1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
12 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
14 @item Property functions may be used as an argument to @code{set!},
18 (set! (ly:grob-property grob 'beam) ... )
21 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
24 @item Cue notes can be quoted directly from the parts that
25 contain them. This will take into account transposition of source and target
26 instrument. For example,
29 \addquote clarinet \notes\relative c' {
35 \notes \relative c'' {
36 c8 d8 \quote 2 oboe es8 gis
41 @item The transposition of an instrument can be specified using the
42 @code{\transposition} command. An
43 E-flat alto saxophone is specified as
49 @item The naming of exported Scheme functions now follows Scheme conventions.
50 Changes be applied to Scheme files with
53 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
57 @item Notes can be excluded from auto-beaming, by marking them with
64 will print two separate eighth notes, and two beamed notes.
66 @item Translators and contexts have been split. The result of this
67 internal cleanup is that @code{Score} no longer is the top context;
68 @code{Score} is contained in the @code{Global} context. Consequently,
69 it is possible to tweak @code{Score} as follows:
72 \context Score \with @{
77 @item The number of staff lines in Tablature notation is now
78 automatically deduced from the @code{stringTunings} property.
80 @item The program reference has been cleaned up and revised.
82 @item The syntax for setting properties has been simplified:
83 the following table lists the differences:
88 \property A.B = #C \set A.B = #C
89 \property A.B \unset \unset A.B
90 \property A.B \set #C = #D \override A.B #C = #D
91 \property A.B \override #C = #D (removed)
92 \property A.B \revert #C \revert A.B #C
95 Furthermore, if @code{A} is left out, the bottommost context is used
96 by default. In other words, it is no longer necessary to explicitly
97 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
102 \property Voice.autoBeaming = ##f
103 \property Staff.TimeSignature \set #'style = #'C
109 \set autoBeaming = ##f
110 \override Staff.TimeSignature #'style = #'C
114 @item Tweaks made with @code{\override} and @code{\revert} no longer
115 hide tweaks at higher context levels.
117 @item Melismata in lyrics are also properly handled in the MIDI output.
119 @item The lilypond-book script has been rewritten.
120 It is shorter, cleaner and faster. The special construct
121 @code{mbinclude} has been removed, plain @code{@@include} or
122 @code{\input} can be used now.
126 running convert-ly on the lilypond snippets like so:
128 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
132 @item The @code{LyricsVoice} context has been removed. Lyrics should only
133 be constructed in @code{Lyrics}.
135 @item The @code{Thread} context has been removed. Note heads and rests
136 are now constructed at @code{Voice} level.
138 @item Harmonic notes can now be entered as
144 @item Drum notation is now supported as a regular feature:
145 percussion may be entered in @code{\drums} mode, and printed or
146 performed in a @code{DrumStaff} context:
150 \drums \new DrumStaff @{ hihat4 cowbell8 @}
154 @item The automatic staff changer was internally rewritten. As a
155 result, the syntax has been simplified as well:
158 \autochange @var{the music}
161 @item The ergonomic syntax of @code{\markup} now has an equivalent in
162 Scheme. The @code{markup*} macro creates such objects; the following
163 two markup commands are equivalent:
165 f4^#(markup* #:raise 0.2 #:bold "hi")
166 f4^\markup @{ \raise #0.2 \bold hi @}
169 @item Voice names, for vocal lines, have been added. They are similar
170 to instrument names. They can be set by defining @code{vocalName}
173 @item Safe mode has been reinstated for lilypond.
174 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
175 PostScript file output is disallowed, and lilypond-bin is invoked with
176 @code{--safe-mode}, the user's Guile expressions are evaluated in a
177 safe environment and file inclusion is not allowed.
179 Warning: this does not protect against denial-of-service attacks using
180 Guile, @TeX{} or PostScript.
182 (This feature is still experimental.)
184 @item There is now a Scheme macro for defining markup
185 commands. Special mark-up commands can be defined in user-files too.
187 @item Many fixes for dimension scaling have been made,
188 resulting in correct results for scores that mix staves in different
191 @item Improved robustness when layout properties are accidentally removed.
