1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
10 @item The @code{--safe} mode has been revisited: it makes the basic
11 ly: interface available, and stops malicious @TeX{} code.
13 @item Music syntax can now be extended seamlessly. As an example,
14 here is the new implementation @code{\applymusic},
17 applymusic = #(ly:make-music-function
18 (list procedure? ly:music?) ; signature
19 (lambda (where func music) ; the function
23 @item @code{\apply} has been renamed to @code{\applymusic}.
25 @item Music can be used as a markup.
26 When inserting a @code{\score} block as part of a @code{\markup}, it
27 produces a rendered markup of the music.
30 @c TODO, see input/test/markup-score.ly
34 @item LilyPond expressions can be embedded into Scheme. The syntax for
35 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
36 introduced using a @code{$} character (@code{$$} results in a single
37 `$' character). These forms are then printed in the pattern.
40 #(define (textoffset dx dy)
42 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
46 %% The following embedded scheme call is the same as
47 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
53 @item A music list at toplevel is interpreted as implicit @code{\score}
54 a @code{\score} block at toplevel is interpreted as an implicit
55 @code{\book} and @code{\notes} mode is the default lexer mode. The
59 \header @{ title = "The Title" @}
66 \header @{ title = "The Title" @}
74 Actually, a toplevel music list is now handled quite flexibly by
75 @code{default-toplevel-music-handler}. Similarly, a @code{\score}
76 block at toplevel is handled by @code{default-toplevel-score-handler}
77 and a @code{book} at toplevel is handled by
78 @code{default-toplevel-book-handler}. The default behavior of these
79 handlers produces the results described above.
84 These default handlers have the following effect. A Music list at
85 toplevel is encapsulated in a @code{score} block, and a @code{score}
86 block at toplevel is encapsulated in a @code{book} block. A
87 @code{book} block at toplevel generates printed output.
91 @item Start pitch for @code{relative} music is optional for music lists.
92 The default value is one octave below middle C.
94 @c update-me? formal definition of newaddlyrics, once it works
95 @item Combining lyrics with music can be @code{\newlyrics}
101 d2 d c4 bes a2 \break
104 My first Li -- ly song,
107 Not much can go wrong!
112 Syntactically, @code{\newlyrics} acts like an infix operator.
114 @item The parser is encapsulated in a Scheme function
115 @code{ly:parse-file}, so the following fragment processes two files
118 #(ly:parse-file "another.ly")
119 \score { \notes { c4 }}
122 @item The @code{font-encoding} property can now be used to select
123 differently encoded fonts. The previous default setting
124 @code{TeX-text} has been replaced by latin1. LilyPond requires the
125 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
126 package installed to function properly.
128 @item The encoding of a file can be switched with
129 @code{\encoding}. The strings for markup texts are translated
132 @item The toplevel block @code{book} introduces page layout.
133 A @code{book} groups @code{score} blocks into one page layout entity.
134 Page layout consists of markup titles, headers and footers, and page
135 breaking. Two page breaking algorithms are available, the classic
136 ragged pages (the default), and optimal page breaking
140 %% Select page breaking function.
141 %% #(define page-breaking ly:ragged-page-breaks)
142 #(define page-breaking ly:optimal-page-breaks)
150 The @code{lilypond} program does not generate La@TeX{} titles or page
151 layout. If you need La@TeX{} titles, you can use the
152 @code{lilypond-book} program.
154 @item There is now less of a noticeable ``hook'' at the end of a long slur.
156 @item The meaning of the @code{|} in the input can be redefined, by
157 assigning a music expression to @code{pipeSymbol}.
161 @unnumbered New features in 2.2 since 2.0
165 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
166 causes the last line to be set flush-left instead of justified.
168 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
169 its containing context automatically.
171 @item The code for font selection has been rewritten. In addition to
172 existing font selection properties, the property @code{font-encoding}
173 has been added, which makes the switch between normal @code{text} and
174 other encodings like @code{braces}, @code{music} and @code{math}.
176 @item The pmx2ly script has been removed from the distribution.
