1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
19 @item Contexts may now be changed locally for an isolated music
20 expression. For example,
24 \consists "Pitch_squash_engraver"
30 @item The syntax for changing staffs has changed. The keyword
31 @code{\change} should now be used, e.g.
37 @item Features of spanner contexts, like @code{Staff}, can now be changed
38 using @code{\property}, eg.
42 \property Staff.StaffSymbol \set #'line-count = #4
48 puts a quarter note C on a staff with 4 lines.
51 @item Multi measure rests are now truly centered between the
52 clefs/barlines of the staff, their position is independent of symbols
55 @item Collision resolution for dots in chords has been improved greatly.
58 Spacing following barlines was improved for widely stretched lines.
61 Lyric hyphens and extenders now conform to standard typesetting
65 Lyrics are now aligned under note heads conforming to engraving
66 standards. The responsible code has been rewritten, and is drastically
67 simpler from the previous version. To aid this rewrite, the syntactic
68 function of the extender line ( __ ) has been changed: it is now
69 attached to the lyric syllable.
72 When redefining a context, the associated identifier is also
73 updated. For example, after reading following the snippet,
80 the definition of @code{ScoreContext} is updated to include the changed
85 The weight of the stafflines is now heavier at smaller staff sizes.
86 The font has been modified to match this look: at smaller sizes, the
87 font is heavier and the note heads are more rounded.
89 @item Processing scores is now done while parsing the file. New
90 Scheme functions give more flexibility: for example, it is now possible
91 interpret a score, collecting synchronized musical events in a list, and
92 manipulate that information using inline Scheme. For an example, see
93 @file{input/no-notation/recording.ly}.
95 @item Font sizes can now truly be scaled continuously: the @code{font-size}
96 is similar to the old @code{font-relative-size}, but may be set to
97 fractional values; the closest design size will be scaled to achieve
98 the desired size. As a side-effect, there are now no longer
99 limitations in using smaller fonts (eg. grace notes) at small staff
102 @item The appearance of stem tips is now also engraved with rounded corners.
105 The placement of accidentals on chords and ledgered notes is improved.
110 @chapter New features in 2.0 since 1.8
115 Crescendos can now be drawn dotted or dashed.
118 Quarter tones are now supported. They are entered by suffixing
119 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
120 following is an ascending list of pitches:
123 ceses ceseh ces ceh c cih cis cisih cisis
127 The following constructs have been removed from the syntax:
130 \duration #SCHEME-DURATION
132 \outputproperty @var{func} @var{symbol} = @var{value}
135 For @code{\outputproperty}, the following may be substituted:
138 \applyoutput #(outputproperty-compatibility @var{func}
139 @var{symbol} @var{value})
143 Clefs may now be transposed arbitrarily, for example
153 The syntax for chords and simultaneous music have changed.
154 Chords are entered as
160 while simultaneous music is entered as
163 <<@var{..music list..}>>
166 In effect, the meanings of both have been swapped relative to their 1.8
167 definition. The syntax for lists in @code{\markup} has changed
168 alongside, but figured bass mode was not changed, i.e.:
171 \markup @{ \center <@var{..list of markups..}> @}
172 \figure @{ <@var{figures}> @}
175 As chords the more often used than simultaneous music, this change will
179 Each music expression can now be tagged, to make different printed
180 versions from the same music expression. In the following example,
181 we see two versions of a piece of music, one for the full score, and
182 one with cue notes for the instrumental part:
186 @{ c4 f2 g4 @} % in the part, we have cue-notes
188 \tag #'score R1 % in the score: only a rest
192 The same can be applied to articulations, texts, etc.: they are
196 -\tag #@var{your-tags}
199 to an articulation, for example,
202 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
205 This defines a note, which has a conditional fingering and a
206 string-number indication.
209 The settings for chord-fingering are more flexible. You can specify a
210 list where fingerings may be placed, eg.
213 \property Voice.fingeringOrientations = #'(left down)
216 This will put the fingering for the lowest note below the chord, and the
220 The script previously known as @code{ly2dvi} has been renamed to
221 @code{lilypond}. The binary itself is now installed as
225 Markup text (ie. general text formatting) may now be used for lyrics too.
228 Two new commands for grace notes have been added, @code{\acciaccatura}
229 and @code{\appoggiatura},
236 Both reflect the traditional meanings of acciaccatura and appogiatura,
237 and both insert insert a slur from the first grace note to the main
241 Layout options for grace notes are now stored in a context property,
242 and may now be set separately from musical content.
245 The @code{\new} command will create a context with a unique
246 name automatically. Hence, for multi-staff scores, it is no longer
247 necessary to invent arbitrary context names. For example, a two-staff
248 score may be created by
252 \new Staff @{ @var{notes for 1st staff} @}
253 \new Staff @{ @var{notes for 2nd staff} @}
260 Octave checks make octave errors easier to correct.
267 This checks that @var{pitch} (without octave) yields @var{pitch} (with
268 octave) in \relative mode. If not, a warning is printed, and the
272 All articulations must now be entered postfix. For example,
279 is a pair of beamed slurred eighth notes.
