1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.4 since 2.2
11 @item Parts that use @code{\quote} can now be transposed.
13 @item LilyPond does not try to produce output for files that
16 @item @code{lilypond-book} will now remove any output files that
17 contain failed music snippets.
19 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
20 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
21 command @code{\chords} is an abbreviation for
24 \new ChordNames \chordmode ...
28 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
31 @item The types of events quoted with @code{\quote} can now be tuned
32 with @code{quotedEventTypes}. By default, only notes and rests end up
35 @item LilyPond will try to keep
36 staves at the same distances across a page, but it will stretch
37 distances to prevent collisions. This results in a more even
38 appearance of the page.
40 @item Key signature cancellations are now printed before the bar line,
41 and their appearance has been improved.
43 @item Different voices that all use @code{\quote} can now refer to
47 @item The automatic staff changer, which is invoked with
48 @code{\autochange}, now creates the @code{up} and @code{down} staff
49 automatically, and uses bass clef for the bottom staff.
51 @item There is now support for putting two slurs on chords, both above
52 and below. This is switched on with the @code{doubleSlurs} property.
54 @item Running trills now have their own spanner and event,
57 c1\startTrillSpan c4\stopTrillSpan
60 @item There is a new markup command @code{\postscript} that takes a
61 string that is dumped as verbatim PostScript in the output.
63 @item The melody for a @code{\lyricsto} text can be changed during a
64 melody by setting the @code{associatedVoice} property.
66 @item The @code{\lyricsto} keyword now automatically switches on
69 @item The LilyPond binary now supports output options
70 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
71 @code{--preview}. The old wrapper script for La@TeX{} has been
72 renamed to @code{lilypond-latex}.
74 @item Support for ambitus has been rewritten. The Ambitus object is now
75 a grouping object, composed of @code{AmbitusLine},
76 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
77 be tuned similar to accidentals and note heads.
79 @item Ledger lines are now shortened when the spacing is tight. This
80 prevents ledger lines from colliding with each other.
82 @item Slur formatting has been rewritten. The new slur code
83 works similar to the Beam formatter: scores are assigned for all
84 esthetic components of a slur. A large number of combinations for
85 begin and end points is then tried out. Slurs will now also take into
86 account collisions with staff lines, scripts (like staccato and
87 accent) and accidentals.
90 @item In the LilyPond emacs mode, entering @code{|} will display the
91 current beat within the measure.
93 @item Colliding notes are now correctly aligned relative to notes in other staves.
95 @item An experimental GNOME output backend is available for developers.
96 It depends on several unreleased packages such as gnome-guile TLA and
97 Pango CVS. The output interface coverage is sparse, but it already
98 does support point-and-click on the GNOME Canvas. See also
99 @file{scm/output-gnome.scm}.
101 @item Context definitions are now stored in identifiers that match the
102 context name, in other words, to modify a @code{Staff} context, the
103 following code may be used.
113 The @code{\paper} block has been renamed to @code{\layout}. A new
114 @code{\paper} block has been introduced to hold settings for paper
115 size and output scaling. Further options include @code{raggedbottom}
116 (if set, systems are not vertically filled to reach the bottom of the
117 page), and @code{raggedlastbottom}.
120 @item Support for fret diagrams has been contributed by Carl
121 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
123 @item The @code{--safe-mode} has been revisited: GUILE evaluation
124 is done in the R5RS safe module, with only the basic @code{ly:}
125 interface available and malicious @TeX{} code is stopped. However, to
126 be reasonably safe, you are advised to use the PostScript backend
127 rather than the @TeX{} backend anyway; and if possible use an UML
128 sandbox to run gs or latex.
130 @item Music syntax can now be extended seamlessly. As an example,
131 here is the new implementation @code{\applymusic},
134 applymusic = #(ly:make-music-function
135 (list procedure? ly:music?) ; signature
136 (lambda (where func music) ; the function
140 @item @code{\apply} has been renamed to @code{\applymusic}.
