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 In fret-diagrams the distance between frets and the distance between strings is
66 now independently adjustable. Available are @code{fret-distance} and
67 @code{string-distance} as subproperties of @code{fret-diagram-details}.
68 @lilypond[verbatim,quote]
69 fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
72 \override #'(padding . 2)
80 \override #'(fret-diagram-details . ((fret-distance . 2)))
85 \override #'(fret-diagram-details . ((string-distance . 2)))
91 Accidental rules can now be defined across @code{ChoirStaff} contexts.
92 Two new rules @code{choral} and @code{choral-cautionary} are available
93 that combine the characteristics of @code{modern-voice} and @code{piano}
94 or their equivalents with cautionary accidentals.
97 The music function @code{\\unfoldRepeats} can now take an
98 optional argument-list specifying which type(s) of repeated music
99 should be unfolded. Possible entries are @code{percent}, @code{tremolo},
101 If the optional argument-list is unspecified, @code{repeated-music} will be
105 A new @code{output-attributes} grob property is now used for svg output
106 instead of the @code{id} grob property. It allows multiple attributes
107 to be defined as an association list. For example, @code{#'((id . 123)
108 (class . foo) (data-whatever . @qq{bar}))} will produce the following
109 group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
110 data-whatever=@qq{bar}> @dots{} </g>}.
113 Slurs and phrasing slurs may now be started from individual notes
114 in a chord. Several simultanous slurs per @code{Voice} need to be
115 distinguished by @code{spanner-id} setting.
118 The music and grob property @code{spanner-id} for distinguishing
119 simultaneous slurs and phrasing slurs has been changed from a
120 string to a @q{key}, a non-negative integer or symbol.
123 There is a new command @code{\=} for specifying the
124 @code{spanner-id} for simultaneous slurs and phrasing slurs.
125 @lilypond[verbatim,quote]
127 <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
132 Blocks introduced with @code{\header} can be stored in variables
133 and used as arguments to music and scheme functions and as the
134 body of @code{#@{@dots{}#@}} constructs. They are represented as
137 While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
138 @code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
139 around in similar manner, they are represented by different data
143 Dot-separated symbol lists like @code{FretBoard.stencil} were
144 already supported as of version@tie{}2.18. They may now also
145 contain unsigned integers, and may alternatively be separated by
146 commata. This allows usage such as
147 @lilypond[quote,verbatim]
148 { \time 2,2,1 5/8 g'8 8 8 8 8 }
152 \tagGroup violin,oboe,bassoon
156 Such lists may also be used in expressions for assignments, sets,
157 and overrides. This allows usage such as
158 @lilypond[quote,verbatim]
159 { \unset Timing.beamExceptions
160 \set Timing.beatStructure = 1,2,1
165 Association list elements could previously be assigned values
166 individually (for example, paper variables like
167 @code{system-system-spacing.basic-distance}). They may now be
168 also referenced in this manner, as with
171 \void \displayScheme \system-system-spacing.basic-distance
175 In combination with the previously mentioned changes, this allows
176 setting and referencing pseudovariables like @code{violin.1}.
179 LilyPond source files may now be embedded inside the generated PDF files.
180 This experimental feature is disabled by default and may be regarded as unsafe,
181 as PDF documents with hidden content tend to present a security risk.
182 Please note that not all PDF viewers have the ability to handle embedded
183 documents (if not, the PDF output will appear normally and source files
184 will remain invisible). This feature only works with the PDF backend.
187 French note names are now defined specifically instead of
188 being aliased to Italian note names: in addition to the
189 generic Italian-derived syntax, the @var{d} pitch may be
190 entered as @code{ré}. Double sharps may also be
191 entered using the @code{-x} suffix.
