1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item In the LilyPond emacs mode, the @code{|} will now display the
12 current beat within the measure.
14 @item Colliding notes are now correctly aligned relative to notes in other staves.
16 @item An experimental GNOME output backend is available for developers.
17 It depends on several unreleased packages such as gnome-guile TLA and
18 Pango CVS. The output interface coverage is sparse, but it already
19 does support point-and-click on the GNOME Canvas. See also
20 @file{scm/output-gnome.scm}.
22 @item Context definitions are now stored in identifiers that match the
23 context name, in other words, to modify a @code{Staff} context, the
24 following code may be used.
33 @item A new block, @code{\bookpaper} has been introduced to
34 hold settings for paper size and output scaling. Further options
35 include @code{raggedbottom} (if set, systems are not vertically filled
36 to reach the bottom of the page), and @code{raggedlastbottom}.
40 @item Support for fret diagrams has been contributed by Carl
41 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
43 @item The @code{--safe-mode} has been revisited: GUILE evaluation
44 is done in the R5RS safe module, with only the basic @code{ly:}
45 interface available and malicious @TeX{} code is stopped. However, to
46 be reasonably safe, you are advised to use the PostScript backend
47 rather than the @TeX{} backend anyway; and if possible use an UML
48 sandbox to run gs or latex.
50 @item Music syntax can now be extended seamlessly. As an example,
51 here is the new implementation @code{\applymusic},
54 applymusic = #(ly:make-music-function
55 (list procedure? ly:music?) ; signature
56 (lambda (where func music) ; the function
60 @item @code{\apply} has been renamed to @code{\applymusic}.
62 @item Music can be used as a markup.
63 When inserting a @code{score} block as part of a @code{\markup}, it
64 produces a rendered markup of the music. An example is in
65 @file{input/test/markup-score.ly}.
67 @item LilyPond expressions can be embedded into Scheme. The syntax for
68 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
69 introduced using a @code{$} character (@code{$$} results in a single
70 `$' character). These forms are then inserted in the pattern.
73 #(define (textoffset dx dy)
75 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
79 %% The following embedded scheme call is the same as
80 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
86 @item A music list at toplevel is interpreted as implicit @code{\score}
87 a @code{\score} block at toplevel is interpreted as an implicit
88 @code{\book} and @code{\notes} mode is the default lexer mode. The
92 \header @{ title = "The Title" @}
99 \header @{ title = "The Title" @}
107 This is handled by the function defined in
108 @code{toplevel-music-handler}. Similarly, @code{\score} and
109 @code{\book} are handled by @code{toplevel-score-handler} and a
110 @code{toplevel-book-handler}. By changing these variables, different
111 results can be obtained.
114 @item Start pitch for @code{relative} music is optional for music lists.
115 The default value is middle C.
117 @c update-me? formal definition of newaddlyrics, once it works
118 @item Combining lyrics with music can be done with @code{\newlyrics}
123 d2 d c4 bes a2 \break
126 My first Li -- ly song,
129 Not much can go wrong!
133 Syntactically, @code{\newlyrics} acts like an infix operator.
135 @item The parser is encapsulated in a Scheme function
136 @code{ly:parse-file}, so the following fragment processes two files
139 #(ly:parse-file "another.ly")
140 \score { \notes { c4 }}
143 @item The @code{font-encoding} property can now be used to select
144 differently encoded fonts. The previous default setting
145 @code{TeX-text} has been replaced by latin1. LilyPond requires the
146 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
147 package installed to function properly.
149 @item The encoding of a file can be switched with
150 @code{\encoding}. The strings for markup texts are translated
153 @item The toplevel block @code{\book} introduces page layout.
154 A @code{\book} groups @code{\score} blocks into one page layout
155 entity. For example, two scores are combined in one book with
164 Titling and page breaks are handled by LilyPond. For automatic page
165 breaking, two algorithms are available, the classic ragged pages (the
166 default), and optimal page breaking.
167 Page breaks may be inserted manually with
173 The @code{lilypond} program does not generate La@TeX{} titles or page
174 layout. If you need La@TeX{} titles, you can use the
175 @code{lilypond-book} program.
177 @item There is now less of a noticeable ``hook'' at the end of a long slur.
