1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
10 @item Parts that use @code{\quote} can now be transposed.
12 @item LilyPond does not try to produce output for files that
15 @item @code{lilypond-book} will now remove any output files that
16 contain failed music snippets.
18 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
19 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
20 command @code{\chords} is an abbreviation for
23 \new ChordNames \chordmode ...
27 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
30 @item The types of events quoted with @code{\quote} can now be tuned
31 with @code{quotedEventTypes}. By default, only notes and rests end up
34 @item LilyPond will try to keep
35 staves at the same distances across a page, but it will stretch
36 distances to prevent collisions. This results in a more even
37 appearance of the page.
39 @item Key signature cancellations are now printed before the bar line,
40 and their appearance has been improved.
42 @item Different voices that all use @code{\quote} can now refer to
46 @item The automatic staff changer, which is invoked with
47 @code{\autochange}, now creates the @code{up} and @code{down} staff
48 automatically, and uses bass clef for the bottom staff.
50 @item There is now support for putting two slurs on chords, both above
51 and below. This is switched on with the @code{doubleSlurs} property.
53 @item Running trills now have their own spanner and event,
56 c1\startTrillSpan c4\stopTrillSpan
59 @item There is a new markup command @code{\postscript} that takes a
60 string that is dumped as verbatim PostScript in the output.
62 @item The melody for a @code{\lyricsto} text can be changed during a
63 melody by setting the @code{associatedVoice} property.
65 @item The @code{\lyricsto} keyword now automatically switches on
68 @item The LilyPond binary now supports output options
69 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
70 @code{--preview}. The old wrapper script for La@TeX{} has been
71 renamed to @code{lilypond-latex}.
73 @item Support for ambitus has been rewritten. The Ambitus object is now
74 a grouping object, composed of @code{AmbitusLine},
75 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
76 be tuned similar to accidentals and note heads.
78 @item Ledger lines are now shortened when the spacing is tight. This
79 prevents ledger lines from colliding with each other.
81 @item Slur formatting has been rewritten. The new slur code
82 works similar to the Beam formatter: scores are assigned for all
83 esthetic components of a slur. A large number of combinations for
84 begin and end points is then tried out. Slurs will now also take into
85 account collisions with staff lines, scripts (like staccato and
86 accent) and accidentals.
89 @item In the LilyPond emacs mode, entering @code{|} will display the
90 current beat within the measure.
92 @item Colliding notes are now correctly aligned relative to notes in other staves.
94 @item An experimental GNOME output backend is available for developers.
95 It depends on several unreleased packages such as gnome-guile TLA and
96 Pango CVS. The output interface coverage is sparse, but it already
97 does support point-and-click on the GNOME Canvas. See also
98 @file{scm/output-gnome.scm}.
100 @item Context definitions are now stored in identifiers that match the
101 context name, in other words, to modify a @code{Staff} context, the
102 following code may be used.
111 @item A new block, @code{\bookpaper} has been introduced to
112 hold settings for paper size and output scaling. Further options
113 include @code{raggedbottom} (if set, systems are not vertically filled
114 to reach the bottom of the page), and @code{raggedlastbottom}.
118 @item Support for fret diagrams has been contributed by Carl
119 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
121 @item The @code{--safe-mode} has been revisited: GUILE evaluation
122 is done in the R5RS safe module, with only the basic @code{ly:}
123 interface available and malicious @TeX{} code is stopped. However, to
124 be reasonably safe, you are advised to use the PostScript backend
125 rather than the @TeX{} backend anyway; and if possible use an UML
126 sandbox to run gs or latex.
128 @item Music syntax can now be extended seamlessly. As an example,
129 here is the new implementation @code{\applymusic},
132 applymusic = #(ly:make-music-function
133 (list procedure? ly:music?) ; signature
134 (lambda (where func music) ; the function
138 @item @code{\apply} has been renamed to @code{\applymusic}.
140 @item Music can be used as a markup.
