@end macro
-@documentencoding utf-8
+@documentencoding UTF-8
@documentlanguage en
@afourpaper
@finalout
@node Top
-@top New features in 2.18 since 2.16
+@top New features in 2.20 since 2.18
@allowcodebreaks false
-@itemize
@ignore
HINTS
-
* add new items at the top
-
* only show verbatim input for syntax/input changes
-
* try to be as brief possible in those cases
-
* don't try to provide real-world examples, they often get too big,
which scares away people.
-
* Write complete sentences.
-
* only show user-visible changes.
@end ignore
+
+
+@subheading New for musical notation
+
+
+@strong{Displaying pitch improvements}
+
+@itemize
+
@item
-The PostScript functionality of stroke adjustment is no longer
-applied automatically but left to the discretion of the PostScript
-device (by default, Ghostscript uses it for resolutions up to
-150dpi when generating raster images). When it is enabled, a more
-complex drawing algorithm designed to benefit from stroke
-adjustment is employed mostly for stems and bar lines.
+Pitches that have a sharp or flat in their name now need to be
+hyphenated;
-Stroke adjustment can be forced by specifying the command line
-option @samp{-dstrokeadjust} to LilyPond. When generating
-@code{PDF} files, this will usually result in markedly better
-looking @code{PDF} previews but significantly larger file size.
-Print quality at high resolutions will be unaffected.
+@example
+\key a-flat \major
+@end example
+
+@noindent
+instead of:
+
+@example
+\key aflat \major
+@end example
+
+@noindent
+Pitches that contain @emph{double} sharps or flats in their name,
+however, do not need a second hyphen. For example using the Dutch
+notation @code{cisis}:
+
+@example
+\key c-sharpsharp \major
+@end example
@item
-There is now a new context type called @code{NullVoice} which, while not
-appearing in the printed output, can be used to align lyrics. This can
-be particularly convenient when used in parallel with a
-@code{\partcombine} construct.
+Accidental rules can now be defined @emph{across} @code{ChoirStaff}
+contexts.
-@lilypond[verbatim,quote]
-soprano = \relative c' { c e g c }
-alto = \relative c' { a c e g }
-verse = \lyricmode { This is my song }
+@item
+Two new accidental rules have been added. Both combine the
+characteristics of @code{modern-voice}, @code{piano} and their
+equivalents:
+@code{choral}
-\score {
- \new Staff <<
- \partcombine \soprano \alto
- \new NullVoice = "aligner" \soprano
- \new Lyrics \lyricsto "aligner" \verse
+@lilypond[quote]
+musicA = {
+ <<
+ \relative { cis''8 fis, bes4 <a cis>8 f bis4 | cis2. <c, g'>4 | }
+ \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | }
>>
- \layout {}
+}
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis> \change Staff = up
+ cis' cis \change Staff = down
+ <fis, a> <fis a>] \showStaffSwitch \change Staff = up
+ dis'4 | \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new ChoirStaff { << \context Staff = "up" {
+ \accidentalStyle choral \musicA }
+ \context Staff = "down" { \musicB } >>
}
@end lilypond
+@noindent
+This is the now the default accidental style for @code{ChoirStaff}.
+
+@code{choral-cautionary}
+
+@lilypond[quote]
+musicA = {
+ <<
+ \relative { cis''8 fis, bes4 <a cis>8 f bis4 |
+ cis2. <c, g'>4 | }
+ \\
+ \relative { ais'2 cis, | fis8 b a4 cis2 | }
+ >>
+}
+
+musicB = { \clef bass \new Voice { \voiceTwo \relative {
+ <fis a cis>8[ <fis a cis> \change Staff = up
+ cis' cis \change Staff = down
+ <fis, a> <fis a>] \showStaffSwitch \change Staff = up
+ dis'4 | \change Staff = down
+ <fis, a cis>4 gis <f a d>2 |
+ }
+ }
+}
+
+\new ChoirStaff { << \context Staff = "up" {
+ \accidentalStyle choral-cautionary \musicA }
+ \context Staff = "down" { \musicB } >>
+}
+@end lilypond
+
+@noindent
+The same as @code{choral} but with the extra accidentals typeset as
+cautionaries instead.
+
+@noindent
+Also see @ruser{Automatic accidentals}.
@item
-Several articulations can be put into a single variable or
-returned from an event function:
+Four new clef glyphs are now available; @q{GG} (double-G),
+@q{Tenor G}, @q{varC} plus related tessitura and
+@q{Varpercussion}:
-@lilypond[verbatim,quote]
-sempreStacc = -. ^\markup \italic sempre
-\relative { c''4\sempreStacc c c c }
+@multitable @columnfractions .30 .2 .30 .2
+
+@headitem
+Example
+@tab
+Output
+@tab
+Example
+@tab
+Output
+
+@item
+@code{\clef GG}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef GG c1
+@end lilypond
+@tab
+@code{\clef tenorG}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef tenorG c1
+@end lilypond
+
+@item
+@code{\clef varC}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef varC c1
+@end lilypond
+@tab
+@code{\clef altovarC}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef altovarC c1
+@end lilypond
+
+@item
+@code{\clef tenorvarC}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef tenorvarC c1
+@end lilypond
+@tab
+@code{\clef baritonevarC}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef baritonevarC c1
@end lilypond
@item
-The baseline of score markups is now taken from the reference
-point (usually the middle of the staff) of the first bottom system
-rather than the top of the bounding rectangle. The following
+@code{\clef varpercussion}
+@tab
+@lilypond[line-width=3\cm,notime,ragged-right,relative=1]
+\clef varpercussion c1
+@end lilypond
+
+@end multitable
+
+@noindent
+Also see @emph{Clef styles}.
+
+@item
+French note names are now explicitly defined -- previously they were
+aliased to Italian note names. The @var{d} pitch may be entered as
+either @code{re} or @code{ré}.
+
+@lilypond[fragment,verbatim,quote,ragged-right,relative=1]
+\language "français"
+do ré mi fa | sol la si do | ré1
+@end lilypond
+
+@noindent
+Double sharps are entered using an @code{x} suffix.
+
+@lilypond[fragment,verbatim,quote,ragged-right,relative=2]
+\language "français"
+dob, rebb misb fabsb | sold ladd six dosd | rédsd1
+@end lilypond
+
+@end itemize
+
+
+@strong{Rhythm improvements}
+
+@itemize
+
+@item
+Multi-measure rests have length according to their total duration,
+under the control of @code{MultiMeasureRest.space-increment}. Note the
+default value is @code{2.0}.
+
+@lilypond[fragment,verbatim,quote]
+\compressFullBarRests
+R1*2 R1*4 R1*64 R1*16
+@end lilypond
+
+@lilypond[fragment,verbatim,quote]
+\compressFullBarRests
+\override Staff.MultiMeasureRest.space-increment = 2.5
+R1*2 R1*4 R1*64 R1*16
+@end lilypond
+
+@item
+Improvements to the @code{\partial} command have been made when used
+with parallel music and/or multiple contexts.
+
+@item
+It is now possible to change the time signature mid-measure by using
+both the @code{\time} and @code{\partial} commands together.