178 @item Pedal brackets will now run to the last bar of a piece if they are not
181 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
183 @item Property functions may be used as an argument to @code{set!},
187 (set! (ly:grob-property grob 'beam) ... )
190 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
193 @item Cue notes can be quoted directly from the parts that
194 contain them. This will take into account transposition of source and target
195 instrument. For example,
198 \addquote clarinet \notes\relative c' {
204 \notes \relative c'' {
205 c8 d8 \quote 2 oboe es8 gis
210 @item The transposition of an instrument can be specified using the
211 @code{\transposition} command. An
212 E-flat alto saxophone is specified as
218 @item The naming of exported Scheme functions now follows Scheme conventions.
219 Changes be applied to Scheme files with
222 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
226 @item Notes can be excluded from auto-beaming, by marking them with
233 will print two separate eighth notes, and two beamed notes.
235 @item Translators and contexts have been split. The result of this
236 internal cleanup is that @code{Score} no longer is the top context;
237 @code{Score} is contained in the @code{Global} context. Consequently,
238 it is possible to tweak @code{Score} as follows:
241 \context Score \with @{
246 @item The number of staff lines in Tablature notation is now
247 automatically deduced from the @code{stringTunings} property.
249 @item The program reference has been cleaned up and revised.
251 @item The syntax for setting properties has been simplified:
252 the following table lists the differences:
257 \property A.B = #C \set A.B = #C
258 \property A.B \unset \unset A.B
259 \property A.B \set #C = #D \override A.B #C = #D
260 \property A.B \override #C = #D (removed)
261 \property A.B \revert #C \revert A.B #C
264 Furthermore, if @code{A} is left out, the bottommost context is used
265 by default. In other words, it is no longer necessary to explicitly
266 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
271 \property Voice.autoBeaming = ##f
272 \property Staff.TimeSignature \set #'style = #'C
278 \set autoBeaming = ##f
279 \override Staff.TimeSignature #'style = #'C
283 @item Tweaks made with @code{\override} and @code{\revert} no longer
284 hide tweaks at higher context levels.
286 @item Melismata in lyrics are also properly handled in the MIDI output.
288 @item The lilypond-book script has been rewritten.
289 It is shorter, cleaner and faster. The special construct
290 @code{mbinclude} has been removed, plain @code{@@include} or
291 @code{\input} can be used now.
293 It now supports running convert-ly on the lilypond snippets,
295 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
298 @item The @code{LyricsVoice} context has been removed. Lyrics should only
299 be constructed in @code{Lyrics}.
301 @item The @code{Thread} context has been removed. Note heads and rests
302 are now constructed at @code{Voice} level.
304 @item Harmonic notes can now be entered as
310 @item Drum notation is now supported as a regular feature:
311 percussion may be entered in @code{\drums} mode, and printed or
312 performed in a @code{DrumStaff} context:
316 \drums \new DrumStaff @{ hihat4 cowbell8 @}
320 @item The automatic staff changer was internally rewritten. As a
321 result, the syntax has been simplified as well:
324 \autochange @var{the-music}
327 @item The ergonomic syntax of @code{\markup} now has an equivalent in
328 Scheme. The @code{markup*} macro creates such objects; the following
329 two markup commands are equivalent:
331 f4^#(markup* #:raise 0.2 #:bold "hi")
332 f4^\markup @{ \raise #0.2 \bold hi @}
335 @item Voice names, for vocal lines, have been added. They are similar
336 to instrument names. They can be set by defining @code{vocalName}
339 @item Safe mode has been reinstated for lilypond.
340 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
341 PostScript file output is disallowed, and lilypond-bin is invoked with
342 @code{--safe-mode}, the user's Guile expressions are evaluated in a
343 safe environment and file inclusion is not allowed.
345 Warning: this does not protect against denial-of-service attacks using
346 Guile, @TeX{} or PostScript.
348 (This feature is still experimental.)
350 @item There is now a Scheme macro for defining markup
351 commands. Special mark-up commands can be defined in user-files too.
