-New features in 2.16 since 2.14
+New features in 2.20 since 2.18
*******************************
- * Support for cross-staff stems on chords, using `crossStaff' and
- the `Span_stem_engraver'. This calculates the length of
- cross-staff stems automatically.
+ • Slurs and phrasing slurs may now be started from individual notes
+ in a chord. Several simultanous slurs per ‘Voice’ need to be
+ distinguished by ‘spanner-id’ setting.
- [image of music]
+ • The music and grob property ‘spanner-id’ for distinguishing
+ simultaneous slurs and phrasing slurs has been changed from a
+ string to a ‘key’, a non-negative integer or symbol.
-
- * The syntax of words (character sequences recognized without
- enclosing quotes) and commands (now always a backslash `\'
- followed by a word) has been unified across all modes: it now
- consists of alphabetic characters, possibly enclosing isolated
- dashes `-' and underlines `_'.
-
- As one consequence, using unquoted text scripts like (literally!)
- { c-script c\f_script }
- will now tend to result in invalid music. Omitting quote marks
- for arbitrary text rather than keywords has never been good
- practice or even documented, and it is unlikely to have seen
- significant use.
-
- Staying with established conventions (like not using dashes or
- underlines for command names intended to be used inside of music)
- remains advisable. The reason for this change is more robust
- recognition of LilyPond's lexical units for LilyPond itself as
- well as external tools interpreting its syntax.
-
- * Support for Kievan square notation:
-
- \new KievanVoice {
- \cadenzaOn
- c d e f g a bes
- \bar "kievan"
+ • There is a new command ‘\=’ for specifying the ‘spanner-id’ for
+ simultaneous slurs and phrasing slurs.
+ \fixed c' {
+ <c~ f\=1( g\=2( >2 <c e\=1) a\=2) >
}
- [image of music]
-
-
- * Augmentation dots now avoid the other voice in two-voice polyphony
- so that users can move the `Dot_column_engraver' to set dots
- independently for each `Voice'.
-
- [image of music]
-
-
- * A Scheme function to adjust the control points of curves such as
- slurs and ties, developed by several users, is now included in
- LilyPond.
-
- g8->( bes,-.) d4
- \shape Slur #'((-0.5 . 1.5) (-3 . 0) (0 . 0) (0 . 0))
- g8->( bes,!-.) d4
- [image of music]
-
-
- * Use of `\tempo' specifications in `\midi' blocks (removed in
- 2.9.16 in favor of explicit `tempoWholesPerMinute' settings) has
- seen a revival: now any kind of property-setting music is turned
- into context definitions within output specifications, allowing for
- declarations like
- \layout { \accidentalStyle modern }
- \midi { \tempo 4. = 66 }
-
- * The LilyPond G clef has been redesigned - upper loop is now more
- balanced, bottom crook sticks out less and the "spine" (main
- vertical line) is more evenly curved. The old and new versions can
- be compared by looking at the documentation: old version
- (http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#clef-glyphs),
- new version
- (http://lilypond.org/doc/v2.15/Documentation/notation/the-feta-font.html#clef-glyphs).
-
- * Lilypond's stencil commands have been simplified to allow for less
- code duplication and better height approximations of graphical
- objects. The following stencil commands have been eliminated:
- * `beam'
-
- * `bezier-sandwich'
-
- * `bracket'
-
- * `dashed-slur'
-
- * `dot'
-
- * `oval'
-
- * `repeat-slash'
-
- * `zigzag-line'
-
- * Flags are now treated as separate objects rather than as stem
- parts.
-
- [image of music]
-
-
- * Two alternative methods for bar numbering can be set, especially
- for when using repeated music;
-
- [image of music]
-
-
- * The following is a fundamental change in LilyPond's music
- representation: Rhythmic events like `LyricEvent' and `NoteEvent'
- are no longer wrapped in `EventChord' unless they have been
- actually entered as part of a chord in the input. If you
- manipulate music expressions in Scheme, the new behavior may
- require changes in your code. Calling the music function
- `\eventChords' or the Scheme function `event-chord-wrap!'
