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 LilyPond functions defined with @code{define-music-function},
66 @code{define-event-function}, @code{define-scheme-function} and
67 @code{define-void-function} can now be directly called from Scheme
68 as if they were genuine Scheme procedures. Argument checking and
69 matching will still be performed in the same manner as when
70 calling the function through LilyPond input. This includes the
71 insertion of defaults for optional arguments not matching their
72 predicates. Instead of using @code{\default} in the actual
73 argument list for explicitly skipping a sequence of optional
74 arguments, @code{*unspecified*} can be employed.
77 Current input location and parser are now stored in GUILE fluids
78 and can be referenced via the function calls @code{(*location*)}
79 and @code{(*parser*)}. Consequently, a lot of functions
80 previously taking an explicit @code{parser} argument no longer do
83 Functions defined with @code{define-music-function},
84 @code{define-event-function}, @code{define-scheme-function} and
85 @code{define-void-function} no longer use @code{parser} and
86 @code{location} arguments.
88 With those particular definitions, LilyPond will try to recognize
89 legacy use of @code{parser} and @code{location} arguments,
90 providing backwards-compatible semantics for some time.
93 In the "english" notename language, the long notenames for pitches
94 with accidentals now contain a hyphen for better readability. You
99 instead of the previous
104 Double accidentals do not get another hyphen, so the Dutch
105 @code{cisis} has the long English notename @code{c-sharpsharp}.
108 The visual style of tremolo slashes (shape, style and slope)
109 is now more finely controlled.
110 @lilypond[quote,relative=2]
112 \override StemTremolo.shape = #'beam-like
114 \override StemTremolo.style = #'constant
121 Multi-measure rests have length according to their total duration,
122 under the control of @code{MultiMeasureRest.space-increment}.
124 { \compressFullBarRests
125 \override Staff.MultiMeasureRest.space-increment = 3.0
130 Page numbers may now be printed in roman numerals, by setting the
131 @code{page-number-type} paper variable.
134 It is now possible to use @code{\time} and @code{\partial}
135 together to change the time signature in mid measure.
137 @lilypond[verbatim,quote,relative=1]
138 \override Score.BarNumber.break-visibility = #end-of-line-invisible
139 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
140 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
144 It is now possible to override the @code{text} property of
147 @lilypond[verbatim,fragment,quote]
149 \new ChordNames \chordmode {
151 \once \override ChordName.text = #"foo"
158 Improved horizontal alignment when using @code{TextScript},
159 with @code{DynamicText} or @code{LyricText}.
162 A new command @code{\magnifyStaff} has been added which scales staff
163 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
164 at the @code{Staff} context level. Staff lines are prevented from being
165 scaled smaller than the default since the thickness of stems, slurs, and
166 the like are all based on the staff line thickness.
169 @code{InstrumentName} now supports @code{text-interface}.
172 There is now support for controlling the @q{expression level} of
173 MIDI channels using the @code{Staff.midiExpression} context property.
174 This can be used to alter the perceived volume of even sustained notes
175 (albeit in a very @q{low-level} way) and accepts a number value between
176 @code{0.0} and @code{1.0}.
181 midiExpression = #0.6
182 midiInstrument = #"clarinet"
187 \set Staff.midiExpression = #0.7 s4\f\<
188 \set Staff.midiExpression = #0.8 s4
189 \set Staff.midiExpression = #0.9 s4
190 \set Staff.midiExpression = #1.0 s4
192 \set Staff.midiExpression = #0.9 s4\>
193 \set Staff.midiExpression = #0.8 s4
194 \set Staff.midiExpression = #0.7 s4
195 \set Staff.midiExpression = #0.6 s4\!
203 Support for making it easier to use alternative @q{music} fonts other
204 than the default Emmentaler in LilyPond has been added. See
205 @uref{http://fonts.openlilylib.org/} for more information.
208 Grobs and their parents can now be aligned separately allowing
209 more flexibility for grob positions. For example the @q{left} edge of a
210 grob can now be aligned on the @q{center} of its parent.
213 Improvements to the @code{\partial} command have been made to
214 avoid problems when using multiple, parallel contexts.
216 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
220 The @code{NullVoice} context is now @q{below} @code{Score}.
223 A new command @code{\tagGroup} has now been added. This compliments
224 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
228 \tagGroup #'(violinI violinII viola cello)
231 declares a list of @q{tags} that belong to a single @q{tag group}.
234 \keepwithTag#'violinI
237 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
239 Any element of the included music tagged with one or more tags from the
240 group, but @emph{not} with @var{violinI}, will be removed.
243 The @code{\addlyrics} function now works with arbitrary contexts
244 incuding @code{Staff}.
247 String numbers can now also be used to print roman numerals
248 (e.g. for unfretted string instruments).
249 @lilypond[verbatim,quote,relative=2]
258 The @code{thin-kern} property of the @code{BarLine} grob has been
259 renamed to @code{segno-kern}.
