1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item Font sizes can now truly be scaled continuously: the @code{font-size}
12 is similar to the old @code{font-relative-size}, but may be set to
13 fractional values; the closest design size will be scaled to achieve
14 the desired size. As a side-effect, there are now no longer
15 limitations in using smaller fonts (eg. grace notes) at small staff
18 @item The appearance of stem tips is now also engraved with rounded corners.
21 The placement of accidentals on chords and ledgered notes is improved.
26 @chapter New features in 2.0 since 1.8
31 Crescendos can now be drawn dotted or dashed.
34 Quarter tones are now supported. They are entered by suffixing
35 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
36 following is an ascending list of pitches:
39 ceses ceseh ces ceh c cih cis cisih cisis
43 The following constructs have been removed from the syntax:
46 \duration #SCHEME-DURATION
48 \outputproperty @var{func} @var{symbol} = @var{value}
51 For @code{\outputproperty}, the following may be substituted:
54 \applyoutput #(outputproperty-compatibility @var{func}
55 @var{symbol} @var{value})
59 Clefs may now be transposed arbitrarily, for example
69 The syntax for chords and simultaneous music have changed.
76 while simultaneous music is entered as
79 <<@var{..music list..}>>
82 In effect, the meanings of both have been swapped relative to their 1.8
83 definition. The syntax for lists in @code{\markup} has changed
84 alongside, but figured bass mode was not changed, i.e.:
87 \markup @{ \center <@var{..list of markups..}> @}
88 \figure @{ <@var{figures}> @}
91 As chords the more often used than simultaneous music, this change will
95 Each music expression can now be tagged, to make different printed
96 versions from the same music expression. In the following example,
97 we see two versions of a piece of music, one for the full score, and
98 one with cue notes for the instrumental part:
102 @{ c4 f2 g4 @} % in the part, we have cue-notes
104 \tag #'score R1 % in the score: only a rest
108 The same can be applied to articulations, texts, etc.: they are
112 -\tag #@var{your-tags}
115 to an articulation, for example,
118 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
121 This defines a note, which has a conditional fingering and a
122 string-number indication.
125 The settings for chord-fingering are more flexible. You can specify a
126 list where fingerings may be placed, eg.
129 \property Voice.fingeringOrientations = #'(left down)
132 This will put the fingering for the lowest note below the chord, and the
136 The script previously known as @code{ly2dvi} has been renamed to
137 @code{lilypond}. The binary itself is now installed as
141 Markup text (ie. general text formatting) may now be used for lyrics too.
144 Two new commands for grace notes have been added, @code{\acciaccatura}
145 and @code{\appoggiatura},
152 Both reflect the traditional meanings of acciaccatura and appogiatura,
153 and both insert insert a slur from the first grace note to the main
157 Layout options for grace notes are now stored in a context property,
158 and may now be set separately from musical content.
161 The @code{\new} command will create a context with a unique
162 name automatically. Hence, for multi-staff scores, it is no longer
163 necessary to invent arbitrary context names. For example, a two-staff
164 score may be created by
168 \new Staff @{ @var{notes for 1st staff} @}
169 \new Staff @{ @var{notes for 2nd staff} @}
176 Octave checks make octave errors easier to correct.
183 This checks that @var{pitch} (without octave) yields @var{pitch} (with
184 octave) in \relative mode. If not, a warning is printed, and the
188 All articulations must now be entered postfix. For example,
195 is a pair of beamed slurred eighth notes.
198 The definition of @code{\relative} has been simplified. Octaves are
199 now always propagated in the order that music is entered. In the
204 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
209 the octave of BODY is based on PRE, the starting octave of ALT1 on
210 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
213 The same mechanism is used for all other music expressions, except the
214 chord. Backwards compatibility is retained through a special program option,
218 #(ly:set-option 'old-relative)
222 Windows users can double click a @code{.ly} file to process and view
223 it automagically through the new @code{lily-wins} frontend.
230 @chapter New features in 1.8 since 1.6
235 The chord entry code has been completely rewritten. It is now
236 cleaner and more flexible.