- converts to the old representation; using one of those might be
- easiest for keeping legacy code operative.
-
- The following three items are consequences of this change.
-
- * The repetitive chord entry aid `q' has been reimplemented.
- Repeated chords are now replaced right before interpreting a music
- expression. In case the user wants to retain some events of the
- original chord, he can run the repeat chord replacement function
- `\chordRepeats' manually.
-
- * String numbers and right hand fingerings on single notes now appear
- without having to be written inside of chord brackets.
-
- * Music functions now work the same when used inside or outside of
- chords, including all the possibilities of argument parsing.
- Music variables can be used inside of chords: a construct like
-
- tonic=fis'
- { <\tonic \transpose c g \tonic> }
- [image of music]
-
-
- now works as expected. One can use `#{...#}' for constructing
- chord constituents. `\tweak' now works on single notes without
- needing to wrap them in a chord. Using it on command events and
- lyrics is now possible, but not likely to give results yet.
-
- * `\tweak' now takes an optional layout object specification. It can
- be used for tweaking layout objects that are only indirectly
- caused by the tweaked event, like accidentals, stems, and flags:
-
- <\tweak Accidental #'color #red cis4
- \tweak Accidental #'color #green es
- g>
- [image of music]
-
-
- * Scheme expressions inside of embedded Lilypond (`#{...#}') are now
- executed in lexical closure of the surrounding Scheme code. `$'
- is no longer special in embedded Lilypond. It can be used
- unconditionally in Lilypond code for immediate evaluation of Scheme
- expressions, similar to how `ly:export' could previously be used.
- `ly:export' has been removed. As a consequence, `#' is now free
- to delay evaluation of its argument until the parser actually
- reduces the containing expression, greatly reducing the potential
- for premature evaluation. There are also `splicing' operators `$@'
- and `#@' for interpreting the members of a list individually.
-
- * To reduce the necessity for using `$', Scheme expressions written
- with `#' are interpreted as music inside of music lists, and as
- markups or markup lists inside of markups.
-
- * Support for jazz-like chords has been improved: Lydian and altered
- chords are recognised; separators between chord modifiers are now
- treated independently of separators between "slash" chords and
- their bass notes (and by default, slashes are now only used for
- the latter type of separator); additional pitches are no longer
- prefixed with "add" by default; and the "m" in minor chords can be
- customized. *note Customizing chord names:
- (lilypond-notation)Customizing chord names. for more information.
-
- * The `\markuplines' command has been renamed to `\markuplist' for a
- better match with its semantics and general Lilypond nomenclature.
-
- * The interface for specifying string tunings in tablature has been
- simplified considerably and employs the scheme function
- `\stringTuning' for most purposes.
-
- * Beams can now have their slopes preserved over line breaks.
-
- [image of music]
-
-
- To do this, several callback functions are now deprecated.
- * `ly:beam::calc-least-squares-positions'
-
- * `ly:beam::slope-damping'
-
- * `ly:beam::shift-region-to-valid'
- Furthermore, `ly:beam::quanting' now takes an additional argument
- to help calculations over line breaks. All of these functions are
- now automatically called when setting the `positions' parameter.
-
- * In function arguments music, markups and Scheme expressions (as
- well as several other syntactic entities) have become mostly
- interchangeable and are told apart only by evaluating the
- respective predicate. In several cases, the predicate is
- consulted by the parser, like when deciding whether to interpret
- `-3' as a number or a fingering event.
-
- * Music functions (and their close relatives) can now be defined with
- optional arguments.
-
- * For defining commands executed only for their side-effects,
- `define-void-function' is now available.
-
- * There is a new `define-event-function' command in analogy to
- `define-music-function' that can be used for defining music
- functions acting as post events without requiring a direction
- specifier (`-', `^', or `_') placed before them.
-
- dyn=#(define-event-function (parser location arg) (markup?)