+
+@lilypond[verbatim,quote,relative=1]
+f f f f | f2. \bar "||"
+\time 3/4 \partial 4
+f8 8 | f2 f8 f |
+@end lilypond
+
+@item
+Isolated durations in music now stand for unpitched notes. Pitches are
+taken from the preceding note or chord. This is especially convenient
+for specifying rhythms in both music and scheme functions and can help
+improve the readability of LilyPond source files.
+
+@lilypond[verbatim,quote,fragment,relative=2]
+c64[ 64] 32 16 8^- <g b d>4~ 2 | 1
+@end lilypond
+
@lilypond[verbatim,quote]
-\markup {
- violin: \score { \new Staff { <g d' a' e''>1 }
- \layout { indent=0 } } ,
- cello: \score { \new Staff { \clef "bass" <c, g, d a> }
- \layout { indent=0 } }
+\new DrumStaff \with { \override StaffSymbol.line-count = 1 }
+\drummode {
+ \time 3/4
+ tambourine 8 \tuplet 3/2 { 16 16 16 }
+ 8 \tuplet 3/2 { 16 16 16 } 8 8 |
}
@end lilypond
-previously looked like
-@lilypond[quote]
-\markup {
- violin: \general-align #Y #UP
- \score { \new Staff { <g d' a' e''>1 }
- \layout { indent=0 } } ,
- cello: \general-align #Y #UP
- \score { \new Staff { \clef "bass" <c, g, d a> }
- \layout { indent=0 } }
-}
+
+@item
+Beaming exceptions can now be constructed using the simpler
+@code{\beamExceptions} scheme function. Previously, this would have
+required writing:
+
+@example
+\set Timing.beamExceptions =
+#'( ;start of alist
+ (end . ;entry for end of beams
+ ( ;start of alist of end points
+ ((1 . 32) . (2 2 2)) ;rule for 1/32 beams -- end each 1/16
+ )))
+
+\time #'(2 1) 3/16
+c16 c c
+\repeat unfold 6 @{ c32 @}
+@end example
+
+@noindent
+With the new @code{\beamExceptions} scheme function, this becomes:
+
+@lilypond[verbatim,quote,relative=1]
+\set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+
+\time #'(2 1) 3/16
+c16 c c |
+\repeat unfold 6 { c32 } |
+@end lilypond
+
+@noindent
+with multiple exceptions separated by bar checks. Note that writing the
+exception pattern without pitches is convenient but not mandatory (also
+see the previous documented rhythm improvement --
+@ruser{Isolated durations in music now stand for unpitched notes}.
+
+@item
+The positioning of tuplet numbers for kneed beams has been improved.
+Previously, tuplet numbers were placed according to the position of the
+tuplet bracket, even if the bracket was not printed. This could lead to
+tuplet numbers being @q{stranded}.
+
+@noindent
+Previously:
+
+@lilypond[fragment,quote,relative=1]
+% This is a contrived example to simulate the previous behaviour
+\time 3/4
+\override Beam.auto-knee-gap = 3
+\override TupletNumber.knee-to-beam = ##f
+\once \override TupletBracket.bracket-visibility = ##t
+\tuplet 3/2 4 { g8 c'' e, }
+\tuplet 3/2 4 { g,,8 c'' e, }
+\once \override TupletBracket.bracket-visibility = ##t
+\tuplet 3/2 4 { c'8 g,, e'' }
+\tuplet 3/2 4 { c'8 g,, e'' }
+\once \override TupletBracket.bracket-visibility = ##t
+\tuplet 2/2 4 { g,8[ e''] }
+\tuplet 2/2 4 { g,,8[ e''] }
+@end lilypond
+
+@noindent
+Now, when the bracket is not drawn, tuplet numbers are positioned
+closer.
+
+@lilypond[fragment,quote,relative=1]
+% This is a contrived example to simulate the previous behaviour
+\time 3/4
+\override Beam.auto-knee-gap = 3
+\override TupletBracket.bracket-visibility = ##t
+\tuplet 3/2 4 { g8 c'' e, }
+\once \override TupletBracket.bracket-visibility = ##f
+\tuplet 3/2 4 { g,,8 c'' e, }
+\tuplet 3/2 4 { c'8 g,, e'' }
+\once \override TupletBracket.bracket-visibility = ##f
+\tuplet 3/2 4 { c'8 g,, e'' }
+\tuplet 2/2 4 { g,8[ e''] }
+\once \override TupletBracket.bracket-visibility = ##f
+\tuplet 2/2 4 { g,,8[ e''] }
@end lilypond
-without a reliable way to get both scores to line up.
@item
-LilyPond no longer automatically infers a @samp{\defaultchild}
-context in a context definition with @samp{\accepts} clauses. Any
-context definition without an explicit or inherited
-@samp{\defaultchild} definition counts as a @samp{Bottom} context
-and will be eligible for rhythmic events and overrides without
-causing the implicit creation of other contexts. Be sure to
-specify a @samp{\defaultchild} for non-@samp{Bottom} contexts when
-defining them from scratch.
+Collision detection for the kneed beam tuplet numbers has also been
+added, shifting the offset horizontally if the number is too close to
+an adjoining note column (but still preserving the number's vertical
+distance). In the event of a collision -- for example with an
+accidental -- the tuplet number will be shifted vertically instead. If
+the tuplet number is itself too large to fit within the available space,
+the original, @q{bracket-based}, positioning system will be used
+instead.
+
+@lilypond[fragment,quote,relative=1]
+\time 2/4
+\override Beam.auto-knee-gap = 3
+\tuplet 3/2 4 { g8 c'' e, c'8 g,, e'' }
+\tuplet 3/2 4 { g,,8 e''' g,, g,8 e''' ges,, }
+@end lilypond
+
+@noindent
+The original kneed-beam tuplet behavior is still available with a new,
+@code{knee-to-beam} property for the @code{TupletNumber} layout object.
+
+@lilypond[verbatim,fragment,quote,relative=1]
+\time 2/4
+\override Beam.auto-knee-gap = 3
+\override TupletNumber.knee-to-beam = ##f
+\override TupletBracket.bracket-visibility = ##t
+\tuplet 3/2 4 { g8 c'' e, }
+\once \override TupletBracket.bracket-visibility = ##f
+\tuplet 3/2 4 { g,,8 c'' e, }
+@end lilypond
+
+@end itemize
+
+
+@strong{Expressive mark improvements}
+
+@itemize
+
+@item
+The ends of hairpins may now be fine-tuned using the @code{shorten-pair}
+grob property. This previously only affected text-spanners (e.g.
+@code{TupletBracket} and @code{OttavaBracket}).
+
+@noindent
+Positive and negative values offset right and left respectively.
+
+@lilypond[quote,verbatim,relative=2]
+\once \override Hairpin.shorten-pair = #'(0 . 2)
+a1\< | a2 a\!
+
+\once \override Hairpin.shorten-pair = #'(2 . 0)
+\once \override Hairpin.stencil = #constante-hairpin
+a1\< | a2 a\!
+
+\once \override Hairpin.shorten-pair = #'(-1 . -1)
+\once \override Hairpin.stencil = #flared-hairpin
+a1\< | a2 a\!
+@end lilypond
+
+@item
+Individual slurs and phrasing slurs may now be started from an explicit
+note within a chord.