194 Additional bass strings (for lute tablature) are supported.
195 @lilypond[quote,verbatim]
196 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
203 tablatureFormat = #fret-letter-tablature-format
207 stringTunings = \stringTuning <a, d f a d' f'>
208 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
209 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
216 The markup-list-command @code{\table} is now available.
217 Each column may be aligned differently.
218 @lilypond[quote,verbatim]
220 \override #'(padding . 2)
224 \underline { center-aligned right-aligned center-aligned left-aligned }
225 one "1" thousandth "0.001"
226 eleven "11" hundredth "0.01"
227 twenty "20" tenth "0.1"
228 thousand "1000" one "1.0"
234 A new markup-command, @code{\with-dimensions-from}, makes
235 @code{\with-dimensions} easier to use by taking the new
236 dimensions from a markup object, given as first argument.
237 @lilypond[quote,verbatim]
239 \pattern #5 #Y #0 "x"
240 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
241 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
242 \override #'(baseline-skip . 2)
244 \pattern #5 #X #0 "n"
245 \pattern #5 #X #0 \with-dimensions-from "n" "m"
246 \pattern #5 #X #0 \with-dimensions-from "n" "!"
252 There are two new page breaking functions. @code{ly:one-page-breaking}
253 automatically adjusts the height of the page to fit the music, so that
254 everything fits on one page. @code{ly:one-line-auto-height-breaking}
255 is like @code{ly:one-line-breaking}, placing the music on a single
256 line and adjusting the page width accordingly, however it also
257 automatically adjusts the page height to fit the music.
260 Markup-command @code{\draw-squiggle-line} is now available.
261 Customizing is possible with overrides of @code{thickness}, @code{angularity},
262 @code{height} and @code{orientation}
263 @lilypond[quote,verbatim]
266 \draw-squiggle-line #0.5 #'(3 . 3) ##t
269 \override #'(thickness . 4)
270 \draw-squiggle-line #0.5 #'(3 . -3) ##t
273 \override #'(angularity . -5)
274 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
276 \translate #'(3 . -3)
277 \override #'(angularity . 2)
278 \override #'(height . 0.3)
279 \override #'(orientation . -1)
280 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
285 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
286 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
287 staves on the first system in a score.
290 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
291 as the generic markup-command @code{\tie}.
292 @lilypond[quote,verbatim]
294 \undertie "undertied"
299 c''1 \prall -\tweak text \markup \tie "131" -1
302 { \voiceOne \m \voiceTwo \m }
306 @code{TabStaff} is now able to print micro-tones for bendings etc.
307 @lilypond[quote,verbatim]
311 supportNonIntegerFret = ##t
315 mus = \relative { c'4 cih d dih }
318 \new Staff << \clef "G_8" \mus >>
324 Two new styles of whiteout are now available. The @code{outline} style
325 approximates the contours of a glyph's outline, and its shape is
326 produced from multiple displaced copies of the glyph. The
327 @code{rounded-box} style produces a rounded rectangle shape. For all
328 three styles, including the default @code{box} style, the whiteout
329 shape's @code{thickness}, as a multiple of staff-line thickness, can be
332 @lilypond[verbatim,quote]
335 \filled-box #'(-1 . 15) #'(-3 . 4) #1
336 \override #'(thickness . 3)
337 \whiteout whiteout-box
341 \filled-box #'(-1 . 24) #'(-3 . 4) #1
342 \override #'(style . rounded-box)
343 \override #'(thickness . 3)
344 \whiteout whiteout-rounded-box
348 \filled-box #'(-1 . 18) #'(-3 . 4) #1
349 \override #'(style . outline)
350 \override #'(thickness . 3)
351 \whiteout whiteout-outline
354 \override Staff.Clef.whiteout-style = #'outline
355 \override Staff.Clef.whiteout = 3
361 All of @code{\override}, @code{\revert}, @code{\set}, and
362 @code{\unset} now work with the @code{\once} prefix for making
364 @lilypond[quote,verbatim]
367 \override NoteHead.color = #red
369 \once \override NoteHead.color = #green
371 \once \revert NoteHead.color
373 \revert NoteHead.color
379 When outputting MIDI, LilyPond will now store the @code{title}
380 defined in a score's @code{\header} block (or, if there is no
381 such definition on the @code{\score} level, the first such
382 definition found in a @code{\header} block of the score's
383 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
384 as the name of the MIDI sequence in the MIDI file. Optionally,
385 the name of the MIDI sequence can be overridden using the new
386 @code{midititle} @code{\header} field independently of
387 @code{title} (for example, in case @code{title} contains markup
388 code which does not render as plain text in a satisfactory way
392 Music (and scheme and void) functions and markup commands that
393 just supply the final parameters to a chain of overrides, music
394 function and markup command calls can now be defined in the form
395 of just writing the expression cut short with @code{\etc}.
