1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item Slur formatting has been rewritten. The new slur code
12 works similar to the Beam formatter: scores are assigned for all
13 esthetic components of a slur. A large number of combinations for
14 begin and end points is then tried out. Slurs will now also take into
15 account collisions with staff lines, scripts (like staccato and
16 accent) and accidentals.
19 @item In the LilyPond emacs mode, the @code{|} will now display the
20 current beat within the measure.
22 @item Colliding notes are now correctly aligned relative to notes in other staves.
24 @item An experimental GNOME output backend is available for developers.
25 It depends on several unreleased packages such as gnome-guile TLA and
26 Pango CVS. The output interface coverage is sparse, but it already
27 does support point-and-click on the GNOME Canvas. See also
28 @file{scm/output-gnome.scm}.
30 @item Context definitions are now stored in identifiers that match the
31 context name, in other words, to modify a @code{Staff} context, the
32 following code may be used.
41 @item A new block, @code{\bookpaper} has been introduced to
42 hold settings for paper size and output scaling. Further options
43 include @code{raggedbottom} (if set, systems are not vertically filled
44 to reach the bottom of the page), and @code{raggedlastbottom}.
48 @item Support for fret diagrams has been contributed by Carl
49 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
51 @item The @code{--safe-mode} has been revisited: GUILE evaluation
52 is done in the R5RS safe module, with only the basic @code{ly:}
53 interface available and malicious @TeX{} code is stopped. However, to
54 be reasonably safe, you are advised to use the PostScript backend
55 rather than the @TeX{} backend anyway; and if possible use an UML
56 sandbox to run gs or latex.
58 @item Music syntax can now be extended seamlessly. As an example,
59 here is the new implementation @code{\applymusic},
62 applymusic = #(ly:make-music-function
63 (list procedure? ly:music?) ; signature
64 (lambda (where func music) ; the function
68 @item @code{\apply} has been renamed to @code{\applymusic}.
70 @item Music can be used as a markup.
71 When inserting a @code{score} block as part of a @code{\markup}, it
72 produces a rendered markup of the music. An example is in
73 @file{input/test/markup-score.ly}.
75 @item LilyPond expressions can be embedded into Scheme. The syntax for
76 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
77 introduced using a @code{$} character (@code{$$} results in a single
78 `$' character). These forms are then inserted in the pattern.
81 #(define (textoffset dx dy)
83 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
87 %% The following embedded scheme call is the same as
88 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
94 @item A music list at toplevel is interpreted as implicit @code{\score}
95 a @code{\score} block at toplevel is interpreted as an implicit
96 @code{\book} and @code{\notes} mode is the default lexer mode. The
100 \header @{ title = "The Title" @}
107 \header @{ title = "The Title" @}
115 This is handled by the function defined in
116 @code{toplevel-music-handler}. Similarly, @code{\score} and
117 @code{\book} are handled by @code{toplevel-score-handler} and a
118 @code{toplevel-book-handler}. By changing these variables, different
119 results can be obtained.
122 @item Start pitch for @code{relative} music is optional for music lists.
123 The default value is middle C.
125 @c update-me? formal definition of newaddlyrics, once it works
126 @item Combining lyrics with music can be done with @code{\newlyrics}
131 d2 d c4 bes a2 \break
134 My first Li -- ly song,
137 Not much can go wrong!
141 Syntactically, @code{\newlyrics} acts like an infix operator.
143 @item The parser is encapsulated in a Scheme function
144 @code{ly:parse-file}, so the following fragment processes two files
147 #(ly:parse-file "another.ly")
148 \score { \notes { c4 }}
151 @item The @code{font-encoding} property can now be used to select
152 differently encoded fonts. The previous default setting
153 @code{TeX-text} has been replaced by latin1. LilyPond requires the
154 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
155 package installed to function properly.
157 @item The encoding of a file can be switched with
158 @code{\encoding}. The strings for markup texts are translated
161 @item The toplevel block @code{\book} introduces page layout.
162 A @code{\book} groups @code{\score} blocks into one page layout
163 entity. For example, two scores are combined in one book with
172 Titling and page breaks are handled by LilyPond. For automatic page
173 breaking, two algorithms are available, the classic ragged pages (the
174 default), and optimal page breaking.