- (make-dynamic-script arg))
- \relative c' { c\dyn pfsss }
- [image of music]
-
-
- * A list of ASCII aliases for special characters can be included.
-
+ image of music
+
+ • Blocks introduced with ‘\header’ can be stored in variables and
+ used as arguments to music and scheme functions and as the body of
+ ‘#{...#}’ constructs. They are represented as a Guile module.
+
+ While ‘\book’, ‘\bookpart’, ‘\score’, ‘\with’, ‘\layout’, ‘\midi’,
+ ‘\paper’ blocks can be passed around in similar manner, they are
+ represented by different data types.
+
+ • Dot-separated symbol lists like ‘FretBoard.stencil’ were already
+ supported as of version 2.18. They may now also contain unsigned
+ integers, and may alternatively be separated by commata. This
+ allows usage such as
+ { \time 2,2,1 5/8 g'8 8 8 8 8 }
+ image of music
+
+ and
+ \tagGroup violin,oboe,bassoon
+
+ • Such lists may also be used in expressions for assignments, sets,
+ and overrides. This allows usage such as
+ { \unset Timing.beamExceptions
+ \set Timing.beatStructure = 1,2,1
+ g'8 8 8 8 8 8 8 8 }
+ image of music
+
+ • Association list elements could previously be assigned values
+ individually (for example, paper variables like
+ ‘system-system-spacing.basic-distance’). They may now be also
+ referenced in this manner, as with
\paper {
- #(include-special-characters)
+ \void \displayScheme \system-system-spacing.basic-distance
}
- \markup "• † ©right; &OE; &ss; ¶"
- [image of music]
+ In combination with the previously mentioned changes, this allows
+ setting and referencing pseudovariables like ‘violin.1’.
+
+ • 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.
+
+ • French note names are now defined specifically instead of being
+ aliased to Italian note names: in addition to the generic
+ Italian-derived syntax, the D pitch may be entered as ‘ré’. Double
+ sharps may also be entered using the ‘-x’ suffix.
+
+ • Additional bass strings (for lute tablature) are supported.
+ 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")
+ }
+ }
+ }
+ image of music
+
+ • The markup-list-command ‘\table’ is now available. Each column may
+ be aligned differently.
+ \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"
+ }
+ }
+ image of music
+
+ • A new markup-command, ‘\with-dimensions-from’, makes
+ ‘\with-dimensions’ easier to use by taking the new dimensions from
+ a markup object, given as first argument.
+ \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" "!"
+ }
+ }
+ image of music
+
+ • A new page breaking function ‘ly:one-line-auto-height-breaking’
+ places a whole score on a single line and changes the page width to
+ match, just like ‘ly:one-line-breaking’. The difference is that it
+ also automatically modifies the height of the page to fit the
+ height of the music.
+
+ • Markup-command ‘\draw-squiggle-line’ is now available. Customizing
+ is possible with overrides of ‘thickness’, ‘angularity’, ‘height’
+ and ‘orientation’
+ \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
+ }
+ image of music
+
+ • A new command, ‘\RemoveAllEmptyStaves’, has been made available,
+ which acts exactly like ‘\RemoveEmptyStaves’, except for also
+ removing empty staves on the first system in a score.
+
+ • Markup-commands ‘\undertie’ and ‘\overtie’ are now available, as
+ well as the generic markup-command ‘\tie’.
+ \markup {
+ \undertie "undertied"
+ \overtie "overtied"
+ }
- * There is a new `define-scheme-function' command in analogy to
- `define-music-function' that can be used to define functions
- evaluating to Scheme expressions while accepting arguments in
- Lilypond syntax.
-
- * The construct `#{ ... #}' can now be used not just for
- constructing sequential music lists, but also for pitches
- (distinguished from single note events by the absence of a
- duration or other information that can't be part of a pitch),
- single music events, void music expressions, post events, markups
- (mostly freeing users from having to use the `markup' macro),
- markup lists, number expressions, context definitions and
- modifications, and a few other things. If it encloses nothing or
- only a single music event, it no longer returns a sequential music
- list but rather a void music expression or just the music event
- itself, respectively.
