1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
20 @item The ergonomic syntax of @code{\markup} now has an equivalent in
21 Scheme. The @code{markup*} macro creates such objects; the following
22 two markup commands are equivalent:
24 f4^#(markup* #:raise 0.2 #:bold "hi")
25 f4^\markup @{ \raise #0.2 \bold hi @}
28 @item Voice names, for vocal lines, have been added. They are similar
29 to instrument names. They can be set by defining @code{vocalName}
32 @item Safe mode has been reinstated for lilypond.
33 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
34 PostScript file output is disallowed, and lilypond-bin is invoked with
35 @code{--safe-mode}, the user's Guile expressions are evaluated in a
36 safe environment and file inclusion is not allowed.
38 Be warned that a DOS attack using Guile, @TeX{} or PostScript is
41 (This feature is still experimental.)
43 @item There is now a Scheme macro for defining markup
44 commands. Special mark-up commands can be defined in user-files too.
46 @item Many fixes for dimension scaling have been made,
47 resulting in correct results for scores that mix staves in different
50 @item Improved robustness when layout properties are accidentally removed.
52 @item A more cleanly constructed part combiner has been installed.
53 It is more robust and less buggy. The part-combiner can be used with
55 \newpartcombine @var{mus1} @var{mus2}
59 See @file{input/regression/new-part-combine.ly} for an example.
61 @item Formatting of rehearsal marks has been improved. The @code{\mark}
62 command now only does automatic incrementing for marks specified as
63 integer. For example, @code{\mark #1} will print an A in the default
64 style. See @file{input/regression/rehearsal-mark-letter.ly},
65 @file{input/regression/rehearsal-mark-number.ly}.
67 @item Formatting of ottava brackets has been much improved.
69 @item Objects in the output can now be documented: the following fragment
70 boxes the note head, and adds the text ``heads or tails?'' three
74 \context Voice \applyoutput #(add-balloon-text
75 'NoteHead "heads, or tails?"
83 @item Default staff sizes are now scalable. There are two new mechanisms for
84 setting staff sizes. Both are demonstrated in this fragment:
87 #(set-global-staff-size 15)
89 #(paper-set-staff-size (* 15 pt))
95 Both have the same effect on the global layout of a
96 piece. Similarly, the paper size may be changed as follows
99 #(set-paper-size "a4")
103 @item Warnings for bar check errors are more cleverly printed. This
104 makes @code{barCheckSynchronize} superfluous, so it is now switched
107 Warning: this will cause problems in scores that use bar checks to
110 @item The black note head was made a little rounder, which causes a less
111 frantic graphic impression.
114 A more concise syntax for checking octaves was introduced. A note may
115 be followed by @code{=}@var{quotes} which indicates what its absolute
116 octave should be. In the following example,
119 \relative c'' @{ c='' b=' d,='' @}
123 the d will generate a warning, because a d'' is
124 expected, but a d' is found.
125 @c @code adds ` ' very confusing.
127 @item There is a new mechanism for putting lyrics to melodies.
128 With this mechanism, @code{LyricVoice}s can be put melodies
129 individually, allowing for different melismatic sections in every
130 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
132 @item Bar lines may now be dotted.
135 @item The documentation now has links to a wiki, where everyone can
136 add personal comments to the manual.
138 @item Contexts may now be changed locally for an isolated music
139 expression. For example,
143 \consists "Pitch_squash_engraver"
149 @item The syntax for changing staffs has changed. The keyword
150 @code{\change} should now be used, e.g.
156 @item Features of spanner contexts, like @code{Staff}, can now be changed
157 using @code{\property}, eg.
161 \property Staff.StaffSymbol \set #'line-count = #4
167 puts a quarter note C on a staff with 4 lines.
170 @item Multi measure rests are now truly centered between the
171 clefs/barlines of the staff, their position is independent of symbols
174 @item Collision resolution for dots in chords has been improved greatly.
177 Spacing following barlines was improved for widely stretched lines.
180 Lyric hyphens and extenders now conform to standard typesetting
184 Lyrics are now aligned under note heads conforming to engraving
185 standards. The responsible code has been rewritten, and is drastically
186 simpler from the previous version. To aid this rewrite, the syntactic
187 function of the extender line ( __ ) has been changed: it is now
188 attached to the lyric syllable.
