1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item A new block, @code{\bookpaper} has been introduced to
12 hold settings for paper size and output scaling.
14 @item Support for fret diagrams has been contributed by Carl
15 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
17 @item The @code{--safe} mode has been revisited: it makes the basic
18 @code{ly:} interface available, and stops malicious @TeX{} code.
20 @item Music syntax can now be extended seamlessly. As an example,
21 here is the new implementation @code{\applymusic},
24 applymusic = #(ly:make-music-function
25 (list procedure? ly:music?) ; signature
26 (lambda (where func music) ; the function
30 @item @code{\apply} has been renamed to @code{\applymusic}.
32 @item Music can be used as a markup.
33 When inserting a @code{score} block as part of a @code{\markup}, it
34 produces a rendered markup of the music. An example is in
35 @file{input/test/markup-score.ly}.
37 @item LilyPond expressions can be embedded into Scheme. The syntax for
38 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
39 introduced using a @code{$} character (@code{$$} results in a single
40 `$' character). These forms are then printed in the pattern.
43 #(define (textoffset dx dy)
45 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
49 %% The following embedded scheme call is the same as
50 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
56 @item A music list at toplevel is interpreted as implicit @code{\score}
57 a @code{\score} block at toplevel is interpreted as an implicit
58 @code{\book} and @code{\notes} mode is the default lexer mode. The
62 \header @{ title = "The Title" @}
69 \header @{ title = "The Title" @}
77 Actually, a toplevel music list is now handled quite flexibly by
78 @code{default-toplevel-music-handler}. Similarly, a @code{\score}
79 block at toplevel is handled by @code{default-toplevel-score-handler}
80 and a @code{book} at toplevel is handled by
81 @code{default-toplevel-book-handler}. The default behavior of these
82 handlers produces the results described above.
87 These default handlers have the following effect. A Music list at
88 toplevel is encapsulated in a @code{score} block, and a @code{score}
89 block at toplevel is encapsulated in a @code{book} block. A
90 @code{book} block at toplevel generates printed output.
94 @item Start pitch for @code{relative} music is optional for music lists.
95 The default value is one octave below middle C.
97 @c update-me? formal definition of newaddlyrics, once it works
98 @item Combining lyrics with music can be @code{\newlyrics}
104 d2 d c4 bes a2 \break
107 My first Li -- ly song,
110 Not much can go wrong!
115 Syntactically, @code{\newlyrics} acts like an infix operator.
117 @item The parser is encapsulated in a Scheme function
118 @code{ly:parse-file}, so the following fragment processes two files
121 #(ly:parse-file "another.ly")
122 \score { \notes { c4 }}
125 @item The @code{font-encoding} property can now be used to select
126 differently encoded fonts. The previous default setting
127 @code{TeX-text} has been replaced by latin1. LilyPond requires the
128 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
129 package installed to function properly.
131 @item The encoding of a file can be switched with
132 @code{\encoding}. The strings for markup texts are translated
135 @item The toplevel block @code{book} introduces page layout.
136 A @code{book} groups @code{score} blocks into one page layout entity.
137 Page layout consists of markup titles, headers and footers, and page
138 breaking. Two page breaking algorithms are available, the classic
139 ragged pages (the default), and optimal page breaking
143 %% Select page breaking function.
144 %% #(define page-breaking ly:ragged-page-breaks)
145 #(define page-breaking ly:optimal-page-breaks)
153 The @code{lilypond} program does not generate La@TeX{} titles or page
154 layout. If you need La@TeX{} titles, you can use the
155 @code{lilypond-book} program.
157 @item There is now less of a noticeable ``hook'' at the end of a long slur.
159 @item The meaning of the @code{|} in the input can be redefined, by
160 assigning a music expression to @code{pipeSymbol}.
164 @unnumbered New features in 2.2 since 2.0
168 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
169 causes the last line to be set flush-left instead of justified.
171 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
172 its containing context automatically.
174 @item The code for font selection has been rewritten. In addition to
175 existing font selection properties, the property @code{font-encoding}
176 has been added, which makes the switch between normal @code{text} and
177 other encodings like @code{braces}, @code{music} and @code{math}.
