1 \input texinfo @c -*-texinfo-*-
8 @unnumbered New features in 2.1 since 2.0
12 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
13 its containing context automatically.
15 @item The code for font selection has been rewritten. In addition to
16 existing font selection properties, the property @code{font-encoding}
17 has been added, which makes the switch between normal @code{text} and
18 other encodings like @code{braces}, @code{music} and @code{math}.
20 @item The pmx2ly script has been removed from the distribution.
22 @item Pedal brackets will now run to the last bar of a piece if they are not
25 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
27 @item Property functions may be used as an argument to @code{set!},
31 (set! (ly:grob-property grob 'beam) ... )
34 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
37 @item Cue notes can be quoted directly from the parts that
38 contain them. This will take into account transposition of source and target
39 instrument. For example,
42 \addquote clarinet \notes\relative c' {
48 \notes \relative c'' {
49 c8 d8 \quote 2 oboe es8 gis
54 @item The transposition of an instrument can be specified using the
55 @code{\transposition} command. An
56 E-flat alto saxophone is specified as
62 @item The naming of exported Scheme functions now follows Scheme conventions.
63 Changes be applied to Scheme files with
66 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
70 @item Notes can be excluded from auto-beaming, by marking them with
77 will print two separate eighth notes, and two beamed notes.
79 @item Translators and contexts have been split. The result of this
80 internal cleanup is that @code{Score} no longer is the top context;
81 @code{Score} is contained in the @code{Global} context. Consequently,
82 it is possible to tweak @code{Score} as follows:
85 \context Score \with @{
90 @item The number of staff lines in Tablature notation is now
91 automatically deduced from the @code{stringTunings} property.
93 @item The program reference has been cleaned up and revised.
95 @item The syntax for setting properties has been simplified:
96 the following table lists the differences:
101 \property A.B = #C \set A.B = #C
102 \property A.B \unset \unset A.B
103 \property A.B \set #C = #D \override A.B #C = #D
104 \property A.B \override #C = #D (removed)
105 \property A.B \revert #C \revert A.B #C
108 Furthermore, if @code{A} is left out, the bottommost context is used
109 by default. In other words, it is no longer necessary to explicitly
110 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
115 \property Voice.autoBeaming = ##f
116 \property Staff.TimeSignature \set #'style = #'C
122 \set autoBeaming = ##f
123 \override Staff.TimeSignature #'style = #'C
127 @item Tweaks made with @code{\override} and @code{\revert} no longer
128 hide tweaks at higher context levels.
130 @item Melismata in lyrics are also properly handled in the MIDI output.
132 @item The lilypond-book script has been rewritten.
133 It is shorter, cleaner and faster. The special construct
134 @code{mbinclude} has been removed, plain @code{@@include} or
135 @code{\input} can be used now.
139 running convert-ly on the lilypond snippets like so:
141 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
145 @item The @code{LyricsVoice} context has been removed. Lyrics should only
146 be constructed in @code{Lyrics}.
148 @item The @code{Thread} context has been removed. Note heads and rests
149 are now constructed at @code{Voice} level.
151 @item Harmonic notes can now be entered as
157 @item Drum notation is now supported as a regular feature:
158 percussion may be entered in @code{\drums} mode, and printed or
159 performed in a @code{DrumStaff} context:
163 \drums \new DrumStaff @{ hihat4 cowbell8 @}
167 @item The automatic staff changer was internally rewritten. As a
168 result, the syntax has been simplified as well:
171 \autochange @var{the music}
174 @item The ergonomic syntax of @code{\markup} now has an equivalent in
175 Scheme. The @code{markup*} macro creates such objects; the following
176 two markup commands are equivalent:
178 f4^#(markup* #:raise 0.2 #:bold "hi")
179 f4^\markup @{ \raise #0.2 \bold hi @}
182 @item Voice names, for vocal lines, have been added. They are similar
183 to instrument names. They can be set by defining @code{vocalName}
186 @item Safe mode has been reinstated for lilypond.
187 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
188 PostScript file output is disallowed, and lilypond-bin is invoked with
189 @code{--safe-mode}, the user's Guile expressions are evaluated in a
190 safe environment and file inclusion is not allowed.
