1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Translators and contexts have been split. The result of this
22 internal cleanup is that @code{Score} no longer is the top context;
23 @code{Score} is contained in the @code{Global} context. Consequently,
24 it is possible to tweak @code{Score} as follows:
27 \context Score \with @{
33 @item The program reference has been cleaned up and revised.
35 @item The syntax for setting properties has been simplified:
36 the following table lists the differences:
41 \property A.B = #C \set A.B = #C
42 \property A.B \unset \unset A.B
43 \property A.B \set #C = #D \override A.B #C = #D
44 \property A.B \override #C = #D (removed)
45 \property A.B \revert #C \revert A.B #C
48 Furthermore, if @code{A} is left out, the bottommost context is used
49 by default. In other words, it is no longer necessary to explicitly
50 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
55 \property Voice.autoBeaming = ##f
56 \property Staff.TimeSignature \set #'style = #'C
62 \set autoBeaming = ##f
63 \override Staff.TimeSignature #'style = #'C
67 @item Tweaks made with @code{\override} and @code{\revert} no longer
68 hide tweaks at higher context levels.
70 @item Melismata in lyrics are also properly handled in the MIDI output.
72 @item The lilypond-book script has been rewritten.
73 It is shorter, cleaner and faster. The special construct
74 @code{mbinclude} has been removed, plain @code{@@include} or
75 @code{\input} can be used now.
79 running convert-ly on the lilypond snippets like so:
81 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
85 @item The @code{LyricsVoice} context has been removed. Lyrics should only
86 be constructed in @code{Lyrics}.
88 @item The @code{Thread} context has been removed. Note heads and rests
89 are now constructed at @code{Voice} level.
91 @item Harmonic notes can now be entered as
97 @item Drum notation is now supported as a regular feature:
98 percussion may be entered in @code{\drums} mode, and printed or
99 performed in a @code{DrumStaff} context:
103 \drums \new DrumStaff @{ hihat4 cowbell8 @}
107 @item The automatic staff changer was internally rewritten. As a
108 result, the syntax has been simplified as well:
111 \autochange @var{the music}
114 @item The ergonomic syntax of @code{\markup} now has an equivalent in
115 Scheme. The @code{markup*} macro creates such objects; the following
116 two markup commands are equivalent:
118 f4^#(markup* #:raise 0.2 #:bold "hi")
119 f4^\markup @{ \raise #0.2 \bold hi @}
122 @item Voice names, for vocal lines, have been added. They are similar
123 to instrument names. They can be set by defining @code{vocalName}
126 @item Safe mode has been reinstated for lilypond.
127 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
128 PostScript file output is disallowed, and lilypond-bin is invoked with
129 @code{--safe-mode}, the user's Guile expressions are evaluated in a
130 safe environment and file inclusion is not allowed.
132 Warning: this does not protect against denial-of-service attacks using
133 Guile, @TeX{} or PostScript.
135 (This feature is still experimental.)
137 @item There is now a Scheme macro for defining markup
138 commands. Special mark-up commands can be defined in user-files too.
140 @item Many fixes for dimension scaling have been made,
141 resulting in correct results for scores that mix staves in different
144 @item Improved robustness when layout properties are accidentally removed.
146 @item A more cleanly constructed part combiner has been installed.
147 It is more robust and less buggy. The part-combiner can be used with
149 \partcombine @var{mus1} @var{mus2}
153 See @file{input/regression/new-part-combine.ly} for an example.
155 @item Formatting of rehearsal marks has been improved. The @code{\mark}
156 command now only does automatic incrementing for marks specified as
157 integer. For example, @code{\mark #1} will print an A in the default
158 style. See @file{input/regression/rehearsal-mark-letter.ly},
159 @file{input/regression/rehearsal-mark-number.ly}.
161 @item Formatting of ottava brackets has been much improved.
163 @item Objects in the output can now be documented: the following fragment
164 boxes the note head, and adds the text ``heads or tails?'' three
165 spaces below the box.
168 \context Voice \applyoutput #(add-balloon-text
169 'NoteHead "heads, or tails?"
177 @item Default staff sizes are now scalable. There are two new mechanisms for
178 setting staff sizes. Both are demonstrated in this fragment:
181 #(set-global-staff-size 15)
183 #(paper-set-staff-size (* 15 pt))
189 Both have the same effect on the global layout of a piece. Similarly,
190 the paper size may be changed as follows
193 #(set-paper-size "a4")
197 @item Warnings for bar check errors are more cleverly printed. This
198 makes @code{barCheckSynchronize} superfluous, so it is now switched
201 Warning: this will cause problems in scores that use bar checks to
204 @item The black note head was made a little rounder, which causes a less
205 frantic graphic impression.
208 A more concise syntax for checking octaves was introduced. A note may
209 be followed by @code{=}@var{quotes} which indicates what its absolute
210 octave should be. In the following example,
213 \relative c'' @{ c='' b=' d,='' @}
217 the d will generate a warning, because a d'' is
218 expected, but a d' is found.
219 @c @code adds ` ' very confusing.
