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 The markup-list-command @code{\table} is now available.
66 Each column may be aligned differently.
67 @lilypond[quote,verbatim]
69 \override #'(padding . 2)
73 \underline { center-aligned right-aligned center-aligned left-aligned }
74 one "1" thousandth "0.001"
75 eleven "11" hundredth "0.01"
76 twenty "20" tenth "0.1"
77 thousand "1000" one "1.0"
83 A new page breaking function @code{ly:one-line-auto-height-breaking}
84 places a whole score on a single line and changes the page width
85 to match, just like @code{ly:one-line-breaking}. The difference is that
86 it also automatically modifies the height of the page to fit the height
90 Markup-command @code{\draw-squiggle-line} is now available.
91 Customizing is possible with overrides of @code{thickness}, @code{angularity},
92 @code{height} and @code{orientation}
93 @lilypond[quote,verbatim]
96 \draw-squiggle-line #0.5 #'(3 . 3) ##t
99 \override #'(thickness . 4)
100 \draw-squiggle-line #0.5 #'(3 . -3) ##t
103 \override #'(angularity . -5)
104 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
106 \translate #'(3 . -3)
107 \override #'(angularity . 2)
108 \override #'(height . 0.3)
109 \override #'(orientation . -1)
110 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
115 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
116 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
117 staves on the first system in a score.
120 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
121 as the generic markup-command @code{\tie}.
122 @lilypond[quote,verbatim]
124 \undertie "undertied"
129 c''1 \prall -\tweak text \markup \tie "131" -1
132 { \voiceOne \m \voiceTwo \m }
136 @code{TabStaff} is now able to print micro-tones for bendings etc.
137 @lilypond[quote,verbatim]
141 supportNonIntegerFret = ##t
145 mus = \relative { c'4 cih d dih }
148 \new Staff << \clef "G_8" \mus >>
154 Two new styles of whiteout are now available. The @code{outline} style
155 approximates the contours of a glyph's outline, and its shape is
156 produced from multiple displaced copies of the glyph. The
157 @code{rounded-box} style produces a rounded rectangle shape. For all
158 three styles, including the default @code{box} style, the whiteout
159 shape's @code{thickness}, as a multiple of staff-line thickness, can be
162 @lilypond[verbatim,quote]
165 \filled-box #'(-1 . 15) #'(-3 . 4) #1
166 \override #'(thickness . 3)
167 \whiteout whiteout-box
171 \filled-box #'(-1 . 24) #'(-3 . 4) #1
172 \override #'(style . rounded-box)
173 \override #'(thickness . 3)
174 \whiteout whiteout-rounded-box
178 \filled-box #'(-1 . 18) #'(-3 . 4) #1
179 \override #'(style . outline)
180 \override #'(thickness . 3)
181 \whiteout whiteout-outline
184 \override Staff.Clef.whiteout-style = #'outline
185 \override Staff.Clef.whiteout = 3
191 All of @code{\override}, @code{\revert}, @code{\set}, and
192 @code{\unset} now work with the @code{\once} prefix for making
194 @lilypond[quote,verbatim]
197 \override NoteHead.color = #red
199 \once \override NoteHead.color = #green
201 \once \revert NoteHead.color
203 \revert NoteHead.color
209 When outputting MIDI, LilyPond will now store the @code{title}
210 defined in a score's @code{\header} block (or, if there is no
211 such definition on the @code{\score} level, the first such
212 definition found in a @code{\header} block of the score's
213 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
214 as the name of the MIDI sequence in the MIDI file. Optionally,
215 the name of the MIDI sequence can be overridden using the new
216 @code{midititle} @code{\header} field independently of
217 @code{title} (for example, in case @code{title} contains markup
218 code which does not render as plain text in a satisfactory way
222 Music (and scheme and void) functions and markup commands that
223 just supply the final parameters to a chain of overrides, music
224 function and markup command calls can now be defined in the form
225 of just writing the expression cut short with @code{\etc}.
227 @lilypond[verbatim,quote]
228 bold-red-markup = \markup \bold \with-color #red \etc
229 highlight = \tweak font-size 3 \tweak color #red \etc
231 \markup \bold-red "text"
232 \markuplist \column-lines \bold-red { One Two }
234 { c' \highlight d' e'2-\highlight -! }
238 LilyPond functions defined with @code{define-music-function},
239 @code{define-event-function}, @code{define-scheme-function} and
240 @code{define-void-function} can now be directly called from Scheme
241 as if they were genuine Scheme procedures. Argument checking and
242 matching will still be performed in the same manner as when
243 calling the function through LilyPond input. This includes the
244 insertion of defaults for optional arguments not matching their
245 predicates. Instead of using @code{\default} in the actual
246 argument list for explicitly skipping a sequence of optional
247 arguments, @code{*unspecified*} can be employed.
