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 the "english" notename language, the long notenames for pitches
66 with accidentals now contain a hyphen for better readability. You
71 instead of the previous
76 Double accidentals do not get another hyphen, so the Dutch
77 @code{cisis} has the long English notename @code{c-sharpsharp}.
80 The visual style of tremolo slashes (shape, style and slope)
81 is now more finely controlled.
82 @lilypond[quote,relative=2]
84 \override StemTremolo.shape = #'beam-like
86 \override StemTremolo.style = #'constant
93 Multi-measure rests have length according to their total duration,
94 under the control of @code{MultiMeasureRest.space-increment}.
96 { \compressFullBarRests
97 \override Staff.MultiMeasureRest.space-increment = 3.0
102 Page numbers may now be printed in roman numerals, by setting the
103 @code{page-number-type} paper variable.
106 It is now possible to use @code{\time} and @code{\partial}
107 together to change the time signature in mid measure.
109 @lilypond[verbatim,quote,relative=1]
110 \override Score.BarNumber.break-visibility = #end-of-line-invisible
111 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
112 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
116 It is now possible to override the @code{text} property of
119 @lilypond[verbatim,fragment,quote]
121 \new ChordNames \chordmode {
123 \once \override ChordName.text = #"foo"
130 Improved horizontal alignment when using @code{TextScript},
131 with @code{DynamicText} or @code{LyricText}.
134 A new command @code{\magnifyStaff} has been added which scales staff
135 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
136 at the @code{Staff} context level. Staff lines are prevented from being
137 scaled smaller than the default since the thickness of stems, slurs, and
138 the like are all based on the staff line thickness.
141 @code{InstrumentName} now supports @code{text-interface}.
144 There is now support for controlling the @q{expression level} of
145 MIDI channels using the @code{Staff.midiExpression} context property.
146 This can be used to alter the perceived volume of even sustained notes
147 (albeit in a very @q{low-level} way) and accepts a number value between
148 @code{0.0} and @code{1.0}.
153 midiExpression = #0.6
154 midiInstrument = #"clarinet"
159 \set Staff.midiExpression = #0.7 s4\f\<
160 \set Staff.midiExpression = #0.8 s4
161 \set Staff.midiExpression = #0.9 s4
162 \set Staff.midiExpression = #1.0 s4
164 \set Staff.midiExpression = #0.9 s4\>
165 \set Staff.midiExpression = #0.8 s4
166 \set Staff.midiExpression = #0.7 s4
167 \set Staff.midiExpression = #0.6 s4\!
175 Support for making it easier to use alternative @q{music} fonts other
176 than the default Emmentaler in LilyPond has been added. See
177 @uref{http://fonts.openlilylib.org/} for more information.
180 Grobs and their parents can now be aligned separately allowing
181 more flexibility for grob positions. For example the @q{left} edge of a
182 grob can now be aligned on the @q{center} of its parent.
185 Improvements to the @code{\partial} command have been made to
186 avoid problems when using multiple, parallel contexts.
188 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
192 The @code{NullVoice} context is now @q{below} @code{Score}.
195 A new command @code{\tagGroup} has now been added. This compliments
196 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
200 \tagGroup #'(violinI violinII viola cello)
203 declares a list of @q{tags} that belong to a single @q{tag group}.
206 \keepwithTag#'violinI
209 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
211 Any element of the included music tagged with one or more tags from the
212 group, but @emph{not} with @var{violinI}, will be removed.
215 The @code{\addlyrics} function now works with arbitrary contexts
216 incuding @code{Staff}.
219 String numbers can now also be used to print roman numerals
220 (e.g. for unfretted string instruments).
221 @lilypond[verbatim,quote,relative=2]
230 The @code{thin-kern} property of the @code{BarLine} grob has been
231 renamed to @code{segno-kern}.
234 @code{KeyCancellation} grobs now ignore cue clefs (like
235 @code{KeySignature} grobs do).
