, the @var{d} pitch may be
150 entered as @code{ré}. Double sharps may also be
151 entered using the @code{-x} suffix.
154 Additional bass strings (for lute tablature) are supported.
155 @lilypond[quote,verbatim]
156 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
163 tablatureFormat = #fret-letter-tablature-format
167 stringTunings = \stringTuning <a, d f a d' f'>
168 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
169 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
176 The markup-list-command @code{\table} is now available.
177 Each column may be aligned differently.
178 @lilypond[quote,verbatim]
180 \override #'(padding . 2)
184 \underline { center-aligned right-aligned center-aligned left-aligned }
185 one "1" thousandth "0.001"
186 eleven "11" hundredth "0.01"
187 twenty "20" tenth "0.1"
188 thousand "1000" one "1.0"
194 A new markup-command, @code{\with-dimensions-from}, makes
195 @code{\with-dimensions} easier to use by taking the new
196 dimensions from a markup object, given as first argument.
197 @lilypond[quote,verbatim]
199 \pattern #5 #Y #0 "x"
200 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
201 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
202 \override #'(baseline-skip . 2)
204 \pattern #5 #X #0 "n"
205 \pattern #5 #X #0 \with-dimensions-from "n" "m"
206 \pattern #5 #X #0 \with-dimensions-from "n" "!"
212 There are two new page breaking functions. @code{ly:one-page-breaking}
213 automatically adjusts the height of the page to fit the music, so that
214 everything fits on one page. @code{ly:one-line-auto-height-breaking}
215 is like @code{ly:one-line-breaking}, placing the music on a single
216 line and adjusting the page width accordingly, however it also
217 automatically adjusts the page height to fit the music.
220 Markup-command @code{\draw-squiggle-line} is now available.
221 Customizing is possible with overrides of @code{thickness}, @code{angularity},
222 @code{height} and @code{orientation}
223 @lilypond[quote,verbatim]
226 \draw-squiggle-line #0.5 #'(3 . 3) ##t
229 \override #'(thickness . 4)
230 \draw-squiggle-line #0.5 #'(3 . -3) ##t
233 \override #'(angularity . -5)
234 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
236 \translate #'(3 . -3)
237 \override #'(angularity . 2)
238 \override #'(height . 0.3)
239 \override #'(orientation . -1)
240 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
245 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
246 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
247 staves on the first system in a score.
250 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
251 as the generic markup-command @code{\tie}.
252 @lilypond[quote,verbatim]
254 \undertie "undertied"
259 c''1 \prall -\tweak text \markup \tie "131" -1
262 { \voiceOne \m \voiceTwo \m }
266 @code{TabStaff} is now able to print micro-tones for bendings etc.
267 @lilypond[quote,verbatim]
271 supportNonIntegerFret = ##t
275 mus = \relative { c'4 cih d dih }
278 \new Staff << \clef "G_8" \mus >>
284 Two new styles of whiteout are now available. The @code{outline} style
285 approximates the contours of a glyph's outline, and its shape is
286 produced from multiple displaced copies of the glyph. The
287 @code{rounded-box} style produces a rounded rectangle shape. For all
288 three styles, including the default @code{box} style, the whiteout
289 shape's @code{thickness}, as a multiple of staff-line thickness, can be
292 @lilypond[verbatim,quote]
295 \filled-box #'(-1 . 15) #'(-3 . 4) #1
296 \override #'(thickness . 3)
297 \whiteout whiteout-box
301 \filled-box #'(-1 . 24) #'(-3 . 4) #1
302 \override #'(style . rounded-box)
303 \override #'(thickness . 3)
304 \whiteout whiteout-rounded-box
308 \filled-box #'(-1 . 18) #'(-3 . 4) #1
309 \override #'(style . outline)
310 \override #'(thickness . 3)
311 \whiteout whiteout-outline
314 \override Staff.Clef.whiteout-style = #'outline
315 \override Staff.Clef.whiteout = 3
321 All of @code{\override}, @code{\revert}, @code{\set}, and
322 @code{\unset} now work with the @code{\once} prefix for making
324 @lilypond[quote,verbatim]
327 \override NoteHead.color = #red
329 \once \override NoteHead.color = #green
331 \once \revert NoteHead.color
333 \revert NoteHead.color
339 When outputting MIDI, LilyPond will now store the @code{title}
340 defined in a score's @code{\header} block (or, if there is no
341 such definition on the @code{\score} level, the first such
342 definition found in a @code{\header} block of the score's
343 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
344 as the name of the MIDI sequence in the MIDI file. Optionally,
345 the name of the MIDI sequence can be overridden using the new
346 @code{midititle} @code{\header} field independently of
347 @code{title} (for example, in case @code{title} contains markup
348 code which does not render as plain text in a satisfactory way
352 Music (and scheme and void) functions and markup commands that
353 just supply the final parameters to a chain of overrides, music
354 function and markup command calls can now be defined in the form
355 of just writing the expression cut short with @code{\etc}.
