1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
22 @item Cue notes can now be quoted directly from the parts that
23 contain them. This will take into account tunings of source and target
24 instrument. For example,
27 \addquote clarinet \notes\relative c' {
33 \notes \relative c'' {
34 c8 d8 \quote 2 oboe es8 gis
39 @item The transposition of an instrument can be specified using the
40 @code{\tuning} command. The following command specifies an E-flat alto
47 @item The naming of exported Scheme functions now follows Scheme conventions.
48 Changes be applied to Scheme files with convert-ly:
51 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
55 @item Notes can be excluded from auto-beaming, by marking them with
62 will print two separate eighth notes, and two beamed notes.
64 @item Translators and contexts have been split. The result of this
65 internal cleanup is that @code{Score} no longer is the top context;
66 @code{Score} is contained in the @code{Global} context. Consequently,
67 it is possible to tweak @code{Score} as follows:
70 \context Score \with @{
75 @item The number of staff lines in Tablature notation is now
76 automatically deduced from the @code{stringTunings} property.
78 @item The program reference has been cleaned up and revised.
80 @item The syntax for setting properties has been simplified:
81 the following table lists the differences:
86 \property A.B = #C \set A.B = #C
87 \property A.B \unset \unset A.B
88 \property A.B \set #C = #D \override A.B #C = #D
89 \property A.B \override #C = #D (removed)
90 \property A.B \revert #C \revert A.B #C
93 Furthermore, if @code{A} is left out, the bottommost context is used
94 by default. In other words, it is no longer necessary to explicitly
95 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
100 \property Voice.autoBeaming = ##f
101 \property Staff.TimeSignature \set #'style = #'C
107 \set autoBeaming = ##f
108 \override Staff.TimeSignature #'style = #'C
112 @item Tweaks made with @code{\override} and @code{\revert} no longer
113 hide tweaks at higher context levels.
115 @item Melismata in lyrics are also properly handled in the MIDI output.
117 @item The lilypond-book script has been rewritten.
118 It is shorter, cleaner and faster. The special construct
119 @code{mbinclude} has been removed, plain @code{@@include} or
120 @code{\input} can be used now.
124 running convert-ly on the lilypond snippets like so:
126 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
130 @item The @code{LyricsVoice} context has been removed. Lyrics should only
131 be constructed in @code{Lyrics}.
133 @item The @code{Thread} context has been removed. Note heads and rests
134 are now constructed at @code{Voice} level.
136 @item Harmonic notes can now be entered as
142 @item Drum notation is now supported as a regular feature:
143 percussion may be entered in @code{\drums} mode, and printed or
144 performed in a @code{DrumStaff} context:
148 \drums \new DrumStaff @{ hihat4 cowbell8 @}
152 @item The automatic staff changer was internally rewritten. As a
153 result, the syntax has been simplified as well:
156 \autochange @var{the music}
159 @item The ergonomic syntax of @code{\markup} now has an equivalent in
160 Scheme. The @code{markup*} macro creates such objects; the following
161 two markup commands are equivalent:
163 f4^#(markup* #:raise 0.2 #:bold "hi")
164 f4^\markup @{ \raise #0.2 \bold hi @}
167 @item Voice names, for vocal lines, have been added. They are similar
168 to instrument names. They can be set by defining @code{vocalName}
171 @item Safe mode has been reinstated for lilypond.
172 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
173 PostScript file output is disallowed, and lilypond-bin is invoked with
174 @code{--safe-mode}, the user's Guile expressions are evaluated in a
175 safe environment and file inclusion is not allowed.
177 Warning: this does not protect against denial-of-service attacks using
178 Guile, @TeX{} or PostScript.
180 (This feature is still experimental.)
182 @item There is now a Scheme macro for defining markup
183 commands. Special mark-up commands can be defined in user-files too.
185 @item Many fixes for dimension scaling have been made,
186 resulting in correct results for scores that mix staves in different
189 @item Improved robustness when layout properties are accidentally removed.
191 @item A more cleanly constructed part combiner has been installed.