191 When redefining a context, the associated identifier is also
192 updated. For example, after reading the following snippet,
199 the definition of @code{ScoreContext} is updated to include the changed
204 The weight of the stafflines is now heavier at smaller staff sizes.
205 The font has been modified to match this look: at smaller sizes, the
206 font is heavier and the note heads are more rounded.
208 @item Processing scores is now done while parsing the file. New
209 Scheme functions give more flexibility: for example, it is now possible
210 interpret a score, collecting synchronized musical events in a list, and
211 manipulate that information using inline Scheme. For an example, see
212 @file{input/no-notation/recording.ly}.
214 @item Font sizes can now truly be scaled continuously: the @code{font-size}
215 is similar to the old @code{font-relative-size}, but may be set to
216 fractional values; the closest design size will be scaled to achieve
217 the desired size. As a side-effect, there are now no longer
218 limitations in using smaller fonts (eg. grace notes) at small staff
221 @item The appearance of stem tips is now also engraved with rounded corners.
224 The placement of accidentals on chords and ledgered notes is improved.
229 @chapter New features in 2.0 since 1.8
234 Crescendos can now be drawn dotted or dashed.
237 Quarter tones are now supported. They are entered by suffixing
238 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
239 following is an ascending list of pitches:
242 ceses ceseh ces ceh c cih cis cisih cisis
246 The following constructs have been removed from the syntax:
249 \duration #SCHEME-DURATION
251 \outputproperty @var{func} @var{symbol} = @var{value}
254 For @code{\outputproperty}, the following may be substituted:
257 \applyoutput #(outputproperty-compatibility @var{func}
258 @var{symbol} @var{value})
262 Clefs may now be transposed arbitrarily, for example
272 The syntax for chords and simultaneous music have changed.
273 Chords are entered as
279 while simultaneous music is entered as
282 <<@var{..music list..}>>
285 In effect, the meanings of both have been swapped relative to their 1.8
286 definition. The syntax for lists in @code{\markup} has changed
287 alongside, but figured bass mode was not changed, i.e.:
290 \markup @{ \center <@var{..list of markups..}> @}
291 \figure @{ <@var{figures}> @}
294 As chords the more often used than simultaneous music, this change will
298 Each music expression can now be tagged, to make different printed
299 versions from the same music expression. In the following example,
300 we see two versions of a piece of music, one for the full score, and
301 one with cue notes for the instrumental part:
305 @{ c4 f2 g4 @} % in the part, we have cue-notes
307 \tag #'score R1 % in the score: only a rest
311 The same can be applied to articulations, texts, etc.: they are
315 -\tag #@var{your-tags}
318 to an articulation, for example,
321 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
324 This defines a note, which has a conditional fingering and a
325 string-number indication.
328 The settings for chord-fingering are more flexible. You can specify a
329 list where fingerings may be placed, eg.
332 \property Voice.fingeringOrientations = #'(left down)
335 This will put the fingering for the lowest note below the chord, and the
339 The script previously known as @code{ly2dvi} has been renamed to
340 @code{lilypond}. The binary itself is now installed as
344 Markup text (ie. general text formatting) may now be used for lyrics too.
347 Two new commands for grace notes have been added, @code{\acciaccatura}
348 and @code{\appoggiatura},
355 Both reflect the traditional meanings of acciaccatura and appogiatura,
356 and both insert insert a slur from the first grace note to the main
360 Layout options for grace notes are now stored in a context property,
361 and may now be set separately from musical content.
364 The @code{\new} command will create a context with a unique
365 name automatically. Hence, for multi-staff scores, it is no longer
366 necessary to invent arbitrary context names. For example, a two-staff
367 score may be created by
371 \new Staff @{ @var{notes for 1st staff} @}
372 \new Staff @{ @var{notes for 2nd staff} @}
379 Octave checks make octave errors easier to correct.
386 This checks that @var{pitch} (without octave) yields @var{pitch} (with
387 octave) in \relative mode. If not, a warning is printed, and the
391 All articulations must now be entered postfix. For example,
398 is a pair of beamed slurred eighth notes.
401 The definition of @code{\relative} has been simplified. Octaves are
402 now always propagated in the order that music is entered. In the
407 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
412 the octave of BODY is based on PRE, the starting octave of ALT1 on
413 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
416 The same mechanism is used for all other music expressions, except the
417 chord. Backwards compatibility is retained through a special program option,
421 #(ly:set-option 'old-relative)
425 Windows users can double click a @code{.ly} file to process and view
426 it automagically through the new @code{lily-wins} frontend.