397 @lilypond[verbatim,quote]
398 bold-red-markup = \markup \bold \with-color #red \etc
399 highlight = \tweak font-size 3 \tweak color #red \etc
401 \markup \bold-red "text"
402 \markuplist \column-lines \bold-red { One Two }
404 { c' \highlight d' e'2-\highlight -! }
408 LilyPond functions defined with @code{define-music-function},
409 @code{define-event-function}, @code{define-scheme-function} and
410 @code{define-void-function} can now be directly called from Scheme
411 as if they were genuine Scheme procedures. Argument checking and
412 matching will still be performed in the same manner as when
413 calling the function through LilyPond input. This includes the
414 insertion of defaults for optional arguments not matching their
415 predicates. Instead of using @code{\default} in the actual
416 argument list for explicitly skipping a sequence of optional
417 arguments, @code{*unspecified*} can be employed.
420 Current input location and parser are now stored in GUILE fluids
421 and can be referenced via the function calls @code{(*location*)}
422 and @code{(*parser*)}. Consequently, a lot of functions
423 previously taking an explicit @code{parser} argument no longer do
426 Functions defined with @code{define-music-function},
427 @code{define-event-function}, @code{define-scheme-function} and
428 @code{define-void-function} no longer use @code{parser} and
429 @code{location} arguments.
431 With those particular definitions, LilyPond will try to recognize
432 legacy use of @code{parser} and @code{location} arguments,
433 providing backwards-compatible semantics for some time.
436 In the "english" notename language, the long notenames for pitches
437 with accidentals now contain a hyphen for better readability. You
442 instead of the previous
447 Double accidentals do not get another hyphen, so the Dutch
448 @code{cisis} has the long English notename @code{c-sharpsharp}.
451 The visual style of tremolo slashes (shape, style and slope)
452 is now more finely controlled.
453 @lilypond[quote,relative=2]
455 \override StemTremolo.shape = #'beam-like
457 \override StemTremolo.style = #'constant
464 Multi-measure rests have length according to their total duration,
465 under the control of @code{MultiMeasureRest.space-increment}.
467 { \compressFullBarRests
468 \override Staff.MultiMeasureRest.space-increment = 3.0
473 Page numbers may now be printed in roman numerals, by setting the
474 @code{page-number-type} paper variable.
477 It is now possible to use @code{\time} and @code{\partial}
478 together to change the time signature in mid measure.
480 @lilypond[verbatim,quote,relative=1]
481 \override Score.BarNumber.break-visibility = #end-of-line-invisible
482 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
483 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
487 It is now possible to override the @code{text} property of
490 @lilypond[verbatim,fragment,quote]
492 \new ChordNames \chordmode {
494 \once \override ChordName.text = #"foo"
501 Improved horizontal alignment when using @code{TextScript},
502 with @code{DynamicText} or @code{LyricText}.
505 A new command @code{\magnifyStaff} has been added which scales staff
506 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
507 at the @code{Staff} context level. Staff lines are prevented from being
508 scaled smaller than the default since the thickness of stems, slurs, and
509 the like are all based on the staff line thickness.
512 @code{InstrumentName} now supports @code{text-interface}.