357 @lilypond[verbatim,quote]
358 bold-red-markup = \markup \bold \with-color #red \etc
359 highlight = \tweak font-size 3 \tweak color #red \etc
361 \markup \bold-red "text"
362 \markuplist \column-lines \bold-red { One Two }
364 { c' \highlight d' e'2-\highlight -! }
368 LilyPond functions defined with @code{define-music-function},
369 @code{define-event-function}, @code{define-scheme-function} and
370 @code{define-void-function} can now be directly called from Scheme
371 as if they were genuine Scheme procedures. Argument checking and
372 matching will still be performed in the same manner as when
373 calling the function through LilyPond input. This includes the
374 insertion of defaults for optional arguments not matching their
375 predicates. Instead of using @code{\default} in the actual
376 argument list for explicitly skipping a sequence of optional
377 arguments, @code{*unspecified*} can be employed.
380 Current input location and parser are now stored in GUILE fluids
381 and can be referenced via the function calls @code{(*location*)}
382 and @code{(*parser*)}. Consequently, a lot of functions
383 previously taking an explicit @code{parser} argument no longer do
386 Functions defined with @code{define-music-function},
387 @code{define-event-function}, @code{define-scheme-function} and
388 @code{define-void-function} no longer use @code{parser} and
389 @code{location} arguments.
391 With those particular definitions, LilyPond will try to recognize
392 legacy use of @code{parser} and @code{location} arguments,
393 providing backwards-compatible semantics for some time.
396 In the "english" notename language, the long notenames for pitches
397 with accidentals now contain a hyphen for better readability. You
402 instead of the previous
407 Double accidentals do not get another hyphen, so the Dutch
408 @code{cisis} has the long English notename @code{c-sharpsharp}.
411 The visual style of tremolo slashes (shape, style and slope)
412 is now more finely controlled.
413 @lilypond[quote,relative=2]
415 \override StemTremolo.shape = #'beam-like
417 \override StemTremolo.style = #'constant
424 Multi-measure rests have length according to their total duration,
425 under the control of @code{MultiMeasureRest.space-increment}.
427 { \compressFullBarRests
428 \override Staff.MultiMeasureRest.space-increment = 3.0
433 Page numbers may now be printed in roman numerals, by setting the
434 @code{page-number-type} paper variable.
437 It is now possible to use @code{\time} and @code{\partial}
438 together to change the time signature in mid measure.
440 @lilypond[verbatim,quote,relative=1]
441 \override Score.BarNumber.break-visibility = #end-of-line-invisible
442 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
443 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
447 It is now possible to override the @code{text} property of
450 @lilypond[verbatim,fragment,quote]
452 \new ChordNames \chordmode {
454 \once \override ChordName.text = #"foo"
461 Improved horizontal alignment when using @code{TextScript},
462 with @code{DynamicText} or @code{LyricText}.