-
- * Pitches can be used on the right side of assignments. They are
- distinguished from single note events by the absence of a duration
- or other information that can't be part of a pitch.
-
- * New command-line option `--loglevel=LEVEL' to control how much
- output LilyPond creates. Possible values are ERROR, WARN,
- BASIC_PROGRESS, PROGRESS, DEBUG.
-
- * `\once \set' now correctly resets the property value to the
- previous value.
+ m = {
+ c''1 \prall -\tweak text \markup \tie "131" -1
+ }
- [image of music]
+ { \voiceOne \m \voiceTwo \m }
+ image of music
+ • ‘TabStaff’ is now able to print micro-tones for bendings etc.
+ \layout {
+ \context {
+ \Score
+ supportNonIntegerFret = ##t
+ }
+ }
- * The alignment of dynamic spanners (hairpins, text crescendo, etc.)
- is now automatically broken if a different direction is explicitly
- given.
+ mus = \relative { c'4 cih d dih }
+
+ <<
+ \new Staff << \clef "G_8" \mus >>
+ \new TabStaff \mus
+ >>
+ image of music
+
+ • Two new styles of whiteout are now available. The ‘outline’ style
+ approximates the contours of a glyph’s outline, and its shape is
+ produced from multiple displaced copies of the glyph. The
+ ‘rounded-box’ style produces a rounded rectangle shape. For all
+ three styles, including the default ‘box’ style, the whiteout
+ shape’s ‘thickness’, as a multiple of staff-line thickness, can be
+ customized.
+
+ \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
+ }
+ image of music
+
+ • All of ‘\override’, ‘\revert’, ‘\set’, and ‘\unset’ now work with
+ the ‘\once’ prefix for making one-time settings.
+ \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 |
+ }
+ image of music
+
+ • When outputting MIDI, LilyPond will now store the ‘title’ defined
+ in a score’s ‘\header’ block (or, if there is no such definition on
+ the ‘\score’ level, the first such definition found in a ‘\header’
+ block of the score’s enclosing ‘\bookpart’, ‘\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 ‘midititle’ ‘\header’ field independently of ‘title’ (for
+ example, in case ‘title’ contains markup code which does not render
+ as plain text in a satisfactory way automatically).
+
+ • 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 ‘\etc’.
+
+ bold-red-markup = \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 -! }
+ image of music
+
+ • LilyPond functions defined with ‘define-music-function’,
+ ‘define-event-function’, ‘define-scheme-function’ and
+ ‘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 ‘\default’ in the actual argument list for
+ explicitly skipping a sequence of optional arguments,
+ ‘*unspecified*’ can be employed.
+
+ • Current input location and parser are now stored in GUILE fluids
+ and can be referenced via the function calls ‘(*location*)’ and
+ ‘(*parser*)’. Consequently, a lot of functions previously taking
+ an explicit ‘parser’ argument no longer do so.
+
+ Functions defined with ‘define-music-function’,
+ ‘define-event-function’, ‘define-scheme-function’ and
+ ‘define-void-function’ no longer use ‘parser’ and ‘location’
+ arguments.
+
+ With those particular definitions, LilyPond will try to recognize
+ legacy use of ‘parser’ and ‘location’ arguments, providing
+ backwards-compatible semantics for some time.
+
+ • In the "english" notename language, the long notenames for pitches
+ with accidentals now contain a hyphen for better readability. You
+ now have to write
+ \key a-flat \major
+ instead of the previous
+ \key aflat \major
+
+ Double accidentals do not get another hyphen, so the Dutch ‘cisis’
+ has the long English notename ‘c-sharpsharp’.
+
+ • The visual style of tremolo slashes (shape, style and slope) is now
+ more finely controlled.
+ image of music
+
+ • Multi-measure rests have length according to their total duration,
+ under the control of ‘MultiMeasureRest.space-increment’.
+ image of music
+
+ • Page numbers may now be printed in roman numerals, by setting the
+ ‘page-number-type’ paper variable.