515 There is now support for controlling the @q{expression level} of
516 MIDI channels using the @code{Staff.midiExpression} context property.
517 This can be used to alter the perceived volume of even sustained notes
518 (albeit in a very @q{low-level} way) and accepts a number value between
519 @code{0.0} and @code{1.0}.
524 midiExpression = #0.6
525 midiInstrument = #"clarinet"
530 \set Staff.midiExpression = #0.7 s4\f\<
531 \set Staff.midiExpression = #0.8 s4
532 \set Staff.midiExpression = #0.9 s4
533 \set Staff.midiExpression = #1.0 s4
535 \set Staff.midiExpression = #0.9 s4\>
536 \set Staff.midiExpression = #0.8 s4
537 \set Staff.midiExpression = #0.7 s4
538 \set Staff.midiExpression = #0.6 s4\!
546 Support for making it easier to use alternative @q{music} fonts other
547 than the default Emmentaler in LilyPond has been added. See
548 @uref{http://fonts.openlilylib.org/} for more information.
551 Grobs and their parents can now be aligned separately allowing
552 more flexibility for grob positions. For example the @q{left} edge of a
553 grob can now be aligned on the @q{center} of its parent.
556 Improvements to the @code{\partial} command have been made to
557 avoid problems when using multiple, parallel contexts.
559 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
563 A new command @code{\tagGroup} has now been added. This complements
564 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
568 \tagGroup #'(violinI violinII viola cello)
571 declares a list of @q{tags} that belong to a single @q{tag group}.
574 \keepWithTag #'violinI
577 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
579 Any element of the included music tagged with one or more tags from the
580 group, but @emph{not} with @var{violinI}, will be removed.
583 The @code{\addlyrics} function now works with arbitrary contexts
584 incuding @code{Staff}.
587 String numbers can now also be used to print roman numerals
588 (e.g. for unfretted string instruments).
589 @lilypond[verbatim,quote,relative=2]
598 The @code{thin-kern} property of the @code{BarLine} grob has been
599 renamed to @code{segno-kern}.
602 @code{KeyCancellation} grobs now ignore cue clefs (like
603 @code{KeySignature} grobs do).
606 Add support for @code{\once@tie{}\unset}
609 It is now possible to individually color both the dots and parentheses
610 in fret diagrams when using the @code{\fret-diagram-verbose} markup
613 @lilypond[verbatim,quote,relative=1]
616 \override #'(fret-diagram-details . (
617 (finger-code . in-dot))) {
618 \fret-diagram-verbose #'((mute 6)
619 (place-fret 5 3 1 red)
620 (place-fret 4 5 2 inverted)
621 (place-fret 3 5 3 green)
622 (place-fret 2 5 4 blue inverted)
623 (place-fret 1 3 1 violet)
628 \override #'(fret-diagram-details . (
629 (finger-code . below-string))) {
630 \fret-diagram-verbose #'((mute 6)
631 (place-fret 5 3 1 red parenthesized)
632 (place-fret 4 5 2 yellow
635 (place-fret 3 5 3 green)
636 (place-fret 2 5 4 blue )
645 Two new properties have been added for use in
646 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
647 markup command; @code{fret-label-horizontal-offset} which affects the
648 @code{fret-label-indication} and @code{paren-padding} which controls the
649 space between the dot and the parentheses surrounding it.
651 @lilypond[verbatim,quote,relative=1]
654 \fret-diagram-verbose #'((mute 6)
658 (place-fret 1 6 4 parenthesized)
663 \override #'(fret-diagram-details . (
664 (fret-label-horizontal-offset . 2)
665 (paren-padding . 0.25))) {
666 \fret-diagram-verbose #'((mute 6)
670 (place-fret 1 6 4 parenthesized)
679 A new markup command @code{\justify-line} has been added. Similar to
680 the @code{\fill-line} markup command except that instead of setting
681 @emph{words} in columns, the @code{\justify-line} command balances the
682 whitespace between them ensuring that when there are three or more
683 words in a markup, the whitespace is always consistent.
