1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item Context definitions are now stored in identifiers that match the
12 context name, in other words, to modify a @code{Staff} context, the
13 following code may be used.
22 @item A new block, @code{\bookpaper} has been introduced to
23 hold settings for paper size and output scaling.
25 @item Support for fret diagrams has been contributed by Carl
26 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
28 @item The @code{--safe} mode has been revisited: it makes the basic
29 @code{ly:} interface available, and stops malicious @TeX{} code.
31 @item Music syntax can now be extended seamlessly. As an example,
32 here is the new implementation @code{\applymusic},
35 applymusic = #(ly:make-music-function
36 (list procedure? ly:music?) ; signature
37 (lambda (where func music) ; the function
41 @item @code{\apply} has been renamed to @code{\applymusic}.
43 @item Music can be used as a markup.
44 When inserting a @code{score} block as part of a @code{\markup}, it
45 produces a rendered markup of the music. An example is in
46 @file{input/test/markup-score.ly}.
48 @item LilyPond expressions can be embedded into Scheme. The syntax for
49 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
50 introduced using a @code{$} character (@code{$$} results in a single
51 `$' character). These forms are then printed in the pattern.
54 #(define (textoffset dx dy)
56 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
60 %% The following embedded scheme call is the same as
61 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
67 @item A music list at toplevel is interpreted as implicit @code{\score}
68 a @code{\score} block at toplevel is interpreted as an implicit
69 @code{\book} and @code{\notes} mode is the default lexer mode. The
73 \header @{ title = "The Title" @}
80 \header @{ title = "The Title" @}
88 Actually, a toplevel music list is now handled quite flexibly by
89 @code{default-toplevel-music-handler}. Similarly, a @code{\score}
90 block at toplevel is handled by @code{default-toplevel-score-handler}
91 and a @code{book} at toplevel is handled by
92 @code{default-toplevel-book-handler}. The default behavior of these
93 handlers produces the results described above.
98 These default handlers have the following effect. A Music list at
99 toplevel is encapsulated in a @code{score} block, and a @code{score}
100 block at toplevel is encapsulated in a @code{book} block. A
101 @code{book} block at toplevel generates printed output.
105 @item Start pitch for @code{relative} music is optional for music lists.
106 The default value is one octave below middle C.
108 @c update-me? formal definition of newaddlyrics, once it works
109 @item Combining lyrics with music can be done with @code{\newlyrics}
114 d2 d c4 bes a2 \break
117 My first Li -- ly song,
120 Not much can go wrong!
124 Syntactically, @code{\newlyrics} acts like an infix operator.
126 @item The parser is encapsulated in a Scheme function
127 @code{ly:parse-file}, so the following fragment processes two files
130 #(ly:parse-file "another.ly")
131 \score { \notes { c4 }}
134 @item The @code{font-encoding} property can now be used to select
135 differently encoded fonts. The previous default setting
136 @code{TeX-text} has been replaced by latin1. LilyPond requires the
137 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
138 package installed to function properly.
140 @item The encoding of a file can be switched with
141 @code{\encoding}. The strings for markup texts are translated
144 @item The toplevel block @code{book} introduces page layout.
145 A @code{book} groups @code{score} blocks into one page layout entity.
146 Page layout consists of markup titles, headers and footers, and page
147 breaking. Two page breaking algorithms are available, the classic
148 ragged pages (the default), and optimal page breaking
152 %% Select page breaking function.
153 %% #(define page-breaking ly:ragged-page-breaks)
154 #(define page-breaking ly:optimal-page-breaks)
162 The @code{lilypond} program does not generate La@TeX{} titles or page
163 layout. If you need La@TeX{} titles, you can use the
164 @code{lilypond-book} program.
166 @item There is now less of a noticeable ``hook'' at the end of a long slur.
168 @item The meaning of the @code{|} in the input can be redefined, by
169 assigning a music expression to @code{pipeSymbol}.
173 @unnumbered New features in 2.2 since 2.0
177 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
178 causes the last line to be set flush-left instead of justified.
180 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
181 its containing context automatically.