175 Page breaks may be inserted manually with
181 The @code{lilypond} program does not generate La@TeX{} titles or page
182 layout. If you need La@TeX{} titles, you can use the
183 @code{lilypond-book} program.
185 @item There is now less of a noticeable ``hook'' at the end of a long slur.
187 @item The meaning of the @code{|} in the input can be redefined, by
188 assigning a music expression to @code{pipeSymbol}.
192 @unnumbered New features in 2.2 since 2.0
196 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
197 causes the last line to be set flush-left instead of justified.
199 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
200 its containing context automatically.
202 @item The code for font selection has been rewritten. In addition to
203 existing font selection properties, the property @code{font-encoding}
204 has been added, which makes the switch between normal @code{text} and
205 other encodings like @code{braces}, @code{music} and @code{math}.
207 @item The pmx2ly script has been removed from the distribution.
209 @item Pedal brackets will now run to the last bar of a piece if they are not
212 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
214 @item Property functions may be used as an argument to @code{set!},
218 (set! (ly:grob-property grob 'beam) ... )
221 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
224 @item Cue notes can be quoted directly from the parts that
225 contain them. This will take into account transposition of source and target
226 instrument. For example,
229 \addquote clarinet \notes\relative c' {
235 \notes \relative c'' {
236 c8 d8 \quote 2 oboe es8 gis
241 @item The transposition of an instrument can be specified using the
242 @code{\transposition} command. An
243 E-flat alto saxophone is specified as
249 @item The naming of exported Scheme functions now follows Scheme conventions.
250 Changes be applied to Scheme files with
253 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
257 @item Notes can be excluded from auto-beaming, by marking them with
264 will print two separate eighth notes, and two beamed notes.
266 @item Translators and contexts have been split. The result of this
267 internal cleanup is that @code{Score} no longer is the top context;
268 @code{Score} is contained in the @code{Global} context. Consequently,
269 it is possible to tweak @code{Score} as follows:
272 \context Score \with @{
277 @item The number of staff lines in Tablature notation is now
278 automatically deduced from the @code{stringTunings} property.
280 @item The program reference has been cleaned up and revised.
282 @item The syntax for setting properties has been simplified:
283 the following table lists the differences:
288 \property A.B = #C \set A.B = #C
289 \property A.B \unset \unset A.B
290 \property A.B \set #C = #D \override A.B #C = #D
291 \property A.B \override #C = #D (removed)
292 \property A.B \revert #C \revert A.B #C
295 Furthermore, if @code{A} is left out, the bottommost context is used
296 by default. In other words, it is no longer necessary to explicitly
297 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
302 \property Voice.autoBeaming = ##f
303 \property Staff.TimeSignature \set #'style = #'C
309 \set autoBeaming = ##f
310 \override Staff.TimeSignature #'style = #'C
314 @item Tweaks made with @code{\override} and @code{\revert} no longer
315 hide tweaks at higher context levels.
317 @item Melismata in lyrics are also properly handled in the MIDI output.
319 @item The lilypond-book script has been rewritten.
320 It is shorter, cleaner and faster. The special construct
321 @code{mbinclude} has been removed, plain @code{@@include} or
322 @code{\input} can be used now.
324 It now supports running convert-ly on the lilypond snippets,
326 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
329 @item The @code{LyricsVoice} context has been removed. Lyrics should only
330 be constructed in @code{Lyrics}.
332 @item The @code{Thread} context has been removed. Note heads and rests
333 are now constructed at @code{Voice} level.
335 @item Harmonic notes can now be entered as
341 @item Drum notation is now supported as a regular feature:
342 percussion may be entered in @code{\drums} mode, and printed or
343 performed in a @code{DrumStaff} context:
347 \drums \new DrumStaff @{ hihat4 cowbell8 @}
351 @item The automatic staff changer was internally rewritten. As a
352 result, the syntax has been simplified as well:
355 \autochange @var{the-music}
358 @item The ergonomic syntax of @code{\markup} now has an equivalent in
359 Scheme. The @code{markup*} macro creates such objects; the following
360 two markup commands are equivalent:
362 f4^#(markup* #:raise 0.2 #:bold "hi")
363 f4^\markup @{ \raise #0.2 \bold hi @}
366 @item Voice names, for vocal lines, have been added. They are similar
367 to instrument names. They can be set by defining @code{vocalName}
370 @item Safe mode has been reinstated for lilypond.