141 When inserting a @code{score} block as part of a @code{\markup}, it
142 produces a rendered markup of the music. An example is in
143 @file{input/test/markup-score.ly}.
145 @item LilyPond expressions can be embedded into Scheme. The syntax for
146 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
147 introduced using a @code{$} character (@code{$$} results in a single
148 `$' character). These forms are then inserted in the pattern.
151 #(define (textoffset dx dy)
153 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
157 %% The following embedded scheme call is the same as
158 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
160 c'^"text with offset"
164 @item A music list at toplevel is interpreted as implicit @code{\score}
165 a @code{\score} block at toplevel is interpreted as an implicit
166 @code{\book} and @code{\notes} mode is the default lexer mode. The
170 \header @{ title = "The Title" @}
177 \header @{ title = "The Title" @}
185 This is handled by the function defined in
186 @code{toplevel-music-handler}. Similarly, @code{\score} and
187 @code{\book} are handled by @code{toplevel-score-handler} and a
188 @code{toplevel-book-handler}. By changing these variables, different
189 results can be obtained.
191 @item Mode changing commands,
192 such as @code{\chords} and @code{\figures} must now be directly
193 followed by delimiters. The following example demonstrates the new
197 \figures \context Figures { .. } % wrong
198 \context Figures \figures { .. } % right
202 @item The starting pitch for @code{relative} music is optional for music lists.
203 The default value is middle C.
205 @c update-me? formal definition of newaddlyrics, once it works
206 @item Combining lyrics with music can be done with @code{\addlyrics}
211 d2 d c4 bes a2 \break
214 My first Li -- ly song,
217 Not much can go wrong!
221 Syntactically, @code{\addlyrics} acts like an infix operator.
223 @item The parser is encapsulated in a Scheme function
224 @code{ly:parse-file}, so the following fragment processes two files
227 #(ly:parse-file "another.ly")
228 \score { \notes { c4 }}
231 @item The @code{font-encoding} property can now be used to select
232 differently encoded fonts. The previous default setting
233 @code{TeX-text} has been replaced by latin1. LilyPond requires the
234 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
235 package installed to function properly.
237 @item The encoding of a file can be switched with
238 @code{\encoding}. The strings for markup texts are translated
241 @item The toplevel block @code{\book} introduces page layout.
242 A @code{\book} groups @code{\score} blocks into one page layout
243 entity. For example, two scores are combined in one book with
254 Titling and page breaks are handled by LilyPond. Page breaks may be
255 inserted manually with
261 The @code{lilypond} program does not generate La@TeX{} titles or page
262 layout. If you need La@TeX{} titles, you can use the
263 @code{lilypond-book} program.
265 @item There is now less of a noticeable ``hook'' at the end of a long slur.
267 @item The meaning of the @code{|} in the input can be redefined, by
268 assigning a music expression to @code{pipeSymbol}.
272 @unnumbered New features in 2.2 since 2.0
276 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
277 causes the last line to be set flush-left instead of justified.
279 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
280 its containing context automatically.
282 @item The code for font selection has been rewritten. In addition to
283 existing font selection properties, the property @code{font-encoding}
284 has been added, which makes the switch between normal @code{text} and
285 other encodings like @code{braces}, @code{music} and @code{math}.
287 @item The pmx2ly script has been removed from the distribution.
289 @item Pedal brackets will now run to the last bar of a piece if they are not
292 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
294 @item Property functions may be used as an argument to @code{set!},
298 (set! (ly:grob-property grob 'beam) ... )
301 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
304 @item Cue notes can be quoted directly from the parts that
305 contain them. This will take into account transposition of source and target
306 instrument. For example,
309 \addquote clarinet \notes\relative c' {
315 \notes \relative c'' {
316 c8 d8 \quote 2 oboe es8 gis
321 @item The transposition of an instrument can be specified using the
322 @code{\transposition} command. An
323 E-flat alto saxophone is specified as
329 @item The naming of exported Scheme functions now follows Scheme conventions.