433 @chapter New features in 1.8 since 1.6
438 The chord entry code has been completely rewritten. It is now
439 cleaner and more flexible.
442 A new syntax has been added for text entry. This syntax is more
443 friendly than the old mechanism, and it is implemented in a more
444 robust and modular way. For more information, refer to the section on
445 "Text markup" in the notation manual.
448 The integration of the input language and Scheme has been made deeper:
449 you can now use LilyPond identifiers in Scheme, and use Scheme
450 expressions instead of LilyPond identifiers.
453 The internal representation of music has been cleaned up completely
454 and converted to Scheme data structures. The representation may be
458 A new uniform postfix syntax for articulation has been introduced.
459 A beamed slurred pair of eighth notes can be entered as
465 In version 2.0, postfix syntax will be the only syntax
466 available, and the dashes will become optional.
468 This will simplify the language: all articulations can be entered as
469 postfix, in any order.
472 A new syntax has been added for chords:
479 It is not necessary to update files to this syntax, but it will be for
480 using LilyPond version 2.0. In version 2.0, this syntax will be
490 \simultaneous @{ .. @}
493 for simultaneous music.
495 To convert your files from <PITCHES> to <<PITCHES>>, use the script
496 included in buildscripts/convert-new-chords.py
498 This change was introduced for the following reasons
502 It solves the "start score with chord" problem, where you have to
503 state \context Voice explicitly when a chord was the start of a
506 With the new syntax, it is possible to distinguish between
507 articulations (or fingerings) which are for a single chord note,
508 and which are for the entire chord. This allows for per-note
509 fingerings, and is more logical on the whole.
513 User code may now be executed during interpreting. The syntax for
517 \applycontext #SCHEME-FUNCTION
521 User code may now be executed on arbitrary grobs during interpreting.
522 The syntax for this feature is
525 \applyoutput #SCHEME-FUNCTION
529 SCHEME-FUNCTION takes a single argument, and is called for every grob
530 that is created in the current context.
533 New algorithms for chord-name formatting have been installed. They
534 can be tuned and have ergonomic syntax for entering exceptions.
537 Texts may now be put on multimeasure rests, e.g.
540 R1*20^\markup @{ "GP" @}
544 Ancient notation now prints ligatures in Gregorian square neumes
545 notation, roughly following the typographical style of the Liber
546 hymnarius of Solesmes, published in 1983. Ligatures are still printed
547 without the proper line breaking and horizontal spacing.
550 Glissandi can now be printed using the zigzag style.
553 LilyPond can now print clusters. The syntax is
556 \apply #notes-to-clusters @{ NOTE NOTE .. @}
560 For irregular meters, beat grouping marks can be printed. The
564 #(set-time-signature 7 8 '(3 2 2))
569 Nested horizontal brackets for music analysis can now be printed:
578 @item Ottava brackets are now fully supported as a feature. The syntax
586 @item Metronome markings are printed when a \tempo command is processed.
590 @item Fingerings can be put on chords horizontally.
594 @item The appearance of various glyphs has been fine-tuned.
598 @item Different types of percent style repeats may now be nested.
602 @item The emacs support has been extended.
606 The manual has been completely revised and extended.
610 @chapter New features in 1.6 since 1.4
616 Support for figured bass and tablature.
619 Completely rewritten beam formatting: provides much better output
624 Completely revised and improved music font.
628 Completely rewritten MIDI import support.
631 Completely rewritten grace note support. Practically speaking this
632 means that grace notes can be slurred to normal normal notes.
636 Improved accidental handling and formatting: styles for producing
637 cautionaries may vary, and complex collisions between accidentals of a
638 chord are handled much better.
641 Better spacing: both globally and locally. This includes subtle
642 details like optical stem spacing.
645 More support for ancient notation: mensural ligatures, ambitus
646 (pitch range) of voices, more shapes, etc.
649 More support for piano notation: bracket pedals, directed arpeggios,
653 Easier music polyphonic music entry.
656 More extensibility, many speedups and bugfixes
659 The manual has been thoroughly revised.
662 Development is now hosted at http://savannah.gnu.org, and sources
663 can be downloaded through anonymous CVS.
666 Support for windows: LilyPond is part of the cygwin distribution,
667 which comes with a user-friendly installer.