183 @item The code for font selection has been rewritten. In addition to
184 existing font selection properties, the property @code{font-encoding}
185 has been added, which makes the switch between normal @code{text} and
186 other encodings like @code{braces}, @code{music} and @code{math}.
188 @item The pmx2ly script has been removed from the distribution.
190 @item Pedal brackets will now run to the last bar of a piece if they are not
193 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
195 @item Property functions may be used as an argument to @code{set!},
199 (set! (ly:grob-property grob 'beam) ... )
202 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
205 @item Cue notes can be quoted directly from the parts that
206 contain them. This will take into account transposition of source and target
207 instrument. For example,
210 \addquote clarinet \notes\relative c' {
216 \notes \relative c'' {
217 c8 d8 \quote 2 oboe es8 gis
222 @item The transposition of an instrument can be specified using the
223 @code{\transposition} command. An
224 E-flat alto saxophone is specified as
230 @item The naming of exported Scheme functions now follows Scheme conventions.
231 Changes be applied to Scheme files with
234 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
238 @item Notes can be excluded from auto-beaming, by marking them with
245 will print two separate eighth notes, and two beamed notes.
247 @item Translators and contexts have been split. The result of this
248 internal cleanup is that @code{Score} no longer is the top context;
249 @code{Score} is contained in the @code{Global} context. Consequently,
250 it is possible to tweak @code{Score} as follows:
253 \context Score \with @{
258 @item The number of staff lines in Tablature notation is now
259 automatically deduced from the @code{stringTunings} property.
261 @item The program reference has been cleaned up and revised.
263 @item The syntax for setting properties has been simplified:
264 the following table lists the differences:
269 \property A.B = #C \set A.B = #C
270 \property A.B \unset \unset A.B
271 \property A.B \set #C = #D \override A.B #C = #D
272 \property A.B \override #C = #D (removed)
273 \property A.B \revert #C \revert A.B #C
276 Furthermore, if @code{A} is left out, the bottommost context is used
277 by default. In other words, it is no longer necessary to explicitly
278 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
283 \property Voice.autoBeaming = ##f
284 \property Staff.TimeSignature \set #'style = #'C
290 \set autoBeaming = ##f
291 \override Staff.TimeSignature #'style = #'C
295 @item Tweaks made with @code{\override} and @code{\revert} no longer
296 hide tweaks at higher context levels.
298 @item Melismata in lyrics are also properly handled in the MIDI output.
300 @item The lilypond-book script has been rewritten.
301 It is shorter, cleaner and faster. The special construct
302 @code{mbinclude} has been removed, plain @code{@@include} or
303 @code{\input} can be used now.
305 It now supports running convert-ly on the lilypond snippets,
307 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
310 @item The @code{LyricsVoice} context has been removed. Lyrics should only
311 be constructed in @code{Lyrics}.
313 @item The @code{Thread} context has been removed. Note heads and rests
314 are now constructed at @code{Voice} level.
316 @item Harmonic notes can now be entered as
322 @item Drum notation is now supported as a regular feature:
323 percussion may be entered in @code{\drums} mode, and printed or
324 performed in a @code{DrumStaff} context:
328 \drums \new DrumStaff @{ hihat4 cowbell8 @}
332 @item The automatic staff changer was internally rewritten. As a
333 result, the syntax has been simplified as well:
336 \autochange @var{the-music}
339 @item The ergonomic syntax of @code{\markup} now has an equivalent in
340 Scheme. The @code{markup*} macro creates such objects; the following
341 two markup commands are equivalent:
343 f4^#(markup* #:raise 0.2 #:bold "hi")
344 f4^\markup @{ \raise #0.2 \bold hi @}
347 @item Voice names, for vocal lines, have been added. They are similar
348 to instrument names. They can be set by defining @code{vocalName}
351 @item Safe mode has been reinstated for lilypond.
352 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
353 PostScript file output is disallowed, and lilypond-bin is invoked with
354 @code{--safe-mode}, the user's Guile expressions are evaluated in a
355 safe environment and file inclusion is not allowed.
357 Warning: this does not protect against denial-of-service attacks using
358 Guile, @TeX{} or PostScript.
360 (This feature is still experimental.)
