1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Melismata in lyrics are also properly handled in the MIDI output.
23 @item The lilypond-book script has been rewritten.
24 It is shorter, cleaner and faster. The special construct
25 @code{mbinclude} has been removed, plain @code{@@include} or
26 @code{\\input} can be used now.
30 running convert-ly on the lilypond snippets like so:
32 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
36 @item The @code{Lyrics} context has been removed. Lyrics should only
37 be constructed in @code{LyricsVoice}.
39 @item The @code{Thread} context has been removed. Note heads and rests
40 are now constructed at @code{Voice} level.
42 @item Harmonic notes can now be entered as
48 @item Drum notation is now supported as a regular feature:
49 percussion may be entered in @code{\drums} mode, and printed or
50 performed in a @code{DrumStaff} context:
54 \drums \new DrumStaff @{ hihat4 cowbell8 @}
58 @item The automatic staff changer was internally rewritten. As a
59 result, the syntax has been simplified as well:
62 \autochange @var{the music}
65 @item The ergonomic syntax of @code{\markup} now has an equivalent in
66 Scheme. The @code{markup*} macro creates such objects; the following
67 two markup commands are equivalent:
69 f4^#(markup* #:raise 0.2 #:bold "hi")
70 f4^\markup @{ \raise #0.2 \bold hi @}
73 @item Voice names, for vocal lines, have been added. They are similar
74 to instrument names. They can be set by defining @code{vocalName}
77 @item Safe mode has been reinstated for lilypond.
78 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
79 PostScript file output is disallowed, and lilypond-bin is invoked with
80 @code{--safe-mode}, the user's Guile expressions are evaluated in a
81 safe environment and file inclusion is not allowed.
83 Warning: this does not protect against denial-of-service attacks using
84 Guile, @TeX{} or PostScript.
86 (This feature is still experimental.)
88 @item There is now a Scheme macro for defining markup
89 commands. Special mark-up commands can be defined in user-files too.
91 @item Many fixes for dimension scaling have been made,
92 resulting in correct results for scores that mix staves in different
95 @item Improved robustness when layout properties are accidentally removed.
97 @item A more cleanly constructed part combiner has been installed.
98 It is more robust and less buggy. The part-combiner can be used with
100 \partcombine @var{mus1} @var{mus2}
104 See @file{input/regression/new-part-combine.ly} for an example.
106 @item Formatting of rehearsal marks has been improved. The @code{\mark}
107 command now only does automatic incrementing for marks specified as
108 integer. For example, @code{\mark #1} will print an A in the default
109 style. See @file{input/regression/rehearsal-mark-letter.ly},
110 @file{input/regression/rehearsal-mark-number.ly}.
112 @item Formatting of ottava brackets has been much improved.
114 @item Objects in the output can now be documented: the following fragment
115 boxes the note head, and adds the text ``heads or tails?'' three
116 spaces below the box.
119 \context Voice \applyoutput #(add-balloon-text
120 'NoteHead "heads, or tails?"
128 @item Default staff sizes are now scalable. There are two new mechanisms for
129 setting staff sizes. Both are demonstrated in this fragment:
132 #(set-global-staff-size 15)
134 #(paper-set-staff-size (* 15 pt))
140 Both have the same effect on the global layout of a
141 piece. Similarly, the paper size may be changed as follows
144 #(set-paper-size "a4")
148 @item Warnings for bar check errors are more cleverly printed. This
149 makes @code{barCheckSynchronize} superfluous, so it is now switched
152 Warning: this will cause problems in scores that use bar checks to
155 @item The black note head was made a little rounder, which causes a less
156 frantic graphic impression.
159 A more concise syntax for checking octaves was introduced. A note may
160 be followed by @code{=}@var{quotes} which indicates what its absolute
161 octave should be. In the following example,
164 \relative c'' @{ c='' b=' d,='' @}
168 the d will generate a warning, because a d'' is
169 expected, but a d' is found.
170 @c @code adds ` ' very confusing.
172 @item There is a new mechanism for putting lyrics to melodies.
173 With this mechanism, @code{LyricVoice}s can be put melodies
174 individually, allowing for different melismatic sections in every
175 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
177 @item Bar lines may now be dotted.
180 @item The documentation now has links to a wiki, where everyone can
181 add personal comments to the manual.
183 @item Contexts may now be changed locally for an isolated music
184 expression. For example,
188 \consists "Pitch_squash_engraver"
194 @item The syntax for changing staffs has changed. The keyword
195 @code{\change} should now be used, e.g.
201 @item Features of spanner contexts, like @code{Staff}, can now be changed
202 using @code{\property}, eg.
206 \property Staff.StaffSymbol \set #'line-count = #4
212 puts a quarter note C on a staff with 4 lines.
