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 @code{TabStaff} is now able to print micro-tones for bendings etc.
66 @lilypond[quote,verbatim]
70 noteToFretFunction = #(determine-frets #t)
74 mus = \relative { c'4 cih d dih }
77 \new Staff << \clef "G_8" \mus >>
83 All of @code{\override}, @code{\revert}, @code{\set}, and
84 @code{\unset} now work with the @code{\once} prefix for making
86 @lilypond[quote,verbatim]
89 \override NoteHead.color = #red
91 \once \override NoteHead.color = #green
93 \once \revert NoteHead.color
95 \revert NoteHead.color
101 When outputting MIDI, LilyPond will now store the @code{title}
102 defined in a score's @code{\header} block (or, if there is no
103 such definition on the @code{\score} level, the first such
104 definition found in a @code{\header} block of the score's
105 enclosing @code{\bookpart}, @code{\book}, or top-level scope)
106 as the name of the MIDI sequence in the MIDI file. Optionally,
107 the name of the MIDI sequence can be overridden using the new
108 @code{midititle} @code{\header} field independently of
109 @code{title} (for example, in case @code{title} contains markup
110 code which does not render as plain text in a satisfactory way
114 Music (and scheme and void) functions and markup commands that
115 just supply the final parameters to a chain of overrides, music
116 function and markup command calls can now be defined in the form
117 of just writing the expression cut short with @code{\etc}.
119 @lilypond[verbatim,quote]
120 bold-red-markup = \markup \bold \with-color #red \etc
121 highlight = \tweak font-size 3 \tweak color #red \etc
123 \markup \bold-red "text"
124 \markuplist \column-lines \bold-red { One Two }
126 { c' \highlight d' e'2-\highlight -! }
130 LilyPond functions defined with @code{define-music-function},
131 @code{define-event-function}, @code{define-scheme-function} and
132 @code{define-void-function} can now be directly called from Scheme
133 as if they were genuine Scheme procedures. Argument checking and
134 matching will still be performed in the same manner as when
135 calling the function through LilyPond input. This includes the
136 insertion of defaults for optional arguments not matching their
137 predicates. Instead of using @code{\default} in the actual
138 argument list for explicitly skipping a sequence of optional
139 arguments, @code{*unspecified*} can be employed.
142 Current input location and parser are now stored in GUILE fluids
143 and can be referenced via the function calls @code{(*location*)}
144 and @code{(*parser*)}. Consequently, a lot of functions
145 previously taking an explicit @code{parser} argument no longer do
148 Functions defined with @code{define-music-function},
149 @code{define-event-function}, @code{define-scheme-function} and
150 @code{define-void-function} no longer use @code{parser} and
151 @code{location} arguments.
153 With those particular definitions, LilyPond will try to recognize
154 legacy use of @code{parser} and @code{location} arguments,
155 providing backwards-compatible semantics for some time.
158 The @code{whiteout} grob property and @code{\whiteout} markup command
159 now create a white background built from multiple displaced copies of
160 the glyph in order to approximate the contours of its outline.
161 The previous rounded box white background can be achieved with the
162 new @code{whiteout-box} grob property and @code{\whiteout-box} markup
163 command. Setting the @code{whiteout} property to a number now sets
164 the thickness of the white outline as a multiple of staff-line
165 thickness. Similarly, overriding the @code{thickness} property of
166 the @code{\whiteout} markup command sets the thickness of the white
170 In the "english" notename language, the long notenames for pitches
171 with accidentals now contain a hyphen for better readability. You
176 instead of the previous
181 Double accidentals do not get another hyphen, so the Dutch
182 @code{cisis} has the long English notename @code{c-sharpsharp}.
185 The visual style of tremolo slashes (shape, style and slope)
186 is now more finely controlled.
187 @lilypond[quote,relative=2]
189 \override StemTremolo.shape = #'beam-like
191 \override StemTremolo.style = #'constant
198 Multi-measure rests have length according to their total duration,
199 under the control of @code{MultiMeasureRest.space-increment}.
201 { \compressFullBarRests
202 \override Staff.MultiMeasureRest.space-increment = 3.0
207 Page numbers may now be printed in roman numerals, by setting the
208 @code{page-number-type} paper variable.
211 It is now possible to use @code{\time} and @code{\partial}
212 together to change the time signature in mid measure.
