1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
12 @item Music syntax can now be extended seamlessly. As an example,
13 here is the new implementation @code{\apply},
16 apply = #(ly:make-music-function
17 (list procedure? ly:music?) ; signature
18 (lambda (where func music) ; the function
22 @item Music can be used as a markup.
23 When inserting a @code{score} block as part of a @code{\markup},
24 it produces a rendered markup of the music.
27 @c TODO, see input/test/markup-score.ly
31 @item LilyPond expressions can be embedded into Scheme. The syntax for
32 this is @code{#@{ ... #@}}. Within such a block, Scheme forms, for
33 instance variable names, can be introduced thanks to a @code{$}
34 character (@code{$$} results in a single `$' character). These forms
35 are then printed in the pattern.
38 #(define (textoffset dx dy)
40 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
45 %% the following statement is the same as
46 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
54 @item Music lists are allowed at toplevel, and are handled by
55 @code{default-toplevel-music-handler}. Similarly, a @code{score} block
56 at toplevel is handled by @code{default-toplevel-score-handler} an a
57 @code{book} at toplevel is handled by @code{default-toplevel-book-handler}.
59 These default handlers have the following effect. A Music list at
60 toplevel is encapsulated in a @code{score} block, and a @code{score}
61 block at toplevel is encapsulated in a @code{book} block. A
62 @code{book} block at toplevel generates printed output.
65 \header @{ title = "The Title" @}
72 \header @{ title = "The Title" @}
80 @item Start pitch for @code{relative} music is optional for music lists.
81 The default value is one octave below middle C.
83 @c update-me? formal definition of newaddlyrics, once it works
84 @item Combining lyrics with music can be @code{newlyrics}
93 My first Li -- ly song,
96 Not much can go wrong!
101 Syntactically, @code{\newlyrics} acts like an infix operator
103 @item The parser is encapsulated in a Scheme function
104 @code{ly:parse-file}, so the following fragment processes two files
107 #(ly:parse-file "another.ly")
108 \score { \notes { c4 }}
111 @item The @code{font-encoding} property can now be used to select
112 differently encoded fonts. The previous default setting
113 @code{TeX-text} has been replaced by latin1. LilyPond requires the
114 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
115 package installed to function properly.
117 @item The encoding of a file can be switched with
118 @code{\encoding}. The strings for markup texts are translated
121 @item The toplevel block @code{book} introduces page layout.
122 A @code{book} groups @code{score} blocks into one page layout entity.
123 Page layout consists of markup titles, headers and footers, and page
124 breaking. Two page breaking algorithms are available, the classic
125 ragged pages (the default), and optimal page breaking
129 %% Select page breaking function.
130 %% #(define page-breaking ly:ragged-page-breaks)
131 #(define page-breaking ly:optimal-page-breaks)
139 The @code{lilypond} program does not generate La@TeX{} titles or page
140 layout. If you need La@TeX{} titles, you can use the
141 @code{lilypond-book} program.
143 @item There is now less of a noticeable ``hook'' at the end of a long slur.
145 @item The meaning of the @code{|} in the input can be redefined, by
146 assigning a music expression to @code{pipeSymbol}.
150 @unnumbered New features in 2.2 since 2.0
154 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
155 causes the last line to be set flush-left instead of justified.
157 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
158 its containing context automatically.
160 @item The code for font selection has been rewritten. In addition to
161 existing font selection properties, the property @code{font-encoding}
162 has been added, which makes the switch between normal @code{text} and
163 other encodings like @code{braces}, @code{music} and @code{math}.
165 @item The pmx2ly script has been removed from the distribution.
167 @item Pedal brackets will now run to the last bar of a piece if they are not
170 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
172 @item Property functions may be used as an argument to @code{set!},
176 (set! (ly:grob-property grob 'beam) ... )
179 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
182 @item Cue notes can be quoted directly from the parts that
183 contain them. This will take into account transposition of source and target
184 instrument. For example,
187 \addquote clarinet \notes\relative c' {
193 \notes \relative c'' {
194 c8 d8 \quote 2 oboe es8 gis
199 @item The transposition of an instrument can be specified using the
200 @code{\transposition} command. An
201 E-flat alto saxophone is specified as
207 @item The naming of exported Scheme functions now follows Scheme conventions.