353 @item Many fixes for dimension scaling have been made,
354 resulting in correct results for scores that mix staves in different
357 @item Improved robustness when layout properties are accidentally removed.
359 @item A more cleanly constructed part combiner has been installed.
360 It is more robust and less buggy. The part-combiner can be used with
362 \partcombine @var{mus1} @var{mus2}
366 See @file{input/regression/new-part-combine.ly} for an example.
368 @item Formatting of rehearsal marks has been improved. The @code{\mark}
369 command now only does automatic incrementing for marks specified as
370 integer. For example, @code{\mark #1} will print an A in the default
371 style. See @file{input/regression/rehearsal-mark-letter.ly},
372 @file{input/regression/rehearsal-mark-number.ly}.
374 @item Formatting of ottava brackets has been much improved.
376 @item Objects in the output can now be documented: the following fragment
377 boxes the note head, and adds the text ``heads or tails?'' three
378 spaces below the box.
381 \context Voice \applyoutput #(add-balloon-text
382 'NoteHead "heads, or tails?"
390 @item Default staff sizes are now scalable. There are two new mechanisms for
391 setting staff sizes. Both are demonstrated in this fragment:
394 #(set-global-staff-size 15)
396 #(paper-set-staff-size (* 15 pt))
402 Both have the same effect on the global layout of a piece. Similarly,
403 the paper size may be changed as follows
406 #(set-default-paper-size "a4")
408 #(set-paper-size "a4")
413 @item Warnings for bar check errors are more cleverly printed. This
414 makes @code{barCheckSynchronize} superfluous, so it is now switched
417 Warning: this will cause problems in scores that use bar checks to
420 @item The black note head was made a little rounder, which causes a less
421 frantic graphic impression.
424 A more concise syntax for checking octaves was introduced. A note may
425 be followed by @code{=}@var{quotes} which indicates what its absolute
426 octave should be. In the following example,
429 \relative c'' @{ c='' b=' d,='' @}
433 the d will generate a warning, because a d'' is
434 expected, but a d' is found.
435 @c @code adds ` ', very confusing.
437 @item There is a new mechanism for putting lyrics to melodies.
438 With this mechanism, @code{Lyrics} lines can be put melodies
439 individually, allowing for different melismatic sections in every
440 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
442 @item Bar lines may now be dotted.
445 @item The documentation now has links to a wiki, where everyone can
446 add personal comments to the manual.
448 @item Contexts may now be changed locally for an isolated music
449 expression. For example,
453 \consists "Pitch_squash_engraver"
459 @item The syntax for changing staffs has changed. The keyword
460 @code{\change} should now be used, e.g.
466 @item Features of spanner contexts, like @code{Staff}, can now be changed
467 using @code{\set}, eg.
471 \override Staff.StaffSymbol #'line-count = #4
477 puts a quarter note C on a staff with 4 lines.
480 @item Multi measure rests are now truly centered between the
481 clefs/barlines of the staff, their position is independent of symbols
484 @item Collision resolution for dots in chords has been improved greatly.
487 Spacing following barlines was improved for widely stretched lines.
490 Lyric hyphens and extenders now conform to standard typesetting
494 Lyrics are now aligned under note heads conforming to engraving
495 standards. The responsible code has been rewritten, and is drastically
496 simpler from the previous version. To aid this rewrite, the syntactic
497 function of the extender line ( __ ) has been changed: it is now
498 attached to the lyric syllable.
501 When redefining a context, the associated identifier is also
502 updated. For example, after reading
512 the definition of @code{ScoreContext} is updated to include the changed
517 The weight of the stafflines is now heavier at smaller staff sizes.
518 The font has been modified to match this look: at smaller sizes, the
519 font is heavier and the note heads are more rounded.
521 @item Processing scores is now done while parsing the file. New
522 Scheme functions give more flexibility: for example, it is now possible
523 interpret a score, collecting synchronized musical events in a list, and
524 manipulate that information using inline Scheme. For an example, see
525 @file{input/no-notation/recording.ly}.