192 Warning: this does not protect against denial-of-service attacks using
193 Guile, @TeX{} or PostScript.
195 (This feature is still experimental.)
197 @item There is now a Scheme macro for defining markup
198 commands. Special mark-up commands can be defined in user-files too.
200 @item Many fixes for dimension scaling have been made,
201 resulting in correct results for scores that mix staves in different
204 @item Improved robustness when layout properties are accidentally removed.
206 @item A more cleanly constructed part combiner has been installed.
207 It is more robust and less buggy. The part-combiner can be used with
209 \partcombine @var{mus1} @var{mus2}
213 See @file{input/regression/new-part-combine.ly} for an example.
215 @item Formatting of rehearsal marks has been improved. The @code{\mark}
216 command now only does automatic incrementing for marks specified as
217 integer. For example, @code{\mark #1} will print an A in the default
218 style. See @file{input/regression/rehearsal-mark-letter.ly},
219 @file{input/regression/rehearsal-mark-number.ly}.
221 @item Formatting of ottava brackets has been much improved.
223 @item Objects in the output can now be documented: the following fragment
224 boxes the note head, and adds the text ``heads or tails?'' three
225 spaces below the box.
228 \context Voice \applyoutput #(add-balloon-text
229 'NoteHead "heads, or tails?"
237 @item Default staff sizes are now scalable. There are two new mechanisms for
238 setting staff sizes. Both are demonstrated in this fragment:
241 #(set-global-staff-size 15)
243 #(paper-set-staff-size (* 15 pt))
249 Both have the same effect on the global layout of a piece. Similarly,
250 the paper size may be changed as follows
253 #(set-paper-size "a4")
257 @item Warnings for bar check errors are more cleverly printed. This
258 makes @code{barCheckSynchronize} superfluous, so it is now switched
261 Warning: this will cause problems in scores that use bar checks to
264 @item The black note head was made a little rounder, which causes a less
265 frantic graphic impression.
268 A more concise syntax for checking octaves was introduced. A note may
269 be followed by @code{=}@var{quotes} which indicates what its absolute
270 octave should be. In the following example,
273 \relative c'' @{ c='' b=' d,='' @}
277 the d will generate a warning, because a d'' is
278 expected, but a d' is found.
279 @c @code adds ` ', very confusing.
281 @item There is a new mechanism for putting lyrics to melodies.
282 With this mechanism, @code{Lyrics} lines can be put melodies
283 individually, allowing for different melismatic sections in every
284 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
286 @item Bar lines may now be dotted.
289 @item The documentation now has links to a wiki, where everyone can
290 add personal comments to the manual.
292 @item Contexts may now be changed locally for an isolated music
293 expression. For example,
297 \consists "Pitch_squash_engraver"
303 @item The syntax for changing staffs has changed. The keyword
304 @code{\change} should now be used, e.g.
310 @item Features of spanner contexts, like @code{Staff}, can now be changed
311 using @code{\property}, eg.
315 \property Staff.StaffSymbol \set #'line-count = #4
321 puts a quarter note C on a staff with 4 lines.
324 @item Multi measure rests are now truly centered between the
325 clefs/barlines of the staff, their position is independent of symbols
328 @item Collision resolution for dots in chords has been improved greatly.
331 Spacing following barlines was improved for widely stretched lines.
334 Lyric hyphens and extenders now conform to standard typesetting
338 Lyrics are now aligned under note heads conforming to engraving
339 standards. The responsible code has been rewritten, and is drastically
340 simpler from the previous version. To aid this rewrite, the syntactic
341 function of the extender line ( __ ) has been changed: it is now
342 attached to the lyric syllable.
345 When redefining a context, the associated identifier is also
346 updated. For example, after reading the following snippet,
353 the definition of @code{ScoreContext} is updated to include the changed
358 The weight of the stafflines is now heavier at smaller staff sizes.
359 The font has been modified to match this look: at smaller sizes, the
360 font is heavier and the note heads are more rounded.
362 @item Processing scores is now done while parsing the file. New
363 Scheme functions give more flexibility: for example, it is now possible
364 interpret a score, collecting synchronized musical events in a list, and
365 manipulate that information using inline Scheme. For an example, see
366 @file{input/no-notation/recording.ly}.