238 Add support for @code{\once@tie{}\unset}
241 It is now possible to individually color both the dots and parentheses
242 in fret diagrams when using the @code{\fret-diagram-verbose} markup
245 @lilypond[verbatim,quote,relative=1]
248 \override #'(fret-diagram-details . (
249 (finger-code . in-dot))) {
250 \fret-diagram-verbose #'((mute 6)
251 (place-fret 5 3 1 red)
252 (place-fret 4 5 2 inverted)
253 (place-fret 3 5 3 green)
254 (place-fret 2 5 4 blue inverted)
255 (place-fret 1 3 1 violet)
260 \override #'(fret-diagram-details . (
261 (finger-code . below-string))) {
262 \fret-diagram-verbose #'((mute 6)
263 (place-fret 5 3 1 red parenthesized)
264 (place-fret 4 5 2 yellow
267 (place-fret 3 5 3 green)
268 (place-fret 2 5 4 blue )
277 Two new properties have been added for use in
278 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
279 markup command; @code{fret-label-horizontal-offset} which affects the
280 @code{fret-label-indication} and @code{paren-padding} which controls the
281 space between the dot and the parentheses surrounding it.
283 @lilypond[verbatim,quote,relative=1]
286 \fret-diagram-verbose #'((mute 6)
290 (place-fret 1 6 4 parenthesized)
295 \override #'(fret-diagram-details . (
296 (fret-label-horizontal-offset . 2)
297 (paren-padding . 0.25))) {
298 \fret-diagram-verbose #'((mute 6)
302 (place-fret 1 6 4 parenthesized)
311 A new markup command @code{\justify-line} has been added. Similar to
312 the @code{\fill-line} markup command except that instead of setting
313 @emph{words} in columns, the @code{\justify-line} command balances the
314 whitespace between them ensuring that when there are three or more
315 words in a markup, the whitespace is always consistent.
317 @lilypond[quote,verbatim,papersize=a6]
318 \markup \fill-line {oooooo oooooo oooooo oooooo}
319 \markup \fill-line {ooooooooo oooooooo oo ooo}
322 @lilypond[quote,verbatim,papersize=a6]
323 \markup \justify-line {oooooo oooooo oooooo oooooo}
324 \markup \justify-line {ooooooooo oooooooo oo ooo}
328 A new command @code{\magnifyMusic} has been added, which allows
329 the notation size to be changed without changing the staff size,
330 while automatically scaling stems, beams, and horizontal spacing.
332 @lilypond[verbatim,quote]
334 \new Voice \relative {
336 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
338 \new Voice \relative {
341 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
342 r32 c'' a c a c a c r c a c a c a c
343 r c a c a c a c a c a c a c a c
350 A new flexible template suitable for a range of choral music, is now
351 provided. This may be used to create simple choral music, with or
352 without piano accompaniment, in two or four staves. Unlike other
353 templates, this template is @q{built-in}, which means it does not
354 need to be copied and edited: instead it is simply @code{\include}'d
355 in the input file. For details, see @rlearning{Built-in templates}.
358 The positioning of tuplet numbers for kneed beams has been significantly
359 improved. Previously, tuplet numbers were placed according to the
360 position of the tuplet bracket, even if it was not printed. This could
361 lead to stranded tuplet numbers. Now they are now positioned
362 closer to the kneed-beam when an appropriate beam segment exists for its
363 placement and when the the bracket is not drawn.
365 Collision detection is also added, offsetting horizontally if too close
366 to an adjoining note column but preserving the number's vertical
367 distance from the kneed beam. If the number itself is too large to
368 fit in the available space the original, bracket-based, positioning
369 system is used instead; and in the event of a collision (e.g. with an
370 accidental) the tuplet number is moved vertically away instead.
372 @lilypond[verbatim,fragment,quote,relative=1]
374 \override Beam.auto-knee-gap = 3
383 The original kneed-beam tuplet behavior is still available through an
384 @code{\override} via a new, @code{knee-to-beam} property.
386 @lilypond[verbatim,fragment,quote,relative=1]
388 \override Beam.auto-knee-gap = 3
389 \override TupletNumber.knee-to-beam = ##f
398 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
399 now accept the same kind of delimited argument list that @code{\lyrics}
400 and @code{\chords} accept. Backward compatibility has been added so
401 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
402 @code{convert-ly} rule has been added that removes redundant uses of
403 @code{\lyricmode} and rearranges combinations with context starters such
404 that @code{\lyricsto} in general is applied last (i.e. like
405 @code{\lyricmode} would be).
408 Scheme functions and identifiers can now be used as output definitions.
411 Scheme expressions can now be used as chord constituents.
414 Improved visual spacing of small and regular @q{MI} Funk and Walker
415 noteheads so they are now the same width as other shaped notes in
416 their respective sets. @code{SOL} noteheads are also now visually
417 improved when used with both the normal Aiken and Sacred Harp heads, as
418 well as with the thin variants.
421 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
422 @rinternals{LeftEdge}.
