1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item Key signature cancellations are now printed before the bar line,
12 and their appearance has been improved.
15 @item The automatic staff changer, which is invoked with
16 @code{\autochange}, now creates the @code{up} and @code{down} staff
17 automatically, and uses bass clef for the bottom staff.
19 @item There is now support for putting two slurs on chords, both above
20 and below. This is switched on with the @code{doubleSlurs} property.
22 @item Running trills now have their own spanner and event,
25 c1\startTrillSpan c4\stopTrillSpan
28 @item There is a new markup command @code{\postscript} that takes a
29 string that is dumped as verbatim PostScript in the output.
31 @item The melody for a @code{\lyricsto} text can be changed during a
32 melody by setting the @code{associatedVoice} property.
34 @item The @code{\lyricsto} keyword now automatically switches on
37 @item The LilyPond binary now supports output options
38 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
39 @code{--preview}. The old wrapper script for La@TeX{} has been
40 renamed to @code{lilypond-latex}.
42 @item Support for ambitus has been rewritten. The Ambitus object is now
43 a grouping object, composed of @code{AmbitusLine},
44 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
45 be tuned similar to accidentals and note heads.
47 @item Ledger lines are now shortened when the spacing is tight. This
48 prevents ledger lines from colliding with each other.
50 @item Slur formatting has been rewritten. The new slur code
51 works similar to the Beam formatter: scores are assigned for all
52 esthetic components of a slur. A large number of combinations for
53 begin and end points is then tried out. Slurs will now also take into
54 account collisions with staff lines, scripts (like staccato and
55 accent) and accidentals.
58 @item In the LilyPond emacs mode, entering @code{|} will display the
59 current beat within the measure.
61 @item Colliding notes are now correctly aligned relative to notes in other staves.
63 @item An experimental GNOME output backend is available for developers.
64 It depends on several unreleased packages such as gnome-guile TLA and
65 Pango CVS. The output interface coverage is sparse, but it already
66 does support point-and-click on the GNOME Canvas. See also
67 @file{scm/output-gnome.scm}.
69 @item Context definitions are now stored in identifiers that match the
70 context name, in other words, to modify a @code{Staff} context, the
71 following code may be used.
80 @item A new block, @code{\bookpaper} has been introduced to
81 hold settings for paper size and output scaling. Further options
82 include @code{raggedbottom} (if set, systems are not vertically filled
83 to reach the bottom of the page), and @code{raggedlastbottom}.
87 @item Support for fret diagrams has been contributed by Carl
88 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
90 @item The @code{--safe-mode} has been revisited: GUILE evaluation
91 is done in the R5RS safe module, with only the basic @code{ly:}
92 interface available and malicious @TeX{} code is stopped. However, to
93 be reasonably safe, you are advised to use the PostScript backend
94 rather than the @TeX{} backend anyway; and if possible use an UML
95 sandbox to run gs or latex.
97 @item Music syntax can now be extended seamlessly. As an example,
98 here is the new implementation @code{\applymusic},
101 applymusic = #(ly:make-music-function
102 (list procedure? ly:music?) ; signature
103 (lambda (where func music) ; the function
107 @item @code{\apply} has been renamed to @code{\applymusic}.
109 @item Music can be used as a markup.
110 When inserting a @code{score} block as part of a @code{\markup}, it
111 produces a rendered markup of the music. An example is in
112 @file{input/test/markup-score.ly}.
114 @item LilyPond expressions can be embedded into Scheme. The syntax for
115 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
116 introduced using a @code{$} character (@code{$$} results in a single
117 `$' character). These forms are then inserted in the pattern.
120 #(define (textoffset dx dy)
122 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
126 %% The following embedded scheme call is the same as
127 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
129 c'^"text with offset"
133 @item A music list at toplevel is interpreted as implicit @code{\score}
134 a @code{\score} block at toplevel is interpreted as an implicit
135 @code{\book} and @code{\notes} mode is the default lexer mode. The
139 \header @{ title = "The Title" @}
146 \header @{ title = "The Title" @}
154 This is handled by the function defined in
155 @code{toplevel-music-handler}. Similarly, @code{\score} and
156 @code{\book} are handled by @code{toplevel-score-handler} and a
157 @code{toplevel-book-handler}. By changing these variables, different
158 results can be obtained.
160 This required a small change in the syntax. Mode changing commands,
161 such as @code{\chords} and @code{\figures} now be directly followed by
162 delimeters. The following example demonstrates the new behavior,
165 \figures \context Figures { .. } % wrong
166 \context Figures \figures { .. } % right
170 @item Start pitch for @code{relative} music is optional for music lists.
