HTH w RTFM (Reading The Full Manual)

[Jeff Olson]

Here we are:  with a new release, a new year.  Do I hear any resolutions?

I've been impressed by how this community helps each other by 
referencing just the right section of a manual, and that, lately, those 
sections seem better written with more thorough explanations than I 
remember from the last time I attempted to Read-The-Full-Manual back in 
2.18.  Maybe now's the time to try RTFM again?

But instead of making a new year's resolution to RTFM, I resolved to 
make an HTML page highlighting graphically all the new and improved 
sections, in hopes that such a page would encourage me to broaden my 
occasional manual lookups into a more thorough study of the new stuff, 
especially in areas that already had my interest. Maybe it could even 
leverage my browsing history to track my progress in hitting all the new 
and improved sections?

Well, I'm no lilypond developer, but I did manage to cobble a perl 
script to compare the documentation source code between 2.24.0 and 
2.22.2 to figure out what had changed the most.  It then uses a modified 
style sheet to highlight the familiar TOC frame on the left hand side of 
every manual page, so all the new stuff would jump out at me (in hopes 
that I'd read it).

It looks like it might actually work.  The result 
(NotationReference24-SectionChanges.html) is attached to this email, in 
case it could help other users.

It's a self contained, static HTML page with no scripting; just one file 
that can serve as your jumping off point for RTFM.  Basically it's the 
standard TOC but with highlighting.  Put it somewhere in your file 
system where you can double-click to open it in a browser.  From there, 
the links all lead to the official documentation.

I'm finding it's almost like a game, targeting the big changes and 
automatically marking them off my list.  Might even bring some fun to 
RTFM!  Well, we'll see about that.

HTH,
Jeff

<< Back to Documentation Index

LilyPond — Notation Reference v2.24.0 (stable-branch).