208 Changes be applied to Scheme files with
211 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
215 @item Notes can be excluded from auto-beaming, by marking them with
222 will print two separate eighth notes, and two beamed notes.
224 @item Translators and contexts have been split. The result of this
225 internal cleanup is that @code{Score} no longer is the top context;
226 @code{Score} is contained in the @code{Global} context. Consequently,
227 it is possible to tweak @code{Score} as follows:
230 \context Score \with @{
235 @item The number of staff lines in Tablature notation is now
236 automatically deduced from the @code{stringTunings} property.
238 @item The program reference has been cleaned up and revised.
240 @item The syntax for setting properties has been simplified:
241 the following table lists the differences:
246 \property A.B = #C \set A.B = #C
247 \property A.B \unset \unset A.B
248 \property A.B \set #C = #D \override A.B #C = #D
249 \property A.B \override #C = #D (removed)
250 \property A.B \revert #C \revert A.B #C
253 Furthermore, if @code{A} is left out, the bottommost context is used
254 by default. In other words, it is no longer necessary to explicitly
255 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
260 \property Voice.autoBeaming = ##f
261 \property Staff.TimeSignature \set #'style = #'C
267 \set autoBeaming = ##f
268 \override Staff.TimeSignature #'style = #'C
272 @item Tweaks made with @code{\override} and @code{\revert} no longer
273 hide tweaks at higher context levels.
275 @item Melismata in lyrics are also properly handled in the MIDI output.
277 @item The lilypond-book script has been rewritten.
278 It is shorter, cleaner and faster. The special construct
279 @code{mbinclude} has been removed, plain @code{@@include} or
280 @code{\input} can be used now.
282 It now supports running convert-ly on the lilypond snippets,
284 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
287 @item The @code{LyricsVoice} context has been removed. Lyrics should only
288 be constructed in @code{Lyrics}.
290 @item The @code{Thread} context has been removed. Note heads and rests
291 are now constructed at @code{Voice} level.
293 @item Harmonic notes can now be entered as
299 @item Drum notation is now supported as a regular feature:
300 percussion may be entered in @code{\drums} mode, and printed or
301 performed in a @code{DrumStaff} context:
305 \drums \new DrumStaff @{ hihat4 cowbell8 @}
309 @item The automatic staff changer was internally rewritten. As a
310 result, the syntax has been simplified as well:
313 \autochange @var{the-music}
316 @item The ergonomic syntax of @code{\markup} now has an equivalent in
317 Scheme. The @code{markup*} macro creates such objects; the following
318 two markup commands are equivalent:
320 f4^#(markup* #:raise 0.2 #:bold "hi")
321 f4^\markup @{ \raise #0.2 \bold hi @}
324 @item Voice names, for vocal lines, have been added. They are similar
325 to instrument names. They can be set by defining @code{vocalName}
328 @item Safe mode has been reinstated for lilypond.
329 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
330 PostScript file output is disallowed, and lilypond-bin is invoked with
331 @code{--safe-mode}, the user's Guile expressions are evaluated in a
332 safe environment and file inclusion is not allowed.
334 Warning: this does not protect against denial-of-service attacks using
335 Guile, @TeX{} or PostScript.
337 (This feature is still experimental.)
339 @item There is now a Scheme macro for defining markup
340 commands. Special mark-up commands can be defined in user-files too.
342 @item Many fixes for dimension scaling have been made,
343 resulting in correct results for scores that mix staves in different
346 @item Improved robustness when layout properties are accidentally removed.
348 @item A more cleanly constructed part combiner has been installed.