250 Current input location and parser are now stored in GUILE fluids
251 and can be referenced via the function calls @code{(*location*)}
252 and @code{(*parser*)}. Consequently, a lot of functions
253 previously taking an explicit @code{parser} argument no longer do
256 Functions defined with @code{define-music-function},
257 @code{define-event-function}, @code{define-scheme-function} and
258 @code{define-void-function} no longer use @code{parser} and
259 @code{location} arguments.
261 With those particular definitions, LilyPond will try to recognize
262 legacy use of @code{parser} and @code{location} arguments,
263 providing backwards-compatible semantics for some time.
266 In the "english" notename language, the long notenames for pitches
267 with accidentals now contain a hyphen for better readability. You
272 instead of the previous
277 Double accidentals do not get another hyphen, so the Dutch
278 @code{cisis} has the long English notename @code{c-sharpsharp}.
281 The visual style of tremolo slashes (shape, style and slope)
282 is now more finely controlled.
283 @lilypond[quote,relative=2]
285 \override StemTremolo.shape = #'beam-like
287 \override StemTremolo.style = #'constant
294 Multi-measure rests have length according to their total duration,
295 under the control of @code{MultiMeasureRest.space-increment}.
297 { \compressFullBarRests
298 \override Staff.MultiMeasureRest.space-increment = 3.0
303 Page numbers may now be printed in roman numerals, by setting the
304 @code{page-number-type} paper variable.
307 It is now possible to use @code{\time} and @code{\partial}
308 together to change the time signature in mid measure.
310 @lilypond[verbatim,quote,relative=1]
311 \override Score.BarNumber.break-visibility = #end-of-line-invisible
312 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
313 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
317 It is now possible to override the @code{text} property of
320 @lilypond[verbatim,fragment,quote]
322 \new ChordNames \chordmode {
324 \once \override ChordName.text = #"foo"
331 Improved horizontal alignment when using @code{TextScript},
332 with @code{DynamicText} or @code{LyricText}.
335 A new command @code{\magnifyStaff} has been added which scales staff
336 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
337 at the @code{Staff} context level. Staff lines are prevented from being
338 scaled smaller than the default since the thickness of stems, slurs, and
339 the like are all based on the staff line thickness.
342 @code{InstrumentName} now supports @code{text-interface}.
345 There is now support for controlling the @q{expression level} of
346 MIDI channels using the @code{Staff.midiExpression} context property.
347 This can be used to alter the perceived volume of even sustained notes
348 (albeit in a very @q{low-level} way) and accepts a number value between
349 @code{0.0} and @code{1.0}.
354 midiExpression = #0.6
355 midiInstrument = #"clarinet"
360 \set Staff.midiExpression = #0.7 s4\f\<
361 \set Staff.midiExpression = #0.8 s4
362 \set Staff.midiExpression = #0.9 s4
363 \set Staff.midiExpression = #1.0 s4
365 \set Staff.midiExpression = #0.9 s4\>
366 \set Staff.midiExpression = #0.8 s4
367 \set Staff.midiExpression = #0.7 s4
368 \set Staff.midiExpression = #0.6 s4\!
376 Support for making it easier to use alternative @q{music} fonts other
377 than the default Emmentaler in LilyPond has been added. See
378 @uref{http://fonts.openlilylib.org/} for more information.
381 Grobs and their parents can now be aligned separately allowing
382 more flexibility for grob positions. For example the @q{left} edge of a
383 grob can now be aligned on the @q{center} of its parent.
386 Improvements to the @code{\partial} command have been made to
387 avoid problems when using multiple, parallel contexts.
389 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
393 A new command @code{\tagGroup} has now been added. This complements
394 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
398 \tagGroup #'(violinI violinII viola cello)
401 declares a list of @q{tags} that belong to a single @q{tag group}.
404 \keepWithTag #'violinI
407 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
409 Any element of the included music tagged with one or more tags from the
410 group, but @emph{not} with @var{violinI}, will be removed.
413 The @code{\addlyrics} function now works with arbitrary contexts
414 incuding @code{Staff}.
417 String numbers can now also be used to print roman numerals
418 (e.g. for unfretted string instruments).
419 @lilypond[verbatim,quote,relative=2]
428 The @code{thin-kern} property of the @code{BarLine} grob has been
429 renamed to @code{segno-kern}.
432 @code{KeyCancellation} grobs now ignore cue clefs (like
433 @code{KeySignature} grobs do).