179 @item The pmx2ly script has been removed from the distribution.
181 @item Pedal brackets will now run to the last bar of a piece if they are not
184 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
186 @item Property functions may be used as an argument to @code{set!},
190 (set! (ly:grob-property grob 'beam) ... )
193 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
196 @item Cue notes can be quoted directly from the parts that
197 contain them. This will take into account transposition of source and target
198 instrument. For example,
201 \addquote clarinet \notes\relative c' {
207 \notes \relative c'' {
208 c8 d8 \quote 2 oboe es8 gis
213 @item The transposition of an instrument can be specified using the
214 @code{\transposition} command. An
215 E-flat alto saxophone is specified as
221 @item The naming of exported Scheme functions now follows Scheme conventions.
222 Changes be applied to Scheme files with
225 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
229 @item Notes can be excluded from auto-beaming, by marking them with
236 will print two separate eighth notes, and two beamed notes.
238 @item Translators and contexts have been split. The result of this
239 internal cleanup is that @code{Score} no longer is the top context;
240 @code{Score} is contained in the @code{Global} context. Consequently,
241 it is possible to tweak @code{Score} as follows:
244 \context Score \with @{
249 @item The number of staff lines in Tablature notation is now
250 automatically deduced from the @code{stringTunings} property.
252 @item The program reference has been cleaned up and revised.
254 @item The syntax for setting properties has been simplified:
255 the following table lists the differences:
260 \property A.B = #C \set A.B = #C
261 \property A.B \unset \unset A.B
262 \property A.B \set #C = #D \override A.B #C = #D
263 \property A.B \override #C = #D (removed)
264 \property A.B \revert #C \revert A.B #C
267 Furthermore, if @code{A} is left out, the bottommost context is used
268 by default. In other words, it is no longer necessary to explicitly
269 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
274 \property Voice.autoBeaming = ##f
275 \property Staff.TimeSignature \set #'style = #'C
281 \set autoBeaming = ##f
282 \override Staff.TimeSignature #'style = #'C
286 @item Tweaks made with @code{\override} and @code{\revert} no longer
287 hide tweaks at higher context levels.
289 @item Melismata in lyrics are also properly handled in the MIDI output.
291 @item The lilypond-book script has been rewritten.
292 It is shorter, cleaner and faster. The special construct
293 @code{mbinclude} has been removed, plain @code{@@include} or
294 @code{\input} can be used now.
296 It now supports running convert-ly on the lilypond snippets,
298 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
301 @item The @code{LyricsVoice} context has been removed. Lyrics should only
302 be constructed in @code{Lyrics}.
304 @item The @code{Thread} context has been removed. Note heads and rests
305 are now constructed at @code{Voice} level.
307 @item Harmonic notes can now be entered as
313 @item Drum notation is now supported as a regular feature:
314 percussion may be entered in @code{\drums} mode, and printed or
315 performed in a @code{DrumStaff} context:
319 \drums \new DrumStaff @{ hihat4 cowbell8 @}
323 @item The automatic staff changer was internally rewritten. As a
324 result, the syntax has been simplified as well:
327 \autochange @var{the-music}
330 @item The ergonomic syntax of @code{\markup} now has an equivalent in
331 Scheme. The @code{markup*} macro creates such objects; the following
332 two markup commands are equivalent:
334 f4^#(markup* #:raise 0.2 #:bold "hi")
335 f4^\markup @{ \raise #0.2 \bold hi @}
338 @item Voice names, for vocal lines, have been added. They are similar
339 to instrument names. They can be set by defining @code{vocalName}
342 @item Safe mode has been reinstated for lilypond.
343 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
344 PostScript file output is disallowed, and lilypond-bin is invoked with
345 @code{--safe-mode}, the user's Guile expressions are evaluated in a
346 safe environment and file inclusion is not allowed.
348 Warning: this does not protect against denial-of-service attacks using
349 Guile, @TeX{} or PostScript.
351 (This feature is still experimental.)
353 @item There is now a Scheme macro for defining markup
354 commands. Special mark-up commands can be defined in user-files too.