362 @item There is now a Scheme macro for defining markup
363 commands. Special mark-up commands can be defined in user-files too.
365 @item Many fixes for dimension scaling have been made,
366 resulting in correct results for scores that mix staves in different
369 @item Improved robustness when layout properties are accidentally removed.
371 @item A more cleanly constructed part combiner has been installed.
372 It is more robust and less buggy. The part-combiner can be used with
374 \partcombine @var{mus1} @var{mus2}
378 See @file{input/regression/new-part-combine.ly} for an example.
380 @item Formatting of rehearsal marks has been improved. The @code{\mark}
381 command now only does automatic incrementing for marks specified as
382 integer. For example, @code{\mark #1} will print an A in the default
383 style. See @file{input/regression/rehearsal-mark-letter.ly},
384 @file{input/regression/rehearsal-mark-number.ly}.
386 @item Formatting of ottava brackets has been much improved.
388 @item Objects in the output can now be documented: the following fragment
389 boxes the note head, and adds the text ``heads or tails?'' three
390 spaces below the box.
393 \context Voice \applyoutput #(add-balloon-text
394 'NoteHead "heads, or tails?"
402 @item Default staff sizes are now scalable. There are two new mechanisms for
403 setting staff sizes. Both are demonstrated in this fragment:
406 #(set-global-staff-size 15)
408 #(paper-set-staff-size (* 15 pt))
414 Both have the same effect on the global layout of a piece. Similarly,
415 the paper size may be changed as follows
418 #(set-default-paper-size "a4")
420 #(set-paper-size "a4")
425 @item Warnings for bar check errors are more cleverly printed. This
426 makes @code{barCheckSynchronize} superfluous, so it is now switched
429 Warning: this will cause problems in scores that use bar checks to
432 @item The black note head was made a little rounder, which causes a less
433 frantic graphic impression.
436 A more concise syntax for checking octaves was introduced. A note may
437 be followed by @code{=}@var{quotes} which indicates what its absolute
438 octave should be. In the following example,
441 \relative c'' @{ c='' b=' d,='' @}
445 the d will generate a warning, because a d'' is
446 expected, but a d' is found.
447 @c @code adds ` ', very confusing.
449 @item There is a new mechanism for putting lyrics to melodies.
450 With this mechanism, @code{Lyrics} lines can be put melodies
451 individually, allowing for different melismatic sections in every
452 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
454 @item Bar lines may now be dotted.
457 @item The documentation now has links to a wiki, where everyone can
458 add personal comments to the manual.
460 @item Contexts may now be changed locally for an isolated music
461 expression. For example,
465 \consists "Pitch_squash_engraver"
471 @item The syntax for changing staffs has changed. The keyword
472 @code{\change} should now be used, e.g.
478 @item Features of spanner contexts, like @code{Staff}, can now be changed
479 using @code{\set}, eg.
483 \override Staff.StaffSymbol #'line-count = #4
489 puts a quarter note C on a staff with 4 lines.
492 @item Multi measure rests are now truly centered between the
493 clefs/barlines of the staff, their position is independent of symbols
496 @item Collision resolution for dots in chords has been improved greatly.
499 Spacing following barlines was improved for widely stretched lines.
502 Lyric hyphens and extenders now conform to standard typesetting
506 Lyrics are now aligned under note heads conforming to engraving
507 standards. The responsible code has been rewritten, and is drastically
508 simpler from the previous version. To aid this rewrite, the syntactic
509 function of the extender line ( __ ) has been changed: it is now
510 attached to the lyric syllable.
513 When redefining a context, the associated identifier is also
514 updated. For example, after reading
524 the definition of @code{ScoreContext} is updated to include the changed
529 The weight of the stafflines is now heavier at smaller staff sizes.
530 The font has been modified to match this look: at smaller sizes, the
531 font is heavier and the note heads are more rounded.
533 @item Processing scores is now done while parsing the file. New
534 Scheme functions give more flexibility: for example, it is now possible
535 interpret a score, collecting synchronized musical events in a list, and
536 manipulate that information using inline Scheme. For an example, see
537 @file{input/no-notation/recording.ly}.
