1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item Features of spanner contexts, like Staff, can now be changed easily:
15 StaffSymbol \set #'line-count = #4
21 puts a quarter note C on a staff with 4 lines.
25 @item Multi measure rests are now truly centered between the
26 clefs/barlines of the staff, independent of symbols on the other staffs.
28 @item Collision resolution for dots in chords has been improved greatly.
31 Spacing following barlines was improved for widely stretched lines.
34 Lyric hyphens and extenders now conform to standard typesetting
38 Lyrics are now aligned under note heads conforming to engraving
39 standards. The responsible code has been rewritten, and is drastically
40 simpler from the previous version. To aid this rewrite, the syntactic
41 function of the extender line ( __ ) has been changed: it is now
42 attached to the lyric syllable.
45 When redefining a context, the associated identifier is also
46 updated. For example, after reading following the snippet,
53 the definition of @code{ScoreContext} is updated to include the changed
58 The weight of the stafflines is now heavier at smaller staff sizes.
59 The font has been modified to match this look: at smaller sizes, the
60 font is heavier and the note heads are more rounded.
62 @item Processing scores is now done while parsing the file. New
63 Scheme functions give more flexibility: for example, it is now possible
64 interpret a score, collecting synchronized musical events in a list, and
65 manipulate that information using inline Scheme. For an example, see
66 @file{input/no-notation/recording.ly}.
68 @item Font sizes can now truly be scaled continuously: the @code{font-size}
69 is similar to the old @code{font-relative-size}, but may be set to
70 fractional values; the closest design size will be scaled to achieve
71 the desired size. As a side-effect, there are now no longer
72 limitations in using smaller fonts (eg. grace notes) at small staff
75 @item The appearance of stem tips is now also engraved with rounded corners.
78 The placement of accidentals on chords and ledgered notes is improved.
83 @chapter New features in 2.0 since 1.8
88 Crescendos can now be drawn dotted or dashed.
91 Quarter tones are now supported. They are entered by suffixing
92 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
93 following is an ascending list of pitches:
96 ceses ceseh ces ceh c cih cis cisih cisis
100 The following constructs have been removed from the syntax:
103 \duration #SCHEME-DURATION
105 \outputproperty @var{func} @var{symbol} = @var{value}
108 For @code{\outputproperty}, the following may be substituted:
111 \applyoutput #(outputproperty-compatibility @var{func}
112 @var{symbol} @var{value})
116 Clefs may now be transposed arbitrarily, for example
126 The syntax for chords and simultaneous music have changed.
127 Chords are entered as
133 while simultaneous music is entered as
136 <<@var{..music list..}>>
139 In effect, the meanings of both have been swapped relative to their 1.8
140 definition. The syntax for lists in @code{\markup} has changed
141 alongside, but figured bass mode was not changed, i.e.:
144 \markup @{ \center <@var{..list of markups..}> @}
145 \figure @{ <@var{figures}> @}
148 As chords the more often used than simultaneous music, this change will
152 Each music expression can now be tagged, to make different printed
153 versions from the same music expression. In the following example,
154 we see two versions of a piece of music, one for the full score, and
155 one with cue notes for the instrumental part:
159 @{ c4 f2 g4 @} % in the part, we have cue-notes
161 \tag #'score R1 % in the score: only a rest
165 The same can be applied to articulations, texts, etc.: they are
169 -\tag #@var{your-tags}
172 to an articulation, for example,
175 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
178 This defines a note, which has a conditional fingering and a
179 string-number indication.
182 The settings for chord-fingering are more flexible. You can specify a
183 list where fingerings may be placed, eg.
186 \property Voice.fingeringOrientations = #'(left down)
189 This will put the fingering for the lowest note below the chord, and the
193 The script previously known as @code{ly2dvi} has been renamed to
194 @code{lilypond}. The binary itself is now installed as
198 Markup text (ie. general text formatting) may now be used for lyrics too.
201 Two new commands for grace notes have been added, @code{\acciaccatura}
202 and @code{\appoggiatura},
209 Both reflect the traditional meanings of acciaccatura and appogiatura,
210 and both insert insert a slur from the first grace note to the main
214 Layout options for grace notes are now stored in a context property,
215 and may now be set separately from musical content.
218 The @code{\new} command will create a context with a unique
219 name automatically. Hence, for multi-staff scores, it is no longer
220 necessary to invent arbitrary context names. For example, a two-staff
221 score may be created by
225 \new Staff @{ @var{notes for 1st staff} @}
226 \new Staff @{ @var{notes for 2nd staff} @}
233 Octave checks make octave errors easier to correct.
240 This checks that @var{pitch} (without octave) yields @var{pitch} (with
241 octave) in \relative mode. If not, a warning is printed, and the
245 All articulations must now be entered postfix. For example,
252 is a pair of beamed slurred eighth notes.