349 It is more robust and less buggy. The part-combiner can be used with
351 \partcombine @var{mus1} @var{mus2}
355 See @file{input/regression/new-part-combine.ly} for an example.
357 @item Formatting of rehearsal marks has been improved. The @code{\mark}
358 command now only does automatic incrementing for marks specified as
359 integer. For example, @code{\mark #1} will print an A in the default
360 style. See @file{input/regression/rehearsal-mark-letter.ly},
361 @file{input/regression/rehearsal-mark-number.ly}.
363 @item Formatting of ottava brackets has been much improved.
365 @item Objects in the output can now be documented: the following fragment
366 boxes the note head, and adds the text ``heads or tails?'' three
367 spaces below the box.
370 \context Voice \applyoutput #(add-balloon-text
371 'NoteHead "heads, or tails?"
379 @item Default staff sizes are now scalable. There are two new mechanisms for
380 setting staff sizes. Both are demonstrated in this fragment:
383 #(set-global-staff-size 15)
385 #(paper-set-staff-size (* 15 pt))
391 Both have the same effect on the global layout of a piece. Similarly,
392 the paper size may be changed as follows
395 #(set-default-paper-size "a4")
397 #(set-paper-size "a4")
402 @item Warnings for bar check errors are more cleverly printed. This
403 makes @code{barCheckSynchronize} superfluous, so it is now switched
406 Warning: this will cause problems in scores that use bar checks to
409 @item The black note head was made a little rounder, which causes a less
410 frantic graphic impression.
413 A more concise syntax for checking octaves was introduced. A note may
414 be followed by @code{=}@var{quotes} which indicates what its absolute
415 octave should be. In the following example,
418 \relative c'' @{ c='' b=' d,='' @}
422 the d will generate a warning, because a d'' is
423 expected, but a d' is found.
424 @c @code adds ` ', very confusing.
426 @item There is a new mechanism for putting lyrics to melodies.
427 With this mechanism, @code{Lyrics} lines can be put melodies
428 individually, allowing for different melismatic sections in every
429 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
431 @item Bar lines may now be dotted.
434 @item The documentation now has links to a wiki, where everyone can
435 add personal comments to the manual.
437 @item Contexts may now be changed locally for an isolated music
438 expression. For example,
442 \consists "Pitch_squash_engraver"
448 @item The syntax for changing staffs has changed. The keyword
449 @code{\change} should now be used, e.g.
455 @item Features of spanner contexts, like @code{Staff}, can now be changed
456 using @code{\set}, eg.
460 \override Staff.StaffSymbol #'line-count = #4
466 puts a quarter note C on a staff with 4 lines.
469 @item Multi measure rests are now truly centered between the
470 clefs/barlines of the staff, their position is independent of symbols
473 @item Collision resolution for dots in chords has been improved greatly.
476 Spacing following barlines was improved for widely stretched lines.
479 Lyric hyphens and extenders now conform to standard typesetting
483 Lyrics are now aligned under note heads conforming to engraving
484 standards. The responsible code has been rewritten, and is drastically
485 simpler from the previous version. To aid this rewrite, the syntactic
486 function of the extender line ( __ ) has been changed: it is now
487 attached to the lyric syllable.
490 When redefining a context, the associated identifier is also
491 updated. For example, after reading
501 the definition of @code{ScoreContext} is updated to include the changed
506 The weight of the stafflines is now heavier at smaller staff sizes.
507 The font has been modified to match this look: at smaller sizes, the
508 font is heavier and the note heads are more rounded.
510 @item Processing scores is now done while parsing the file. New
511 Scheme functions give more flexibility: for example, it is now possible
512 interpret a score, collecting synchronized musical events in a list, and
513 manipulate that information using inline Scheme. For an example, see
514 @file{input/no-notation/recording.ly}.
516 @item Font sizes can now truly be scaled continuously: the @code{font-size}
517 is similar to the old @code{font-relative-size}, but may be set to
518 fractional values; the closest design size will be scaled to achieve
519 the desired size. As a side-effect, there are now no longer
520 limitations in using smaller fonts (eg. grace notes) at small staff
523 @item Stem tips are now also engraved with rounded corners.