171 The default value is middle C.
173 @c update-me? formal definition of newaddlyrics, once it works
174 @item Combining lyrics with music can be done with @code{\newlyrics}
179 d2 d c4 bes a2 \break
182 My first Li -- ly song,
185 Not much can go wrong!
189 Syntactically, @code{\newlyrics} acts like an infix operator.
191 @item The parser is encapsulated in a Scheme function
192 @code{ly:parse-file}, so the following fragment processes two files
195 #(ly:parse-file "another.ly")
196 \score { \notes { c4 }}
199 @item The @code{font-encoding} property can now be used to select
200 differently encoded fonts. The previous default setting
201 @code{TeX-text} has been replaced by latin1. LilyPond requires the
202 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
203 package installed to function properly.
205 @item The encoding of a file can be switched with
206 @code{\encoding}. The strings for markup texts are translated
209 @item The toplevel block @code{\book} introduces page layout.
210 A @code{\book} groups @code{\score} blocks into one page layout
211 entity. For example, two scores are combined in one book with
220 Titling and page breaks are handled by LilyPond. For automatic page
221 breaking, two algorithms are available, the classic ragged pages (the
222 default), and optimal page breaking.
223 Page breaks may be inserted manually with
229 The @code{lilypond} program does not generate La@TeX{} titles or page
230 layout. If you need La@TeX{} titles, you can use the
231 @code{lilypond-book} program.
233 @item There is now less of a noticeable ``hook'' at the end of a long slur.
235 @item The meaning of the @code{|} in the input can be redefined, by
236 assigning a music expression to @code{pipeSymbol}.
240 @unnumbered New features in 2.2 since 2.0
244 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
245 causes the last line to be set flush-left instead of justified.
247 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
248 its containing context automatically.
250 @item The code for font selection has been rewritten. In addition to
251 existing font selection properties, the property @code{font-encoding}
252 has been added, which makes the switch between normal @code{text} and
253 other encodings like @code{braces}, @code{music} and @code{math}.
255 @item The pmx2ly script has been removed from the distribution.
257 @item Pedal brackets will now run to the last bar of a piece if they are not
260 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
262 @item Property functions may be used as an argument to @code{set!},
266 (set! (ly:grob-property grob 'beam) ... )
269 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
272 @item Cue notes can be quoted directly from the parts that
273 contain them. This will take into account transposition of source and target
274 instrument. For example,
277 \addquote clarinet \notes\relative c' {
283 \notes \relative c'' {
284 c8 d8 \quote 2 oboe es8 gis
289 @item The transposition of an instrument can be specified using the
290 @code{\transposition} command. An
291 E-flat alto saxophone is specified as
297 @item The naming of exported Scheme functions now follows Scheme conventions.
298 Changes be applied to Scheme files with
301 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
305 @item Notes can be excluded from auto-beaming, by marking them with
312 will print two separate eighth notes, and two beamed notes.
314 @item Translators and contexts have been split. The result of this
315 internal cleanup is that @code{Score} no longer is the top context;
316 @code{Score} is contained in the @code{Global} context. Consequently,
317 it is possible to tweak @code{Score} as follows:
320 \context Score \with @{
325 @item The number of staff lines in Tablature notation is now
326 automatically deduced from the @code{stringTunings} property.
328 @item The program reference has been cleaned up and revised.
330 @item The syntax for setting properties has been simplified:
331 the following table lists the differences:
336 \property A.B = #C \set A.B = #C
337 \property A.B \unset \unset A.B
338 \property A.B \set #C = #D \override A.B #C = #D
339 \property A.B \override #C = #D (removed)
340 \property A.B \revert #C \revert A.B #C
343 Furthermore, if @code{A} is left out, the bottommost context is used
344 by default. In other words, it is no longer necessary to explicitly
345 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
350 \property Voice.autoBeaming = ##f
351 \property Staff.TimeSignature \set #'style = #'C
357 \set autoBeaming = ##f
358 \override Staff.TimeSignature #'style = #'C
362 @item Tweaks made with @code{\override} and @code{\revert} no longer
363 hide tweaks at higher context levels.
365 @item Melismata in lyrics are also properly handled in the MIDI output.
367 @item The lilypond-book script has been rewritten.
368 It is shorter, cleaner and faster. The special construct
369 @code{mbinclude} has been removed, plain @code{@@include} or
370 @code{\input} can be used now.
372 It now supports running convert-ly on the lilypond snippets,
374 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
377 @item The @code{LyricsVoice} context has been removed. Lyrics should only
378 be constructed in @code{Lyrics}.
