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 Additional bass strings (for lute tablature) are supported.
66 @lilypond[quote,verbatim]
67 m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
74 tablatureFormat = #fret-letter-tablature-format
78 stringTunings = \stringTuning <a, d f a d' f'>
79 additionalBassStrings = \stringTuning <c, d, e, fis, g,>
80 fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
87 The markup-list-command @code{\table} is now available.
88 Each column may be aligned differently.
89 @lilypond[quote,verbatim]
91 \override #'(padding . 2)
95 \underline { center-aligned right-aligned center-aligned left-aligned }
96 one "1" thousandth "0.001"
97 eleven "11" hundredth "0.01"
98 twenty "20" tenth "0.1"
99 thousand "1000" one "1.0"
105 A new markup-command, @code{\with-dimensions-from}, makes
106 @code{\with-dimensions} easier to use by taking the new
107 dimensions from a markup object, given as first argument.
108 @lilypond[quote,verbatim]
110 \pattern #5 #Y #0 "x"
111 \pattern #5 #Y #0 \with-dimensions-from "x" "f"
112 \pattern #5 #Y #0 \with-dimensions-from "x" "g"
113 \override #'(baseline-skip . 2)
115 \pattern #5 #X #0 "n"
116 \pattern #5 #X #0 \with-dimensions-from "n" "m"
117 \pattern #5 #X #0 \with-dimensions-from "n" "!"
123 A new page breaking function @code{ly:one-line-auto-height-breaking}
124 places a whole score on a single line and changes the page width
125 to match, just like @code{ly:one-line-breaking}. The difference is that
126 it also automatically modifies the height of the page to fit the height
130 Markup-command @code{\draw-squiggle-line} is now available.
131 Customizing is possible with overrides of @code{thickness}, @code{angularity},
132 @code{height} and @code{orientation}
133 @lilypond[quote,verbatim]
136 \draw-squiggle-line #0.5 #'(3 . 3) ##t
139 \override #'(thickness . 4)
140 \draw-squiggle-line #0.5 #'(3 . -3) ##t
143 \override #'(angularity . -5)
144 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
146 \translate #'(3 . -3)
147 \override #'(angularity . 2)
148 \override #'(height . 0.3)
149 \override #'(orientation . -1)
150 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
155 A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
156 acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
157 staves on the first system in a score.
160 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
161 as the generic markup-command @code{\tie}.
162 @lilypond[quote,verbatim]
164 \undertie "undertied"
169 c''1 \prall -\tweak text \markup \tie "131" -1
172 { \voiceOne \m \voiceTwo \m }
176 @code{TabStaff} is now able to print micro-tones for bendings etc.
177 @lilypond[quote,verbatim]
181 supportNonIntegerFret = ##t
185 mus = \relative { c'4 cih d dih }
188 \new Staff << \clef "G_8" \mus >>
194 Two new styles of whiteout are now available. The @code{outline} style
195 approximates the contours of a glyph's outline, and its shape is
196 produced from multiple displaced copies of the glyph. The
197 @code{rounded-box} style produces a rounded rectangle shape. For all
198 three styles, including the default @code{box} style, the whiteout
199 shape's @code{thickness}, as a multiple of staff-line thickness, can be
202 @lilypond[verbatim,quote]
205 \filled-box #'(-1 . 15) #'(-3 . 4) #1
206 \override #'(thickness . 3)
207 \whiteout whiteout-box
211 \filled-box #'(-1 . 24) #'(-3 . 4) #1
212 \override #'(style . rounded-box)
213 \override #'(thickness . 3)
214 \whiteout whiteout-rounded-box
218 \filled-box #'(-1 . 18) #'(-3 . 4) #1
219 \override #'(style . outline)
220 \override #'(thickness . 3)
221 \whiteout whiteout-outline
224 \override Staff.Clef.whiteout-style = #'outline
225 \override Staff.Clef.whiteout = 3
231 All of @code{\override}, @code{\revert}, @code{\set}, and
232 @code{\unset} now work with the @code{\once} prefix for making
234 @lilypond[quote,verbatim]
237 \override NoteHead.color = #red
239 \once \override NoteHead.color = #green
241 \once \revert NoteHead.color
243 \revert NoteHead.color
249 When outputting MIDI, LilyPond will now store the @code{title}
250 defined in a score's @code{\header} block (or, if there is no
251 such definition on the @code{\score} level, the first such
252 definition found in a @code{\header} block of the score's
253 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
254 as the name of the MIDI sequence in the MIDI file. Optionally,
255 the name of the MIDI sequence can be overridden using the new
256 @code{midititle} @code{\header} field independently of
257 @code{title} (for example, in case @code{title} contains markup
258 code which does not render as plain text in a satisfactory way
262 Music (and scheme and void) functions and markup commands that
263 just supply the final parameters to a chain of overrides, music
264 function and markup command calls can now be defined in the form
265 of just writing the expression cut short with @code{\etc}.