371 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
372 PostScript file output is disallowed, and lilypond-bin is invoked with
373 @code{--safe-mode}, the user's Guile expressions are evaluated in a
374 safe environment and file inclusion is not allowed.
376 Warning: this does not protect against denial-of-service attacks using
377 Guile, @TeX{} or PostScript.
379 (This feature is still experimental.)
381 @item There is now a Scheme macro for defining markup
382 commands. Special mark-up commands can be defined in user-files too.
384 @item Many fixes for dimension scaling have been made,
385 resulting in correct results for scores that mix staves in different
388 @item Improved robustness when layout properties are accidentally removed.
390 @item A more cleanly constructed part combiner has been installed.
391 It is more robust and less buggy. The part-combiner can be used with
393 \partcombine @var{mus1} @var{mus2}
397 See @file{input/regression/new-part-combine.ly} for an example.
399 @item Formatting of rehearsal marks has been improved. The @code{\mark}
400 command now only does automatic incrementing for marks specified as
401 integer. For example, @code{\mark #1} will print an A in the default
402 style. See @file{input/regression/rehearsal-mark-letter.ly},
403 @file{input/regression/rehearsal-mark-number.ly}.
405 @item Formatting of ottava brackets has been much improved.
407 @item Objects in the output can now be documented: the following fragment
408 boxes the note head, and adds the text ``heads or tails?'' three
409 spaces below the box.
412 \context Voice \applyoutput #(add-balloon-text
413 'NoteHead "heads, or tails?"
421 @item Default staff sizes are now scalable. There are two new mechanisms for
422 setting staff sizes. Both are demonstrated in this fragment:
425 #(set-global-staff-size 15)
427 #(paper-set-staff-size (* 15 pt))
433 Both have the same effect on the global layout of a piece. Similarly,
434 the paper size may be changed as follows
437 #(set-default-paper-size "a4")
439 #(set-paper-size "a4")
444 @item Warnings for bar check errors are more cleverly printed. This
445 makes @code{barCheckSynchronize} superfluous, so it is now switched
448 Warning: this will cause problems in scores that use bar checks to
451 @item The black note head was made a little rounder, which causes a less
452 frantic graphic impression.
455 A more concise syntax for checking octaves was introduced. A note may
456 be followed by @code{=}@var{quotes} which indicates what its absolute
457 octave should be. In the following example,
460 \relative c'' @{ c='' b=' d,='' @}
464 the d will generate a warning, because a d'' is
465 expected, but a d' is found.
466 @c @code adds ` ', very confusing.
468 @item There is a new mechanism for putting lyrics to melodies.
469 With this mechanism, @code{Lyrics} lines can be put melodies
470 individually, allowing for different melismatic sections in every
471 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
473 @item Bar lines may now be dotted.
476 @item The documentation now has links to a wiki, where everyone can
477 add personal comments to the manual.
479 @item Contexts may now be changed locally for an isolated music
480 expression. For example,
484 \consists "Pitch_squash_engraver"
490 @item The syntax for changing staffs has changed. The keyword
491 @code{\change} should now be used, e.g.
497 @item Features of spanner contexts, like @code{Staff}, can now be changed
498 using @code{\set}, eg.
502 \override Staff.StaffSymbol #'line-count = #4
508 puts a quarter note C on a staff with 4 lines.
511 @item Multi measure rests are now truly centered between the
512 clefs/barlines of the staff, their position is independent of symbols
515 @item Collision resolution for dots in chords has been improved greatly.
518 Spacing following barlines was improved for widely stretched lines.
521 Lyric hyphens and extenders now conform to standard typesetting
525 Lyrics are now aligned under note heads conforming to engraving
526 standards. The responsible code has been rewritten, and is drastically
527 simpler from the previous version. To aid this rewrite, the syntactic
528 function of the extender line ( __ ) has been changed: it is now
529 attached to the lyric syllable.
532 When redefining a context, the associated identifier is also
533 updated. For example, after reading
543 the definition of @code{ScoreContext} is updated to include the changed
548 The weight of the stafflines is now heavier at smaller staff sizes.
549 The font has been modified to match this look: at smaller sizes, the
550 font is heavier and the note heads are more rounded.
