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 A new page breaking function @code{ly:one-line-auto-height-breaking}
66 places a whole score on a single line and changes the page width
67 to match, just like @code{ly:one-line-breaking}. The difference is that
68 it also automatically modifies the height of the page to fit the height
72 Markup-command @code{\draw-squiggle-line} is now available.
73 Customizing is possible with overrides of @code{thickness}, @code{angularity},
74 @code{height} and @code{orientation}
75 @lilypond[quote,verbatim]
78 \draw-squiggle-line #0.5 #'(3 . 3) ##t
81 \override #'(thickness . 4)
82 \draw-squiggle-line #0.5 #'(3 . -3) ##t
85 \override #'(angularity . -5)
86 \draw-squiggle-line #0.5 #'(-3 . -3) ##t
89 \override #'(angularity . 2)
90 \override #'(height . 0.3)
91 \override #'(orientation . -1)
92 \draw-squiggle-line #0.2 #'(-3 . 3) ##t
97 Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
98 the generic markup-command @code{\tie}.
99 @lilypond[quote,verbatim]
101 \undertie "undertied"
106 c''1 \prall -\tweak text \markup \tie "131" -1
109 { \voiceOne \m \voiceTwo \m }
113 @code{TabStaff} is now able to print micro-tones for bendings etc.
114 @lilypond[quote,verbatim]
118 supportNonIntegerFret = ##t
122 mus = \relative { c'4 cih d dih }
125 \new Staff << \clef "G_8" \mus >>
131 Two new styles of whiteout are now available. The @code{outline} style
132 approximates the contours of a glyph's outline, and its shape is
133 produced from multiple displaced copies of the glyph. The
134 @code{rounded-box} style produces a rounded rectangle shape. For all
135 three styles, including the default @code{box} style, the whiteout
136 shape's @code{thickness}, as a multiple of staff-line thickness, can be
139 @lilypond[verbatim,quote]
142 \filled-box #'(-1 . 15) #'(-3 . 4) #1
143 \override #'(thickness . 3)
144 \whiteout whiteout-box
148 \filled-box #'(-1 . 24) #'(-3 . 4) #1
149 \override #'(style . rounded-box)
150 \override #'(thickness . 3)
151 \whiteout whiteout-rounded-box
155 \filled-box #'(-1 . 18) #'(-3 . 4) #1
156 \override #'(style . outline)
157 \override #'(thickness . 3)
158 \whiteout whiteout-outline
161 \override Staff.Clef.whiteout-style = #'outline
162 \override Staff.Clef.whiteout = 3
168 All of @code{\override}, @code{\revert}, @code{\set}, and
169 @code{\unset} now work with the @code{\once} prefix for making
171 @lilypond[quote,verbatim]
174 \override NoteHead.color = #red
176 \once \override NoteHead.color = #green
178 \once \revert NoteHead.color
180 \revert NoteHead.color
186 When outputting MIDI, LilyPond will now store the @code{title}
187 defined in a score's @code{\header} block (or, if there is no
188 such definition on the @code{\score} level, the first such
189 definition found in a @code{\header} block of the score's
190 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
191 as the name of the MIDI sequence in the MIDI file. Optionally,
192 the name of the MIDI sequence can be overridden using the new
193 @code{midititle} @code{\header} field independently of
194 @code{title} (for example, in case @code{title} contains markup
195 code which does not render as plain text in a satisfactory way
199 Music (and scheme and void) functions and markup commands that
200 just supply the final parameters to a chain of overrides, music
201 function and markup command calls can now be defined in the form
202 of just writing the expression cut short with @code{\etc}.
204 @lilypond[verbatim,quote]
205 bold-red-markup = \markup \bold \with-color #red \etc
206 highlight = \tweak font-size 3 \tweak color #red \etc
208 \markup \bold-red "text"
209 \markuplist \column-lines \bold-red { One Two }
211 { c' \highlight d' e'2-\highlight -! }
215 LilyPond functions defined with @code{define-music-function},
216 @code{define-event-function}, @code{define-scheme-function} and
217 @code{define-void-function} can now be directly called from Scheme
218 as if they were genuine Scheme procedures. Argument checking and
219 matching will still be performed in the same manner as when
220 calling the function through LilyPond input. This includes the
221 insertion of defaults for optional arguments not matching their
222 predicates. Instead of using @code{\default} in the actual
223 argument list for explicitly skipping a sequence of optional
224 arguments, @code{*unspecified*} can be employed.
