1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item The pmx2ly script has been removed from the distribution.
13 @item Pedal brackets will now run to the last bar of a piece if they are not
16 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
18 @item Property functions may be used as an argument to @code{set!},
22 (set! (ly:grob-property grob 'beam) ... )
25 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
28 @item Cue notes can be quoted directly from the parts that
29 contain them. This will take into account transposition of source and target
30 instrument. For example,
33 \addquote clarinet \notes\relative c' {
39 \notes \relative c'' {
40 c8 d8 \quote 2 oboe es8 gis
45 @item The transposition of an instrument can be specified using the
46 @code{\transposition} command. An
47 E-flat alto saxophone is specified as
53 @item The naming of exported Scheme functions now follows Scheme conventions.
54 Changes be applied to Scheme files with
57 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
61 @item Notes can be excluded from auto-beaming, by marking them with
68 will print two separate eighth notes, and two beamed notes.
70 @item Translators and contexts have been split. The result of this
71 internal cleanup is that @code{Score} no longer is the top context;
72 @code{Score} is contained in the @code{Global} context. Consequently,
73 it is possible to tweak @code{Score} as follows:
76 \context Score \with @{
81 @item The number of staff lines in Tablature notation is now
82 automatically deduced from the @code{stringTunings} property.
84 @item The program reference has been cleaned up and revised.
86 @item The syntax for setting properties has been simplified:
87 the following table lists the differences:
92 \property A.B = #C \set A.B = #C
93 \property A.B \unset \unset A.B
94 \property A.B \set #C = #D \override A.B #C = #D
95 \property A.B \override #C = #D (removed)
96 \property A.B \revert #C \revert A.B #C
99 Furthermore, if @code{A} is left out, the bottommost context is used
100 by default. In other words, it is no longer necessary to explicitly
101 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
106 \property Voice.autoBeaming = ##f
107 \property Staff.TimeSignature \set #'style = #'C
113 \set autoBeaming = ##f
114 \override Staff.TimeSignature #'style = #'C
118 @item Tweaks made with @code{\override} and @code{\revert} no longer
119 hide tweaks at higher context levels.
121 @item Melismata in lyrics are also properly handled in the MIDI output.
123 @item The lilypond-book script has been rewritten.
124 It is shorter, cleaner and faster. The special construct
125 @code{mbinclude} has been removed, plain @code{@@include} or
126 @code{\input} can be used now.
130 running convert-ly on the lilypond snippets like so:
132 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
136 @item The @code{LyricsVoice} context has been removed. Lyrics should only
137 be constructed in @code{Lyrics}.
139 @item The @code{Thread} context has been removed. Note heads and rests
140 are now constructed at @code{Voice} level.
142 @item Harmonic notes can now be entered as
148 @item Drum notation is now supported as a regular feature:
149 percussion may be entered in @code{\drums} mode, and printed or
150 performed in a @code{DrumStaff} context:
154 \drums \new DrumStaff @{ hihat4 cowbell8 @}
158 @item The automatic staff changer was internally rewritten. As a
159 result, the syntax has been simplified as well:
162 \autochange @var{the music}
165 @item The ergonomic syntax of @code{\markup} now has an equivalent in
166 Scheme. The @code{markup*} macro creates such objects; the following
167 two markup commands are equivalent:
169 f4^#(markup* #:raise 0.2 #:bold "hi")
170 f4^\markup @{ \raise #0.2 \bold hi @}
173 @item Voice names, for vocal lines, have been added. They are similar
174 to instrument names. They can be set by defining @code{vocalName}
177 @item Safe mode has been reinstated for lilypond.
178 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
179 PostScript file output is disallowed, and lilypond-bin is invoked with
180 @code{--safe-mode}, the user's Guile expressions are evaluated in a
181 safe environment and file inclusion is not allowed.
183 Warning: this does not protect against denial-of-service attacks using
184 Guile, @TeX{} or PostScript.
186 (This feature is still experimental.)
188 @item There is now a Scheme macro for defining markup
189 commands. Special mark-up commands can be defined in user-files too.
