1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
13 @item Features of spanner contexts, like Staff, can now be changed easily:
17 StaffSymbol \set #'line-count = #4
24 puts a quarter note C on a staff with 4 lines.
32 @item Multi measure rests are now truly centered between the
33 clefs/barlines of the staff, independent of symbols on the other staffs.
35 @item Collision resolution for dots in chords has been improved greatly.
38 Spacing following barlines was improved for widely stretched lines.
41 Lyric hyphens and extenders now conform to standard typesetting
45 Lyrics are now aligned under note heads conforming to engraving
46 standards. The responsible code has been rewritten, and is drastically
47 simpler from the previous version. To aid this rewrite, the syntactic
48 function of the extender line ( __ ) has been changed: it is now
49 attached to the lyric syllable.
52 When redefining a context, the associated identifier is also
53 updated. For example, after reading following the snippet,
60 the definition of @code{ScoreContext} is updated to include the changed
65 The weight of the stafflines is now heavier at smaller staff sizes.
66 The font has been modified to match this look: at smaller sizes, the
67 font is heavier and the note heads are more rounded.
69 @item Processing scores is now done while parsing the file. New
70 Scheme functions give more flexibility: for example, it is now possible
71 interpret a score, collecting synchronized musical events in a list, and
72 manipulate that information using inline Scheme. For an example, see
73 @file{input/no-notation/recording.ly}.
75 @item Font sizes can now truly be scaled continuously: the @code{font-size}
76 is similar to the old @code{font-relative-size}, but may be set to
77 fractional values; the closest design size will be scaled to achieve
78 the desired size. As a side-effect, there are now no longer
79 limitations in using smaller fonts (eg. grace notes) at small staff
82 @item The appearance of stem tips is now also engraved with rounded corners.
85 The placement of accidentals on chords and ledgered notes is improved.
90 @chapter New features in 2.0 since 1.8
95 Crescendos can now be drawn dotted or dashed.
98 Quarter tones are now supported. They are entered by suffixing
99 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
100 following is an ascending list of pitches:
103 ceses ceseh ces ceh c cih cis cisih cisis
107 The following constructs have been removed from the syntax:
110 \duration #SCHEME-DURATION
112 \outputproperty @var{func} @var{symbol} = @var{value}
115 For @code{\outputproperty}, the following may be substituted:
118 \applyoutput #(outputproperty-compatibility @var{func}
119 @var{symbol} @var{value})
123 Clefs may now be transposed arbitrarily, for example
133 The syntax for chords and simultaneous music have changed.
134 Chords are entered as
140 while simultaneous music is entered as
143 <<@var{..music list..}>>
146 In effect, the meanings of both have been swapped relative to their 1.8
147 definition. The syntax for lists in @code{\markup} has changed
148 alongside, but figured bass mode was not changed, i.e.:
151 \markup @{ \center <@var{..list of markups..}> @}
152 \figure @{ <@var{figures}> @}
155 As chords the more often used than simultaneous music, this change will
159 Each music expression can now be tagged, to make different printed
160 versions from the same music expression. In the following example,
161 we see two versions of a piece of music, one for the full score, and
162 one with cue notes for the instrumental part:
166 @{ c4 f2 g4 @} % in the part, we have cue-notes
168 \tag #'score R1 % in the score: only a rest
172 The same can be applied to articulations, texts, etc.: they are
176 -\tag #@var{your-tags}
179 to an articulation, for example,
182 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
185 This defines a note, which has a conditional fingering and a
186 string-number indication.
189 The settings for chord-fingering are more flexible. You can specify a
190 list where fingerings may be placed, eg.
193 \property Voice.fingeringOrientations = #'(left down)
196 This will put the fingering for the lowest note below the chord, and the
200 The script previously known as @code{ly2dvi} has been renamed to
201 @code{lilypond}. The binary itself is now installed as
205 Markup text (ie. general text formatting) may now be used for lyrics too.
208 Two new commands for grace notes have been added, @code{\acciaccatura}
209 and @code{\appoggiatura},
216 Both reflect the traditional meanings of acciaccatura and appogiatura,
217 and both insert insert a slur from the first grace note to the main
221 Layout options for grace notes are now stored in a context property,
222 and may now be set separately from musical content.
225 The @code{\new} command will create a context with a unique
226 name automatically. Hence, for multi-staff scores, it is no longer
227 necessary to invent arbitrary context names. For example, a two-staff
228 score may be created by
232 \new Staff @{ @var{notes for 1st staff} @}
233 \new Staff @{ @var{notes for 2nd staff} @}
240 Octave checks make octave errors easier to correct.
247 This checks that @var{pitch} (without octave) yields @var{pitch} (with
248 octave) in \relative mode. If not, a warning is printed, and the
252 All articulations must now be entered postfix. For example,
259 is a pair of beamed slurred eighth notes.
