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 All of @code{\override}, @code{\revert}, @code{\set}, and
66 @code{\unset} now work with the @code{\once} prefix for making
68 @lilypond[quote,verbatim]
71 \override NoteHead.color = #red
73 \once \override NoteHead.color = #green
75 \once \revert NoteHead.color
77 \revert NoteHead.color
83 When outputting MIDI, LilyPond will now store the @code{title}
84 defined in a score's @code{\header} block (or, if there is no
85 such definition on the @code{\score} level, the first such
86 definition found in a @code{\header} block of the score's
87 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
88 as the name of the MIDI sequence in the MIDI file. Optionally,
89 the name of the MIDI sequence can be overridden using the new
90 @code{midititle} @code{\header} field independently of
91 @code{title} (for example, in case @code{title} contains markup
92 code which does not render as plain text in a satisfactory way
96 Music (and scheme and void) functions and markup commands that
97 just supply the final parameters to a chain of overrides, music
98 function and markup command calls can now be defined in the form
99 of just writing the expression cut short with @code{\etc}.
101 @lilypond[verbatim,quote]
102 bold-red-markup = \markup \bold \with-color #red \etc
103 highlight = \tweak font-size 3 \tweak color #red \etc
105 \markup \bold-red "text"
106 \markuplist \column-lines \bold-red { One Two }
108 { c' \highlight d' e'2-\highlight -! }
112 LilyPond functions defined with @code{define-music-function},
113 @code{define-event-function}, @code{define-scheme-function} and
114 @code{define-void-function} can now be directly called from Scheme
115 as if they were genuine Scheme procedures. Argument checking and
116 matching will still be performed in the same manner as when
117 calling the function through LilyPond input. This includes the
118 insertion of defaults for optional arguments not matching their
119 predicates. Instead of using @code{\default} in the actual
120 argument list for explicitly skipping a sequence of optional
121 arguments, @code{*unspecified*} can be employed.
124 Current input location and parser are now stored in GUILE fluids
125 and can be referenced via the function calls @code{(*location*)}
126 and @code{(*parser*)}. Consequently, a lot of functions
127 previously taking an explicit @code{parser} argument no longer do
130 Functions defined with @code{define-music-function},
131 @code{define-event-function}, @code{define-scheme-function} and
132 @code{define-void-function} no longer use @code{parser} and
133 @code{location} arguments.
135 With those particular definitions, LilyPond will try to recognize
136 legacy use of @code{parser} and @code{location} arguments,
137 providing backwards-compatible semantics for some time.
140 The @code{whiteout} grob property and @code{\whiteout} markup command
141 now create a white background built from multiple displaced copies of
142 the glyph in order to approximate the contours of its outline.
143 The previous rounded box white background can be achieved with the
144 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
145 command. Setting the @code{whiteout} property to a number now sets
146 the thickness of the white outline as a multiple of staff-line
147 thickness. Similarly, overriding the @code{thickness} property of
148 the @code{\whiteout} markup command sets the thickness of the white
152 In the "english" notename language, the long notenames for pitches
153 with accidentals now contain a hyphen for better readability. You
158 instead of the previous
163 Double accidentals do not get another hyphen, so the Dutch
164 @code{cisis} has the long English notename @code{c-sharpsharp}.
167 The visual style of tremolo slashes (shape, style and slope)
168 is now more finely controlled.
169 @lilypond[quote,relative=2]
171 \override StemTremolo.shape = #'beam-like
173 \override StemTremolo.style = #'constant
180 Multi-measure rests have length according to their total duration,
181 under the control of @code{MultiMeasureRest.space-increment}.
183 { \compressFullBarRests
184 \override Staff.MultiMeasureRest.space-increment = 3.0
189 Page numbers may now be printed in roman numerals, by setting the
190 @code{page-number-type} paper variable.
193 It is now possible to use @code{\time} and @code{\partial}
194 together to change the time signature in mid measure.
