-New features in 2.14 since 2.12
+New features in 2.20 since 2.18
*******************************
- * Lilypond now helps beams avoid collisions with other grobs! This
- feature works completely with manual beams. It also works for all
- automatic beams that do not end right before a change in staff.
- For this special case, please use manual beams.
+ * 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.
- * The Articulate script by Peter Chubb, which is GPLv3 licensed, is
- now a part of the distribution. It allows easy generation of
- improved MIDI files that perform non-legato by default, legato
- slurs, staccato, tempo markings, trills, etc.
+ While `\book', `\bookpart', `\score', `\with', `\layout', `\midi',
+ `\paper' blocks can be passed around in similar manner, they are
+ represented by different data types.
- \include "articulate.ly"
- \articulate <<
- all the rest of the score...
- >>
+ * 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 {
+ \void \displayScheme \system-system-spacing.basic-distance
+ }
+
+ 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.
- * Single beat repeats for sixteenth or shorter notes and beat
- repeats for measures containing notes of varying durations are now
- supported.
+ * Additional bass strings (for lute tablature) are supported.
- [image of music]
+ 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]
- * Lilypond now engraves woodwind fingering charts.
- [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.
- * MIDI output has been improved
- * the option `\set Score.midiChannelMapping = #'voice' puts
- each voice on its own midi MIDI channel
+ \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]
- * the option `\set Score.midiChannelMapping = #'instrument'
- puts identical instruments on the same MIDI channel. This
- means that e.g. for a full orchestral score there are always
- 16 (15 plus percussion) differently sounding instruments
- available, unrestricted by the number of staves or voices.
- (Some MIDI players will cut off notes, however, if two voices
- play the same pitch simultaneously on the same channel.) This
- option also stores each voice in a separate track in the MIDI
- file.
- * the default, `\set Score.midiChannelMapping = #'staff',
- assigns one MIDI channel per staff. This setting allows
- instrument changes (implemented as MIDI program changes) to
- re-use single MIDI channel.
+ * 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.
- * dynamics are now rendered as note velocities, no longer as
- midi volume. This improves the sound on [high end] midi
- renderers.
+ * Markup-command `\draw-squiggle-line' is now available.
+ Customizing is possible with overrides of `thickness',
+ `angularity', `height' and `orientation'
- * MIDI-import through Midi2ly is improved
- * Midi2ly now also works on Windows systems
+ \markup
+ \overlay {
+ \draw-squiggle-line #0.5 #'(3 . 3) ##t
- * MIDI-files with more than 32 tracks are now handled
+ \translate #'(3 . 3)
+ \override #'(thickness . 4)
+ \draw-squiggle-line #0.5 #'(3 . -3) ##t
- * notes on certain simultaneous voices no longer ignored
+ \translate #'(6 . 0)
+ \override #'(angularity . -5)
+ \draw-squiggle-line #0.5 #'(-3 . -3) ##t
- * notes overrunning a bar line are no longer truncated
+ \translate #'(3 . -3)
+ \override #'(angularity . 2)
+ \override #'(height . 0.3)
+ \override #'(orientation . -1)
+ \draw-squiggle-line #0.2 #'(-3 . 3) ##t
+ }
+ [image of music]
- * initial key signature and time signature are respected
- * a problem with octaves in subsequent tracks/voices is fixed
+ * 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.
- * initial support for multiple voices notated on one staff
+ * Markup-commands `\undertie' and `\overtie' are now available, as
+ well as the generic markup-command `\tie'.
- * the instrumentName is set from track data
+ \markup {
+ \undertie "undertied"
+ \overtie "overtied"
+ }
- * new -skip option, rests are displayed by default
+ m = {
+ c''1 \prall -\tweak text \markup \tie "131" -1
+ }
- * rests overrunning a bar line are not truncated
+ { \voiceOne \m \voiceTwo \m }
+ [image of music]
- * new -include-header option for setting titles
- * new -preview option for big MIDI-files
- The first feature was sponsored by Valentin Villenave, the other
- features were sponsored by Image-Line Software for FL Studio.
+ * `TabStaff' is now able to print micro-tones for bendings etc.
- * A new `Completion_rest_engraver' is available for automatically
- converting long rests which overrun bar lines, matching the
- `Completion_heads_engraver' for notes
\layout {
\context {
- \Voice
- \remove "Note_heads_engraver"
- \consists "Completion_heads_engraver"
- \remove "Rest_engraver"
- \consists "Completion_rest_engraver"
+ \Score
+ supportNonIntegerFret = ##t
}
}
- This feature was sponsored by Image-Line Software for FL Studio.