552 @item Processing scores is now done while parsing the file. New
553 Scheme functions give more flexibility: for example, it is now possible
554 interpret a score, collecting synchronized musical events in a list, and
555 manipulate that information using inline Scheme. For an example, see
556 @file{input/no-notation/recording.ly}.
558 @item Font sizes can now truly be scaled continuously: the @code{font-size}
559 is similar to the old @code{font-relative-size}, but may be set to
560 fractional values; the closest design size will be scaled to achieve
561 the desired size. As a side-effect, there are now no longer
562 limitations in using smaller fonts (eg. grace notes) at small staff
565 @item Stem tips are now also engraved with rounded corners.
568 The placement of accidentals on chords and ledgered notes is improved.
573 @unnumbered New features in 2.0 since 1.8
578 Crescendos can now be drawn dotted or dashed.
581 Quarter tones are now supported. They are entered by suffixing
582 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
583 following is an ascending list of pitches:
586 ceses ceseh ces ceh c cih cis cisih cisis
590 The following constructs have been removed from the syntax:
593 \duration #SCHEME-DURATION
595 \outputproperty @var{func} @var{symbol} = @var{value}
598 For @code{\outputproperty}, the following may be substituted:
601 \applyoutput #(outputproperty-compatibility @var{func}
602 @var{symbol} @var{value})
606 Clefs may now be transposed arbitrarily, for example
616 The syntax for chords and simultaneous music have changed.
617 Chords are entered as
623 while simultaneous music is entered as
626 <<@var{..music list..}>>
629 In effect, the meanings of both have been swapped relative to their 1.8
630 definition. The syntax for lists in @code{\markup} has changed
631 alongside, but figured bass mode was not changed, i.e.:
634 \markup @{ \center <@var{..list of markups..}> @}
635 \figure @{ <@var{figures}> @}
638 As chords the more often used than simultaneous music, this change will
642 Each music expression can now be tagged, to make different printed
643 versions from the same music expression. In the following example,
644 we see two versions of a piece of music, one for the full score, and
645 one with cue notes for the instrumental part:
649 @{ c4 f2 g4 @} % in the part, we have cue-notes
651 \tag #'score R1 % in the score: only a rest
655 The same can be applied to articulations, texts, etc.: they are
659 -\tag #@var{your-tags}
662 to an articulation, for example,
665 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
668 This defines a note, which has a conditional fingering and a
669 string-number indication.
672 The settings for chord-fingering are more flexible. You can specify a
673 list where fingerings may be placed, eg.
676 \property Voice.fingeringOrientations = #'(left down)
679 This will put the fingering for the lowest note below the chord, and the
683 The script previously known as @code{ly2dvi} has been renamed to
684 @code{lilypond}. The binary itself is now installed as
688 Markup text (ie. general text formatting) may now be used for lyrics too.
691 Two new commands for grace notes have been added, @code{\acciaccatura}
692 and @code{\appoggiatura},
699 Both reflect the traditional meanings of acciaccatura and appogiatura,
700 and both insert insert a slur from the first grace note to the main
704 Layout options for grace notes are now stored in a context property,
705 and may now be set separately from musical content.
708 The @code{\new} command will create a context with a unique
709 name automatically. Hence, for multi-staff scores, it is no longer
710 necessary to invent arbitrary context names. For example, a two-staff
711 score may be created by
715 \new Staff @{ @var{notes for 1st staff} @}
716 \new Staff @{ @var{notes for 2nd staff} @}
723 Octave checks make octave errors easier to correct.
730 This checks that @var{pitch} (without octave) yields @var{pitch} (with
731 octave) in \relative mode. If not, a warning is printed, and the
735 All articulations must now be entered postfix. For example,
742 is a pair of beamed slurred eighth notes.
745 The definition of @code{\relative} has been simplified. Octaves are
746 now always propagated in the order that music is entered. In the
751 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
756 the octave of BODY is based on PRE, the starting octave of ALT1 on
757 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
760 The same mechanism is used for all other music expressions, except the
761 chord. Backwards compatibility is retained through a special program option,
765 #(ly:set-option 'old-relative)
769 Windows users can double click a @code{.ly} file to process and view
770 it automagically through the new @code{lily-wins} frontend.