356 @item Many fixes for dimension scaling have been made,
357 resulting in correct results for scores that mix staves in different
360 @item Improved robustness when layout properties are accidentally removed.
362 @item A more cleanly constructed part combiner has been installed.
363 It is more robust and less buggy. The part-combiner can be used with
365 \partcombine @var{mus1} @var{mus2}
369 See @file{input/regression/new-part-combine.ly} for an example.
371 @item Formatting of rehearsal marks has been improved. The @code{\mark}
372 command now only does automatic incrementing for marks specified as
373 integer. For example, @code{\mark #1} will print an A in the default
374 style. See @file{input/regression/rehearsal-mark-letter.ly},
375 @file{input/regression/rehearsal-mark-number.ly}.
377 @item Formatting of ottava brackets has been much improved.
379 @item Objects in the output can now be documented: the following fragment
380 boxes the note head, and adds the text ``heads or tails?'' three
381 spaces below the box.
384 \context Voice \applyoutput #(add-balloon-text
385 'NoteHead "heads, or tails?"
393 @item Default staff sizes are now scalable. There are two new mechanisms for
394 setting staff sizes. Both are demonstrated in this fragment:
397 #(set-global-staff-size 15)
399 #(paper-set-staff-size (* 15 pt))
405 Both have the same effect on the global layout of a piece. Similarly,
406 the paper size may be changed as follows
409 #(set-default-paper-size "a4")
411 #(set-paper-size "a4")
416 @item Warnings for bar check errors are more cleverly printed. This
417 makes @code{barCheckSynchronize} superfluous, so it is now switched
420 Warning: this will cause problems in scores that use bar checks to
423 @item The black note head was made a little rounder, which causes a less
424 frantic graphic impression.
427 A more concise syntax for checking octaves was introduced. A note may
428 be followed by @code{=}@var{quotes} which indicates what its absolute
429 octave should be. In the following example,
432 \relative c'' @{ c='' b=' d,='' @}
436 the d will generate a warning, because a d'' is
437 expected, but a d' is found.
438 @c @code adds ` ', very confusing.
440 @item There is a new mechanism for putting lyrics to melodies.
441 With this mechanism, @code{Lyrics} lines can be put melodies
442 individually, allowing for different melismatic sections in every
443 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
445 @item Bar lines may now be dotted.
448 @item The documentation now has links to a wiki, where everyone can
449 add personal comments to the manual.
451 @item Contexts may now be changed locally for an isolated music
452 expression. For example,
456 \consists "Pitch_squash_engraver"
462 @item The syntax for changing staffs has changed. The keyword
463 @code{\change} should now be used, e.g.
469 @item Features of spanner contexts, like @code{Staff}, can now be changed
470 using @code{\set}, eg.
474 \override Staff.StaffSymbol #'line-count = #4
480 puts a quarter note C on a staff with 4 lines.
483 @item Multi measure rests are now truly centered between the
484 clefs/barlines of the staff, their position is independent of symbols
487 @item Collision resolution for dots in chords has been improved greatly.
490 Spacing following barlines was improved for widely stretched lines.
493 Lyric hyphens and extenders now conform to standard typesetting
497 Lyrics are now aligned under note heads conforming to engraving
498 standards. The responsible code has been rewritten, and is drastically
499 simpler from the previous version. To aid this rewrite, the syntactic
500 function of the extender line ( __ ) has been changed: it is now
501 attached to the lyric syllable.
504 When redefining a context, the associated identifier is also
505 updated. For example, after reading
515 the definition of @code{ScoreContext} is updated to include the changed
520 The weight of the stafflines is now heavier at smaller staff sizes.
521 The font has been modified to match this look: at smaller sizes, the
522 font is heavier and the note heads are more rounded.
524 @item Processing scores is now done while parsing the file. New
525 Scheme functions give more flexibility: for example, it is now possible
526 interpret a score, collecting synchronized musical events in a list, and
527 manipulate that information using inline Scheme. For an example, see
528 @file{input/no-notation/recording.ly}.