330 Changes be applied to Scheme files with
333 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
337 @item Notes can be excluded from auto-beaming, by marking them with
344 will print two separate eighth notes, and two beamed notes.
346 @item Translators and contexts have been split. The result of this
347 internal cleanup is that @code{Score} no longer is the top context;
348 @code{Score} is contained in the @code{Global} context. Consequently,
349 it is possible to tweak @code{Score} as follows:
352 \context Score \with @{
357 @item The number of staff lines in Tablature notation is now
358 automatically deduced from the @code{stringTunings} property.
360 @item The program reference has been cleaned up and revised.
362 @item The syntax for setting properties has been simplified:
363 the following table lists the differences:
368 \property A.B = #C \set A.B = #C
369 \property A.B \unset \unset A.B
370 \property A.B \set #C = #D \override A.B #C = #D
371 \property A.B \override #C = #D (removed)
372 \property A.B \revert #C \revert A.B #C
375 Furthermore, if @code{A} is left out, the bottommost context is used
376 by default. In other words, it is no longer necessary to explicitly
377 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
382 \property Voice.autoBeaming = ##f
383 \property Staff.TimeSignature \set #'style = #'C
389 \set autoBeaming = ##f
390 \override Staff.TimeSignature #'style = #'C
394 @item Tweaks made with @code{\override} and @code{\revert} no longer
395 hide tweaks at higher context levels.
397 @item Melismata in lyrics are also properly handled in the MIDI output.
399 @item The lilypond-book script has been rewritten.
400 It is shorter, cleaner and faster. The special construct
401 @code{mbinclude} has been removed, plain @code{@@include} or
402 @code{\input} can be used now.
404 It now supports running convert-ly on the lilypond snippets,
406 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
409 @item The @code{LyricsVoice} context has been removed. Lyrics should only
410 be constructed in @code{Lyrics}.
412 @item The @code{Thread} context has been removed. Note heads and rests
413 are now constructed at @code{Voice} level.
415 @item Harmonic notes can now be entered as
421 @item Drum notation is now supported as a regular feature:
422 percussion may be entered in @code{\drums} mode, and printed or
423 performed in a @code{DrumStaff} context:
427 \drums \new DrumStaff @{ hihat4 cowbell8 @}
431 @item The automatic staff changer was internally rewritten. As a
432 result, the syntax has been simplified as well:
435 \autochange @var{the-music}
438 @item The ergonomic syntax of @code{\markup} now has an equivalent in
439 Scheme. The @code{markup*} macro creates such objects; the following
440 two markup commands are equivalent:
442 f4^#(markup* #:raise 0.2 #:bold "hi")
443 f4^\markup @{ \raise #0.2 \bold hi @}
446 @item Voice names, for vocal lines, have been added. They are similar
447 to instrument names. They can be set by defining @code{vocalName}
450 @item Safe mode has been reinstated for lilypond.
451 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
452 PostScript file output is disallowed, and lilypond-bin is invoked with
453 @code{--safe-mode}, the user's Guile expressions are evaluated in a
454 safe environment and file inclusion is not allowed.
456 Warning: this does not protect against denial-of-service attacks using
457 Guile, @TeX{} or PostScript.
459 (This feature is still experimental.)
461 @item There is now a Scheme macro for defining markup
462 commands. Special mark-up commands can be defined in user-files too.
464 @item Many fixes for dimension scaling have been made,
465 resulting in correct results for scores that mix staves in different
468 @item Improved robustness when layout properties are accidentally removed.
470 @item A more cleanly constructed part combiner has been installed.
471 It is more robust and less buggy. The part-combiner can be used with
473 \partcombine @var{mus1} @var{mus2}
477 See @file{input/regression/new-part-combine.ly} for an example.
479 @item Formatting of rehearsal marks has been improved. The @code{\mark}
480 command now only does automatic incrementing for marks specified as
481 integer. For example, @code{\mark #1} will print an A in the default
482 style. See @file{input/regression/rehearsal-mark-letter.ly},
483 @file{input/regression/rehearsal-mark-number.ly}.
