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 It is now possible to override the @code{text} property of
68 @lilypond[verbatim,fragment,quote]
70 \new ChordNames \chordmode {
72 \once \override ChordName.text = #"foo"
79 Improved horizontal alignment when using @code{TextScript},
80 with @code{DynamicText} or @code{LyricText}.
83 A new command @code{\magnifyStaff} has been added which scales staff
84 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
85 at the @code{Staff} context level. Staff lines are prevented from being
86 scaled smaller than the default since the thickness of stems, slurs, and
87 the like are all based on the staff line thickness.
90 @code{InstrumentName} now supports @code{text-interface}.
93 There is now support for controlling the @q{expression level} of
94 MIDI channels using the @code{Staff.midiExpression} context property.
95 This can be used to alter the perceived volume of even sustained notes
96 (albeit in a very @q{low-level} way) and accepts a number value between
97 @code{0.0} and @code{1.0}.
102 midiExpression = #0.6
103 midiInstrument = #"clarinet"
108 \set Staff.midiExpression = #0.7 s4\f\<
109 \set Staff.midiExpression = #0.8 s4
110 \set Staff.midiExpression = #0.9 s4
111 \set Staff.midiExpression = #1.0 s4
113 \set Staff.midiExpression = #0.9 s4\>
114 \set Staff.midiExpression = #0.8 s4
115 \set Staff.midiExpression = #0.7 s4
116 \set Staff.midiExpression = #0.6 s4\!
124 Support for making it easier to use alternative @q{music} fonts other
125 than the default Emmentaler in LilyPond has been added. See
126 @uref{http://fonts.openlilylib.org/} for more information.
129 Grobs and their parents can now be aligned separately allowing
130 more flexibility for grob positions. For example the @q{left} edge of a
131 grob can now be aligned on the @q{center} of its parent.
134 Improvements to the @code{\partial} command have been made to
135 avoid problems when using multiple, parallel contexts.
137 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
141 The @code{NullVoice} context is now @q{below} @code{Score}.
144 A new command @code{\tagGroup} has now been added. This compliments
145 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
149 \tagGroup #'(violinI violinII viola cello)
152 declares a list of @q{tags} that belong to a single @q{tag group}.
155 \keepwithTag#'violinI
158 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
160 Any element of the included music tagged with one or more tags from the
161 group, but @emph{not} with @var{violinI}, will be removed.
164 The @code{\addlyrics} function now works with arbitrary contexts
165 incuding @code{Staff}.
168 String numbers can now also be used to print roman numerals
169 (e.g. for unfretted string instruments).
170 @lilypond[verbatim,quote,relative=2]
179 The @code{thin-kern} property of the @code{BarLine} grob has been
180 renamed to @code{segno-kern}.
183 @code{KeyCancellation} grobs now ignore cue clefs (like
184 @code{KeySignature} grobs do).
187 Add support for @code{\once@tie{}\unset}
190 It is now possible to individually color both the dots and parentheses
191 in fret diagrams when using the @code{\fret-diagram-verbose} markup
194 @lilypond[verbatim,quote,relative=1]
197 \override #'(fret-diagram-details . (
198 (finger-code . in-dot))) {
199 \fret-diagram-verbose #'((mute 6)
200 (place-fret 5 3 1 red)
201 (place-fret 4 5 2 inverted)
202 (place-fret 3 5 3 green)
203 (place-fret 2 5 4 blue inverted)
204 (place-fret 1 3 1 violet)
209 \override #'(fret-diagram-details . (
210 (finger-code . below-string))) {
211 \fret-diagram-verbose #'((mute 6)
212 (place-fret 5 3 1 red parenthesized)
213 (place-fret 4 5 2 yellow
216 (place-fret 3 5 3 green)
217 (place-fret 2 5 4 blue )
226 Two new properties have been added for use in
227 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
228 markup command; @code{fret-label-horizontal-offset} which affects the
229 @code{fret-label-indication} and @code{paren-padding} which controls the
230 space between the dot and the parentheses surrounding it.