• 1. Musical notation
  • 1.1 Pitches
    • 1.1.1 Writing pitches
      • Absolute octave entry
      • Relative octave entry
      • Accidentals
      • Note names in other languages
    • 1.1.2 Changing multiple pitches
      • Octave checks
      • Transpose
      • Inversion
      • Retrograde
      • Modal transformations
    • 1.1.3 Displaying pitches
      • Clef
      • Key signature
      • Ottava brackets
      • Instrument transpositions
      • Automatic accidentals
      • Alternate accidental glyphs
      • Ambitus
    • 1.1.4 Note heads
      • Special note heads
      • Easy notation note heads
      • Shape note heads
      • Improvisation
  • 1.2 Rhythms
    • 1.2.1 Writing rhythms
      • Durations
      • Tuplets
      • Scaling durations
      • Ties
    • 1.2.2 Writing rests
      • Rests
      • Invisible rests
      • Full measure rests
      • Caesuras
    • 1.2.3 Displaying rhythms
      • Time signature
      • Metronome marks
      • Upbeats
      • Unmetered music
      • Polymetric notation
      • Automatic note splitting
      • Showing melody rhythms
    • 1.2.4 Beams
      • Automatic beams
      • Setting automatic beam behavior
      • Manual beams
      • Feathered beams
    • 1.2.5 Bars
      • Bar lines
      • Automatic bar lines
      • Bar numbers
      • Bar and bar number checks
      • Rehearsal marks
      • Measure counts
      • Section divisions
    • 1.2.6 Special rhythmic concerns
      • Grace notes
      • Aligning to cadenzas
      • Time administration
  • 1.3 Expressive marks
    • 1.3.1 Expressive marks attached to notes
      • Articulations and ornamentations
      • Dynamics
      • New dynamic marks
    • 1.3.2 Expressive marks as curves
      • Slurs
      • Phrasing slurs
      • Breath marks
      • Falls and doits
    • 1.3.3 Expressive marks as lines
      • Glissando
      • Arpeggio
      • Trills
  • 1.4 Repeats
    • 1.4.1 Long repeats
      • Written-out repeats
      • Simple repeats
      • Alternative endings
      • Other variation in repeated sections
      • Al-fine repeats
      • Segno repeat structure
      • Segno repeat appearance
      • Manual repeat marks
    • 1.4.2 Short repeats
      • Percent repeats
      • Tremolo repeats
  • 1.5 Simultaneous notes
    • 1.5.1 Single voice
      • Chorded notes
      • Chord repetition
      • Simultaneous expressions
      • Clusters
    • 1.5.2 Multiple voices
      • Single-staff polyphony
      • Voice styles
      • Collision resolution
      • Merging rests
      • Automatic part combining
      • Writing music in parallel
  • 1.6 Staff notation
    • 1.6.1 Displaying staves
      • Instantiating new staves
      • Grouping staves
      • Nested staff groups
      • Separating systems
    • 1.6.2 Modifying single staves
      • Staff symbol
      • Ossia staves
      • Hiding staves
    • 1.6.3 Writing parts
      • Instrument names
      • Quoting other voices
      • Formatting cue notes
      • Compressing empty measures
  • 1.7 Editorial annotations
    • 1.7.1 Inside the staff
      • Selecting notation font size
      • Fingering instructions
      • Gliding fingers
      • Hidden notes
      • Coloring objects
      • Staff highlights
      • Parentheses
      • Stems
    • 1.7.2 Outside the staff
      • Note names
      • Balloon help
      • Grid lines
      • Analysis brackets
  • 1.8 Text
    • 1.8.1 Writing text
      • Text objects overview
      • Text scripts
      • Text spanners
      • Section labels
      • Text marks
      • Separate text
    • 1.8.2 Formatting text
      • Text markup introduction
      • Selecting font and font size
      • Text alignment
      • Graphic notation inside markup
      • Music notation inside markup
    • 1.8.3 Fonts
      • Finding fonts
      • Font families
      • Font features
      • Single entry fonts
      • Entire document fonts
      • Music fonts
• 2. Specialist notation
  • 2.1 Vocal music
    • 2.1.1 Common notation for vocal music
      • References for vocal music
      • Entering lyrics
      • Aligning lyrics to a melody
      • Automatic syllable durations
      • Manual syllable durations
      • Multiple syllables to one note
      • Multiple notes to one syllable
      • Extenders and hyphens
      • Gradual changes of vowel
    • 2.1.2 Techniques specific to lyrics
      • Working with lyrics and variables
      • Placing lyrics vertically
      • Placing syllables horizontally
      • Lyrics and repeats
      • Divisi lyrics
      • Polyphony with shared lyrics
    • 2.1.3 Stanzas
      • Adding stanza numbers
      • Adding dynamics marks to stanzas
      • Adding singers’ names to stanzas
      • Stanzas with different rhythms
      • Printing stanzas at the end
      • Printing stanzas at the end in multiple columns
    • 2.1.4 Songs
      • References for songs
      • Lead sheets
    • 2.1.5 Choral
      • References for choral
      • Score layouts for choral
    • 2.1.6 Opera and stage musicals
      • References for opera and stage musicals
      • Character names
      • Musical cues
      • Spoken music
      • Dialogue over music
    • 2.1.7 Chants psalms and hymns
      • References for chants and psalms
      • Setting a chant
      • Pointing a psalm
      • Phrase bar lines in hymn tunes
      • Partial measures in hymn tunes
    • 2.1.8 Ancient vocal music
  • 2.2 Keyboard and other multi-staff instruments
    • 2.2.1 Common notation for keyboards
      • References for keyboards
      • Changing staff manually
      • Changing staff automatically
      • Staff-change lines
    • 2.2.2 Piano
      • Piano pedals
    • 2.2.3 Accordion
      • Discant symbols
    • 2.2.4 Harp
      • References for harps
      • Harp pedals
  • 2.3 Unfretted string instruments
    • 2.3.1 Common notation for unfretted strings
      • References for unfretted strings
      • Bowing indications
      • Harmonics
      • Snap (Bartók) pizzicato
  • 2.4 Fretted string instruments
    • 2.4.1 Common notation for fretted strings
      • References for fretted strings
      • String number indications
      • Default tablatures
      • Custom tablatures
      • Fret diagram markups
      • Predefined fret diagrams
      • Automatic fret diagrams
      • Right-hand fingerings
    • 2.4.2 Guitar
      • Indicating position and barring
      • Indicating harmonics and dampened notes
      • Indicating power chords
    • 2.4.3 Banjo
      • Banjo tablatures
    • 2.4.4 Lute
      • Lute tablatures
  • 2.5 Percussion
    • 2.5.1 Common notation for percussion
      • References for percussion
      • Basic percussion notation
      • Drum rolls
      • Pitched percussion
      • Percussion staves
      • Custom percussion staves
      • Ghost notes
  • 2.6 Wind instruments
    • 2.6.1 Common notation for wind instruments
      • References for wind instruments
      • Fingerings
    • 2.6.2 Bagpipes
      • Bagpipe definitions
      • Bagpipe example
    • 2.6.3 Woodwinds
      • 2.6.3.1 Woodwind diagrams
  • 2.7 Chord notation
    • 2.7.1 Chord mode
      • Chord mode overview
      • Common chords
      • Extended and altered chords
      • Chord inversions and specific voicings
    • 2.7.2 Displaying chords
      • Printing chord names
      • Customizing chord names
      • Chord grids
    • 2.7.3 Figured bass
      • Introduction to figured bass
      • Entering figured bass
      • Displaying figured bass
  • 2.8 Contemporary music
    • 2.8.1 Pitch and harmony in contemporary music
      • References for pitch and harmony in contemporary music
      • Microtonal notation
      • Contemporary key signatures and harmony
    • 2.8.2 Contemporary approaches to rhythm
      • References for contemporary approaches to rhythm
      • Tuplets in contemporary music
      • Contemporary time signatures
      • Extended polymetric notation
      • Beams in contemporary music
      • Bar lines in contemporary music
    • 2.8.3 Graphical notation
    • 2.8.4 Contemporary scoring techniques
    • 2.8.5 New instrumental techniques
    • 2.8.6 Further reading and scores of interest
      • Books and articles on contemporary musical notation
      • Scores and musical examples
  • 2.9 Ancient notation
    • 2.9.1 Overview of the supported styles
    • 2.9.2 Ancient notation – common features
      • Predefined contexts
      • Ligatures
      • Custodes
    • 2.9.3 Typesetting mensural music
      • Mensural contexts
      • Mensural clefs
      • Mensural time signatures
      • Mensural note heads
      • Mensural flags
      • Mensural rests
      • Mensural accidentals and key signatures
      • Annotational accidentals (musica ficta)
      • White mensural ligatures
    • 2.9.4 Typesetting Gregorian chant
      • Gregorian chant contexts
      • Gregorian clefs
      • Gregorian accidentals and key signatures
      • Divisiones
      • Gregorian articulation signs
      • Augmentum dots (morae)
      • Gregorian square neume ligatures
    • 2.9.5 Typesetting Kievan square notation
      • Kievan contexts
      • Kievan clefs
      • Kievan notes
      • Kievan accidentals
      • Kievan bar lines
      • Kievan melismata
    • 2.9.6 Working with ancient music – scenarios and solutions
      • Incipits
      • Mensurstriche layout
      • Transcribing Gregorian chant
      • Ancient and modern from one source
  • 2.10 World music
    • 2.10.1 Common notation for non-Western music
      • Extending notation and tuning systems