+
+@lilypond[quote,verbatim,relative=1]
+<f a( c>1 | <c') e g(> | <a c) e>
+@end lilypond
+
+@lilypond[quote,verbatim,relative=1]
+<f( a\( c>1 | <c'\) e\( g> | <a c e\)>
+@end lilypond
+
+@item
+A new command @code{\=X} has been added -- where @q{X} can be any
+non-negative integer or symbol -- so that a specific @q{id} can be
+assigned to the start and end of slurs and phrasing slurs.
+
+@noindent
+This is useful when simultaneous slurs are required or if one slur
+overlaps another or when nesting short slurs within a longer one.
+
+@lilypond[quote,verbatim,relative=2]
+<a c e\=7\(>1 | <g b d\=£(> |
+<f\=A( a c\="foo"(> | <c'\="foo")\=A) e\=£) g\=7\)> |
+@end lilypond
+
+@noindent
+Also see @ruser{Expressive marks as curves}.
+
+@end itemize
+
+
+@strong{Repeat notation improvements}
+
+@itemize
+
+@item
+The visual style of tremolo slashes (shape, style and slope)
+is now more finely controlled.
+@lilypond[quote,relative=2]
+ a8:32 b: c: d:
+ \override StemTremolo.shape = #'beam-like
+ a: b: c: d:
+ \override StemTremolo.style = #'constant
+ a: b: c: d:
+ g,2
+@end lilypond
+
+@item
+The music function @code{\unfoldRepeats} can now take an
+optional argument-list specifying which type(s) of repeated music
+should be unfolded. Possible entries are @code{percent}, @code{tremolo},
+@code{volta}.
+If the optional argument-list is unspecified, @code{repeated-music} will be
+used, unfolding all.
+
+@end itemize
+
+
+@strong{Staff notation improvements}
+
+@itemize
+
+@item
+A new command @code{\magnifyStaff} has been added which scales staff
+sizes, staff lines, bar lines, beamlets and horizontal spacing generally
+at the @code{Staff} context level. Staff lines are prevented from being
+scaled smaller than the default since the thickness of stems, slurs, and
+the like are all based on the staff line thickness.
@item
-There is now extensive support for both discant and bass accordion
-register symbols in the @samp{scm accreg} module, see
-@ruser{Accordion Registers}.
+A new command @code{\magnifyMusic} has been added, which allows
+the notation size to be changed without changing the staff size,
+while automatically scaling stems, beams, and horizontal spacing.
+
@lilypond[verbatim,quote]
-#(use-modules (scm accreg))
-\new PianoStaff
-<<
- \new Staff \relative
- { \clef "treble" \discant "10"
- r8 s32 f'[ bes f] s e[ a e] s d[ g d] s16 e32[ a]
- \discant "121"
- << { r16 <f bes> r <e a> r <d g> } \\
- { d r a r bes r } >> |
- <cis e a>1
+\new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
}
- \new Staff \relative
- { \clef "treble" \freeBass "1"
- r8 d'32 s16. c32 s16. bes32 s16. a32[ cis] s16
- \clef "bass" \stdBass "Master"
- << { r16 <f, bes d>^"b" r <e a c>^"am" r <d g bes>^"gm" |
- <e a cis>1^"a" } \\
- { d8_"D" c_"C" bes_"B" | a1_"A" }
- >>
+ \new Voice \relative {
+ \voiceTwo
+ \magnifyMusic 0.63 {
+ \override Score.SpacingSpanner.spacing-increment = #(* 1.2 0.63)
+ r32 c'' a c a c a c r c a c a c a c
+ r c a c a c a c a c a c a c a c
+ }
}
>>
@end lilypond
@item
-New commands @code{markLengthOn} and @code{markLengthOff} control
-the allowance of horizontal space for tempo and rehearsal marks.
+A new command, @code{\RemoveAllEmptyStaves}, has been made available, which
+acts exactly like @code{\RemoveEmptyStaves}, except for also removing empty
+staves on the first system in a score.
-@lilypond[quote,relative=2]
-\markLengthOn
-\compressFullBarRests
-\tempo "Molto vivace" c2 c'
-\mark\default
-\tempo "Meno mosso" R1*16
-\mark\default
-g,2 g
-\bar "||"
-\markLengthOff
-\tempo "Molto vivace" c2 c'
-\mark#1
-\tempo "Meno mosso" R1*16
-\mark\default
-g,2 g
+@item
+A new markup command @code{\justify-line} has been added. Similar to
+the @code{\fill-line} markup command except that instead of setting
+@emph{words} in columns, the @code{\justify-line} command balances the
+whitespace between them ensuring that when there are three or more
+words in a markup, the whitespace is always consistent.
+
+@lilypond[quote,verbatim,papersize=a6]
+\markup \fill-line {oooooo oooooo oooooo oooooo}
+\markup \fill-line {ooooooooo oooooooo oo ooo}
+@end lilypond
+
+@lilypond[quote,verbatim,papersize=a6]
+\markup \justify-line {oooooo oooooo oooooo oooooo}
+\markup \justify-line {ooooooooo oooooooo oo ooo}
@end lilypond
+@end itemize
+
+
+@strong{Editorial annotation improvements}
+
+@itemize
+
@item
-Rehearsal marks at the beginning of a line are now placed to the right
-of the clef and key signature by default. As in previous versions, the
-@code{break-alignable-interface} controls the behavior.
+It is now possible to add text to analysis brackets through the
+@code{HorizontalBracketText} object.
+@lilypond[quote,verbatim]
+\layout {
+ \context {
+ \Voice
+ \consists "Horizontal_bracket_engraver"
+ }
+}
-@lilypond[quote,relative=2]
-\set Score.barNumberVisibility = #all-bar-numbers-visible
-\set Timing.currentBarNumber = #72
-\bar"||" \time 3/4 \key e\major \mark#10 \tempo "Adagio" b2.
+{
+ \once \override HorizontalBracketText.text = "a"
+ c''\startGroup d''\stopGroup
+ e''-\tweak HorizontalBracketText.text "a'" \startGroup d''\stopGroup
+}
@end lilypond
+@end itemize
+
+
+@strong{Text formatting improvements}
+
+@itemize
+
@item
-Decimal numbers can now be written directly in music,
-without a hash sign. Together with the previous change
-in the way object properties are specified, the code to
-change the length of stems has changed from this:
-@example
-\override Stem #'length = #5.6
-e' f' g' a'
-@end example
-to this:
-@example
-\override Stem.length = 5.6
-e' f' g' a'
-@end example
+Support for making it easier to use alternative @q{music} fonts other
+than the default Emmentaler in LilyPond has been added. See
+@ruser{Replacing the notation font} for more information.
-One has to write a digit on both sides of the dot -- values like
-@code{4.} or @code{-.3} are not allowed.
+@item
+Default text fonts have been changed from
+@code{Century Schoolbook L}, @code{sans-serif}, and @code{monospace}.
+
+For @code{svg} backend:
+@multitable @columnfractions .15 .30
+@headitem Family @tab Default font
+@item @emph{roman} @tab @code{serif}
+@item @emph{sans} @tab @code{sans-serif}
+@item @emph{typewriter} @tab @code{monospace}
+@end multitable
+
+@code{serif}, @code{sans-serif}, and @code{monospace} are
+@code{generic-family} in SVG and CSS specifications.
