1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Cue notes can now be quoted directly from the parts that
22 contain them. For example,
25 \addquote oboe \notes\relative c' { fis4 fis fis fis }
28 \notes \relative c'' {
29 c8 d8 \quote 2 oboe es8 gis
36 @item The naming of exported Scheme functions now follows Scheme conventions.
37 Changes be applied to Scheme files with convert-ly:
40 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
44 @item Notes can be excluded from auto-beaming, by marking them with
51 will print two separate eighth notes, and two beamed notes.
53 @item Translators and contexts have been split. The result of this
54 internal cleanup is that @code{Score} no longer is the top context;
55 @code{Score} is contained in the @code{Global} context. Consequently,
56 it is possible to tweak @code{Score} as follows:
59 \context Score \with @{
64 @item The number of staff lines in Tablature notation is now
65 automatically deduced from the @code{stringTunings} property.
67 @item The program reference has been cleaned up and revised.
69 @item The syntax for setting properties has been simplified:
70 the following table lists the differences:
75 \property A.B = #C \set A.B = #C
76 \property A.B \unset \unset A.B
77 \property A.B \set #C = #D \override A.B #C = #D
78 \property A.B \override #C = #D (removed)
79 \property A.B \revert #C \revert A.B #C
82 Furthermore, if @code{A} is left out, the bottommost context is used
83 by default. In other words, it is no longer necessary to explicitly
84 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
89 \property Voice.autoBeaming = ##f
90 \property Staff.TimeSignature \set #'style = #'C
96 \set autoBeaming = ##f
97 \override Staff.TimeSignature #'style = #'C
101 @item Tweaks made with @code{\override} and @code{\revert} no longer
102 hide tweaks at higher context levels.
104 @item Melismata in lyrics are also properly handled in the MIDI output.
106 @item The lilypond-book script has been rewritten.
107 It is shorter, cleaner and faster. The special construct
108 @code{mbinclude} has been removed, plain @code{@@include} or
109 @code{\input} can be used now.
113 running convert-ly on the lilypond snippets like so:
115 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
119 @item The @code{LyricsVoice} context has been removed. Lyrics should only
120 be constructed in @code{Lyrics}.
122 @item The @code{Thread} context has been removed. Note heads and rests
123 are now constructed at @code{Voice} level.
125 @item Harmonic notes can now be entered as
131 @item Drum notation is now supported as a regular feature:
132 percussion may be entered in @code{\drums} mode, and printed or
133 performed in a @code{DrumStaff} context:
137 \drums \new DrumStaff @{ hihat4 cowbell8 @}
141 @item The automatic staff changer was internally rewritten. As a
142 result, the syntax has been simplified as well:
145 \autochange @var{the music}
148 @item The ergonomic syntax of @code{\markup} now has an equivalent in
149 Scheme. The @code{markup*} macro creates such objects; the following
150 two markup commands are equivalent:
152 f4^#(markup* #:raise 0.2 #:bold "hi")
153 f4^\markup @{ \raise #0.2 \bold hi @}
156 @item Voice names, for vocal lines, have been added. They are similar
157 to instrument names. They can be set by defining @code{vocalName}
160 @item Safe mode has been reinstated for lilypond.
161 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
162 PostScript file output is disallowed, and lilypond-bin is invoked with
163 @code{--safe-mode}, the user's Guile expressions are evaluated in a
164 safe environment and file inclusion is not allowed.
166 Warning: this does not protect against denial-of-service attacks using
167 Guile, @TeX{} or PostScript.
169 (This feature is still experimental.)
171 @item There is now a Scheme macro for defining markup
172 commands. Special mark-up commands can be defined in user-files too.
174 @item Many fixes for dimension scaling have been made,
175 resulting in correct results for scores that mix staves in different
178 @item Improved robustness when layout properties are accidentally removed.
180 @item A more cleanly constructed part combiner has been installed.