193 @item A more cleanly constructed part combiner has been installed.
194 It is more robust and less buggy. The part-combiner can be used with
196 \partcombine @var{mus1} @var{mus2}
200 See @file{input/regression/new-part-combine.ly} for an example.
202 @item Formatting of rehearsal marks has been improved. The @code{\mark}
203 command now only does automatic incrementing for marks specified as
204 integer. For example, @code{\mark #1} will print an A in the default
205 style. See @file{input/regression/rehearsal-mark-letter.ly},
206 @file{input/regression/rehearsal-mark-number.ly}.
208 @item Formatting of ottava brackets has been much improved.
210 @item Objects in the output can now be documented: the following fragment
211 boxes the note head, and adds the text ``heads or tails?'' three
212 spaces below the box.
215 \context Voice \applyoutput #(add-balloon-text
216 'NoteHead "heads, or tails?"
224 @item Default staff sizes are now scalable. There are two new mechanisms for
225 setting staff sizes. Both are demonstrated in this fragment:
228 #(set-global-staff-size 15)
230 #(paper-set-staff-size (* 15 pt))
236 Both have the same effect on the global layout of a piece. Similarly,
237 the paper size may be changed as follows
240 #(set-paper-size "a4")
244 @item Warnings for bar check errors are more cleverly printed. This
245 makes @code{barCheckSynchronize} superfluous, so it is now switched
248 Warning: this will cause problems in scores that use bar checks to
251 @item The black note head was made a little rounder, which causes a less
252 frantic graphic impression.
255 A more concise syntax for checking octaves was introduced. A note may
256 be followed by @code{=}@var{quotes} which indicates what its absolute
257 octave should be. In the following example,
260 \relative c'' @{ c='' b=' d,='' @}
264 the d will generate a warning, because a d'' is
265 expected, but a d' is found.
266 @c @code adds ` ', very confusing.
268 @item There is a new mechanism for putting lyrics to melodies.
269 With this mechanism, @code{Lyrics} lines can be put melodies
270 individually, allowing for different melismatic sections in every
271 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
273 @item Bar lines may now be dotted.
276 @item The documentation now has links to a wiki, where everyone can
277 add personal comments to the manual.
279 @item Contexts may now be changed locally for an isolated music
280 expression. For example,
284 \consists "Pitch_squash_engraver"
290 @item The syntax for changing staffs has changed. The keyword
291 @code{\change} should now be used, e.g.
297 @item Features of spanner contexts, like @code{Staff}, can now be changed
298 using @code{\property}, eg.
302 \property Staff.StaffSymbol \set #'line-count = #4
308 puts a quarter note C on a staff with 4 lines.
311 @item Multi measure rests are now truly centered between the
312 clefs/barlines of the staff, their position is independent of symbols
315 @item Collision resolution for dots in chords has been improved greatly.
318 Spacing following barlines was improved for widely stretched lines.
321 Lyric hyphens and extenders now conform to standard typesetting
325 Lyrics are now aligned under note heads conforming to engraving
326 standards. The responsible code has been rewritten, and is drastically
327 simpler from the previous version. To aid this rewrite, the syntactic
328 function of the extender line ( __ ) has been changed: it is now
329 attached to the lyric syllable.
332 When redefining a context, the associated identifier is also
333 updated. For example, after reading the following snippet,
340 the definition of @code{ScoreContext} is updated to include the changed
345 The weight of the stafflines is now heavier at smaller staff sizes.
346 The font has been modified to match this look: at smaller sizes, the
347 font is heavier and the note heads are more rounded.
349 @item Processing scores is now done while parsing the file. New
350 Scheme functions give more flexibility: for example, it is now possible
351 interpret a score, collecting synchronized musical events in a list, and
352 manipulate that information using inline Scheme. For an example, see
353 @file{input/no-notation/recording.ly}.