539 @item Font sizes can now truly be scaled continuously: the @code{font-size}
540 is similar to the old @code{font-relative-size}, but may be set to
541 fractional values; the closest design size will be scaled to achieve
542 the desired size. As a side-effect, there are now no longer
543 limitations in using smaller fonts (eg. grace notes) at small staff
546 @item Stem tips are now also engraved with rounded corners.
549 The placement of accidentals on chords and ledgered notes is improved.
554 @unnumbered New features in 2.0 since 1.8
559 Crescendos can now be drawn dotted or dashed.
562 Quarter tones are now supported. They are entered by suffixing
563 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
564 following is an ascending list of pitches:
567 ceses ceseh ces ceh c cih cis cisih cisis
571 The following constructs have been removed from the syntax:
574 \duration #SCHEME-DURATION
576 \outputproperty @var{func} @var{symbol} = @var{value}
579 For @code{\outputproperty}, the following may be substituted:
582 \applyoutput #(outputproperty-compatibility @var{func}
583 @var{symbol} @var{value})
587 Clefs may now be transposed arbitrarily, for example
597 The syntax for chords and simultaneous music have changed.
598 Chords are entered as
604 while simultaneous music is entered as
607 <<@var{..music list..}>>
610 In effect, the meanings of both have been swapped relative to their 1.8
611 definition. The syntax for lists in @code{\markup} has changed
612 alongside, but figured bass mode was not changed, i.e.:
615 \markup @{ \center <@var{..list of markups..}> @}
616 \figure @{ <@var{figures}> @}
619 As chords the more often used than simultaneous music, this change will
623 Each music expression can now be tagged, to make different printed
624 versions from the same music expression. In the following example,
625 we see two versions of a piece of music, one for the full score, and
626 one with cue notes for the instrumental part:
630 @{ c4 f2 g4 @} % in the part, we have cue-notes
632 \tag #'score R1 % in the score: only a rest
636 The same can be applied to articulations, texts, etc.: they are
640 -\tag #@var{your-tags}
643 to an articulation, for example,
646 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
649 This defines a note, which has a conditional fingering and a
650 string-number indication.
653 The settings for chord-fingering are more flexible. You can specify a
654 list where fingerings may be placed, eg.
657 \property Voice.fingeringOrientations = #'(left down)
660 This will put the fingering for the lowest note below the chord, and the
664 The script previously known as @code{ly2dvi} has been renamed to
665 @code{lilypond}. The binary itself is now installed as
669 Markup text (ie. general text formatting) may now be used for lyrics too.
672 Two new commands for grace notes have been added, @code{\acciaccatura}
673 and @code{\appoggiatura},
680 Both reflect the traditional meanings of acciaccatura and appogiatura,
681 and both insert insert a slur from the first grace note to the main
685 Layout options for grace notes are now stored in a context property,
686 and may now be set separately from musical content.
689 The @code{\new} command will create a context with a unique
690 name automatically. Hence, for multi-staff scores, it is no longer
691 necessary to invent arbitrary context names. For example, a two-staff
692 score may be created by
696 \new Staff @{ @var{notes for 1st staff} @}
697 \new Staff @{ @var{notes for 2nd staff} @}
704 Octave checks make octave errors easier to correct.
711 This checks that @var{pitch} (without octave) yields @var{pitch} (with
712 octave) in \relative mode. If not, a warning is printed, and the
716 All articulations must now be entered postfix. For example,
723 is a pair of beamed slurred eighth notes.
726 The definition of @code{\relative} has been simplified. Octaves are
727 now always propagated in the order that music is entered. In the
732 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
737 the octave of BODY is based on PRE, the starting octave of ALT1 on
738 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
741 The same mechanism is used for all other music expressions, except the
742 chord. Backwards compatibility is retained through a special program option,
746 #(ly:set-option 'old-relative)
750 Windows users can double click a @code{.ly} file to process and view
751 it automagically through the new @code{lily-wins} frontend.
758 @unnumbered New features in 1.8 since 1.6
763 The chord entry code has been completely rewritten. It is now
764 cleaner and more flexible.