267 @lilypond[verbatim,quote]
268 bold-red-markup = \markup \bold \with-color #red \etc
269 highlight = \tweak font-size 3 \tweak color #red \etc
271 \markup \bold-red "text"
272 \markuplist \column-lines \bold-red { One Two }
274 { c' \highlight d' e'2-\highlight -! }
278 LilyPond functions defined with @code{define-music-function},
279 @code{define-event-function}, @code{define-scheme-function} and
280 @code{define-void-function} can now be directly called from Scheme
281 as if they were genuine Scheme procedures. Argument checking and
282 matching will still be performed in the same manner as when
283 calling the function through LilyPond input. This includes the
284 insertion of defaults for optional arguments not matching their
285 predicates. Instead of using @code{\default} in the actual
286 argument list for explicitly skipping a sequence of optional
287 arguments, @code{*unspecified*} can be employed.
290 Current input location and parser are now stored in GUILE fluids
291 and can be referenced via the function calls @code{(*location*)}
292 and @code{(*parser*)}. Consequently, a lot of functions
293 previously taking an explicit @code{parser} argument no longer do
296 Functions defined with @code{define-music-function},
297 @code{define-event-function}, @code{define-scheme-function} and
298 @code{define-void-function} no longer use @code{parser} and
299 @code{location} arguments.
301 With those particular definitions, LilyPond will try to recognize
302 legacy use of @code{parser} and @code{location} arguments,
303 providing backwards-compatible semantics for some time.
306 In the "english" notename language, the long notenames for pitches
307 with accidentals now contain a hyphen for better readability. You
312 instead of the previous
317 Double accidentals do not get another hyphen, so the Dutch
318 @code{cisis} has the long English notename @code{c-sharpsharp}.
321 The visual style of tremolo slashes (shape, style and slope)
322 is now more finely controlled.
323 @lilypond[quote,relative=2]
325 \override StemTremolo.shape = #'beam-like
327 \override StemTremolo.style = #'constant
334 Multi-measure rests have length according to their total duration,
335 under the control of @code{MultiMeasureRest.space-increment}.
337 { \compressFullBarRests
338 \override Staff.MultiMeasureRest.space-increment = 3.0
343 Page numbers may now be printed in roman numerals, by setting the
344 @code{page-number-type} paper variable.
347 It is now possible to use @code{\time} and @code{\partial}
348 together to change the time signature in mid measure.
350 @lilypond[verbatim,quote,relative=1]
351 \override Score.BarNumber.break-visibility = #end-of-line-invisible
352 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
353 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
357 It is now possible to override the @code{text} property of
360 @lilypond[verbatim,fragment,quote]
362 \new ChordNames \chordmode {
364 \once \override ChordName.text = #"foo"
371 Improved horizontal alignment when using @code{TextScript},
372 with @code{DynamicText} or @code{LyricText}.