+
+ • It is now possible to use ‘\time’ and ‘\partial’ together to change
+ the time signature in mid measure.
+
+ \override Score.BarNumber.break-visibility = #end-of-line-invisible
+ \partial 4 \time 3/4 f4 | 2 4 | 2 \bar "||"
+ \time 9/8 \partial 4. f8 8 8 | 2. 8 8 8 |
+ image of music
+
+ • It is now possible to override the ‘text’ property of chord names.
+
+ <<
+ \new ChordNames \chordmode {
+ a' b c:7
+ \once \override ChordName.text = #"foo"
+ d
+ }
+ >>
+ image of music
+
+ • Improved horizontal alignment when using ‘TextScript’, with
+ ‘DynamicText’ or ‘LyricText’.
+
+ • A new command ‘\magnifyStaff’ has been added which scales staff
+ sizes, staff lines, bar lines, beamlets and horizontal spacing
+ generally at the ‘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.
+
+ • ‘InstrumentName’ now supports ‘text-interface’.
+
+ • There is now support for controlling the ‘expression level’ of MIDI
+ channels using the ‘Staff.midiExpression’ context property. This
+ can be used to alter the perceived volume of even sustained notes
+ (albeit in a very ‘low-level’ way) and accepts a number value
+ between ‘0.0’ and ‘1.0’.
+
+ \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 { }
+ }
- [image of music]
+ • Support for making it easier to use alternative ‘music’ fonts other
+ than the default Emmentaler in LilyPond has been added. See
+ <http://fonts.openlilylib.org/> for more information.
+
+ • Grobs and their parents can now be aligned separately allowing more
+ flexibility for grob positions. For example the ‘left’ edge of a
+ grob can now be aligned on the ‘center’ of its parent.
+
+ • Improvements to the ‘\partial’ command have been made to avoid
+ problems when using multiple, parallel contexts.
+
+ • ‘\chordmode’ can now use ‘< >’ and ‘<< >>’ constructs.
+
+ • A new command ‘\tagGroup’ has now been added. This complements the
+ existing ‘\keepWithTag’ and ‘\removeWithTag’ commands. For
+ Example:
+
+ \tagGroup #'(violinI violinII viola cello)
+
+ declares a list of ‘tags’ that belong to a single ‘tag group’.
+
+ \keepWithTag #'violinI
+
+ Is now only concerned with ‘tags’ from ‘violinI’’s tag group.
+
+ Any element of the included music tagged with one or more tags from
+ the group, but _not_ with VIOLINI, will be removed.
+
+ • The ‘\addlyrics’ function now works with arbitrary contexts
+ incuding ‘Staff’.
+
+ • String numbers can now also be used to print roman numerals (e.g.
+ for unfretted string instruments).
+ c2\2
+ \romanStringNumbers
+ c\2
+ \arabicStringNumbers
+ c1\3
+ image of music
+
+ • The ‘thin-kern’ property of the ‘BarLine’ grob has been renamed to
+ ‘segno-kern’.
+
+ • ‘KeyCancellation’ grobs now ignore cue clefs (like ‘KeySignature’
+ grobs do).
+
+ • Add support for ‘\once \unset’
+
+ • It is now possible to individually color both the dots and
+ parentheses in fret diagrams when using the ‘\fret-diagram-verbose’
+ markup command.
+
+ \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))
+ }
+ }
+ }
+ image of music
+
+ • Two new properties have been added for use in
+ ‘fret-diagram-details’ when using the ‘\fret-diagram-verbose’
+ markup command; ‘fret-label-horizontal-offset’ which affects the
+ ‘fret-label-indication’ and ‘paren-padding’ which controls the
+ space between the dot and the parentheses surrounding it.
+
+ \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))
+ }
+ }
+ }
+ image of music
+
+ • A new markup command ‘\justify-line’ has been added. Similar to
+ the ‘\fill-line’ markup command except that instead of setting
+ _words_ in columns, the ‘\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.