192 It is more robust and less buggy. The part-combiner can be used with
194 \partcombine @var{mus1} @var{mus2}
198 See @file{input/regression/new-part-combine.ly} for an example.
200 @item Formatting of rehearsal marks has been improved. The @code{\mark}
201 command now only does automatic incrementing for marks specified as
202 integer. For example, @code{\mark #1} will print an A in the default
203 style. See @file{input/regression/rehearsal-mark-letter.ly},
204 @file{input/regression/rehearsal-mark-number.ly}.
206 @item Formatting of ottava brackets has been much improved.
208 @item Objects in the output can now be documented: the following fragment
209 boxes the note head, and adds the text ``heads or tails?'' three
210 spaces below the box.
213 \context Voice \applyoutput #(add-balloon-text
214 'NoteHead "heads, or tails?"
222 @item Default staff sizes are now scalable. There are two new mechanisms for
223 setting staff sizes. Both are demonstrated in this fragment:
226 #(set-global-staff-size 15)
228 #(paper-set-staff-size (* 15 pt))
234 Both have the same effect on the global layout of a piece. Similarly,
235 the paper size may be changed as follows
238 #(set-paper-size "a4")
242 @item Warnings for bar check errors are more cleverly printed. This
243 makes @code{barCheckSynchronize} superfluous, so it is now switched
246 Warning: this will cause problems in scores that use bar checks to
249 @item The black note head was made a little rounder, which causes a less
250 frantic graphic impression.
253 A more concise syntax for checking octaves was introduced. A note may
254 be followed by @code{=}@var{quotes} which indicates what its absolute
255 octave should be. In the following example,
258 \relative c'' @{ c='' b=' d,='' @}
262 the d will generate a warning, because a d'' is
263 expected, but a d' is found.
264 @c @code adds ` ' very confusing.
266 @item There is a new mechanism for putting lyrics to melodies.
267 With this mechanism, @code{LyricVoice}s can be put melodies
268 individually, allowing for different melismatic sections in every
269 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
271 @item Bar lines may now be dotted.
274 @item The documentation now has links to a wiki, where everyone can
275 add personal comments to the manual.
277 @item Contexts may now be changed locally for an isolated music
278 expression. For example,
282 \consists "Pitch_squash_engraver"
288 @item The syntax for changing staffs has changed. The keyword
289 @code{\change} should now be used, e.g.
295 @item Features of spanner contexts, like @code{Staff}, can now be changed
296 using @code{\property}, eg.
300 \property Staff.StaffSymbol \set #'line-count = #4
306 puts a quarter note C on a staff with 4 lines.
309 @item Multi measure rests are now truly centered between the
310 clefs/barlines of the staff, their position is independent of symbols
313 @item Collision resolution for dots in chords has been improved greatly.
316 Spacing following barlines was improved for widely stretched lines.
319 Lyric hyphens and extenders now conform to standard typesetting
323 Lyrics are now aligned under note heads conforming to engraving
324 standards. The responsible code has been rewritten, and is drastically
325 simpler from the previous version. To aid this rewrite, the syntactic
326 function of the extender line ( __ ) has been changed: it is now
327 attached to the lyric syllable.
330 When redefining a context, the associated identifier is also
331 updated. For example, after reading the following snippet,
338 the definition of @code{ScoreContext} is updated to include the changed
343 The weight of the stafflines is now heavier at smaller staff sizes.
344 The font has been modified to match this look: at smaller sizes, the
345 font is heavier and the note heads are more rounded.
347 @item Processing scores is now done while parsing the file. New
348 Scheme functions give more flexibility: for example, it is now possible
349 interpret a score, collecting synchronized musical events in a list, and
350 manipulate that information using inline Scheme. For an example, see
351 @file{input/no-notation/recording.ly}.
353 @item Font sizes can now truly be scaled continuously: the @code{font-size}
354 is similar to the old @code{font-relative-size}, but may be set to
355 fractional values; the closest design size will be scaled to achieve
356 the desired size. As a side-effect, there are now no longer
357 limitations in using smaller fonts (eg. grace notes) at small staff
360 @item Stem tips are now also engraved with rounded corners.