+
+For other backends:
+@multitable @columnfractions .15 .30 .55
+@headitem Family @tab Default font (alias) @tab Alias definition lists
+@item @emph{roman}
+@tab @code{LilyPond Serif}
+@tab
+TeX Gyre Schola,
+C059, Century SchoolBook URW, Century Schoolbook L,
+DejaVu Serif,
+..., serif
+@item @emph{sans}
+@tab @code{LilyPond Sans Serif}
+@tab
+TeX Gyre Heros,
+Nimbus Sans, Nimbus Sans L, DejaVu Sans,
+..., sans-serif
+@item @emph{typewriter}
+@tab @code{LilyPond Monospace}
+@tab
+TeX Gyre Cursor,
+Nimbus Mono PS, Nimbus Mono, Nimbus Mono L,
+DejaVu Sans Mono,
+..., monospace
+@end multitable
+
+@code{LilyPond Serif}, @code{LilyPond Sans Serif},
+and @code{LilyPond Monospace} are font aliases defined
+in the LilyPond dedicated FontConfig configuration file
+@code{00-lilypond-fonts.conf}.
+Where a character dosen't exist in the first font listed,
+the next font listed will be used instead for that character.
+For details of alias definitions, please see
+to @code{00-lilypond-fonts.conf} under the installed directory.
-Decimal fractions are also not accepted in @code{\chordmode}.
+@item
+When using OpenType fonts, font features can be used.
+Note: Not all OpenType fonts have all functions.
+
+@lilypond[quote,verbatim]
+% True small caps
+\markup { Normal Style: Hello HELLO }
+\markup { \caps { Small Caps: Hello } }
+\markup { \override #'(font-features . ("smcp"))
+ { True Small Caps: Hello } }
+
+% Number styles
+\markup { Normal Number Style: 0123456789 }
+\markup { \override #'(font-features . ("onum"))
+ { Old Number Style: 0123456789 } }
+
+% Stylistic Alternates
+\markup { \override #'(font-features . ("salt 0"))
+ { Stylistic Alternates 0: εφπρθ } }
+\markup { \override #'(font-features . ("salt 1"))
+ { Stylistic Alternates 1: εφπρθ } }
+
+% Multiple features
+\markup { \override #'(font-features . ("onum" "smcp" "salt 1"))
+ { Multiple features: Hello 0123456789 εφπρθ } }
+@end lilypond
@item
-A number of shorthands like @code{(}, @code{)}, @code{|},
-@code{[}, @code{]}, @code{~}, @code{\(}, @code{\)} and others can
-now freely be redefined like normal commands. An example would be
+Two new styles of whiteout are now available. The @code{outline} style
+approximates the contours of a glyph's outline, and its shape is
+produced from multiple displaced copies of the glyph. The
+@code{rounded-box} style produces a rounded rectangle shape. For all
+three styles, including the default @code{box} style, the whiteout
+shape's @code{thickness}, as a multiple of staff-line thickness, can be
+customized.
+
@lilypond[verbatim,quote]
-"\\{" = (
-"\\}" = )
-"(" = \melisma
-")" = \melismaEnd
+\markup {
+ \combine
+ \filled-box #'(-1 . 15) #'(-3 . 4) #1
+ \override #'(thickness . 3)
+ \whiteout whiteout-box
+}
+\markup {
+ \combine
+ \filled-box #'(-1 . 24) #'(-3 . 4) #1
+ \override #'(style . rounded-box)
+ \override #'(thickness . 3)
+ \whiteout whiteout-rounded-box
+}
+\markup {
+ \combine
+ \filled-box #'(-1 . 18) #'(-3 . 4) #1
+ \override #'(style . outline)
+ \override #'(thickness . 3)
+ \whiteout whiteout-outline
+}
+\relative {
+ \override Staff.Clef.whiteout-style = #'outline
+ \override Staff.Clef.whiteout = 3
+ g'1
+}
+@end lilypond
-\new Staff <<
- \relative c' {
- c8 \{ d e f \} % slurred
- g ( a b c ) % no slur, but with melisma
- c,1 \bar "|."
- }
- \addlyrics { Li -- ly -- pond. }
->>
+@item
+A new markup-command, @code{\with-dimensions-from}, makes
+@code{\with-dimensions} easier to use by taking the new
+dimensions from a markup object, given as first argument.
+@lilypond[quote,verbatim]
+\markup {
+ \pattern #5 #Y #0 "x"
+ \pattern #5 #Y #0 \with-dimensions-from "x" "f"
+ \pattern #5 #Y #0 \with-dimensions-from "x" "g"
+ \override #'(baseline-skip . 2)
+ \column {
+ \pattern #5 #X #0 "n"
+ \pattern #5 #X #0 \with-dimensions-from "n" "m"
+ \pattern #5 #X #0 \with-dimensions-from "n" "!"
+ }
+}
+@end lilypond
+
+@item
+Markup-command @code{\draw-squiggle-line} is now available.
+Customizing is possible with overrides of @code{thickness}, @code{angularity},
+@code{height} and @code{orientation}
+@lilypond[quote,verbatim]
+\markup
+ \overlay {
+ \draw-squiggle-line #0.5 #'(3 . 3) ##t
+
+ \translate #'(3 . 3)
+ \override #'(thickness . 4)
+ \draw-squiggle-line #0.5 #'(3 . -3) ##t
+
+ \translate #'(6 . 0)
+ \override #'(angularity . -5)
+ \draw-squiggle-line #0.5 #'(-3 . -3) ##t
+
+ \translate #'(3 . -3)
+ \override #'(angularity . 2)
+ \override #'(height . 0.3)
+ \override #'(orientation . -1)
+ \draw-squiggle-line #0.2 #'(-3 . 3) ##t
+ }
@end lilypond
@item
-The articulation shorthand for @code{\staccatissimo} has been
-renamed from @code{-|} to@tie{}@code{-!}.
+Markup-commands @code{\undertie} and @code{\overtie} are now available, as well
+as the generic markup-command @code{\tie}.
+@lilypond[quote,verbatim]
+\markup {
+ \undertie "undertied"
+ \overtie "overtied"
+}
+
+m = {
+ c''1 \prall -\tweak text \markup \tie "131" -1
+}
+
+{ \voiceOne \m \voiceTwo \m }
+@end lilypond
+
+@end itemize
+
+
+
+@subheading New for specialist notation
+
+
+@strong{Vocal music improvements}
+
+@itemize
@item
-Tempo change ranges are now written as @code{\tempo 4 = 60 - 68}
-rather than @code{\tempo 4 = 60 ~ 68}.
+A new flexible template suitable for a range of choral music, is now
+provided. This may be used to create simple choral music, with or
+without piano accompaniment, in two or four staves. Unlike other
+templates, this template is @q{built-in}, which means it does not
+need to be copied and edited: instead it is simply @code{\include}'d
+in the input file. For details, see @rlearning{Built-in templates}.
@item
-Grob @code{OctavateEight} was renamed to @code{ClefModifier}.
-Related context properties were renamed from @code{xxxOctavationyyy}
-to @code{xxxTranspositionyyy}.
+The @code{\addlyrics} function now works with arbitrary contexts
+incuding @code{Staff}.
