1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 1.9 since 1.8
13 Each music expression can now be tagged, to make different printed
14 versions from the same music expression. In the following example,
15 we see two versions of a piece of music, one for the full score, and
16 one with cue notes for the instrumental part:
20 @{ c4 f2 g @} % in the part, we have cue-notes
22 \tag #'score R1 % in the score: only a rest
26 The same can be applied to articulations, texts, etc.: they are
30 -\tag #@var{your-tags}
33 to an articulation, for example,
36 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
39 This defines a note, which has a fingering and a string-number
43 The settings for chord-fingering are more flexible. You can specify a
44 list where fingerings may be placed, eg.
47 \property Voice.fingeringOrientations = #'(left down)
50 This will put the fingering for the lowest note below the chord, and the
54 The script previously known as @file{ly2dvi} has been renamed to
55 @file{lilypond}. The binary itself is now installed as
59 Markup text (ie. general text formatting) may now be used for lyrics too.
62 Two new commands for grace notes have been added, @code{\acciaccatura}
63 and @code{\appoggiatura},
70 Both reflect the traditional meanings of acciaccatura and appogiatura,
71 and both insert insert a slur from the first grace note to the main
75 Layout options for grace notes are now stored in a context property,
76 and may now be set separately from musical content.
79 The @code{\new} command will create a context with a unique
80 name automatically. Hence, for multi-staff scores, it is no longer
81 necessary to invent arbitrary context names. For example, a two-staff
82 score may be created by
86 \new Staff @{ @var{notes for 1st staff} @}
87 \new Staff @{ @var{notes for 2nd staff} @}
94 Octave checks make octave errors easier to correct.
101 This checks that @var{pitch} (without octave) yields @var{pitch} (with
102 octave) in \relative mode. If not, a warning is printed, and the
106 All articulations must now be entered postfix. For example,
113 is a pair of beamed slurred eighth notes.
116 The definition of @code{\relative} has been simplified. Octaves are
117 now always propagated in the order that music is entered. In the
122 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
127 the octave of BODY is based on PRE, the starting octave of ALT1 on
128 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
131 The same mechanism is used for all other music expressions, except the
132 chord. Backwards compatibility is retained through a special program option,
136 #(ly:set-option 'old-relative)
144 @chapter New features in 1.8 since 1.6
149 The chord entry code has been completely rewritten. It is now
150 cleaner and more flexible.
153 A new syntax has been added for text entry. This syntax is more
154 friendly than the old mechanism, and it is implemented in a more
155 robust and modular way. For more information, refer to the section on
156 "Text markup" in the notation manual.
159 The integration of the input language and Scheme has been made deeper:
160 you can now use LilyPond identifiers in Scheme, and use Scheme
161 expressions instead of LilyPond identifiers.
164 The internal representation of music has been cleaned up completely
165 and converted to Scheme data structures. The representation may be
169 A new uniform postfix syntax for articulation has been introduced.
170 A beamed slurred pair of eighth notes can be entered as
176 In version 2.0, postfix syntax will be the only syntax
177 available, and the dashes will become optional.
179 This will simplify the language: all articulations can be entered as
180 postfix, in any order.
183 A new syntax has been added for chords:
190 It is not necessary to update files to this syntax, but it will be for
191 using LilyPond version 2.0. In version 2.0, this syntax will be
201 \simultaneous @{ .. @}
204 for simultaneous music.
206 To convert your files from <PITCHES> to <<PITCHES>>, use the script
207 included in buildscripts/convert-new-chords.py
209 This change was introduced for the following reasons
213 It solves the "start score with chord" problem, where you have to
214 state \context Voice explicitly when a chord was the start of a
217 With the new syntax, it is possible to distinguish between
218 articulations (or fingerings) which are for a single chord note,
219 and which are for the entire chord. This allows for per-note
220 fingerings, and is more logical on the whole.
224 User code may now be executed during interpreting. The syntax for
228 \applycontext #SCHEME-FUNCTION
232 User code may now be executed on arbitrary grobs during interpreting.
233 The syntax for this feature is
236 \applyoutput #SCHEME-FUNCTION
240 SCHEME-FUNCTION takes a single argument, and is called for every grob
241 that is created in the current context.
244 New algorithms for chord-name formatting have been installed. They
245 can be tuned and have ergonomic syntax for entering exceptions.
248 Texts may now be put on multimeasure rests, e.g.
251 R1*20^\markup @{ "GP" @}
255 Ancient notation now prints ligatures in Gregorian square neumes
256 notation, roughly following the typographical style of the Liber
257 hymnarius of Solesmes, published in 1983. Ligatures are still printed
258 without the proper line breaking and horizontal spacing.
261 Glissandi can now be printed using the zigzag style.
264 LilyPond can now print clusters. The syntax is
267 \apply #notes-to-clusters @{ NOTE NOTE .. @}
271 For irregular meters, beat grouping marks can be printed. The
275 #(set-time-signature 7 8 '(3 2 2))
280 Nested horizontal brackets for music analysis can now be printed:
289 @item Ottava brackets are now fully supported as a feature. The syntax
297 @item Metronome markings are printed when a \tempo command is processed.
301 @item Fingerings can be put on chords horizontally.
305 @item The appearance of various glyphs has been fine-tuned.
309 @item Different types of percent style repeats may now be nested.
313 @item The emacs support has been extended.
317 The manual has been completely revised and extended.
321 @chapter New features in 1.6 since 1.4
327 Support for figured bass and tablature.
330 Completely rewritten beam formatting: provides much better output
335 Completely revised and improved music font.
339 Completely rewritten MIDI import support.
342 Completely rewritten grace note support. Practically speaking this
343 means that grace notes can be slurred to normal normal notes.
347 Improved accidental handling and formatting: styles for producing
348 cautionaries may vary, and complex collisions between accidentals of a
349 chord are handled much better.
352 Better spacing: both globally and locally. This includes subtle
353 details like optical stem spacing.
356 More support for ancient notation: mensural ligatures, ambitus
357 (pitch range) of voices, more shapes, etc.
360 More support for piano notation: bracket pedals, directed arpeggios,
364 Easier music polyphonic music entry.
367 More extensibility, many speedups and bugfixes
370 The manual has been thoroughly revised.
373 Development is now hosted at http://savannah.gnu.org, and sources
374 can be downloaded through anonymous CVS.
377 Support for windows: LilyPond is part of the cygwin distribution,
378 which comes with a user-friendly installer.