1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
12 The weight of the stafflines is now heavier at smaller staff sizes.
13 The font has been modified to match this look: at smaller sizes, the
14 font is heavier and the note heads are more rounded.
16 @item Processing scores is now done while parsing the file. New
17 Scheme functions give more flexibility: for example, it is now possible
18 interpret a score, collecting synchronized musical events in a list, and
19 manipulate that information using inline Scheme. For an example, see
20 @file{input/no-notation/recording.ly}.
22 @item Font sizes can now truly be scaled continuously: the @code{font-size}
23 is similar to the old @code{font-relative-size}, but may be set to
24 fractional values; the closest design size will be scaled to achieve
25 the desired size. As a side-effect, there are now no longer
26 limitations in using smaller fonts (eg. grace notes) at small staff
29 @item The appearance of stem tips is now also engraved with rounded corners.
32 The placement of accidentals on chords and ledgered notes is improved.
37 @chapter New features in 2.0 since 1.8
42 Crescendos can now be drawn dotted or dashed.
45 Quarter tones are now supported. They are entered by suffixing
46 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
47 following is an ascending list of pitches:
50 ceses ceseh ces ceh c cih cis cisih cisis
54 The following constructs have been removed from the syntax:
57 \duration #SCHEME-DURATION
59 \outputproperty @var{func} @var{symbol} = @var{value}
62 For @code{\outputproperty}, the following may be substituted:
65 \applyoutput #(outputproperty-compatibility @var{func}
66 @var{symbol} @var{value})
70 Clefs may now be transposed arbitrarily, for example
80 The syntax for chords and simultaneous music have changed.
87 while simultaneous music is entered as
90 <<@var{..music list..}>>
93 In effect, the meanings of both have been swapped relative to their 1.8
94 definition. The syntax for lists in @code{\markup} has changed
95 alongside, but figured bass mode was not changed, i.e.:
98 \markup @{ \center <@var{..list of markups..}> @}
99 \figure @{ <@var{figures}> @}
102 As chords the more often used than simultaneous music, this change will
106 Each music expression can now be tagged, to make different printed
107 versions from the same music expression. In the following example,
108 we see two versions of a piece of music, one for the full score, and
109 one with cue notes for the instrumental part:
113 @{ c4 f2 g4 @} % in the part, we have cue-notes
115 \tag #'score R1 % in the score: only a rest
119 The same can be applied to articulations, texts, etc.: they are
123 -\tag #@var{your-tags}
126 to an articulation, for example,
129 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
132 This defines a note, which has a conditional fingering and a
133 string-number indication.
136 The settings for chord-fingering are more flexible. You can specify a
137 list where fingerings may be placed, eg.
140 \property Voice.fingeringOrientations = #'(left down)
143 This will put the fingering for the lowest note below the chord, and the
147 The script previously known as @code{ly2dvi} has been renamed to
148 @code{lilypond}. The binary itself is now installed as
152 Markup text (ie. general text formatting) may now be used for lyrics too.
155 Two new commands for grace notes have been added, @code{\acciaccatura}
156 and @code{\appoggiatura},
163 Both reflect the traditional meanings of acciaccatura and appogiatura,
164 and both insert insert a slur from the first grace note to the main
168 Layout options for grace notes are now stored in a context property,
169 and may now be set separately from musical content.
172 The @code{\new} command will create a context with a unique
173 name automatically. Hence, for multi-staff scores, it is no longer
174 necessary to invent arbitrary context names. For example, a two-staff
175 score may be created by
179 \new Staff @{ @var{notes for 1st staff} @}
180 \new Staff @{ @var{notes for 2nd staff} @}
187 Octave checks make octave errors easier to correct.
194 This checks that @var{pitch} (without octave) yields @var{pitch} (with
195 octave) in \relative mode. If not, a warning is printed, and the
199 All articulations must now be entered postfix. For example,
206 is a pair of beamed slurred eighth notes.
209 The definition of @code{\relative} has been simplified. Octaves are
210 now always propagated in the order that music is entered. In the
215 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
220 the octave of BODY is based on PRE, the starting octave of ALT1 on
221 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
224 The same mechanism is used for all other music expressions, except the
225 chord. Backwards compatibility is retained through a special program option,
229 #(ly:set-option 'old-relative)
233 Windows users can double click a @code{.ly} file to process and view
234 it automagically through the new @code{lily-wins} frontend.