465 A new command @code{\magnifyStaff} has been added which scales staff
466 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
467 at the @code{Staff} context level. Staff lines are prevented from being
468 scaled smaller than the default since the thickness of stems, slurs, and
469 the like are all based on the staff line thickness.
472 @code{InstrumentName} now supports @code{text-interface}.
475 There is now support for controlling the @q{expression level} of
476 MIDI channels using the @code{Staff.midiExpression} context property.
477 This can be used to alter the perceived volume of even sustained notes
478 (albeit in a very @q{low-level} way) and accepts a number value between
479 @code{0.0} and @code{1.0}.
484 midiExpression = #0.6
485 midiInstrument = #"clarinet"
490 \set Staff.midiExpression = #0.7 s4\f\<
491 \set Staff.midiExpression = #0.8 s4
492 \set Staff.midiExpression = #0.9 s4
493 \set Staff.midiExpression = #1.0 s4
495 \set Staff.midiExpression = #0.9 s4\>
496 \set Staff.midiExpression = #0.8 s4
497 \set Staff.midiExpression = #0.7 s4
498 \set Staff.midiExpression = #0.6 s4\!
506 Support for making it easier to use alternative @q{music} fonts other
507 than the default Emmentaler in LilyPond has been added. See
508 @uref{http://fonts.openlilylib.org/} for more information.
511 Grobs and their parents can now be aligned separately allowing
512 more flexibility for grob positions. For example the @q{left} edge of a
513 grob can now be aligned on the @q{center} of its parent.
516 Improvements to the @code{\partial} command have been made to
517 avoid problems when using multiple, parallel contexts.
519 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
523 A new command @code{\tagGroup} has now been added. This complements
524 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
528 \tagGroup #'(violinI violinII viola cello)
531 declares a list of @q{tags} that belong to a single @q{tag group}.
534 \keepWithTag #'violinI
537 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
539 Any element of the included music tagged with one or more tags from the
540 group, but @emph{not} with @var{violinI}, will be removed.
543 The @code{\addlyrics} function now works with arbitrary contexts
544 incuding @code{Staff}.
547 String numbers can now also be used to print roman numerals
548 (e.g. for unfretted string instruments).
549 @lilypond[verbatim,quote,relative=2]
558 The @code{thin-kern} property of the @code{BarLine} grob has been
559 renamed to @code{segno-kern}.
562 @code{KeyCancellation} grobs now ignore cue clefs (like
563 @code{KeySignature} grobs do).
566 Add support for @code{\once@tie{}\unset}
569 It is now possible to individually color both the dots and parentheses
570 in fret diagrams when using the @code{\fret-diagram-verbose} markup
573 @lilypond[verbatim,quote,relative=1]
576 \override #'(fret-diagram-details . (
577 (finger-code . in-dot))) {
578 \fret-diagram-verbose #'((mute 6)
579 (place-fret 5 3 1 red)
580 (place-fret 4 5 2 inverted)
581 (place-fret 3 5 3 green)
582 (place-fret 2 5 4 blue inverted)
583 (place-fret 1 3 1 violet)
588 \override #'(fret-diagram-details . (
589 (finger-code . below-string))) {
590 \fret-diagram-verbose #'((mute 6)
591 (place-fret 5 3 1 red parenthesized)
592 (place-fret 4 5 2 yellow
595 (place-fret 3 5 3 green)
596 (place-fret 2 5 4 blue )
605 Two new properties have been added for use in
606 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
607 markup command; @code{fret-label-horizontal-offset} which affects the
608 @code{fret-label-indication} and @code{paren-padding} which controls the
609 space between the dot and the parentheses surrounding it.
611 @lilypond[verbatim,quote,relative=1]
614 \fret-diagram-verbose #'((mute 6)
618 (place-fret 1 6 4 parenthesized)
623 \override #'(fret-diagram-details . (
624 (fret-label-horizontal-offset . 2)
625 (paren-padding . 0.25))) {
626 \fret-diagram-verbose #'((mute 6)
630 (place-fret 1 6 4 parenthesized)
639 A new markup command @code{\justify-line} has been added. Similar to
640 the @code{\fill-line} markup command except that instead of setting
641 @emph{words} in columns, the @code{\justify-line} command balances the
642 whitespace between them ensuring that when there are three or more
643 words in a markup, the whitespace is always consistent.