181 It is more robust and less buggy. The part-combiner can be used with
183 \partcombine @var{mus1} @var{mus2}
187 See @file{input/regression/new-part-combine.ly} for an example.
189 @item Formatting of rehearsal marks has been improved. The @code{\mark}
190 command now only does automatic incrementing for marks specified as
191 integer. For example, @code{\mark #1} will print an A in the default
192 style. See @file{input/regression/rehearsal-mark-letter.ly},
193 @file{input/regression/rehearsal-mark-number.ly}.
195 @item Formatting of ottava brackets has been much improved.
197 @item Objects in the output can now be documented: the following fragment
198 boxes the note head, and adds the text ``heads or tails?'' three
199 spaces below the box.
202 \context Voice \applyoutput #(add-balloon-text
203 'NoteHead "heads, or tails?"
211 @item Default staff sizes are now scalable. There are two new mechanisms for
212 setting staff sizes. Both are demonstrated in this fragment:
215 #(set-global-staff-size 15)
217 #(paper-set-staff-size (* 15 pt))
223 Both have the same effect on the global layout of a piece. Similarly,
224 the paper size may be changed as follows
227 #(set-paper-size "a4")
231 @item Warnings for bar check errors are more cleverly printed. This
232 makes @code{barCheckSynchronize} superfluous, so it is now switched
235 Warning: this will cause problems in scores that use bar checks to
238 @item The black note head was made a little rounder, which causes a less
239 frantic graphic impression.
242 A more concise syntax for checking octaves was introduced. A note may
243 be followed by @code{=}@var{quotes} which indicates what its absolute
244 octave should be. In the following example,
247 \relative c'' @{ c='' b=' d,='' @}
251 the d will generate a warning, because a d'' is
252 expected, but a d' is found.
253 @c @code adds ` ' very confusing.
255 @item There is a new mechanism for putting lyrics to melodies.
256 With this mechanism, @code{LyricVoice}s can be put melodies
257 individually, allowing for different melismatic sections in every
258 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
260 @item Bar lines may now be dotted.
263 @item The documentation now has links to a wiki, where everyone can
264 add personal comments to the manual.
266 @item Contexts may now be changed locally for an isolated music
267 expression. For example,
271 \consists "Pitch_squash_engraver"
277 @item The syntax for changing staffs has changed. The keyword
278 @code{\change} should now be used, e.g.
284 @item Features of spanner contexts, like @code{Staff}, can now be changed
285 using @code{\property}, eg.
289 \property Staff.StaffSymbol \set #'line-count = #4
295 puts a quarter note C on a staff with 4 lines.
298 @item Multi measure rests are now truly centered between the
299 clefs/barlines of the staff, their position is independent of symbols
302 @item Collision resolution for dots in chords has been improved greatly.
305 Spacing following barlines was improved for widely stretched lines.
308 Lyric hyphens and extenders now conform to standard typesetting
312 Lyrics are now aligned under note heads conforming to engraving
313 standards. The responsible code has been rewritten, and is drastically
314 simpler from the previous version. To aid this rewrite, the syntactic
315 function of the extender line ( __ ) has been changed: it is now
316 attached to the lyric syllable.
319 When redefining a context, the associated identifier is also
320 updated. For example, after reading the following snippet,
327 the definition of @code{ScoreContext} is updated to include the changed
332 The weight of the stafflines is now heavier at smaller staff sizes.
333 The font has been modified to match this look: at smaller sizes, the
334 font is heavier and the note heads are more rounded.
336 @item Processing scores is now done while parsing the file. New
337 Scheme functions give more flexibility: for example, it is now possible
338 interpret a score, collecting synchronized musical events in a list, and
339 manipulate that information using inline Scheme. For an example, see
340 @file{input/no-notation/recording.ly}.
342 @item Font sizes can now truly be scaled continuously: the @code{font-size}
343 is similar to the old @code{font-relative-size}, but may be set to
344 fractional values; the closest design size will be scaled to achieve
345 the desired size. As a side-effect, there are now no longer
346 limitations in using smaller fonts (eg. grace notes) at small staff
349 @item Stem tips are now also engraved with rounded corners.