375 A new command @code{\magnifyStaff} has been added which scales staff
376 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
377 at the @code{Staff} context level. Staff lines are prevented from being
378 scaled smaller than the default since the thickness of stems, slurs, and
379 the like are all based on the staff line thickness.
382 @code{InstrumentName} now supports @code{text-interface}.
385 There is now support for controlling the @q{expression level} of
386 MIDI channels using the @code{Staff.midiExpression} context property.
387 This can be used to alter the perceived volume of even sustained notes
388 (albeit in a very @q{low-level} way) and accepts a number value between
389 @code{0.0} and @code{1.0}.
394 midiExpression = #0.6
395 midiInstrument = #"clarinet"
400 \set Staff.midiExpression = #0.7 s4\f\<
401 \set Staff.midiExpression = #0.8 s4
402 \set Staff.midiExpression = #0.9 s4
403 \set Staff.midiExpression = #1.0 s4
405 \set Staff.midiExpression = #0.9 s4\>
406 \set Staff.midiExpression = #0.8 s4
407 \set Staff.midiExpression = #0.7 s4
408 \set Staff.midiExpression = #0.6 s4\!
416 Support for making it easier to use alternative @q{music} fonts other
417 than the default Emmentaler in LilyPond has been added. See
418 @uref{http://fonts.openlilylib.org/} for more information.
421 Grobs and their parents can now be aligned separately allowing
422 more flexibility for grob positions. For example the @q{left} edge of a
423 grob can now be aligned on the @q{center} of its parent.
426 Improvements to the @code{\partial} command have been made to
427 avoid problems when using multiple, parallel contexts.
429 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
433 A new command @code{\tagGroup} has now been added. This complements
434 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
438 \tagGroup #'(violinI violinII viola cello)
441 declares a list of @q{tags} that belong to a single @q{tag group}.
444 \keepWithTag #'violinI
447 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
449 Any element of the included music tagged with one or more tags from the
450 group, but @emph{not} with @var{violinI}, will be removed.
453 The @code{\addlyrics} function now works with arbitrary contexts
454 incuding @code{Staff}.
457 String numbers can now also be used to print roman numerals
458 (e.g. for unfretted string instruments).
459 @lilypond[verbatim,quote,relative=2]
468 The @code{thin-kern} property of the @code{BarLine} grob has been
469 renamed to @code{segno-kern}.
472 @code{KeyCancellation} grobs now ignore cue clefs (like
473 @code{KeySignature} grobs do).
476 Add support for @code{\once@tie{}\unset}
479 It is now possible to individually color both the dots and parentheses
480 in fret diagrams when using the @code{\fret-diagram-verbose} markup
483 @lilypond[verbatim,quote,relative=1]
486 \override #'(fret-diagram-details . (
487 (finger-code . in-dot))) {
488 \fret-diagram-verbose #'((mute 6)
489 (place-fret 5 3 1 red)
490 (place-fret 4 5 2 inverted)
491 (place-fret 3 5 3 green)
492 (place-fret 2 5 4 blue inverted)
493 (place-fret 1 3 1 violet)
498 \override #'(fret-diagram-details . (
499 (finger-code . below-string))) {
500 \fret-diagram-verbose #'((mute 6)
501 (place-fret 5 3 1 red parenthesized)
502 (place-fret 4 5 2 yellow
505 (place-fret 3 5 3 green)
506 (place-fret 2 5 4 blue )
515 Two new properties have been added for use in
516 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
517 markup command; @code{fret-label-horizontal-offset} which affects the
518 @code{fret-label-indication} and @code{paren-padding} which controls the
519 space between the dot and the parentheses surrounding it.
521 @lilypond[verbatim,quote,relative=1]
524 \fret-diagram-verbose #'((mute 6)
528 (place-fret 1 6 4 parenthesized)
533 \override #'(fret-diagram-details . (
534 (fret-label-horizontal-offset . 2)
535 (paren-padding . 0.25))) {
536 \fret-diagram-verbose #'((mute 6)
540 (place-fret 1 6 4 parenthesized)
549 A new markup command @code{\justify-line} has been added. Similar to
550 the @code{\fill-line} markup command except that instead of setting
551 @emph{words} in columns, the @code{\justify-line} command balances the
552 whitespace between them ensuring that when there are three or more
553 words in a markup, the whitespace is always consistent.