368 @item Font sizes can now truly be scaled continuously: the @code{font-size}
369 is similar to the old @code{font-relative-size}, but may be set to
370 fractional values; the closest design size will be scaled to achieve
371 the desired size. As a side-effect, there are now no longer
372 limitations in using smaller fonts (eg. grace notes) at small staff
375 @item Stem tips are now also engraved with rounded corners.
378 The placement of accidentals on chords and ledgered notes is improved.
383 @chapter New features in 2.0 since 1.8
388 Crescendos can now be drawn dotted or dashed.
391 Quarter tones are now supported. They are entered by suffixing
392 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
393 following is an ascending list of pitches:
396 ceses ceseh ces ceh c cih cis cisih cisis
400 The following constructs have been removed from the syntax:
403 \duration #SCHEME-DURATION
405 \outputproperty @var{func} @var{symbol} = @var{value}
408 For @code{\outputproperty}, the following may be substituted:
411 \applyoutput #(outputproperty-compatibility @var{func}
412 @var{symbol} @var{value})
416 Clefs may now be transposed arbitrarily, for example
426 The syntax for chords and simultaneous music have changed.
427 Chords are entered as
433 while simultaneous music is entered as
436 <<@var{..music list..}>>
439 In effect, the meanings of both have been swapped relative to their 1.8
440 definition. The syntax for lists in @code{\markup} has changed
441 alongside, but figured bass mode was not changed, i.e.:
444 \markup @{ \center <@var{..list of markups..}> @}
445 \figure @{ <@var{figures}> @}
448 As chords the more often used than simultaneous music, this change will
452 Each music expression can now be tagged, to make different printed
453 versions from the same music expression. In the following example,
454 we see two versions of a piece of music, one for the full score, and
455 one with cue notes for the instrumental part:
459 @{ c4 f2 g4 @} % in the part, we have cue-notes
461 \tag #'score R1 % in the score: only a rest
465 The same can be applied to articulations, texts, etc.: they are
469 -\tag #@var{your-tags}
472 to an articulation, for example,
475 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
478 This defines a note, which has a conditional fingering and a
479 string-number indication.
482 The settings for chord-fingering are more flexible. You can specify a
483 list where fingerings may be placed, eg.
486 \property Voice.fingeringOrientations = #'(left down)
489 This will put the fingering for the lowest note below the chord, and the
493 The script previously known as @code{ly2dvi} has been renamed to
494 @code{lilypond}. The binary itself is now installed as
498 Markup text (ie. general text formatting) may now be used for lyrics too.
501 Two new commands for grace notes have been added, @code{\acciaccatura}
502 and @code{\appoggiatura},
509 Both reflect the traditional meanings of acciaccatura and appogiatura,
510 and both insert insert a slur from the first grace note to the main
514 Layout options for grace notes are now stored in a context property,
515 and may now be set separately from musical content.
518 The @code{\new} command will create a context with a unique
519 name automatically. Hence, for multi-staff scores, it is no longer
520 necessary to invent arbitrary context names. For example, a two-staff
521 score may be created by
525 \new Staff @{ @var{notes for 1st staff} @}
526 \new Staff @{ @var{notes for 2nd staff} @}
533 Octave checks make octave errors easier to correct.
540 This checks that @var{pitch} (without octave) yields @var{pitch} (with
541 octave) in \relative mode. If not, a warning is printed, and the
545 All articulations must now be entered postfix. For example,
552 is a pair of beamed slurred eighth notes.
555 The definition of @code{\relative} has been simplified. Octaves are
556 now always propagated in the order that music is entered. In the
561 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
566 the octave of BODY is based on PRE, the starting octave of ALT1 on
567 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
570 The same mechanism is used for all other music expressions, except the
571 chord. Backwards compatibility is retained through a special program option,
575 #(ly:set-option 'old-relative)
579 Windows users can double click a @code{.ly} file to process and view
580 it automagically through the new @code{lily-wins} frontend.
587 @unnumbered New features in 1.8 since 1.6
592 The chord entry code has been completely rewritten. It is now
593 cleaner and more flexible.