685 @lilypond[quote,verbatim,papersize=a6]
686 \markup \fill-line {oooooo oooooo oooooo oooooo}
687 \markup \fill-line {ooooooooo oooooooo oo ooo}
690 @lilypond[quote,verbatim,papersize=a6]
691 \markup \justify-line {oooooo oooooo oooooo oooooo}
692 \markup \justify-line {ooooooooo oooooooo oo ooo}
696 A new command @code{\magnifyMusic} has been added, which allows
697 the notation size to be changed without changing the staff size,
698 while automatically scaling stems, beams, and horizontal spacing.
700 @lilypond[verbatim,quote]
702 \new Voice \relative {
704 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
706 \new Voice \relative {
709 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
710 r32 c'' a c a c a c r c a c a c a c
711 r c a c a c a c a c a c a c a c
718 A new flexible template suitable for a range of choral music, is now
719 provided. This may be used to create simple choral music, with or
720 without piano accompaniment, in two or four staves. Unlike other
721 templates, this template is @q{built-in}, which means it does not
722 need to be copied and edited: instead it is simply @code{\include}'d
723 in the input file. For details, see @rlearning{Built-in templates}.
726 The positioning of tuplet numbers for kneed beams has been significantly
727 improved. Previously, tuplet numbers were placed according to the
728 position of the tuplet bracket, even if it was not printed. This could
729 lead to stranded tuplet numbers. Now they are now positioned
730 closer to the kneed-beam when an appropriate beam segment exists for its
731 placement and when the bracket is not drawn.
733 Collision detection is also added, offsetting horizontally if too close
734 to an adjoining note column but preserving the number's vertical
735 distance from the kneed beam. If the number itself is too large to
736 fit in the available space the original, bracket-based, positioning
737 system is used instead; and in the event of a collision (e.g. with an
738 accidental) the tuplet number is moved vertically away instead.
740 @lilypond[verbatim,fragment,quote,relative=1]
742 \override Beam.auto-knee-gap = 3
751 The original kneed-beam tuplet behavior is still available through an
752 @code{\override} via a new, @code{knee-to-beam} property.
754 @lilypond[verbatim,fragment,quote,relative=1]
756 \override Beam.auto-knee-gap = 3
757 \override TupletNumber.knee-to-beam = ##f
766 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
767 now accept the same kind of delimited argument list that @code{\lyrics}
768 and @code{\chords} accept. Backward compatibility has been added so
769 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
770 @code{convert-ly} rule has been added that removes redundant uses of
771 @code{\lyricmode} and rearranges combinations with context starters such
772 that @code{\lyricsto} in general is applied last (i.e. like
773 @code{\lyricmode} would be).
776 Scheme functions and identifiers can now be used as output definitions.
779 Scheme expressions can now be used as chord constituents.
782 Improved visual spacing of small and regular @q{MI} Funk and Walker
783 noteheads so they are now the same width as other shaped notes in
784 their respective sets. @code{SOL} noteheads are also now visually
785 improved when used with both the normal Aiken and Sacred Harp heads, as
786 well as with the thin variants.
789 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
790 @rinternals{LeftEdge}.
793 Added a new @code{make-path-stencil} function that supports all
794 @code{path} commands both relative and absolute:
796 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
797 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
798 supports @q{single-letter} syntax used in standard SVG path commands:
800 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
801 @code{z}. The new command is also backward-compatible with the original
802 @code{make-connected-path-stencil} function. Also see
803 @file{scm/stencil.scm}.
806 Context properties named in the @samp{alternativeRestores} property are
807 restored to their value at the start of the @emph{first} alternative in
808 all subsequent alternatives.
