1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item Collisions are now correctly aligned relative to notes in other staves.
13 @item An experimental GNOME output backend is available for developers.
14 It depends on several unreleased packages such as gnome-guile TLA and
15 Pango CVS. The output interface coverage is sparse, but it already
16 does support point-and-click on the GNOME Canvas. See also
17 @file{scm/output-gnome.scm}.
19 @item Context definitions are now stored in identifiers that match the
20 context name, in other words, to modify a @code{Staff} context, the
21 following code may be used.
30 @item A new block, @code{\bookpaper} has been introduced to
31 hold settings for paper size and output scaling. Further options
32 include @code{raggedbottom} (if set, systems are not vertically filled
33 to reach the bottom of the page), and @code{raggedlastbottom}.
37 @item Support for fret diagrams has been contributed by Carl
38 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
40 @item The @code{--safe-mode} has been revisited: GUILE evaluation
41 is done in the R5RS safe module, with only the basic @code{ly:}
42 interface available and malicious @TeX{} code is stopped. However, to
43 be reasonably safe, you are advised to use the PostScript backend
44 rather than the @TeX{} backend anyway; and if possible use an UML
45 sandbox to run gs or latex.
47 @item Music syntax can now be extended seamlessly. As an example,
48 here is the new implementation @code{\applymusic},
51 applymusic = #(ly:make-music-function
52 (list procedure? ly:music?) ; signature
53 (lambda (where func music) ; the function
57 @item @code{\apply} has been renamed to @code{\applymusic}.
59 @item Music can be used as a markup.
60 When inserting a @code{score} block as part of a @code{\markup}, it
61 produces a rendered markup of the music. An example is in
62 @file{input/test/markup-score.ly}.
64 @item LilyPond expressions can be embedded into Scheme. The syntax for
65 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
66 introduced using a @code{$} character (@code{$$} results in a single
67 `$' character). These forms are then inserted in the pattern.
70 #(define (textoffset dx dy)
72 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
76 %% The following embedded scheme call is the same as
77 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
83 @item A music list at toplevel is interpreted as implicit @code{\score}
84 a @code{\score} block at toplevel is interpreted as an implicit
85 @code{\book} and @code{\notes} mode is the default lexer mode. The
89 \header @{ title = "The Title" @}
96 \header @{ title = "The Title" @}
104 This is handled by the function defined in
105 @code{toplevel-music-handler}. Similarly, @code{\score} and
106 @code{\book} are handled by @code{toplevel-score-handler} and a
107 @code{toplevel-book-handler}. By changing these variables, different
108 results can be obtained.
111 @item Start pitch for @code{relative} music is optional for music lists.
112 The default value is middle C.
114 @c update-me? formal definition of newaddlyrics, once it works
115 @item Combining lyrics with music can be done with @code{\newlyrics}
120 d2 d c4 bes a2 \break
123 My first Li -- ly song,
126 Not much can go wrong!
130 Syntactically, @code{\newlyrics} acts like an infix operator.
132 @item The parser is encapsulated in a Scheme function
133 @code{ly:parse-file}, so the following fragment processes two files
136 #(ly:parse-file "another.ly")
137 \score { \notes { c4 }}
140 @item The @code{font-encoding} property can now be used to select
141 differently encoded fonts. The previous default setting
142 @code{TeX-text} has been replaced by latin1. LilyPond requires the
143 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
144 package installed to function properly.
146 @item The encoding of a file can be switched with
147 @code{\encoding}. The strings for markup texts are translated
150 @item The toplevel block @code{\book} introduces page layout.
151 A @code{\book} groups @code{\score} blocks into one page layout
152 entity. For example, two scores are combined in one book with
161 Titling and page breaks are handled by LilyPond. For automatic page
162 breaking, two algorithms are available, the classic ragged pages (the
163 default), and optimal page breaking.
164 Page breaks may be inserted manually with
170 The @code{lilypond} program does not generate La@TeX{} titles or page
171 layout. If you need La@TeX{} titles, you can use the
172 @code{lilypond-book} program.
174 @item There is now less of a noticeable ``hook'' at the end of a long slur.
176 @item The meaning of the @code{|} in the input can be redefined, by
177 assigning a music expression to @code{pipeSymbol}.
