1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
12 The weight of the stafflines is now heavier at smaller staff sizes.
13 To match this, the font has been revamped completely for looking: the
14 font is now much heavier for smaller sizes, and the note heads are
15 more rounded in smaller sizes.
17 @item Processing scores is now done while parsing the file. New
18 Scheme functions give more flexibility: for example, it is now possible
19 interpret a score, collecting synchronized musical events in a list, and
20 manipulate that information using inline Scheme. For an example, see
21 @file{input/no-notation/recording.ly}.
23 @item Font sizes can now truly be scaled continuously: the @code{font-size}
24 is similar to the old @code{font-relative-size}, but may be set to
25 fractional values; the closest design size will be scaled to achieve
26 the desired size. As a side-effect, there are now no longer
27 limitations in using smaller fonts (eg. grace notes) at small staff
30 @item The appearance of stem tips is now also engraved with rounded corners.
33 The placement of accidentals on chords and ledgered notes is improved.
38 @chapter New features in 2.0 since 1.8
43 Crescendos can now be drawn dotted or dashed.
46 Quarter tones are now supported. They are entered by suffixing
47 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
48 following is an ascending list of pitches:
51 ceses ceseh ces ceh c cih cis cisih cisis
55 The following constructs have been removed from the syntax:
58 \duration #SCHEME-DURATION
60 \outputproperty @var{func} @var{symbol} = @var{value}
63 For @code{\outputproperty}, the following may be substituted:
66 \applyoutput #(outputproperty-compatibility @var{func}
67 @var{symbol} @var{value})
71 Clefs may now be transposed arbitrarily, for example
81 The syntax for chords and simultaneous music have changed.
88 while simultaneous music is entered as
91 <<@var{..music list..}>>
94 In effect, the meanings of both have been swapped relative to their 1.8
95 definition. The syntax for lists in @code{\markup} has changed
96 alongside, but figured bass mode was not changed, i.e.:
99 \markup @{ \center <@var{..list of markups..}> @}
100 \figure @{ <@var{figures}> @}
103 As chords the more often used than simultaneous music, this change will
107 Each music expression can now be tagged, to make different printed
108 versions from the same music expression. In the following example,
109 we see two versions of a piece of music, one for the full score, and
110 one with cue notes for the instrumental part:
114 @{ c4 f2 g4 @} % in the part, we have cue-notes
116 \tag #'score R1 % in the score: only a rest
120 The same can be applied to articulations, texts, etc.: they are
124 -\tag #@var{your-tags}
127 to an articulation, for example,
130 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
133 This defines a note, which has a conditional fingering and a
134 string-number indication.
137 The settings for chord-fingering are more flexible. You can specify a
138 list where fingerings may be placed, eg.
141 \property Voice.fingeringOrientations = #'(left down)
144 This will put the fingering for the lowest note below the chord, and the
148 The script previously known as @code{ly2dvi} has been renamed to
149 @code{lilypond}. The binary itself is now installed as
153 Markup text (ie. general text formatting) may now be used for lyrics too.
156 Two new commands for grace notes have been added, @code{\acciaccatura}
157 and @code{\appoggiatura},
164 Both reflect the traditional meanings of acciaccatura and appogiatura,
165 and both insert insert a slur from the first grace note to the main
169 Layout options for grace notes are now stored in a context property,
170 and may now be set separately from musical content.
173 The @code{\new} command will create a context with a unique
174 name automatically. Hence, for multi-staff scores, it is no longer
175 necessary to invent arbitrary context names. For example, a two-staff
176 score may be created by
180 \new Staff @{ @var{notes for 1st staff} @}
181 \new Staff @{ @var{notes for 2nd staff} @}
188 Octave checks make octave errors easier to correct.
195 This checks that @var{pitch} (without octave) yields @var{pitch} (with
196 octave) in \relative mode. If not, a warning is printed, and the
200 All articulations must now be entered postfix. For example,
207 is a pair of beamed slurred eighth notes.