    • 2.10.2 Arabic music
      • References for Arabic music
      • Arabic note names
      • Arabic key signatures
      • Arabic time signatures
      • Arabic music example
      • Further reading for Arabic music
    • 2.10.3 Turkish classical music
      • References for Turkish classical music
      • Turkish note names
      • Turkish key signatures
      • Further reading for Turkish music
    • 2.10.4 Persian classical music
      • Persian music notation
      • Persian tunings
      • Persian key signatures
      • Further reading on Persian music
• 3. General input and output
  • 3.1 Input modes
  • 3.2 Input structure
    • 3.2.1 Structure of a score
    • 3.2.2 Multiple scores in a book
    • 3.2.3 Multiple output files from one input file
    • 3.2.4 Output file names
    • 3.2.5 File structure
  • 3.3 Titles and headers
    • 3.3.1 Creating titles headers and footers
      • Titles explained
      • Default layout of bookpart and score titles
      • Default layout of headers and footers
    • 3.3.2 Custom titles headers and footers
      • Custom text formatting for titles
      • Custom layout for titles
      • Custom layout for headers and footers
    • 3.3.3 Creating output file metadata
    • 3.3.4 Creating footnotes
      • Footnotes in music expressions
      • Footnotes in stand-alone text
    • 3.3.5 Reference to page numbers
    • 3.3.6 Table of contents
  • 3.4 Working with input files
    • 3.4.1 Including LilyPond files
    • 3.4.2 Different editions from one source
      • Using variables
      • Using tags
      • Using global settings
    • 3.4.3 Using music functions
      • 3.4.3.1 Substitution function syntax
      • 3.4.3.2 Substitution function examples
    • 3.4.4 Special characters
      • Text encoding
      • Unicode
      • ASCII aliases
  • 3.5 Controlling output
    • 3.5.1 Extracting fragments of music
    • 3.5.2 Skipping corrected music
    • 3.5.3 Alternative output formats
      • SVG Output
    • 3.5.4 Replacing the notation font
  • 3.6 Creating MIDI output
    • 3.6.1 Supported notation for MIDI
    • 3.6.2 Unsupported notation for MIDI
    • 3.6.3 The MIDI block
    • 3.6.4 Controlling MIDI dynamics
      • Dynamic marks in MIDI
      • Setting MIDI volume
      • Setting MIDI block properties
    • 3.6.5 Using MIDI instruments
    • 3.6.6 Using repeats with MIDI
    • 3.6.7 MIDI channel mapping
    • 3.6.8 Context properties for MIDI effects
    • 3.6.9 Enhancing MIDI output
      • The ‘articulate’ script
      • The ‘swing’ script
  • 3.7 Extracting musical information
    • 3.7.1 Displaying LilyPond notation
    • 3.7.2 Displaying scheme music expressions
    • 3.7.3 Saving music events to a file
• 4. Spacing issues
  • 4.1 Page layout
    • 4.1.1 The \paper block
    • 4.1.2 Paper size and automatic scaling
      • Setting the paper size
      • Automatic scaling to paper size
    • 4.1.3 Fixed vertical spacing \paper variables
    • 4.1.4 Flexible vertical spacing \paper variables
      • Structure of flexible vertical spacing alists
      • List of flexible vertical spacing \paper variables
    • 4.1.5 Horizontal spacing \paper variables
      • \paper variables for widths and margins
      • \paper variables for two-sided mode
      • \paper variables for shifts and indents
    • 4.1.6 Other \paper variables
      • \paper variables for line breaking
      • \paper variables for page breaking
      • \paper variables for page numbering
      • \paper variables concerning headers and markups
      • \paper variables for debugging
  • 4.2 Score layout
    • 4.2.1 The \layout block
    • 4.2.2 Setting the staff size
  • 4.3 Breaks
    • 4.3.1 Line breaking
    • 4.3.2 Page breaking
      • Manual page breaking
      • Optimal page breaking
      • Minimal page breaking
      • One-page page breaking
      • One-line page breaking
      • One-line-auto-height page breaking
      • Optimal page turning
  • 4.4 Vertical spacing
    • 4.4.1 Flexible vertical spacing within systems
      • Within-system spacing properties
      • Spacing of ungrouped staves
      • Spacing of grouped staves
      • Spacing of non-staff lines
    • 4.4.2 Explicit staff and system positioning
    • 4.4.3 Vertical collision avoidance
  • 4.5 Horizontal spacing
    • 4.5.1 Horizontal spacing overview
    • 4.5.2 New spacing section
    • 4.5.3 Changing horizontal spacing globally
      • Uniform stretching of tuplets
      • Strict note spacing
    • 4.5.4 Adjusting horizontal spacing for specific layout objects
      • 4.5.4.1 Overview of object-specific horizontal spacing tweaks
      • 4.5.4.2 Spacing between adjacent non-musical items
      • 4.5.4.3 Spacing between adjacent columns
    • 4.5.5 Line width
    • 4.5.6 Proportional notation
  • 4.6 Fitting music onto fewer pages
    • 4.6.1 Displaying spacing
    • 4.6.2 Changing spacing
• 5. Changing defaults
  • 5.1 Interpretation contexts
    • 5.1.1 Contexts explained
      • Output definitions – blueprints for contexts
      • Score – the master of all contexts
      • Top-level contexts – staff containers
      • Intermediate-level contexts – staves
      • Bottom-level contexts – voices
    • 5.1.2 Creating and referencing contexts
    • 5.1.3 Keeping contexts alive
    • 5.1.4 Modifying context plug-ins
    • 5.1.5 Changing context default settings
      • Changing all contexts of the same type
      • Changing just one specific context
      • Order of precedence
    • 5.1.6 Defining new contexts
      • Context definition overview
      • New contexts in MIDI
      • Replacing the Score context
    • 5.1.7 Context layout order
  • 5.2 Explaining the Internals Reference
    • 5.2.1 Navigating the program reference
    • 5.2.2 Layout interfaces
    • 5.2.3 Determining the grob property
  • 5.3 Modifying properties
    • 5.3.1 Overview of modifying properties
    • 5.3.2 The \set command
    • 5.3.3 The \override command
    • 5.3.4 The \tweak command
    • 5.3.5 \set vs. \override
    • 5.3.6 The \offset command
    • 5.3.7 Modifying alists
  • 5.4 Useful concepts and properties
    • 5.4.1 Direction and placement
      • Articulation direction indicators
      • The direction property
    • 5.4.2 Distances and measurements
    • 5.4.3 Dimensions
    • 5.4.4 Spanners
      • Modifying broken spanners
      • Setting minimum lengths for spanners
      • Controlling spanner end points
    • 5.4.5 Line styles
    • 5.4.6 Line spanners
    • 5.4.7 Visibility of objects
      • Removing the stencil
      • Making objects transparent
      • Painting objects white
      • Using break-visibility
      • Special considerations
    • 5.4.8 Rotating objects
      • Rotating layout objects
      • Rotating markup
    • 5.4.9 Aligning objects
      • Setting X-offset and Y-offset directly
      • Using the side-position-interface
      • Using the self-alignment-interface
      • Using the break-alignable-interface
    • 5.4.10 Modifying stencils
    • 5.4.11 Modifying shapes
      • Modifying ties and slurs
• A. Notation manual tables
  • A.1 Chord name chart
  • A.2 Common chord modifiers
  • A.3 Predefined string tunings
  • A.4 Predefined fretboard diagrams
    • Diagrams for Guitar
    • Diagrams for Ukulele
    • Diagrams for Mandolin
  • A.5 Predefined paper sizes
  • A.6 MIDI instruments
  • A.7 List of colors
  • A.8 The Emmentaler font
    • Clef glyphs
    • Time Signature glyphs
    • Number glyphs
    • Figured bass symbol glyphs
    • Accidental glyphs
    • Default note head glyphs
    • Special note head glyphs
    • Note head glyphs for shape notes
    • Rest glyphs
    • Flag glyphs
    • Dot glyphs
    • Dynamic glyphs
    • Script glyphs
    • Arrowhead glyphs
    • Bracket-tip glyphs
    • Pedal glyphs
    • Accordion glyphs
    • Tie glyphs
    • Vaticana glyphs
    • Medicaea glyphs
    • Hufnagel glyphs
    • Mensural glyphs
    • Neomensural glyphs
    • Petrucci glyphs
    • Solesmes glyphs
    • Kievan Notation glyphs
  • A.9 Note head styles
  • A.10 Accidental glyph sets
  • A.11 Clef styles
    • Standard clefs
    • Percussion staff clef
    • Tab staff clefs
    • Ancient music clefs
      • Gregorian
      • Mensural
      • Kievan
  • A.12 Text markup commands
    • A.12.1 Font
    • A.12.2 Align
    • A.12.3 Graphic
    • A.12.4 Music
    • A.12.5 Conditionals
    • A.12.6 Instrument Specific Markup
    • A.12.7 Accordion Registers
    • A.12.8 Other
  • A.13 Text markup list commands
  • A.14 List of special characters
  • A.15 List of articulations
    • Articulation scripts
    • Ornament scripts
    • Fermata scripts
    • Instrument-specific scripts
    • Repeat sign scripts
    • Ancient scripts
  • A.16 List of breath marks
  • A.17 Percussion notes
  • A.18 List of bar lines
  • A.19 Default values for outside-staff-priority
  • A.20 Technical glossary
    • alist
    • callback
    • closure
    • glyph
    • grob
    • immutable
    • interface
    • lexer
    • mutable
    • output-def
    • parser
    • parser variable
    • prob
    • smob
    • spanner
    • stencil
  • A.21 Available music functions
  • A.22 Context modification identifiers
  • A.23 Naming conventions
  • A.24 Predefined type predicates
    • R5RS primary predicates
    • R5RS secondary predicates
    • Guile predicates
    • LilyPond scheme predicates
    • LilyPond exported predicates
• B. Cheat sheet
• C. GNU Free Documentation License
• D. LilyPond command index
• E. LilyPond index

