1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item Multi measure rests are now truly centered between the
12 clefs/barlines of the staff, independent of symbols on the other staffs.
14 @item Collision resolution for dots in chords has been improved greatly.
17 Spacing following barlines was improved for widely stretched lines.
20 Lyric hyphens and extenders now conform to standard typesetting
24 Lyrics are now aligned under note heads conforming to engraving
25 standards. The responsible code has been rewritten, and is drastically
26 simpler from the previous version. To aid this rewrite, the syntactic
27 function of the extender line ( __ ) has been changed: it is now
28 attached to the lyric syllable.
31 When redefining a context, the associated identifier is also
32 updated. For example, after reading following the snippet,
39 the definition of @code{ScoreContext} is updated to include the changed
44 The weight of the stafflines is now heavier at smaller staff sizes.
45 The font has been modified to match this look: at smaller sizes, the
46 font is heavier and the note heads are more rounded.
48 @item Processing scores is now done while parsing the file. New
49 Scheme functions give more flexibility: for example, it is now possible
50 interpret a score, collecting synchronized musical events in a list, and
51 manipulate that information using inline Scheme. For an example, see
52 @file{input/no-notation/recording.ly}.
54 @item Font sizes can now truly be scaled continuously: the @code{font-size}
55 is similar to the old @code{font-relative-size}, but may be set to
56 fractional values; the closest design size will be scaled to achieve
57 the desired size. As a side-effect, there are now no longer
58 limitations in using smaller fonts (eg. grace notes) at small staff
61 @item The appearance of stem tips is now also engraved with rounded corners.
64 The placement of accidentals on chords and ledgered notes is improved.
69 @chapter New features in 2.0 since 1.8
74 Crescendos can now be drawn dotted or dashed.
77 Quarter tones are now supported. They are entered by suffixing
78 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
79 following is an ascending list of pitches:
82 ceses ceseh ces ceh c cih cis cisih cisis
86 The following constructs have been removed from the syntax:
89 \duration #SCHEME-DURATION
91 \outputproperty @var{func} @var{symbol} = @var{value}
94 For @code{\outputproperty}, the following may be substituted:
97 \applyoutput #(outputproperty-compatibility @var{func}
98 @var{symbol} @var{value})
102 Clefs may now be transposed arbitrarily, for example
112 The syntax for chords and simultaneous music have changed.
113 Chords are entered as
119 while simultaneous music is entered as
122 <<@var{..music list..}>>
125 In effect, the meanings of both have been swapped relative to their 1.8
126 definition. The syntax for lists in @code{\markup} has changed
127 alongside, but figured bass mode was not changed, i.e.:
130 \markup @{ \center <@var{..list of markups..}> @}
131 \figure @{ <@var{figures}> @}
134 As chords the more often used than simultaneous music, this change will
138 Each music expression can now be tagged, to make different printed
139 versions from the same music expression. In the following example,
140 we see two versions of a piece of music, one for the full score, and
141 one with cue notes for the instrumental part:
145 @{ c4 f2 g4 @} % in the part, we have cue-notes
147 \tag #'score R1 % in the score: only a rest
151 The same can be applied to articulations, texts, etc.: they are
155 -\tag #@var{your-tags}
158 to an articulation, for example,
161 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
164 This defines a note, which has a conditional fingering and a
165 string-number indication.
168 The settings for chord-fingering are more flexible. You can specify a
169 list where fingerings may be placed, eg.
172 \property Voice.fingeringOrientations = #'(left down)
175 This will put the fingering for the lowest note below the chord, and the
179 The script previously known as @code{ly2dvi} has been renamed to
180 @code{lilypond}. The binary itself is now installed as
184 Markup text (ie. general text formatting) may now be used for lyrics too.
187 Two new commands for grace notes have been added, @code{\acciaccatura}
188 and @code{\appoggiatura},
195 Both reflect the traditional meanings of acciaccatura and appogiatura,
196 and both insert insert a slur from the first grace note to the main
200 Layout options for grace notes are now stored in a context property,
201 and may now be set separately from musical content.
204 The @code{\new} command will create a context with a unique
205 name automatically. Hence, for multi-staff scores, it is no longer
206 necessary to invent arbitrary context names. For example, a two-staff
207 score may be created by
211 \new Staff @{ @var{notes for 1st staff} @}
212 \new Staff @{ @var{notes for 2nd staff} @}
219 Octave checks make octave errors easier to correct.
226 This checks that @var{pitch} (without octave) yields @var{pitch} (with
227 octave) in \relative mode. If not, a warning is printed, and the
231 All articulations must now be entered postfix. For example,
238 is a pair of beamed slurred eighth notes.