645 @lilypond[quote,verbatim,papersize=a6]
646 \markup \fill-line {oooooo oooooo oooooo oooooo}
647 \markup \fill-line {ooooooooo oooooooo oo ooo}
650 @lilypond[quote,verbatim,papersize=a6]
651 \markup \justify-line {oooooo oooooo oooooo oooooo}
652 \markup \justify-line {ooooooooo oooooooo oo ooo}
656 A new command @code{\magnifyMusic} has been added, which allows
657 the notation size to be changed without changing the staff size,
658 while automatically scaling stems, beams, and horizontal spacing.
660 @lilypond[verbatim,quote]
662 \new Voice \relative {
664 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
666 \new Voice \relative {
669 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
670 r32 c'' a c a c a c r c a c a c a c
671 r c a c a c a c a c a c a c a c
678 A new flexible template suitable for a range of choral music, is now
679 provided. This may be used to create simple choral music, with or
680 without piano accompaniment, in two or four staves. Unlike other
681 templates, this template is @q{built-in}, which means it does not
682 need to be copied and edited: instead it is simply @code{\include}'d
683 in the input file. For details, see @rlearning{Built-in templates}.
686 The positioning of tuplet numbers for kneed beams has been significantly
687 improved. Previously, tuplet numbers were placed according to the
688 position of the tuplet bracket, even if it was not printed. This could
689 lead to stranded tuplet numbers. Now they are now positioned
690 closer to the kneed-beam when an appropriate beam segment exists for its
691 placement and when the bracket is not drawn.
693 Collision detection is also added, offsetting horizontally if too close
694 to an adjoining note column but preserving the number's vertical
695 distance from the kneed beam. If the number itself is too large to
696 fit in the available space the original, bracket-based, positioning
697 system is used instead; and in the event of a collision (e.g. with an
698 accidental) the tuplet number is moved vertically away instead.
700 @lilypond[verbatim,fragment,quote,relative=1]
702 \override Beam.auto-knee-gap = 3
711 The original kneed-beam tuplet behavior is still available through an
712 @code{\override} via a new, @code{knee-to-beam} property.
714 @lilypond[verbatim,fragment,quote,relative=1]
716 \override Beam.auto-knee-gap = 3
717 \override TupletNumber.knee-to-beam = ##f
726 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
727 now accept the same kind of delimited argument list that @code{\lyrics}
728 and @code{\chords} accept. Backward compatibility has been added so
729 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
730 @code{convert-ly} rule has been added that removes redundant uses of
731 @code{\lyricmode} and rearranges combinations with context starters such
732 that @code{\lyricsto} in general is applied last (i.e. like
733 @code{\lyricmode} would be).
736 Scheme functions and identifiers can now be used as output definitions.
739 Scheme expressions can now be used as chord constituents.
742 Improved visual spacing of small and regular @q{MI} Funk and Walker
743 noteheads so they are now the same width as other shaped notes in
744 their respective sets. @code{SOL} noteheads are also now visually
745 improved when used with both the normal Aiken and Sacred Harp heads, as
746 well as with the thin variants.
749 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
750 @rinternals{LeftEdge}.
753 Added a new @code{make-path-stencil} function that supports all
754 @code{path} commands both relative and absolute:
756 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
757 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
758 supports @q{single-letter} syntax used in standard SVG path commands:
760 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
761 @code{z}. The new command is also backward-compatible with the original
762 @code{make-connected-path-stencil} function. Also see
763 @file{scm/stencil.scm}.
766 Context properties named in the @samp{alternativeRestores} property are
767 restored to their value at the start of the @emph{first} alternative in
768 all subsequent alternatives.
