1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item The syntax for setting properties has been simplified:
22 the following table lists the differences:
25 \property A.B = #C \set A.B = #C
26 \property A.B \unset \unset A.B
27 \property A.B \set #C = #D \override A.B #C = #D
28 \property A.B \override #C = #D (removed)
29 \property A.B \revert #C \revert A.B #C
32 Furthermore, if @code{A} is left out, the bottommost context is used
33 by default. In other words, it is no longer necessary to explicitly
34 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
39 \property Voice.autoBeaming = ##f
40 \property Staff.TimeSignature \set #'style = #'C
46 \set autoBeaming = ##f
47 \override Staff.TimeSignature #'style = #'C
51 @item Tweaks made with @code{\override} and @code{\revert} no longer
52 hide tweaks at higher context levels.
54 @item Melismata in lyrics are also properly handled in the MIDI output.
56 @item The lilypond-book script has been rewritten.
57 It is shorter, cleaner and faster. The special construct
58 @code{mbinclude} has been removed, plain @code{@@include} or
59 @code{\input} can be used now.
63 running convert-ly on the lilypond snippets like so:
65 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
69 @item The @code{LyricsVoice} context has been removed. Lyrics should only
70 be constructed in @code{Lyrics}.
72 @item The @code{Thread} context has been removed. Note heads and rests
73 are now constructed at @code{Voice} level.
75 @item Harmonic notes can now be entered as
81 @item Drum notation is now supported as a regular feature:
82 percussion may be entered in @code{\drums} mode, and printed or
83 performed in a @code{DrumStaff} context:
87 \drums \new DrumStaff @{ hihat4 cowbell8 @}
91 @item The automatic staff changer was internally rewritten. As a
92 result, the syntax has been simplified as well:
95 \autochange @var{the music}
98 @item The ergonomic syntax of @code{\markup} now has an equivalent in
99 Scheme. The @code{markup*} macro creates such objects; the following
100 two markup commands are equivalent:
102 f4^#(markup* #:raise 0.2 #:bold "hi")
103 f4^\markup @{ \raise #0.2 \bold hi @}
106 @item Voice names, for vocal lines, have been added. They are similar
107 to instrument names. They can be set by defining @code{vocalName}
110 @item Safe mode has been reinstated for lilypond.
111 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
112 PostScript file output is disallowed, and lilypond-bin is invoked with
113 @code{--safe-mode}, the user's Guile expressions are evaluated in a
114 safe environment and file inclusion is not allowed.
116 Warning: this does not protect against denial-of-service attacks using
117 Guile, @TeX{} or PostScript.
119 (This feature is still experimental.)
121 @item There is now a Scheme macro for defining markup
122 commands. Special mark-up commands can be defined in user-files too.
124 @item Many fixes for dimension scaling have been made,
125 resulting in correct results for scores that mix staves in different
128 @item Improved robustness when layout properties are accidentally removed.
130 @item A more cleanly constructed part combiner has been installed.
131 It is more robust and less buggy. The part-combiner can be used with
133 \partcombine @var{mus1} @var{mus2}
137 See @file{input/regression/new-part-combine.ly} for an example.
139 @item Formatting of rehearsal marks has been improved. The @code{\mark}
140 command now only does automatic incrementing for marks specified as
141 integer. For example, @code{\mark #1} will print an A in the default
142 style. See @file{input/regression/rehearsal-mark-letter.ly},
143 @file{input/regression/rehearsal-mark-number.ly}.
145 @item Formatting of ottava brackets has been much improved.
147 @item Objects in the output can now be documented: the following fragment
148 boxes the note head, and adds the text ``heads or tails?'' three
149 spaces below the box.
152 \context Voice \applyoutput #(add-balloon-text
153 'NoteHead "heads, or tails?"
161 @item Default staff sizes are now scalable. There are two new mechanisms for
162 setting staff sizes. Both are demonstrated in this fragment:
165 #(set-global-staff-size 15)
167 #(paper-set-staff-size (* 15 pt))
173 Both have the same effect on the global layout of a piece. Similarly,
174 the paper size may be changed as follows
177 #(set-paper-size "a4")
181 @item Warnings for bar check errors are more cleverly printed. This
182 makes @code{barCheckSynchronize} superfluous, so it is now switched
185 Warning: this will cause problems in scores that use bar checks to
188 @item The black note head was made a little rounder, which causes a less
189 frantic graphic impression.
192 A more concise syntax for checking octaves was introduced. A note may
193 be followed by @code{=}@var{quotes} which indicates what its absolute
194 octave should be. In the following example,
197 \relative c'' @{ c='' b=' d,='' @}
201 the d will generate a warning, because a d'' is
202 expected, but a d' is found.
203 @c @code adds ` ' very confusing.
205 @item There is a new mechanism for putting lyrics to melodies.
206 With this mechanism, @code{LyricVoice}s can be put melodies
207 individually, allowing for different melismatic sections in every
208 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
210 @item Bar lines may now be dotted.