Notation Reference — Section Changes in 2.24

This page highlights Sections of the Lilypond Notation Reference that are new in 2.24.0 or changed since 2.22.2. Of course, there is a separate official description of the Changes in 2.24 focusing on new features, but documentation can also include new explanations. The idea here is that you will gradually learn what's new through your usual browsing if you see which sections have changed in areas that interest you.

◀   Start your browsing on the left.   This is the usual table of contents except that it is fully expanded to show the hierarchy of all sections. Colors distinguish the New Sections and the Changed Sections. Font sizes show how big the changes are.   Links lead to the official documentation in another tab.

The panel below shows how many lines of Texinfo source were added, changed or deleted in each section that was modified. Sections with the most modifications are listed first. It also uses your browsing history to indicate which new/changed sections you still haven't visited, so you can use it as a reading checklist.
▼

See below for Details, Caveats, Tips and Old/Obsolete Sections

Track Your Progress
These New/Changed sections change color once you've visited them.
	Lines	(add,chg,del)	Parent  >  Section
1.	501	(0,0,501)	A.11 Clef styles  >  Ancient music clefs
2.	426	(317,109,0)	A. Notation manual tables  >  A.7 List of colors
3.	286	NEW	Ancient music clefs  >  Mensural
4.	248	(1,1,246)	A. Notation manual tables  >  A.5 Predefined paper sizes
5.	246	NEW	1.4.1 Long repeats  >  Segno repeat appearance
6.	221	NEW	5.1.6 Defining new contexts  >  Context definition overview
7.	217	(0,0,217)	5.1 Interpretation contexts  >  5.1.6 Defining new contexts
8.	204	(155,2,47)	A. Notation manual tables  >  A.6 MIDI instruments
9.	202	(196,6,0)	2.4.1 Common notation for fretted strings  >  Default tablatures
10.	193	NEW	1.4.1 Long repeats  >  Segno repeat structure
11.	189	(141,35,13)	1.8.2 Formatting text  >  Text markup introduction
12.	189	NEW	Ancient music clefs  >  Gregorian
13.	178	(122,41,15)	1.8.1 Writing text  >  Text marks
14.	170	NEW	1.7.1 Inside the staff  >  Staff highlights
15.	167	(46,100,21)	1.2.5 Bars  >  Bar lines
16.	155	NEW	2.7.2 Displaying chords  >  Chord grids
17.	148	NEW	5.4 Useful concepts and properties  >  5.4.6 Line spanners
18.	147	NEW	1.2.5 Bars  >  Automatic bar lines
19.	141	NEW	5.4.4 Spanners  >  Setting minimum lengths for spanners
20.	140	NEW	1.7.1 Inside the staff  >  Gliding fingers
21.	132	NEW	1.2.5 Bars  >  Measure counts
22.	130	NEW	1.4.1 Long repeats  >  Alternative endings
23.	129	NEW	1.8.3 Fonts  >  Font families
24.	129	NEW	4.5.4 Adjusting horizontal spacing for specific layout objects  >  4.5.4.3 Spacing between adjacent columns
25.	126	(111,9,6)	1.4.1 Long repeats  >  Manual repeat marks
26.	118	(35,73,10)	2.9.4 Typesetting Gregorian chant  >  Gregorian square neume ligatures
27.	112	(55,3,54)	A. Notation manual tables  >  A.17 Percussion notes
28.	110	(12,18,80)	1.4.1 Long repeats  >  Written-out repeats
29.	110	(106,1,3)	5.4.4 Spanners  >  Modifying broken spanners
30.	106	NEW	1.2.2 Writing rests  >  Caesuras
31.	102	(68,5,29)	1.2.3 Displaying rhythms  >  Polymetric notation
32.	95	(15,21,59)	2.1.7 Chants psalms and hymns  >  Setting a chant
33.	93	(44,13,36)	1.2.3 Displaying rhythms  >  Unmetered music
34.	90	(78,5,7)	1.8.3 Fonts  >  Single entry fonts
35.	85	NEW	1.1.3 Displaying pitches  >  Alternate accidental glyphs
36.	85	NEW	A. Notation manual tables  >  A.16 List of breath marks
37.	84	(53,6,25)	A. Notation manual tables  >  A.23 Naming conventions
38.	80	NEW	2.10.4 Persian classical music  >  Persian music notation
39.	80	NEW	4.5.4 Adjusting horizontal spacing for specific layout objects  >  4.5.4.2 Spacing between adjacent non-musical items
40.	78	(13,23,42)	1.2.5 Bars  >  Rehearsal marks
41.	77	(36,40,1)	2.7.3 Figured bass  >  Entering figured bass
42.	75	NEW	1.4.1 Long repeats  >  Al-fine repeats
43.	75	NEW	4.5.4 Adjusting horizontal spacing for specific layout objects  >  4.5.4.1 Overview of object-specific horizontal spacing tweaks
44.	72	NEW	1.4.1 Long repeats  >  Other variation in repeated sections
45.	70	(21,36,13)	1.8.3 Fonts  >  Entire document fonts
46.	69	(69,0,0)	4.2 Score layout  >  4.2.2 Setting the staff size
47.	68	NEW	4.1.6 Other \paper variables  >  \paper variables concerning headers and markups
48.	68	(45,23,0)	5.4.11 Modifying shapes  >  Modifying ties and slurs
49.	67	NEW	1.4.1 Long repeats  >  Simple repeats
50.	65	(19,19,27)	3.3.2 Custom titles headers and footers  >  Custom layout for headers and footers
51.	63	(16,35,12)	2.9.6 Working with ancient music – scenarios and solutions  >  Transcribing Gregorian chant
52.	63	(9,54,0)	5.4.9 Aligning objects  >  Using the break-alignable-interface
53.	60	NEW	1.8.3 Fonts  >  Font features
54.	59	NEW	1.2.5 Bars  >  Section divisions
55.	59	(30,24,5)	4.3 Breaks  >  4.3.1 Line breaking
56.	58	(41,17,0)	1.2.2 Writing rests  >  Invisible rests
57.	57	NEW	5.1.6 Defining new contexts  >  New contexts in MIDI