+
+ \markup \fill-line {oooooo oooooo oooooo oooooo}
+ \markup \fill-line {ooooooooo oooooooo oo ooo}
+ image of music
+
+ \markup \justify-line {oooooo oooooo oooooo oooooo}
+ \markup \justify-line {ooooooooo oooooooo oo ooo}
+ image of music
+
+ • A new command ‘\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.
+
+ \new Staff <<
+ \new Voice \relative {
+ \voiceOne
+ <e' e'>4 <f f'>8. <g g'>16 <f f'>8 <e e'>4 r8
+ }
+ \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
+ }
+ }
+ >>
+ image of music
+
+ • 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 ‘built-in’, which means it does
+ not need to be copied and edited: instead it is simply ‘\include’’d
+ in the input file. For details, see *note
+ (lilypond-learning)Built-in templates::.
+
+ • The positioning of tuplet numbers for kneed beams has been
+ significantly improved. Previously, tuplet numbers were placed
+ according to the position of the tuplet bracket, even if it was not
+ printed. This could lead to stranded tuplet numbers. Now they are
+ now positioned closer to the kneed-beam when an appropriate beam
+ segment exists for its placement and when the bracket is not drawn.
+
+ Collision detection is also added, offsetting horizontally if too
+ close to an adjoining note column but preserving the number’s
+ vertical distance from the kneed beam. If the number itself is too
+ large to fit in the available space the original, bracket-based,
+ positioning system is used instead; and in the event of a collision
+ (e.g. with an accidental) the tuplet number is moved vertically
+ away instead.
+
+ \time 3/4
+ \override Beam.auto-knee-gap = 3
+ \tuplet 3/2 4 {
+ g8 c'' e,
+ c'8 g,, e''
+ g,,8 e''' c,,
+ }
+ image of music
+
+ The original kneed-beam tuplet behavior is still available through
+ an ‘\override’ via a new, ‘knee-to-beam’ property.
+
+ \time 3/4
+ \override Beam.auto-knee-gap = 3
+ \override TupletNumber.knee-to-beam = ##f
+ \tuplet 3/2 4 {
+ g8 c'' e,
+ c'8 g,, e''
+ g,,8 e''' c,,
+ }
+ image of music
+ • ‘\lyricsto’ and ‘\addLyrics’ have been ‘harmonized’. Both now
+ accept the same kind of delimited argument list that ‘\lyrics’ and
+ ‘\chords’ accept. Backward compatibility has been added so music
+ identifiers (i.e. ‘\mus’) are permitted as arguments. A
+ ‘convert-ly’ rule has been added that removes redundant uses of
+ ‘\lyricmode’ and rearranges combinations with context starters such
+ that ‘\lyricsto’ in general is applied last (i.e. like
+ ‘\lyricmode’ would be).
- * Appoggiaturas and acciaccaturas now also work inside a slur, not
- only inside a phrasing slur. Also, a function `\slashedGrace' was
- added that does not use a slur from the acciaccatura note.
+ • Scheme functions and identifiers can now be used as output
+ definitions.
- [image of music]
+ • Scheme expressions can now be used as chord constituents.
+ • Improved visual spacing of small and regular ‘MI’ Funk and Walker
+ noteheads so they are now the same width as other shaped notes in
+ their respective sets. ‘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.
- * To suppress the line on a crescendo text spanner (and other
- similar spanners), LilyPond now fully supports the `#'style =
- #'none' property.
+ • ‘LeftEdge’ now has a definable ‘Y-extent’ (i.e.vertical). See
+ *note (lilypond-internals)LeftEdge::.
- [image of music]
+ • Added a new ‘make-path-stencil’ function that supports all ‘path’
+ commands both relative and absolute:
+ ‘lineto’, ‘rlineto’, ‘curveto’, ‘rcurveto’, ‘moveto’, ‘rmoveto’,
+ ‘closepath’. The function also supports ‘single-letter’ syntax
+ used in standard SVG path commands:
- * LilyPond.app now supports MacOS X 10.7, thanks Christian Hitz!