@item
-There is a new @code{\absolute} command explicitly marking music
-as being entered in absolute pitch. While this has been the
-default previously, an explicit @code{\absolute} also prevents
-reinterpretation when the passage is placed inside of
-@code{\relative}:
+@code{\lyricsto} and @code{\addLyrics} have been @q{harmonized}. Both
+now accept the same kind of delimited argument list that @code{\lyrics}
+and @code{\chords} accept. Backward compatibility has been added so
+music identifiers (i.e. @code{\mus}) are permitted as arguments. A
+@code{convert-ly} rule has been added that removes redundant uses of
+@code{\lyricmode} and rearranges combinations with context starters such
+that @code{\lyricsto} in general is applied last (i.e. like
+@code{\lyricmode} would be).
+
+@end itemize
+
+
+@strong{Unfretted and fretted string instrument improvements}
+
+@itemize
+
+@item
+A new note head style for Tabulature has been added --
+@code{TabNoteHead.style = #'slash}.
+
+@item
+In fret-diagrams the distance between frets and the distance between strings is
+now independently adjustable. Available are @code{fret-distance} and
+@code{string-distance} as subproperties of @code{fret-diagram-details}.
@lilypond[verbatim,quote]
-\relative c { c'4 \absolute { f'' g'' } c }
+fretMrkp = \markup { \fret-diagram-terse #"x;x;o;2;3;2;" }
+
+\markuplist
+\override #'(padding . 2)
+\table #'(0 -1) {
+ "default"
+
+ \fretMrkp
+
+ "fret-distance"
+
+ \override #'(fret-diagram-details . ((fret-distance . 2)))
+ \fretMrkp
+
+ "string-distance"
+
+ \override #'(fret-diagram-details . ((string-distance . 2)))
+ \fretMrkp
+}
@end lilypond
@item
-When @code{\relative} is used without an explicit reference pitch,
-the reference pitch now is the middle of the first octave, making
-the first entered pitch indistinguishable from absolute pitch.
-Previously, omitting the reference pitch would have lead to a
-default of @code{c'}. Since that choice was somewhat arbitrary,
-recommended usage was to always specify the reference pitch.
+It is now possible to individually color both the dots and parentheses
+in fret diagrams when using the @code{\fret-diagram-verbose} markup
+command.
+
+@lilypond[verbatim,quote,relative=1]
+\new Voice {
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (finger-code . in-dot))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1 red)
+ (place-fret 4 5 2 inverted)
+ (place-fret 3 5 3 green)
+ (place-fret 2 5 4 blue inverted)
+ (place-fret 1 3 1 violet)
+ (barre 5 1 3 ))
+ }
+ }
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (finger-code . below-string))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1 red parenthesized)
+ (place-fret 4 5 2 yellow
+ default-paren-color
+ parenthesized)
+ (place-fret 3 5 3 green)
+ (place-fret 2 5 4 blue )
+ (place-fret 1 3 1)
+ (barre 5 1 3))
+ }
+ }
+}
+@end lilypond
@item
-A new command @code{\single} can be used for converting a property
-override into a tweak to be applied on a single music expression:
+Two new properties have been added for use in
+@code{fret-diagram-details} when using the @code{\fret-diagram-verbose}
+markup command; @code{fret-label-horizontal-offset} which affects the
+@code{fret-label-indication} and @code{paren-padding} which controls the
+space between the dot and the parentheses surrounding it.
-@lilypond[quote,verbatim,relative=2]
-<a \single\voiceTwoStyle e' a>1
+@lilypond[verbatim,quote,relative=1]
+\new Voice {
+ c1^\markup {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1)
+ (place-fret 4 5 2)
+ (place-fret 3 5 3)
+ (place-fret 1 6 4 parenthesized)
+ (place-fret 2 3 1)
+ (barre 5 2 3))
+ }
+ c1^\markup {
+ \override #'(fret-diagram-details . (
+ (fret-label-horizontal-offset . 2)
+ (paren-padding . 0.25))) {
+ \fret-diagram-verbose #'((mute 6)
+ (place-fret 5 3 1)
+ (place-fret 4 5 2)
+ (place-fret 3 5 3)
+ (place-fret 1 6 4 parenthesized)
+ (place-fret 2 3 1)
+ (barre 5 2 3))
+ }
+ }
+}
@end lilypond
@item
-Two ways of letting graphical objects not appear in the output are
-overriding its @code{transparent} property with @code{#t}
-(retaining the original spacing) or overriding its @code{stencil}
-property with @code{#f} (not using any space at all). Those two
-operations now have the shorthands @code{\hide} and @code{\omit},
-respectively. They can either be given a music expression to
-tweak, or the name of a graphical object for which an override
-should be created (for specifying both, use @code{\single} on the
-override form):
+Additional bass strings (for lute tablature) are supported.
+@lilypond[quote,verbatim]
+m = { f'4 d' a f d a, g, fis, e, d, c, \bar "|." }
+\score {
+ \new TabStaff \m
+ \layout {
+ \context {
+ \Score
+ tablatureFormat = #fret-letter-tablature-format
+ }
+ \context {
+ \TabStaff
+ stringTunings = \stringTuning <a, d f a d' f'>
+ additionalBassStrings = \stringTuning <c, d, e, fis, g,>
+ fretLabels = #'("a" "b" "r" "d" "e" "f" "g" "h" "i" "k")
+ }
+ }
+}
+@end lilypond
+
+@item
+String numbers can now also be used to print roman numerals
+(e.g. for unfretted string instruments).
+@lilypond[verbatim,quote,relative=2]
+c2\2
+\romanStringNumbers
+c\2
+\arabicStringNumbers
+c1\3
+@end lilypond
+
+@item
+@code{TabStaff} is now able to print micro-tones for bendings etc.
@lilypond[quote,verbatim]
-\new Staff \with { \omit Clef }
-\relative c'' <a e' \hide a>1
+\layout {
+ \context {
+ \Score
+ supportNonIntegerFret = ##t
+ }
+}
+
+mus = \relative { c'4 cih d dih }
+
+<<
+ \new Staff << \clef "G_8" \mus >>
+ \new TabStaff \mus
+>>
@end lilypond
+@end itemize
+
+
+@strong{Chord notation improvements}
+
+@itemize
+
+@item @code{\chordmode} can now use @code{< >} and @code{<< >>}
+constructs.
+
@item
-A new command @code{\temporary} can be applied to overrides in
-order to not have them replace previous property settings. If a
-@code{\revert} is applied to the same property subsequently, the
-previous setting reappears:
+It is now possible to override the @code{text} property of
+chord names.
-@lilypond[quote,verbatim,relative=2]
-\override NoteHead.color = #red c4
-\override NoteHead.color = #green d
-\revert NoteHead.color e2
-\override NoteHead.color = #red c4
-\temporary\override NoteHead.color = #green d
-\revert NoteHead.color e
-\revert NoteHead.color c
+@lilypond[verbatim,fragment,quote]
+<<
+\new ChordNames \chordmode {
+ a' b c:7
+ \once \override ChordName.text = #"foo"
+ d
+}
+>>
@end lilypond
-This is mainly useful for writing music functions that need to
-have some property changed just for the duration of the function.
+@end itemize
+
+
+
+@subheading New for input and output
+
+
+@strong{Input structure improvements}
+
+@itemize
@item
-@code{\tag}, @code{\removeWithTag}, and @code{\keepWithTag} can
-now accept a list of symbols rather than just a single symbol for
-marking, removing, and keeping music with any of multiple tags.