232 @lilypond[verbatim,quote,relative=1]
235 \fret-diagram-verbose #'((mute 6)
239 (place-fret 1 6 4 parenthesized)
244 \override #'(fret-diagram-details . (
245 (fret-label-horizontal-offset . 2)
246 (paren-padding . 0.25))) {
247 \fret-diagram-verbose #'((mute 6)
251 (place-fret 1 6 4 parenthesized)
260 A new markup command @code{\justify-line} has been added. Similar to
261 the @code{\fill-line} markup command except that instead of setting
262 @emph{words} in columns, the @code{\justify-line} command balances the
263 whitespace between them ensuring that when there are three or more
264 words in a markup, the whitespace is always consistent.
266 @lilypond[quote,verbatim,papersize=a6]
267 \markup \fill-line {oooooo oooooo oooooo oooooo}
268 \markup \fill-line {ooooooooo oooooooo oo ooo}
271 @lilypond[quote,verbatim,papersize=a6]
272 \markup \justify-line {oooooo oooooo oooooo oooooo}
273 \markup \justify-line {ooooooooo oooooooo oo ooo}
277 A new command @code{\magnifyMusic} has been added, which allows
278 the notation size to be changed without changing the staff size,
279 while automatically scaling stems, beams, and horizontal spacing.
281 @lilypond[verbatim,quote]
283 \new Voice \relative {
285 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
287 \new Voice \relative {
290 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
291 r32 c'' a c a c a c r c a c a c a c
292 r c a c a c a c a c a c a c a c
299 A new flexible template suitable for a range of choral music, is now
300 provided. This may be used to create simple choral music, with or
301 without piano accompaniment, in two or four staves. Unlike other
302 templates, this template is @q{built-in}, which means it does not
303 need to be copied and edited: instead it is simply @code{\include}'d
304 in the input file. For details, see @rlearning{Built-in templates}.
307 The positioning of tuplet numbers for kneed beams has been significantly
308 improved. Previously, tuplet numbers were placed according to the
309 position of the tuplet bracket, even if it was not printed. This could
310 lead to stranded tuplet numbers. Now they are now positioned
311 closer to the kneed-beam when an appropriate beam segment exists for its
312 placement and when the the bracket is not drawn.
314 Collision detection is also added, offsetting horizontally if too close
315 to an adjoining note column but preserving the number's vertical
316 distance from the kneed beam. If the number itself is too large to
317 fit in the available space the original, bracket-based, positioning
318 system is used instead; and in the event of a collision (e.g. with an
319 accidental) the tuplet number is moved vertically away instead.
321 @lilypond[verbatim,fragment,quote,relative=1]
323 \override Beam.auto-knee-gap = 3
332 The original kneed-beam tuplet behavior is still available through an
333 @code{\override} via a new, @code{knee-to-beam} property.
335 @lilypond[verbatim,fragment,quote,relative=1]
337 \override Beam.auto-knee-gap = 3
338 \override TupletNumber.knee-to-beam = ##f
347 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
348 now accept the same kind of delimited argument list that @code{\lyrics}
349 and @code{\chords} accept. Backward compatibility has been added so
350 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
351 @code{convert-ly} rule has been added that removes redundant uses of
352 @code{\lyricmode} and rearranges combinations with context starters such
353 that @code{\lyricsto} in general is applied last (i.e. like
354 @code{\lyricmode} would be).
357 Scheme functions and identifiers can now be used as output definitions.
360 Scheme expressions can now be used as chord constituents.
363 Improved visual spacing of small and regular @q{MI} Funk and Walker
364 noteheads so they are now the same width as other shaped notes in
365 their respective sets. @code{SOL} noteheads are also now visually
366 improved when used with both the normal Aiken and Sacred Harp heads, as
367 well as with the thin variants.
370 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
371 @rinternals{LeftEdge}.
374 Added a new @code{make-path-stencil} function that supports all
375 @code{path} commands both relative and absolute:
377 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
378 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
379 supports @q{single-letter} syntax used in standard SVG path commands:
381 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
382 @code{z}. The new command is also backward-compatible with the original
383 @code{make-connected-path-stencil} function. Also see
384 @file{scm/stencil.scm}.