215 @item Multi measure rests are now truly centered between the
216 clefs/barlines of the staff, their position is independent of symbols
219 @item Collision resolution for dots in chords has been improved greatly.
222 Spacing following barlines was improved for widely stretched lines.
225 Lyric hyphens and extenders now conform to standard typesetting
229 Lyrics are now aligned under note heads conforming to engraving
230 standards. The responsible code has been rewritten, and is drastically
231 simpler from the previous version. To aid this rewrite, the syntactic
232 function of the extender line ( __ ) has been changed: it is now
233 attached to the lyric syllable.
236 When redefining a context, the associated identifier is also
237 updated. For example, after reading the following snippet,
244 the definition of @code{ScoreContext} is updated to include the changed
249 The weight of the stafflines is now heavier at smaller staff sizes.
250 The font has been modified to match this look: at smaller sizes, the
251 font is heavier and the note heads are more rounded.
253 @item Processing scores is now done while parsing the file. New
254 Scheme functions give more flexibility: for example, it is now possible
255 interpret a score, collecting synchronized musical events in a list, and
256 manipulate that information using inline Scheme. For an example, see
257 @file{input/no-notation/recording.ly}.
259 @item Font sizes can now truly be scaled continuously: the @code{font-size}
260 is similar to the old @code{font-relative-size}, but may be set to
261 fractional values; the closest design size will be scaled to achieve
262 the desired size. As a side-effect, there are now no longer
263 limitations in using smaller fonts (eg. grace notes) at small staff
266 @item Stem tips are now also engraved with rounded corners.
269 The placement of accidentals on chords and ledgered notes is improved.
274 @chapter New features in 2.0 since 1.8
279 Crescendos can now be drawn dotted or dashed.
282 Quarter tones are now supported. They are entered by suffixing
283 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
284 following is an ascending list of pitches:
287 ceses ceseh ces ceh c cih cis cisih cisis
291 The following constructs have been removed from the syntax:
294 \duration #SCHEME-DURATION
296 \outputproperty @var{func} @var{symbol} = @var{value}
299 For @code{\outputproperty}, the following may be substituted:
302 \applyoutput #(outputproperty-compatibility @var{func}
303 @var{symbol} @var{value})
307 Clefs may now be transposed arbitrarily, for example
317 The syntax for chords and simultaneous music have changed.
318 Chords are entered as
324 while simultaneous music is entered as
327 <<@var{..music list..}>>
330 In effect, the meanings of both have been swapped relative to their 1.8
331 definition. The syntax for lists in @code{\markup} has changed
332 alongside, but figured bass mode was not changed, i.e.:
335 \markup @{ \center <@var{..list of markups..}> @}
336 \figure @{ <@var{figures}> @}
339 As chords the more often used than simultaneous music, this change will
343 Each music expression can now be tagged, to make different printed
344 versions from the same music expression. In the following example,
345 we see two versions of a piece of music, one for the full score, and
346 one with cue notes for the instrumental part:
350 @{ c4 f2 g4 @} % in the part, we have cue-notes
352 \tag #'score R1 % in the score: only a rest
356 The same can be applied to articulations, texts, etc.: they are
360 -\tag #@var{your-tags}
363 to an articulation, for example,
366 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
369 This defines a note, which has a conditional fingering and a
370 string-number indication.
373 The settings for chord-fingering are more flexible. You can specify a
374 list where fingerings may be placed, eg.
377 \property Voice.fingeringOrientations = #'(left down)
380 This will put the fingering for the lowest note below the chord, and the
384 The script previously known as @code{ly2dvi} has been renamed to
385 @code{lilypond}. The binary itself is now installed as
389 Markup text (ie. general text formatting) may now be used for lyrics too.
392 Two new commands for grace notes have been added, @code{\acciaccatura}
393 and @code{\appoggiatura},
400 Both reflect the traditional meanings of acciaccatura and appogiatura,
401 and both insert insert a slur from the first grace note to the main
405 Layout options for grace notes are now stored in a context property,
406 and may now be set separately from musical content.
409 The @code{\new} command will create a context with a unique
410 name automatically. Hence, for multi-staff scores, it is no longer
411 necessary to invent arbitrary context names. For example, a two-staff
412 score may be created by
416 \new Staff @{ @var{notes for 1st staff} @}
417 \new Staff @{ @var{notes for 2nd staff} @}
424 Octave checks make octave errors easier to correct.
431 This checks that @var{pitch} (without octave) yields @var{pitch} (with
432 octave) in \relative mode. If not, a warning is printed, and the
436 All articulations must now be entered postfix. For example,
443 is a pair of beamed slurred eighth notes.