58.	56	NEW	2.10.4 Persian classical music  >  Persian tunings
59.	55	NEW	1.8.3 Fonts  >  Music fonts
60.	55	(0,0,55)	A.15 List of articulations  >  Ancient scripts
61.	53	(46,7,0)	1.3.1 Expressive marks attached to notes  >  Dynamics
62.	52	(47,4,1)	1.7.1 Inside the staff  >  Parentheses
63.	50	(32,18,0)	3.4.2 Different editions from one source  >  Using tags
64.	49	(46,3,0)	1.5.2 Multiple voices  >  Single-staff polyphony
65.	48	NEW	2.1.7 Chants psalms and hymns  >  Phrase bar lines in hymn tunes
66.	48	(34,14,0)	2.5.1 Common notation for percussion  >  Percussion staves
67.	46	(0,29,17)	4.4 Vertical spacing  >  4.4.2 Explicit staff and system positioning
68.	43	NEW	5.1.6 Defining new contexts  >  Replacing the Score context
69.	42	(28,4,10)	1.2.3 Displaying rhythms  >  Time signature
70.	42	(40,1,1)	1.6.1 Displaying staves  >  Grouping staves
71.	42	(39,3,0)	2.7.3 Figured bass  >  Displaying figured bass
72.	42	(7,32,3)	2.9.4 Typesetting Gregorian chant  >  Divisiones
73.	42	(0,2,40)	5.1 Interpretation contexts  >  5.1.4 Modifying context plug-ins
74.	42	(33,9,0)	5.4 Useful concepts and properties  >  5.4.2 Distances and measurements
75.	41	(14,15,12)	1.3.2 Expressive marks as curves  >  Breath marks
76.	41	(38,3,0)	1.7.2 Outside the staff  >  Balloon help
77.	41	(0,1,40)	2.8 Contemporary music  >  2.8.3 Graphical notation
78.	41	NEW	2.10.4 Persian classical music  >  Further reading on Persian music
79.	39	NEW	1.8.1 Writing text  >  Section labels
80.	38	(6,23,9)	4.1.2 Paper size and automatic scaling  >  Setting the paper size
81.	37	(31,6,0)	2.6.3 Woodwinds  >  2.6.3.1 Woodwind diagrams
82.	35	(31,4,0)	4.1.6 Other \paper variables  >  \paper variables for page numbering
83.	35	(0,5,30)	5.4 Useful concepts and properties  >  5.4.5 Line styles
84.	34	(14,20,0)	3.5 Controlling output  >  3.5.4 Replacing the notation font
85.	33	(0,33,0)	A. Notation manual tables  >  A.2 Common chord modifiers
86.	33	NEW	A.20 Technical glossary  >  spanner
87.	31	NEW	1.8.3 Fonts  >  Finding fonts
88.	31	(2,29,0)	2.4.1 Common notation for fretted strings  >  Predefined fret diagrams
89.	31	(28,0,3)	5. Changing defaults  >  5.4 Useful concepts and properties
90.	30	(14,11,5)	1.2.5 Bars  >  Bar numbers
91.	30	(10,17,3)	2.1.3 Stanzas  >  Printing stanzas at the end
92.	29	(15,4,10)	2.7.2 Displaying chords  >  Printing chord names
93.	29	(0,29,0)	Notation Reference  >  B. Cheat sheet
94.	27	(27,0,0)	2.9.6 Working with ancient music – scenarios and solutions  >  Ancient and modern from one source
95.	26	(17,7,2)	1.2.1 Writing rhythms  >  Ties
96.	26	(14,12,0)	1.3.1 Expressive marks attached to notes  >  Articulations and ornamentations
97.	26	(18,8,0)	2.1.2 Techniques specific to lyrics  >  Lyrics and repeats
98.	26	NEW	Ancient music clefs  >  Kievan
99.	25	(0,23,2)	2.9.4 Typesetting Gregorian chant  >  Gregorian articulation signs
100.	25	(3,22,0)	4.5 Horizontal spacing  >  4.5.6 Proportional notation
101.	24	(8,7,9)	1.4 Repeats  >  1.4.1 Long repeats
102.	24	NEW	2.10.4 Persian classical music  >  Persian key signatures
103.	24	(1,17,6)	5.1 Interpretation contexts  >  5.1.7 Context layout order
104.	23	(3,18,2)	1.1.3 Displaying pitches  >  Automatic accidentals
105.	23	(23,0,0)	1.2.6 Special rhythmic concerns  >  Aligning to cadenzas
106.	23	(4,19,0)	3.3.4 Creating footnotes  >  Footnotes in music expressions
107.	23	(2,20,1)	3.4.3 Using music functions  >  3.4.3.1 Substitution function syntax
108.	23	NEW	5.4.4 Spanners  >  Controlling spanner end points
109.	23	(0,23,0)	A.11 Clef styles  >  Standard clefs
110.	22	(12,10,0)	2.9.5 Typesetting Kievan square notation  >  Kievan bar lines
111.	22	(10,12,0)	4.1.6 Other \paper variables  >  \paper variables for page breaking
112.	20	(12,7,1)	1. Musical notation  >  1.4 Repeats
113.	20	(9,3,8)	3.2 Input structure  >  3.2.3 Multiple output files from one input file
114.	20	(7,10,3)	3.2 Input structure  >  3.2.4 Output file names
115.	19	(12,7,0)	1.7.1 Inside the staff  >  Coloring objects
116.	19	NEW	4.5 Horizontal spacing  >  4.5.4 Adjusting horizontal spacing for specific layout objects
117.	18	(4,10,4)	1.3.3 Expressive marks as lines  >  Glissando
118.	18	(0,0,18)	3.6 Creating MIDI output  >  3.6.3 The MIDI block
119.	17	(17,0,0)	1.4.2 Short repeats  >  Percent repeats
120.	17	(13,4,0)	A. Notation manual tables  >  A.8 The Emmentaler font
121.	16	(12,4,0)	1.6.2 Modifying single staves  >  Staff symbol
122.	16	(2,13,1)	2.4.1 Common notation for fretted strings  >  Custom tablatures
123.	16	(3,13,0)	2.4.1 Common notation for fretted strings  >  Fret diagram markups
124.	16	(16,0,0)	5.4.1 Direction and placement  >  Articulation direction indicators
125.	16	(0,0,16)	5.4.7 Visibility of objects  >  Special considerations
126.	15	(15,0,0)	1.2.3 Displaying rhythms  >  Metronome marks
127.	15	(0,15,0)	1.2.4 Beams  >  Setting automatic beam behavior
128.	15	(12,3,0)	1.8 Text  >  1.8.3 Fonts
129.	15	(8,7,0)	2.9.4 Typesetting Gregorian chant  >  Gregorian clefs
130.	15	NEW	2.10 World music  >  2.10.4 Persian classical music
131.	15	(0,9,6)	3.3.4 Creating footnotes  >  Footnotes in stand-alone text