526 The placement of accidentals on chords and ledgered notes is improved.
531 @unnumbered New features in 2.0 since 1.8
536 Crescendos can now be drawn dotted or dashed.
539 Quarter tones are now supported. They are entered by suffixing
540 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
541 following is an ascending list of pitches:
544 ceses ceseh ces ceh c cih cis cisih cisis
548 The following constructs have been removed from the syntax:
551 \duration #SCHEME-DURATION
553 \outputproperty @var{func} @var{symbol} = @var{value}
556 For @code{\outputproperty}, the following may be substituted:
559 \applyoutput #(outputproperty-compatibility @var{func}
560 @var{symbol} @var{value})
564 Clefs may now be transposed arbitrarily, for example
574 The syntax for chords and simultaneous music have changed.
575 Chords are entered as
581 while simultaneous music is entered as
584 <<@var{..music list..}>>
587 In effect, the meanings of both have been swapped relative to their 1.8
588 definition. The syntax for lists in @code{\markup} has changed
589 alongside, but figured bass mode was not changed, i.e.:
592 \markup @{ \center <@var{..list of markups..}> @}
593 \figure @{ <@var{figures}> @}
596 As chords the more often used than simultaneous music, this change will
600 Each music expression can now be tagged, to make different printed
601 versions from the same music expression. In the following example,
602 we see two versions of a piece of music, one for the full score, and
603 one with cue notes for the instrumental part:
607 @{ c4 f2 g4 @} % in the part, we have cue-notes
609 \tag #'score R1 % in the score: only a rest
613 The same can be applied to articulations, texts, etc.: they are
617 -\tag #@var{your-tags}
620 to an articulation, for example,
623 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
626 This defines a note, which has a conditional fingering and a
627 string-number indication.
630 The settings for chord-fingering are more flexible. You can specify a
631 list where fingerings may be placed, eg.
634 \property Voice.fingeringOrientations = #'(left down)
637 This will put the fingering for the lowest note below the chord, and the
641 The script previously known as @code{ly2dvi} has been renamed to
642 @code{lilypond}. The binary itself is now installed as
646 Markup text (ie. general text formatting) may now be used for lyrics too.
649 Two new commands for grace notes have been added, @code{\acciaccatura}
650 and @code{\appoggiatura},
657 Both reflect the traditional meanings of acciaccatura and appogiatura,
658 and both insert insert a slur from the first grace note to the main
662 Layout options for grace notes are now stored in a context property,
663 and may now be set separately from musical content.
666 The @code{\new} command will create a context with a unique
667 name automatically. Hence, for multi-staff scores, it is no longer
668 necessary to invent arbitrary context names. For example, a two-staff
669 score may be created by
673 \new Staff @{ @var{notes for 1st staff} @}
674 \new Staff @{ @var{notes for 2nd staff} @}
681 Octave checks make octave errors easier to correct.
688 This checks that @var{pitch} (without octave) yields @var{pitch} (with
689 octave) in \relative mode. If not, a warning is printed, and the
693 All articulations must now be entered postfix. For example,
700 is a pair of beamed slurred eighth notes.
703 The definition of @code{\relative} has been simplified. Octaves are
704 now always propagated in the order that music is entered. In the
709 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
714 the octave of BODY is based on PRE, the starting octave of ALT1 on
715 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
718 The same mechanism is used for all other music expressions, except the
719 chord. Backwards compatibility is retained through a special program option,
723 #(ly:set-option 'old-relative)
727 Windows users can double click a @code{.ly} file to process and view
728 it automagically through the new @code{lily-wins} frontend.
735 @unnumbered New features in 1.8 since 1.6
740 The chord entry code has been completely rewritten. It is now
741 cleaner and more flexible.
744 A new syntax has been added for text entry. This syntax is more
745 friendly than the old mechanism, and it is implemented in a more
746 robust and modular way. For more information, refer to the section on
747 "Text markup" in the notation manual.