777 @unnumbered New features in 1.8 since 1.6
782 The chord entry code has been completely rewritten. It is now
783 cleaner and more flexible.
786 A new syntax has been added for text entry. This syntax is more
787 friendly than the old mechanism, and it is implemented in a more
788 robust and modular way. For more information, refer to the section on
789 "Text markup" in the notation manual.
792 The integration of the input language and Scheme has been made deeper:
793 you can now use LilyPond identifiers in Scheme, and use Scheme
794 expressions instead of LilyPond identifiers.
797 The internal representation of music has been cleaned up completely
798 and converted to Scheme data structures. The representation may be
802 A new uniform postfix syntax for articulation has been introduced.
803 A beamed slurred pair of eighth notes can be entered as
809 In version 2.0, postfix syntax will be the only syntax
810 available, and the dashes will become optional.
812 This will simplify the language: all articulations can be entered as
813 postfix, in any order.
816 A new syntax has been added for chords:
823 It is not necessary to update files to this syntax, but it will be for
824 using LilyPond version 2.0. In version 2.0, this syntax will be
834 \simultaneous @{ .. @}
837 for simultaneous music.
839 To convert your files from <PITCHES> to <<PITCHES>>, use the script
840 included in @file{buildscripts/convert-new-chords.py}.
842 This change was introduced for the following reasons
846 It solves the "start score with chord" problem, where you have to
847 state \context Voice explicitly when a chord was the start of a
850 With the new syntax, it is possible to distinguish between
851 articulations (or fingerings) which are for a single chord note,
852 and which are for the entire chord. This allows for per-note
853 fingerings, and is more logical on the whole.
857 User code may now be executed during interpreting. The syntax for
861 \applycontext #SCHEME-FUNCTION
865 User code may now be executed on arbitrary grobs during interpreting.
866 The syntax for this feature is
869 \applyoutput #SCHEME-FUNCTION
873 SCHEME-FUNCTION takes a single argument, and is called for every grob
874 that is created in the current context.
877 New algorithms for chord-name formatting have been installed. They
878 can be tuned and have ergonomic syntax for entering exceptions.
881 Texts may now be put on multimeasure rests, e.g.
884 R1*20^\markup @{ "GP" @}
888 Ancient notation now prints ligatures in Gregorian square neumes
889 notation, roughly following the typographical style of the Liber
890 hymnarius of Solesmes, published in 1983. Ligatures are still printed
891 without the proper line breaking and horizontal spacing.
894 Glissandi can now be printed using the zigzag style.
897 LilyPond can now print clusters. The syntax is
900 \apply #notes-to-clusters @{ NOTE NOTE .. @}
904 For irregular meters, beat grouping marks can be printed. The
908 #(set-time-signature 7 8 '(3 2 2))
913 Nested horizontal brackets for music analysis can now be printed:
922 @item Ottava brackets are now fully supported as a feature. The syntax
930 @item Metronome markings are printed when a \tempo command is processed.
934 @item Fingerings can be put on chords horizontally.
938 @item The appearance of various glyphs has been fine-tuned.
942 @item Different types of percent style repeats may now be nested.
946 @item The emacs support has been extended.
950 The manual has been completely revised and extended.
954 @unnumbered New features in 1.6 since 1.4
960 Support for figured bass and tablature.
963 Completely rewritten beam formatting: provides much better output
968 Completely revised and improved music font.
972 Completely rewritten MIDI import support.
975 Completely rewritten grace note support. Practically speaking this
976 means that grace notes can be slurred to normal normal notes.
980 Improved accidental handling and formatting: styles for producing
981 cautionaries may vary, and complex collisions between accidentals of a
982 chord are handled much better.
985 Better spacing: both globally and locally. This includes subtle
986 details like optical stem spacing.
989 More support for ancient notation: mensural ligatures, ambitus
990 (pitch range) of voices, more shapes, etc.
993 More support for piano notation: bracket pedals, directed arpeggios,
997 Easier music polyphonic music entry.
1000 More extensibility, many speedups and bugfixes
1003 The manual has been thoroughly revised.
1006 Development is now hosted at http://savannah.gnu.org, and sources
1007 can be downloaded through anonymous CVS.
1010 Support for windows: LilyPond is part of the cygwin distribution,
1011 which comes with a user-friendly installer.