142 @item Music can be used as a markup.
143 When inserting a @code{score} block as part of a @code{\markup}, it
144 produces a rendered markup of the music. An example is in
145 @file{input/test/markup-score.ly}.
147 @item LilyPond expressions can be embedded into Scheme. The syntax for
148 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
149 introduced using a @code{$} character (@code{$$} results in a single
150 `$' character). These forms are then inserted in the pattern.
153 #(define (textoffset dx dy)
155 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
159 %% The following embedded scheme call is the same as
160 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
162 c'^"text with offset"
166 @item A music list at toplevel is interpreted as implicit @code{\score}
167 a @code{\score} block at toplevel is interpreted as an implicit
168 @code{\book} and @code{\notemode} mode is the default lexer mode. The
172 \header @{ title = "The Title" @}
179 \header @{ title = "The Title" @}
182 \notemode @{ a b c @}
187 This is handled by the function defined in
188 @code{toplevel-music-handler}. Similarly, @code{\score} and
189 @code{\book} are handled by @code{toplevel-score-handler} and a
190 @code{toplevel-book-handler}. By changing these variables, different
191 results can be obtained.
193 @item Mode changing commands,
194 such as @code{\chordmode} and @code{\figuremode} must now be directly
195 followed by delimiters. The following example demonstrates the new
199 \figuremode \context Figures { .. } % wrong
200 \context Figures \figuremode { .. } % right
204 @item The starting pitch for @code{relative} music is optional for music lists.
205 The default value is middle C.
207 @item Combining lyrics with music can be done with @code{\addlyrics}
212 d2 d c4 bes a2 \break
215 My first Li -- ly song,
218 Not much can go wrong!
222 Syntactically, @code{\addlyrics} is an infix operator. It is a
223 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
224 and @code{\lyricsto}.
226 @item The parser is encapsulated in a Scheme function
227 @code{ly:parse-file}, so the following fragment processes two files
230 #(ly:parse-file "another.ly")
231 \score { \notes { c4 }}
234 @item The @code{font-encoding} property can now be used to select
235 differently encoded fonts. The previous default setting
236 @code{TeX-text} has been replaced by latin1. LilyPond requires the
237 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
238 package installed to function properly.
240 @item The encoding of a file can be switched with
241 @code{\encoding}. The strings for markup texts are translated
244 @item The toplevel block @code{\book} introduces page layout.
245 A @code{\book} groups @code{\score} blocks into one page layout
246 entity. For example, two scores are combined in one book with
257 Titling and page breaks are handled by LilyPond. Page breaks may be
258 inserted manually with
265 Invoking @code{lilypond} runs the actual binary, which not use
266 La@TeX{} for titling or page layout. If you need La@TeX{} code in
267 titles, you can use the @code{lilypond-book} program. The former
268 @code{lilypond} script has been retained as @code{lilypond-latex}.
270 @item There is now less of a noticeable ``hook'' at the end of a long slur.
272 @item The meaning of the @code{|} in the input can be redefined, by
273 assigning a music expression to @code{pipeSymbol}.
279 @c ****************************************************************
281 @unnumbered New features in 2.2 since 2.0
285 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
286 causes the last line to be set flush-left instead of justified.
288 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
289 its containing context automatically.
291 @item The code for font selection has been rewritten. In addition to
292 existing font selection properties, the property @code{font-encoding}
293 has been added, which makes the switch between normal @code{text} and
294 other encodings like @code{braces}, @code{music} and @code{math}.
296 @item The pmx2ly script has been removed from the distribution.
298 @item Pedal brackets will now run to the last bar of a piece if they are not
301 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
303 @item Property functions may be used as an argument to @code{set!},
307 (set! (ly:grob-property grob 'beam) ... )
310 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
313 @item Cue notes can be quoted directly from the parts that
314 contain them. This will take into account transposition of source and target
315 instrument. For example,
318 \addquote clarinet \notes\relative c' {
324 \notes \relative c'' {
325 c8 d8 \quote 2 oboe es8 gis
330 @item The transposition of an instrument can be specified using the
331 @code{\transposition} command. An
332 E-flat alto saxophone is specified as
338 @item The naming of exported Scheme functions now follows Scheme conventions.