- * Dots can be added to the table of contents items using:
- \paper {
- tocItemMarkup = \tocItemWithDotsMarkup
- }
+ mus = \relative { c'4 cih d dih }
- * New markup commands `\pattern' and `\fill-with-pattern' are
- available. [image of music]
+ <<
+ \new Staff << \clef "G_8" \mus >>
+ \new TabStaff \mus
+ >>
+ [image of music]
- * A minimal composer toolkit of modal transformations is provided.
- A motif may be transposed, inverted and/or converted to its
- retrograde within any scale.
- [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.
- * Added minimal support for black mensural notation.
+ \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]
- * Enhanced support for obliqua shapes within white mensural
- ligatures.
- [image of music]
+ * All of `\override', `\revert', `\set', and `\unset' now work with
+ the `\once' prefix for making one-time settings.
- * New markup functions `\with-link' and `\page-link' that add
- hyperlinks to a given label or a given page number. This works in
- the PDF backend only. All entries to the table of contents now
- automatically add hyperlinks to the pages they are referring to.
+ \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]
- * Compound time signatures are now supported by the `\compoundMeter'
- command, which can be used instead of `\time':
- [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).
- * Lyrics above a staff must have their `staff-affinity' set to
- `DOWN' or must have their `alignAboveContext' property set in
- order to be properly aligned. For more information, see *note
- Placing lyrics vertically: (lilypond-notation)Placing lyrics
- vertically.
+ * 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'.
- * `stringTunings' property values have changed from a list of
- semitones above middle C to a list of LilyPond pitch values.
- convert-ly will handle the change automatically where the value of
- `stringTunings' is set to a Scheme constant value.
+ bold-red-markup = \markup \bold \with-color #red \etc
+ highlight = \tweak font-size 3 \tweak color #red \etc
- New commands `makeStringTuning' and `contextStringTuning' allow
- the creation of string tunings in the form of a Lilypond chord
- construct.
+ \markup \bold-red "text"
+ \markuplist \column-lines \bold-red { One Two }
- * By using `\cueDuringWithClef', cue notes can now also have their
- own clef, which is correctly reset at the end of the cue notes.
- At the begin of each line, the standard clef is still displayed,
- but the cue clef is shown after the time/key signature in smaller
- size.
+ { c' \highlight d' e'2-\highlight -! }
+ [image of music]
- [image of music]
- * Note names can be selected with a new `\language "italiano"'
- command, which can be used in safe mode. The old `\include
- "italiano.ly"' syntax is still supported for now, but will be
- deprecated in the future.
+ * 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.
- * autobeaming is now disabled by `\cadenzaOn' and enabled by
- `\cadenzaOff'. Beaming in cadenzas should be indicated manually.
- Also, if a cadenza is used in a piece with autobeaming disabled, it
- will need to be disabled again after the cadenza.
+ [image of music]
- * The user is now able to specify the name of the predefined
- fretboard table. This allows the use of multiple tables, with
- switching between them based on user input.
- * The part-combiner's decision to combine/not combine notes can now
- be customized
+ * Multi-measure rests have length according to their total duration,
+ under the control of `MultiMeasureRest.space-increment'.
[image of music]
- * Tablature staves show fret numbers only by default. To get the
- former style, `\tabFullNotation' is provided.
+ * Page numbers may now be printed in roman numerals, by setting the
+ `page-number-type' paper variable.
- * Funk-style and Walker-style shape notes have been added.
+ * It is now possible to use `\time' and `\partial' together to
+ change the time signature in mid measure.
- * Rests will no longer keep a staff alive if
- `\RemoveEmptyStaffContext' is used.
+ \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]
- * New option `-dinclude-settings=INCLUDEFILE.ly', which causes
- lilypond to include the given file before the score is processed.
- This allows the user to change global settings without the need to
- change the score itself. That way, several different
- editions/version (e.g. different page sizes) can be generated from
- a file without having to modify the score for each version.
- * The autobeaming settings syntax has been changed. beatLength,
- beatGrouping, beamSettings, and measureGrouping have all been
- eliminated. Autobeaming is now controlled by baseMoment,
- beatStructure, and beamExceptions. Default settings for each of
- these properties can be stored for any time signature in
- time-signature-settings, so that when the time signature is
- changed, the autobeaming will automatically change. The new
- syntax should be much easier and require fewer overrides.