191 @item Many fixes for dimension scaling have been made,
192 resulting in correct results for scores that mix staves in different
195 @item Improved robustness when layout properties are accidentally removed.
197 @item A more cleanly constructed part combiner has been installed.
198 It is more robust and less buggy. The part-combiner can be used with
200 \partcombine @var{mus1} @var{mus2}
204 See @file{input/regression/new-part-combine.ly} for an example.
206 @item Formatting of rehearsal marks has been improved. The @code{\mark}
207 command now only does automatic incrementing for marks specified as
208 integer. For example, @code{\mark #1} will print an A in the default
209 style. See @file{input/regression/rehearsal-mark-letter.ly},
210 @file{input/regression/rehearsal-mark-number.ly}.
212 @item Formatting of ottava brackets has been much improved.
214 @item Objects in the output can now be documented: the following fragment
215 boxes the note head, and adds the text ``heads or tails?'' three
216 spaces below the box.
219 \context Voice \applyoutput #(add-balloon-text
220 'NoteHead "heads, or tails?"
228 @item Default staff sizes are now scalable. There are two new mechanisms for
229 setting staff sizes. Both are demonstrated in this fragment:
232 #(set-global-staff-size 15)
234 #(paper-set-staff-size (* 15 pt))
240 Both have the same effect on the global layout of a piece. Similarly,
241 the paper size may be changed as follows
244 #(set-paper-size "a4")
248 @item Warnings for bar check errors are more cleverly printed. This
249 makes @code{barCheckSynchronize} superfluous, so it is now switched
252 Warning: this will cause problems in scores that use bar checks to
255 @item The black note head was made a little rounder, which causes a less
256 frantic graphic impression.
259 A more concise syntax for checking octaves was introduced. A note may
260 be followed by @code{=}@var{quotes} which indicates what its absolute
261 octave should be. In the following example,
264 \relative c'' @{ c='' b=' d,='' @}
268 the d will generate a warning, because a d'' is
269 expected, but a d' is found.
270 @c @code adds ` ', very confusing.
272 @item There is a new mechanism for putting lyrics to melodies.
273 With this mechanism, @code{Lyrics} lines can be put melodies
274 individually, allowing for different melismatic sections in every
275 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
277 @item Bar lines may now be dotted.
280 @item The documentation now has links to a wiki, where everyone can
281 add personal comments to the manual.
283 @item Contexts may now be changed locally for an isolated music
284 expression. For example,
288 \consists "Pitch_squash_engraver"
294 @item The syntax for changing staffs has changed. The keyword
295 @code{\change} should now be used, e.g.
301 @item Features of spanner contexts, like @code{Staff}, can now be changed
302 using @code{\property}, eg.
306 \property Staff.StaffSymbol \set #'line-count = #4
312 puts a quarter note C on a staff with 4 lines.
315 @item Multi measure rests are now truly centered between the
316 clefs/barlines of the staff, their position is independent of symbols
319 @item Collision resolution for dots in chords has been improved greatly.
322 Spacing following barlines was improved for widely stretched lines.
325 Lyric hyphens and extenders now conform to standard typesetting
329 Lyrics are now aligned under note heads conforming to engraving
330 standards. The responsible code has been rewritten, and is drastically
331 simpler from the previous version. To aid this rewrite, the syntactic
332 function of the extender line ( __ ) has been changed: it is now
333 attached to the lyric syllable.
336 When redefining a context, the associated identifier is also
337 updated. For example, after reading the following snippet,
344 the definition of @code{ScoreContext} is updated to include the changed
349 The weight of the stafflines is now heavier at smaller staff sizes.
350 The font has been modified to match this look: at smaller sizes, the
351 font is heavier and the note heads are more rounded.
353 @item Processing scores is now done while parsing the file. New
354 Scheme functions give more flexibility: for example, it is now possible
355 interpret a score, collecting synchronized musical events in a list, and
356 manipulate that information using inline Scheme. For an example, see
357 @file{input/no-notation/recording.ly}.