+ ‘L’, ‘l’, ‘C’, ‘c’, ‘M’, ‘m’, ‘Z’ and ‘z’. The new command is also
+ backward-compatible with the original ‘make-connected-path-stencil’
+ function. Also see ‘scm/stencil.scm’.
- * Glissandi can now span multiple lines.
+ • Context properties named in the ‘alternativeRestores’ property are
+ restored to their value at the start of the _first_ alternative in
+ all subsequent alternatives.
+ Currently the default set restores ‘current meter’;
+ \time 3/4
+ \repeat volta 2 { c2 e4 | }
+ \alternative {
+ { \time 4/4 f2 d | }
+ { f2 d4 | }
+ }
+ g2. |
+ image of music
+
+ ‘measure position’;
+
+ \time 3/4
+ \repeat volta 2 { c2 e4 | }
+ \alternative {
+ { \time 4/4
+ \set Timing.measurePosition = #(ly:make-moment -1/2)
+ f2 | }
+ { f2 d4 | }
+ }
+ g2. |
+ image of music
+
+ and ‘chord changes’;
+
+ <<
+ \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 }
+ }
+ >>
+ image of music
+
+ • Improved MIDI output for breathe marks. After tied notes, breaths
+ take time _only_ from the last note of the tie; e.g. ‘{ c4~ c8
+ \breathe }’ performs as ‘{ c4~ c16 r }’ instead of ‘{ 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.
+
+ • A new note head style for Tabulature has been added;
+ ‘TabNoteHead.style = #'slash’.
+
+ • Four new Clef glyphs have been added _Double G_, _Tenor G_,
+ _Varpercussion_ and _varC_ and their related tessitura.
+ \override Staff.Clef.full-size-change = ##t
+
+ \clef "GG" c c c c
+ \clef "tenorG" c c c c
+ \clef "varC" c c c c
+ \clef "altovarC" c c c c
+ \clef "tenorvarC" c c c c
+ \clef "baritonevarC" c c c c
+ \clef "varpercussion" c c c c
+
+ \break
+ \override Staff.Clef.full-size-change = ##f
+
+ \clef "GG" c c c c
+ \clef "tenorG" c c c c
+ \clef "varC" c c c c
+ \clef "altovarC" c c c c
+ \clef "tenorvarC" c c c c
+ \clef "baritonevarC" c c c c
+ \clef "varpercussion" c c c c
+ image of music
+
+ • Isolated durations in music sequences now stand for unpitched
+ notes. This may be useful for specifying rhythms to music or
+ scheme functions. When encountered in the final score, the pitches
+ are provided by the preceding note or chord. Here are two examples
+ where this makes for readable input:
+
+ \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 |
+ }
+ image of music
+
+ \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
+ image of music
+
+ • ‘\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
+ { c4 d4 8 }
+
+ • Beaming exceptions can now be constructed using the
+ ‘\beamExceptions’ scheme function. One can now write
+
+ \time #'(2 1) 3/16
+ \set Timing.beamExceptions =
+ \beamExceptions { 32[ 32] 32[ 32] 32[ 32] }
+ c16 c c |
+ \repeat unfold 6 { c32 } |
+ image of music
+
+ with multiple exceptions separated with ‘|’ bar checks (writing the
+ exception pattern without pitches is convenient but not mandatory).
+ Previously, setting the beam exceptions would have required writing
+
+ \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
+ )))
+
+ • 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 ‘midiLength’ and
+ ‘midiExtraVelocity’ properties on ‘ArticulationEvent’. See
+ ‘script-init.ly’ for examples.
+
+ • 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 ‘-dstrokeadjust’ to LilyPond. When generating ‘PDF’ files,
+ this will usually result in markedly better looking ‘PDF’ previews
+ but significantly larger file size. Print quality at high
+ resolutions will be unaffected.
-\1f
-Local Variables:
-coding: utf-8
-End:
projects / lilypond.git / blobdiff