380 @item The @code{Thread} context has been removed. Note heads and rests
381 are now constructed at @code{Voice} level.
383 @item Harmonic notes can now be entered as
389 @item Drum notation is now supported as a regular feature:
390 percussion may be entered in @code{\drums} mode, and printed or
391 performed in a @code{DrumStaff} context:
395 \drums \new DrumStaff @{ hihat4 cowbell8 @}
399 @item The automatic staff changer was internally rewritten. As a
400 result, the syntax has been simplified as well:
403 \autochange @var{the-music}
406 @item The ergonomic syntax of @code{\markup} now has an equivalent in
407 Scheme. The @code{markup*} macro creates such objects; the following
408 two markup commands are equivalent:
410 f4^#(markup* #:raise 0.2 #:bold "hi")
411 f4^\markup @{ \raise #0.2 \bold hi @}
414 @item Voice names, for vocal lines, have been added. They are similar
415 to instrument names. They can be set by defining @code{vocalName}
418 @item Safe mode has been reinstated for lilypond.
419 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
420 PostScript file output is disallowed, and lilypond-bin is invoked with
421 @code{--safe-mode}, the user's Guile expressions are evaluated in a
422 safe environment and file inclusion is not allowed.
424 Warning: this does not protect against denial-of-service attacks using
425 Guile, @TeX{} or PostScript.
427 (This feature is still experimental.)
429 @item There is now a Scheme macro for defining markup
430 commands. Special mark-up commands can be defined in user-files too.
432 @item Many fixes for dimension scaling have been made,
433 resulting in correct results for scores that mix staves in different
436 @item Improved robustness when layout properties are accidentally removed.
438 @item A more cleanly constructed part combiner has been installed.
439 It is more robust and less buggy. The part-combiner can be used with
441 \partcombine @var{mus1} @var{mus2}
445 See @file{input/regression/new-part-combine.ly} for an example.
447 @item Formatting of rehearsal marks has been improved. The @code{\mark}
448 command now only does automatic incrementing for marks specified as
449 integer. For example, @code{\mark #1} will print an A in the default
450 style. See @file{input/regression/rehearsal-mark-letter.ly},
451 @file{input/regression/rehearsal-mark-number.ly}.
453 @item Formatting of ottava brackets has been much improved.
455 @item Objects in the output can now be documented: the following fragment
456 boxes the note head, and adds the text ``heads or tails?'' three
457 spaces below the box.
460 \context Voice \applyoutput #(add-balloon-text
461 'NoteHead "heads, or tails?"
469 @item Default staff sizes are now scalable. There are two new mechanisms for
470 setting staff sizes. Both are demonstrated in this fragment:
473 #(set-global-staff-size 15)
475 #(paper-set-staff-size (* 15 pt))
481 Both have the same effect on the global layout of a piece. Similarly,
482 the paper size may be changed as follows
485 #(set-default-paper-size "a4")
487 #(set-paper-size "a4")
492 @item Warnings for bar check errors are more cleverly printed. This
493 makes @code{barCheckSynchronize} superfluous, so it is now switched
496 Warning: this will cause problems in scores that use bar checks to
499 @item The black note head was made a little rounder, which causes a less
500 frantic graphic impression.
503 A more concise syntax for checking octaves was introduced. A note may
504 be followed by @code{=}@var{quotes} which indicates what its absolute
505 octave should be. In the following example,
508 \relative c'' @{ c='' b=' d,='' @}
512 the d will generate a warning, because a d'' is
513 expected, but a d' is found.
514 @c @code adds ` ', very confusing.
516 @item There is a new mechanism for putting lyrics to melodies.
517 With this mechanism, @code{Lyrics} lines can be put melodies
518 individually, allowing for different melismatic sections in every
519 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
521 @item Bar lines may now be dotted.
524 @item The documentation now has links to a wiki, where everyone can
525 add personal comments to the manual.
527 @item Contexts may now be changed locally for an isolated music
528 expression. For example,
532 \consists "Pitch_squash_engraver"
538 @item The syntax for changing staffs has changed. The keyword
539 @code{\change} should now be used, e.g.
545 @item Features of spanner contexts, like @code{Staff}, can now be changed
546 using @code{\set}, eg.
550 \override Staff.StaffSymbol #'line-count = #4
556 puts a quarter note C on a staff with 4 lines.
559 @item Multi measure rests are now truly centered between the
560 clefs/barlines of the staff, their position is independent of symbols
563 @item Collision resolution for dots in chords has been improved greatly.