221 @item There is a new mechanism for putting lyrics to melodies.
222 With this mechanism, @code{LyricVoice}s can be put melodies
223 individually, allowing for different melismatic sections in every
224 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
226 @item Bar lines may now be dotted.
229 @item The documentation now has links to a wiki, where everyone can
230 add personal comments to the manual.
232 @item Contexts may now be changed locally for an isolated music
233 expression. For example,
237 \consists "Pitch_squash_engraver"
243 @item The syntax for changing staffs has changed. The keyword
244 @code{\change} should now be used, e.g.
250 @item Features of spanner contexts, like @code{Staff}, can now be changed
251 using @code{\property}, eg.
255 \property Staff.StaffSymbol \set #'line-count = #4
261 puts a quarter note C on a staff with 4 lines.
264 @item Multi measure rests are now truly centered between the
265 clefs/barlines of the staff, their position is independent of symbols
268 @item Collision resolution for dots in chords has been improved greatly.
271 Spacing following barlines was improved for widely stretched lines.
274 Lyric hyphens and extenders now conform to standard typesetting
278 Lyrics are now aligned under note heads conforming to engraving
279 standards. The responsible code has been rewritten, and is drastically
280 simpler from the previous version. To aid this rewrite, the syntactic
281 function of the extender line ( __ ) has been changed: it is now
282 attached to the lyric syllable.
285 When redefining a context, the associated identifier is also
286 updated. For example, after reading the following snippet,
293 the definition of @code{ScoreContext} is updated to include the changed
298 The weight of the stafflines is now heavier at smaller staff sizes.
299 The font has been modified to match this look: at smaller sizes, the
300 font is heavier and the note heads are more rounded.
302 @item Processing scores is now done while parsing the file. New
303 Scheme functions give more flexibility: for example, it is now possible
304 interpret a score, collecting synchronized musical events in a list, and
305 manipulate that information using inline Scheme. For an example, see
306 @file{input/no-notation/recording.ly}.
308 @item Font sizes can now truly be scaled continuously: the @code{font-size}
309 is similar to the old @code{font-relative-size}, but may be set to
310 fractional values; the closest design size will be scaled to achieve
311 the desired size. As a side-effect, there are now no longer
312 limitations in using smaller fonts (eg. grace notes) at small staff
315 @item Stem tips are now also engraved with rounded corners.
318 The placement of accidentals on chords and ledgered notes is improved.
323 @chapter New features in 2.0 since 1.8
328 Crescendos can now be drawn dotted or dashed.
331 Quarter tones are now supported. They are entered by suffixing
332 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
333 following is an ascending list of pitches:
336 ceses ceseh ces ceh c cih cis cisih cisis
340 The following constructs have been removed from the syntax:
343 \duration #SCHEME-DURATION
345 \outputproperty @var{func} @var{symbol} = @var{value}
348 For @code{\outputproperty}, the following may be substituted:
351 \applyoutput #(outputproperty-compatibility @var{func}
352 @var{symbol} @var{value})
356 Clefs may now be transposed arbitrarily, for example
366 The syntax for chords and simultaneous music have changed.
367 Chords are entered as
373 while simultaneous music is entered as
376 <<@var{..music list..}>>
379 In effect, the meanings of both have been swapped relative to their 1.8
380 definition. The syntax for lists in @code{\markup} has changed
381 alongside, but figured bass mode was not changed, i.e.:
384 \markup @{ \center <@var{..list of markups..}> @}
385 \figure @{ <@var{figures}> @}
388 As chords the more often used than simultaneous music, this change will
392 Each music expression can now be tagged, to make different printed
393 versions from the same music expression. In the following example,
394 we see two versions of a piece of music, one for the full score, and
395 one with cue notes for the instrumental part:
399 @{ c4 f2 g4 @} % in the part, we have cue-notes
401 \tag #'score R1 % in the score: only a rest
405 The same can be applied to articulations, texts, etc.: they are
409 -\tag #@var{your-tags}
412 to an articulation, for example,
415 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
418 This defines a note, which has a conditional fingering and a
419 string-number indication.
422 The settings for chord-fingering are more flexible. You can specify a
423 list where fingerings may be placed, eg.
426 \property Voice.fingeringOrientations = #'(left down)
429 This will put the fingering for the lowest note below the chord, and the
433 The script previously known as @code{ly2dvi} has been renamed to
434 @code{lilypond}. The binary itself is now installed as
438 Markup text (ie. general text formatting) may now be used for lyrics too.
441 Two new commands for grace notes have been added, @code{\acciaccatura}
442 and @code{\appoggiatura},
449 Both reflect the traditional meanings of acciaccatura and appogiatura,
450 and both insert insert a slur from the first grace note to the main
454 Layout options for grace notes are now stored in a context property,
455 and may now be set separately from musical content.
