1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Formatting of rehearsal marks has been improved. The @code{\mark}
22 command now only does automatic incrementing for marks specified as
23 integer. For example, @code{\mark #1} will print an A in the default
24 style. See @file{input/regression/rehearsal-mark-letter.ly},
25 @file{input/regression/rehearsal-mark-number.ly}.
27 @item Formatting of ottava brackets has been much improved.
29 @item Objects in the output can now be documented: the following fragment
30 boxes the note head, and adds the text ``heads or tails?'' three
34 \context Voice \applyoutput #(add-balloon-text
35 'NoteHead "heads, or tails?"
43 @item Default staff sizes are now scalable. There are two new mechanisms for
44 setting staff sizes. Both are demonstrated in this fragment:
47 #(set-global-staff-size 15)
49 #(paper-set-staff-size (* 15 pt))
55 Both have the same effect on the global layout of a
56 piece. Similarly, the paper size may be changed as follows
59 #(set-paper-size "a4")
63 @item Warnings for bar check errors are more cleverly printed. This
64 makes @code{barCheckSynchronize} superfluous, so it is now switched
67 Warning: this will cause problems in scores that use bar checks to
70 @item The black note head was made a little rounder, which causes a less
71 frantic graphic impression.
74 A more concise syntax for checking octaves was introduced. A note may
75 be followed by @code{=}@var{quotes} which indicates what its absolute
76 octave should be. In the following example,
79 \relative c'' @{ c='' b=' d,='' @}
83 the d will generate a warning, because a d'' is
84 expected, but a d' is found.
85 @c @code adds ` ' very confusing.
87 @item There is a new mechanism for putting lyrics to melodies.
88 With this mechanism, @code{LyricVoice}s can be put melodies
89 individually, allowing for different melismatic sections in every
90 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
92 @item Bar lines may now be dotted.
95 @item The documentation now has links to a wiki, where everyone can
96 add personal comments to the manual.
98 @item Contexts may now be changed locally for an isolated music
99 expression. For example,
103 \consists "Pitch_squash_engraver"
109 @item The syntax for changing staffs has changed. The keyword
110 @code{\change} should now be used, e.g.
116 @item Features of spanner contexts, like @code{Staff}, can now be changed
117 using @code{\property}, eg.
121 \property Staff.StaffSymbol \set #'line-count = #4
127 puts a quarter note C on a staff with 4 lines.
130 @item Multi measure rests are now truly centered between the
131 clefs/barlines of the staff, their position is independent of symbols
134 @item Collision resolution for dots in chords has been improved greatly.
137 Spacing following barlines was improved for widely stretched lines.
140 Lyric hyphens and extenders now conform to standard typesetting
144 Lyrics are now aligned under note heads conforming to engraving
145 standards. The responsible code has been rewritten, and is drastically
146 simpler from the previous version. To aid this rewrite, the syntactic
147 function of the extender line ( __ ) has been changed: it is now
148 attached to the lyric syllable.
151 When redefining a context, the associated identifier is also
152 updated. For example, after reading the following snippet,
159 the definition of @code{ScoreContext} is updated to include the changed
164 The weight of the stafflines is now heavier at smaller staff sizes.
165 The font has been modified to match this look: at smaller sizes, the
166 font is heavier and the note heads are more rounded.
168 @item Processing scores is now done while parsing the file. New
169 Scheme functions give more flexibility: for example, it is now possible
170 interpret a score, collecting synchronized musical events in a list, and
171 manipulate that information using inline Scheme. For an example, see
172 @file{input/no-notation/recording.ly}.
174 @item Font sizes can now truly be scaled continuously: the @code{font-size}
175 is similar to the old @code{font-relative-size}, but may be set to
176 fractional values; the closest design size will be scaled to achieve
177 the desired size. As a side-effect, there are now no longer
178 limitations in using smaller fonts (eg. grace notes) at small staff
181 @item The appearance of stem tips is now also engraved with rounded corners.