363 The placement of accidentals on chords and ledgered notes is improved.
368 @chapter New features in 2.0 since 1.8
373 Crescendos can now be drawn dotted or dashed.
376 Quarter tones are now supported. They are entered by suffixing
377 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
378 following is an ascending list of pitches:
381 ceses ceseh ces ceh c cih cis cisih cisis
385 The following constructs have been removed from the syntax:
388 \duration #SCHEME-DURATION
390 \outputproperty @var{func} @var{symbol} = @var{value}
393 For @code{\outputproperty}, the following may be substituted:
396 \applyoutput #(outputproperty-compatibility @var{func}
397 @var{symbol} @var{value})
401 Clefs may now be transposed arbitrarily, for example
411 The syntax for chords and simultaneous music have changed.
412 Chords are entered as
418 while simultaneous music is entered as
421 <<@var{..music list..}>>
424 In effect, the meanings of both have been swapped relative to their 1.8
425 definition. The syntax for lists in @code{\markup} has changed
426 alongside, but figured bass mode was not changed, i.e.:
429 \markup @{ \center <@var{..list of markups..}> @}
430 \figure @{ <@var{figures}> @}
433 As chords the more often used than simultaneous music, this change will
437 Each music expression can now be tagged, to make different printed
438 versions from the same music expression. In the following example,
439 we see two versions of a piece of music, one for the full score, and
440 one with cue notes for the instrumental part:
444 @{ c4 f2 g4 @} % in the part, we have cue-notes
446 \tag #'score R1 % in the score: only a rest
450 The same can be applied to articulations, texts, etc.: they are
454 -\tag #@var{your-tags}
457 to an articulation, for example,
460 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
463 This defines a note, which has a conditional fingering and a
464 string-number indication.
467 The settings for chord-fingering are more flexible. You can specify a
468 list where fingerings may be placed, eg.
471 \property Voice.fingeringOrientations = #'(left down)
474 This will put the fingering for the lowest note below the chord, and the
478 The script previously known as @code{ly2dvi} has been renamed to
479 @code{lilypond}. The binary itself is now installed as
483 Markup text (ie. general text formatting) may now be used for lyrics too.
486 Two new commands for grace notes have been added, @code{\acciaccatura}
487 and @code{\appoggiatura},
494 Both reflect the traditional meanings of acciaccatura and appogiatura,
495 and both insert insert a slur from the first grace note to the main
499 Layout options for grace notes are now stored in a context property,
500 and may now be set separately from musical content.
503 The @code{\new} command will create a context with a unique
504 name automatically. Hence, for multi-staff scores, it is no longer
505 necessary to invent arbitrary context names. For example, a two-staff
506 score may be created by
510 \new Staff @{ @var{notes for 1st staff} @}
511 \new Staff @{ @var{notes for 2nd staff} @}
518 Octave checks make octave errors easier to correct.
525 This checks that @var{pitch} (without octave) yields @var{pitch} (with
526 octave) in \relative mode. If not, a warning is printed, and the
530 All articulations must now be entered postfix. For example,
537 is a pair of beamed slurred eighth notes.
540 The definition of @code{\relative} has been simplified. Octaves are
541 now always propagated in the order that music is entered. In the
546 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
551 the octave of BODY is based on PRE, the starting octave of ALT1 on
552 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
555 The same mechanism is used for all other music expressions, except the
556 chord. Backwards compatibility is retained through a special program option,
560 #(ly:set-option 'old-relative)
564 Windows users can double click a @code{.ly} file to process and view
565 it automagically through the new @code{lily-wins} frontend.
572 @chapter New features in 1.8 since 1.6
577 The chord entry code has been completely rewritten. It is now
578 cleaner and more flexible.
581 A new syntax has been added for text entry. This syntax is more
582 friendly than the old mechanism, and it is implemented in a more
583 robust and modular way. For more information, refer to the section on
584 "Text markup" in the notation manual.