214 @lilypond[verbatim,quote,relative=1]
215 \override Score.BarNumber.break-visibility = #end-of-line-invisible
216 \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
217 \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
221 It is now possible to override the @code{text} property of
224 @lilypond[verbatim,fragment,quote]
226 \new ChordNames \chordmode {
228 \once \override ChordName.text = #"foo"
235 Improved horizontal alignment when using @code{TextScript},
236 with @code{DynamicText} or @code{LyricText}.
239 A new command @code{\magnifyStaff} has been added which scales staff
240 sizes, staff lines, bar lines, beamlets and horizontal spacing generally
241 at the @code{Staff} context level. Staff lines are prevented from being
242 scaled smaller than the default since the thickness of stems, slurs, and
243 the like are all based on the staff line thickness.
246 @code{InstrumentName} now supports @code{text-interface}.
249 There is now support for controlling the @q{expression level} of
250 MIDI channels using the @code{Staff.midiExpression} context property.
251 This can be used to alter the perceived volume of even sustained notes
252 (albeit in a very @q{low-level} way) and accepts a number value between
253 @code{0.0} and @code{1.0}.
258 midiExpression = #0.6
259 midiInstrument = #"clarinet"
264 \set Staff.midiExpression = #0.7 s4\f\<
265 \set Staff.midiExpression = #0.8 s4
266 \set Staff.midiExpression = #0.9 s4
267 \set Staff.midiExpression = #1.0 s4
269 \set Staff.midiExpression = #0.9 s4\>
270 \set Staff.midiExpression = #0.8 s4
271 \set Staff.midiExpression = #0.7 s4
272 \set Staff.midiExpression = #0.6 s4\!
280 Support for making it easier to use alternative @q{music} fonts other
281 than the default Emmentaler in LilyPond has been added. See
282 @uref{http://fonts.openlilylib.org/} for more information.
285 Grobs and their parents can now be aligned separately allowing
286 more flexibility for grob positions. For example the @q{left} edge of a
287 grob can now be aligned on the @q{center} of its parent.
290 Improvements to the @code{\partial} command have been made to
291 avoid problems when using multiple, parallel contexts.
293 @item @code{\chordmode} can now use @code{< >} and @code{<< >>}
297 A new command @code{\tagGroup} has now been added. This complements
298 the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
302 \tagGroup #'(violinI violinII viola cello)
305 declares a list of @q{tags} that belong to a single @q{tag group}.
308 \keepWithTag #'violinI
311 Is now only concerned with @q{tags} from @q{violinI}’s tag group.
313 Any element of the included music tagged with one or more tags from the
314 group, but @emph{not} with @var{violinI}, will be removed.
317 The @code{\addlyrics} function now works with arbitrary contexts
318 incuding @code{Staff}.
321 String numbers can now also be used to print roman numerals
322 (e.g. for unfretted string instruments).
323 @lilypond[verbatim,quote,relative=2]
332 The @code{thin-kern} property of the @code{BarLine} grob has been
333 renamed to @code{segno-kern}.
336 @code{KeyCancellation} grobs now ignore cue clefs (like
337 @code{KeySignature} grobs do).
340 Add support for @code{\once@tie{}\unset}
343 It is now possible to individually color both the dots and parentheses
344 in fret diagrams when using the @code{\fret-diagram-verbose} markup
347 @lilypond[verbatim,quote,relative=1]
350 \override #'(fret-diagram-details . (
351 (finger-code . in-dot))) {
352 \fret-diagram-verbose #'((mute 6)
353 (place-fret 5 3 1 red)
354 (place-fret 4 5 2 inverted)
355 (place-fret 3 5 3 green)
356 (place-fret 2 5 4 blue inverted)
357 (place-fret 1 3 1 violet)
362 \override #'(fret-diagram-details . (
363 (finger-code . below-string))) {
364 \fret-diagram-verbose #'((mute 6)
365 (place-fret 5 3 1 red parenthesized)
366 (place-fret 4 5 2 yellow
369 (place-fret 3 5 3 green)
370 (place-fret 2 5 4 blue )
379 Two new properties have been added for use in
380 @code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
381 markup command; @code{fret-label-horizontal-offset} which affects the
382 @code{fret-label-indication} and @code{paren-padding} which controls the
383 space between the dot and the parentheses surrounding it.