485 @item Formatting of ottava brackets has been much improved.
487 @item Objects in the output can now be documented: the following fragment
488 boxes the note head, and adds the text ``heads or tails?'' three
489 spaces below the box.
492 \context Voice \applyoutput #(add-balloon-text
493 'NoteHead "heads, or tails?"
501 @item Default staff sizes are now scalable. There are two new mechanisms for
502 setting staff sizes. Both are demonstrated in this fragment:
505 #(set-global-staff-size 15)
507 #(paper-set-staff-size (* 15 pt))
513 Both have the same effect on the global layout of a piece. Similarly,
514 the paper size may be changed as follows
517 #(set-default-paper-size "a4")
519 #(set-paper-size "a4")
524 @item Warnings for bar check errors are more cleverly printed. This
525 makes @code{barCheckSynchronize} superfluous, so it is now switched
528 Warning: this will cause problems in scores that use bar checks to
531 @item The black note head was made a little rounder, which causes a less
532 frantic graphic impression.
535 A more concise syntax for checking octaves was introduced. A note may
536 be followed by @code{=}@var{quotes} which indicates what its absolute
537 octave should be. In the following example,
540 \relative c'' @{ c='' b=' d,='' @}
544 the d will generate a warning, because a d'' is
545 expected, but a d' is found.
546 @c @code adds ` ', very confusing.
548 @item There is a new mechanism for putting lyrics to melodies.
549 With this mechanism, @code{Lyrics} lines can be put melodies
550 individually, allowing for different melismatic sections in every
551 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
553 @item Bar lines may now be dotted.
556 @item The documentation now has links to a wiki, where everyone can
557 add personal comments to the manual.
559 @item Contexts may now be changed locally for an isolated music
560 expression. For example,
564 \consists "Pitch_squash_engraver"
570 @item The syntax for changing staffs has changed. The keyword
571 @code{\change} should now be used, e.g.
577 @item Features of spanner contexts, like @code{Staff}, can now be changed
578 using @code{\set}, eg.
582 \override Staff.StaffSymbol #'line-count = #4
588 puts a quarter note C on a staff with 4 lines.
591 @item Multi measure rests are now truly centered between the
592 clefs/barlines of the staff, their position is independent of symbols
595 @item Collision resolution for dots in chords has been improved greatly.
598 Spacing following barlines was improved for widely stretched lines.
601 Lyric hyphens and extenders now conform to standard typesetting
605 Lyrics are now aligned under note heads conforming to engraving
606 standards. The responsible code has been rewritten, and is drastically
607 simpler from the previous version. To aid this rewrite, the syntactic
608 function of the extender line ( __ ) has been changed: it is now
609 attached to the lyric syllable.
612 When redefining a context, the associated identifier is also
613 updated. For example, after reading
623 the definition of @code{ScoreContext} is updated to include the changed
628 The weight of the stafflines is now heavier at smaller staff sizes.
629 The font has been modified to match this look: at smaller sizes, the
630 font is heavier and the note heads are more rounded.
632 @item Processing scores is now done while parsing the file. New
633 Scheme functions give more flexibility: for example, it is now possible
634 interpret a score, collecting synchronized musical events in a list, and
635 manipulate that information using inline Scheme. For an example, see
636 @file{input/no-notation/recording.ly}.
638 @item Font sizes can now truly be scaled continuously: the @code{font-size}
639 is similar to the old @code{font-relative-size}, but may be set to
640 fractional values; the closest design size will be scaled to achieve
641 the desired size. As a side-effect, there are now no longer
642 limitations in using smaller fonts (eg. grace notes) at small staff
645 @item Stem tips are now also engraved with rounded corners.