355 @item Font sizes can now truly be scaled continuously: the @code{font-size}
356 is similar to the old @code{font-relative-size}, but may be set to
357 fractional values; the closest design size will be scaled to achieve
358 the desired size. As a side-effect, there are now no longer
359 limitations in using smaller fonts (eg. grace notes) at small staff
362 @item Stem tips are now also engraved with rounded corners.
365 The placement of accidentals on chords and ledgered notes is improved.
370 @chapter New features in 2.0 since 1.8
375 Crescendos can now be drawn dotted or dashed.
378 Quarter tones are now supported. They are entered by suffixing
379 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
380 following is an ascending list of pitches:
383 ceses ceseh ces ceh c cih cis cisih cisis
387 The following constructs have been removed from the syntax:
390 \duration #SCHEME-DURATION
392 \outputproperty @var{func} @var{symbol} = @var{value}
395 For @code{\outputproperty}, the following may be substituted:
398 \applyoutput #(outputproperty-compatibility @var{func}
399 @var{symbol} @var{value})
403 Clefs may now be transposed arbitrarily, for example
413 The syntax for chords and simultaneous music have changed.
414 Chords are entered as
420 while simultaneous music is entered as
423 <<@var{..music list..}>>
426 In effect, the meanings of both have been swapped relative to their 1.8
427 definition. The syntax for lists in @code{\markup} has changed
428 alongside, but figured bass mode was not changed, i.e.:
431 \markup @{ \center <@var{..list of markups..}> @}
432 \figure @{ <@var{figures}> @}
435 As chords the more often used than simultaneous music, this change will
439 Each music expression can now be tagged, to make different printed
440 versions from the same music expression. In the following example,
441 we see two versions of a piece of music, one for the full score, and
442 one with cue notes for the instrumental part:
446 @{ c4 f2 g4 @} % in the part, we have cue-notes
448 \tag #'score R1 % in the score: only a rest
452 The same can be applied to articulations, texts, etc.: they are
456 -\tag #@var{your-tags}
459 to an articulation, for example,
462 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
465 This defines a note, which has a conditional fingering and a
466 string-number indication.
469 The settings for chord-fingering are more flexible. You can specify a
470 list where fingerings may be placed, eg.
473 \property Voice.fingeringOrientations = #'(left down)
476 This will put the fingering for the lowest note below the chord, and the
480 The script previously known as @code{ly2dvi} has been renamed to
481 @code{lilypond}. The binary itself is now installed as
485 Markup text (ie. general text formatting) may now be used for lyrics too.
488 Two new commands for grace notes have been added, @code{\acciaccatura}
489 and @code{\appoggiatura},
496 Both reflect the traditional meanings of acciaccatura and appogiatura,
497 and both insert insert a slur from the first grace note to the main
501 Layout options for grace notes are now stored in a context property,
502 and may now be set separately from musical content.
505 The @code{\new} command will create a context with a unique
506 name automatically. Hence, for multi-staff scores, it is no longer
507 necessary to invent arbitrary context names. For example, a two-staff
508 score may be created by
512 \new Staff @{ @var{notes for 1st staff} @}
513 \new Staff @{ @var{notes for 2nd staff} @}
520 Octave checks make octave errors easier to correct.
527 This checks that @var{pitch} (without octave) yields @var{pitch} (with
528 octave) in \relative mode. If not, a warning is printed, and the
532 All articulations must now be entered postfix. For example,
539 is a pair of beamed slurred eighth notes.
542 The definition of @code{\relative} has been simplified. Octaves are
543 now always propagated in the order that music is entered. In the
548 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
553 the octave of BODY is based on PRE, the starting octave of ALT1 on
554 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
557 The same mechanism is used for all other music expressions, except the
558 chord. Backwards compatibility is retained through a special program option,
562 #(ly:set-option 'old-relative)
566 Windows users can double click a @code{.ly} file to process and view
567 it automagically through the new @code{lily-wins} frontend.
574 @chapter New features in 1.8 since 1.6
579 The chord entry code has been completely rewritten. It is now
580 cleaner and more flexible.
