1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item Processing scores is now done while parsing the file. New
12 Scheme functions give more flexibility: for example, it is now possible
13 interpret a score, collecting synchronized musical events in a list, and
14 manipulate that information using inline Scheme. For an example, see
15 @file{input/no-notation/recording.ly}.
17 @item Font sizes can now truly be scaled continuously: the @code{font-size}
18 is similar to the old @code{font-relative-size}, but may be set to
19 fractional values; the closest design size will be scaled to achieve
20 the desired size. As a side-effect, there are now no longer
21 limitations in using smaller fonts (eg. grace notes) at small staff
24 @item The appearance of stem tips is now also engraved with rounded corners.
27 The placement of accidentals on chords and ledgered notes is improved.
32 @chapter New features in 2.0 since 1.8
37 Crescendos can now be drawn dotted or dashed.
40 Quarter tones are now supported. They are entered by suffixing
41 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
42 following is an ascending list of pitches:
45 ceses ceseh ces ceh c cih cis cisih cisis
49 The following constructs have been removed from the syntax:
52 \duration #SCHEME-DURATION
54 \outputproperty @var{func} @var{symbol} = @var{value}
57 For @code{\outputproperty}, the following may be substituted:
60 \applyoutput #(outputproperty-compatibility @var{func}
61 @var{symbol} @var{value})
65 Clefs may now be transposed arbitrarily, for example
75 The syntax for chords and simultaneous music have changed.
82 while simultaneous music is entered as
85 <<@var{..music list..}>>
88 In effect, the meanings of both have been swapped relative to their 1.8
89 definition. The syntax for lists in @code{\markup} has changed
90 alongside, but figured bass mode was not changed, i.e.:
93 \markup @{ \center <@var{..list of markups..}> @}
94 \figure @{ <@var{figures}> @}
97 As chords the more often used than simultaneous music, this change will
101 Each music expression can now be tagged, to make different printed
102 versions from the same music expression. In the following example,
103 we see two versions of a piece of music, one for the full score, and
104 one with cue notes for the instrumental part:
108 @{ c4 f2 g4 @} % in the part, we have cue-notes
110 \tag #'score R1 % in the score: only a rest
114 The same can be applied to articulations, texts, etc.: they are
118 -\tag #@var{your-tags}
121 to an articulation, for example,
124 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
127 This defines a note, which has a conditional fingering and a
128 string-number indication.
131 The settings for chord-fingering are more flexible. You can specify a
132 list where fingerings may be placed, eg.
135 \property Voice.fingeringOrientations = #'(left down)
138 This will put the fingering for the lowest note below the chord, and the
142 The script previously known as @code{ly2dvi} has been renamed to
143 @code{lilypond}. The binary itself is now installed as
147 Markup text (ie. general text formatting) may now be used for lyrics too.
150 Two new commands for grace notes have been added, @code{\acciaccatura}
151 and @code{\appoggiatura},
158 Both reflect the traditional meanings of acciaccatura and appogiatura,
159 and both insert insert a slur from the first grace note to the main
163 Layout options for grace notes are now stored in a context property,
164 and may now be set separately from musical content.
167 The @code{\new} command will create a context with a unique
168 name automatically. Hence, for multi-staff scores, it is no longer
169 necessary to invent arbitrary context names. For example, a two-staff
170 score may be created by
174 \new Staff @{ @var{notes for 1st staff} @}
175 \new Staff @{ @var{notes for 2nd staff} @}
182 Octave checks make octave errors easier to correct.
189 This checks that @var{pitch} (without octave) yields @var{pitch} (with
190 octave) in \relative mode. If not, a warning is printed, and the
194 All articulations must now be entered postfix. For example,
201 is a pair of beamed slurred eighth notes.
204 The definition of @code{\relative} has been simplified. Octaves are
205 now always propagated in the order that music is entered. In the
210 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
215 the octave of BODY is based on PRE, the starting octave of ALT1 on
216 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
219 The same mechanism is used for all other music expressions, except the
220 chord. Backwards compatibility is retained through a special program option,
224 #(ly:set-option 'old-relative)
228 Windows users can double click a @code{.ly} file to process and view
229 it automagically through the new @code{lily-wins} frontend.