132.	14	NEW	A. Notation manual tables  >  A.18 List of bar lines
133.	13	(1,7,5)	2.9.2 Ancient notation – common features  >  Predefined contexts
134.	13	NEW	4.1.6 Other \paper variables  >  \paper variables for debugging
135.	13	(0,13,0)	5.3 Modifying properties  >  5.3.6 The \offset command
136.	12	(0,11,1)	1.8.1 Writing text  >  Separate text
137.	12	(3,6,3)	5.4 Useful concepts and properties  >  5.4.4 Spanners
138.	12	(4,7,1)	5.4.7 Visibility of objects  >  Using break-visibility
139.	12	(0,12,0)	A.15 List of articulations  >  Repeat sign scripts
140.	11	(11,0,0)	1.8.1 Writing text  >  Text spanners
141.	11	(0,1,10)	2.6.1 Common notation for wind instruments  >  References for wind instruments
142.	11	NEW	A. Notation manual tables  >  A.10 Accidental glyph sets
143.	10	(6,4,0)	1.3.3 Expressive marks as lines  >  Trills
144.	10	(0,10,0)	1.8.1 Writing text  >  Text objects overview
145.	10	(2,2,6)	2.9.3 Typesetting mensural music  >  Mensural accidentals and key signatures
146.	10	(10,0,0)	3.4.4 Special characters  >  ASCII aliases
147.	10	(2,8,0)	4.4.1 Flexible vertical spacing within systems  >  Within-system spacing properties
148.	10	NEW	A.8 The Emmentaler font  >  Figured bass symbol glyphs
149.	10	NEW	A. Notation manual tables  >  A.19 Default values for outside-staff-priority
150.	9	(0,9,0)	1.2.3 Displaying rhythms  >  Automatic note splitting
151.	9	(6,3,0)	1.7.2 Outside the staff  >  Analysis brackets
152.	9	(0,9,0)	2.9.4 Typesetting Gregorian chant  >  Gregorian chant contexts
153.	9	(1,2,6)	2.9.4 Typesetting Gregorian chant  >  Gregorian accidentals and key signatures
154.	9	(0,8,1)	3.3 Titles and headers  >  3.3.6 Table of contents
155.	9	(3,5,1)	5.4.9 Aligning objects  >  Using the side-position-interface
156.	9	(9,0,0)	A.8 The Emmentaler font  >  Kievan Notation glyphs
157.	8	(5,3,0)	2.4.3 Banjo  >  Banjo tablatures
158.	8	(1,7,0)	2.9.2 Ancient notation – common features  >  Ligatures
159.	8	(0,8,0)	2.9.3 Typesetting mensural music  >  White mensural ligatures
160.	8	(0,2,6)	3.4.3 Using music functions  >  3.4.3.2 Substitution function examples
161.	8	(0,8,0)	4.1 Page layout  >  4.1.1 The \paper block
162.	8	(5,0,3)	Notation Reference  >  A. Notation manual tables
163.	7	(0,7,0)	1.1.1 Writing pitches  >  Note names in other languages
164.	7	(0,7,0)	1.1.3 Displaying pitches  >  Clef
165.	7	(0,6,1)	1.3.3 Expressive marks as lines  >  Arpeggio
166.	7	(0,7,0)	1.6.2 Modifying single staves  >  Hiding staves
167.	7	(0,0,7)	2.2.1 Common notation for keyboards  >  References for keyboards
168.	7	(2,3,2)	2.9.5 Typesetting Kievan square notation  >  Kievan accidentals
169.	7	(1,6,0)	3.4 Working with input files  >  3.4.1 Including LilyPond files
170.	7	(7,0,0)	A. Notation manual tables  >  A.24 Predefined type predicates
171.	6	(0,6,0)	1.2.6 Special rhythmic concerns  >  Grace notes
172.	6	(1,3,2)	2.3.1 Common notation for unfretted strings  >  Harmonics
173.	6	(0,6,0)	2.5.1 Common notation for percussion  >  Custom percussion staves
174.	6	(0,4,2)	2.7.3 Figured bass  >  Introduction to figured bass
175.	6	(0,6,0)	2.9.5 Typesetting Kievan square notation  >  Kievan melismata
176.	6	(0,0,6)	2.10.3 Turkish classical music  >  Further reading for Turkish music
177.	6	(2,4,0)	3.5 Controlling output  >  3.5.2 Skipping corrected music
178.	6	(0,6,0)	3.6 Creating MIDI output  >  3.6.8 Context properties for MIDI effects
179.	6	(0,6,0)	4.2 Score layout  >  4.2.1 The \layout block
180.	6	(0,6,0)	4.6 Fitting music onto fewer pages  >  4.6.1 Displaying spacing
181.	6	(0,6,0)	5.3 Modifying properties  >  5.3.7 Modifying alists
182.	6	(6,0,0)	5.4.7 Visibility of objects  >  Painting objects white
183.	5	(5,0,0)	1.1.4 Note heads  >  Shape note heads
184.	5	(0,5,0)	1.7.1 Inside the staff  >  Selecting notation font size
185.	5	(0,1,4)	2.1 Vocal music  >  2.1.8 Ancient vocal music
186.	5	(0,5,0)	2.7.1 Chord mode  >  Common chords
187.	5	(0,5,0)	2.9.3 Typesetting mensural music  >  Mensural time signatures
188.	5	(1,4,0)	3.4.4 Special characters  >  Unicode
189.	5	(0,5,0)	3.7 Extracting musical information  >  3.7.3 Saving music events to a file
190.	5	(0,5,0)	5.1 Interpretation contexts  >  5.1.1 Contexts explained
191.	5	(4,0,1)	5. Changing defaults  >  5.2 Explaining the Internals Reference
192.	5	(0,0,5)	5.3 Modifying properties  >  5.3.1 Overview of modifying properties
193.	5	(0,5,0)	A.20 Technical glossary  >  lexer
194.	4	(4,0,0)	1.2.1 Writing rhythms  >  Tuplets
195.	4	(1,3,0)	1.6.1 Displaying staves  >  Instantiating new staves
196.	4	(0,1,3)	1.6.1 Displaying staves  >  Separating systems
197.	4	(0,4,0)	1.6.3 Writing parts  >  Compressing empty measures
198.	4	(0,0,4)	2.2.1 Common notation for keyboards  >  Staff-change lines
199.	4	(2,2,0)	2.10.1 Common notation for non-Western music  >  Extending notation and tuning systems
200.	4	(0,4,0)	3.6 Creating MIDI output  >  3.6.7 MIDI channel mapping
201.	4	(0,4,0)	4.1.2 Paper size and automatic scaling  >  Automatic scaling to paper size
202.	4	(0,4,0)	4.1.4 Flexible vertical spacing \paper variables  >  Structure of flexible vertical spacing alists