339 Changes be applied to Scheme files with
342 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
346 @item Notes can be excluded from auto-beaming, by marking them with
353 will print two separate eighth notes, and two beamed notes.
355 @item Translators and contexts have been split. The result of this
356 internal cleanup is that @code{Score} no longer is the top context;
357 @code{Score} is contained in the @code{Global} context. Consequently,
358 it is possible to tweak @code{Score} as follows:
361 \context Score \with @{
366 @item The number of staff lines in Tablature notation is now
367 automatically deduced from the @code{stringTunings} property.
369 @item The program reference has been cleaned up and revised.
371 @item The syntax for setting properties has been simplified:
372 the following table lists the differences:
377 \property A.B = #C \set A.B = #C
378 \property A.B \unset \unset A.B
379 \property A.B \set #C = #D \override A.B #C = #D
380 \property A.B \override #C = #D (removed)
381 \property A.B \revert #C \revert A.B #C
384 Furthermore, if @code{A} is left out, the bottommost context is used
385 by default. In other words, it is no longer necessary to explicitly
386 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
391 \property Voice.autoBeaming = ##f
392 \property Staff.TimeSignature \set #'style = #'C
398 \set autoBeaming = ##f
399 \override Staff.TimeSignature #'style = #'C
403 @item Tweaks made with @code{\override} and @code{\revert} no longer
404 hide tweaks at higher context levels.
406 @item Melismata in lyrics are also properly handled in the MIDI output.
408 @item The lilypond-book script has been rewritten.
409 It is shorter, cleaner and faster. The special construct
410 @code{mbinclude} has been removed, plain @code{@@include} or
411 @code{\input} can be used now.
413 It now supports running convert-ly on the lilypond snippets,
415 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
418 @item The @code{LyricsVoice} context has been removed. Lyrics should only
419 be constructed in @code{Lyrics}.
421 @item The @code{Thread} context has been removed. Note heads and rests
422 are now constructed at @code{Voice} level.
424 @item Harmonic notes can now be entered as
430 @item Drum notation is now supported as a regular feature:
431 percussion may be entered in @code{\drums} mode, and printed or
432 performed in a @code{DrumStaff} context:
436 \drums \new DrumStaff @{ hihat4 cowbell8 @}
440 @item The automatic staff changer was internally rewritten. As a
441 result, the syntax has been simplified as well:
444 \autochange @var{the-music}
447 @item The ergonomic syntax of @code{\markup} now has an equivalent in
448 Scheme. The @code{markup*} macro creates such objects; the following
449 two markup commands are equivalent:
451 f4^#(markup* #:raise 0.2 #:bold "hi")
452 f4^\markup @{ \raise #0.2 \bold hi @}
455 @item Voice names, for vocal lines, have been added. They are similar
456 to instrument names. They can be set by defining @code{vocalName}
459 @item Safe mode has been reinstated for lilypond.
460 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
461 PostScript file output is disallowed, and lilypond-bin is invoked with
462 @code{--safe-mode}, the user's Guile expressions are evaluated in a
463 safe environment and file inclusion is not allowed.
465 Warning: this does not protect against denial-of-service attacks using
466 Guile, @TeX{} or PostScript.
468 (This feature is still experimental.)
470 @item There is now a Scheme macro for defining markup
471 commands. Special mark-up commands can be defined in user-files too.
473 @item Many fixes for dimension scaling have been made,
474 resulting in correct results for scores that mix staves in different
477 @item Improved robustness when layout properties are accidentally removed.
479 @item A more cleanly constructed part combiner has been installed.