359 @item Font sizes can now truly be scaled continuously: the @code{font-size}
360 is similar to the old @code{font-relative-size}, but may be set to
361 fractional values; the closest design size will be scaled to achieve
362 the desired size. As a side-effect, there are now no longer
363 limitations in using smaller fonts (eg. grace notes) at small staff
366 @item Stem tips are now also engraved with rounded corners.
369 The placement of accidentals on chords and ledgered notes is improved.
374 @chapter New features in 2.0 since 1.8
379 Crescendos can now be drawn dotted or dashed.
382 Quarter tones are now supported. They are entered by suffixing
383 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
384 following is an ascending list of pitches:
387 ceses ceseh ces ceh c cih cis cisih cisis
391 The following constructs have been removed from the syntax:
394 \duration #SCHEME-DURATION
396 \outputproperty @var{func} @var{symbol} = @var{value}
399 For @code{\outputproperty}, the following may be substituted:
402 \applyoutput #(outputproperty-compatibility @var{func}
403 @var{symbol} @var{value})
407 Clefs may now be transposed arbitrarily, for example
417 The syntax for chords and simultaneous music have changed.
418 Chords are entered as
424 while simultaneous music is entered as
427 <<@var{..music list..}>>
430 In effect, the meanings of both have been swapped relative to their 1.8
431 definition. The syntax for lists in @code{\markup} has changed
432 alongside, but figured bass mode was not changed, i.e.:
435 \markup @{ \center <@var{..list of markups..}> @}
436 \figure @{ <@var{figures}> @}
439 As chords the more often used than simultaneous music, this change will
443 Each music expression can now be tagged, to make different printed
444 versions from the same music expression. In the following example,
445 we see two versions of a piece of music, one for the full score, and
446 one with cue notes for the instrumental part:
450 @{ c4 f2 g4 @} % in the part, we have cue-notes
452 \tag #'score R1 % in the score: only a rest
456 The same can be applied to articulations, texts, etc.: they are
460 -\tag #@var{your-tags}
463 to an articulation, for example,
466 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
469 This defines a note, which has a conditional fingering and a
470 string-number indication.
473 The settings for chord-fingering are more flexible. You can specify a
474 list where fingerings may be placed, eg.
477 \property Voice.fingeringOrientations = #'(left down)
480 This will put the fingering for the lowest note below the chord, and the
484 The script previously known as @code{ly2dvi} has been renamed to
485 @code{lilypond}. The binary itself is now installed as
489 Markup text (ie. general text formatting) may now be used for lyrics too.
492 Two new commands for grace notes have been added, @code{\acciaccatura}
493 and @code{\appoggiatura},
500 Both reflect the traditional meanings of acciaccatura and appogiatura,
501 and both insert insert a slur from the first grace note to the main
505 Layout options for grace notes are now stored in a context property,
506 and may now be set separately from musical content.
509 The @code{\new} command will create a context with a unique
510 name automatically. Hence, for multi-staff scores, it is no longer
511 necessary to invent arbitrary context names. For example, a two-staff
512 score may be created by
516 \new Staff @{ @var{notes for 1st staff} @}
517 \new Staff @{ @var{notes for 2nd staff} @}
524 Octave checks make octave errors easier to correct.
531 This checks that @var{pitch} (without octave) yields @var{pitch} (with
532 octave) in \relative mode. If not, a warning is printed, and the
536 All articulations must now be entered postfix. For example,
543 is a pair of beamed slurred eighth notes.
546 The definition of @code{\relative} has been simplified. Octaves are
547 now always propagated in the order that music is entered. In the
552 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
557 the octave of BODY is based on PRE, the starting octave of ALT1 on
558 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
561 The same mechanism is used for all other music expressions, except the
562 chord. Backwards compatibility is retained through a special program option,
566 #(ly:set-option 'old-relative)
570 Windows users can double click a @code{.ly} file to process and view
571 it automagically through the new @code{lily-wins} frontend.
578 @chapter New features in 1.8 since 1.6
583 The chord entry code has been completely rewritten. It is now
584 cleaner and more flexible.