282 The definition of @code{\relative} has been simplified. Octaves are
283 now always propagated in the order that music is entered. In the
288 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
293 the octave of BODY is based on PRE, the starting octave of ALT1 on
294 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
297 The same mechanism is used for all other music expressions, except the
298 chord. Backwards compatibility is retained through a special program option,
302 #(ly:set-option 'old-relative)
306 Windows users can double click a @code{.ly} file to process and view
307 it automagically through the new @code{lily-wins} frontend.
314 @chapter New features in 1.8 since 1.6
319 The chord entry code has been completely rewritten. It is now
320 cleaner and more flexible.
323 A new syntax has been added for text entry. This syntax is more
324 friendly than the old mechanism, and it is implemented in a more
325 robust and modular way. For more information, refer to the section on
326 "Text markup" in the notation manual.
329 The integration of the input language and Scheme has been made deeper:
330 you can now use LilyPond identifiers in Scheme, and use Scheme
331 expressions instead of LilyPond identifiers.
334 The internal representation of music has been cleaned up completely
335 and converted to Scheme data structures. The representation may be
339 A new uniform postfix syntax for articulation has been introduced.
340 A beamed slurred pair of eighth notes can be entered as
346 In version 2.0, postfix syntax will be the only syntax
347 available, and the dashes will become optional.
349 This will simplify the language: all articulations can be entered as
350 postfix, in any order.
353 A new syntax has been added for chords:
360 It is not necessary to update files to this syntax, but it will be for
361 using LilyPond version 2.0. In version 2.0, this syntax will be
371 \simultaneous @{ .. @}
374 for simultaneous music.
376 To convert your files from <PITCHES> to <<PITCHES>>, use the script
377 included in buildscripts/convert-new-chords.py
379 This change was introduced for the following reasons
383 It solves the "start score with chord" problem, where you have to
384 state \context Voice explicitly when a chord was the start of a
387 With the new syntax, it is possible to distinguish between
388 articulations (or fingerings) which are for a single chord note,
389 and which are for the entire chord. This allows for per-note
390 fingerings, and is more logical on the whole.
394 User code may now be executed during interpreting. The syntax for
398 \applycontext #SCHEME-FUNCTION
402 User code may now be executed on arbitrary grobs during interpreting.
403 The syntax for this feature is
406 \applyoutput #SCHEME-FUNCTION
410 SCHEME-FUNCTION takes a single argument, and is called for every grob
411 that is created in the current context.
414 New algorithms for chord-name formatting have been installed. They
415 can be tuned and have ergonomic syntax for entering exceptions.
418 Texts may now be put on multimeasure rests, e.g.
421 R1*20^\markup @{ "GP" @}
425 Ancient notation now prints ligatures in Gregorian square neumes
426 notation, roughly following the typographical style of the Liber
427 hymnarius of Solesmes, published in 1983. Ligatures are still printed
428 without the proper line breaking and horizontal spacing.
431 Glissandi can now be printed using the zigzag style.
434 LilyPond can now print clusters. The syntax is
437 \apply #notes-to-clusters @{ NOTE NOTE .. @}
441 For irregular meters, beat grouping marks can be printed. The
445 #(set-time-signature 7 8 '(3 2 2))
450 Nested horizontal brackets for music analysis can now be printed:
459 @item Ottava brackets are now fully supported as a feature. The syntax
467 @item Metronome markings are printed when a \tempo command is processed.
471 @item Fingerings can be put on chords horizontally.
475 @item The appearance of various glyphs has been fine-tuned.
479 @item Different types of percent style repeats may now be nested.
483 @item The emacs support has been extended.
487 The manual has been completely revised and extended.
491 @chapter New features in 1.6 since 1.4
497 Support for figured bass and tablature.
500 Completely rewritten beam formatting: provides much better output
505 Completely revised and improved music font.
509 Completely rewritten MIDI import support.
512 Completely rewritten grace note support. Practically speaking this
513 means that grace notes can be slurred to normal normal notes.
517 Improved accidental handling and formatting: styles for producing
518 cautionaries may vary, and complex collisions between accidentals of a
519 chord are handled much better.
522 Better spacing: both globally and locally. This includes subtle
523 details like optical stem spacing.
526 More support for ancient notation: mensural ligatures, ambitus
527 (pitch range) of voices, more shapes, etc.
530 More support for piano notation: bracket pedals, directed arpeggios,
534 Easier music polyphonic music entry.
537 More extensibility, many speedups and bugfixes
540 The manual has been thoroughly revised.
543 Development is now hosted at http://savannah.gnu.org, and sources
544 can be downloaded through anonymous CVS.
547 Support for windows: LilyPond is part of the cygwin distribution,
548 which comes with a user-friendly installer.