179 @item The meaning of the @code{|} in the input can be redefined, by
180 assigning a music expression to @code{pipeSymbol}.
184 @unnumbered New features in 2.2 since 2.0
188 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
189 causes the last line to be set flush-left instead of justified.
191 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
192 its containing context automatically.
194 @item The code for font selection has been rewritten. In addition to
195 existing font selection properties, the property @code{font-encoding}
196 has been added, which makes the switch between normal @code{text} and
197 other encodings like @code{braces}, @code{music} and @code{math}.
199 @item The pmx2ly script has been removed from the distribution.
201 @item Pedal brackets will now run to the last bar of a piece if they are not
204 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
206 @item Property functions may be used as an argument to @code{set!},
210 (set! (ly:grob-property grob 'beam) ... )
213 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
216 @item Cue notes can be quoted directly from the parts that
217 contain them. This will take into account transposition of source and target
218 instrument. For example,
221 \addquote clarinet \notes\relative c' {
227 \notes \relative c'' {
228 c8 d8 \quote 2 oboe es8 gis
233 @item The transposition of an instrument can be specified using the
234 @code{\transposition} command. An
235 E-flat alto saxophone is specified as
241 @item The naming of exported Scheme functions now follows Scheme conventions.
242 Changes be applied to Scheme files with
245 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
249 @item Notes can be excluded from auto-beaming, by marking them with
256 will print two separate eighth notes, and two beamed notes.
258 @item Translators and contexts have been split. The result of this
259 internal cleanup is that @code{Score} no longer is the top context;
260 @code{Score} is contained in the @code{Global} context. Consequently,
261 it is possible to tweak @code{Score} as follows:
264 \context Score \with @{
269 @item The number of staff lines in Tablature notation is now
270 automatically deduced from the @code{stringTunings} property.
272 @item The program reference has been cleaned up and revised.
274 @item The syntax for setting properties has been simplified:
275 the following table lists the differences:
280 \property A.B = #C \set A.B = #C
281 \property A.B \unset \unset A.B
282 \property A.B \set #C = #D \override A.B #C = #D
283 \property A.B \override #C = #D (removed)
284 \property A.B \revert #C \revert A.B #C
287 Furthermore, if @code{A} is left out, the bottommost context is used
288 by default. In other words, it is no longer necessary to explicitly
289 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
294 \property Voice.autoBeaming = ##f
295 \property Staff.TimeSignature \set #'style = #'C
301 \set autoBeaming = ##f
302 \override Staff.TimeSignature #'style = #'C
306 @item Tweaks made with @code{\override} and @code{\revert} no longer
307 hide tweaks at higher context levels.
309 @item Melismata in lyrics are also properly handled in the MIDI output.
311 @item The lilypond-book script has been rewritten.
312 It is shorter, cleaner and faster. The special construct
313 @code{mbinclude} has been removed, plain @code{@@include} or
314 @code{\input} can be used now.
316 It now supports running convert-ly on the lilypond snippets,
318 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
321 @item The @code{LyricsVoice} context has been removed. Lyrics should only
322 be constructed in @code{Lyrics}.
324 @item The @code{Thread} context has been removed. Note heads and rests
325 are now constructed at @code{Voice} level.
327 @item Harmonic notes can now be entered as
333 @item Drum notation is now supported as a regular feature:
334 percussion may be entered in @code{\drums} mode, and printed or
335 performed in a @code{DrumStaff} context:
339 \drums \new DrumStaff @{ hihat4 cowbell8 @}
343 @item The automatic staff changer was internally rewritten. As a
344 result, the syntax has been simplified as well:
347 \autochange @var{the-music}
350 @item The ergonomic syntax of @code{\markup} now has an equivalent in
351 Scheme. The @code{markup*} macro creates such objects; the following
352 two markup commands are equivalent:
354 f4^#(markup* #:raise 0.2 #:bold "hi")
355 f4^\markup @{ \raise #0.2 \bold hi @}
358 @item Voice names, for vocal lines, have been added. They are similar
359 to instrument names. They can be set by defining @code{vocalName}
362 @item Safe mode has been reinstated for lilypond.