555 @lilypond[quote,verbatim,papersize=a6]
556 \markup \fill-line {oooooo oooooo oooooo oooooo}
557 \markup \fill-line {ooooooooo oooooooo oo ooo}
560 @lilypond[quote,verbatim,papersize=a6]
561 \markup \justify-line {oooooo oooooo oooooo oooooo}
562 \markup \justify-line {ooooooooo oooooooo oo ooo}
566 A new command @code{\magnifyMusic} has been added, which allows
567 the notation size to be changed without changing the staff size,
568 while automatically scaling stems, beams, and horizontal spacing.
570 @lilypond[verbatim,quote]
572 \new Voice \relative {
574 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
576 \new Voice \relative {
579 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
580 r32 c'' a c a c a c r c a c a c a c
581 r c a c a c a c a c a c a c a c
588 A new flexible template suitable for a range of choral music, is now
589 provided. This may be used to create simple choral music, with or
590 without piano accompaniment, in two or four staves. Unlike other
591 templates, this template is @q{built-in}, which means it does not
592 need to be copied and edited: instead it is simply @code{\include}'d
593 in the input file. For details, see @rlearning{Built-in templates}.
596 The positioning of tuplet numbers for kneed beams has been significantly
597 improved. Previously, tuplet numbers were placed according to the
598 position of the tuplet bracket, even if it was not printed. This could
599 lead to stranded tuplet numbers. Now they are now positioned
600 closer to the kneed-beam when an appropriate beam segment exists for its
601 placement and when the the bracket is not drawn.
603 Collision detection is also added, offsetting horizontally if too close
604 to an adjoining note column but preserving the number's vertical
605 distance from the kneed beam. If the number itself is too large to
606 fit in the available space the original, bracket-based, positioning
607 system is used instead; and in the event of a collision (e.g. with an
608 accidental) the tuplet number is moved vertically away instead.
610 @lilypond[verbatim,fragment,quote,relative=1]
612 \override Beam.auto-knee-gap = 3
621 The original kneed-beam tuplet behavior is still available through an
622 @code{\override} via a new, @code{knee-to-beam} property.
624 @lilypond[verbatim,fragment,quote,relative=1]
626 \override Beam.auto-knee-gap = 3
627 \override TupletNumber.knee-to-beam = ##f
636 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
637 now accept the same kind of delimited argument list that @code{\lyrics}
638 and @code{\chords} accept. Backward compatibility has been added so
639 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
640 @code{convert-ly} rule has been added that removes redundant uses of
641 @code{\lyricmode} and rearranges combinations with context starters such
642 that @code{\lyricsto} in general is applied last (i.e. like
643 @code{\lyricmode} would be).
646 Scheme functions and identifiers can now be used as output definitions.
649 Scheme expressions can now be used as chord constituents.
652 Improved visual spacing of small and regular @q{MI} Funk and Walker
653 noteheads so they are now the same width as other shaped notes in
654 their respective sets. @code{SOL} noteheads are also now visually
655 improved when used with both the normal Aiken and Sacred Harp heads, as
656 well as with the thin variants.
659 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
660 @rinternals{LeftEdge}.
663 Added a new @code{make-path-stencil} function that supports all
664 @code{path} commands both relative and absolute:
666 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
667 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
668 supports @q{single-letter} syntax used in standard SVG path commands:
670 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
671 @code{z}. The new command is also backward-compatible with the original
672 @code{make-connected-path-stencil} function. Also see
673 @file{scm/stencil.scm}.
676 Context properties named in the @samp{alternativeRestores} property are
677 restored to their value at the start of the @emph{first} alternative in
678 all subsequent alternatives.