-This is particularly important for @code{\keepWithTag} since one
-cannot achieve the same effect by using multiple consecutive
-@code{\keepWithTag} commands.
+Blocks introduced with @code{\header} can be stored in variables
+and used as arguments to music and scheme functions and as the
+body of @code{#@{@dots{}#@}} constructs. They are represented as
+a Guile module.
+
+While @code{\book}, @code{\bookpart}, @code{\score}, @code{\with},
+@code{\layout}, @code{\midi}, @code{\paper} blocks can be passed
+around in similar manner, they are represented by different data
+types.
+
+@end itemize
+
+
+@strong{Titles and header improvements}
+
+@itemize
@item
-The @samp{-d old-relative} option has been removed. Not actually
-accessible from the command line any more, its remaining use was
-for interpretating @code{\relative} in LilyPond files converted
-automatically from version@tie{}1.8 or older. It is unclear how
-much of this was actually still operative.
+Page numbers may now be printed in roman numerals, by setting the
+@code{page-number-type} paper variable.
+
+@end itemize
+
+
+@strong{Input file improvements}
+
+@itemize
@item
-The meaning of @code{instrumentTransposition} has been reversed.
-After
+A new command @code{\tagGroup} has now been added. This complements
+the existing @code{\keepWithTag} and @code{\removeWithTag} commands.
+For Example:
+
+@example
+\tagGroup #'(violinI violinII viola cello)
+@end example
+
+declares a list of @q{tags} that belong to a single @q{tag group}.
+
@example
-\set instrumentTransposition = #@{ b #@}
+\keepWithTag #'violinI
@end example
-a written @code{c'} now sounds like @code{b}. Previously, this
-would have been the other way round. This and the following change
-should make dealing with transposing instruments more
-straightforward.
+
+Is now only concerned with @q{tags} from @q{violinI}’s tag group.
+
+Any element of the included music tagged with one or more tags from the
+group, but @emph{not} with @var{violinI}, will be removed.
+
+@end itemize
+
+
+@strong{Output improvements}
+
+@itemize
+
+@item
+LilyPond source files may now be embedded inside the generated PDF files.
+This experimental feature is disabled by default and may be regarded as unsafe,
+as PDF documents with hidden content tend to present a security risk.
+Please note that not all PDF viewers have the ability to handle embedded
+documents (if not, the PDF output will appear normally and source files
+will remain invisible). This feature only works with the PDF backend.
@item
-The music generated by @code{\set} and @code{\override} commands
-is no longer affected by @code{\transpose}. The main consequence
-is that @code{\transpose} will transpose audible/@/concert pitch and
-printed pitch by the same amount even when the transposed music
-contains @code{\transposition}. Previously,
+The @code{output-classic-framework} procedure and the @code{-dclip-systems}
+are now available with the @code{SVG} backend.
+
+@item
+An argument, @code{-dcrop}, has been added, formatting @code{SVG} and
+@code{PDF} output without margins or page-breaks.
+
+@item
+A new @code{output-attributes} grob property is now used for svg output
+instead of the @code{id} grob property. It allows multiple attributes
+to be defined as an association list. For example, @code{#'((id . 123)
+(class . foo) (data-whatever . @qq{bar}))} will produce the following
+group tag in an SVG file: @code{<g id=@qq{123} class=@qq{foo}
+data-whatever=@qq{bar}> @dots{} </g>}.
+
+@item
+The PostScript functionality of stroke adjustment is no longer
+applied automatically but left to the discretion of the PostScript
+device (by default, Ghostscript uses it for resolutions up to
+150dpi when generating raster images). When it is enabled, a more
+complex drawing algorithm designed to benefit from stroke
+adjustment is employed mostly for stems and bar lines.
+
+Stroke adjustment can be forced by specifying the command line
+option @samp{-dstrokeadjust} to LilyPond. When generating
+@code{PDF} files, this will usually result in markedly better
+looking @code{PDF} previews but significantly larger file size.
+Print quality at high resolutions will be unaffected.
+
+@item
+Added a new @code{make-path-stencil} function that supports all
+@code{path} commands both relative and absolute:
+
+@code{lineto}, @code{rlineto}, @code{curveto}, @code{rcurveto},
+@code{moveto}, @code{rmoveto}, @code{closepath}. The function also
+supports @q{single-letter} syntax used in standard SVG path commands:
+
+@code{L}, @code{l}, @code{C}, @code{c}, @code{M}, @code{m}, @code{Z} and
+@code{z}. The new command is also backward-compatible with the original
+@code{make-connected-path-stencil} function. Also see
+@file{scm/stencil.scm}.
+
+@end itemize
+
+
+@strong{MIDI improvements}
+
+@itemize
+
+@item
+The most common articulations are now reflected in MIDI output.
+Accent and marcato make notes louder; staccato, staccatissimo and
+portato make them shorter. Breath marks shorten the previous
+note.
+
+This behavior is customizable through the @code{midiLength} and
+@code{midiExtraVelocity} properties on @code{ArticulationEvent}.
+See @file{script-init.ly} for examples.
+
+@item
+Improved MIDI output for breathe marks. After tied notes, breaths take
+time @emph{only} from the last note of the tie; e.g.
+@code{@{ c4~ c8 \breathe @}} performs as @code{@{ c4~ c16 r @}} instead
+of @code{@{ c4 r8 @}}. This is more consistent with articulations and
+how humans interpret breaths after ties. It now also makes it easier to
+align simultaneous breathe marks over multiple parts, all with different
+note lengths.
+
+@item
+There is now support for controlling the @q{expression level} of
+MIDI channels using the @code{Staff.midiExpression} context property.
+This can be used to alter the perceived volume of even sustained notes
+(albeit in a very @q{low-level} way) and accepts a number value between
+@code{0.0} and @code{1.0}.
+
@example
-\transpose c' f' \transposition bes'
+\score @{
+ \new Staff \with @{
+ midiExpression = #0.6
+ midiInstrument = #"clarinet"
+ @}
+ <<
+ @{ a'1~ a'1 @}
+ @{
+ \set Staff.midiExpression = #0.7 s4\f\<
+ \set Staff.midiExpression = #0.8 s4
+ \set Staff.midiExpression = #0.9 s4
+ \set Staff.midiExpression = #1.0 s4
+
+ \set Staff.midiExpression = #0.9 s4\>
+ \set Staff.midiExpression = #0.8 s4
+ \set Staff.midiExpression = #0.7 s4
+ \set Staff.midiExpression = #0.6 s4\!
+ @}
+ >>
+ \midi @{ @}
+@}
@end example
-was equivalent to @code{\transposition f'}. Now it stays
-equivalent to @code{\transposition bes'}.
-
-@item
-When checking for collisions, LilyPond no longer treats objects as
-rectangles. Instead, the actual shape of objects is approximated
-using an integral-like approach. This generally results in more
-even and snug positioning of objects and systems:
-
-@lilypond[relative=1]
-#(ly:set-option 'debug-skylines #t)
-\dynamicUp
-c'4\f a4\f d\f( f)
-a,4\< c c c\!
-d4-.\downbow a4^"r'venu..." c \tempo "T1" e
-@end lilypond
-
-Previously, the above snippet looked like this:
-
-@lilypond[relative=1]
-#(ly:set-option 'debug-skylines #t)
-\override Hairpin #'vertical-skylines = #'()
-\override DynamicText #'vertical-skylines = #'()
-\override TextScript #'vertical-skylines = #'()
-\override Score.MetronomeMark #'vertical-skylines = #'()
-\override Staff.Clef #'vertical-skylines = #'()
-\dynamicUp
-c'4\f a4\f d\f( f)
-a,4\< c c c\!