363 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
364 PostScript file output is disallowed, and lilypond-bin is invoked with
365 @code{--safe-mode}, the user's Guile expressions are evaluated in a
366 safe environment and file inclusion is not allowed.
368 Warning: this does not protect against denial-of-service attacks using
369 Guile, @TeX{} or PostScript.
371 (This feature is still experimental.)
373 @item There is now a Scheme macro for defining markup
374 commands. Special mark-up commands can be defined in user-files too.
376 @item Many fixes for dimension scaling have been made,
377 resulting in correct results for scores that mix staves in different
380 @item Improved robustness when layout properties are accidentally removed.
382 @item A more cleanly constructed part combiner has been installed.
383 It is more robust and less buggy. The part-combiner can be used with
385 \partcombine @var{mus1} @var{mus2}
389 See @file{input/regression/new-part-combine.ly} for an example.
391 @item Formatting of rehearsal marks has been improved. The @code{\mark}
392 command now only does automatic incrementing for marks specified as
393 integer. For example, @code{\mark #1} will print an A in the default
394 style. See @file{input/regression/rehearsal-mark-letter.ly},
395 @file{input/regression/rehearsal-mark-number.ly}.
397 @item Formatting of ottava brackets has been much improved.
399 @item Objects in the output can now be documented: the following fragment
400 boxes the note head, and adds the text ``heads or tails?'' three
401 spaces below the box.
404 \context Voice \applyoutput #(add-balloon-text
405 'NoteHead "heads, or tails?"
413 @item Default staff sizes are now scalable. There are two new mechanisms for
414 setting staff sizes. Both are demonstrated in this fragment:
417 #(set-global-staff-size 15)
419 #(paper-set-staff-size (* 15 pt))
425 Both have the same effect on the global layout of a piece. Similarly,
426 the paper size may be changed as follows
429 #(set-default-paper-size "a4")
431 #(set-paper-size "a4")
436 @item Warnings for bar check errors are more cleverly printed. This
437 makes @code{barCheckSynchronize} superfluous, so it is now switched
440 Warning: this will cause problems in scores that use bar checks to
443 @item The black note head was made a little rounder, which causes a less
444 frantic graphic impression.
447 A more concise syntax for checking octaves was introduced. A note may
448 be followed by @code{=}@var{quotes} which indicates what its absolute
449 octave should be. In the following example,
452 \relative c'' @{ c='' b=' d,='' @}
456 the d will generate a warning, because a d'' is
457 expected, but a d' is found.
458 @c @code adds ` ', very confusing.
460 @item There is a new mechanism for putting lyrics to melodies.
461 With this mechanism, @code{Lyrics} lines can be put melodies
462 individually, allowing for different melismatic sections in every
463 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
465 @item Bar lines may now be dotted.
468 @item The documentation now has links to a wiki, where everyone can
469 add personal comments to the manual.
471 @item Contexts may now be changed locally for an isolated music
472 expression. For example,
476 \consists "Pitch_squash_engraver"
482 @item The syntax for changing staffs has changed. The keyword
483 @code{\change} should now be used, e.g.
489 @item Features of spanner contexts, like @code{Staff}, can now be changed
490 using @code{\set}, eg.
494 \override Staff.StaffSymbol #'line-count = #4
500 puts a quarter note C on a staff with 4 lines.
503 @item Multi measure rests are now truly centered between the
504 clefs/barlines of the staff, their position is independent of symbols
507 @item Collision resolution for dots in chords has been improved greatly.
510 Spacing following barlines was improved for widely stretched lines.
513 Lyric hyphens and extenders now conform to standard typesetting
517 Lyrics are now aligned under note heads conforming to engraving
518 standards. The responsible code has been rewritten, and is drastically
519 simpler from the previous version. To aid this rewrite, the syntactic
520 function of the extender line ( __ ) has been changed: it is now
521 attached to the lyric syllable.
524 When redefining a context, the associated identifier is also
525 updated. For example, after reading
535 the definition of @code{ScoreContext} is updated to include the changed
540 The weight of the stafflines is now heavier at smaller staff sizes.
541 The font has been modified to match this look: at smaller sizes, the
542 font is heavier and the note heads are more rounded.