181 @unnumbered New features in 2.2 since 2.0
185 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
186 causes the last line to be set flush-left instead of justified.
188 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
189 its containing context automatically.
191 @item The code for font selection has been rewritten. In addition to
192 existing font selection properties, the property @code{font-encoding}
193 has been added, which makes the switch between normal @code{text} and
194 other encodings like @code{braces}, @code{music} and @code{math}.
196 @item The pmx2ly script has been removed from the distribution.
198 @item Pedal brackets will now run to the last bar of a piece if they are not
201 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
203 @item Property functions may be used as an argument to @code{set!},
207 (set! (ly:grob-property grob 'beam) ... )
210 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
213 @item Cue notes can be quoted directly from the parts that
214 contain them. This will take into account transposition of source and target
215 instrument. For example,
218 \addquote clarinet \notes\relative c' {
224 \notes \relative c'' {
225 c8 d8 \quote 2 oboe es8 gis
230 @item The transposition of an instrument can be specified using the
231 @code{\transposition} command. An
232 E-flat alto saxophone is specified as
238 @item The naming of exported Scheme functions now follows Scheme conventions.
239 Changes be applied to Scheme files with
242 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
246 @item Notes can be excluded from auto-beaming, by marking them with
253 will print two separate eighth notes, and two beamed notes.
255 @item Translators and contexts have been split. The result of this
256 internal cleanup is that @code{Score} no longer is the top context;
257 @code{Score} is contained in the @code{Global} context. Consequently,
258 it is possible to tweak @code{Score} as follows:
261 \context Score \with @{
266 @item The number of staff lines in Tablature notation is now
267 automatically deduced from the @code{stringTunings} property.
269 @item The program reference has been cleaned up and revised.
271 @item The syntax for setting properties has been simplified:
272 the following table lists the differences:
277 \property A.B = #C \set A.B = #C
278 \property A.B \unset \unset A.B
279 \property A.B \set #C = #D \override A.B #C = #D
280 \property A.B \override #C = #D (removed)
281 \property A.B \revert #C \revert A.B #C
284 Furthermore, if @code{A} is left out, the bottommost context is used
285 by default. In other words, it is no longer necessary to explicitly
286 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
291 \property Voice.autoBeaming = ##f
292 \property Staff.TimeSignature \set #'style = #'C
298 \set autoBeaming = ##f
299 \override Staff.TimeSignature #'style = #'C
303 @item Tweaks made with @code{\override} and @code{\revert} no longer
304 hide tweaks at higher context levels.
306 @item Melismata in lyrics are also properly handled in the MIDI output.
308 @item The lilypond-book script has been rewritten.
309 It is shorter, cleaner and faster. The special construct
310 @code{mbinclude} has been removed, plain @code{@@include} or
311 @code{\input} can be used now.
313 It now supports running convert-ly on the lilypond snippets,
315 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
318 @item The @code{LyricsVoice} context has been removed. Lyrics should only
319 be constructed in @code{Lyrics}.
321 @item The @code{Thread} context has been removed. Note heads and rests
322 are now constructed at @code{Voice} level.
324 @item Harmonic notes can now be entered as
330 @item Drum notation is now supported as a regular feature:
331 percussion may be entered in @code{\drums} mode, and printed or
332 performed in a @code{DrumStaff} context:
336 \drums \new DrumStaff @{ hihat4 cowbell8 @}
340 @item The automatic staff changer was internally rewritten. As a
341 result, the syntax has been simplified as well:
344 \autochange @var{the-music}
347 @item The ergonomic syntax of @code{\markup} now has an equivalent in
348 Scheme. The @code{markup*} macro creates such objects; the following
349 two markup commands are equivalent:
351 f4^#(markup* #:raise 0.2 #:bold "hi")
352 f4^\markup @{ \raise #0.2 \bold hi @}
355 @item Voice names, for vocal lines, have been added. They are similar
356 to instrument names. They can be set by defining @code{vocalName}
359 @item Safe mode has been reinstated for lilypond.
360 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
361 PostScript file output is disallowed, and lilypond-bin is invoked with
362 @code{--safe-mode}, the user's Guile expressions are evaluated in a
363 safe environment and file inclusion is not allowed.