213 @item The documentation now has links to a wiki, where everyone can
214 add personal comments to the manual.
216 @item Contexts may now be changed locally for an isolated music
217 expression. For example,
221 \consists "Pitch_squash_engraver"
227 @item The syntax for changing staffs has changed. The keyword
228 @code{\change} should now be used, e.g.
234 @item Features of spanner contexts, like @code{Staff}, can now be changed
235 using @code{\property}, eg.
239 \property Staff.StaffSymbol \set #'line-count = #4
245 puts a quarter note C on a staff with 4 lines.
248 @item Multi measure rests are now truly centered between the
249 clefs/barlines of the staff, their position is independent of symbols
252 @item Collision resolution for dots in chords has been improved greatly.
255 Spacing following barlines was improved for widely stretched lines.
258 Lyric hyphens and extenders now conform to standard typesetting
262 Lyrics are now aligned under note heads conforming to engraving
263 standards. The responsible code has been rewritten, and is drastically
264 simpler from the previous version. To aid this rewrite, the syntactic
265 function of the extender line ( __ ) has been changed: it is now
266 attached to the lyric syllable.
269 When redefining a context, the associated identifier is also
270 updated. For example, after reading the following snippet,
277 the definition of @code{ScoreContext} is updated to include the changed
282 The weight of the stafflines is now heavier at smaller staff sizes.
283 The font has been modified to match this look: at smaller sizes, the
284 font is heavier and the note heads are more rounded.
286 @item Processing scores is now done while parsing the file. New
287 Scheme functions give more flexibility: for example, it is now possible
288 interpret a score, collecting synchronized musical events in a list, and
289 manipulate that information using inline Scheme. For an example, see
290 @file{input/no-notation/recording.ly}.
292 @item Font sizes can now truly be scaled continuously: the @code{font-size}
293 is similar to the old @code{font-relative-size}, but may be set to
294 fractional values; the closest design size will be scaled to achieve
295 the desired size. As a side-effect, there are now no longer
296 limitations in using smaller fonts (eg. grace notes) at small staff
299 @item Stem tips are now also engraved with rounded corners.
302 The placement of accidentals on chords and ledgered notes is improved.
307 @chapter New features in 2.0 since 1.8
312 Crescendos can now be drawn dotted or dashed.
315 Quarter tones are now supported. They are entered by suffixing
316 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
317 following is an ascending list of pitches:
320 ceses ceseh ces ceh c cih cis cisih cisis
324 The following constructs have been removed from the syntax:
327 \duration #SCHEME-DURATION
329 \outputproperty @var{func} @var{symbol} = @var{value}
332 For @code{\outputproperty}, the following may be substituted:
335 \applyoutput #(outputproperty-compatibility @var{func}
336 @var{symbol} @var{value})
340 Clefs may now be transposed arbitrarily, for example
350 The syntax for chords and simultaneous music have changed.
351 Chords are entered as
357 while simultaneous music is entered as
360 <<@var{..music list..}>>
363 In effect, the meanings of both have been swapped relative to their 1.8
364 definition. The syntax for lists in @code{\markup} has changed
365 alongside, but figured bass mode was not changed, i.e.:
368 \markup @{ \center <@var{..list of markups..}> @}
369 \figure @{ <@var{figures}> @}
372 As chords the more often used than simultaneous music, this change will
376 Each music expression can now be tagged, to make different printed
377 versions from the same music expression. In the following example,
378 we see two versions of a piece of music, one for the full score, and
379 one with cue notes for the instrumental part:
383 @{ c4 f2 g4 @} % in the part, we have cue-notes
385 \tag #'score R1 % in the score: only a rest
389 The same can be applied to articulations, texts, etc.: they are
393 -\tag #@var{your-tags}
396 to an articulation, for example,
399 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
402 This defines a note, which has a conditional fingering and a
403 string-number indication.
406 The settings for chord-fingering are more flexible. You can specify a
407 list where fingerings may be placed, eg.
410 \property Voice.fingeringOrientations = #'(left down)
413 This will put the fingering for the lowest note below the chord, and the
417 The script previously known as @code{ly2dvi} has been renamed to
418 @code{lilypond}. The binary itself is now installed as
422 Markup text (ie. general text formatting) may now be used for lyrics too.
425 Two new commands for grace notes have been added, @code{\acciaccatura}
426 and @code{\appoggiatura},
433 Both reflect the traditional meanings of acciaccatura and appogiatura,
434 and both insert insert a slur from the first grace note to the main
438 Layout options for grace notes are now stored in a context property,
439 and may now be set separately from musical content.
442 The @code{\new} command will create a context with a unique
443 name automatically. Hence, for multi-staff scores, it is no longer
444 necessary to invent arbitrary context names. For example, a two-staff
445 score may be created by
449 \new Staff @{ @var{notes for 1st staff} @}
450 \new Staff @{ @var{notes for 2nd staff} @}
457 Octave checks make octave errors easier to correct.
464 This checks that @var{pitch} (without octave) yields @var{pitch} (with
465 octave) in \relative mode. If not, a warning is printed, and the
469 All articulations must now be entered postfix. For example,
476 is a pair of beamed slurred eighth notes.