648 The placement of accidentals on chords and ledgered notes is improved.
653 @unnumbered New features in 2.0 since 1.8
658 Crescendos can now be drawn dotted or dashed.
661 Quarter tones are now supported. They are entered by suffixing
662 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
663 following is an ascending list of pitches:
666 ceses ceseh ces ceh c cih cis cisih cisis
670 The following constructs have been removed from the syntax:
673 \duration #SCHEME-DURATION
675 \outputproperty @var{func} @var{symbol} = @var{value}
678 For @code{\outputproperty}, the following may be substituted:
681 \applyoutput #(outputproperty-compatibility @var{func}
682 @var{symbol} @var{value})
686 Clefs may now be transposed arbitrarily, for example
696 The syntax for chords and simultaneous music have changed.
697 Chords are entered as
703 while simultaneous music is entered as
706 <<@var{..music list..}>>
709 In effect, the meanings of both have been swapped relative to their 1.8
710 definition. The syntax for lists in @code{\markup} has changed
711 alongside, but figured bass mode was not changed, i.e.:
714 \markup @{ \center <@var{..list of markups..}> @}
715 \figure @{ <@var{figures}> @}
718 As chords the more often used than simultaneous music, this change will
722 Each music expression can now be tagged, to make different printed
723 versions from the same music expression. In the following example,
724 we see two versions of a piece of music, one for the full score, and
725 one with cue notes for the instrumental part:
729 @{ c4 f2 g4 @} % in the part, we have cue-notes
731 \tag #'score R1 % in the score: only a rest
735 The same can be applied to articulations, texts, etc.: they are
739 -\tag #@var{your-tags}
742 to an articulation, for example,
745 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
748 This defines a note, which has a conditional fingering and a
749 string-number indication.
752 The settings for chord-fingering are more flexible. You can specify a
753 list where fingerings may be placed, eg.
756 \property Voice.fingeringOrientations = #'(left down)
759 This will put the fingering for the lowest note below the chord, and the
763 The script previously known as @code{ly2dvi} has been renamed to
764 @code{lilypond}. The binary itself is now installed as
768 Markup text (ie. general text formatting) may now be used for lyrics too.
771 Two new commands for grace notes have been added, @code{\acciaccatura}
772 and @code{\appoggiatura},
779 Both reflect the traditional meanings of acciaccatura and appogiatura,
780 and both insert insert a slur from the first grace note to the main
784 Layout options for grace notes are now stored in a context property,
785 and may now be set separately from musical content.
788 The @code{\new} command will create a context with a unique
789 name automatically. Hence, for multi-staff scores, it is no longer
790 necessary to invent arbitrary context names. For example, a two-staff
791 score may be created by
795 \new Staff @{ @var{notes for 1st staff} @}
796 \new Staff @{ @var{notes for 2nd staff} @}
803 Octave checks make octave errors easier to correct.
810 This checks that @var{pitch} (without octave) yields @var{pitch} (with
811 octave) in \relative mode. If not, a warning is printed, and the
815 All articulations must now be entered postfix. For example,
822 is a pair of beamed slurred eighth notes.
825 The definition of @code{\relative} has been simplified. Octaves are
826 now always propagated in the order that music is entered. In the
831 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
836 the octave of BODY is based on PRE, the starting octave of ALT1 on
837 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
840 The same mechanism is used for all other music expressions, except the
841 chord. Backwards compatibility is retained through a special program option,
845 #(ly:set-option 'old-relative)
849 Windows users can double click a @code{.ly} file to process and view
850 it automagically through the new @code{lily-wins} frontend.
857 @unnumbered New features in 1.8 since 1.6
862 The chord entry code has been completely rewritten. It is now
863 cleaner and more flexible.
866 A new syntax has been added for text entry. This syntax is more
867 friendly than the old mechanism, and it is implemented in a more
868 robust and modular way. For more information, refer to the section on
869 "Text markup" in the notation manual.