530 @item Font sizes can now truly be scaled continuously: the @code{font-size}
531 is similar to the old @code{font-relative-size}, but may be set to
532 fractional values; the closest design size will be scaled to achieve
533 the desired size. As a side-effect, there are now no longer
534 limitations in using smaller fonts (eg. grace notes) at small staff
537 @item Stem tips are now also engraved with rounded corners.
540 The placement of accidentals on chords and ledgered notes is improved.
545 @unnumbered New features in 2.0 since 1.8
550 Crescendos can now be drawn dotted or dashed.
553 Quarter tones are now supported. They are entered by suffixing
554 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
555 following is an ascending list of pitches:
558 ceses ceseh ces ceh c cih cis cisih cisis
562 The following constructs have been removed from the syntax:
565 \duration #SCHEME-DURATION
567 \outputproperty @var{func} @var{symbol} = @var{value}
570 For @code{\outputproperty}, the following may be substituted:
573 \applyoutput #(outputproperty-compatibility @var{func}
574 @var{symbol} @var{value})
578 Clefs may now be transposed arbitrarily, for example
588 The syntax for chords and simultaneous music have changed.
589 Chords are entered as
595 while simultaneous music is entered as
598 <<@var{..music list..}>>
601 In effect, the meanings of both have been swapped relative to their 1.8
602 definition. The syntax for lists in @code{\markup} has changed
603 alongside, but figured bass mode was not changed, i.e.:
606 \markup @{ \center <@var{..list of markups..}> @}
607 \figure @{ <@var{figures}> @}
610 As chords the more often used than simultaneous music, this change will
614 Each music expression can now be tagged, to make different printed
615 versions from the same music expression. In the following example,
616 we see two versions of a piece of music, one for the full score, and
617 one with cue notes for the instrumental part:
621 @{ c4 f2 g4 @} % in the part, we have cue-notes
623 \tag #'score R1 % in the score: only a rest
627 The same can be applied to articulations, texts, etc.: they are
631 -\tag #@var{your-tags}
634 to an articulation, for example,
637 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
640 This defines a note, which has a conditional fingering and a
641 string-number indication.
644 The settings for chord-fingering are more flexible. You can specify a
645 list where fingerings may be placed, eg.
648 \property Voice.fingeringOrientations = #'(left down)
651 This will put the fingering for the lowest note below the chord, and the
655 The script previously known as @code{ly2dvi} has been renamed to
656 @code{lilypond}. The binary itself is now installed as
660 Markup text (ie. general text formatting) may now be used for lyrics too.
663 Two new commands for grace notes have been added, @code{\acciaccatura}
664 and @code{\appoggiatura},
671 Both reflect the traditional meanings of acciaccatura and appogiatura,
672 and both insert insert a slur from the first grace note to the main
676 Layout options for grace notes are now stored in a context property,
677 and may now be set separately from musical content.
680 The @code{\new} command will create a context with a unique
681 name automatically. Hence, for multi-staff scores, it is no longer
682 necessary to invent arbitrary context names. For example, a two-staff
683 score may be created by
687 \new Staff @{ @var{notes for 1st staff} @}
688 \new Staff @{ @var{notes for 2nd staff} @}
695 Octave checks make octave errors easier to correct.
702 This checks that @var{pitch} (without octave) yields @var{pitch} (with
703 octave) in \relative mode. If not, a warning is printed, and the
707 All articulations must now be entered postfix. For example,
714 is a pair of beamed slurred eighth notes.
717 The definition of @code{\relative} has been simplified. Octaves are
718 now always propagated in the order that music is entered. In the
723 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
728 the octave of BODY is based on PRE, the starting octave of ALT1 on
729 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
732 The same mechanism is used for all other music expressions, except the
733 chord. Backwards compatibility is retained through a special program option,
737 #(ly:set-option 'old-relative)
741 Windows users can double click a @code{.ly} file to process and view
742 it automagically through the new @code{lily-wins} frontend.
749 @unnumbered New features in 1.8 since 1.6
754 The chord entry code has been completely rewritten. It is now
755 cleaner and more flexible.