365 Warning: this does not protect against denial-of-service attacks using
366 Guile, @TeX{} or PostScript.
368 (This feature is still experimental.)
370 @item There is now a Scheme macro for defining markup
371 commands. Special mark-up commands can be defined in user-files too.
373 @item Many fixes for dimension scaling have been made,
374 resulting in correct results for scores that mix staves in different
377 @item Improved robustness when layout properties are accidentally removed.
379 @item A more cleanly constructed part combiner has been installed.
380 It is more robust and less buggy. The part-combiner can be used with
382 \partcombine @var{mus1} @var{mus2}
386 See @file{input/regression/new-part-combine.ly} for an example.
388 @item Formatting of rehearsal marks has been improved. The @code{\mark}
389 command now only does automatic incrementing for marks specified as
390 integer. For example, @code{\mark #1} will print an A in the default
391 style. See @file{input/regression/rehearsal-mark-letter.ly},
392 @file{input/regression/rehearsal-mark-number.ly}.
394 @item Formatting of ottava brackets has been much improved.
396 @item Objects in the output can now be documented: the following fragment
397 boxes the note head, and adds the text ``heads or tails?'' three
398 spaces below the box.
401 \context Voice \applyoutput #(add-balloon-text
402 'NoteHead "heads, or tails?"
410 @item Default staff sizes are now scalable. There are two new mechanisms for
411 setting staff sizes. Both are demonstrated in this fragment:
414 #(set-global-staff-size 15)
416 #(paper-set-staff-size (* 15 pt))
422 Both have the same effect on the global layout of a piece. Similarly,
423 the paper size may be changed as follows
426 #(set-default-paper-size "a4")
428 #(set-paper-size "a4")
433 @item Warnings for bar check errors are more cleverly printed. This
434 makes @code{barCheckSynchronize} superfluous, so it is now switched
437 Warning: this will cause problems in scores that use bar checks to
440 @item The black note head was made a little rounder, which causes a less
441 frantic graphic impression.
444 A more concise syntax for checking octaves was introduced. A note may
445 be followed by @code{=}@var{quotes} which indicates what its absolute
446 octave should be. In the following example,
449 \relative c'' @{ c='' b=' d,='' @}
453 the d will generate a warning, because a d'' is
454 expected, but a d' is found.
455 @c @code adds ` ', very confusing.
457 @item There is a new mechanism for putting lyrics to melodies.
458 With this mechanism, @code{Lyrics} lines can be put melodies
459 individually, allowing for different melismatic sections in every
460 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
462 @item Bar lines may now be dotted.
465 @item The documentation now has links to a wiki, where everyone can
466 add personal comments to the manual.
468 @item Contexts may now be changed locally for an isolated music
469 expression. For example,
473 \consists "Pitch_squash_engraver"
479 @item The syntax for changing staffs has changed. The keyword
480 @code{\change} should now be used, e.g.
486 @item Features of spanner contexts, like @code{Staff}, can now be changed
487 using @code{\set}, eg.
491 \override Staff.StaffSymbol #'line-count = #4
497 puts a quarter note C on a staff with 4 lines.
500 @item Multi measure rests are now truly centered between the
501 clefs/barlines of the staff, their position is independent of symbols
504 @item Collision resolution for dots in chords has been improved greatly.
507 Spacing following barlines was improved for widely stretched lines.
510 Lyric hyphens and extenders now conform to standard typesetting
514 Lyrics are now aligned under note heads conforming to engraving
515 standards. The responsible code has been rewritten, and is drastically
516 simpler from the previous version. To aid this rewrite, the syntactic
517 function of the extender line ( __ ) has been changed: it is now
518 attached to the lyric syllable.
521 When redefining a context, the associated identifier is also
522 updated. For example, after reading
532 the definition of @code{ScoreContext} is updated to include the changed
537 The weight of the stafflines is now heavier at smaller staff sizes.
538 The font has been modified to match this look: at smaller sizes, the
539 font is heavier and the note heads are more rounded.