770 Currently the default set restores @q{current meter};
772 @lilypond[verbatim,fragment,quote,relative=2]
774 \repeat volta 2 { c2 e4 | }
783 @q{measure position};
785 @lilypond[verbatim,fragment,quote,relative=2]
787 \repeat volta 2 { c2 e4 | }
790 \set Timing.measurePosition = #(ly:make-moment -1/2)
798 and @q{chord changes};
800 @lilypond[verbatim,fragment,quote]
803 \set chordChanges = ##t
804 \chordmode { c1:m d:m c:m d:m }
807 \repeat volta 2 { \chordmode { c1:m } }
809 { \chordmode { d:m } }
810 { \chordmode { c:m } }
818 Improved MIDI output for breathe marks. After tied notes, breaths take
819 time @emph{only} from the last note of the tie; e.g.
820 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
821 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
822 how humans interpret breaths after ties. It now also makes it easier to
823 align simultaneous breathe marks over multiple parts, all with different
827 A new note head style for Tabulature has been added;
828 @code{TabNoteHead.style = #'slash}.
831 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
832 @emph{Varpercussion} and @emph{varC} and their related tessitura.
833 @lilypond[verbatim,quote,fragment]
834 \override Staff.Clef.full-size-change = ##t
837 \clef "tenorG" c c c c
839 \clef "altovarC" c c c c
840 \clef "tenorvarC" c c c c
841 \clef "baritonevarC" c c c c
842 \clef "varpercussion" c c c c
845 \override Staff.Clef.full-size-change = ##f
848 \clef "tenorG" c c c c
850 \clef "altovarC" c c c c
851 \clef "tenorvarC" c c c c
852 \clef "baritonevarC" c c c c
853 \clef "varpercussion" c c c c
857 Isolated durations in music sequences now stand for unpitched
858 notes. This may be useful for specifying rhythms to music or
859 scheme functions. When encountered in the final score, the
860 pitches are provided by the preceding note or chord. Here are two
861 examples where this makes for readable input:
863 @lilypond[verbatim,quote]
864 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
867 tambourine 8 \tuplet 3/2 { 16 16 16 }
868 8 \tuplet 3/2 { 16 16 16 } 8 8 |
872 @lilypond[verbatim,quote]
873 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
877 @code{\displayLilyMusic} and its underlying Scheme functions no
878 longer omit redundant note durations. This makes it easier to
879 reliably recognize and format standalone durations in expressions
886 Beaming exceptions can now be constructed using the
887 @code{\beamExceptions} scheme function. One can now write
889 @lilypond[verbatim,quote,relative=1]
891 \set Timing.beamExceptions =
892 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
894 \repeat unfold 6 { c32 } |
898 with multiple exceptions separated with @code{|} bar checks
899 (writing the exception pattern without pitches is convenient but
900 not mandatory). Previously, setting the beam exceptions would
901 have required writing
904 \set Timing.beamExceptions =
906 (end . ;entry for end of beams
907 ( ;start of alist of end points
908 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
913 The most common articulations are now reflected in MIDI output.
914 Accent and marcato make notes louder; staccato, staccatissimo and
915 portato make them shorter. Breath marks shorten the previous
918 This behavior is customizable through the @code{midiLength} and
919 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
920 See @file{script-init.ly} for examples.
923 The PostScript functionality of stroke adjustment is no longer
924 applied automatically but left to the discretion of the PostScript
925 device (by default, Ghostscript uses it for resolutions up to
926 150dpi when generating raster images). When it is enabled, a more
927 complex drawing algorithm designed to benefit from stroke
928 adjustment is employed mostly for stems and bar lines.
930 Stroke adjustment can be forced by specifying the command line
931 option @samp{-dstrokeadjust} to LilyPond. When generating
932 @code{PDF} files, this will usually result in markedly better
933 looking @code{PDF} previews but significantly larger file size.
934 Print quality at high resolutions will be unaffected.
939 For older news, go to
940 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
941 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
942 or @uref{../,go back} to the Documentation index.