544 @item Processing scores is now done while parsing the file. New
545 Scheme functions give more flexibility: for example, it is now possible
546 interpret a score, collecting synchronized musical events in a list, and
547 manipulate that information using inline Scheme. For an example, see
548 @file{input/no-notation/recording.ly}.
550 @item Font sizes can now truly be scaled continuously: the @code{font-size}
551 is similar to the old @code{font-relative-size}, but may be set to
552 fractional values; the closest design size will be scaled to achieve
553 the desired size. As a side-effect, there are now no longer
554 limitations in using smaller fonts (eg. grace notes) at small staff
557 @item Stem tips are now also engraved with rounded corners.
560 The placement of accidentals on chords and ledgered notes is improved.
565 @unnumbered New features in 2.0 since 1.8
570 Crescendos can now be drawn dotted or dashed.
573 Quarter tones are now supported. They are entered by suffixing
574 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
575 following is an ascending list of pitches:
578 ceses ceseh ces ceh c cih cis cisih cisis
582 The following constructs have been removed from the syntax:
585 \duration #SCHEME-DURATION
587 \outputproperty @var{func} @var{symbol} = @var{value}
590 For @code{\outputproperty}, the following may be substituted:
593 \applyoutput #(outputproperty-compatibility @var{func}
594 @var{symbol} @var{value})
598 Clefs may now be transposed arbitrarily, for example
608 The syntax for chords and simultaneous music have changed.
609 Chords are entered as
615 while simultaneous music is entered as
618 <<@var{..music list..}>>
621 In effect, the meanings of both have been swapped relative to their 1.8
622 definition. The syntax for lists in @code{\markup} has changed
623 alongside, but figured bass mode was not changed, i.e.:
626 \markup @{ \center <@var{..list of markups..}> @}
627 \figure @{ <@var{figures}> @}
630 As chords the more often used than simultaneous music, this change will
634 Each music expression can now be tagged, to make different printed
635 versions from the same music expression. In the following example,
636 we see two versions of a piece of music, one for the full score, and
637 one with cue notes for the instrumental part:
641 @{ c4 f2 g4 @} % in the part, we have cue-notes
643 \tag #'score R1 % in the score: only a rest
647 The same can be applied to articulations, texts, etc.: they are
651 -\tag #@var{your-tags}
654 to an articulation, for example,
657 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
660 This defines a note, which has a conditional fingering and a
661 string-number indication.
664 The settings for chord-fingering are more flexible. You can specify a
665 list where fingerings may be placed, eg.
668 \property Voice.fingeringOrientations = #'(left down)
671 This will put the fingering for the lowest note below the chord, and the
675 The script previously known as @code{ly2dvi} has been renamed to
676 @code{lilypond}. The binary itself is now installed as
680 Markup text (ie. general text formatting) may now be used for lyrics too.
683 Two new commands for grace notes have been added, @code{\acciaccatura}
684 and @code{\appoggiatura},
691 Both reflect the traditional meanings of acciaccatura and appogiatura,
692 and both insert insert a slur from the first grace note to the main
696 Layout options for grace notes are now stored in a context property,
697 and may now be set separately from musical content.
700 The @code{\new} command will create a context with a unique
701 name automatically. Hence, for multi-staff scores, it is no longer
702 necessary to invent arbitrary context names. For example, a two-staff
703 score may be created by
707 \new Staff @{ @var{notes for 1st staff} @}
708 \new Staff @{ @var{notes for 2nd staff} @}
715 Octave checks make octave errors easier to correct.
722 This checks that @var{pitch} (without octave) yields @var{pitch} (with
723 octave) in \relative mode. If not, a warning is printed, and the
727 All articulations must now be entered postfix. For example,
734 is a pair of beamed slurred eighth notes.
737 The definition of @code{\relative} has been simplified. Octaves are
738 now always propagated in the order that music is entered. In the
743 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
748 the octave of BODY is based on PRE, the starting octave of ALT1 on
749 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
752 The same mechanism is used for all other music expressions, except the
753 chord. Backwards compatibility is retained through a special program option,
757 #(ly:set-option 'old-relative)
761 Windows users can double click a @code{.ly} file to process and view
762 it automagically through the new @code{lily-wins} frontend.
769 @unnumbered New features in 1.8 since 1.6
774 The chord entry code has been completely rewritten. It is now
775 cleaner and more flexible.