872 The integration of the input language and Scheme has been made deeper:
873 you can now use LilyPond identifiers in Scheme, and use Scheme
874 expressions instead of LilyPond identifiers.
877 The internal representation of music has been cleaned up completely
878 and converted to Scheme data structures. The representation may be
882 A new uniform postfix syntax for articulation has been introduced.
883 A beamed slurred pair of eighth notes can be entered as
889 In version 2.0, postfix syntax will be the only syntax
890 available, and the dashes will become optional.
892 This will simplify the language: all articulations can be entered as
893 postfix, in any order.
896 A new syntax has been added for chords:
903 It is not necessary to update files to this syntax, but it will be for
904 using LilyPond version 2.0. In version 2.0, this syntax will be
914 \simultaneous @{ .. @}
917 for simultaneous music.
919 To convert your files from <PITCHES> to <<PITCHES>>, use the script
920 included in @file{buildscripts/convert-new-chords.py}.
922 This change was introduced for the following reasons
926 It solves the "start score with chord" problem, where you have to
927 state \context Voice explicitly when a chord was the start of a
930 With the new syntax, it is possible to distinguish between
931 articulations (or fingerings) which are for a single chord note,
932 and which are for the entire chord. This allows for per-note
933 fingerings, and is more logical on the whole.
937 User code may now be executed during interpreting. The syntax for
941 \applycontext #SCHEME-FUNCTION
945 User code may now be executed on arbitrary grobs during interpreting.
946 The syntax for this feature is
949 \applyoutput #SCHEME-FUNCTION
953 SCHEME-FUNCTION takes a single argument, and is called for every grob
954 that is created in the current context.
957 New algorithms for chord-name formatting have been installed. They
958 can be tuned and have ergonomic syntax for entering exceptions.
961 Texts may now be put on multimeasure rests, e.g.
964 R1*20^\markup @{ "GP" @}
968 Ancient notation now prints ligatures in Gregorian square neumes
969 notation, roughly following the typographical style of the Liber
970 hymnarius of Solesmes, published in 1983. Ligatures are still printed
971 without the proper line breaking and horizontal spacing.
974 Glissandi can now be printed using the zigzag style.
977 LilyPond can now print clusters. The syntax is
980 \apply #notes-to-clusters @{ NOTE NOTE .. @}
984 For irregular meters, beat grouping marks can be printed. The
988 #(set-time-signature 7 8 '(3 2 2))
993 Nested horizontal brackets for music analysis can now be printed:
1002 @item Ottava brackets are now fully supported as a feature. The syntax
1010 @item Metronome markings are printed when a \tempo command is processed.
1014 @item Fingerings can be put on chords horizontally.
1018 @item The appearance of various glyphs has been fine-tuned.
1022 @item Different types of percent style repeats may now be nested.
1026 @item The emacs support has been extended.
1030 The manual has been completely revised and extended.
1034 @unnumbered New features in 1.6 since 1.4
1040 Support for figured bass and tablature.
1043 Completely rewritten beam formatting: provides much better output
1048 Completely revised and improved music font.
1052 Completely rewritten MIDI import support.
1055 Completely rewritten grace note support. Practically speaking this
1056 means that grace notes can be slurred to normal normal notes.
1060 Improved accidental handling and formatting: styles for producing
1061 cautionaries may vary, and complex collisions between accidentals of a
1062 chord are handled much better.
1065 Better spacing: both globally and locally. This includes subtle
1066 details like optical stem spacing.
1069 More support for ancient notation: mensural ligatures, ambitus
1070 (pitch range) of voices, more shapes, etc.
1073 More support for piano notation: bracket pedals, directed arpeggios,
1077 Easier music polyphonic music entry.
1080 More extensibility, many speedups and bugfixes
1083 The manual has been thoroughly revised.
1086 Development is now hosted at http://savannah.gnu.org, and sources
1087 can be downloaded through anonymous CVS.
1090 Support for windows: LilyPond is part of the cygwin distribution,
1091 which comes with a user-friendly installer.