262 The definition of @code{\relative} has been simplified. Octaves are
263 now always propagated in the order that music is entered. In the
268 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
273 the octave of BODY is based on PRE, the starting octave of ALT1 on
274 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
277 The same mechanism is used for all other music expressions, except the
278 chord. Backwards compatibility is retained through a special program option,
282 #(ly:set-option 'old-relative)
286 Windows users can double click a @code{.ly} file to process and view
287 it automagically through the new @code{lily-wins} frontend.
294 @chapter New features in 1.8 since 1.6
299 The chord entry code has been completely rewritten. It is now
300 cleaner and more flexible.
303 A new syntax has been added for text entry. This syntax is more
304 friendly than the old mechanism, and it is implemented in a more
305 robust and modular way. For more information, refer to the section on
306 "Text markup" in the notation manual.
309 The integration of the input language and Scheme has been made deeper:
310 you can now use LilyPond identifiers in Scheme, and use Scheme
311 expressions instead of LilyPond identifiers.
314 The internal representation of music has been cleaned up completely
315 and converted to Scheme data structures. The representation may be
319 A new uniform postfix syntax for articulation has been introduced.
320 A beamed slurred pair of eighth notes can be entered as
326 In version 2.0, postfix syntax will be the only syntax
327 available, and the dashes will become optional.
329 This will simplify the language: all articulations can be entered as
330 postfix, in any order.
333 A new syntax has been added for chords:
340 It is not necessary to update files to this syntax, but it will be for
341 using LilyPond version 2.0. In version 2.0, this syntax will be
351 \simultaneous @{ .. @}
354 for simultaneous music.
356 To convert your files from <PITCHES> to <<PITCHES>>, use the script
357 included in buildscripts/convert-new-chords.py
359 This change was introduced for the following reasons
363 It solves the "start score with chord" problem, where you have to
364 state \context Voice explicitly when a chord was the start of a
367 With the new syntax, it is possible to distinguish between
368 articulations (or fingerings) which are for a single chord note,
369 and which are for the entire chord. This allows for per-note
370 fingerings, and is more logical on the whole.
374 User code may now be executed during interpreting. The syntax for
378 \applycontext #SCHEME-FUNCTION
382 User code may now be executed on arbitrary grobs during interpreting.
383 The syntax for this feature is
386 \applyoutput #SCHEME-FUNCTION
390 SCHEME-FUNCTION takes a single argument, and is called for every grob
391 that is created in the current context.
394 New algorithms for chord-name formatting have been installed. They
395 can be tuned and have ergonomic syntax for entering exceptions.
398 Texts may now be put on multimeasure rests, e.g.
401 R1*20^\markup @{ "GP" @}
405 Ancient notation now prints ligatures in Gregorian square neumes
406 notation, roughly following the typographical style of the Liber
407 hymnarius of Solesmes, published in 1983. Ligatures are still printed
408 without the proper line breaking and horizontal spacing.
411 Glissandi can now be printed using the zigzag style.
414 LilyPond can now print clusters. The syntax is
417 \apply #notes-to-clusters @{ NOTE NOTE .. @}
421 For irregular meters, beat grouping marks can be printed. The
425 #(set-time-signature 7 8 '(3 2 2))
430 Nested horizontal brackets for music analysis can now be printed:
439 @item Ottava brackets are now fully supported as a feature. The syntax
447 @item Metronome markings are printed when a \tempo command is processed.
451 @item Fingerings can be put on chords horizontally.
455 @item The appearance of various glyphs has been fine-tuned.
459 @item Different types of percent style repeats may now be nested.
463 @item The emacs support has been extended.
467 The manual has been completely revised and extended.
471 @chapter New features in 1.6 since 1.4
477 Support for figured bass and tablature.
480 Completely rewritten beam formatting: provides much better output
485 Completely revised and improved music font.
489 Completely rewritten MIDI import support.
492 Completely rewritten grace note support. Practically speaking this
493 means that grace notes can be slurred to normal normal notes.
497 Improved accidental handling and formatting: styles for producing
498 cautionaries may vary, and complex collisions between accidentals of a
499 chord are handled much better.
502 Better spacing: both globally and locally. This includes subtle
503 details like optical stem spacing.
506 More support for ancient notation: mensural ligatures, ambitus
507 (pitch range) of voices, more shapes, etc.
510 More support for piano notation: bracket pedals, directed arpeggios,
514 Easier music polyphonic music entry.
517 More extensibility, many speedups and bugfixes
520 The manual has been thoroughly revised.
523 Development is now hosted at http://savannah.gnu.org, and sources
524 can be downloaded through anonymous CVS.
527 Support for windows: LilyPond is part of the cygwin distribution,
528 which comes with a user-friendly installer.