778 A new syntax has been added for text entry. This syntax is more
779 friendly than the old mechanism, and it is implemented in a more
780 robust and modular way. For more information, refer to the section on
781 "Text markup" in the notation manual.
784 The integration of the input language and Scheme has been made deeper:
785 you can now use LilyPond identifiers in Scheme, and use Scheme
786 expressions instead of LilyPond identifiers.
789 The internal representation of music has been cleaned up completely
790 and converted to Scheme data structures. The representation may be
794 A new uniform postfix syntax for articulation has been introduced.
795 A beamed slurred pair of eighth notes can be entered as
801 In version 2.0, postfix syntax will be the only syntax
802 available, and the dashes will become optional.
804 This will simplify the language: all articulations can be entered as
805 postfix, in any order.
808 A new syntax has been added for chords:
815 It is not necessary to update files to this syntax, but it will be for
816 using LilyPond version 2.0. In version 2.0, this syntax will be
826 \simultaneous @{ .. @}
829 for simultaneous music.
831 To convert your files from <PITCHES> to <<PITCHES>>, use the script
832 included in @file{buildscripts/convert-new-chords.py}.
834 This change was introduced for the following reasons
838 It solves the "start score with chord" problem, where you have to
839 state \context Voice explicitly when a chord was the start of a
842 With the new syntax, it is possible to distinguish between
843 articulations (or fingerings) which are for a single chord note,
844 and which are for the entire chord. This allows for per-note
845 fingerings, and is more logical on the whole.
849 User code may now be executed during interpreting. The syntax for
853 \applycontext #SCHEME-FUNCTION
857 User code may now be executed on arbitrary grobs during interpreting.
858 The syntax for this feature is
861 \applyoutput #SCHEME-FUNCTION
865 SCHEME-FUNCTION takes a single argument, and is called for every grob
866 that is created in the current context.
869 New algorithms for chord-name formatting have been installed. They
870 can be tuned and have ergonomic syntax for entering exceptions.
873 Texts may now be put on multimeasure rests, e.g.
876 R1*20^\markup @{ "GP" @}
880 Ancient notation now prints ligatures in Gregorian square neumes
881 notation, roughly following the typographical style of the Liber
882 hymnarius of Solesmes, published in 1983. Ligatures are still printed
883 without the proper line breaking and horizontal spacing.
886 Glissandi can now be printed using the zigzag style.
889 LilyPond can now print clusters. The syntax is
892 \apply #notes-to-clusters @{ NOTE NOTE .. @}
896 For irregular meters, beat grouping marks can be printed. The
900 #(set-time-signature 7 8 '(3 2 2))
905 Nested horizontal brackets for music analysis can now be printed:
914 @item Ottava brackets are now fully supported as a feature. The syntax
922 @item Metronome markings are printed when a \tempo command is processed.
926 @item Fingerings can be put on chords horizontally.
930 @item The appearance of various glyphs has been fine-tuned.
934 @item Different types of percent style repeats may now be nested.
938 @item The emacs support has been extended.
942 The manual has been completely revised and extended.
946 @unnumbered New features in 1.6 since 1.4
952 Support for figured bass and tablature.
955 Completely rewritten beam formatting: provides much better output
960 Completely revised and improved music font.
964 Completely rewritten MIDI import support.
967 Completely rewritten grace note support. Practically speaking this
968 means that grace notes can be slurred to normal normal notes.
972 Improved accidental handling and formatting: styles for producing
973 cautionaries may vary, and complex collisions between accidentals of a
974 chord are handled much better.
977 Better spacing: both globally and locally. This includes subtle
978 details like optical stem spacing.
981 More support for ancient notation: mensural ligatures, ambitus
982 (pitch range) of voices, more shapes, etc.
985 More support for piano notation: bracket pedals, directed arpeggios,
989 Easier music polyphonic music entry.
992 More extensibility, many speedups and bugfixes
995 The manual has been thoroughly revised.
998 Development is now hosted at http://savannah.gnu.org, and sources
999 can be downloaded through anonymous CVS.
1002 Support for windows: LilyPond is part of the cygwin distribution,
1003 which comes with a user-friendly installer.