1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Tweaks made with @code{\override} and @code{\revert} no longer
22 hide tweaks at higher context levels.
24 @item Melismata in lyrics are also properly handled in the MIDI output.
26 @item The lilypond-book script has been rewritten.
27 It is shorter, cleaner and faster. The special construct
28 @code{mbinclude} has been removed, plain @code{@@include} or
29 @code{\\input} can be used now.
33 running convert-ly on the lilypond snippets like so:
35 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
39 @item The @code{LyricsVoice} context has been removed. Lyrics should only
40 be constructed in @code{Lyrics}.
42 @item The @code{Thread} context has been removed. Note heads and rests
43 are now constructed at @code{Voice} level.
45 @item Harmonic notes can now be entered as
51 @item Drum notation is now supported as a regular feature:
52 percussion may be entered in @code{\drums} mode, and printed or
53 performed in a @code{DrumStaff} context:
57 \drums \new DrumStaff @{ hihat4 cowbell8 @}
61 @item The automatic staff changer was internally rewritten. As a
62 result, the syntax has been simplified as well:
65 \autochange @var{the music}
68 @item The ergonomic syntax of @code{\markup} now has an equivalent in
69 Scheme. The @code{markup*} macro creates such objects; the following
70 two markup commands are equivalent:
72 f4^#(markup* #:raise 0.2 #:bold "hi")
73 f4^\markup @{ \raise #0.2 \bold hi @}
76 @item Voice names, for vocal lines, have been added. They are similar
77 to instrument names. They can be set by defining @code{vocalName}
80 @item Safe mode has been reinstated for lilypond.
81 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
82 PostScript file output is disallowed, and lilypond-bin is invoked with
83 @code{--safe-mode}, the user's Guile expressions are evaluated in a
84 safe environment and file inclusion is not allowed.
86 Warning: this does not protect against denial-of-service attacks using
87 Guile, @TeX{} or PostScript.
89 (This feature is still experimental.)
91 @item There is now a Scheme macro for defining markup
92 commands. Special mark-up commands can be defined in user-files too.
94 @item Many fixes for dimension scaling have been made,
95 resulting in correct results for scores that mix staves in different
98 @item Improved robustness when layout properties are accidentally removed.
100 @item A more cleanly constructed part combiner has been installed.
101 It is more robust and less buggy. The part-combiner can be used with
103 \partcombine @var{mus1} @var{mus2}
107 See @file{input/regression/new-part-combine.ly} for an example.
109 @item Formatting of rehearsal marks has been improved. The @code{\mark}
110 command now only does automatic incrementing for marks specified as
111 integer. For example, @code{\mark #1} will print an A in the default
112 style. See @file{input/regression/rehearsal-mark-letter.ly},
113 @file{input/regression/rehearsal-mark-number.ly}.
115 @item Formatting of ottava brackets has been much improved.
117 @item Objects in the output can now be documented: the following fragment
118 boxes the note head, and adds the text ``heads or tails?'' three
119 spaces below the box.
122 \context Voice \applyoutput #(add-balloon-text
123 'NoteHead "heads, or tails?"
131 @item Default staff sizes are now scalable. There are two new mechanisms for
132 setting staff sizes. Both are demonstrated in this fragment:
135 #(set-global-staff-size 15)
137 #(paper-set-staff-size (* 15 pt))
143 Both have the same effect on the global layout of a
144 piece. Similarly, the paper size may be changed as follows
147 #(set-paper-size "a4")
151 @item Warnings for bar check errors are more cleverly printed. This
152 makes @code{barCheckSynchronize} superfluous, so it is now switched
155 Warning: this will cause problems in scores that use bar checks to
158 @item The black note head was made a little rounder, which causes a less
159 frantic graphic impression.
162 A more concise syntax for checking octaves was introduced. A note may
163 be followed by @code{=}@var{quotes} which indicates what its absolute
164 octave should be. In the following example,
167 \relative c'' @{ c='' b=' d,='' @}
171 the d will generate a warning, because a d'' is
172 expected, but a d' is found.
173 @c @code adds ` ' very confusing.
175 @item There is a new mechanism for putting lyrics to melodies.
176 With this mechanism, @code{LyricVoice}s can be put melodies
177 individually, allowing for different melismatic sections in every
178 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
180 @item Bar lines may now be dotted.
183 @item The documentation now has links to a wiki, where everyone can
184 add personal comments to the manual.
186 @item Contexts may now be changed locally for an isolated music
187 expression. For example,
191 \consists "Pitch_squash_engraver"
197 @item The syntax for changing staffs has changed. The keyword
198 @code{\change} should now be used, e.g.
204 @item Features of spanner contexts, like @code{Staff}, can now be changed
205 using @code{\property}, eg.