458 The @code{\new} command will create a context with a unique
459 name automatically. Hence, for multi-staff scores, it is no longer
460 necessary to invent arbitrary context names. For example, a two-staff
461 score may be created by
465 \new Staff @{ @var{notes for 1st staff} @}
466 \new Staff @{ @var{notes for 2nd staff} @}
473 Octave checks make octave errors easier to correct.
480 This checks that @var{pitch} (without octave) yields @var{pitch} (with
481 octave) in \relative mode. If not, a warning is printed, and the
485 All articulations must now be entered postfix. For example,
492 is a pair of beamed slurred eighth notes.
495 The definition of @code{\relative} has been simplified. Octaves are
496 now always propagated in the order that music is entered. In the
501 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
506 the octave of BODY is based on PRE, the starting octave of ALT1 on
507 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
510 The same mechanism is used for all other music expressions, except the
511 chord. Backwards compatibility is retained through a special program option,
515 #(ly:set-option 'old-relative)
519 Windows users can double click a @code{.ly} file to process and view
520 it automagically through the new @code{lily-wins} frontend.
527 @chapter New features in 1.8 since 1.6
532 The chord entry code has been completely rewritten. It is now
533 cleaner and more flexible.
536 A new syntax has been added for text entry. This syntax is more
537 friendly than the old mechanism, and it is implemented in a more
538 robust and modular way. For more information, refer to the section on
539 "Text markup" in the notation manual.
542 The integration of the input language and Scheme has been made deeper:
543 you can now use LilyPond identifiers in Scheme, and use Scheme
544 expressions instead of LilyPond identifiers.
547 The internal representation of music has been cleaned up completely
548 and converted to Scheme data structures. The representation may be
552 A new uniform postfix syntax for articulation has been introduced.
553 A beamed slurred pair of eighth notes can be entered as
559 In version 2.0, postfix syntax will be the only syntax
560 available, and the dashes will become optional.
562 This will simplify the language: all articulations can be entered as
563 postfix, in any order.
566 A new syntax has been added for chords:
573 It is not necessary to update files to this syntax, but it will be for
574 using LilyPond version 2.0. In version 2.0, this syntax will be
584 \simultaneous @{ .. @}
587 for simultaneous music.
589 To convert your files from <PITCHES> to <<PITCHES>>, use the script
590 included in buildscripts/convert-new-chords.py
592 This change was introduced for the following reasons
596 It solves the "start score with chord" problem, where you have to
597 state \context Voice explicitly when a chord was the start of a
600 With the new syntax, it is possible to distinguish between
601 articulations (or fingerings) which are for a single chord note,
602 and which are for the entire chord. This allows for per-note
603 fingerings, and is more logical on the whole.
607 User code may now be executed during interpreting. The syntax for
611 \applycontext #SCHEME-FUNCTION
615 User code may now be executed on arbitrary grobs during interpreting.
616 The syntax for this feature is
619 \applyoutput #SCHEME-FUNCTION
623 SCHEME-FUNCTION takes a single argument, and is called for every grob
624 that is created in the current context.
627 New algorithms for chord-name formatting have been installed. They
628 can be tuned and have ergonomic syntax for entering exceptions.
631 Texts may now be put on multimeasure rests, e.g.
634 R1*20^\markup @{ "GP" @}
638 Ancient notation now prints ligatures in Gregorian square neumes
639 notation, roughly following the typographical style of the Liber
640 hymnarius of Solesmes, published in 1983. Ligatures are still printed
641 without the proper line breaking and horizontal spacing.
644 Glissandi can now be printed using the zigzag style.
647 LilyPond can now print clusters. The syntax is
650 \apply #notes-to-clusters @{ NOTE NOTE .. @}
654 For irregular meters, beat grouping marks can be printed. The
658 #(set-time-signature 7 8 '(3 2 2))
663 Nested horizontal brackets for music analysis can now be printed:
672 @item Ottava brackets are now fully supported as a feature. The syntax
680 @item Metronome markings are printed when a \tempo command is processed.
684 @item Fingerings can be put on chords horizontally.
688 @item The appearance of various glyphs has been fine-tuned.
692 @item Different types of percent style repeats may now be nested.
696 @item The emacs support has been extended.
700 The manual has been completely revised and extended.
704 @chapter New features in 1.6 since 1.4
710 Support for figured bass and tablature.
713 Completely rewritten beam formatting: provides much better output
718 Completely revised and improved music font.
722 Completely rewritten MIDI import support.
725 Completely rewritten grace note support. Practically speaking this
726 means that grace notes can be slurred to normal normal notes.
730 Improved accidental handling and formatting: styles for producing
731 cautionaries may vary, and complex collisions between accidentals of a
732 chord are handled much better.
735 Better spacing: both globally and locally. This includes subtle
736 details like optical stem spacing.
739 More support for ancient notation: mensural ligatures, ambitus
740 (pitch range) of voices, more shapes, etc.
743 More support for piano notation: bracket pedals, directed arpeggios,
747 Easier music polyphonic music entry.
750 More extensibility, many speedups and bugfixes
753 The manual has been thoroughly revised.
756 Development is now hosted at http://savannah.gnu.org, and sources
757 can be downloaded through anonymous CVS.
760 Support for windows: LilyPond is part of the cygwin distribution,
761 which comes with a user-friendly installer.