425 Added a new @code{make-path-stencil} function that supports all
426 @code{path} commands both relative and absolute:
428 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
429 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
430 supports @q{single-letter} syntax used in standard SVG path commands:
432 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
433 @code{z}. The new command is also backward-compatible with the original
434 @code{make-connected-path-stencil} function. Also see
435 @file{scm/stencil.scm}.
438 Context properties named in the @samp{alternativeRestores} property are
439 restored to their value at the start of the @emph{first} alternative in
440 all subsequent alternatives.
442 Currently the default set restores @q{current meter};
444 @lilypond[verbatim,fragment,quote,relative=2]
446 \repeat volta 2 { c2 e4 | }
455 @q{measure position};
457 @lilypond[verbatim,fragment,quote,relative=2]
459 \repeat volta 2 { c2 e4 | }
462 \set Timing.measurePosition = #(ly:make-moment -1/2)
470 and @q{chord changes};
472 @lilypond[verbatim,fragment,quote]
475 \set chordChanges = ##t
476 \chordmode { c1:m d:m c:m d:m }
479 \repeat volta 2 { \chordmode { c1:m } }
481 { \chordmode { d:m } }
482 { \chordmode { c:m } }
490 Improved MIDI output for breathe marks. After tied notes, breaths take
491 time @emph{only} from the last note of the tie; e.g.
492 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
493 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
494 how humans interpret breaths after ties. It now also makes it easier to
495 align simultaneous breathe marks over multiple parts, all with different
499 A new note head style for Tabulature has been added;
500 @code{TabNoteHead.style = #'slash}.
503 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
504 @emph{Varpercussion} and @emph{varC} and their related tessitura.
505 @lilypond[verbatim,quote,fragment]
506 \override Staff.Clef.full-size-change = ##t
509 \clef "tenorG" c c c c
511 \clef "altovarC" c c c c
512 \clef "tenorvarC" c c c c
513 \clef "baritonevarC" c c c c
514 \clef "varpercussion" c c c c
517 \override Staff.Clef.full-size-change = ##f
520 \clef "tenorG" c c c c
522 \clef "altovarC" c c c c
523 \clef "tenorvarC" c c c c
524 \clef "baritonevarC" c c c
525 \clef "varpercussion" c c c c
529 Isolated durations in music sequences now stand for unpitched
530 notes. This may be useful for specifying rhythms to music or
531 scheme functions. When encountered in the final score, the
532 pitches are provided by the preceding note or chord. Here are two
533 examples where this makes for readable input:
535 @lilypond[verbatim,quote]
536 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
539 tambourine 8 \tuplet 3/2 { 16 16 16 }
540 8 \tuplet 3/2 { 16 16 16 } 8 8 |
544 @lilypond[verbatim,quote]
545 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
549 @code{\displayLilyMusic} and its underlying Scheme functions no
550 longer omit redundant note durations. This makes it easier to
551 reliably recognize and format standalone durations in expressions
558 Beaming exceptions can now be constructed using the
559 @code{\beamExceptions} scheme function. One can now write
561 @lilypond[verbatim,quote,relative=1]
563 \set Timing.beamExceptions =
564 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
566 \repeat unfold 6 { c32 } |
570 with multiple exceptions separated with @code{|} bar checks
571 (writing the exception pattern without pitches is convenient but
572 not mandatory). Previously, setting the beam exceptions would
573 have required writing
576 \set Timing.beamExceptions =
578 (end . ;entry for end of beams
579 ( ;start of alist of end points
580 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
585 The most common articulations are now reflected in MIDI output.
586 Accent and marcato make notes louder; staccato, staccatissimo and
587 portato make them shorter. Breath marks shorten the previous
590 This behavior is customizable through the @code{midiLength} and
591 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
592 See @file{script-init.ly} for examples.
595 The PostScript functionality of stroke adjustment is no longer
596 applied automatically but left to the discretion of the PostScript
597 device (by default, Ghostscript uses it for resolutions up to
598 150dpi when generating raster images). When it is enabled, a more
599 complex drawing algorithm designed to benefit from stroke
600 adjustment is employed mostly for stems and bar lines.
602 Stroke adjustment can be forced by specifying the command line
603 option @samp{-dstrokeadjust} to LilyPond. When generating
604 @code{PDF} files, this will usually result in markedly better
605 looking @code{PDF} previews but significantly larger file size.
606 Print quality at high resolutions will be unaffected.
611 For older news, go to
612 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
613 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
614 or @uref{../,go back} to the Documentation index.