262 @code{KeyCancellation} grobs now ignore cue clefs (like
263 @code{KeySignature} grobs do).
266 Add support for @code{\once@tie{}\unset}
269 It is now possible to individually color both the dots and parentheses
270 in fret diagrams when using the @code{\fret-diagram-verbose} markup
273 @lilypond[verbatim,quote,relative=1]
276 \override #'(fret-diagram-details . (
277 (finger-code . in-dot))) {
278 \fret-diagram-verbose #'((mute 6)
279 (place-fret 5 3 1 red)
280 (place-fret 4 5 2 inverted)
281 (place-fret 3 5 3 green)
282 (place-fret 2 5 4 blue inverted)
283 (place-fret 1 3 1 violet)
288 \override #'(fret-diagram-details . (
289 (finger-code . below-string))) {
290 \fret-diagram-verbose #'((mute 6)
291 (place-fret 5 3 1 red parenthesized)
292 (place-fret 4 5 2 yellow
295 (place-fret 3 5 3 green)
296 (place-fret 2 5 4 blue )
305 Two new properties have been added for use in
306 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
307 markup command; @code{fret-label-horizontal-offset} which affects the
308 @code{fret-label-indication} and @code{paren-padding} which controls the
309 space between the dot and the parentheses surrounding it.
311 @lilypond[verbatim,quote,relative=1]
314 \fret-diagram-verbose #'((mute 6)
318 (place-fret 1 6 4 parenthesized)
323 \override #'(fret-diagram-details . (
324 (fret-label-horizontal-offset . 2)
325 (paren-padding . 0.25))) {
326 \fret-diagram-verbose #'((mute 6)
330 (place-fret 1 6 4 parenthesized)
339 A new markup command @code{\justify-line} has been added. Similar to
340 the @code{\fill-line} markup command except that instead of setting
341 @emph{words} in columns, the @code{\justify-line} command balances the
342 whitespace between them ensuring that when there are three or more
343 words in a markup, the whitespace is always consistent.
345 @lilypond[quote,verbatim,papersize=a6]
346 \markup \fill-line {oooooo oooooo oooooo oooooo}
347 \markup \fill-line {ooooooooo oooooooo oo ooo}
350 @lilypond[quote,verbatim,papersize=a6]
351 \markup \justify-line {oooooo oooooo oooooo oooooo}
352 \markup \justify-line {ooooooooo oooooooo oo ooo}
356 A new command @code{\magnifyMusic} has been added, which allows
357 the notation size to be changed without changing the staff size,
358 while automatically scaling stems, beams, and horizontal spacing.
360 @lilypond[verbatim,quote]
362 \new Voice \relative {
364 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
366 \new Voice \relative {
369 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
370 r32 c'' a c a c a c r c a c a c a c
371 r c a c a c a c a c a c a c a c
378 A new flexible template suitable for a range of choral music, is now
379 provided. This may be used to create simple choral music, with or
380 without piano accompaniment, in two or four staves. Unlike other
381 templates, this template is @q{built-in}, which means it does not
382 need to be copied and edited: instead it is simply @code{\include}'d
383 in the input file. For details, see @rlearning{Built-in templates}.
386 The positioning of tuplet numbers for kneed beams has been significantly
387 improved. Previously, tuplet numbers were placed according to the
388 position of the tuplet bracket, even if it was not printed. This could
389 lead to stranded tuplet numbers. Now they are now positioned
390 closer to the kneed-beam when an appropriate beam segment exists for its
391 placement and when the the bracket is not drawn.
393 Collision detection is also added, offsetting horizontally if too close
394 to an adjoining note column but preserving the number's vertical
395 distance from the kneed beam. If the number itself is too large to
396 fit in the available space the original, bracket-based, positioning
397 system is used instead; and in the event of a collision (e.g. with an
398 accidental) the tuplet number is moved vertically away instead.
400 @lilypond[verbatim,fragment,quote,relative=1]
402 \override Beam.auto-knee-gap = 3
411 The original kneed-beam tuplet behavior is still available through an
412 @code{\override} via a new, @code{knee-to-beam} property.
414 @lilypond[verbatim,fragment,quote,relative=1]
416 \override Beam.auto-knee-gap = 3
417 \override TupletNumber.knee-to-beam = ##f
426 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
427 now accept the same kind of delimited argument list that @code{\lyrics}
428 and @code{\chords} accept. Backward compatibility has been added so
429 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
430 @code{convert-ly} rule has been added that removes redundant uses of
431 @code{\lyricmode} and rearranges combinations with context starters such
432 that @code{\lyricsto} in general is applied last (i.e. like
433 @code{\lyricmode} would be).