352 The placement of accidentals on chords and ledgered notes is improved.
357 @chapter New features in 2.0 since 1.8
362 Crescendos can now be drawn dotted or dashed.
365 Quarter tones are now supported. They are entered by suffixing
366 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
367 following is an ascending list of pitches:
370 ceses ceseh ces ceh c cih cis cisih cisis
374 The following constructs have been removed from the syntax:
377 \duration #SCHEME-DURATION
379 \outputproperty @var{func} @var{symbol} = @var{value}
382 For @code{\outputproperty}, the following may be substituted:
385 \applyoutput #(outputproperty-compatibility @var{func}
386 @var{symbol} @var{value})
390 Clefs may now be transposed arbitrarily, for example
400 The syntax for chords and simultaneous music have changed.
401 Chords are entered as
407 while simultaneous music is entered as
410 <<@var{..music list..}>>
413 In effect, the meanings of both have been swapped relative to their 1.8
414 definition. The syntax for lists in @code{\markup} has changed
415 alongside, but figured bass mode was not changed, i.e.:
418 \markup @{ \center <@var{..list of markups..}> @}
419 \figure @{ <@var{figures}> @}
422 As chords the more often used than simultaneous music, this change will
426 Each music expression can now be tagged, to make different printed
427 versions from the same music expression. In the following example,
428 we see two versions of a piece of music, one for the full score, and
429 one with cue notes for the instrumental part:
433 @{ c4 f2 g4 @} % in the part, we have cue-notes
435 \tag #'score R1 % in the score: only a rest
439 The same can be applied to articulations, texts, etc.: they are
443 -\tag #@var{your-tags}
446 to an articulation, for example,
449 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
452 This defines a note, which has a conditional fingering and a
453 string-number indication.
456 The settings for chord-fingering are more flexible. You can specify a
457 list where fingerings may be placed, eg.
460 \property Voice.fingeringOrientations = #'(left down)
463 This will put the fingering for the lowest note below the chord, and the
467 The script previously known as @code{ly2dvi} has been renamed to
468 @code{lilypond}. The binary itself is now installed as
472 Markup text (ie. general text formatting) may now be used for lyrics too.
475 Two new commands for grace notes have been added, @code{\acciaccatura}
476 and @code{\appoggiatura},
483 Both reflect the traditional meanings of acciaccatura and appogiatura,
484 and both insert insert a slur from the first grace note to the main
488 Layout options for grace notes are now stored in a context property,
489 and may now be set separately from musical content.
492 The @code{\new} command will create a context with a unique
493 name automatically. Hence, for multi-staff scores, it is no longer
494 necessary to invent arbitrary context names. For example, a two-staff
495 score may be created by
499 \new Staff @{ @var{notes for 1st staff} @}
500 \new Staff @{ @var{notes for 2nd staff} @}
507 Octave checks make octave errors easier to correct.
514 This checks that @var{pitch} (without octave) yields @var{pitch} (with
515 octave) in \relative mode. If not, a warning is printed, and the
519 All articulations must now be entered postfix. For example,
526 is a pair of beamed slurred eighth notes.
529 The definition of @code{\relative} has been simplified. Octaves are
530 now always propagated in the order that music is entered. In the
535 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
540 the octave of BODY is based on PRE, the starting octave of ALT1 on
541 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
544 The same mechanism is used for all other music expressions, except the
545 chord. Backwards compatibility is retained through a special program option,
549 #(ly:set-option 'old-relative)
553 Windows users can double click a @code{.ly} file to process and view
554 it automagically through the new @code{lily-wins} frontend.
561 @chapter New features in 1.8 since 1.6
566 The chord entry code has been completely rewritten. It is now
567 cleaner and more flexible.
570 A new syntax has been added for text entry. This syntax is more
571 friendly than the old mechanism, and it is implemented in a more
572 robust and modular way. For more information, refer to the section on
573 "Text markup" in the notation manual.