+ * It is now possible to override the `text' property of chord names.
- * The SVG backend has optional support for WOFF fonts
- (http://www.w3.org/Submission/WOFF). Using the Scheme option `-d
- svg-woff' together with the SVG backend selection `-d
- backend=svg', produces SVG output with CSS WOFF font selection.
+ <<
+ \new ChordNames \chordmode {
+ a' b c:7
+ \once \override ChordName.text = #"foo"
+ d
+ }
+ >>
+ [image of music]
- * The LilyPond G clef has been rotated 1.5 degrees clockwise for
- improved balance. The old and new versions can be compared by
- looking at the documentation: old version
- (http://lilypond.org/doc/v2.12/Documentation/user/lilypond/The-Feta-font.html#Clef-glyphs),
- new version
- (http://lilypond.org/doc/v2.14/Documentation/notation/the-feta-font.html#Clef-glyphs).
- * Text crescendo spanners can now be added directly using `\cresc',
- `\dim' and `\decresc'.
+ * 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.
- * The documented syntax of `lilypond' environments in the LaTeX mode
- of `lilypond-book' has been changed to conform with standard LaTeX
- syntax: options now come after the environment name:
- \begin{lilypond}[OPTIONS] ...
+ * Improvements to the `\partial' command have been made to avoid
+ problems when using multiple, parallel contexts.
- The previous syntax with options after `\begin' is still accepted
- by `lilypond-book' but deprecated. Something like
- sed -i '/begin\[/s/begin\(\[[^]]*]\)\({lilypond}\)/begin\2\1/'
+ * `\chordmode' can now use `< >' and `<< >>' constructs.
- might do the trick for conversion.
+ * A new command `\tagGroup' has now been added. This complements
+ the existing `\keepWithTag' and `\removeWithTag' commands. For
+ Example:
- * Aesthetics of shape note heads have been enhanced. Variable line
- thicknesses have been implemented. All note widths have been made
- consistent. Minor shape note commands that use the relative major
- key for scale steps have been added.
+ \tagGroup #'(violinI violinII viola cello)
- * A variant of the Segno sign is provided:
+ declares a list of `tags' that belong to a single `tag group'.
- [image of music]
+ \keepWithTag #'violinI
+ Is now only concerned with `tags' from `violinI'’s tag group.
- * Context modifications (`\with' blocks) can be stored in variables
- and inserted into contexts or other `\with' blocks:
+ Any element of the included music tagged with one or more tags
+ from the group, but _not_ with VIOLINI, will be removed.
- coloredheads = \with { \override NoteHead #'color = #red }
- noclef = \with { \remove "Clef_engraver" }
- \score {
- \new Staff {
- \new Voice \with { \coloredheads } \relative c' { c4 e g c }
+ * 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 ))
+ }
}
- \layout {
- \context {
- \Staff
- \noclef
+ 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]
- * A half-open articulation was added:
+ * 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]
- [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.
- This is sometimes used to indicate half-open hi-hats.
+ \markup \fill-line {oooooo oooooo oooooo oooooo}
+ \markup \fill-line {ooooooooo oooooooo oo ooo}
+ [image of music]
- * The Unicode Bidirectional Algorithm is now fully supported for
- single-line markup due to enhanced integration with Pango.
- * LilyPond is now licensed under the GNU GPL v3+.
+ \markup \justify-line {oooooo oooooo oooooo oooooo}
+ \markup \justify-line {ooooooooo oooooooo oo ooo}
+ [image of music]
- * In tablature, frets can be indicated with labels other than
- numbers:
- \new TabStaff
- \with {
- stringTunings = #`(,(ly:make-pitch 1 3 NATURAL)
- ,(ly:make-pitch 1 1 NATURAL)
- ,(ly:make-pitch 0 5 NATURAL)
- ,(ly:make-pitch 0 3 NATURAL)
- ,(ly:make-pitch 0 1 NATURAL)
- ,(ly:make-pitch -1 5 NATURAL))
- tablatureFormat = #fret-letter-tablature-format
- }
- \new TabVoice {
- \set fretLabels = #`(,(markup #:with-color red "a")
- "b"
- ,(markup #:italic #:smaller "c"))
- <f d>4. <bes>8 <g e>4
- }
+ * 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]
- * Layout objects can be printed over a white background, which
- whites-out objects in lower layers which lie beneath:
+ * 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 Built-in templates:
+ (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 Staff.StaffSymbol #'layer = #4
- \once \override Tie #'layer = #2
- b'2.~
- \once \override Staff.TimeSignature #'whiteout = ##t
- \once \override Staff.TimeSignature #'layer = #3
- \time 5/4
- b4
+ \override Beam.auto-knee-gap = 3
+ \tuplet 3/2 4 {
+ g8 c'' e,
+ c'8 g,, e''
+ g,,8 e''' c,,
+ }
[image of music]
- * Chords can be repeated using the `q' shortcut:
+ The original kneed-beam tuplet behavior is still available through
+ an `\override' via a new, `knee-to-beam' property.