385 @lilypond[verbatim,quote,relative=1]
388 \fret-diagram-verbose #'((mute 6)
392 (place-fret 1 6 4 parenthesized)
397 \override #'(fret-diagram-details . (
398 (fret-label-horizontal-offset . 2)
399 (paren-padding . 0.25))) {
400 \fret-diagram-verbose #'((mute 6)
404 (place-fret 1 6 4 parenthesized)
413 A new markup command @code{\justify-line} has been added. Similar to
414 the @code{\fill-line} markup command except that instead of setting
415 @emph{words} in columns, the @code{\justify-line} command balances the
416 whitespace between them ensuring that when there are three or more
417 words in a markup, the whitespace is always consistent.
419 @lilypond[quote,verbatim,papersize=a6]
420 \markup \fill-line {oooooo oooooo oooooo oooooo}
421 \markup \fill-line {ooooooooo oooooooo oo ooo}
424 @lilypond[quote,verbatim,papersize=a6]
425 \markup \justify-line {oooooo oooooo oooooo oooooo}
426 \markup \justify-line {ooooooooo oooooooo oo ooo}
430 A new command @code{\magnifyMusic} has been added, which allows
431 the notation size to be changed without changing the staff size,
432 while automatically scaling stems, beams, and horizontal spacing.
434 @lilypond[verbatim,quote]
436 \new Voice \relative {
438 <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
440 \new Voice \relative {
443 \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
444 r32 c'' a c a c a c r c a c a c a c
445 r c a c a c a c a c a c a c a c
452 A new flexible template suitable for a range of choral music, is now
453 provided. This may be used to create simple choral music, with or
454 without piano accompaniment, in two or four staves. Unlike other
455 templates, this template is @q{built-in}, which means it does not
456 need to be copied and edited: instead it is simply @code{\include}'d
457 in the input file. For details, see @rlearning{Built-in templates}.
460 The positioning of tuplet numbers for kneed beams has been significantly
461 improved. Previously, tuplet numbers were placed according to the
462 position of the tuplet bracket, even if it was not printed. This could
463 lead to stranded tuplet numbers. Now they are now positioned
464 closer to the kneed-beam when an appropriate beam segment exists for its
465 placement and when the the bracket is not drawn.
467 Collision detection is also added, offsetting horizontally if too close
468 to an adjoining note column but preserving the number's vertical
469 distance from the kneed beam. If the number itself is too large to
470 fit in the available space the original, bracket-based, positioning
471 system is used instead; and in the event of a collision (e.g. with an
472 accidental) the tuplet number is moved vertically away instead.
474 @lilypond[verbatim,fragment,quote,relative=1]
476 \override Beam.auto-knee-gap = 3
485 The original kneed-beam tuplet behavior is still available through an
486 @code{\override} via a new, @code{knee-to-beam} property.
488 @lilypond[verbatim,fragment,quote,relative=1]
490 \override Beam.auto-knee-gap = 3
491 \override TupletNumber.knee-to-beam = ##f
500 @code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
501 now accept the same kind of delimited argument list that @code{\lyrics}
502 and @code{\chords} accept. Backward compatibility has been added so
503 music identifiers (i.e. @code{\mus}) are permitted as arguments. A
504 @code{convert-ly} rule has been added that removes redundant uses of
505 @code{\lyricmode} and rearranges combinations with context starters such
506 that @code{\lyricsto} in general is applied last (i.e. like
507 @code{\lyricmode} would be).
510 Scheme functions and identifiers can now be used as output definitions.
513 Scheme expressions can now be used as chord constituents.
516 Improved visual spacing of small and regular @q{MI} Funk and Walker
517 noteheads so they are now the same width as other shaped notes in
518 their respective sets. @code{SOL} noteheads are also now visually
519 improved when used with both the normal Aiken and Sacred Harp heads, as
520 well as with the thin variants.
523 @code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
524 @rinternals{LeftEdge}.
527 Added a new @code{make-path-stencil} function that supports all
528 @code{path} commands both relative and absolute:
530 @code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
531 @code{moveto}, @code{rmoveto}, @code{closepath}. The function also
532 supports @q{single-letter} syntax used in standard SVG path commands:
534 @code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
535 @code{z}. The new command is also backward-compatible with the original
536 @code{make-connected-path-stencil} function. Also see
537 @file{scm/stencil.scm}.
540 Context properties named in the @samp{alternativeRestores} property are
541 restored to their value at the start of the @emph{first} alternative in
542 all subsequent alternatives.