241 @chapter New features in 1.8 since 1.6
246 The chord entry code has been completely rewritten. It is now
247 cleaner and more flexible.
250 A new syntax has been added for text entry. This syntax is more
251 friendly than the old mechanism, and it is implemented in a more
252 robust and modular way. For more information, refer to the section on
253 "Text markup" in the notation manual.
256 The integration of the input language and Scheme has been made deeper:
257 you can now use LilyPond identifiers in Scheme, and use Scheme
258 expressions instead of LilyPond identifiers.
261 The internal representation of music has been cleaned up completely
262 and converted to Scheme data structures. The representation may be
266 A new uniform postfix syntax for articulation has been introduced.
267 A beamed slurred pair of eighth notes can be entered as
273 In version 2.0, postfix syntax will be the only syntax
274 available, and the dashes will become optional.
276 This will simplify the language: all articulations can be entered as
277 postfix, in any order.
280 A new syntax has been added for chords:
287 It is not necessary to update files to this syntax, but it will be for
288 using LilyPond version 2.0. In version 2.0, this syntax will be
298 \simultaneous @{ .. @}
301 for simultaneous music.
303 To convert your files from <PITCHES> to <<PITCHES>>, use the script
304 included in buildscripts/convert-new-chords.py
306 This change was introduced for the following reasons
310 It solves the "start score with chord" problem, where you have to
311 state \context Voice explicitly when a chord was the start of a
314 With the new syntax, it is possible to distinguish between
315 articulations (or fingerings) which are for a single chord note,
316 and which are for the entire chord. This allows for per-note
317 fingerings, and is more logical on the whole.
321 User code may now be executed during interpreting. The syntax for
325 \applycontext #SCHEME-FUNCTION
329 User code may now be executed on arbitrary grobs during interpreting.
330 The syntax for this feature is
333 \applyoutput #SCHEME-FUNCTION
337 SCHEME-FUNCTION takes a single argument, and is called for every grob
338 that is created in the current context.
341 New algorithms for chord-name formatting have been installed. They
342 can be tuned and have ergonomic syntax for entering exceptions.
345 Texts may now be put on multimeasure rests, e.g.
348 R1*20^\markup @{ "GP" @}
352 Ancient notation now prints ligatures in Gregorian square neumes
353 notation, roughly following the typographical style of the Liber
354 hymnarius of Solesmes, published in 1983. Ligatures are still printed
355 without the proper line breaking and horizontal spacing.
358 Glissandi can now be printed using the zigzag style.
361 LilyPond can now print clusters. The syntax is
364 \apply #notes-to-clusters @{ NOTE NOTE .. @}
368 For irregular meters, beat grouping marks can be printed. The
372 #(set-time-signature 7 8 '(3 2 2))
377 Nested horizontal brackets for music analysis can now be printed:
386 @item Ottava brackets are now fully supported as a feature. The syntax
394 @item Metronome markings are printed when a \tempo command is processed.
398 @item Fingerings can be put on chords horizontally.
402 @item The appearance of various glyphs has been fine-tuned.
406 @item Different types of percent style repeats may now be nested.
410 @item The emacs support has been extended.
414 The manual has been completely revised and extended.
418 @chapter New features in 1.6 since 1.4
424 Support for figured bass and tablature.
427 Completely rewritten beam formatting: provides much better output
432 Completely revised and improved music font.
436 Completely rewritten MIDI import support.
439 Completely rewritten grace note support. Practically speaking this
440 means that grace notes can be slurred to normal normal notes.
444 Improved accidental handling and formatting: styles for producing
445 cautionaries may vary, and complex collisions between accidentals of a
446 chord are handled much better.
449 Better spacing: both globally and locally. This includes subtle
450 details like optical stem spacing.
453 More support for ancient notation: mensural ligatures, ambitus
454 (pitch range) of voices, more shapes, etc.
457 More support for piano notation: bracket pedals, directed arpeggios,
461 Easier music polyphonic music entry.
464 More extensibility, many speedups and bugfixes
467 The manual has been thoroughly revised.
470 Development is now hosted at http://savannah.gnu.org, and sources
471 can be downloaded through anonymous CVS.
474 Support for windows: LilyPond is part of the cygwin distribution,
475 which comes with a user-friendly installer.