436 Add support for @code{\once@tie{}\unset}
439 It is now possible to individually color both the dots and parentheses
440 in fret diagrams when using the @code{\fret-diagram-verbose} markup
443 @lilypond[verbatim,quote,relative=1]
446 \override #'(fret-diagram-details . (
447 (finger-code . in-dot))) {
448 \fret-diagram-verbose #'((mute 6)
449 (place-fret 5 3 1 red)
450 (place-fret 4 5 2 inverted)
451 (place-fret 3 5 3 green)
452 (place-fret 2 5 4 blue inverted)
453 (place-fret 1 3 1 violet)
458 \override #'(fret-diagram-details . (
459 (finger-code . below-string))) {
460 \fret-diagram-verbose #'((mute 6)
461 (place-fret 5 3 1 red parenthesized)
462 (place-fret 4 5 2 yellow
465 (place-fret 3 5 3 green)
466 (place-fret 2 5 4 blue )
475 Two new properties have been added for use in
476 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
477 markup command; @code{fret-label-horizontal-offset} which affects the
478 @code{fret-label-indication} and @code{paren-padding} which controls the
479 space between the dot and the parentheses surrounding it.
481 @lilypond[verbatim,quote,relative=1]
484 \fret-diagram-verbose #'((mute 6)
488 (place-fret 1 6 4 parenthesized)
493 \override #'(fret-diagram-details . (
494 (fret-label-horizontal-offset . 2)
495 (paren-padding . 0.25))) {
496 \fret-diagram-verbose #'((mute 6)
500 (place-fret 1 6 4 parenthesized)
509 A new markup command @code{\justify-line} has been added. Similar to
510 the @code{\fill-line} markup command except that instead of setting
511 @emph{words} in columns, the @code{\justify-line} command balances the
512 whitespace between them ensuring that when there are three or more
513 words in a markup, the whitespace is always consistent.
515 @lilypond[quote,verbatim,papersize=a6]
516 \markup \fill-line {oooooo oooooo oooooo oooooo}
517 \markup \fill-line {ooooooooo oooooooo oo ooo}
520 @lilypond[quote,verbatim,papersize=a6]
521 \markup \justify-line {oooooo oooooo oooooo oooooo}
522 \markup \justify-line {ooooooooo oooooooo oo ooo}
526 A new command @code{\magnifyMusic} has been added, which allows
527 the notation size to be changed without changing the staff size,
528 while automatically scaling stems, beams, and horizontal spacing.
530 @lilypond[verbatim,quote]
532 \new Voice \relative {
534 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
536 \new Voice \relative {
539 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
540 r32 c'' a c a c a c r c a c a c a c
541 r c a c a c a c a c a c a c a c
548 A new flexible template suitable for a range of choral music, is now
549 provided. This may be used to create simple choral music, with or
550 without piano accompaniment, in two or four staves. Unlike other
551 templates, this template is @q{built-in}, which means it does not
552 need to be copied and edited: instead it is simply @code{\include}'d
553 in the input file. For details, see @rlearning{Built-in templates}.
556 The positioning of tuplet numbers for kneed beams has been significantly
557 improved. Previously, tuplet numbers were placed according to the
558 position of the tuplet bracket, even if it was not printed. This could
559 lead to stranded tuplet numbers. Now they are now positioned
560 closer to the kneed-beam when an appropriate beam segment exists for its
561 placement and when the the bracket is not drawn.
563 Collision detection is also added, offsetting horizontally if too close
564 to an adjoining note column but preserving the number's vertical
565 distance from the kneed beam. If the number itself is too large to
566 fit in the available space the original, bracket-based, positioning
567 system is used instead; and in the event of a collision (e.g. with an
568 accidental) the tuplet number is moved vertically away instead.
570 @lilypond[verbatim,fragment,quote,relative=1]
572 \override Beam.auto-knee-gap = 3
581 The original kneed-beam tuplet behavior is still available through an
582 @code{\override} via a new, @code{knee-to-beam} property.
584 @lilypond[verbatim,fragment,quote,relative=1]
586 \override Beam.auto-knee-gap = 3
587 \override TupletNumber.knee-to-beam = ##f
596 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
597 now accept the same kind of delimited argument list that @code{\lyrics}
598 and @code{\chords} accept. Backward compatibility has been added so
599 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
600 @code{convert-ly} rule has been added that removes redundant uses of
601 @code{\lyricmode} and rearranges combinations with context starters such
602 that @code{\lyricsto} in general is applied last (i.e. like
603 @code{\lyricmode} would be).
606 Scheme functions and identifiers can now be used as output definitions.
609 Scheme expressions can now be used as chord constituents.
612 Improved visual spacing of small and regular @q{MI} Funk and Walker
613 noteheads so they are now the same width as other shaped notes in
614 their respective sets. @code{SOL} noteheads are also now visually
615 improved when used with both the normal Aiken and Sacred Harp heads, as
616 well as with the thin variants.