436 Scheme functions and identifiers can now be used as output definitions.
439 Scheme expressions can now be used as chord constituents.
442 Improved visual spacing of small and regular @q{MI} Funk and Walker
443 noteheads so they are now the same width as other shaped notes in
444 their respective sets. @code{SOL} noteheads are also now visually
445 improved when used with both the normal Aiken and Sacred Harp heads, as
446 well as with the thin variants.
449 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
450 @rinternals{LeftEdge}.
453 Added a new @code{make-path-stencil} function that supports all
454 @code{path} commands both relative and absolute:
456 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
457 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
458 supports @q{single-letter} syntax used in standard SVG path commands:
460 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
461 @code{z}. The new command is also backward-compatible with the original
462 @code{make-connected-path-stencil} function. Also see
463 @file{scm/stencil.scm}.
466 Context properties named in the @samp{alternativeRestores} property are
467 restored to their value at the start of the @emph{first} alternative in
468 all subsequent alternatives.
470 Currently the default set restores @q{current meter};
472 @lilypond[verbatim,fragment,quote,relative=2]
474 \repeat volta 2 { c2 e4 | }
483 @q{measure position};
485 @lilypond[verbatim,fragment,quote,relative=2]
487 \repeat volta 2 { c2 e4 | }
490 \set Timing.measurePosition = #(ly:make-moment -1/2)
498 and @q{chord changes};
500 @lilypond[verbatim,fragment,quote]
503 \set chordChanges = ##t
504 \chordmode { c1:m d:m c:m d:m }
507 \repeat volta 2 { \chordmode { c1:m } }
509 { \chordmode { d:m } }
510 { \chordmode { c:m } }
518 Improved MIDI output for breathe marks. After tied notes, breaths take
519 time @emph{only} from the last note of the tie; e.g.
520 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
521 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
522 how humans interpret breaths after ties. It now also makes it easier to
523 align simultaneous breathe marks over multiple parts, all with different
527 A new note head style for Tabulature has been added;
528 @code{TabNoteHead.style = #'slash}.
531 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
532 @emph{Varpercussion} and @emph{varC} and their related tessitura.
533 @lilypond[verbatim,quote,fragment]
534 \override Staff.Clef.full-size-change = ##t
537 \clef "tenorG" c c c c
539 \clef "altovarC" c c c c
540 \clef "tenorvarC" c c c c
541 \clef "baritonevarC" c c c c
542 \clef "varpercussion" c c c c
545 \override Staff.Clef.full-size-change = ##f
548 \clef "tenorG" c c c c
550 \clef "altovarC" c c c c
551 \clef "tenorvarC" c c c c
552 \clef "baritonevarC" c c c
553 \clef "varpercussion" c c c c
557 Isolated durations in music sequences now stand for unpitched
558 notes. This may be useful for specifying rhythms to music or
559 scheme functions. When encountered in the final score, the
560 pitches are provided by the preceding note or chord. Here are two
561 examples where this makes for readable input:
563 @lilypond[verbatim,quote]
564 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
567 tambourine 8 \tuplet 3/2 { 16 16 16 }
568 8 \tuplet 3/2 { 16 16 16 } 8 8 |
572 @lilypond[verbatim,quote]
573 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
577 @code{\displayLilyMusic} and its underlying Scheme functions no
578 longer omit redundant note durations. This makes it easier to
579 reliably recognize and format standalone durations in expressions
586 Beaming exceptions can now be constructed using the
587 @code{\beamExceptions} scheme function. One can now write
589 @lilypond[verbatim,quote,relative=1]
591 \set Timing.beamExceptions =
592 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
594 \repeat unfold 6 { c32 } |
598 with multiple exceptions separated with @code{|} bar checks
599 (writing the exception pattern without pitches is convenient but
600 not mandatory). Previously, setting the beam exceptions would
601 have required writing
604 \set Timing.beamExceptions =
606 (end . ;entry for end of beams
607 ( ;start of alist of end points
608 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
613 The most common articulations are now reflected in MIDI output.
614 Accent and marcato make notes louder; staccato, staccatissimo and
615 portato make them shorter. Breath marks shorten the previous
618 This behavior is customizable through the @code{midiLength} and
619 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
620 See @file{script-init.ly} for examples.
623 The PostScript functionality of stroke adjustment is no longer
624 applied automatically but left to the discretion of the PostScript
625 device (by default, Ghostscript uses it for resolutions up to
626 150dpi when generating raster images). When it is enabled, a more
627 complex drawing algorithm designed to benefit from stroke
628 adjustment is employed mostly for stems and bar lines.
630 Stroke adjustment can be forced by specifying the command line
631 option @samp{-dstrokeadjust} to LilyPond. When generating
632 @code{PDF} files, this will usually result in markedly better
633 looking @code{PDF} previews but significantly larger file size.
634 Print quality at high resolutions will be unaffected.
639 For older news, go to
640 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
641 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
642 or @uref{../,go back} to the Documentation index.