-d4-.\downbow a4^"r'venu..." c \tempo "T1" e
-@end lilypond
-
-Affected objects include @code{Accidentals}, @code{Beams}, @code{Clefs},
-@code{Dynamics}, @code{FiguredBass}, @code{Flags}, @code{Glissandos},
-@code{Lyrics}, @code{MetronomeMarks}, @code{OttavaBrackets},
-@code{Pedals}, @code{RehearsalMarks}, @code{Rests}, @code{Scripts},
-@code{TextScripts}, @code{Ties}, @code{Tuplets} and @code{VoltaBrackets}.
-
-@item
-Tuplets are now created with the @code{\tuplet} command, which
-takes a fraction @code{@var{t}/@var{n}} to specify that @var{t}
-notes are played in the time usually allowed for @var{n}. One
-@code{\tuplet} command can create several tuplet groups if their
-duration is typed after the fraction.
-@lilypond[quote,verbatim,relative=2]
-\tuplet 3/2 { c8 d e } \tuplet 3/2 { f e d } c2
-\tuplet 3/2 4 { c8 d e f e d } c2
+
+@item
+When outputting MIDI, LilyPond will now store the @code{title}
+defined in a score's @code{\header} block (or, if there is no
+such definition on the @code{\score} level, the first such
+definition found in a @code{\header} block of the score's
+enclosing @code{\bookpart}, @code{\book}, or top-level scope)
+as the name of the MIDI sequence in the MIDI file. Optionally,
+the name of the MIDI sequence can be overridden using the new
+@code{midititle} @code{\header} field independently of
+@code{title} (for example, in case @code{title} contains markup
+code which does not render as plain text in a satisfactory way
+automatically).
+
+@end itemize
+
+
+@strong{Extracting music improvements}
+
+@itemize
+
+@item
+@code{\displayLilyMusic} and its underlying Scheme functions no
+longer omit redundant note durations. This makes it easier to
+reliably recognize and format standalone durations in expressions
+like
+@example
+@{ c4 d4 8 @}
+@end example
+
+@end itemize
+
+
+
+@subheading New for spacing issues
+
+
+@strong{Page breaking improvements}
+
+@itemize
+
+@item
+There are two new page breaking functions. @code{ly:one-page-breaking}
+automatically adjusts the height of the page to fit the music, so that
+everything fits on one page. @code{ly:one-line-auto-height-breaking}
+is like @code{ly:one-line-breaking}, placing the music on a single
+line and adjusting the page width accordingly, however it also
+automatically adjusts the page height to fit the music.
+
+@end itemize
+
+
+@strong{Vertical and Horizontal spacing improvements}
+
+@itemize
+
+@item
+It is now possible to move systems with reference to their current
+position using the @code{extra-offset} subproperty of
+@code{NonMusicalPaperColumn.line-break-system-details}. Both vertical
+and horizontal changes are possible. This feature is especially useful
+for making slight adjustments to the default vertical position of
+individual systems. See @ruser{Explicit staff and system positioning} for
+more information.
+
+@item
+Improved visual spacing of small and regular @q{MI} Funk and Walker
+noteheads so they are now the same width as other shaped notes in
+their respective sets. @code{SOL} noteheads are also now visually
+improved when used with both the normal Aiken and Sacred Harp heads, as
+well as with the thin variants.
+
+@item
+@code{LeftEdge} now has a definable @code{Y-extent} (i.e.vertical). See
+@rinternals{LeftEdge}.
+
+@item
+Grobs and their parents can now be aligned separately allowing
+more flexibility for grob positions. For example the @q{left} edge of a
+grob can now be aligned on the @q{center} of its parent.
+
+@item
+Improved horizontal alignment when using @code{TextScript},
+with @code{DynamicText} or @code{LyricText}.
+
+@end itemize
+
+
+
+@subheading New for changing defaults
+
+@itemize
+
+@item
+All of @code{\override}, @code{\revert}, @code{\set}, and
+@code{\unset} now work with the @code{\once} prefix for making
+one-time settings.
+@lilypond[quote,verbatim]
+\relative {
+ c'4 d
+ \override NoteHead.color = #red
+ e4 f |
+ \once \override NoteHead.color = #green
+ g4 a
+ \once \revert NoteHead.color
+ b c |
+ \revert NoteHead.color
+ f2 c |
+}
@end lilypond
-The @code{\times} command with its inverted fraction order
-@code{@var{n}/@var{t}} is still available.
+
+@end itemize
+
+
+
+@subheading New for Internal interfaces and functions
+
+@itemize
+
+@item
+The music and grob property @code{spanner-id}, used for distinguishing
+simultaneous slurs and phrasing slurs, has been changed from a string to
+a @emph{key} which can be either a non-negative integer or symbol (also
+see the previous documented expressive mark improvement --
+@emph{A new command \=X has been added}).
@item
-Introducing two new markup-commands; @code{\draw-dashed-line} and
-@code{\draw-dotted-line}.
+Context properties named in the @samp{alternativeRestores} property are
+restored to their value at the start of the @emph{first} alternative in
+all subsequent alternatives.
+
+Currently the default set restores @q{current meter}:
+
+@lilypond[verbatim,fragment,quote,relative=2]
+\time 3/4
+\repeat volta 2 { c2 e4 | }
+\alternative {
+ { \time 4/4 f2 d | }
+ { f2 d4 | }
+}
+g2. |
+@end lilypond
@noindent
-The dashed-line extends to the whole length given by @var{dest}, if
-@code{full-length} is set to @code{#t} (this is the default) without any
-space at the beginning or end. @code{off} will then be altered to fit.
-To insist on the given (or default) values of @code{on}, @code{off} use
-@code{\override #'(full-length . #f)}. Manual settings for @code{on},
-@code{off} and @code{phase} are possible.
+@q{measure position}:
+
+@lilypond[verbatim,fragment,quote,relative=2]
+\time 3/4
+\repeat volta 2 { c2 e4 | }
+\alternative {
+ { \time 4/4
+ \set Timing.measurePosition = #(ly:make-moment -1/2)
+ f2 | }
+ { f2 d4 | }
+}
+g2. |
+@end lilypond
@noindent
-The dotted-line always extends to the whole length given by @var{dest},
-without any space at the beginning or end. Manual settings for
-@code{off} are possible to get larger or smaller space between the dots.
-The given (or default) value of @code{off} will be altered to fit the
-line-length.
+and @q{chord changes}:
-@lilypond[verbatim,quote]
-\markup {
- \draw-dashed-line #'(5.1 . 2.3)
- \override #'(on . 0.3)
- \override #'(off . 0.5)
- \draw-dashed-line #'(5.1 . 2.3)
- \draw-dotted-line #'(5.1 . 2.3)
- \override #'(thickness . 2)
- \override #'(off . 0.2)
- \draw-dotted-line #'(5.1 . 2.3)
+@lilypond[verbatim,fragment,quote]
+<<
+ \new ChordNames {
+ \set chordChanges = ##t
+ \chordmode { c1:m d:m c:m d:m }
+ }
+ \new Staff {
+ \repeat volta 2 { \chordmode { c1:m } }
+ \alternative {
+ { \chordmode { d:m } }
+ { \chordmode { c:m } }
+ }
+ \chordmode { d:m }
}
+>>
@end lilypond
@item
-Starting with version@tie{}2.17.10, error messages or the
-@code{textedit} @acronym{URI} used for point-and-click
-functionality specify column numbers starting with@tie{}1 rather
-than@tie{}0. The byte offset (also part of @code{textedit}
-@acronym{URI}s) still starts at@tie{}0.