227 Current input location and parser are now stored in GUILE fluids
228 and can be referenced via the function calls @code{(*location*)}
229 and @code{(*parser*)}. Consequently, a lot of functions
230 previously taking an explicit @code{parser} argument no longer do
233 Functions defined with @code{define-music-function},
234 @code{define-event-function}, @code{define-scheme-function} and
235 @code{define-void-function} no longer use @code{parser} and
236 @code{location} arguments.
238 With those particular definitions, LilyPond will try to recognize
239 legacy use of @code{parser} and @code{location} arguments,
240 providing backwards-compatible semantics for some time.
243 In the "english" notename language, the long notenames for pitches
244 with accidentals now contain a hyphen for better readability. You
249 instead of the previous
254 Double accidentals do not get another hyphen, so the Dutch
255 @code{cisis} has the long English notename @code{c-sharpsharp}.
258 The visual style of tremolo slashes (shape, style and slope)
259 is now more finely controlled.
260 @lilypond[quote,relative=2]
262 \override StemTremolo.shape = #'beam-like
264 \override StemTremolo.style = #'constant
271 Multi-measure rests have length according to their total duration,
272 under the control of @code{MultiMeasureRest.space-increment}.
274 { \compressFullBarRests
275 \override Staff.MultiMeasureRest.space-increment = 3.0
280 Page numbers may now be printed in roman numerals, by setting the
281 @code{page-number-type} paper variable.
284 It is now possible to use @code{\time} and @code{\partial}
285 together to change the time signature in mid measure.
287 @lilypond[verbatim,quote,relative=1]
288 \override Score.BarNumber.break-visibility = #end-of-line-invisible
289 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
290 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
294 It is now possible to override the @code{text} property of
297 @lilypond[verbatim,fragment,quote]
299 \new ChordNames \chordmode {
301 \once \override ChordName.text = #"foo"
308 Improved horizontal alignment when using @code{TextScript},
309 with @code{DynamicText} or @code{LyricText}.
312 A new command @code{\magnifyStaff} has been added which scales staff
313 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
314 at the @code{Staff} context level. Staff lines are prevented from being
315 scaled smaller than the default since the thickness of stems, slurs, and
316 the like are all based on the staff line thickness.
319 @code{InstrumentName} now supports @code{text-interface}.
322 There is now support for controlling the @q{expression level} of
323 MIDI channels using the @code{Staff.midiExpression} context property.
324 This can be used to alter the perceived volume of even sustained notes
325 (albeit in a very @q{low-level} way) and accepts a number value between
326 @code{0.0} and @code{1.0}.
331 midiExpression = #0.6
332 midiInstrument = #"clarinet"
337 \set Staff.midiExpression = #0.7 s4\f\<
338 \set Staff.midiExpression = #0.8 s4
339 \set Staff.midiExpression = #0.9 s4
340 \set Staff.midiExpression = #1.0 s4
342 \set Staff.midiExpression = #0.9 s4\>
343 \set Staff.midiExpression = #0.8 s4
344 \set Staff.midiExpression = #0.7 s4
345 \set Staff.midiExpression = #0.6 s4\!
353 Support for making it easier to use alternative @q{music} fonts other
354 than the default Emmentaler in LilyPond has been added. See
355 @uref{http://fonts.openlilylib.org/} for more information.
358 Grobs and their parents can now be aligned separately allowing
359 more flexibility for grob positions. For example the @q{left} edge of a
360 grob can now be aligned on the @q{center} of its parent.
363 Improvements to the @code{\partial} command have been made to
364 avoid problems when using multiple, parallel contexts.
366 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
370 A new command @code{\tagGroup} has now been added. This complements
371 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
375 \tagGroup #'(violinI violinII viola cello)
378 declares a list of @q{tags} that belong to a single @q{tag group}.
381 \keepWithTag #'violinI
384 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
386 Any element of the included music tagged with one or more tags from the
387 group, but @emph{not} with @var{violinI}, will be removed.
390 The @code{\addlyrics} function now works with arbitrary contexts
391 incuding @code{Staff}.
394 String numbers can now also be used to print roman numerals
395 (e.g. for unfretted string instruments).
396 @lilypond[verbatim,quote,relative=2]
405 The @code{thin-kern} property of the @code{BarLine} grob has been
406 renamed to @code{segno-kern}.
409 @code{KeyCancellation} grobs now ignore cue clefs (like
410 @code{KeySignature} grobs do).