583 A new syntax has been added for text entry. This syntax is more
584 friendly than the old mechanism, and it is implemented in a more
585 robust and modular way. For more information, refer to the section on
586 "Text markup" in the notation manual.
589 The integration of the input language and Scheme has been made deeper:
590 you can now use LilyPond identifiers in Scheme, and use Scheme
591 expressions instead of LilyPond identifiers.
594 The internal representation of music has been cleaned up completely
595 and converted to Scheme data structures. The representation may be
599 A new uniform postfix syntax for articulation has been introduced.
600 A beamed slurred pair of eighth notes can be entered as
606 In version 2.0, postfix syntax will be the only syntax
607 available, and the dashes will become optional.
609 This will simplify the language: all articulations can be entered as
610 postfix, in any order.
613 A new syntax has been added for chords:
620 It is not necessary to update files to this syntax, but it will be for
621 using LilyPond version 2.0. In version 2.0, this syntax will be
631 \simultaneous @{ .. @}
634 for simultaneous music.
636 To convert your files from <PITCHES> to <<PITCHES>>, use the script
637 included in buildscripts/convert-new-chords.py
639 This change was introduced for the following reasons
643 It solves the "start score with chord" problem, where you have to
644 state \context Voice explicitly when a chord was the start of a
647 With the new syntax, it is possible to distinguish between
648 articulations (or fingerings) which are for a single chord note,
649 and which are for the entire chord. This allows for per-note
650 fingerings, and is more logical on the whole.
654 User code may now be executed during interpreting. The syntax for
658 \applycontext #SCHEME-FUNCTION
662 User code may now be executed on arbitrary grobs during interpreting.
663 The syntax for this feature is
666 \applyoutput #SCHEME-FUNCTION
670 SCHEME-FUNCTION takes a single argument, and is called for every grob
671 that is created in the current context.
674 New algorithms for chord-name formatting have been installed. They
675 can be tuned and have ergonomic syntax for entering exceptions.
678 Texts may now be put on multimeasure rests, e.g.
681 R1*20^\markup @{ "GP" @}
685 Ancient notation now prints ligatures in Gregorian square neumes
686 notation, roughly following the typographical style of the Liber
687 hymnarius of Solesmes, published in 1983. Ligatures are still printed
688 without the proper line breaking and horizontal spacing.
691 Glissandi can now be printed using the zigzag style.
694 LilyPond can now print clusters. The syntax is
697 \apply #notes-to-clusters @{ NOTE NOTE .. @}
701 For irregular meters, beat grouping marks can be printed. The
705 #(set-time-signature 7 8 '(3 2 2))
710 Nested horizontal brackets for music analysis can now be printed:
719 @item Ottava brackets are now fully supported as a feature. The syntax
727 @item Metronome markings are printed when a \tempo command is processed.
731 @item Fingerings can be put on chords horizontally.
735 @item The appearance of various glyphs has been fine-tuned.
739 @item Different types of percent style repeats may now be nested.
743 @item The emacs support has been extended.
747 The manual has been completely revised and extended.
751 @chapter New features in 1.6 since 1.4
757 Support for figured bass and tablature.
760 Completely rewritten beam formatting: provides much better output
765 Completely revised and improved music font.
769 Completely rewritten MIDI import support.
772 Completely rewritten grace note support. Practically speaking this
773 means that grace notes can be slurred to normal normal notes.
777 Improved accidental handling and formatting: styles for producing
778 cautionaries may vary, and complex collisions between accidentals of a
779 chord are handled much better.
782 Better spacing: both globally and locally. This includes subtle
783 details like optical stem spacing.
786 More support for ancient notation: mensural ligatures, ambitus
787 (pitch range) of voices, more shapes, etc.
790 More support for piano notation: bracket pedals, directed arpeggios,
794 Easier music polyphonic music entry.
797 More extensibility, many speedups and bugfixes
800 The manual has been thoroughly revised.
803 Development is now hosted at http://savannah.gnu.org, and sources
804 can be downloaded through anonymous CVS.
807 Support for windows: LilyPond is part of the cygwin distribution,
808 which comes with a user-friendly installer.