1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 1.9 since 1.8
13 Octave checks make octave errors easier to correct.
19 This checks that @var{pitch} (without octave) yields @var{pitch} (with
20 octave) in \relative mode. If not, a warning is printed, and the
24 All articulations must now be entered postfix. For example,
29 is a pair of beamed slurred eighth notes.
32 The definition of @code{\relative} has been simplified. Octaves are
33 now always propagated in the order that music is entered. In the
37 \repeat "unfold" 3 BODY \alternative { ALT1 ALT2 ALT3 }
40 the octave of BODY is based on PRE, the starting octave of ALT1 on
41 BODY, the starting octave of ALT2 on ALT1, etc.
43 The same mechanism is used for all other music expressions, except the
44 chord. Backwards compatibility is retained through a special option,
48 #(ly:set-option 'old-relative)
54 @chapter New features in 1.8 since 1.6
59 The chord entry code has been completely rewritten. It is now
60 cleaner and more flexible.
63 A new syntax has been added for text entry. This syntax is more
64 friendly than the old mechanism, and it is implemented in a more
65 robust and modular way. For more information, refer to the section on
66 "Text markup" in the notation manual.
69 The integration of the input language and Scheme has been made deeper:
70 you can now use LilyPond identifiers in Scheme, and use Scheme
71 expressions instead of LilyPond identifiers.
74 The internal representation of music has been cleaned up completely
75 and converted to Scheme data structures. The representation may be
79 A new uniform postfix syntax for articulation has been introduced.
80 A beamed slurred pair of eighth notes can be entered as
86 In version 2.0, postfix syntax will be the only syntax
87 available, and the dashes will become optional.
89 This will simplify the language: all articulations can be entered as
90 postfix, in any order.
93 A new syntax has been added for chords:
100 It is not necessary to update files to this syntax, but it will be for
101 using LilyPond version 2.0. In version 2.0, this syntax will be
111 \simultaneous @{ .. @}
114 for simultaneous music.
116 To convert your files from <PITCHES> to <<PITCHES>>, use the script
117 included in buildscripts/convert-new-chords.py
119 This change was introduced for the following reasons
123 It solves the "start score with chord" problem, where you have to
124 state \context Voice explicitly when a chord was the start of a
127 With the new syntax, it is possible to distinguish between
128 articulations (or fingerings) which are for a single chord note,
129 and which are for the entire chord. This allows for per-note
130 fingerings, and is more logical on the whole.
134 User code may now be executed during interpreting. The syntax for
138 \applycontext #SCHEME-FUNCTION
142 User code may now be executed on arbitrary grobs during interpreting.
143 The syntax for this feature is
146 \applyoutput #SCHEME-FUNCTION
150 SCHEME-FUNCTION takes a single argument, and is called for every grob
151 that is created in the current context.
154 New algorithms for chord-name formatting have been installed. They
155 can be tuned and have ergonomic syntax for entering exceptions.
158 Texts may now be put on multimeasure rests, e.g.
161 R1*20^\markup @{ "GP" @}
165 Ancient notation now prints ligatures in Gregorian square neumes
166 notation, roughly following the typographical style of the Liber
167 hymnarius of Solesmes, published in 1983. Ligatures are still printed
168 without the proper line breaking and horizontal spacing.
171 Glissandi can now be printed using the zigzag style.
174 LilyPond can now print clusters. The syntax is
177 \apply #notes-to-clusters @{ NOTE NOTE .. @}
181 For irregular meters, beat grouping marks can be printed. The
185 #(set-time-signature 7 8 '(3 2 2))
190 Nested horizontal brackets for music analysis can now be printed:
199 @item Ottava brackets are now fully supported as a feature. The syntax
207 @item Metronome markings are printed when a \tempo command is processed.
211 @item Fingerings can be put on chords horizontally.
215 @item The appearance of various glyphs has been fine-tuned.
219 @item Different types of percent style repeats may now be nested.
223 @item The emacs support has been extended.
227 The manual has been completely revised and extended.
231 @chapter New features in 1.6 since 1.4
237 Support for figured bass and tablature.
240 Completely rewritten beam formatting: provides much better output
245 Completely revised and improved music font.
249 Completely rewritten MIDI import support.
252 Completely rewritten grace note support. Practically speaking this
253 means that grace notes can be slurred to normal normal notes.
257 Improved accidental handling and formatting: styles for producing
258 cautionaries may vary, and complex collisions between accidentals of a
259 chord are handled much better.
262 Better spacing: both globally and locally. This includes subtle
263 details like optical stem spacing.
266 More support for ancient notation: mensural ligatures, ambitus
267 (pitch range) of voices, more shapes, etc.
270 More support for piano notation: bracket pedals, directed arpeggios,
274 Easier music polyphonic music entry.
277 More extensibility, many speedups and bugfixes
280 The manual has been thoroughly revised.
283 Development is now hosted at http://savannah.gnu.org, and sources
284 can be downloaded through anonymous CVS.
287 Support for windows: LilyPond is part of the cygwin distribution,
288 which comes with a user-friendly installer.