587 A new syntax has been added for text entry. This syntax is more
588 friendly than the old mechanism, and it is implemented in a more
589 robust and modular way. For more information, refer to the section on
590 "Text markup" in the notation manual.
593 The integration of the input language and Scheme has been made deeper:
594 you can now use LilyPond identifiers in Scheme, and use Scheme
595 expressions instead of LilyPond identifiers.
598 The internal representation of music has been cleaned up completely
599 and converted to Scheme data structures. The representation may be
603 A new uniform postfix syntax for articulation has been introduced.
604 A beamed slurred pair of eighth notes can be entered as
610 In version 2.0, postfix syntax will be the only syntax
611 available, and the dashes will become optional.
613 This will simplify the language: all articulations can be entered as
614 postfix, in any order.
617 A new syntax has been added for chords:
624 It is not necessary to update files to this syntax, but it will be for
625 using LilyPond version 2.0. In version 2.0, this syntax will be
635 \simultaneous @{ .. @}
638 for simultaneous music.
640 To convert your files from <PITCHES> to <<PITCHES>>, use the script
641 included in buildscripts/convert-new-chords.py
643 This change was introduced for the following reasons
647 It solves the "start score with chord" problem, where you have to
648 state \context Voice explicitly when a chord was the start of a
651 With the new syntax, it is possible to distinguish between
652 articulations (or fingerings) which are for a single chord note,
653 and which are for the entire chord. This allows for per-note
654 fingerings, and is more logical on the whole.
658 User code may now be executed during interpreting. The syntax for
662 \applycontext #SCHEME-FUNCTION
666 User code may now be executed on arbitrary grobs during interpreting.
667 The syntax for this feature is
670 \applyoutput #SCHEME-FUNCTION
674 SCHEME-FUNCTION takes a single argument, and is called for every grob
675 that is created in the current context.
678 New algorithms for chord-name formatting have been installed. They
679 can be tuned and have ergonomic syntax for entering exceptions.
682 Texts may now be put on multimeasure rests, e.g.
685 R1*20^\markup @{ "GP" @}
689 Ancient notation now prints ligatures in Gregorian square neumes
690 notation, roughly following the typographical style of the Liber
691 hymnarius of Solesmes, published in 1983. Ligatures are still printed
692 without the proper line breaking and horizontal spacing.
695 Glissandi can now be printed using the zigzag style.
698 LilyPond can now print clusters. The syntax is
701 \apply #notes-to-clusters @{ NOTE NOTE .. @}
705 For irregular meters, beat grouping marks can be printed. The
709 #(set-time-signature 7 8 '(3 2 2))
714 Nested horizontal brackets for music analysis can now be printed:
723 @item Ottava brackets are now fully supported as a feature. The syntax
731 @item Metronome markings are printed when a \tempo command is processed.
735 @item Fingerings can be put on chords horizontally.
739 @item The appearance of various glyphs has been fine-tuned.
743 @item Different types of percent style repeats may now be nested.
747 @item The emacs support has been extended.
751 The manual has been completely revised and extended.
755 @chapter New features in 1.6 since 1.4
761 Support for figured bass and tablature.
764 Completely rewritten beam formatting: provides much better output
769 Completely revised and improved music font.
773 Completely rewritten MIDI import support.
776 Completely rewritten grace note support. Practically speaking this
777 means that grace notes can be slurred to normal normal notes.
781 Improved accidental handling and formatting: styles for producing
782 cautionaries may vary, and complex collisions between accidentals of a
783 chord are handled much better.
786 Better spacing: both globally and locally. This includes subtle
787 details like optical stem spacing.
790 More support for ancient notation: mensural ligatures, ambitus
791 (pitch range) of voices, more shapes, etc.
794 More support for piano notation: bracket pedals, directed arpeggios,
798 Easier music polyphonic music entry.
801 More extensibility, many speedups and bugfixes
804 The manual has been thoroughly revised.
807 Development is now hosted at http://savannah.gnu.org, and sources
808 can be downloaded through anonymous CVS.
811 Support for windows: LilyPond is part of the cygwin distribution,
812 which comes with a user-friendly installer.