758 A new syntax has been added for text entry. This syntax is more
759 friendly than the old mechanism, and it is implemented in a more
760 robust and modular way. For more information, refer to the section on
761 "Text markup" in the notation manual.
764 The integration of the input language and Scheme has been made deeper:
765 you can now use LilyPond identifiers in Scheme, and use Scheme
766 expressions instead of LilyPond identifiers.
769 The internal representation of music has been cleaned up completely
770 and converted to Scheme data structures. The representation may be
774 A new uniform postfix syntax for articulation has been introduced.
775 A beamed slurred pair of eighth notes can be entered as
781 In version 2.0, postfix syntax will be the only syntax
782 available, and the dashes will become optional.
784 This will simplify the language: all articulations can be entered as
785 postfix, in any order.
788 A new syntax has been added for chords:
795 It is not necessary to update files to this syntax, but it will be for
796 using LilyPond version 2.0. In version 2.0, this syntax will be
806 \simultaneous @{ .. @}
809 for simultaneous music.
811 To convert your files from <PITCHES> to <<PITCHES>>, use the script
812 included in @file{buildscripts/convert-new-chords.py}.
814 This change was introduced for the following reasons
818 It solves the "start score with chord" problem, where you have to
819 state \context Voice explicitly when a chord was the start of a
822 With the new syntax, it is possible to distinguish between
823 articulations (or fingerings) which are for a single chord note,
824 and which are for the entire chord. This allows for per-note
825 fingerings, and is more logical on the whole.
829 User code may now be executed during interpreting. The syntax for
833 \applycontext #SCHEME-FUNCTION
837 User code may now be executed on arbitrary grobs during interpreting.
838 The syntax for this feature is
841 \applyoutput #SCHEME-FUNCTION
845 SCHEME-FUNCTION takes a single argument, and is called for every grob
846 that is created in the current context.
849 New algorithms for chord-name formatting have been installed. They
850 can be tuned and have ergonomic syntax for entering exceptions.
853 Texts may now be put on multimeasure rests, e.g.
856 R1*20^\markup @{ "GP" @}
860 Ancient notation now prints ligatures in Gregorian square neumes
861 notation, roughly following the typographical style of the Liber
862 hymnarius of Solesmes, published in 1983. Ligatures are still printed
863 without the proper line breaking and horizontal spacing.
866 Glissandi can now be printed using the zigzag style.
869 LilyPond can now print clusters. The syntax is
872 \apply #notes-to-clusters @{ NOTE NOTE .. @}
876 For irregular meters, beat grouping marks can be printed. The
880 #(set-time-signature 7 8 '(3 2 2))
885 Nested horizontal brackets for music analysis can now be printed:
894 @item Ottava brackets are now fully supported as a feature. The syntax
902 @item Metronome markings are printed when a \tempo command is processed.
906 @item Fingerings can be put on chords horizontally.
910 @item The appearance of various glyphs has been fine-tuned.
914 @item Different types of percent style repeats may now be nested.
918 @item The emacs support has been extended.
922 The manual has been completely revised and extended.
926 @unnumbered New features in 1.6 since 1.4
932 Support for figured bass and tablature.
935 Completely rewritten beam formatting: provides much better output
940 Completely revised and improved music font.
944 Completely rewritten MIDI import support.
947 Completely rewritten grace note support. Practically speaking this
948 means that grace notes can be slurred to normal normal notes.
952 Improved accidental handling and formatting: styles for producing
953 cautionaries may vary, and complex collisions between accidentals of a
954 chord are handled much better.
957 Better spacing: both globally and locally. This includes subtle
958 details like optical stem spacing.
961 More support for ancient notation: mensural ligatures, ambitus
962 (pitch range) of voices, more shapes, etc.
965 More support for piano notation: bracket pedals, directed arpeggios,
969 Easier music polyphonic music entry.
972 More extensibility, many speedups and bugfixes
975 The manual has been thoroughly revised.
978 Development is now hosted at http://savannah.gnu.org, and sources
979 can be downloaded through anonymous CVS.
982 Support for windows: LilyPond is part of the cygwin distribution,
983 which comes with a user-friendly installer.