196 @lilypond[verbatim,quote,relative=1]
197 \override Score.BarNumber.break-visibility = #end-of-line-invisible
198 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
199 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
203 It is now possible to override the @code{text} property of
206 @lilypond[verbatim,fragment,quote]
208 \new ChordNames \chordmode {
210 \once \override ChordName.text = #"foo"
217 Improved horizontal alignment when using @code{TextScript},
218 with @code{DynamicText} or @code{LyricText}.
221 A new command @code{\magnifyStaff} has been added which scales staff
222 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
223 at the @code{Staff} context level. Staff lines are prevented from being
224 scaled smaller than the default since the thickness of stems, slurs, and
225 the like are all based on the staff line thickness.
228 @code{InstrumentName} now supports @code{text-interface}.
231 There is now support for controlling the @q{expression level} of
232 MIDI channels using the @code{Staff.midiExpression} context property.
233 This can be used to alter the perceived volume of even sustained notes
234 (albeit in a very @q{low-level} way) and accepts a number value between
235 @code{0.0} and @code{1.0}.
240 midiExpression = #0.6
241 midiInstrument = #"clarinet"
246 \set Staff.midiExpression = #0.7 s4\f\<
247 \set Staff.midiExpression = #0.8 s4
248 \set Staff.midiExpression = #0.9 s4
249 \set Staff.midiExpression = #1.0 s4
251 \set Staff.midiExpression = #0.9 s4\>
252 \set Staff.midiExpression = #0.8 s4
253 \set Staff.midiExpression = #0.7 s4
254 \set Staff.midiExpression = #0.6 s4\!
262 Support for making it easier to use alternative @q{music} fonts other
263 than the default Emmentaler in LilyPond has been added. See
264 @uref{http://fonts.openlilylib.org/} for more information.
267 Grobs and their parents can now be aligned separately allowing
268 more flexibility for grob positions. For example the @q{left} edge of a
269 grob can now be aligned on the @q{center} of its parent.
272 Improvements to the @code{\partial} command have been made to
273 avoid problems when using multiple, parallel contexts.
275 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
279 A new command @code{\tagGroup} has now been added. This complements
280 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
284 \tagGroup #'(violinI violinII viola cello)
287 declares a list of @q{tags} that belong to a single @q{tag group}.
290 \keepwithTag#'violinI
293 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
295 Any element of the included music tagged with one or more tags from the
296 group, but @emph{not} with @var{violinI}, will be removed.
299 The @code{\addlyrics} function now works with arbitrary contexts
300 incuding @code{Staff}.
303 String numbers can now also be used to print roman numerals
304 (e.g. for unfretted string instruments).
305 @lilypond[verbatim,quote,relative=2]
314 The @code{thin-kern} property of the @code{BarLine} grob has been
315 renamed to @code{segno-kern}.
318 @code{KeyCancellation} grobs now ignore cue clefs (like
319 @code{KeySignature} grobs do).
322 Add support for @code{\once@tie{}\unset}
325 It is now possible to individually color both the dots and parentheses
326 in fret diagrams when using the @code{\fret-diagram-verbose} markup
329 @lilypond[verbatim,quote,relative=1]
332 \override #'(fret-diagram-details . (
333 (finger-code . in-dot))) {
334 \fret-diagram-verbose #'((mute 6)
335 (place-fret 5 3 1 red)
336 (place-fret 4 5 2 inverted)
337 (place-fret 3 5 3 green)
338 (place-fret 2 5 4 blue inverted)
339 (place-fret 1 3 1 violet)
344 \override #'(fret-diagram-details . (
345 (finger-code . below-string))) {
346 \fret-diagram-verbose #'((mute 6)
347 (place-fret 5 3 1 red parenthesized)
348 (place-fret 4 5 2 yellow
351 (place-fret 3 5 3 green)
352 (place-fret 2 5 4 blue )
361 Two new properties have been added for use in
362 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
363 markup command; @code{fret-label-horizontal-offset} which affects the
364 @code{fret-label-indication} and @code{paren-padding} which controls the
365 space between the dot and the parentheses surrounding it.