480 It is more robust and less buggy. The part-combiner can be used with
482 \partcombine @var{mus1} @var{mus2}
486 See @file{input/regression/new-part-combine.ly} for an example.
488 @item Formatting of rehearsal marks has been improved. The @code{\mark}
489 command now only does automatic incrementing for marks specified as
490 integer. For example, @code{\mark #1} will print an A in the default
491 style. See @file{input/regression/rehearsal-mark-letter.ly},
492 @file{input/regression/rehearsal-mark-number.ly}.
494 @item Formatting of ottava brackets has been much improved.
496 @item Objects in the output can now be documented: the following fragment
497 boxes the note head, and adds the text ``heads or tails?'' three
498 spaces below the box.
501 \context Voice \applyoutput #(add-balloon-text
502 'NoteHead "heads, or tails?"
510 @item Default staff sizes are now scalable. There are two new mechanisms for
511 setting staff sizes. Both are demonstrated in this fragment:
514 #(set-global-staff-size 15)
516 #(paper-set-staff-size (* 15 pt))
522 Both have the same effect on the global layout of a piece. Similarly,
523 the paper size may be changed as follows
526 #(set-default-paper-size "a4")
528 #(set-paper-size "a4")
533 @item Warnings for bar check errors are more cleverly printed. This
534 makes @code{barCheckSynchronize} superfluous, so it is now switched
537 Warning: this will cause problems in scores that use bar checks to
540 @item The black note head was made a little rounder, which causes a less
541 frantic graphic impression.
544 A more concise syntax for checking octaves was introduced. A note may
545 be followed by @code{=}@var{quotes} which indicates what its absolute
546 octave should be. In the following example,
549 \relative c'' @{ c='' b=' d,='' @}
553 the d will generate a warning, because a d'' is
554 expected, but a d' is found.
555 @c @code adds ` ', very confusing.
557 @item There is a new mechanism for putting lyrics to melodies.
558 With this mechanism, @code{Lyrics} lines can be put melodies
559 individually, allowing for different melismatic sections in every
560 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
562 @item Bar lines may now be dotted.
565 @item The documentation now has links to a wiki, where everyone can
566 add personal comments to the manual.
568 @item Contexts may now be changed locally for an isolated music
569 expression. For example,
573 \consists "Pitch_squash_engraver"
579 @item The syntax for changing staffs has changed. The keyword
580 @code{\change} should now be used, e.g.
586 @item Features of spanner contexts, like @code{Staff}, can now be changed
587 using @code{\set}, eg.
591 \override Staff.StaffSymbol #'line-count = #4
597 puts a quarter note C on a staff with 4 lines.
600 @item Multi measure rests are now truly centered between the
601 clefs/barlines of the staff, their position is independent of symbols
604 @item Collision resolution for dots in chords has been improved greatly.
607 Spacing following barlines was improved for widely stretched lines.
610 Lyric hyphens and extenders now conform to standard typesetting
614 Lyrics are now aligned under note heads conforming to engraving
615 standards. The responsible code has been rewritten, and is drastically
616 simpler from the previous version. To aid this rewrite, the syntactic
617 function of the extender line ( __ ) has been changed: it is now
618 attached to the lyric syllable.
621 When redefining a context, the associated identifier is also
622 updated. For example, after reading
632 the definition of @code{ScoreContext} is updated to include the changed
637 The weight of the stafflines is now heavier at smaller staff sizes.
638 The font has been modified to match this look: at smaller sizes, the
639 font is heavier and the note heads are more rounded.
641 @item Processing scores is now done while parsing the file. New
642 Scheme functions give more flexibility: for example, it is now possible
643 interpret a score, collecting synchronized musical events in a list, and
644 manipulate that information using inline Scheme. For an example, see
645 @file{input/no-notation/recording.ly}.
647 @item Font sizes can now truly be scaled continuously: the @code{font-size}
648 is similar to the old @code{font-relative-size}, but may be set to
649 fractional values; the closest design size will be scaled to achieve
650 the desired size. As a side-effect, there are now no longer
651 limitations in using smaller fonts (eg. grace notes) at small staff
654 @item Stem tips are now also engraved with rounded corners.