239 A new syntax has been added for text entry. This syntax is more
240 friendly than the old mechanism, and it is implemented in a more
241 robust and modular way. For more information, refer to the section on
242 "Text markup" in the notation manual.
245 The integration of the input language and Scheme has been made deeper:
246 you can now use LilyPond identifiers in Scheme, and use Scheme
247 expressions instead of LilyPond identifiers.
250 The internal representation of music has been cleaned up completely
251 and converted to Scheme data structures. The representation may be
255 A new uniform postfix syntax for articulation has been introduced.
256 A beamed slurred pair of eighth notes can be entered as
262 In version 2.0, postfix syntax will be the only syntax
263 available, and the dashes will become optional.
265 This will simplify the language: all articulations can be entered as
266 postfix, in any order.
269 A new syntax has been added for chords:
276 It is not necessary to update files to this syntax, but it will be for
277 using LilyPond version 2.0. In version 2.0, this syntax will be
287 \simultaneous @{ .. @}
290 for simultaneous music.
292 To convert your files from <PITCHES> to <<PITCHES>>, use the script
293 included in buildscripts/convert-new-chords.py
295 This change was introduced for the following reasons
299 It solves the "start score with chord" problem, where you have to
300 state \context Voice explicitly when a chord was the start of a
303 With the new syntax, it is possible to distinguish between
304 articulations (or fingerings) which are for a single chord note,
305 and which are for the entire chord. This allows for per-note
306 fingerings, and is more logical on the whole.
310 User code may now be executed during interpreting. The syntax for
314 \applycontext #SCHEME-FUNCTION
318 User code may now be executed on arbitrary grobs during interpreting.
319 The syntax for this feature is
322 \applyoutput #SCHEME-FUNCTION
326 SCHEME-FUNCTION takes a single argument, and is called for every grob
327 that is created in the current context.
330 New algorithms for chord-name formatting have been installed. They
331 can be tuned and have ergonomic syntax for entering exceptions.
334 Texts may now be put on multimeasure rests, e.g.
337 R1*20^\markup @{ "GP" @}
341 Ancient notation now prints ligatures in Gregorian square neumes
342 notation, roughly following the typographical style of the Liber
343 hymnarius of Solesmes, published in 1983. Ligatures are still printed
344 without the proper line breaking and horizontal spacing.
347 Glissandi can now be printed using the zigzag style.
350 LilyPond can now print clusters. The syntax is
353 \apply #notes-to-clusters @{ NOTE NOTE .. @}
357 For irregular meters, beat grouping marks can be printed. The
361 #(set-time-signature 7 8 '(3 2 2))
366 Nested horizontal brackets for music analysis can now be printed:
375 @item Ottava brackets are now fully supported as a feature. The syntax
383 @item Metronome markings are printed when a \tempo command is processed.
387 @item Fingerings can be put on chords horizontally.
391 @item The appearance of various glyphs has been fine-tuned.
395 @item Different types of percent style repeats may now be nested.
399 @item The emacs support has been extended.
403 The manual has been completely revised and extended.
407 @chapter New features in 1.6 since 1.4
413 Support for figured bass and tablature.
416 Completely rewritten beam formatting: provides much better output
421 Completely revised and improved music font.
425 Completely rewritten MIDI import support.
428 Completely rewritten grace note support. Practically speaking this
429 means that grace notes can be slurred to normal normal notes.
433 Improved accidental handling and formatting: styles for producing
434 cautionaries may vary, and complex collisions between accidentals of a
435 chord are handled much better.
438 Better spacing: both globally and locally. This includes subtle
439 details like optical stem spacing.
442 More support for ancient notation: mensural ligatures, ambitus
443 (pitch range) of voices, more shapes, etc.
446 More support for piano notation: bracket pedals, directed arpeggios,
450 Easier music polyphonic music entry.
453 More extensibility, many speedups and bugfixes
456 The manual has been thoroughly revised.
459 Development is now hosted at http://savannah.gnu.org, and sources
460 can be downloaded through anonymous CVS.
463 Support for windows: LilyPond is part of the cygwin distribution,
464 which comes with a user-friendly installer.