387 Context properties named in the @samp{alternativeRestores} property are
388 restored to their value at the start of the @emph{first} alternative in
389 all subsequent alternatives.
391 Currently the default set restores @q{current meter};
393 @lilypond[verbatim,fragment,quote,relative=2]
395 \repeat volta 2 { c2 e4 | }
404 @q{measure position};
406 @lilypond[verbatim,fragment,quote,relative=2]
408 \repeat volta 2 { c2 e4 | }
411 \set Timing.measurePosition = #(ly:make-moment -1/2)
419 and @q{chord changes};
421 @lilypond[verbatim,fragment,quote]
424 \set chordChanges = ##t
425 \chordmode { c1:m d:m c:m d:m }
428 \repeat volta 2 { \chordmode { c1:m } }
430 { \chordmode { d:m } }
431 { \chordmode { c:m } }
439 Improved MIDI output for breathe marks. After tied notes, breaths take
440 time @emph{only} from the last note of the tie; e.g.
441 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
442 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
443 how humans interpret breaths after ties. It now also makes it easier to
444 align simultaneous breathe marks over multiple parts, all with different
448 A new note head style for Tabulature has been added;
449 @code{TabNoteHead.style = #'slash}.
452 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
453 @emph{Varpercussion} and @emph{varC} and their related tessitura.
454 @lilypond[verbatim,quote,fragment]
455 \override Staff.Clef.full-size-change = ##t
458 \clef "tenorG" c c c c
460 \clef "altovarC" c c c c
461 \clef "tenorvarC" c c c c
462 \clef "baritonevarC" c c c c
463 \clef "varpercussion" c c c c
466 \override Staff.Clef.full-size-change = ##f
469 \clef "tenorG" c c c c
471 \clef "altovarC" c c c c
472 \clef "tenorvarC" c c c c
473 \clef "baritonevarC" c c c
474 \clef "varpercussion" c c c c
478 Isolated durations in music sequences now stand for unpitched
479 notes. This may be useful for specifying rhythms to music or
480 scheme functions. When encountered in the final score, the
481 pitches are provided by the preceding note or chord. Here are two
482 examples where this makes for readable input:
484 @lilypond[verbatim,quote]
485 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
488 tambourine 8 \tuplet 3/2 { 16 16 16 }
489 8 \tuplet 3/2 { 16 16 16 } 8 8 |
493 @lilypond[verbatim,quote]
494 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
498 Beaming exceptions can now be constructed using the
499 @code{\beamExceptions} scheme function. One can now write
501 @lilypond[verbatim,quote,relative=1]
503 \set Timing.beamExceptions =
504 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
506 \repeat unfold 6 { c32 } |
510 with multiple exceptions separated with @code{|} bar checks
511 (writing the exception pattern without pitches is convenient but
512 not mandatory). Previously, setting the beam exceptions would
513 have required writing
516 \set Timing.beamExceptions =
518 (end . ;entry for end of beams
519 ( ;start of alist of end points
520 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
525 The most common articulations are now reflected in MIDI output.
526 Accent and marcato make notes louder; staccato, staccatissimo and
527 portato make them shorter. Breath marks shorten the previous
530 This behavior is customizable through the @code{midiLength} and
531 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
532 See @file{script-init.ly} for examples.
535 The PostScript functionality of stroke adjustment is no longer
536 applied automatically but left to the discretion of the PostScript
537 device (by default, Ghostscript uses it for resolutions up to
538 150dpi when generating raster images). When it is enabled, a more
539 complex drawing algorithm designed to benefit from stroke
540 adjustment is employed mostly for stems and bar lines.
542 Stroke adjustment can be forced by specifying the command line
543 option @samp{-dstrokeadjust} to LilyPond. When generating
544 @code{PDF} files, this will usually result in markedly better
545 looking @code{PDF} previews but significantly larger file size.
546 Print quality at high resolutions will be unaffected.
551 For older news, go to
552 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
553 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
554 or @uref{../,go back} to the Documentation index.