184 The placement of accidentals on chords and ledgered notes is improved.
189 @chapter New features in 2.0 since 1.8
194 Crescendos can now be drawn dotted or dashed.
197 Quarter tones are now supported. They are entered by suffixing
198 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
199 following is an ascending list of pitches:
202 ceses ceseh ces ceh c cih cis cisih cisis
206 The following constructs have been removed from the syntax:
209 \duration #SCHEME-DURATION
211 \outputproperty @var{func} @var{symbol} = @var{value}
214 For @code{\outputproperty}, the following may be substituted:
217 \applyoutput #(outputproperty-compatibility @var{func}
218 @var{symbol} @var{value})
222 Clefs may now be transposed arbitrarily, for example
232 The syntax for chords and simultaneous music have changed.
233 Chords are entered as
239 while simultaneous music is entered as
242 <<@var{..music list..}>>
245 In effect, the meanings of both have been swapped relative to their 1.8
246 definition. The syntax for lists in @code{\markup} has changed
247 alongside, but figured bass mode was not changed, i.e.:
250 \markup @{ \center <@var{..list of markups..}> @}
251 \figure @{ <@var{figures}> @}
254 As chords the more often used than simultaneous music, this change will
258 Each music expression can now be tagged, to make different printed
259 versions from the same music expression. In the following example,
260 we see two versions of a piece of music, one for the full score, and
261 one with cue notes for the instrumental part:
265 @{ c4 f2 g4 @} % in the part, we have cue-notes
267 \tag #'score R1 % in the score: only a rest
271 The same can be applied to articulations, texts, etc.: they are
275 -\tag #@var{your-tags}
278 to an articulation, for example,
281 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
284 This defines a note, which has a conditional fingering and a
285 string-number indication.
288 The settings for chord-fingering are more flexible. You can specify a
289 list where fingerings may be placed, eg.
292 \property Voice.fingeringOrientations = #'(left down)
295 This will put the fingering for the lowest note below the chord, and the
299 The script previously known as @code{ly2dvi} has been renamed to
300 @code{lilypond}. The binary itself is now installed as
304 Markup text (ie. general text formatting) may now be used for lyrics too.
307 Two new commands for grace notes have been added, @code{\acciaccatura}
308 and @code{\appoggiatura},
315 Both reflect the traditional meanings of acciaccatura and appogiatura,
316 and both insert insert a slur from the first grace note to the main
320 Layout options for grace notes are now stored in a context property,
321 and may now be set separately from musical content.
324 The @code{\new} command will create a context with a unique
325 name automatically. Hence, for multi-staff scores, it is no longer
326 necessary to invent arbitrary context names. For example, a two-staff
327 score may be created by
331 \new Staff @{ @var{notes for 1st staff} @}
332 \new Staff @{ @var{notes for 2nd staff} @}
339 Octave checks make octave errors easier to correct.
346 This checks that @var{pitch} (without octave) yields @var{pitch} (with
347 octave) in \relative mode. If not, a warning is printed, and the
351 All articulations must now be entered postfix. For example,
358 is a pair of beamed slurred eighth notes.
361 The definition of @code{\relative} has been simplified. Octaves are
362 now always propagated in the order that music is entered. In the
367 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
372 the octave of BODY is based on PRE, the starting octave of ALT1 on
373 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
376 The same mechanism is used for all other music expressions, except the
377 chord. Backwards compatibility is retained through a special program option,
381 #(ly:set-option 'old-relative)
385 Windows users can double click a @code{.ly} file to process and view
386 it automagically through the new @code{lily-wins} frontend.
393 @chapter New features in 1.8 since 1.6
398 The chord entry code has been completely rewritten. It is now
399 cleaner and more flexible.
402 A new syntax has been added for text entry. This syntax is more
403 friendly than the old mechanism, and it is implemented in a more
404 robust and modular way. For more information, refer to the section on
405 "Text markup" in the notation manual.