767 A new syntax has been added for text entry. This syntax is more
768 friendly than the old mechanism, and it is implemented in a more
769 robust and modular way. For more information, refer to the section on
770 "Text markup" in the notation manual.
773 The integration of the input language and Scheme has been made deeper:
774 you can now use LilyPond identifiers in Scheme, and use Scheme
775 expressions instead of LilyPond identifiers.
778 The internal representation of music has been cleaned up completely
779 and converted to Scheme data structures. The representation may be
783 A new uniform postfix syntax for articulation has been introduced.
784 A beamed slurred pair of eighth notes can be entered as
790 In version 2.0, postfix syntax will be the only syntax
791 available, and the dashes will become optional.
793 This will simplify the language: all articulations can be entered as
794 postfix, in any order.
797 A new syntax has been added for chords:
804 It is not necessary to update files to this syntax, but it will be for
805 using LilyPond version 2.0. In version 2.0, this syntax will be
815 \simultaneous @{ .. @}
818 for simultaneous music.
820 To convert your files from <PITCHES> to <<PITCHES>>, use the script
821 included in @file{buildscripts/convert-new-chords.py}.
823 This change was introduced for the following reasons
827 It solves the "start score with chord" problem, where you have to
828 state \context Voice explicitly when a chord was the start of a
831 With the new syntax, it is possible to distinguish between
832 articulations (or fingerings) which are for a single chord note,
833 and which are for the entire chord. This allows for per-note
834 fingerings, and is more logical on the whole.
838 User code may now be executed during interpreting. The syntax for
842 \applycontext #SCHEME-FUNCTION
846 User code may now be executed on arbitrary grobs during interpreting.
847 The syntax for this feature is
850 \applyoutput #SCHEME-FUNCTION
854 SCHEME-FUNCTION takes a single argument, and is called for every grob
855 that is created in the current context.
858 New algorithms for chord-name formatting have been installed. They
859 can be tuned and have ergonomic syntax for entering exceptions.
862 Texts may now be put on multimeasure rests, e.g.
865 R1*20^\markup @{ "GP" @}
869 Ancient notation now prints ligatures in Gregorian square neumes
870 notation, roughly following the typographical style of the Liber
871 hymnarius of Solesmes, published in 1983. Ligatures are still printed
872 without the proper line breaking and horizontal spacing.
875 Glissandi can now be printed using the zigzag style.
878 LilyPond can now print clusters. The syntax is
881 \apply #notes-to-clusters @{ NOTE NOTE .. @}
885 For irregular meters, beat grouping marks can be printed. The
889 #(set-time-signature 7 8 '(3 2 2))
894 Nested horizontal brackets for music analysis can now be printed:
903 @item Ottava brackets are now fully supported as a feature. The syntax
911 @item Metronome markings are printed when a \tempo command is processed.
915 @item Fingerings can be put on chords horizontally.
919 @item The appearance of various glyphs has been fine-tuned.
923 @item Different types of percent style repeats may now be nested.
927 @item The emacs support has been extended.
931 The manual has been completely revised and extended.
935 @unnumbered New features in 1.6 since 1.4
941 Support for figured bass and tablature.
944 Completely rewritten beam formatting: provides much better output
949 Completely revised and improved music font.
953 Completely rewritten MIDI import support.
956 Completely rewritten grace note support. Practically speaking this
957 means that grace notes can be slurred to normal normal notes.
961 Improved accidental handling and formatting: styles for producing
962 cautionaries may vary, and complex collisions between accidentals of a
963 chord are handled much better.
966 Better spacing: both globally and locally. This includes subtle
967 details like optical stem spacing.
970 More support for ancient notation: mensural ligatures, ambitus
971 (pitch range) of voices, more shapes, etc.
974 More support for piano notation: bracket pedals, directed arpeggios,
978 Easier music polyphonic music entry.
981 More extensibility, many speedups and bugfixes
984 The manual has been thoroughly revised.
987 Development is now hosted at http://savannah.gnu.org, and sources
988 can be downloaded through anonymous CVS.
991 Support for windows: LilyPond is part of the cygwin distribution,
992 which comes with a user-friendly installer.