566 Spacing following barlines was improved for widely stretched lines.
569 Lyric hyphens and extenders now conform to standard typesetting
573 Lyrics are now aligned under note heads conforming to engraving
574 standards. The responsible code has been rewritten, and is drastically
575 simpler from the previous version. To aid this rewrite, the syntactic
576 function of the extender line ( __ ) has been changed: it is now
577 attached to the lyric syllable.
580 When redefining a context, the associated identifier is also
581 updated. For example, after reading
591 the definition of @code{ScoreContext} is updated to include the changed
596 The weight of the stafflines is now heavier at smaller staff sizes.
597 The font has been modified to match this look: at smaller sizes, the
598 font is heavier and the note heads are more rounded.
600 @item Processing scores is now done while parsing the file. New
601 Scheme functions give more flexibility: for example, it is now possible
602 interpret a score, collecting synchronized musical events in a list, and
603 manipulate that information using inline Scheme. For an example, see
604 @file{input/no-notation/recording.ly}.
606 @item Font sizes can now truly be scaled continuously: the @code{font-size}
607 is similar to the old @code{font-relative-size}, but may be set to
608 fractional values; the closest design size will be scaled to achieve
609 the desired size. As a side-effect, there are now no longer
610 limitations in using smaller fonts (eg. grace notes) at small staff
613 @item Stem tips are now also engraved with rounded corners.
616 The placement of accidentals on chords and ledgered notes is improved.
621 @unnumbered New features in 2.0 since 1.8
626 Crescendos can now be drawn dotted or dashed.
629 Quarter tones are now supported. They are entered by suffixing
630 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
631 following is an ascending list of pitches:
634 ceses ceseh ces ceh c cih cis cisih cisis
638 The following constructs have been removed from the syntax:
641 \duration #SCHEME-DURATION
643 \outputproperty @var{func} @var{symbol} = @var{value}
646 For @code{\outputproperty}, the following may be substituted:
649 \applyoutput #(outputproperty-compatibility @var{func}
650 @var{symbol} @var{value})
654 Clefs may now be transposed arbitrarily, for example
664 The syntax for chords and simultaneous music have changed.
665 Chords are entered as
671 while simultaneous music is entered as
674 <<@var{..music list..}>>
677 In effect, the meanings of both have been swapped relative to their 1.8
678 definition. The syntax for lists in @code{\markup} has changed
679 alongside, but figured bass mode was not changed, i.e.:
682 \markup @{ \center <@var{..list of markups..}> @}
683 \figure @{ <@var{figures}> @}
686 As chords the more often used than simultaneous music, this change will
690 Each music expression can now be tagged, to make different printed
691 versions from the same music expression. In the following example,
692 we see two versions of a piece of music, one for the full score, and
693 one with cue notes for the instrumental part:
697 @{ c4 f2 g4 @} % in the part, we have cue-notes
699 \tag #'score R1 % in the score: only a rest
703 The same can be applied to articulations, texts, etc.: they are
707 -\tag #@var{your-tags}
710 to an articulation, for example,
713 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
716 This defines a note, which has a conditional fingering and a
717 string-number indication.
720 The settings for chord-fingering are more flexible. You can specify a
721 list where fingerings may be placed, eg.
724 \property Voice.fingeringOrientations = #'(left down)
727 This will put the fingering for the lowest note below the chord, and the
731 The script previously known as @code{ly2dvi} has been renamed to
732 @code{lilypond}. The binary itself is now installed as
736 Markup text (ie. general text formatting) may now be used for lyrics too.
739 Two new commands for grace notes have been added, @code{\acciaccatura}
740 and @code{\appoggiatura},
747 Both reflect the traditional meanings of acciaccatura and appogiatura,
748 and both insert insert a slur from the first grace note to the main
752 Layout options for grace notes are now stored in a context property,
753 and may now be set separately from musical content.
756 The @code{\new} command will create a context with a unique
757 name automatically. Hence, for multi-staff scores, it is no longer
758 necessary to invent arbitrary context names. For example, a two-staff
759 score may be created by
763 \new Staff @{ @var{notes for 1st staff} @}
764 \new Staff @{ @var{notes for 2nd staff} @}
771 Octave checks make octave errors easier to correct.
778 This checks that @var{pitch} (without octave) yields @var{pitch} (with
779 octave) in \relative mode. If not, a warning is printed, and the
783 All articulations must now be entered postfix. For example,
790 is a pair of beamed slurred eighth notes.