413 Add support for @code{\once@tie{}\unset}
416 It is now possible to individually color both the dots and parentheses
417 in fret diagrams when using the @code{\fret-diagram-verbose} markup
420 @lilypond[verbatim,quote,relative=1]
423 \override #'(fret-diagram-details . (
424 (finger-code . in-dot))) {
425 \fret-diagram-verbose #'((mute 6)
426 (place-fret 5 3 1 red)
427 (place-fret 4 5 2 inverted)
428 (place-fret 3 5 3 green)
429 (place-fret 2 5 4 blue inverted)
430 (place-fret 1 3 1 violet)
435 \override #'(fret-diagram-details . (
436 (finger-code . below-string))) {
437 \fret-diagram-verbose #'((mute 6)
438 (place-fret 5 3 1 red parenthesized)
439 (place-fret 4 5 2 yellow
442 (place-fret 3 5 3 green)
443 (place-fret 2 5 4 blue )
452 Two new properties have been added for use in
453 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
454 markup command; @code{fret-label-horizontal-offset} which affects the
455 @code{fret-label-indication} and @code{paren-padding} which controls the
456 space between the dot and the parentheses surrounding it.
458 @lilypond[verbatim,quote,relative=1]
461 \fret-diagram-verbose #'((mute 6)
465 (place-fret 1 6 4 parenthesized)
470 \override #'(fret-diagram-details . (
471 (fret-label-horizontal-offset . 2)
472 (paren-padding . 0.25))) {
473 \fret-diagram-verbose #'((mute 6)
477 (place-fret 1 6 4 parenthesized)
486 A new markup command @code{\justify-line} has been added. Similar to
487 the @code{\fill-line} markup command except that instead of setting
488 @emph{words} in columns, the @code{\justify-line} command balances the
489 whitespace between them ensuring that when there are three or more
490 words in a markup, the whitespace is always consistent.
492 @lilypond[quote,verbatim,papersize=a6]
493 \markup \fill-line {oooooo oooooo oooooo oooooo}
494 \markup \fill-line {ooooooooo oooooooo oo ooo}
497 @lilypond[quote,verbatim,papersize=a6]
498 \markup \justify-line {oooooo oooooo oooooo oooooo}
499 \markup \justify-line {ooooooooo oooooooo oo ooo}
503 A new command @code{\magnifyMusic} has been added, which allows
504 the notation size to be changed without changing the staff size,
505 while automatically scaling stems, beams, and horizontal spacing.
507 @lilypond[verbatim,quote]
509 \new Voice \relative {
511 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
513 \new Voice \relative {
516 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
517 r32 c'' a c a c a c r c a c a c a c
518 r c a c a c a c a c a c a c a c
525 A new flexible template suitable for a range of choral music, is now
526 provided. This may be used to create simple choral music, with or
527 without piano accompaniment, in two or four staves. Unlike other
528 templates, this template is @q{built-in}, which means it does not
529 need to be copied and edited: instead it is simply @code{\include}'d
530 in the input file. For details, see @rlearning{Built-in templates}.
533 The positioning of tuplet numbers for kneed beams has been significantly
534 improved. Previously, tuplet numbers were placed according to the
535 position of the tuplet bracket, even if it was not printed. This could
536 lead to stranded tuplet numbers. Now they are now positioned
537 closer to the kneed-beam when an appropriate beam segment exists for its
538 placement and when the the bracket is not drawn.
540 Collision detection is also added, offsetting horizontally if too close
541 to an adjoining note column but preserving the number's vertical
542 distance from the kneed beam. If the number itself is too large to
543 fit in the available space the original, bracket-based, positioning
544 system is used instead; and in the event of a collision (e.g. with an
545 accidental) the tuplet number is moved vertically away instead.
547 @lilypond[verbatim,fragment,quote,relative=1]
549 \override Beam.auto-knee-gap = 3
558 The original kneed-beam tuplet behavior is still available through an
559 @code{\override} via a new, @code{knee-to-beam} property.
561 @lilypond[verbatim,fragment,quote,relative=1]
563 \override Beam.auto-knee-gap = 3
564 \override TupletNumber.knee-to-beam = ##f
573 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
574 now accept the same kind of delimited argument list that @code{\lyrics}
575 and @code{\chords} accept. Backward compatibility has been added so
576 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
577 @code{convert-ly} rule has been added that removes redundant uses of
578 @code{\lyricmode} and rearranges combinations with context starters such
579 that @code{\lyricsto} in general is applied last (i.e. like
580 @code{\lyricmode} would be).
583 Scheme functions and identifiers can now be used as output definitions.
586 Scheme expressions can now be used as chord constituents.
589 Improved visual spacing of small and regular @q{MI} Funk and Walker
590 noteheads so they are now the same width as other shaped notes in
591 their respective sets. @code{SOL} noteheads are also now visually
592 improved when used with both the normal Aiken and Sacred Harp heads, as
593 well as with the thin variants.