+LilyPond functions defined with @code{define-music-function},
+@code{define-event-function}, @code{define-scheme-function} and
+@code{define-void-function} can now be directly called from Scheme
+as if they were genuine Scheme procedures. Argument checking and
+matching will still be performed in the same manner as when
+calling the function through LilyPond input. This includes the
+insertion of defaults for optional arguments not matching their
+predicates. Instead of using @code{\default} in the actual
+argument list for explicitly skipping a sequence of optional
+arguments, @code{*unspecified*} can be employed.
@item
-The @code{\clef} command supports optional transposition:
-@lilypond[verbatim,quote,relative=1]
-\clef "treble_(8)"
-c2 c
-\clef "bass^[15]"
-c2 c
+Current input location and parser are now stored in GUILE fluids
+and can be referenced via the function calls @code{(*location*)}
+and @code{(*parser*)}. Consequently, a lot of functions
+previously taking an explicit @code{parser} argument no longer do
+so.
+
+Functions defined with @code{define-music-function},
+@code{define-event-function}, @code{define-scheme-function} and
+@code{define-void-function} no longer use @code{parser} and
+@code{location} arguments.
+
+With those particular definitions, LilyPond will try to recognize
+legacy use of @code{parser} and @code{location} arguments,
+providing backwards-compatible semantics for some time.
+
+@item
+Scheme functions and identifiers can now be used as output definitions.
+
+@item
+Scheme expressions can now be used as chord constituents.
+
+@item
+Music (and scheme and void) functions and markup commands that
+just supply the final parameters to a chain of overrides, music
+function and markup command calls can now be defined in the form
+of just writing the expression cut short with @code{\etc}.
+
+@lilypond[verbatim,quote]
+\markup bold-red = \markup \bold \with-color #red \etc
+highlight = \tweak font-size 3 \tweak color #red \etc
+
+\markup \bold-red "text"
+\markuplist \column-lines \bold-red { One Two }
+
+{ c' \highlight d' e'2-\highlight -! }
@end lilypond
@item
-The LilyPond syntax of dot-separated words @code{Voice.Accidental}
-has been made interchangeable with @code{#'(Voice Accidental)}, a
-Scheme list of symbols. As one result, code like
-@example
-\override Voice.TextSpanner #'(bound-details left text) = "rit."
-@end example
-is now equivalent to
-@example
-\override Voice.TextSpanner bound-details.left.text = "rit."
-@end example
-or even
+Dot-separated symbol lists like @code{FretBoard.stencil} were
+already supported as of version@tie{}2.18. They may now also
+contain unsigned integers, and may alternatively be separated by
+commata. This allows usage such as
+@lilypond[quote,verbatim]
+{ \time 2,2,1 5/8 g'8 8 8 8 8 }
+@end lilypond
+and
@example
-\override #'(Voice TextSpanner) bound-details.left.text = "rit."
+\tagGroup violin,oboe,bassoon
@end example
@item
-Grob and grob property path no longer need to be specified as two
-separate arguments to commands like @samp{\override} and
-@code{\revert}, allowing for the syntax
+Such lists may also be used in expressions for assignments, sets,
+and overrides. This allows usage such as
+@lilypond[quote,verbatim]
+{ \unset Timing.beamExceptions
+ \set Timing.beatStructure = 1,2,1
+ g'8 8 8 8 8 8 8 8 }
+@end lilypond
+
+@item
+Association list elements could previously be assigned values
+individually (for example, paper variables like
+@code{system-system-spacing.basic-distance}). They may now be
+also referenced in this manner, as with
@example
-\override Voice.TextSpanner.bound-details.left.text = "rit."
+\paper @{
+ \void \displayScheme \system-system-spacing.basic-distance
+@}
@end example
-Since complementary music functions like @samp{\overrideProperty}
-cannot support forms with and without separating space at the same
-time, using a single dotted path is now the preferred form.
-Specifying grob path and grob property path separately, currently
-still supported with @samp{\override} and @samp{\revert} for
-compatibility reasons, is deprecated.
+
+In combination with the previously mentioned changes, this allows
+setting and referencing pseudovariables like @code{violin.1}.
@item
-Due to words now being accepted as symbol function arguments, the
-interfaces of @samp{\accidentalStyle}, @samp{\alterBroken},
-@samp{\footnote} and @samp{\tweak} had to be redesigned where
-optional symbol arguments were involved. Please check the
-respective music function documentation for details.
+The markup-list-command @code{\table} is now available.
+Each column may be aligned differently.
+@lilypond[quote,verbatim]
+\markuplist {
+ \override #'(padding . 2)
+ \table
+ #'(0 1 0 -1)
+ {
+ \underline { center-aligned right-aligned center-aligned left-aligned }
+ one "1" thousandth "0.001"
+ eleven "11" hundredth "0.01"
+ twenty "20" tenth "0.1"
+ thousand "1000" one "1.0"
+ }
+}
+@end lilypond
@item
-Several commands now accept symbol lists (conveniently entered as
-dot-separated words) for various kinds of arguments. These
-include @samp{\accidentalStyle}, @samp{\alterBroken},
-@samp{\footnote}, @samp{\hide}, @samp{\omit},
-@samp{\overrideProperty}, @samp{\shape}, and @samp{\tweak}.
+@code{InstrumentName} now supports @code{text-interface}.
@item
-The bar line user interface has changed. Bar glyphs now resemble the
-appearance of the bar line, so a left repeat sign has to be coded
-as @code{.|:}. The command @code{\defineBarLine} provides an easy way
-to define additional bar line styles.
+The @code{thin-kern} property of the @code{BarLine} grob has been
+renamed to @code{segno-kern}.
@item
-Accidentals in the key signature may be printed in octaves other
-than their traditional positions, or in multiple octaves.
-@lilypond[quote,relative=0]
-\override Staff.KeySignature #'flat-positions = #'((-5 . 5))
-\override Staff.KeyCancellation #'flat-positions = #'((-5 . 5))
-\clef bass \key es \major es g bes d
-\clef treble \bar "||" \key es \major es g bes d
-\override Staff.KeySignature #'sharp-positions = #'(2)
-\bar "||" \key d \major b fis b2
-@end lilypond
+@code{KeyCancellation} grobs now ignore cue clefs (like
+@code{KeySignature} grobs do).
+
+@item
+Add support for @code{\once@tie{}\unset}
@end itemize
@ifhtml
For older news, go to
+@uref{http://lilypond.org/doc/v2.18/Documentation/changes/},
@uref{http://lilypond.org/doc/v2.16/Documentation/changes/},
-@uref{http://lilypond.org/doc/v2.14/Documentation/changes/},
or @uref{../,go back} to the Documentation index.
-
@end ifhtml
@bye
projects / lilypond.git / blobdiff