793 The definition of @code{\relative} has been simplified. Octaves are
794 now always propagated in the order that music is entered. In the
799 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
804 the octave of BODY is based on PRE, the starting octave of ALT1 on
805 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
808 The same mechanism is used for all other music expressions, except the
809 chord. Backwards compatibility is retained through a special program option,
813 #(ly:set-option 'old-relative)
817 Windows users can double click a @code{.ly} file to process and view
818 it automagically through the new @code{lily-wins} frontend.
825 @unnumbered New features in 1.8 since 1.6
830 The chord entry code has been completely rewritten. It is now
831 cleaner and more flexible.
834 A new syntax has been added for text entry. This syntax is more
835 friendly than the old mechanism, and it is implemented in a more
836 robust and modular way. For more information, refer to the section on
837 "Text markup" in the notation manual.
840 The integration of the input language and Scheme has been made deeper:
841 you can now use LilyPond identifiers in Scheme, and use Scheme
842 expressions instead of LilyPond identifiers.
845 The internal representation of music has been cleaned up completely
846 and converted to Scheme data structures. The representation may be
850 A new uniform postfix syntax for articulation has been introduced.
851 A beamed slurred pair of eighth notes can be entered as
857 In version 2.0, postfix syntax will be the only syntax
858 available, and the dashes will become optional.
860 This will simplify the language: all articulations can be entered as
861 postfix, in any order.
864 A new syntax has been added for chords:
871 It is not necessary to update files to this syntax, but it will be for
872 using LilyPond version 2.0. In version 2.0, this syntax will be
882 \simultaneous @{ .. @}
885 for simultaneous music.
887 To convert your files from <PITCHES> to <<PITCHES>>, use the script
888 included in @file{buildscripts/convert-new-chords.py}.
890 This change was introduced for the following reasons
894 It solves the "start score with chord" problem, where you have to
895 state \context Voice explicitly when a chord was the start of a
898 With the new syntax, it is possible to distinguish between
899 articulations (or fingerings) which are for a single chord note,
900 and which are for the entire chord. This allows for per-note
901 fingerings, and is more logical on the whole.
905 User code may now be executed during interpreting. The syntax for
909 \applycontext #SCHEME-FUNCTION
913 User code may now be executed on arbitrary grobs during interpreting.
914 The syntax for this feature is
917 \applyoutput #SCHEME-FUNCTION
921 SCHEME-FUNCTION takes a single argument, and is called for every grob
922 that is created in the current context.
925 New algorithms for chord-name formatting have been installed. They
926 can be tuned and have ergonomic syntax for entering exceptions.
929 Texts may now be put on multimeasure rests, e.g.
932 R1*20^\markup @{ "GP" @}
936 Ancient notation now prints ligatures in Gregorian square neumes
937 notation, roughly following the typographical style of the Liber
938 hymnarius of Solesmes, published in 1983. Ligatures are still printed
939 without the proper line breaking and horizontal spacing.
942 Glissandi can now be printed using the zigzag style.
945 LilyPond can now print clusters. The syntax is
948 \apply #notes-to-clusters @{ NOTE NOTE .. @}
952 For irregular meters, beat grouping marks can be printed. The
956 #(set-time-signature 7 8 '(3 2 2))
961 Nested horizontal brackets for music analysis can now be printed:
970 @item Ottava brackets are now fully supported as a feature. The syntax
978 @item Metronome markings are printed when a \tempo command is processed.
982 @item Fingerings can be put on chords horizontally.
986 @item The appearance of various glyphs has been fine-tuned.
990 @item Different types of percent style repeats may now be nested.
994 @item The emacs support has been extended.
998 The manual has been completely revised and extended.
1002 @unnumbered New features in 1.6 since 1.4
1008 Support for figured bass and tablature.
1011 Completely rewritten beam formatting: provides much better output
1016 Completely revised and improved music font.
1020 Completely rewritten MIDI import support.
1023 Completely rewritten grace note support. Practically speaking this
1024 means that grace notes can be slurred to normal normal notes.
1028 Improved accidental handling and formatting: styles for producing
1029 cautionaries may vary, and complex collisions between accidentals of a
1030 chord are handled much better.
1033 Better spacing: both globally and locally. This includes subtle
1034 details like optical stem spacing.
1037 More support for ancient notation: mensural ligatures, ambitus
1038 (pitch range) of voices, more shapes, etc.
1041 More support for piano notation: bracket pedals, directed arpeggios,
1045 Easier music polyphonic music entry.
1048 More extensibility, many speedups and bugfixes
1051 The manual has been thoroughly revised.
1054 Development is now hosted at http://savannah.gnu.org, and sources
1055 can be downloaded through anonymous CVS.
1058 Support for windows: LilyPond is part of the cygwin distribution,
1059 which comes with a user-friendly installer.