657 The placement of accidentals on chords and ledgered notes is improved.
662 @unnumbered New features in 2.0 since 1.8
667 Crescendos can now be drawn dotted or dashed.
670 Quarter tones are now supported. They are entered by suffixing
671 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
672 following is an ascending list of pitches:
675 ceses ceseh ces ceh c cih cis cisih cisis
679 The following constructs have been removed from the syntax:
682 \duration #SCHEME-DURATION
684 \outputproperty @var{func} @var{symbol} = @var{value}
687 For @code{\outputproperty}, the following may be substituted:
690 \applyoutput #(outputproperty-compatibility @var{func}
691 @var{symbol} @var{value})
695 Clefs may now be transposed arbitrarily, for example
705 The syntax for chords and simultaneous music have changed.
706 Chords are entered as
712 while simultaneous music is entered as
715 <<@var{..music list..}>>
718 In effect, the meanings of both have been swapped relative to their 1.8
719 definition. The syntax for lists in @code{\markup} has changed
720 alongside, but figured bass mode was not changed, i.e.:
723 \markup @{ \center <@var{..list of markups..}> @}
724 \figure @{ <@var{figures}> @}
727 As chords the more often used than simultaneous music, this change will
731 Each music expression can now be tagged, to make different printed
732 versions from the same music expression. In the following example,
733 we see two versions of a piece of music, one for the full score, and
734 one with cue notes for the instrumental part:
738 @{ c4 f2 g4 @} % in the part, we have cue-notes
740 \tag #'score R1 % in the score: only a rest
744 The same can be applied to articulations, texts, etc.: they are
748 -\tag #@var{your-tags}
751 to an articulation, for example,
754 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
757 This defines a note, which has a conditional fingering and a
758 string-number indication.
761 The settings for chord-fingering are more flexible. You can specify a
762 list where fingerings may be placed, eg.
765 \property Voice.fingeringOrientations = #'(left down)
768 This will put the fingering for the lowest note below the chord, and the
772 The script previously known as @code{ly2dvi} has been renamed to
773 @code{lilypond}. The binary itself is now installed as
777 Markup text (ie. general text formatting) may now be used for lyrics too.
780 Two new commands for grace notes have been added, @code{\acciaccatura}
781 and @code{\appoggiatura},
788 Both reflect the traditional meanings of acciaccatura and appogiatura,
789 and both insert insert a slur from the first grace note to the main
793 Layout options for grace notes are now stored in a context property,
794 and may now be set separately from musical content.
797 The @code{\new} command will create a context with a unique
798 name automatically. Hence, for multi-staff scores, it is no longer
799 necessary to invent arbitrary context names. For example, a two-staff
800 score may be created by
804 \new Staff @{ @var{notes for 1st staff} @}
805 \new Staff @{ @var{notes for 2nd staff} @}
812 Octave checks make octave errors easier to correct.
819 This checks that @var{pitch} (without octave) yields @var{pitch} (with
820 octave) in \relative mode. If not, a warning is printed, and the
824 All articulations must now be entered postfix. For example,
831 is a pair of beamed slurred eighth notes.
834 The definition of @code{\relative} has been simplified. Octaves are
835 now always propagated in the order that music is entered. In the
840 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
845 the octave of BODY is based on PRE, the starting octave of ALT1 on
846 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
849 The same mechanism is used for all other music expressions, except the
850 chord. Backwards compatibility is retained through a special program option,
854 #(ly:set-option 'old-relative)
858 Windows users can double click a @code{.ly} file to process and view
859 it automagically through the new @code{lily-wins} frontend.
866 @unnumbered New features in 1.8 since 1.6
871 The chord entry code has been completely rewritten. It is now
872 cleaner and more flexible.
875 A new syntax has been added for text entry. This syntax is more
876 friendly than the old mechanism, and it is implemented in a more
877 robust and modular way. For more information, refer to the section on
878 "Text markup" in the notation manual.