587 The integration of the input language and Scheme has been made deeper:
588 you can now use LilyPond identifiers in Scheme, and use Scheme
589 expressions instead of LilyPond identifiers.
592 The internal representation of music has been cleaned up completely
593 and converted to Scheme data structures. The representation may be
597 A new uniform postfix syntax for articulation has been introduced.
598 A beamed slurred pair of eighth notes can be entered as
604 In version 2.0, postfix syntax will be the only syntax
605 available, and the dashes will become optional.
607 This will simplify the language: all articulations can be entered as
608 postfix, in any order.
611 A new syntax has been added for chords:
618 It is not necessary to update files to this syntax, but it will be for
619 using LilyPond version 2.0. In version 2.0, this syntax will be
629 \simultaneous @{ .. @}
632 for simultaneous music.
634 To convert your files from <PITCHES> to <<PITCHES>>, use the script
635 included in buildscripts/convert-new-chords.py
637 This change was introduced for the following reasons
641 It solves the "start score with chord" problem, where you have to
642 state \context Voice explicitly when a chord was the start of a
645 With the new syntax, it is possible to distinguish between
646 articulations (or fingerings) which are for a single chord note,
647 and which are for the entire chord. This allows for per-note
648 fingerings, and is more logical on the whole.
652 User code may now be executed during interpreting. The syntax for
656 \applycontext #SCHEME-FUNCTION
660 User code may now be executed on arbitrary grobs during interpreting.
661 The syntax for this feature is
664 \applyoutput #SCHEME-FUNCTION
668 SCHEME-FUNCTION takes a single argument, and is called for every grob
669 that is created in the current context.
672 New algorithms for chord-name formatting have been installed. They
673 can be tuned and have ergonomic syntax for entering exceptions.
676 Texts may now be put on multimeasure rests, e.g.
679 R1*20^\markup @{ "GP" @}
683 Ancient notation now prints ligatures in Gregorian square neumes
684 notation, roughly following the typographical style of the Liber
685 hymnarius of Solesmes, published in 1983. Ligatures are still printed
686 without the proper line breaking and horizontal spacing.
689 Glissandi can now be printed using the zigzag style.
692 LilyPond can now print clusters. The syntax is
695 \apply #notes-to-clusters @{ NOTE NOTE .. @}
699 For irregular meters, beat grouping marks can be printed. The
703 #(set-time-signature 7 8 '(3 2 2))
708 Nested horizontal brackets for music analysis can now be printed:
717 @item Ottava brackets are now fully supported as a feature. The syntax
725 @item Metronome markings are printed when a \tempo command is processed.
729 @item Fingerings can be put on chords horizontally.
733 @item The appearance of various glyphs has been fine-tuned.
737 @item Different types of percent style repeats may now be nested.
741 @item The emacs support has been extended.
745 The manual has been completely revised and extended.
749 @chapter New features in 1.6 since 1.4
755 Support for figured bass and tablature.
758 Completely rewritten beam formatting: provides much better output
763 Completely revised and improved music font.
767 Completely rewritten MIDI import support.
770 Completely rewritten grace note support. Practically speaking this
771 means that grace notes can be slurred to normal normal notes.
775 Improved accidental handling and formatting: styles for producing
776 cautionaries may vary, and complex collisions between accidentals of a
777 chord are handled much better.
780 Better spacing: both globally and locally. This includes subtle
781 details like optical stem spacing.
784 More support for ancient notation: mensural ligatures, ambitus
785 (pitch range) of voices, more shapes, etc.
788 More support for piano notation: bracket pedals, directed arpeggios,
792 Easier music polyphonic music entry.
795 More extensibility, many speedups and bugfixes
798 The manual has been thoroughly revised.
801 Development is now hosted at http://savannah.gnu.org, and sources
802 can be downloaded through anonymous CVS.
805 Support for windows: LilyPond is part of the cygwin distribution,
806 which comes with a user-friendly installer.