203.	4	(0,4,0)	4.6 Fitting music onto fewer pages  >  4.6.2 Changing spacing
204.	4	(0,4,0)	5.1.1 Contexts explained  >  Bottom-level contexts – voices
205.	4	(0,4,0)	5.1.5 Changing context default settings  >  Changing all contexts of the same type
206.	4	(0,0,4)	5. Changing defaults  >  5.3 Modifying properties
207.	4	(3,0,1)	A.20 Technical glossary  >  grob
208.	3	(0,3,0)	1.1.1 Writing pitches  >  Accidentals
209.	3	(0,3,0)	1.1.4 Note heads  >  Improvisation
210.	3	(0,3,0)	1.2.2 Writing rests  >  Full measure rests
211.	3	(3,0,0)	1.2 Rhythms  >  1.2.5 Bars
212.	3	(2,1,0)	1.2.6 Special rhythmic concerns  >  Time administration
213.	3	(0,3,0)	1.5.2 Multiple voices  >  Merging rests
214.	3	(0,3,0)	1.6.2 Modifying single staves  >  Ossia staves
215.	3	(1,2,0)	1.8.2 Formatting text  >  Music notation inside markup
216.	3	(0,3,0)	2.4.1 Common notation for fretted strings  >  Automatic fret diagrams
217.	3	(0,3,0)	2.4.1 Common notation for fretted strings  >  Right-hand fingerings
218.	3	(0,2,1)	2.8.6 Further reading and scores of interest  >  Scores and musical examples
219.	3	(0,3,0)	2. Specialist notation  >  2.9 Ancient notation
220.	3	(0,3,0)	2.9 Ancient notation  >  2.9.2 Ancient notation – common features
221.	3	(0,2,1)	2.9 Ancient notation  >  2.9.6 Working with ancient music – scenarios and solutions
222.	3	(3,0,0)	Notation Reference  >  3. General input and output
223.	3	(0,3,0)	3.2 Input structure  >  3.2.1 Structure of a score
224.	3	(0,3,0)	3.2 Input structure  >  3.2.5 File structure
225.	3	(2,0,1)	3.6 Creating MIDI output  >  3.6.1 Supported notation for MIDI
226.	3	(0,3,0)	4.1 Page layout  >  4.1.3 Fixed vertical spacing \paper variables
227.	3	(0,3,0)	4.4 Vertical spacing  >  4.4.3 Vertical collision avoidance
228.	3	(0,1,2)	Notation Reference  >  5. Changing defaults
229.	3	(1,2,0)	5.1.1 Contexts explained  >  Output definitions – blueprints for contexts
230.	3	(0,3,0)	5.1.1 Contexts explained  >  Score – the master of all contexts
231.	3	(0,3,0)	5.3 Modifying properties  >  5.3.2 The \set command
232.	3	(0,3,0)	A.11 Clef styles  >  Percussion staff clef
233.	3	(0,3,0)	A.11 Clef styles  >  Tab staff clefs
234.	3	(2,1,0)	A.15 List of articulations  >  Instrument-specific scripts
235.	2	(0,2,0)	1.2.4 Beams  >  Feathered beams
236.	2	(0,2,0)	1.6.3 Writing parts  >  Instrument names
237.	2	(0,2,0)	1.6.3 Writing parts  >  Quoting other voices
238.	2	(2,0,0)	1.7 Editorial annotations  >  1.7.1 Inside the staff
239.	2	(0,1,1)	1.7.2 Outside the staff  >  Note names
240.	2	(0,2,0)	1.7.2 Outside the staff  >  Grid lines
241.	2	(0,1,1)	1.8 Text  >  1.8.2 Formatting text
242.	2	(0,2,0)	2.1.2 Techniques specific to lyrics  >  Placing syllables horizontally
243.	2	(1,1,0)	2.1 Vocal music  >  2.1.7 Chants psalms and hymns
244.	2	(0,1,1)	2.1.7 Chants psalms and hymns  >  Partial measures in hymn tunes
245.	2	(0,2,0)	2.3.1 Common notation for unfretted strings  >  Snap (Bartók) pizzicato
246.	2	(0,2,0)	2.4.4 Lute  >  Lute tablatures
247.	2	(0,2,0)	2.5.1 Common notation for percussion  >  References for percussion
248.	2	(0,2,0)	2.9.4 Typesetting Gregorian chant  >  Augmentum dots (morae)
249.	2	(0,2,0)	2.10.2 Arabic music  >  Arabic note names
250.	2	(0,2,0)	3.3.1 Creating titles headers and footers  >  Titles explained
251.	2	(0,2,0)	3.3 Titles and headers  >  3.3.4 Creating footnotes
252.	2	(0,2,0)	3.3 Titles and headers  >  3.3.5 Reference to page numbers
253.	2	(0,2,0)	3.4.4 Special characters  >  Text encoding
254.	2	(0,2,0)	3.5 Controlling output  >  3.5.1 Extracting fragments of music
255.	2	(0,2,0)	3.6.4 Controlling MIDI dynamics  >  Setting MIDI block properties
256.	2	(0,2,0)	3.6 Creating MIDI output  >  3.6.6 Using repeats with MIDI
257.	2	(0,2,0)	4.1.5 Horizontal spacing \paper variables  >  \paper variables for widths and margins
258.	2	(1,1,0)	4.1 Page layout  >  4.1.6 Other \paper variables
259.	2	(0,2,0)	4.3.2 Page breaking  >  Manual page breaking
260.	2	(0,2,0)	4.4 Vertical spacing  >  4.4.1 Flexible vertical spacing within systems
261.	2	(1,1,0)	4. Spacing issues  >  4.5 Horizontal spacing
262.	2	(0,2,0)	4.5 Horizontal spacing  >  4.5.1 Horizontal spacing overview
263.	2	(0,2,0)	4.5 Horizontal spacing  >  4.5.3 Changing horizontal spacing globally
264.	2	(0,2,0)	5.1.1 Contexts explained  >  Top-level contexts – staff containers
265.	2	(0,2,0)	5.1.1 Contexts explained  >  Intermediate-level contexts – staves
266.	2	(1,1,0)	5.1.5 Changing context default settings  >  Changing just one specific context
267.	2	(0,2,0)	5.1.5 Changing context default settings  >  Order of precedence
268.	2	(1,1,0)	5.2 Explaining the Internals Reference  >  5.2.1 Navigating the program reference
269.	2	(0,2,0)	5.3 Modifying properties  >  5.3.4 The \tweak command
270.	2	(0,2,0)	5.4 Useful concepts and properties  >  5.4.3 Dimensions
271.	2	(0,2,0)	A.8 The Emmentaler font  >  Default note head glyphs
272.	2	(0,2,0)	A.8 The Emmentaler font  >  Special note head glyphs
273.	2	(0,2,0)	A.8 The Emmentaler font  >  Note head glyphs for shape notes
274.	2	(1,0,1)	A.20 Technical glossary  >  interface