750 The integration of the input language and Scheme has been made deeper:
751 you can now use LilyPond identifiers in Scheme, and use Scheme
752 expressions instead of LilyPond identifiers.
755 The internal representation of music has been cleaned up completely
756 and converted to Scheme data structures. The representation may be
760 A new uniform postfix syntax for articulation has been introduced.
761 A beamed slurred pair of eighth notes can be entered as
767 In version 2.0, postfix syntax will be the only syntax
768 available, and the dashes will become optional.
770 This will simplify the language: all articulations can be entered as
771 postfix, in any order.
774 A new syntax has been added for chords:
781 It is not necessary to update files to this syntax, but it will be for
782 using LilyPond version 2.0. In version 2.0, this syntax will be
792 \simultaneous @{ .. @}
795 for simultaneous music.
797 To convert your files from <PITCHES> to <<PITCHES>>, use the script
798 included in buildscripts/convert-new-chords.py
800 This change was introduced for the following reasons
804 It solves the "start score with chord" problem, where you have to
805 state \context Voice explicitly when a chord was the start of a
808 With the new syntax, it is possible to distinguish between
809 articulations (or fingerings) which are for a single chord note,
810 and which are for the entire chord. This allows for per-note
811 fingerings, and is more logical on the whole.
815 User code may now be executed during interpreting. The syntax for
819 \applycontext #SCHEME-FUNCTION
823 User code may now be executed on arbitrary grobs during interpreting.
824 The syntax for this feature is
827 \applyoutput #SCHEME-FUNCTION
831 SCHEME-FUNCTION takes a single argument, and is called for every grob
832 that is created in the current context.
835 New algorithms for chord-name formatting have been installed. They
836 can be tuned and have ergonomic syntax for entering exceptions.
839 Texts may now be put on multimeasure rests, e.g.
842 R1*20^\markup @{ "GP" @}
846 Ancient notation now prints ligatures in Gregorian square neumes
847 notation, roughly following the typographical style of the Liber
848 hymnarius of Solesmes, published in 1983. Ligatures are still printed
849 without the proper line breaking and horizontal spacing.
852 Glissandi can now be printed using the zigzag style.
855 LilyPond can now print clusters. The syntax is
858 \apply #notes-to-clusters @{ NOTE NOTE .. @}
862 For irregular meters, beat grouping marks can be printed. The
866 #(set-time-signature 7 8 '(3 2 2))
871 Nested horizontal brackets for music analysis can now be printed:
880 @item Ottava brackets are now fully supported as a feature. The syntax
888 @item Metronome markings are printed when a \tempo command is processed.
892 @item Fingerings can be put on chords horizontally.
896 @item The appearance of various glyphs has been fine-tuned.
900 @item Different types of percent style repeats may now be nested.
904 @item The emacs support has been extended.
908 The manual has been completely revised and extended.
912 @unnumbered New features in 1.6 since 1.4
918 Support for figured bass and tablature.
921 Completely rewritten beam formatting: provides much better output
926 Completely revised and improved music font.
930 Completely rewritten MIDI import support.
933 Completely rewritten grace note support. Practically speaking this
934 means that grace notes can be slurred to normal normal notes.
938 Improved accidental handling and formatting: styles for producing
939 cautionaries may vary, and complex collisions between accidentals of a
940 chord are handled much better.
943 Better spacing: both globally and locally. This includes subtle
944 details like optical stem spacing.
947 More support for ancient notation: mensural ligatures, ambitus
948 (pitch range) of voices, more shapes, etc.
951 More support for piano notation: bracket pedals, directed arpeggios,
955 Easier music polyphonic music entry.
958 More extensibility, many speedups and bugfixes
961 The manual has been thoroughly revised.
964 Development is now hosted at http://savannah.gnu.org, and sources
965 can be downloaded through anonymous CVS.
968 Support for windows: LilyPond is part of the cygwin distribution,
969 which comes with a user-friendly installer.