367 @lilypond[verbatim,quote,relative=1]
370 \fret-diagram-verbose #'((mute 6)
374 (place-fret 1 6 4 parenthesized)
379 \override #'(fret-diagram-details . (
380 (fret-label-horizontal-offset . 2)
381 (paren-padding . 0.25))) {
382 \fret-diagram-verbose #'((mute 6)
386 (place-fret 1 6 4 parenthesized)
395 A new markup command @code{\justify-line} has been added. Similar to
396 the @code{\fill-line} markup command except that instead of setting
397 @emph{words} in columns, the @code{\justify-line} command balances the
398 whitespace between them ensuring that when there are three or more
399 words in a markup, the whitespace is always consistent.
401 @lilypond[quote,verbatim,papersize=a6]
402 \markup \fill-line {oooooo oooooo oooooo oooooo}
403 \markup \fill-line {ooooooooo oooooooo oo ooo}
406 @lilypond[quote,verbatim,papersize=a6]
407 \markup \justify-line {oooooo oooooo oooooo oooooo}
408 \markup \justify-line {ooooooooo oooooooo oo ooo}
412 A new command @code{\magnifyMusic} has been added, which allows
413 the notation size to be changed without changing the staff size,
414 while automatically scaling stems, beams, and horizontal spacing.
416 @lilypond[verbatim,quote]
418 \new Voice \relative {
420 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
422 \new Voice \relative {
425 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
426 r32 c'' a c a c a c r c a c a c a c
427 r c a c a c a c a c a c a c a c
434 A new flexible template suitable for a range of choral music, is now
435 provided. This may be used to create simple choral music, with or
436 without piano accompaniment, in two or four staves. Unlike other
437 templates, this template is @q{built-in}, which means it does not
438 need to be copied and edited: instead it is simply @code{\include}'d
439 in the input file. For details, see @rlearning{Built-in templates}.
442 The positioning of tuplet numbers for kneed beams has been significantly
443 improved. Previously, tuplet numbers were placed according to the
444 position of the tuplet bracket, even if it was not printed. This could
445 lead to stranded tuplet numbers. Now they are now positioned
446 closer to the kneed-beam when an appropriate beam segment exists for its
447 placement and when the the bracket is not drawn.
449 Collision detection is also added, offsetting horizontally if too close
450 to an adjoining note column but preserving the number's vertical
451 distance from the kneed beam. If the number itself is too large to
452 fit in the available space the original, bracket-based, positioning
453 system is used instead; and in the event of a collision (e.g. with an
454 accidental) the tuplet number is moved vertically away instead.
456 @lilypond[verbatim,fragment,quote,relative=1]
458 \override Beam.auto-knee-gap = 3
467 The original kneed-beam tuplet behavior is still available through an
468 @code{\override} via a new, @code{knee-to-beam} property.
470 @lilypond[verbatim,fragment,quote,relative=1]
472 \override Beam.auto-knee-gap = 3
473 \override TupletNumber.knee-to-beam = ##f
482 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
483 now accept the same kind of delimited argument list that @code{\lyrics}
484 and @code{\chords} accept. Backward compatibility has been added so
485 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
486 @code{convert-ly} rule has been added that removes redundant uses of
487 @code{\lyricmode} and rearranges combinations with context starters such
488 that @code{\lyricsto} in general is applied last (i.e. like
489 @code{\lyricmode} would be).
492 Scheme functions and identifiers can now be used as output definitions.
495 Scheme expressions can now be used as chord constituents.
498 Improved visual spacing of small and regular @q{MI} Funk and Walker
499 noteheads so they are now the same width as other shaped notes in
500 their respective sets. @code{SOL} noteheads are also now visually
501 improved when used with both the normal Aiken and Sacred Harp heads, as
502 well as with the thin variants.
505 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
506 @rinternals{LeftEdge}.
509 Added a new @code{make-path-stencil} function that supports all
510 @code{path} commands both relative and absolute:
512 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
513 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
514 supports @q{single-letter} syntax used in standard SVG path commands:
516 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
517 @code{z}. The new command is also backward-compatible with the original
518 @code{make-connected-path-stencil} function. Also see
519 @file{scm/stencil.scm}.