680 Currently the default set restores @q{current meter};
682 @lilypond[verbatim,fragment,quote,relative=2]
684 \repeat volta 2 { c2 e4 | }
693 @q{measure position};
695 @lilypond[verbatim,fragment,quote,relative=2]
697 \repeat volta 2 { c2 e4 | }
700 \set Timing.measurePosition = #(ly:make-moment -1/2)
708 and @q{chord changes};
710 @lilypond[verbatim,fragment,quote]
713 \set chordChanges = ##t
714 \chordmode { c1:m d:m c:m d:m }
717 \repeat volta 2 { \chordmode { c1:m } }
719 { \chordmode { d:m } }
720 { \chordmode { c:m } }
728 Improved MIDI output for breathe marks. After tied notes, breaths take
729 time @emph{only} from the last note of the tie; e.g.
730 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
731 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
732 how humans interpret breaths after ties. It now also makes it easier to
733 align simultaneous breathe marks over multiple parts, all with different
737 A new note head style for Tabulature has been added;
738 @code{TabNoteHead.style = #'slash}.
741 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
742 @emph{Varpercussion} and @emph{varC} and their related tessitura.
743 @lilypond[verbatim,quote,fragment]
744 \override Staff.Clef.full-size-change = ##t
747 \clef "tenorG" c c c c
749 \clef "altovarC" c c c c
750 \clef "tenorvarC" c c c c
751 \clef "baritonevarC" c c c c
752 \clef "varpercussion" c c c c
755 \override Staff.Clef.full-size-change = ##f
758 \clef "tenorG" c c c c
760 \clef "altovarC" c c c c
761 \clef "tenorvarC" c c c c
762 \clef "baritonevarC" c c c
763 \clef "varpercussion" c c c c
767 Isolated durations in music sequences now stand for unpitched
768 notes. This may be useful for specifying rhythms to music or
769 scheme functions. When encountered in the final score, the
770 pitches are provided by the preceding note or chord. Here are two
771 examples where this makes for readable input:
773 @lilypond[verbatim,quote]
774 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
777 tambourine 8 \tuplet 3/2 { 16 16 16 }
778 8 \tuplet 3/2 { 16 16 16 } 8 8 |
782 @lilypond[verbatim,quote]
783 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
787 @code{\displayLilyMusic} and its underlying Scheme functions no
788 longer omit redundant note durations. This makes it easier to
789 reliably recognize and format standalone durations in expressions
796 Beaming exceptions can now be constructed using the
797 @code{\beamExceptions} scheme function. One can now write
799 @lilypond[verbatim,quote,relative=1]
801 \set Timing.beamExceptions =
802 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
804 \repeat unfold 6 { c32 } |
808 with multiple exceptions separated with @code{|} bar checks
809 (writing the exception pattern without pitches is convenient but
810 not mandatory). Previously, setting the beam exceptions would
811 have required writing
814 \set Timing.beamExceptions =
816 (end . ;entry for end of beams
817 ( ;start of alist of end points
818 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
823 The most common articulations are now reflected in MIDI output.
824 Accent and marcato make notes louder; staccato, staccatissimo and
825 portato make them shorter. Breath marks shorten the previous
828 This behavior is customizable through the @code{midiLength} and
829 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
830 See @file{script-init.ly} for examples.
833 The PostScript functionality of stroke adjustment is no longer
834 applied automatically but left to the discretion of the PostScript
835 device (by default, Ghostscript uses it for resolutions up to
836 150dpi when generating raster images). When it is enabled, a more
837 complex drawing algorithm designed to benefit from stroke
838 adjustment is employed mostly for stems and bar lines.
840 Stroke adjustment can be forced by specifying the command line
841 option @samp{-dstrokeadjust} to LilyPond. When generating
842 @code{PDF} files, this will usually result in markedly better
843 looking @code{PDF} previews but significantly larger file size.
844 Print quality at high resolutions will be unaffected.
849 For older news, go to
850 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
851 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
852 or @uref{../,go back} to the Documentation index.