479 The definition of @code{\relative} has been simplified. Octaves are
480 now always propagated in the order that music is entered. In the
485 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
490 the octave of BODY is based on PRE, the starting octave of ALT1 on
491 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
494 The same mechanism is used for all other music expressions, except the
495 chord. Backwards compatibility is retained through a special program option,
499 #(ly:set-option 'old-relative)
503 Windows users can double click a @code{.ly} file to process and view
504 it automagically through the new @code{lily-wins} frontend.
511 @chapter New features in 1.8 since 1.6
516 The chord entry code has been completely rewritten. It is now
517 cleaner and more flexible.
520 A new syntax has been added for text entry. This syntax is more
521 friendly than the old mechanism, and it is implemented in a more
522 robust and modular way. For more information, refer to the section on
523 "Text markup" in the notation manual.
526 The integration of the input language and Scheme has been made deeper:
527 you can now use LilyPond identifiers in Scheme, and use Scheme
528 expressions instead of LilyPond identifiers.
531 The internal representation of music has been cleaned up completely
532 and converted to Scheme data structures. The representation may be
536 A new uniform postfix syntax for articulation has been introduced.
537 A beamed slurred pair of eighth notes can be entered as
543 In version 2.0, postfix syntax will be the only syntax
544 available, and the dashes will become optional.
546 This will simplify the language: all articulations can be entered as
547 postfix, in any order.
550 A new syntax has been added for chords:
557 It is not necessary to update files to this syntax, but it will be for
558 using LilyPond version 2.0. In version 2.0, this syntax will be
568 \simultaneous @{ .. @}
571 for simultaneous music.
573 To convert your files from <PITCHES> to <<PITCHES>>, use the script
574 included in buildscripts/convert-new-chords.py
576 This change was introduced for the following reasons
580 It solves the "start score with chord" problem, where you have to
581 state \context Voice explicitly when a chord was the start of a
584 With the new syntax, it is possible to distinguish between
585 articulations (or fingerings) which are for a single chord note,
586 and which are for the entire chord. This allows for per-note
587 fingerings, and is more logical on the whole.
591 User code may now be executed during interpreting. The syntax for
595 \applycontext #SCHEME-FUNCTION
599 User code may now be executed on arbitrary grobs during interpreting.
600 The syntax for this feature is
603 \applyoutput #SCHEME-FUNCTION
607 SCHEME-FUNCTION takes a single argument, and is called for every grob
608 that is created in the current context.
611 New algorithms for chord-name formatting have been installed. They
612 can be tuned and have ergonomic syntax for entering exceptions.
615 Texts may now be put on multimeasure rests, e.g.
618 R1*20^\markup @{ "GP" @}
622 Ancient notation now prints ligatures in Gregorian square neumes
623 notation, roughly following the typographical style of the Liber
624 hymnarius of Solesmes, published in 1983. Ligatures are still printed
625 without the proper line breaking and horizontal spacing.
628 Glissandi can now be printed using the zigzag style.
631 LilyPond can now print clusters. The syntax is
634 \apply #notes-to-clusters @{ NOTE NOTE .. @}
638 For irregular meters, beat grouping marks can be printed. The
642 #(set-time-signature 7 8 '(3 2 2))
647 Nested horizontal brackets for music analysis can now be printed:
656 @item Ottava brackets are now fully supported as a feature. The syntax
664 @item Metronome markings are printed when a \tempo command is processed.
668 @item Fingerings can be put on chords horizontally.
672 @item The appearance of various glyphs has been fine-tuned.
676 @item Different types of percent style repeats may now be nested.
680 @item The emacs support has been extended.
684 The manual has been completely revised and extended.
688 @chapter New features in 1.6 since 1.4
694 Support for figured bass and tablature.
697 Completely rewritten beam formatting: provides much better output
702 Completely revised and improved music font.
706 Completely rewritten MIDI import support.
709 Completely rewritten grace note support. Practically speaking this
710 means that grace notes can be slurred to normal normal notes.
714 Improved accidental handling and formatting: styles for producing
715 cautionaries may vary, and complex collisions between accidentals of a
716 chord are handled much better.
719 Better spacing: both globally and locally. This includes subtle
720 details like optical stem spacing.
723 More support for ancient notation: mensural ligatures, ambitus
724 (pitch range) of voices, more shapes, etc.
727 More support for piano notation: bracket pedals, directed arpeggios,
731 Easier music polyphonic music entry.
734 More extensibility, many speedups and bugfixes
737 The manual has been thoroughly revised.
740 Development is now hosted at http://savannah.gnu.org, and sources
741 can be downloaded through anonymous CVS.
744 Support for windows: LilyPond is part of the cygwin distribution,
745 which comes with a user-friendly installer.