522 Context properties named in the @samp{alternativeRestores} property are
523 restored to their value at the start of the @emph{first} alternative in
524 all subsequent alternatives.
526 Currently the default set restores @q{current meter};
528 @lilypond[verbatim,fragment,quote,relative=2]
530 \repeat volta 2 { c2 e4 | }
539 @q{measure position};
541 @lilypond[verbatim,fragment,quote,relative=2]
543 \repeat volta 2 { c2 e4 | }
546 \set Timing.measurePosition = #(ly:make-moment -1/2)
554 and @q{chord changes};
556 @lilypond[verbatim,fragment,quote]
559 \set chordChanges = ##t
560 \chordmode { c1:m d:m c:m d:m }
563 \repeat volta 2 { \chordmode { c1:m } }
565 { \chordmode { d:m } }
566 { \chordmode { c:m } }
574 Improved MIDI output for breathe marks. After tied notes, breaths take
575 time @emph{only} from the last note of the tie; e.g.
576 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
577 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
578 how humans interpret breaths after ties. It now also makes it easier to
579 align simultaneous breathe marks over multiple parts, all with different
583 A new note head style for Tabulature has been added;
584 @code{TabNoteHead.style = #'slash}.
587 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
588 @emph{Varpercussion} and @emph{varC} and their related tessitura.
589 @lilypond[verbatim,quote,fragment]
590 \override Staff.Clef.full-size-change = ##t
593 \clef "tenorG" c c c c
595 \clef "altovarC" c c c c
596 \clef "tenorvarC" c c c c
597 \clef "baritonevarC" c c c c
598 \clef "varpercussion" c c c c
601 \override Staff.Clef.full-size-change = ##f
604 \clef "tenorG" c c c c
606 \clef "altovarC" c c c c
607 \clef "tenorvarC" c c c c
608 \clef "baritonevarC" c c c
609 \clef "varpercussion" c c c c
613 Isolated durations in music sequences now stand for unpitched
614 notes. This may be useful for specifying rhythms to music or
615 scheme functions. When encountered in the final score, the
616 pitches are provided by the preceding note or chord. Here are two
617 examples where this makes for readable input:
619 @lilypond[verbatim,quote]
620 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
623 tambourine 8 \tuplet 3/2 { 16 16 16 }
624 8 \tuplet 3/2 { 16 16 16 } 8 8 |
628 @lilypond[verbatim,quote]
629 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
633 @code{\displayLilyMusic} and its underlying Scheme functions no
634 longer omit redundant note durations. This makes it easier to
635 reliably recognize and format standalone durations in expressions
642 Beaming exceptions can now be constructed using the
643 @code{\beamExceptions} scheme function. One can now write
645 @lilypond[verbatim,quote,relative=1]
647 \set Timing.beamExceptions =
648 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
650 \repeat unfold 6 { c32 } |
654 with multiple exceptions separated with @code{|} bar checks
655 (writing the exception pattern without pitches is convenient but
656 not mandatory). Previously, setting the beam exceptions would
657 have required writing
660 \set Timing.beamExceptions =
662 (end . ;entry for end of beams
663 ( ;start of alist of end points
664 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
669 The most common articulations are now reflected in MIDI output.
670 Accent and marcato make notes louder; staccato, staccatissimo and
671 portato make them shorter. Breath marks shorten the previous
674 This behavior is customizable through the @code{midiLength} and
675 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
676 See @file{script-init.ly} for examples.
679 The PostScript functionality of stroke adjustment is no longer
680 applied automatically but left to the discretion of the PostScript
681 device (by default, Ghostscript uses it for resolutions up to
682 150dpi when generating raster images). When it is enabled, a more
683 complex drawing algorithm designed to benefit from stroke
684 adjustment is employed mostly for stems and bar lines.
686 Stroke adjustment can be forced by specifying the command line
687 option @samp{-dstrokeadjust} to LilyPond. When generating
688 @code{PDF} files, this will usually result in markedly better
689 looking @code{PDF} previews but significantly larger file size.
690 Print quality at high resolutions will be unaffected.
695 For older news, go to
696 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
697 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
698 or @uref{../,go back} to the Documentation index.