619 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
620 @rinternals{LeftEdge}.
623 Added a new @code{make-path-stencil} function that supports all
624 @code{path} commands both relative and absolute:
626 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
627 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
628 supports @q{single-letter} syntax used in standard SVG path commands:
630 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
631 @code{z}. The new command is also backward-compatible with the original
632 @code{make-connected-path-stencil} function. Also see
633 @file{scm/stencil.scm}.
636 Context properties named in the @samp{alternativeRestores} property are
637 restored to their value at the start of the @emph{first} alternative in
638 all subsequent alternatives.
640 Currently the default set restores @q{current meter};
642 @lilypond[verbatim,fragment,quote,relative=2]
644 \repeat volta 2 { c2 e4 | }
653 @q{measure position};
655 @lilypond[verbatim,fragment,quote,relative=2]
657 \repeat volta 2 { c2 e4 | }
660 \set Timing.measurePosition = #(ly:make-moment -1/2)
668 and @q{chord changes};
670 @lilypond[verbatim,fragment,quote]
673 \set chordChanges = ##t
674 \chordmode { c1:m d:m c:m d:m }
677 \repeat volta 2 { \chordmode { c1:m } }
679 { \chordmode { d:m } }
680 { \chordmode { c:m } }
688 Improved MIDI output for breathe marks. After tied notes, breaths take
689 time @emph{only} from the last note of the tie; e.g.
690 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
691 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
692 how humans interpret breaths after ties. It now also makes it easier to
693 align simultaneous breathe marks over multiple parts, all with different
697 A new note head style for Tabulature has been added;
698 @code{TabNoteHead.style = #'slash}.
701 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
702 @emph{Varpercussion} and @emph{varC} and their related tessitura.
703 @lilypond[verbatim,quote,fragment]
704 \override Staff.Clef.full-size-change = ##t
707 \clef "tenorG" c c c c
709 \clef "altovarC" c c c c
710 \clef "tenorvarC" c c c c
711 \clef "baritonevarC" c c c c
712 \clef "varpercussion" c c c c
715 \override Staff.Clef.full-size-change = ##f
718 \clef "tenorG" c c c c
720 \clef "altovarC" c c c c
721 \clef "tenorvarC" c c c c
722 \clef "baritonevarC" c c c
723 \clef "varpercussion" c c c c
727 Isolated durations in music sequences now stand for unpitched
728 notes. This may be useful for specifying rhythms to music or
729 scheme functions. When encountered in the final score, the
730 pitches are provided by the preceding note or chord. Here are two
731 examples where this makes for readable input:
733 @lilypond[verbatim,quote]
734 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
737 tambourine 8 \tuplet 3/2 { 16 16 16 }
738 8 \tuplet 3/2 { 16 16 16 } 8 8 |
742 @lilypond[verbatim,quote]
743 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
747 @code{\displayLilyMusic} and its underlying Scheme functions no
748 longer omit redundant note durations. This makes it easier to
749 reliably recognize and format standalone durations in expressions
756 Beaming exceptions can now be constructed using the
757 @code{\beamExceptions} scheme function. One can now write
759 @lilypond[verbatim,quote,relative=1]
761 \set Timing.beamExceptions =
762 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
764 \repeat unfold 6 { c32 } |
768 with multiple exceptions separated with @code{|} bar checks
769 (writing the exception pattern without pitches is convenient but
770 not mandatory). Previously, setting the beam exceptions would
771 have required writing
774 \set Timing.beamExceptions =
776 (end . ;entry for end of beams
777 ( ;start of alist of end points
778 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
783 The most common articulations are now reflected in MIDI output.
784 Accent and marcato make notes louder; staccato, staccatissimo and
785 portato make them shorter. Breath marks shorten the previous
788 This behavior is customizable through the @code{midiLength} and
789 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
790 See @file{script-init.ly} for examples.
793 The PostScript functionality of stroke adjustment is no longer
794 applied automatically but left to the discretion of the PostScript
795 device (by default, Ghostscript uses it for resolutions up to
796 150dpi when generating raster images). When it is enabled, a more
797 complex drawing algorithm designed to benefit from stroke
798 adjustment is employed mostly for stems and bar lines.
800 Stroke adjustment can be forced by specifying the command line
801 option @samp{-dstrokeadjust} to LilyPond. When generating
802 @code{PDF} files, this will usually result in markedly better
803 looking @code{PDF} previews but significantly larger file size.
804 Print quality at high resolutions will be unaffected.
809 For older news, go to
810 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
811 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
812 or @uref{../,go back} to the Documentation index.