408 The integration of the input language and Scheme has been made deeper:
409 you can now use LilyPond identifiers in Scheme, and use Scheme
410 expressions instead of LilyPond identifiers.
413 The internal representation of music has been cleaned up completely
414 and converted to Scheme data structures. The representation may be
418 A new uniform postfix syntax for articulation has been introduced.
419 A beamed slurred pair of eighth notes can be entered as
425 In version 2.0, postfix syntax will be the only syntax
426 available, and the dashes will become optional.
428 This will simplify the language: all articulations can be entered as
429 postfix, in any order.
432 A new syntax has been added for chords:
439 It is not necessary to update files to this syntax, but it will be for
440 using LilyPond version 2.0. In version 2.0, this syntax will be
450 \simultaneous @{ .. @}
453 for simultaneous music.
455 To convert your files from <PITCHES> to <<PITCHES>>, use the script
456 included in buildscripts/convert-new-chords.py
458 This change was introduced for the following reasons
462 It solves the "start score with chord" problem, where you have to
463 state \context Voice explicitly when a chord was the start of a
466 With the new syntax, it is possible to distinguish between
467 articulations (or fingerings) which are for a single chord note,
468 and which are for the entire chord. This allows for per-note
469 fingerings, and is more logical on the whole.
473 User code may now be executed during interpreting. The syntax for
477 \applycontext #SCHEME-FUNCTION
481 User code may now be executed on arbitrary grobs during interpreting.
482 The syntax for this feature is
485 \applyoutput #SCHEME-FUNCTION
489 SCHEME-FUNCTION takes a single argument, and is called for every grob
490 that is created in the current context.
493 New algorithms for chord-name formatting have been installed. They
494 can be tuned and have ergonomic syntax for entering exceptions.
497 Texts may now be put on multimeasure rests, e.g.
500 R1*20^\markup @{ "GP" @}
504 Ancient notation now prints ligatures in Gregorian square neumes
505 notation, roughly following the typographical style of the Liber
506 hymnarius of Solesmes, published in 1983. Ligatures are still printed
507 without the proper line breaking and horizontal spacing.
510 Glissandi can now be printed using the zigzag style.
513 LilyPond can now print clusters. The syntax is
516 \apply #notes-to-clusters @{ NOTE NOTE .. @}
520 For irregular meters, beat grouping marks can be printed. The
524 #(set-time-signature 7 8 '(3 2 2))
529 Nested horizontal brackets for music analysis can now be printed:
538 @item Ottava brackets are now fully supported as a feature. The syntax
546 @item Metronome markings are printed when a \tempo command is processed.
550 @item Fingerings can be put on chords horizontally.
554 @item The appearance of various glyphs has been fine-tuned.
558 @item Different types of percent style repeats may now be nested.
562 @item The emacs support has been extended.
566 The manual has been completely revised and extended.
570 @chapter New features in 1.6 since 1.4
576 Support for figured bass and tablature.
579 Completely rewritten beam formatting: provides much better output
584 Completely revised and improved music font.
588 Completely rewritten MIDI import support.
591 Completely rewritten grace note support. Practically speaking this
592 means that grace notes can be slurred to normal normal notes.
596 Improved accidental handling and formatting: styles for producing
597 cautionaries may vary, and complex collisions between accidentals of a
598 chord are handled much better.
601 Better spacing: both globally and locally. This includes subtle
602 details like optical stem spacing.
605 More support for ancient notation: mensural ligatures, ambitus
606 (pitch range) of voices, more shapes, etc.
609 More support for piano notation: bracket pedals, directed arpeggios,
613 Easier music polyphonic music entry.
616 More extensibility, many speedups and bugfixes
619 The manual has been thoroughly revised.
622 Development is now hosted at http://savannah.gnu.org, and sources
623 can be downloaded through anonymous CVS.
626 Support for windows: LilyPond is part of the cygwin distribution,
627 which comes with a user-friendly installer.