1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.0 since 1.8
13 Crescendos can now be drawn dotted or dashed.
16 Quarter tones are now supported. They are entered by suffixing
17 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
18 following is an ascending list of pitches:
21 ceses ceseh ces ceh c cih cis cisih cisis
25 The following constructs have been removed from the syntax:
28 \duration #SCHEME-DURATION
30 \outputproperty @var{func} @var{symbol} = @var{value}
33 For @code{\outputproperty}, the following may be substituted:
36 \applyoutput #(outputproperty-compatibility @var{func}
37 @var{symbol} @var{value})
41 Clefs may now be transposed arbitrarily, for example
51 The syntax for chords and simultaneous music have changed.
58 while simultaneous music is entered as
61 <<@var{..music list..}>>
64 In effect, the meanings of both have been swapped relative to their 1.8
65 definition. The syntax for lists in @code{\markup} has changed
66 alongside, but figured bass mode was not changed, i.e.:
69 \markup @{ \center <@var{..list of markups..}> @}
70 \figure @{ <@var{figures}> @}
73 As chords the more often used than simultaneous music, this change will
77 Each music expression can now be tagged, to make different printed
78 versions from the same music expression. In the following example,
79 we see two versions of a piece of music, one for the full score, and
80 one with cue notes for the instrumental part:
84 @{ c4 f2 g4 @} % in the part, we have cue-notes
86 \tag #'score R1 % in the score: only a rest
90 The same can be applied to articulations, texts, etc.: they are
94 -\tag #@var{your-tags}
97 to an articulation, for example,
100 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
103 This defines a note, which has a conditional fingering and a
104 string-number indication.
107 The settings for chord-fingering are more flexible. You can specify a
108 list where fingerings may be placed, eg.
111 \property Voice.fingeringOrientations = #'(left down)
114 This will put the fingering for the lowest note below the chord, and the
118 The script previously known as @code{ly2dvi} has been renamed to
119 @code{lilypond}. The binary itself is now installed as
123 Markup text (ie. general text formatting) may now be used for lyrics too.
126 Two new commands for grace notes have been added, @code{\acciaccatura}
127 and @code{\appoggiatura},
134 Both reflect the traditional meanings of acciaccatura and appogiatura,
135 and both insert insert a slur from the first grace note to the main
139 Layout options for grace notes are now stored in a context property,
140 and may now be set separately from musical content.
143 The @code{\new} command will create a context with a unique
144 name automatically. Hence, for multi-staff scores, it is no longer
145 necessary to invent arbitrary context names. For example, a two-staff
146 score may be created by
150 \new Staff @{ @var{notes for 1st staff} @}
151 \new Staff @{ @var{notes for 2nd staff} @}
158 Octave checks make octave errors easier to correct.
165 This checks that @var{pitch} (without octave) yields @var{pitch} (with
166 octave) in \relative mode. If not, a warning is printed, and the
170 All articulations must now be entered postfix. For example,
177 is a pair of beamed slurred eighth notes.
180 The definition of @code{\relative} has been simplified. Octaves are
181 now always propagated in the order that music is entered. In the
186 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
191 the octave of BODY is based on PRE, the starting octave of ALT1 on
192 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
195 The same mechanism is used for all other music expressions, except the
196 chord. Backwards compatibility is retained through a special program option,
200 #(ly:set-option 'old-relative)
204 Windows users can double click a @code{.ly} file to process and view
205 it automagically through the new @code{lily-wins} frontend.
212 @chapter New features in 1.8 since 1.6
217 The chord entry code has been completely rewritten. It is now
218 cleaner and more flexible.
221 A new syntax has been added for text entry. This syntax is more
222 friendly than the old mechanism, and it is implemented in a more
223 robust and modular way. For more information, refer to the section on
224 "Text markup" in the notation manual.
227 The integration of the input language and Scheme has been made deeper:
228 you can now use LilyPond identifiers in Scheme, and use Scheme
229 expressions instead of LilyPond identifiers.
232 The internal representation of music has been cleaned up completely
233 and converted to Scheme data structures. The representation may be
237 A new uniform postfix syntax for articulation has been introduced.
238 A beamed slurred pair of eighth notes can be entered as
244 In version 2.0, postfix syntax will be the only syntax
245 available, and the dashes will become optional.
247 This will simplify the language: all articulations can be entered as
248 postfix, in any order.
251 A new syntax has been added for chords:
258 It is not necessary to update files to this syntax, but it will be for
259 using LilyPond version 2.0. In version 2.0, this syntax will be
269 \simultaneous @{ .. @}
272 for simultaneous music.
274 To convert your files from <PITCHES> to <<PITCHES>>, use the script
275 included in buildscripts/convert-new-chords.py
277 This change was introduced for the following reasons
281 It solves the "start score with chord" problem, where you have to
282 state \context Voice explicitly when a chord was the start of a
285 With the new syntax, it is possible to distinguish between
286 articulations (or fingerings) which are for a single chord note,
287 and which are for the entire chord. This allows for per-note
288 fingerings, and is more logical on the whole.
292 User code may now be executed during interpreting. The syntax for
296 \applycontext #SCHEME-FUNCTION
300 User code may now be executed on arbitrary grobs during interpreting.
301 The syntax for this feature is
304 \applyoutput #SCHEME-FUNCTION
308 SCHEME-FUNCTION takes a single argument, and is called for every grob
309 that is created in the current context.
312 New algorithms for chord-name formatting have been installed. They
313 can be tuned and have ergonomic syntax for entering exceptions.
316 Texts may now be put on multimeasure rests, e.g.
319 R1*20^\markup @{ "GP" @}
323 Ancient notation now prints ligatures in Gregorian square neumes
324 notation, roughly following the typographical style of the Liber
325 hymnarius of Solesmes, published in 1983. Ligatures are still printed
326 without the proper line breaking and horizontal spacing.
329 Glissandi can now be printed using the zigzag style.
332 LilyPond can now print clusters. The syntax is
335 \apply #notes-to-clusters @{ NOTE NOTE .. @}
339 For irregular meters, beat grouping marks can be printed. The
343 #(set-time-signature 7 8 '(3 2 2))
348 Nested horizontal brackets for music analysis can now be printed:
357 @item Ottava brackets are now fully supported as a feature. The syntax
365 @item Metronome markings are printed when a \tempo command is processed.
369 @item Fingerings can be put on chords horizontally.
373 @item The appearance of various glyphs has been fine-tuned.
377 @item Different types of percent style repeats may now be nested.
381 @item The emacs support has been extended.
385 The manual has been completely revised and extended.
389 @chapter New features in 1.6 since 1.4
395 Support for figured bass and tablature.
398 Completely rewritten beam formatting: provides much better output
403 Completely revised and improved music font.
407 Completely rewritten MIDI import support.
410 Completely rewritten grace note support. Practically speaking this
411 means that grace notes can be slurred to normal normal notes.
415 Improved accidental handling and formatting: styles for producing
416 cautionaries may vary, and complex collisions between accidentals of a
417 chord are handled much better.
420 Better spacing: both globally and locally. This includes subtle
421 details like optical stem spacing.
424 More support for ancient notation: mensural ligatures, ambitus
425 (pitch range) of voices, more shapes, etc.
428 More support for piano notation: bracket pedals, directed arpeggios,
432 Easier music polyphonic music entry.
435 More extensibility, many speedups and bugfixes
438 The manual has been thoroughly revised.
441 Development is now hosted at http://savannah.gnu.org, and sources
442 can be downloaded through anonymous CVS.
445 Support for windows: LilyPond is part of the cygwin distribution,
446 which comes with a user-friendly installer.