541 @item Processing scores is now done while parsing the file. New
542 Scheme functions give more flexibility: for example, it is now possible
543 interpret a score, collecting synchronized musical events in a list, and
544 manipulate that information using inline Scheme. For an example, see
545 @file{input/no-notation/recording.ly}.
547 @item Font sizes can now truly be scaled continuously: the @code{font-size}
548 is similar to the old @code{font-relative-size}, but may be set to
549 fractional values; the closest design size will be scaled to achieve
550 the desired size. As a side-effect, there are now no longer
551 limitations in using smaller fonts (eg. grace notes) at small staff
554 @item Stem tips are now also engraved with rounded corners.
557 The placement of accidentals on chords and ledgered notes is improved.
562 @unnumbered New features in 2.0 since 1.8
567 Crescendos can now be drawn dotted or dashed.
570 Quarter tones are now supported. They are entered by suffixing
571 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
572 following is an ascending list of pitches:
575 ceses ceseh ces ceh c cih cis cisih cisis
579 The following constructs have been removed from the syntax:
582 \duration #SCHEME-DURATION
584 \outputproperty @var{func} @var{symbol} = @var{value}
587 For @code{\outputproperty}, the following may be substituted:
590 \applyoutput #(outputproperty-compatibility @var{func}
591 @var{symbol} @var{value})
595 Clefs may now be transposed arbitrarily, for example
605 The syntax for chords and simultaneous music have changed.
606 Chords are entered as
612 while simultaneous music is entered as
615 <<@var{..music list..}>>
618 In effect, the meanings of both have been swapped relative to their 1.8
619 definition. The syntax for lists in @code{\markup} has changed
620 alongside, but figured bass mode was not changed, i.e.:
623 \markup @{ \center <@var{..list of markups..}> @}
624 \figure @{ <@var{figures}> @}
627 As chords the more often used than simultaneous music, this change will
631 Each music expression can now be tagged, to make different printed
632 versions from the same music expression. In the following example,
633 we see two versions of a piece of music, one for the full score, and
634 one with cue notes for the instrumental part:
638 @{ c4 f2 g4 @} % in the part, we have cue-notes
640 \tag #'score R1 % in the score: only a rest
644 The same can be applied to articulations, texts, etc.: they are
648 -\tag #@var{your-tags}
651 to an articulation, for example,
654 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
657 This defines a note, which has a conditional fingering and a
658 string-number indication.
661 The settings for chord-fingering are more flexible. You can specify a
662 list where fingerings may be placed, eg.
665 \property Voice.fingeringOrientations = #'(left down)
668 This will put the fingering for the lowest note below the chord, and the
672 The script previously known as @code{ly2dvi} has been renamed to
673 @code{lilypond}. The binary itself is now installed as
677 Markup text (ie. general text formatting) may now be used for lyrics too.
680 Two new commands for grace notes have been added, @code{\acciaccatura}
681 and @code{\appoggiatura},
688 Both reflect the traditional meanings of acciaccatura and appogiatura,
689 and both insert insert a slur from the first grace note to the main
693 Layout options for grace notes are now stored in a context property,
694 and may now be set separately from musical content.
697 The @code{\new} command will create a context with a unique
698 name automatically. Hence, for multi-staff scores, it is no longer
699 necessary to invent arbitrary context names. For example, a two-staff
700 score may be created by
704 \new Staff @{ @var{notes for 1st staff} @}
705 \new Staff @{ @var{notes for 2nd staff} @}
712 Octave checks make octave errors easier to correct.
719 This checks that @var{pitch} (without octave) yields @var{pitch} (with
720 octave) in \relative mode. If not, a warning is printed, and the
724 All articulations must now be entered postfix. For example,
731 is a pair of beamed slurred eighth notes.
734 The definition of @code{\relative} has been simplified. Octaves are
735 now always propagated in the order that music is entered. In the
740 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
745 the octave of BODY is based on PRE, the starting octave of ALT1 on
746 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
749 The same mechanism is used for all other music expressions, except the
750 chord. Backwards compatibility is retained through a special program option,
754 #(ly:set-option 'old-relative)
758 Windows users can double click a @code{.ly} file to process and view
759 it automagically through the new @code{lily-wins} frontend.
766 @unnumbered New features in 1.8 since 1.6
771 The chord entry code has been completely rewritten. It is now
772 cleaner and more flexible.