209 \property Staff.StaffSymbol \set #'line-count = #4
215 puts a quarter note C on a staff with 4 lines.
218 @item Multi measure rests are now truly centered between the
219 clefs/barlines of the staff, their position is independent of symbols
222 @item Collision resolution for dots in chords has been improved greatly.
225 Spacing following barlines was improved for widely stretched lines.
228 Lyric hyphens and extenders now conform to standard typesetting
232 Lyrics are now aligned under note heads conforming to engraving
233 standards. The responsible code has been rewritten, and is drastically
234 simpler from the previous version. To aid this rewrite, the syntactic
235 function of the extender line ( __ ) has been changed: it is now
236 attached to the lyric syllable.
239 When redefining a context, the associated identifier is also
240 updated. For example, after reading the following snippet,
247 the definition of @code{ScoreContext} is updated to include the changed
252 The weight of the stafflines is now heavier at smaller staff sizes.
253 The font has been modified to match this look: at smaller sizes, the
254 font is heavier and the note heads are more rounded.
256 @item Processing scores is now done while parsing the file. New
257 Scheme functions give more flexibility: for example, it is now possible
258 interpret a score, collecting synchronized musical events in a list, and
259 manipulate that information using inline Scheme. For an example, see
260 @file{input/no-notation/recording.ly}.
262 @item Font sizes can now truly be scaled continuously: the @code{font-size}
263 is similar to the old @code{font-relative-size}, but may be set to
264 fractional values; the closest design size will be scaled to achieve
265 the desired size. As a side-effect, there are now no longer
266 limitations in using smaller fonts (eg. grace notes) at small staff
269 @item Stem tips are now also engraved with rounded corners.
272 The placement of accidentals on chords and ledgered notes is improved.
277 @chapter New features in 2.0 since 1.8
282 Crescendos can now be drawn dotted or dashed.
285 Quarter tones are now supported. They are entered by suffixing
286 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
287 following is an ascending list of pitches:
290 ceses ceseh ces ceh c cih cis cisih cisis
294 The following constructs have been removed from the syntax:
297 \duration #SCHEME-DURATION
299 \outputproperty @var{func} @var{symbol} = @var{value}
302 For @code{\outputproperty}, the following may be substituted:
305 \applyoutput #(outputproperty-compatibility @var{func}
306 @var{symbol} @var{value})
310 Clefs may now be transposed arbitrarily, for example
320 The syntax for chords and simultaneous music have changed.
321 Chords are entered as
327 while simultaneous music is entered as
330 <<@var{..music list..}>>
333 In effect, the meanings of both have been swapped relative to their 1.8
334 definition. The syntax for lists in @code{\markup} has changed
335 alongside, but figured bass mode was not changed, i.e.:
338 \markup @{ \center <@var{..list of markups..}> @}
339 \figure @{ <@var{figures}> @}
342 As chords the more often used than simultaneous music, this change will
346 Each music expression can now be tagged, to make different printed
347 versions from the same music expression. In the following example,
348 we see two versions of a piece of music, one for the full score, and
349 one with cue notes for the instrumental part:
353 @{ c4 f2 g4 @} % in the part, we have cue-notes
355 \tag #'score R1 % in the score: only a rest
359 The same can be applied to articulations, texts, etc.: they are
363 -\tag #@var{your-tags}
366 to an articulation, for example,
369 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
372 This defines a note, which has a conditional fingering and a
373 string-number indication.
376 The settings for chord-fingering are more flexible. You can specify a
377 list where fingerings may be placed, eg.
380 \property Voice.fingeringOrientations = #'(left down)
383 This will put the fingering for the lowest note below the chord, and the
387 The script previously known as @code{ly2dvi} has been renamed to
388 @code{lilypond}. The binary itself is now installed as
392 Markup text (ie. general text formatting) may now be used for lyrics too.
395 Two new commands for grace notes have been added, @code{\acciaccatura}
396 and @code{\appoggiatura},
403 Both reflect the traditional meanings of acciaccatura and appogiatura,
404 and both insert insert a slur from the first grace note to the main
408 Layout options for grace notes are now stored in a context property,
409 and may now be set separately from musical content.
412 The @code{\new} command will create a context with a unique
413 name automatically. Hence, for multi-staff scores, it is no longer
414 necessary to invent arbitrary context names. For example, a two-staff
415 score may be created by
419 \new Staff @{ @var{notes for 1st staff} @}
420 \new Staff @{ @var{notes for 2nd staff} @}
427 Octave checks make octave errors easier to correct.
434 This checks that @var{pitch} (without octave) yields @var{pitch} (with
435 octave) in \relative mode. If not, a warning is printed, and the
439 All articulations must now be entered postfix. For example,
446 is a pair of beamed slurred eighth notes.