255 The definition of @code{\relative} has been simplified. Octaves are
256 now always propagated in the order that music is entered. In the
261 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
266 the octave of BODY is based on PRE, the starting octave of ALT1 on
267 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
270 The same mechanism is used for all other music expressions, except the
271 chord. Backwards compatibility is retained through a special program option,
275 #(ly:set-option 'old-relative)
279 Windows users can double click a @code{.ly} file to process and view
280 it automagically through the new @code{lily-wins} frontend.
287 @chapter New features in 1.8 since 1.6
292 The chord entry code has been completely rewritten. It is now
293 cleaner and more flexible.
296 A new syntax has been added for text entry. This syntax is more
297 friendly than the old mechanism, and it is implemented in a more
298 robust and modular way. For more information, refer to the section on
299 "Text markup" in the notation manual.
302 The integration of the input language and Scheme has been made deeper:
303 you can now use LilyPond identifiers in Scheme, and use Scheme
304 expressions instead of LilyPond identifiers.
307 The internal representation of music has been cleaned up completely
308 and converted to Scheme data structures. The representation may be
312 A new uniform postfix syntax for articulation has been introduced.
313 A beamed slurred pair of eighth notes can be entered as
319 In version 2.0, postfix syntax will be the only syntax
320 available, and the dashes will become optional.
322 This will simplify the language: all articulations can be entered as
323 postfix, in any order.
326 A new syntax has been added for chords:
333 It is not necessary to update files to this syntax, but it will be for
334 using LilyPond version 2.0. In version 2.0, this syntax will be
344 \simultaneous @{ .. @}
347 for simultaneous music.
349 To convert your files from <PITCHES> to <<PITCHES>>, use the script
350 included in buildscripts/convert-new-chords.py
352 This change was introduced for the following reasons
356 It solves the "start score with chord" problem, where you have to
357 state \context Voice explicitly when a chord was the start of a
360 With the new syntax, it is possible to distinguish between
361 articulations (or fingerings) which are for a single chord note,
362 and which are for the entire chord. This allows for per-note
363 fingerings, and is more logical on the whole.
367 User code may now be executed during interpreting. The syntax for
371 \applycontext #SCHEME-FUNCTION
375 User code may now be executed on arbitrary grobs during interpreting.
376 The syntax for this feature is
379 \applyoutput #SCHEME-FUNCTION
383 SCHEME-FUNCTION takes a single argument, and is called for every grob
384 that is created in the current context.
387 New algorithms for chord-name formatting have been installed. They
388 can be tuned and have ergonomic syntax for entering exceptions.
391 Texts may now be put on multimeasure rests, e.g.
394 R1*20^\markup @{ "GP" @}
398 Ancient notation now prints ligatures in Gregorian square neumes
399 notation, roughly following the typographical style of the Liber
400 hymnarius of Solesmes, published in 1983. Ligatures are still printed
401 without the proper line breaking and horizontal spacing.
404 Glissandi can now be printed using the zigzag style.
407 LilyPond can now print clusters. The syntax is
410 \apply #notes-to-clusters @{ NOTE NOTE .. @}
414 For irregular meters, beat grouping marks can be printed. The
418 #(set-time-signature 7 8 '(3 2 2))
423 Nested horizontal brackets for music analysis can now be printed:
432 @item Ottava brackets are now fully supported as a feature. The syntax
440 @item Metronome markings are printed when a \tempo command is processed.
444 @item Fingerings can be put on chords horizontally.
448 @item The appearance of various glyphs has been fine-tuned.
452 @item Different types of percent style repeats may now be nested.
456 @item The emacs support has been extended.
460 The manual has been completely revised and extended.
464 @chapter New features in 1.6 since 1.4
470 Support for figured bass and tablature.
473 Completely rewritten beam formatting: provides much better output
478 Completely revised and improved music font.
482 Completely rewritten MIDI import support.
485 Completely rewritten grace note support. Practically speaking this
486 means that grace notes can be slurred to normal normal notes.
490 Improved accidental handling and formatting: styles for producing
491 cautionaries may vary, and complex collisions between accidentals of a
492 chord are handled much better.
495 Better spacing: both globally and locally. This includes subtle
496 details like optical stem spacing.
499 More support for ancient notation: mensural ligatures, ambitus
500 (pitch range) of voices, more shapes, etc.
503 More support for piano notation: bracket pedals, directed arpeggios,
507 Easier music polyphonic music entry.
510 More extensibility, many speedups and bugfixes
513 The manual has been thoroughly revised.
516 Development is now hosted at http://savannah.gnu.org, and sources
517 can be downloaded through anonymous CVS.
520 Support for windows: LilyPond is part of the cygwin distribution,
521 which comes with a user-friendly installer.