881 The integration of the input language and Scheme has been made deeper:
882 you can now use LilyPond identifiers in Scheme, and use Scheme
883 expressions instead of LilyPond identifiers.
886 The internal representation of music has been cleaned up completely
887 and converted to Scheme data structures. The representation may be
891 A new uniform postfix syntax for articulation has been introduced.
892 A beamed slurred pair of eighth notes can be entered as
898 In version 2.0, postfix syntax will be the only syntax
899 available, and the dashes will become optional.
901 This will simplify the language: all articulations can be entered as
902 postfix, in any order.
905 A new syntax has been added for chords:
912 It is not necessary to update files to this syntax, but it will be for
913 using LilyPond version 2.0. In version 2.0, this syntax will be
923 \simultaneous @{ .. @}
926 for simultaneous music.
928 To convert your files from <PITCHES> to <<PITCHES>>, use the script
929 included in @file{buildscripts/convert-new-chords.py}.
931 This change was introduced for the following reasons
935 It solves the "start score with chord" problem, where you have to
936 state \context Voice explicitly when a chord was the start of a
939 With the new syntax, it is possible to distinguish between
940 articulations (or fingerings) which are for a single chord note,
941 and which are for the entire chord. This allows for per-note
942 fingerings, and is more logical on the whole.
946 User code may now be executed during interpreting. The syntax for
950 \applycontext #SCHEME-FUNCTION
954 User code may now be executed on arbitrary grobs during interpreting.
955 The syntax for this feature is
958 \applyoutput #SCHEME-FUNCTION
962 SCHEME-FUNCTION takes a single argument, and is called for every grob
963 that is created in the current context.
966 New algorithms for chord-name formatting have been installed. They
967 can be tuned and have ergonomic syntax for entering exceptions.
970 Texts may now be put on multimeasure rests, e.g.
973 R1*20^\markup @{ "GP" @}
977 Ancient notation now prints ligatures in Gregorian square neumes
978 notation, roughly following the typographical style of the Liber
979 hymnarius of Solesmes, published in 1983. Ligatures are still printed
980 without the proper line breaking and horizontal spacing.
983 Glissandi can now be printed using the zigzag style.
986 LilyPond can now print clusters. The syntax is
989 \apply #notes-to-clusters @{ NOTE NOTE .. @}
993 For irregular meters, beat grouping marks can be printed. The
997 #(set-time-signature 7 8 '(3 2 2))
1002 Nested horizontal brackets for music analysis can now be printed:
1011 @item Ottava brackets are now fully supported as a feature. The syntax
1019 @item Metronome markings are printed when a \tempo command is processed.
1023 @item Fingerings can be put on chords horizontally.
1027 @item The appearance of various glyphs has been fine-tuned.
1031 @item Different types of percent style repeats may now be nested.
1035 @item The emacs support has been extended.
1039 The manual has been completely revised and extended.
1043 @unnumbered New features in 1.6 since 1.4
1049 Support for figured bass and tablature.
1052 Completely rewritten beam formatting: provides much better output
1057 Completely revised and improved music font.
1061 Completely rewritten MIDI import support.
1064 Completely rewritten grace note support. Practically speaking this
1065 means that grace notes can be slurred to normal normal notes.
1069 Improved accidental handling and formatting: styles for producing
1070 cautionaries may vary, and complex collisions between accidentals of a
1071 chord are handled much better.
1074 Better spacing: both globally and locally. This includes subtle
1075 details like optical stem spacing.
1078 More support for ancient notation: mensural ligatures, ambitus
1079 (pitch range) of voices, more shapes, etc.
1082 More support for piano notation: bracket pedals, directed arpeggios,
1086 Easier music polyphonic music entry.
1089 More extensibility, many speedups and bugfixes
1092 The manual has been thoroughly revised.
1095 Development is now hosted at http://savannah.gnu.org, and sources
1096 can be downloaded through anonymous CVS.
1099 Support for windows: LilyPond is part of the cygwin distribution,
1100 which comes with a user-friendly installer.