236 @chapter New features in 1.8 since 1.6
241 The chord entry code has been completely rewritten. It is now
242 cleaner and more flexible.
245 A new syntax has been added for text entry. This syntax is more
246 friendly than the old mechanism, and it is implemented in a more
247 robust and modular way. For more information, refer to the section on
248 "Text markup" in the notation manual.
251 The integration of the input language and Scheme has been made deeper:
252 you can now use LilyPond identifiers in Scheme, and use Scheme
253 expressions instead of LilyPond identifiers.
256 The internal representation of music has been cleaned up completely
257 and converted to Scheme data structures. The representation may be
261 A new uniform postfix syntax for articulation has been introduced.
262 A beamed slurred pair of eighth notes can be entered as
268 In version 2.0, postfix syntax will be the only syntax
269 available, and the dashes will become optional.
271 This will simplify the language: all articulations can be entered as
272 postfix, in any order.
275 A new syntax has been added for chords:
282 It is not necessary to update files to this syntax, but it will be for
283 using LilyPond version 2.0. In version 2.0, this syntax will be
293 \simultaneous @{ .. @}
296 for simultaneous music.
298 To convert your files from <PITCHES> to <<PITCHES>>, use the script
299 included in buildscripts/convert-new-chords.py
301 This change was introduced for the following reasons
305 It solves the "start score with chord" problem, where you have to
306 state \context Voice explicitly when a chord was the start of a
309 With the new syntax, it is possible to distinguish between
310 articulations (or fingerings) which are for a single chord note,
311 and which are for the entire chord. This allows for per-note
312 fingerings, and is more logical on the whole.
316 User code may now be executed during interpreting. The syntax for
320 \applycontext #SCHEME-FUNCTION
324 User code may now be executed on arbitrary grobs during interpreting.
325 The syntax for this feature is
328 \applyoutput #SCHEME-FUNCTION
332 SCHEME-FUNCTION takes a single argument, and is called for every grob
333 that is created in the current context.
336 New algorithms for chord-name formatting have been installed. They
337 can be tuned and have ergonomic syntax for entering exceptions.
340 Texts may now be put on multimeasure rests, e.g.
343 R1*20^\markup @{ "GP" @}
347 Ancient notation now prints ligatures in Gregorian square neumes
348 notation, roughly following the typographical style of the Liber
349 hymnarius of Solesmes, published in 1983. Ligatures are still printed
350 without the proper line breaking and horizontal spacing.
353 Glissandi can now be printed using the zigzag style.
356 LilyPond can now print clusters. The syntax is
359 \apply #notes-to-clusters @{ NOTE NOTE .. @}
363 For irregular meters, beat grouping marks can be printed. The
367 #(set-time-signature 7 8 '(3 2 2))
372 Nested horizontal brackets for music analysis can now be printed:
381 @item Ottava brackets are now fully supported as a feature. The syntax
389 @item Metronome markings are printed when a \tempo command is processed.
393 @item Fingerings can be put on chords horizontally.
397 @item The appearance of various glyphs has been fine-tuned.
401 @item Different types of percent style repeats may now be nested.
405 @item The emacs support has been extended.
409 The manual has been completely revised and extended.
413 @chapter New features in 1.6 since 1.4
419 Support for figured bass and tablature.
422 Completely rewritten beam formatting: provides much better output
427 Completely revised and improved music font.
431 Completely rewritten MIDI import support.
434 Completely rewritten grace note support. Practically speaking this
435 means that grace notes can be slurred to normal normal notes.
439 Improved accidental handling and formatting: styles for producing
440 cautionaries may vary, and complex collisions between accidentals of a
441 chord are handled much better.
444 Better spacing: both globally and locally. This includes subtle
445 details like optical stem spacing.
448 More support for ancient notation: mensural ligatures, ambitus
449 (pitch range) of voices, more shapes, etc.
452 More support for piano notation: bracket pedals, directed arpeggios,
456 Easier music polyphonic music entry.
459 More extensibility, many speedups and bugfixes
462 The manual has been thoroughly revised.
465 Development is now hosted at http://savannah.gnu.org, and sources
466 can be downloaded through anonymous CVS.
469 Support for windows: LilyPond is part of the cygwin distribution,
470 which comes with a user-friendly installer.