810 Currently the default set restores @q{current meter};
812 @lilypond[verbatim,fragment,quote,relative=2]
814 \repeat volta 2 { c2 e4 | }
823 @q{measure position};
825 @lilypond[verbatim,fragment,quote,relative=2]
827 \repeat volta 2 { c2 e4 | }
830 \set Timing.measurePosition = #(ly:make-moment -1/2)
838 and @q{chord changes};
840 @lilypond[verbatim,fragment,quote]
843 \set chordChanges = ##t
844 \chordmode { c1:m d:m c:m d:m }
847 \repeat volta 2 { \chordmode { c1:m } }
849 { \chordmode { d:m } }
850 { \chordmode { c:m } }
858 Improved MIDI output for breathe marks. After tied notes, breaths take
859 time @emph{only} from the last note of the tie; e.g.
860 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
861 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
862 how humans interpret breaths after ties. It now also makes it easier to
863 align simultaneous breathe marks over multiple parts, all with different
867 A new note head style for Tabulature has been added;
868 @code{TabNoteHead.style = #'slash}.
871 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
872 @emph{Varpercussion} and @emph{varC} and their related tessitura.
873 @lilypond[verbatim,quote,fragment]
874 \override Staff.Clef.full-size-change = ##t
877 \clef "tenorG" c c c c
879 \clef "altovarC" c c c c
880 \clef "tenorvarC" c c c c
881 \clef "baritonevarC" c c c c
882 \clef "varpercussion" c c c c
885 \override Staff.Clef.full-size-change = ##f
888 \clef "tenorG" c c c c
890 \clef "altovarC" c c c c
891 \clef "tenorvarC" c c c c
892 \clef "baritonevarC" c c c c
893 \clef "varpercussion" c c c c
897 Isolated durations in music sequences now stand for unpitched
898 notes. This may be useful for specifying rhythms to music or
899 scheme functions. When encountered in the final score, the
900 pitches are provided by the preceding note or chord. Here are two
901 examples where this makes for readable input:
903 @lilypond[verbatim,quote]
904 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
907 tambourine 8 \tuplet 3/2 { 16 16 16 }
908 8 \tuplet 3/2 { 16 16 16 } 8 8 |
912 @lilypond[verbatim,quote]
913 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
917 @code{\displayLilyMusic} and its underlying Scheme functions no
918 longer omit redundant note durations. This makes it easier to
919 reliably recognize and format standalone durations in expressions
926 Beaming exceptions can now be constructed using the
927 @code{\beamExceptions} scheme function. One can now write
929 @lilypond[verbatim,quote,relative=1]
931 \set Timing.beamExceptions =
932 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
934 \repeat unfold 6 { c32 } |
938 with multiple exceptions separated with @code{|} bar checks
939 (writing the exception pattern without pitches is convenient but
940 not mandatory). Previously, setting the beam exceptions would
941 have required writing
944 \set Timing.beamExceptions =
946 (end . ;entry for end of beams
947 ( ;start of alist of end points
948 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
953 The most common articulations are now reflected in MIDI output.
954 Accent and marcato make notes louder; staccato, staccatissimo and
955 portato make them shorter. Breath marks shorten the previous
958 This behavior is customizable through the @code{midiLength} and
959 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
960 See @file{script-init.ly} for examples.
963 The PostScript functionality of stroke adjustment is no longer
964 applied automatically but left to the discretion of the PostScript
965 device (by default, Ghostscript uses it for resolutions up to
966 150dpi when generating raster images). When it is enabled, a more
967 complex drawing algorithm designed to benefit from stroke
968 adjustment is employed mostly for stems and bar lines.
970 Stroke adjustment can be forced by specifying the command line
971 option @samp{-dstrokeadjust} to LilyPond. When generating
972 @code{PDF} files, this will usually result in markedly better
973 looking @code{PDF} previews but significantly larger file size.
974 Print quality at high resolutions will be unaffected.
979 For older news, go to
980 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
981 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
982 or @uref{../,go back} to the Documentation index.