775 A new syntax has been added for text entry. This syntax is more
776 friendly than the old mechanism, and it is implemented in a more
777 robust and modular way. For more information, refer to the section on
778 "Text markup" in the notation manual.
781 The integration of the input language and Scheme has been made deeper:
782 you can now use LilyPond identifiers in Scheme, and use Scheme
783 expressions instead of LilyPond identifiers.
786 The internal representation of music has been cleaned up completely
787 and converted to Scheme data structures. The representation may be
791 A new uniform postfix syntax for articulation has been introduced.
792 A beamed slurred pair of eighth notes can be entered as
798 In version 2.0, postfix syntax will be the only syntax
799 available, and the dashes will become optional.
801 This will simplify the language: all articulations can be entered as
802 postfix, in any order.
805 A new syntax has been added for chords:
812 It is not necessary to update files to this syntax, but it will be for
813 using LilyPond version 2.0. In version 2.0, this syntax will be
823 \simultaneous @{ .. @}
826 for simultaneous music.
828 To convert your files from <PITCHES> to <<PITCHES>>, use the script
829 included in @file{buildscripts/convert-new-chords.py}.
831 This change was introduced for the following reasons
835 It solves the "start score with chord" problem, where you have to
836 state \context Voice explicitly when a chord was the start of a
839 With the new syntax, it is possible to distinguish between
840 articulations (or fingerings) which are for a single chord note,
841 and which are for the entire chord. This allows for per-note
842 fingerings, and is more logical on the whole.
846 User code may now be executed during interpreting. The syntax for
850 \applycontext #SCHEME-FUNCTION
854 User code may now be executed on arbitrary grobs during interpreting.
855 The syntax for this feature is
858 \applyoutput #SCHEME-FUNCTION
862 SCHEME-FUNCTION takes a single argument, and is called for every grob
863 that is created in the current context.
866 New algorithms for chord-name formatting have been installed. They
867 can be tuned and have ergonomic syntax for entering exceptions.
870 Texts may now be put on multimeasure rests, e.g.
873 R1*20^\markup @{ "GP" @}
877 Ancient notation now prints ligatures in Gregorian square neumes
878 notation, roughly following the typographical style of the Liber
879 hymnarius of Solesmes, published in 1983. Ligatures are still printed
880 without the proper line breaking and horizontal spacing.
883 Glissandi can now be printed using the zigzag style.
886 LilyPond can now print clusters. The syntax is
889 \apply #notes-to-clusters @{ NOTE NOTE .. @}
893 For irregular meters, beat grouping marks can be printed. The
897 #(set-time-signature 7 8 '(3 2 2))
902 Nested horizontal brackets for music analysis can now be printed:
911 @item Ottava brackets are now fully supported as a feature. The syntax
919 @item Metronome markings are printed when a \tempo command is processed.
923 @item Fingerings can be put on chords horizontally.
927 @item The appearance of various glyphs has been fine-tuned.
931 @item Different types of percent style repeats may now be nested.
935 @item The emacs support has been extended.
939 The manual has been completely revised and extended.
943 @unnumbered New features in 1.6 since 1.4
949 Support for figured bass and tablature.
952 Completely rewritten beam formatting: provides much better output
957 Completely revised and improved music font.
961 Completely rewritten MIDI import support.
964 Completely rewritten grace note support. Practically speaking this
965 means that grace notes can be slurred to normal normal notes.
969 Improved accidental handling and formatting: styles for producing
970 cautionaries may vary, and complex collisions between accidentals of a
971 chord are handled much better.
974 Better spacing: both globally and locally. This includes subtle
975 details like optical stem spacing.
978 More support for ancient notation: mensural ligatures, ambitus
979 (pitch range) of voices, more shapes, etc.
982 More support for piano notation: bracket pedals, directed arpeggios,
986 Easier music polyphonic music entry.
989 More extensibility, many speedups and bugfixes
992 The manual has been thoroughly revised.
995 Development is now hosted at http://savannah.gnu.org, and sources
996 can be downloaded through anonymous CVS.
999 Support for windows: LilyPond is part of the cygwin distribution,
1000 which comes with a user-friendly installer.