527 @item Font sizes can now truly be scaled continuously: the @code{font-size}
528 is similar to the old @code{font-relative-size}, but may be set to
529 fractional values; the closest design size will be scaled to achieve
530 the desired size. As a side-effect, there are now no longer
531 limitations in using smaller fonts (eg. grace notes) at small staff
534 @item Stem tips are now also engraved with rounded corners.
537 The placement of accidentals on chords and ledgered notes is improved.
542 @unnumbered New features in 2.0 since 1.8
547 Crescendos can now be drawn dotted or dashed.
550 Quarter tones are now supported. They are entered by suffixing
551 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
552 following is an ascending list of pitches:
555 ceses ceseh ces ceh c cih cis cisih cisis
559 The following constructs have been removed from the syntax:
562 \duration #SCHEME-DURATION
564 \outputproperty @var{func} @var{symbol} = @var{value}
567 For @code{\outputproperty}, the following may be substituted:
570 \applyoutput #(outputproperty-compatibility @var{func}
571 @var{symbol} @var{value})
575 Clefs may now be transposed arbitrarily, for example
585 The syntax for chords and simultaneous music have changed.
586 Chords are entered as
592 while simultaneous music is entered as
595 <<@var{..music list..}>>
598 In effect, the meanings of both have been swapped relative to their 1.8
599 definition. The syntax for lists in @code{\markup} has changed
600 alongside, but figured bass mode was not changed, i.e.:
603 \markup @{ \center <@var{..list of markups..}> @}
604 \figure @{ <@var{figures}> @}
607 As chords the more often used than simultaneous music, this change will
611 Each music expression can now be tagged, to make different printed
612 versions from the same music expression. In the following example,
613 we see two versions of a piece of music, one for the full score, and
614 one with cue notes for the instrumental part:
618 @{ c4 f2 g4 @} % in the part, we have cue-notes
620 \tag #'score R1 % in the score: only a rest
624 The same can be applied to articulations, texts, etc.: they are
628 -\tag #@var{your-tags}
631 to an articulation, for example,
634 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
637 This defines a note, which has a conditional fingering and a
638 string-number indication.
641 The settings for chord-fingering are more flexible. You can specify a
642 list where fingerings may be placed, eg.
645 \property Voice.fingeringOrientations = #'(left down)
648 This will put the fingering for the lowest note below the chord, and the
652 The script previously known as @code{ly2dvi} has been renamed to
653 @code{lilypond}. The binary itself is now installed as
657 Markup text (ie. general text formatting) may now be used for lyrics too.
660 Two new commands for grace notes have been added, @code{\acciaccatura}
661 and @code{\appoggiatura},
668 Both reflect the traditional meanings of acciaccatura and appogiatura,
669 and both insert insert a slur from the first grace note to the main
673 Layout options for grace notes are now stored in a context property,
674 and may now be set separately from musical content.
677 The @code{\new} command will create a context with a unique
678 name automatically. Hence, for multi-staff scores, it is no longer
679 necessary to invent arbitrary context names. For example, a two-staff
680 score may be created by
684 \new Staff @{ @var{notes for 1st staff} @}
685 \new Staff @{ @var{notes for 2nd staff} @}
692 Octave checks make octave errors easier to correct.
699 This checks that @var{pitch} (without octave) yields @var{pitch} (with
700 octave) in \relative mode. If not, a warning is printed, and the
704 All articulations must now be entered postfix. For example,
711 is a pair of beamed slurred eighth notes.
714 The definition of @code{\relative} has been simplified. Octaves are
715 now always propagated in the order that music is entered. In the
720 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
725 the octave of BODY is based on PRE, the starting octave of ALT1 on
726 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
729 The same mechanism is used for all other music expressions, except the
730 chord. Backwards compatibility is retained through a special program option,
734 #(ly:set-option 'old-relative)
738 Windows users can double click a @code{.ly} file to process and view
739 it automagically through the new @code{lily-wins} frontend.
746 @unnumbered New features in 1.8 since 1.6
751 The chord entry code has been completely rewritten. It is now
752 cleaner and more flexible.