449 The definition of @code{\relative} has been simplified. Octaves are
450 now always propagated in the order that music is entered. In the
455 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
460 the octave of BODY is based on PRE, the starting octave of ALT1 on
461 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
464 The same mechanism is used for all other music expressions, except the
465 chord. Backwards compatibility is retained through a special program option,
469 #(ly:set-option 'old-relative)
473 Windows users can double click a @code{.ly} file to process and view
474 it automagically through the new @code{lily-wins} frontend.
481 @chapter New features in 1.8 since 1.6
486 The chord entry code has been completely rewritten. It is now
487 cleaner and more flexible.
490 A new syntax has been added for text entry. This syntax is more
491 friendly than the old mechanism, and it is implemented in a more
492 robust and modular way. For more information, refer to the section on
493 "Text markup" in the notation manual.
496 The integration of the input language and Scheme has been made deeper:
497 you can now use LilyPond identifiers in Scheme, and use Scheme
498 expressions instead of LilyPond identifiers.
501 The internal representation of music has been cleaned up completely
502 and converted to Scheme data structures. The representation may be
506 A new uniform postfix syntax for articulation has been introduced.
507 A beamed slurred pair of eighth notes can be entered as
513 In version 2.0, postfix syntax will be the only syntax
514 available, and the dashes will become optional.
516 This will simplify the language: all articulations can be entered as
517 postfix, in any order.
520 A new syntax has been added for chords:
527 It is not necessary to update files to this syntax, but it will be for
528 using LilyPond version 2.0. In version 2.0, this syntax will be
538 \simultaneous @{ .. @}
541 for simultaneous music.
543 To convert your files from <PITCHES> to <<PITCHES>>, use the script
544 included in buildscripts/convert-new-chords.py
546 This change was introduced for the following reasons
550 It solves the "start score with chord" problem, where you have to
551 state \context Voice explicitly when a chord was the start of a
554 With the new syntax, it is possible to distinguish between
555 articulations (or fingerings) which are for a single chord note,
556 and which are for the entire chord. This allows for per-note
557 fingerings, and is more logical on the whole.
561 User code may now be executed during interpreting. The syntax for
565 \applycontext #SCHEME-FUNCTION
569 User code may now be executed on arbitrary grobs during interpreting.
570 The syntax for this feature is
573 \applyoutput #SCHEME-FUNCTION
577 SCHEME-FUNCTION takes a single argument, and is called for every grob
578 that is created in the current context.
581 New algorithms for chord-name formatting have been installed. They
582 can be tuned and have ergonomic syntax for entering exceptions.
585 Texts may now be put on multimeasure rests, e.g.
588 R1*20^\markup @{ "GP" @}
592 Ancient notation now prints ligatures in Gregorian square neumes
593 notation, roughly following the typographical style of the Liber
594 hymnarius of Solesmes, published in 1983. Ligatures are still printed
595 without the proper line breaking and horizontal spacing.
598 Glissandi can now be printed using the zigzag style.
601 LilyPond can now print clusters. The syntax is
604 \apply #notes-to-clusters @{ NOTE NOTE .. @}
608 For irregular meters, beat grouping marks can be printed. The
612 #(set-time-signature 7 8 '(3 2 2))
617 Nested horizontal brackets for music analysis can now be printed:
626 @item Ottava brackets are now fully supported as a feature. The syntax
634 @item Metronome markings are printed when a \tempo command is processed.
638 @item Fingerings can be put on chords horizontally.
642 @item The appearance of various glyphs has been fine-tuned.
646 @item Different types of percent style repeats may now be nested.
650 @item The emacs support has been extended.
654 The manual has been completely revised and extended.
658 @chapter New features in 1.6 since 1.4
664 Support for figured bass and tablature.
667 Completely rewritten beam formatting: provides much better output
672 Completely revised and improved music font.
676 Completely rewritten MIDI import support.
679 Completely rewritten grace note support. Practically speaking this
680 means that grace notes can be slurred to normal normal notes.
684 Improved accidental handling and formatting: styles for producing
685 cautionaries may vary, and complex collisions between accidentals of a
686 chord are handled much better.
689 Better spacing: both globally and locally. This includes subtle
690 details like optical stem spacing.
693 More support for ancient notation: mensural ligatures, ambitus
694 (pitch range) of voices, more shapes, etc.
697 More support for piano notation: bracket pedals, directed arpeggios,
701 Easier music polyphonic music entry.
704 More extensibility, many speedups and bugfixes
707 The manual has been thoroughly revised.
710 Development is now hosted at http://savannah.gnu.org, and sources
711 can be downloaded through anonymous CVS.
714 Support for windows: LilyPond is part of the cygwin distribution,
715 which comes with a user-friendly installer.