241 The definition of @code{\relative} has been simplified. Octaves are
242 now always propagated in the order that music is entered. In the
247 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
252 the octave of BODY is based on PRE, the starting octave of ALT1 on
253 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
256 The same mechanism is used for all other music expressions, except the
257 chord. Backwards compatibility is retained through a special program option,
261 #(ly:set-option 'old-relative)
265 Windows users can double click a @code{.ly} file to process and view
266 it automagically through the new @code{lily-wins} frontend.
273 @chapter New features in 1.8 since 1.6
278 The chord entry code has been completely rewritten. It is now
279 cleaner and more flexible.
282 A new syntax has been added for text entry. This syntax is more
283 friendly than the old mechanism, and it is implemented in a more
284 robust and modular way. For more information, refer to the section on
285 "Text markup" in the notation manual.
288 The integration of the input language and Scheme has been made deeper:
289 you can now use LilyPond identifiers in Scheme, and use Scheme
290 expressions instead of LilyPond identifiers.
293 The internal representation of music has been cleaned up completely
294 and converted to Scheme data structures. The representation may be
298 A new uniform postfix syntax for articulation has been introduced.
299 A beamed slurred pair of eighth notes can be entered as
305 In version 2.0, postfix syntax will be the only syntax
306 available, and the dashes will become optional.
308 This will simplify the language: all articulations can be entered as
309 postfix, in any order.
312 A new syntax has been added for chords:
319 It is not necessary to update files to this syntax, but it will be for
320 using LilyPond version 2.0. In version 2.0, this syntax will be
330 \simultaneous @{ .. @}
333 for simultaneous music.
335 To convert your files from <PITCHES> to <<PITCHES>>, use the script
336 included in buildscripts/convert-new-chords.py
338 This change was introduced for the following reasons
342 It solves the "start score with chord" problem, where you have to
343 state \context Voice explicitly when a chord was the start of a
346 With the new syntax, it is possible to distinguish between
347 articulations (or fingerings) which are for a single chord note,
348 and which are for the entire chord. This allows for per-note
349 fingerings, and is more logical on the whole.
353 User code may now be executed during interpreting. The syntax for
357 \applycontext #SCHEME-FUNCTION
361 User code may now be executed on arbitrary grobs during interpreting.
362 The syntax for this feature is
365 \applyoutput #SCHEME-FUNCTION
369 SCHEME-FUNCTION takes a single argument, and is called for every grob
370 that is created in the current context.
373 New algorithms for chord-name formatting have been installed. They
374 can be tuned and have ergonomic syntax for entering exceptions.
377 Texts may now be put on multimeasure rests, e.g.
380 R1*20^\markup @{ "GP" @}
384 Ancient notation now prints ligatures in Gregorian square neumes
385 notation, roughly following the typographical style of the Liber
386 hymnarius of Solesmes, published in 1983. Ligatures are still printed
387 without the proper line breaking and horizontal spacing.
390 Glissandi can now be printed using the zigzag style.
393 LilyPond can now print clusters. The syntax is
396 \apply #notes-to-clusters @{ NOTE NOTE .. @}
400 For irregular meters, beat grouping marks can be printed. The
404 #(set-time-signature 7 8 '(3 2 2))
409 Nested horizontal brackets for music analysis can now be printed:
418 @item Ottava brackets are now fully supported as a feature. The syntax
426 @item Metronome markings are printed when a \tempo command is processed.
430 @item Fingerings can be put on chords horizontally.
434 @item The appearance of various glyphs has been fine-tuned.
438 @item Different types of percent style repeats may now be nested.
442 @item The emacs support has been extended.
446 The manual has been completely revised and extended.
450 @chapter New features in 1.6 since 1.4
456 Support for figured bass and tablature.
459 Completely rewritten beam formatting: provides much better output
464 Completely revised and improved music font.
468 Completely rewritten MIDI import support.
471 Completely rewritten grace note support. Practically speaking this
472 means that grace notes can be slurred to normal normal notes.
476 Improved accidental handling and formatting: styles for producing
477 cautionaries may vary, and complex collisions between accidentals of a
478 chord are handled much better.
481 Better spacing: both globally and locally. This includes subtle
482 details like optical stem spacing.
485 More support for ancient notation: mensural ligatures, ambitus
486 (pitch range) of voices, more shapes, etc.
489 More support for piano notation: bracket pedals, directed arpeggios,
493 Easier music polyphonic music entry.
496 More extensibility, many speedups and bugfixes
499 The manual has been thoroughly revised.
502 Development is now hosted at http://savannah.gnu.org, and sources
503 can be downloaded through anonymous CVS.
506 Support for windows: LilyPond is part of the cygwin distribution,
507 which comes with a user-friendly installer.