New features in 2.20 since 2.18
*******************************

   * 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"
          }

          m = {
            c''1 \prall -\tweak text \markup \tie "131" -1
          }

          { \voiceOne \m \voiceTwo \m }
           [image of music]


   * `TabStaff' is now able to print micro-tones for bendings etc.

          \layout {
            \context {
              \Score
              supportNonIntegerFret = ##t
            }
          }

          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 { }
     }

   * 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 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 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).

   * Scheme functions and identifiers can now be used as output
     definitions.

   * 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.

   * `LeftEdge' now has a definable `Y-extent' (i.e.vertical).  See *note
     LeftEdge: (lilypond-internals)LeftEdge.

   * 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:

     `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'.

   * 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
            \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.




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