755 A new syntax has been added for text entry. This syntax is more
756 friendly than the old mechanism, and it is implemented in a more
757 robust and modular way. For more information, refer to the section on
758 "Text markup" in the notation manual.
761 The integration of the input language and Scheme has been made deeper:
762 you can now use LilyPond identifiers in Scheme, and use Scheme
763 expressions instead of LilyPond identifiers.
766 The internal representation of music has been cleaned up completely
767 and converted to Scheme data structures. The representation may be
771 A new uniform postfix syntax for articulation has been introduced.
772 A beamed slurred pair of eighth notes can be entered as
778 In version 2.0, postfix syntax will be the only syntax
779 available, and the dashes will become optional.
781 This will simplify the language: all articulations can be entered as
782 postfix, in any order.
785 A new syntax has been added for chords:
792 It is not necessary to update files to this syntax, but it will be for
793 using LilyPond version 2.0. In version 2.0, this syntax will be
803 \simultaneous @{ .. @}
806 for simultaneous music.
808 To convert your files from <PITCHES> to <<PITCHES>>, use the script
809 included in buildscripts/convert-new-chords.py
811 This change was introduced for the following reasons
815 It solves the "start score with chord" problem, where you have to
816 state \context Voice explicitly when a chord was the start of a
819 With the new syntax, it is possible to distinguish between
820 articulations (or fingerings) which are for a single chord note,
821 and which are for the entire chord. This allows for per-note
822 fingerings, and is more logical on the whole.
826 User code may now be executed during interpreting. The syntax for
830 \applycontext #SCHEME-FUNCTION
834 User code may now be executed on arbitrary grobs during interpreting.
835 The syntax for this feature is
838 \applyoutput #SCHEME-FUNCTION
842 SCHEME-FUNCTION takes a single argument, and is called for every grob
843 that is created in the current context.
846 New algorithms for chord-name formatting have been installed. They
847 can be tuned and have ergonomic syntax for entering exceptions.
850 Texts may now be put on multimeasure rests, e.g.
853 R1*20^\markup @{ "GP" @}
857 Ancient notation now prints ligatures in Gregorian square neumes
858 notation, roughly following the typographical style of the Liber
859 hymnarius of Solesmes, published in 1983. Ligatures are still printed
860 without the proper line breaking and horizontal spacing.
863 Glissandi can now be printed using the zigzag style.
866 LilyPond can now print clusters. The syntax is
869 \apply #notes-to-clusters @{ NOTE NOTE .. @}
873 For irregular meters, beat grouping marks can be printed. The
877 #(set-time-signature 7 8 '(3 2 2))
882 Nested horizontal brackets for music analysis can now be printed:
891 @item Ottava brackets are now fully supported as a feature. The syntax
899 @item Metronome markings are printed when a \tempo command is processed.
903 @item Fingerings can be put on chords horizontally.
907 @item The appearance of various glyphs has been fine-tuned.
911 @item Different types of percent style repeats may now be nested.
915 @item The emacs support has been extended.
919 The manual has been completely revised and extended.
923 @unnumbered New features in 1.6 since 1.4
929 Support for figured bass and tablature.
932 Completely rewritten beam formatting: provides much better output
937 Completely revised and improved music font.
941 Completely rewritten MIDI import support.
944 Completely rewritten grace note support. Practically speaking this
945 means that grace notes can be slurred to normal normal notes.
949 Improved accidental handling and formatting: styles for producing
950 cautionaries may vary, and complex collisions between accidentals of a
951 chord are handled much better.
954 Better spacing: both globally and locally. This includes subtle
955 details like optical stem spacing.
958 More support for ancient notation: mensural ligatures, ambitus
959 (pitch range) of voices, more shapes, etc.
962 More support for piano notation: bracket pedals, directed arpeggios,
966 Easier music polyphonic music entry.
969 More extensibility, many speedups and bugfixes
972 The manual has been thoroughly revised.
975 Development is now hosted at http://savannah.gnu.org, and sources
976 can be downloaded through anonymous CVS.
979 Support for windows: LilyPond is part of the cygwin distribution,
980 which comes with a user-friendly installer.