 

Details

"How much is there to read in the Notation Reference?"

• 619 total sections, averaging 80 lines each (totaling 49460 lines or ~882 pdf pages)
• 46 New sections, averaging 88 lines each (totaling 4036 lines or ~72 pdf pages)
• 228 Changed* sections, averaging 28 modified lines each (totaling 6485 lines or ~116 pdf pages)
• in all,   ~44%   of the Notation Reference sections have been modified.

*  Not counting/highlighting 64 sections with only 1 modified line.

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Caveats

• Documentation sections that are generated automatically by the lilypond build process (typically lists in an appendix) are not available to this analysis, which is based on static source files. Such sections are colored gray in the table of contents but brighten when hovered over.
• Very large changes may be due to extensive reformatting without significant change in content.
• Division of a huge section into a several subsections (e.g. by promoting simple headings into subsection declarations) may appear as a huge deletion in that section, followed by the addition of several large new subsections, even though only a few lines of source were changed. Consulting the "(add,chg,del)" statistics will reveal such cases.
• Simple changes to the name of a section are usually detected, but more complex changes may cause a mismatch, causing those sections to be listed as New in the new release and Old/Obsolete in the old release. Check the list of Old/Obsolete section names if you suspect such a mismatch.

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Tips

• Use your browser's "find in page" (e.g. "Ctrl-F") to search the fully expanded table of contents. All your matches will be highlighted until you do another search, making it easy to scroll or step through the results.
• Searches will cover both the table of contents on the left and the main page on the right. So it's also a way to find the details on the right for sections you've found on the left.
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Old/Obsolete

"Wasn't there a section named ... ?"

• These section names no longer appear in 2.24. Their contents might be included in other sections, but these names are gone.
• Links lead to 2.22 so you can see what's missing.

1.4.1 Long repeats  >  Normal repeats

1.8.2 Formatting text  >  Multi-page markup

1.8.3 Fonts  >  Fonts explained

2.9.6 Working with ancient music—scenarios and solutions  >  Editorial markings

4.1.6 Other \paper variables  >  Miscellaneous \paper variables

5.4 Useful concepts and properties  >  5.4.5 Staff symbol properties

5.4.6 Spanners  >  Using the spanner-interface

5.4.6 Spanners  >  Using the line-spanner-interface

5. Changing defaults  >  5.5 Advanced tweaks

5.5 Advanced tweaks  >  5.5.2 Vertical grouping of grobs

5.5.5 Modifying broken spanners  >  Using \alterBroken

5.5 Advanced tweaks  >  5.5.6 Unpure-pure containers

A. Notation manual tables  >  A.17 All context properties

A. Notation manual tables  >  A.18 Layout properties

A. Notation manual tables  >  A.22 Scheme functions

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This unofficial page was generated for other Lilypond users by ly-mandiff.pl version 2023-01-01.