596 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
597 @rinternals{LeftEdge}.
600 Added a new @code{make-path-stencil} function that supports all
601 @code{path} commands both relative and absolute:
603 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
604 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
605 supports @q{single-letter} syntax used in standard SVG path commands:
607 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
608 @code{z}. The new command is also backward-compatible with the original
609 @code{make-connected-path-stencil} function. Also see
610 @file{scm/stencil.scm}.
613 Context properties named in the @samp{alternativeRestores} property are
614 restored to their value at the start of the @emph{first} alternative in
615 all subsequent alternatives.
617 Currently the default set restores @q{current meter};
619 @lilypond[verbatim,fragment,quote,relative=2]
621 \repeat volta 2 { c2 e4 | }
630 @q{measure position};
632 @lilypond[verbatim,fragment,quote,relative=2]
634 \repeat volta 2 { c2 e4 | }
637 \set Timing.measurePosition = #(ly:make-moment -1/2)
645 and @q{chord changes};
647 @lilypond[verbatim,fragment,quote]
650 \set chordChanges = ##t
651 \chordmode { c1:m d:m c:m d:m }
654 \repeat volta 2 { \chordmode { c1:m } }
656 { \chordmode { d:m } }
657 { \chordmode { c:m } }
665 Improved MIDI output for breathe marks. After tied notes, breaths take
666 time @emph{only} from the last note of the tie; e.g.
667 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
668 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
669 how humans interpret breaths after ties. It now also makes it easier to
670 align simultaneous breathe marks over multiple parts, all with different
674 A new note head style for Tabulature has been added;
675 @code{TabNoteHead.style = #'slash}.
678 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
679 @emph{Varpercussion} and @emph{varC} and their related tessitura.
680 @lilypond[verbatim,quote,fragment]
681 \override Staff.Clef.full-size-change = ##t
684 \clef "tenorG" c c c c
686 \clef "altovarC" c c c c
687 \clef "tenorvarC" c c c c
688 \clef "baritonevarC" c c c c
689 \clef "varpercussion" c c c c
692 \override Staff.Clef.full-size-change = ##f
695 \clef "tenorG" c c c c
697 \clef "altovarC" c c c c
698 \clef "tenorvarC" c c c c
699 \clef "baritonevarC" c c c
700 \clef "varpercussion" c c c c
704 Isolated durations in music sequences now stand for unpitched
705 notes. This may be useful for specifying rhythms to music or
706 scheme functions. When encountered in the final score, the
707 pitches are provided by the preceding note or chord. Here are two
708 examples where this makes for readable input:
710 @lilypond[verbatim,quote]
711 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
714 tambourine 8 \tuplet 3/2 { 16 16 16 }
715 8 \tuplet 3/2 { 16 16 16 } 8 8 |
719 @lilypond[verbatim,quote]
720 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
724 @code{\displayLilyMusic} and its underlying Scheme functions no
725 longer omit redundant note durations. This makes it easier to
726 reliably recognize and format standalone durations in expressions
733 Beaming exceptions can now be constructed using the
734 @code{\beamExceptions} scheme function. One can now write
736 @lilypond[verbatim,quote,relative=1]
738 \set Timing.beamExceptions =
739 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
741 \repeat unfold 6 { c32 } |
745 with multiple exceptions separated with @code{|} bar checks
746 (writing the exception pattern without pitches is convenient but
747 not mandatory). Previously, setting the beam exceptions would
748 have required writing
751 \set Timing.beamExceptions =
753 (end . ;entry for end of beams
754 ( ;start of alist of end points
755 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
760 The most common articulations are now reflected in MIDI output.
761 Accent and marcato make notes louder; staccato, staccatissimo and
762 portato make them shorter. Breath marks shorten the previous
765 This behavior is customizable through the @code{midiLength} and
766 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
767 See @file{script-init.ly} for examples.
770 The PostScript functionality of stroke adjustment is no longer
771 applied automatically but left to the discretion of the PostScript
772 device (by default, Ghostscript uses it for resolutions up to
773 150dpi when generating raster images). When it is enabled, a more
774 complex drawing algorithm designed to benefit from stroke
775 adjustment is employed mostly for stems and bar lines.
777 Stroke adjustment can be forced by specifying the command line
778 option @samp{-dstrokeadjust} to LilyPond. When generating
779 @code{PDF} files, this will usually result in markedly better
780 looking @code{PDF} previews but significantly larger file size.
781 Print quality at high resolutions will be unaffected.
786 For older news, go to
787 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
788 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
789 or @uref{../,go back} to the Documentation index.