- <c e g>8.-^ q16 q4-^
+ \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]
- * With two-sided mode, margins for odd and even pages can be set
- using `inner-margin' and `outer-margin':
+ * `\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).
- \paper {
- two-sided = ##t
- inner-margin = 10 \mm
- outer-margin = 20 \mm
- }
+ * Scheme functions and identifiers can now be used as output
+ definitions.
- * Paper margin defaults, as specified in
- `ly/paper-defaults-init.ly', apply to the default paper size (a4)
- and are automatically scaled according to the paper size chosen.
+ * Scheme expressions can now be used as chord constituents.
- * All combinations of `left-margin', `right-margin' and `line-width'
- work now. There is no more need to set `line-width' manually
- unless you explicitly want to.
+ * 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.
- * Support for using an alternative music font, such as Gonville, is
- now added.
+ * `LeftEdge' now has a definable `Y-extent' (i.e.vertical). See *note
+ LeftEdge: (lilypond-internals)LeftEdge.
- * In addition to the existing `\hspace' markup command, a new
- `\vspace' command has been added to provide an easy and flexible
- way to add vertical space in markups.
+ * Added a new `make-path-stencil' function that supports all `path'
+ commands both relative and absolute:
- * The direction of manual beams can be set with `^[' and `_['.
+ `lineto', `rlineto', `curveto', `rcurveto', `moveto', `rmoveto',
+ `closepath'. The function also supports `single-letter' syntax
+ used in standard SVG path commands:
- * A version of the breve note head has been added with two vertical
- lines on each side.
+ `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'.
- [image of music]
+ * 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';
- * Instrument names and vocal names now take into account the extent
- of system start delimiters in other staves for their positioning,
- resulting in improved default alignment for left-, center- and
- right-aligned names.
-
- [image of music]
+ \time 3/4
+ \repeat volta 2 { c2 e4 | }
+ \alternative {
+ { \time 4/4 f2 d | }
+ { f2 d4 | }
+ }
+ g2. |
+ [image of music]
- * Braces in markup can now be selected by point size using the
- markup commands `\left-brace' and `\right-brace'.
+ `measure position';
- [image of music]
+ \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]
- * Intermediate .ps files which are created by LilyPond during
- compilation are now deleted by default. To keep them, add the
- following line to your input files:
- #(ly:set-option 'delete-intermediate-files #f)
+ and `chord changes';
- * Dashed and dotted slurs, phrasing slurs, and ties have been made
- variable thickness, and partially dashed slurs are now available:
+ <<
+ \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]
- [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]
- * An eyeglasses markup was added, indicating strongly to look at the
- conductor for instructions:
- [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]
- * A snap-pizzicato (also known as Bartok-pizzicato) articulation was
- added:
- [image of music]
+ \new Staff { r16 c'16 ~ 8 ~ 4 ~ 2 | }
+ [image of music]
- * Tuplet number formatting functions are now available to print
- other fractions and to add notes to the number or fraction:
+ * `\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 }
- [image of music]
+ * 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]
- * FretBoards now have a chordChanges property to keep repeated
- FretBoard objects from being typeset.
- * The vertical spacing engine has been drastically changed, making
- it more flexible and easier to control. The spacing between
- staves within a system can now change to better use the space on
- the page. User-defined contexts may participate in this flexible
- spacing, depending on how their `staff-affinity' is defined. Some
- page formatting variables (`page-top-space', `between-system-space
- -padding', and `before- between- after-title-space') have been
- replaced by flexible vertical dimensions.
+ 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.
projects / lilypond.git / blobdiff