544 Currently the default set restores @q{current meter};
546 @lilypond[verbatim,fragment,quote,relative=2]
548 \repeat volta 2 { c2 e4 | }
557 @q{measure position};
559 @lilypond[verbatim,fragment,quote,relative=2]
561 \repeat volta 2 { c2 e4 | }
564 \set Timing.measurePosition = #(ly:make-moment -1/2)
572 and @q{chord changes};
574 @lilypond[verbatim,fragment,quote]
577 \set chordChanges = ##t
578 \chordmode { c1:m d:m c:m d:m }
581 \repeat volta 2 { \chordmode { c1:m } }
583 { \chordmode { d:m } }
584 { \chordmode { c:m } }
592 Improved MIDI output for breathe marks. After tied notes, breaths take
593 time @emph{only} from the last note of the tie; e.g.
594 @code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
595 of @code{@{ c4 r8 @}}. This is more consistent with articulations and
596 how humans interpret breaths after ties. It now also makes it easier to
597 align simultaneous breathe marks over multiple parts, all with different
601 A new note head style for Tabulature has been added;
602 @code{TabNoteHead.style = #'slash}.
605 Four new Clef glyphs have been added @emph{Double G}, @emph{Tenor G},
606 @emph{Varpercussion} and @emph{varC} and their related tessitura.
607 @lilypond[verbatim,quote,fragment]
608 \override Staff.Clef.full-size-change = ##t
611 \clef "tenorG" c c c c
613 \clef "altovarC" c c c c
614 \clef "tenorvarC" c c c c
615 \clef "baritonevarC" c c c c
616 \clef "varpercussion" c c c c
619 \override Staff.Clef.full-size-change = ##f
622 \clef "tenorG" c c c c
624 \clef "altovarC" c c c c
625 \clef "tenorvarC" c c c c
626 \clef "baritonevarC" c c c
627 \clef "varpercussion" c c c c
631 Isolated durations in music sequences now stand for unpitched
632 notes. This may be useful for specifying rhythms to music or
633 scheme functions. When encountered in the final score, the
634 pitches are provided by the preceding note or chord. Here are two
635 examples where this makes for readable input:
637 @lilypond[verbatim,quote]
638 \new DrumStaff \with { \override StaffSymbol.line-count = 1 }
641 tambourine 8 \tuplet 3/2 { 16 16 16 }
642 8 \tuplet 3/2 { 16 16 16 } 8 8 |
646 @lilypond[verbatim,quote]
647 \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
651 @code{\displayLilyMusic} and its underlying Scheme functions no
652 longer omit redundant note durations. This makes it easier to
653 reliably recognize and format standalone durations in expressions
660 Beaming exceptions can now be constructed using the
661 @code{\beamExceptions} scheme function. One can now write
663 @lilypond[verbatim,quote,relative=1]
665 \set Timing.beamExceptions =
666 \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
668 \repeat unfold 6 { c32 } |
672 with multiple exceptions separated with @code{|} bar checks
673 (writing the exception pattern without pitches is convenient but
674 not mandatory). Previously, setting the beam exceptions would
675 have required writing
678 \set Timing.beamExceptions =
680 (end . ;entry for end of beams
681 ( ;start of alist of end points
682 ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
687 The most common articulations are now reflected in MIDI output.
688 Accent and marcato make notes louder; staccato, staccatissimo and
689 portato make them shorter. Breath marks shorten the previous
692 This behavior is customizable through the @code{midiLength} and
693 @code{midiExtraVelocity} properties on @code{ArticulationEvent}.
694 See @file{script-init.ly} for examples.
697 The PostScript functionality of stroke adjustment is no longer
698 applied automatically but left to the discretion of the PostScript
699 device (by default, Ghostscript uses it for resolutions up to
700 150dpi when generating raster images). When it is enabled, a more
701 complex drawing algorithm designed to benefit from stroke
702 adjustment is employed mostly for stems and bar lines.
704 Stroke adjustment can be forced by specifying the command line
705 option @samp{-dstrokeadjust} to LilyPond. When generating
706 @code{PDF} files, this will usually result in markedly better
707 looking @code{PDF} previews but significantly larger file size.
708 Print quality at high resolutions will be unaffected.
713 For older news, go to
714 @uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
715 @uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
716 or @uref{../,go back} to the Documentation index.