446 The definition of @code{\relative} has been simplified. Octaves are
447 now always propagated in the order that music is entered. In the
452 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
457 the octave of BODY is based on PRE, the starting octave of ALT1 on
458 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
461 The same mechanism is used for all other music expressions, except the
462 chord. Backwards compatibility is retained through a special program option,
466 #(ly:set-option 'old-relative)
470 Windows users can double click a @code{.ly} file to process and view
471 it automagically through the new @code{lily-wins} frontend.
478 @chapter New features in 1.8 since 1.6
483 The chord entry code has been completely rewritten. It is now
484 cleaner and more flexible.
487 A new syntax has been added for text entry. This syntax is more
488 friendly than the old mechanism, and it is implemented in a more
489 robust and modular way. For more information, refer to the section on
490 "Text markup" in the notation manual.
493 The integration of the input language and Scheme has been made deeper:
494 you can now use LilyPond identifiers in Scheme, and use Scheme
495 expressions instead of LilyPond identifiers.
498 The internal representation of music has been cleaned up completely
499 and converted to Scheme data structures. The representation may be
503 A new uniform postfix syntax for articulation has been introduced.
504 A beamed slurred pair of eighth notes can be entered as
510 In version 2.0, postfix syntax will be the only syntax
511 available, and the dashes will become optional.
513 This will simplify the language: all articulations can be entered as
514 postfix, in any order.
517 A new syntax has been added for chords:
524 It is not necessary to update files to this syntax, but it will be for
525 using LilyPond version 2.0. In version 2.0, this syntax will be
535 \simultaneous @{ .. @}
538 for simultaneous music.
540 To convert your files from <PITCHES> to <<PITCHES>>, use the script
541 included in buildscripts/convert-new-chords.py
543 This change was introduced for the following reasons
547 It solves the "start score with chord" problem, where you have to
548 state \context Voice explicitly when a chord was the start of a
551 With the new syntax, it is possible to distinguish between
552 articulations (or fingerings) which are for a single chord note,
553 and which are for the entire chord. This allows for per-note
554 fingerings, and is more logical on the whole.
558 User code may now be executed during interpreting. The syntax for
562 \applycontext #SCHEME-FUNCTION
566 User code may now be executed on arbitrary grobs during interpreting.
567 The syntax for this feature is
570 \applyoutput #SCHEME-FUNCTION
574 SCHEME-FUNCTION takes a single argument, and is called for every grob
575 that is created in the current context.
578 New algorithms for chord-name formatting have been installed. They
579 can be tuned and have ergonomic syntax for entering exceptions.
582 Texts may now be put on multimeasure rests, e.g.
585 R1*20^\markup @{ "GP" @}
589 Ancient notation now prints ligatures in Gregorian square neumes
590 notation, roughly following the typographical style of the Liber
591 hymnarius of Solesmes, published in 1983. Ligatures are still printed
592 without the proper line breaking and horizontal spacing.
595 Glissandi can now be printed using the zigzag style.
598 LilyPond can now print clusters. The syntax is
601 \apply #notes-to-clusters @{ NOTE NOTE .. @}
605 For irregular meters, beat grouping marks can be printed. The
609 #(set-time-signature 7 8 '(3 2 2))
614 Nested horizontal brackets for music analysis can now be printed:
623 @item Ottava brackets are now fully supported as a feature. The syntax
631 @item Metronome markings are printed when a \tempo command is processed.
635 @item Fingerings can be put on chords horizontally.
639 @item The appearance of various glyphs has been fine-tuned.
643 @item Different types of percent style repeats may now be nested.
647 @item The emacs support has been extended.
651 The manual has been completely revised and extended.
655 @chapter New features in 1.6 since 1.4
661 Support for figured bass and tablature.
664 Completely rewritten beam formatting: provides much better output
669 Completely revised and improved music font.
673 Completely rewritten MIDI import support.
676 Completely rewritten grace note support. Practically speaking this
677 means that grace notes can be slurred to normal normal notes.
681 Improved accidental handling and formatting: styles for producing
682 cautionaries may vary, and complex collisions between accidentals of a
683 chord are handled much better.
686 Better spacing: both globally and locally. This includes subtle
687 details like optical stem spacing.
690 More support for ancient notation: mensural ligatures, ambitus
691 (pitch range) of voices, more shapes, etc.
694 More support for piano notation: bracket pedals, directed arpeggios,
698 Easier music polyphonic music entry.
701 More extensibility, many speedups and bugfixes
704 The manual has been thoroughly revised.
707 Development is now hosted at http://savannah.gnu.org, and sources
708 can be downloaded through anonymous CVS.
711 Support for windows: LilyPond is part of the cygwin distribution,
712 which comes with a user-friendly installer.