576 The integration of the input language and Scheme has been made deeper:
577 you can now use LilyPond identifiers in Scheme, and use Scheme
578 expressions instead of LilyPond identifiers.
581 The internal representation of music has been cleaned up completely
582 and converted to Scheme data structures. The representation may be
586 A new uniform postfix syntax for articulation has been introduced.
587 A beamed slurred pair of eighth notes can be entered as
593 In version 2.0, postfix syntax will be the only syntax
594 available, and the dashes will become optional.
596 This will simplify the language: all articulations can be entered as
597 postfix, in any order.
600 A new syntax has been added for chords:
607 It is not necessary to update files to this syntax, but it will be for
608 using LilyPond version 2.0. In version 2.0, this syntax will be
618 \simultaneous @{ .. @}
621 for simultaneous music.
623 To convert your files from <PITCHES> to <<PITCHES>>, use the script
624 included in buildscripts/convert-new-chords.py
626 This change was introduced for the following reasons
630 It solves the "start score with chord" problem, where you have to
631 state \context Voice explicitly when a chord was the start of a
634 With the new syntax, it is possible to distinguish between
635 articulations (or fingerings) which are for a single chord note,
636 and which are for the entire chord. This allows for per-note
637 fingerings, and is more logical on the whole.
641 User code may now be executed during interpreting. The syntax for
645 \applycontext #SCHEME-FUNCTION
649 User code may now be executed on arbitrary grobs during interpreting.
650 The syntax for this feature is
653 \applyoutput #SCHEME-FUNCTION
657 SCHEME-FUNCTION takes a single argument, and is called for every grob
658 that is created in the current context.
661 New algorithms for chord-name formatting have been installed. They
662 can be tuned and have ergonomic syntax for entering exceptions.
665 Texts may now be put on multimeasure rests, e.g.
668 R1*20^\markup @{ "GP" @}
672 Ancient notation now prints ligatures in Gregorian square neumes
673 notation, roughly following the typographical style of the Liber
674 hymnarius of Solesmes, published in 1983. Ligatures are still printed
675 without the proper line breaking and horizontal spacing.
678 Glissandi can now be printed using the zigzag style.
681 LilyPond can now print clusters. The syntax is
684 \apply #notes-to-clusters @{ NOTE NOTE .. @}
688 For irregular meters, beat grouping marks can be printed. The
692 #(set-time-signature 7 8 '(3 2 2))
697 Nested horizontal brackets for music analysis can now be printed:
706 @item Ottava brackets are now fully supported as a feature. The syntax
714 @item Metronome markings are printed when a \tempo command is processed.
718 @item Fingerings can be put on chords horizontally.
722 @item The appearance of various glyphs has been fine-tuned.
726 @item Different types of percent style repeats may now be nested.
730 @item The emacs support has been extended.
734 The manual has been completely revised and extended.
738 @chapter New features in 1.6 since 1.4
744 Support for figured bass and tablature.
747 Completely rewritten beam formatting: provides much better output
752 Completely revised and improved music font.
756 Completely rewritten MIDI import support.
759 Completely rewritten grace note support. Practically speaking this
760 means that grace notes can be slurred to normal normal notes.
764 Improved accidental handling and formatting: styles for producing
765 cautionaries may vary, and complex collisions between accidentals of a
766 chord are handled much better.
769 Better spacing: both globally and locally. This includes subtle
770 details like optical stem spacing.
773 More support for ancient notation: mensural ligatures, ambitus
774 (pitch range) of voices, more shapes, etc.
777 More support for piano notation: bracket pedals, directed arpeggios,
781 Easier music polyphonic music entry.
784 More extensibility, many speedups and bugfixes
787 The manual has been thoroughly revised.
790 Development is now hosted at http://savannah.gnu.org, and sources
791 can be downloaded through anonymous CVS.
794 Support for windows: LilyPond is part of the cygwin distribution,
795 which comes with a user-friendly installer.