596 A new syntax has been added for text entry. This syntax is more
597 friendly than the old mechanism, and it is implemented in a more
598 robust and modular way. For more information, refer to the section on
599 "Text markup" in the notation manual.
602 The integration of the input language and Scheme has been made deeper:
603 you can now use LilyPond identifiers in Scheme, and use Scheme
604 expressions instead of LilyPond identifiers.
607 The internal representation of music has been cleaned up completely
608 and converted to Scheme data structures. The representation may be
612 A new uniform postfix syntax for articulation has been introduced.
613 A beamed slurred pair of eighth notes can be entered as
619 In version 2.0, postfix syntax will be the only syntax
620 available, and the dashes will become optional.
622 This will simplify the language: all articulations can be entered as
623 postfix, in any order.
626 A new syntax has been added for chords:
633 It is not necessary to update files to this syntax, but it will be for
634 using LilyPond version 2.0. In version 2.0, this syntax will be
644 \simultaneous @{ .. @}
647 for simultaneous music.
649 To convert your files from <PITCHES> to <<PITCHES>>, use the script
650 included in buildscripts/convert-new-chords.py
652 This change was introduced for the following reasons
656 It solves the "start score with chord" problem, where you have to
657 state \context Voice explicitly when a chord was the start of a
660 With the new syntax, it is possible to distinguish between
661 articulations (or fingerings) which are for a single chord note,
662 and which are for the entire chord. This allows for per-note
663 fingerings, and is more logical on the whole.
667 User code may now be executed during interpreting. The syntax for
671 \applycontext #SCHEME-FUNCTION
675 User code may now be executed on arbitrary grobs during interpreting.
676 The syntax for this feature is
679 \applyoutput #SCHEME-FUNCTION
683 SCHEME-FUNCTION takes a single argument, and is called for every grob
684 that is created in the current context.
687 New algorithms for chord-name formatting have been installed. They
688 can be tuned and have ergonomic syntax for entering exceptions.
691 Texts may now be put on multimeasure rests, e.g.
694 R1*20^\markup @{ "GP" @}
698 Ancient notation now prints ligatures in Gregorian square neumes
699 notation, roughly following the typographical style of the Liber
700 hymnarius of Solesmes, published in 1983. Ligatures are still printed
701 without the proper line breaking and horizontal spacing.
704 Glissandi can now be printed using the zigzag style.
707 LilyPond can now print clusters. The syntax is
710 \apply #notes-to-clusters @{ NOTE NOTE .. @}
714 For irregular meters, beat grouping marks can be printed. The
718 #(set-time-signature 7 8 '(3 2 2))
723 Nested horizontal brackets for music analysis can now be printed:
732 @item Ottava brackets are now fully supported as a feature. The syntax
740 @item Metronome markings are printed when a \tempo command is processed.
744 @item Fingerings can be put on chords horizontally.
748 @item The appearance of various glyphs has been fine-tuned.
752 @item Different types of percent style repeats may now be nested.
756 @item The emacs support has been extended.
760 The manual has been completely revised and extended.
764 @unnumbered New features in 1.6 since 1.4
770 Support for figured bass and tablature.
773 Completely rewritten beam formatting: provides much better output
778 Completely revised and improved music font.
782 Completely rewritten MIDI import support.
785 Completely rewritten grace note support. Practically speaking this
786 means that grace notes can be slurred to normal normal notes.
790 Improved accidental handling and formatting: styles for producing
791 cautionaries may vary, and complex collisions between accidentals of a
792 chord are handled much better.
795 Better spacing: both globally and locally. This includes subtle
796 details like optical stem spacing.
799 More support for ancient notation: mensural ligatures, ambitus
800 (pitch range) of voices, more shapes, etc.
803 More support for piano notation: bracket pedals, directed arpeggios,
807 Easier music polyphonic music entry.
810 More extensibility, many speedups and bugfixes
813 The manual has been thoroughly revised.
816 Development is now hosted at http://savannah.gnu.org, and sources
817 can be downloaded through anonymous CVS.
820 Support for windows: LilyPond is part of the cygwin distribution,
821 which comes with a user-friendly installer.