210 The definition of @code{\relative} has been simplified. Octaves are
211 now always propagated in the order that music is entered. In the
216 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
221 the octave of BODY is based on PRE, the starting octave of ALT1 on
222 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
225 The same mechanism is used for all other music expressions, except the
226 chord. Backwards compatibility is retained through a special program option,
230 #(ly:set-option 'old-relative)
234 Windows users can double click a @code{.ly} file to process and view
235 it automagically through the new @code{lily-wins} frontend.
242 @chapter New features in 1.8 since 1.6
247 The chord entry code has been completely rewritten. It is now
248 cleaner and more flexible.
251 A new syntax has been added for text entry. This syntax is more
252 friendly than the old mechanism, and it is implemented in a more
253 robust and modular way. For more information, refer to the section on
254 "Text markup" in the notation manual.
257 The integration of the input language and Scheme has been made deeper:
258 you can now use LilyPond identifiers in Scheme, and use Scheme
259 expressions instead of LilyPond identifiers.
262 The internal representation of music has been cleaned up completely
263 and converted to Scheme data structures. The representation may be
267 A new uniform postfix syntax for articulation has been introduced.
268 A beamed slurred pair of eighth notes can be entered as
274 In version 2.0, postfix syntax will be the only syntax
275 available, and the dashes will become optional.
277 This will simplify the language: all articulations can be entered as
278 postfix, in any order.
281 A new syntax has been added for chords:
288 It is not necessary to update files to this syntax, but it will be for
289 using LilyPond version 2.0. In version 2.0, this syntax will be
299 \simultaneous @{ .. @}
302 for simultaneous music.
304 To convert your files from <PITCHES> to <<PITCHES>>, use the script
305 included in buildscripts/convert-new-chords.py
307 This change was introduced for the following reasons
311 It solves the "start score with chord" problem, where you have to
312 state \context Voice explicitly when a chord was the start of a
315 With the new syntax, it is possible to distinguish between
316 articulations (or fingerings) which are for a single chord note,
317 and which are for the entire chord. This allows for per-note
318 fingerings, and is more logical on the whole.
322 User code may now be executed during interpreting. The syntax for
326 \applycontext #SCHEME-FUNCTION
330 User code may now be executed on arbitrary grobs during interpreting.
331 The syntax for this feature is
334 \applyoutput #SCHEME-FUNCTION
338 SCHEME-FUNCTION takes a single argument, and is called for every grob
339 that is created in the current context.
342 New algorithms for chord-name formatting have been installed. They
343 can be tuned and have ergonomic syntax for entering exceptions.
346 Texts may now be put on multimeasure rests, e.g.
349 R1*20^\markup @{ "GP" @}
353 Ancient notation now prints ligatures in Gregorian square neumes
354 notation, roughly following the typographical style of the Liber
355 hymnarius of Solesmes, published in 1983. Ligatures are still printed
356 without the proper line breaking and horizontal spacing.
359 Glissandi can now be printed using the zigzag style.
362 LilyPond can now print clusters. The syntax is
365 \apply #notes-to-clusters @{ NOTE NOTE .. @}
369 For irregular meters, beat grouping marks can be printed. The
373 #(set-time-signature 7 8 '(3 2 2))
378 Nested horizontal brackets for music analysis can now be printed:
387 @item Ottava brackets are now fully supported as a feature. The syntax
395 @item Metronome markings are printed when a \tempo command is processed.
399 @item Fingerings can be put on chords horizontally.
403 @item The appearance of various glyphs has been fine-tuned.
407 @item Different types of percent style repeats may now be nested.
411 @item The emacs support has been extended.
415 The manual has been completely revised and extended.
419 @chapter New features in 1.6 since 1.4
425 Support for figured bass and tablature.
428 Completely rewritten beam formatting: provides much better output
433 Completely revised and improved music font.
437 Completely rewritten MIDI import support.
440 Completely rewritten grace note support. Practically speaking this
441 means that grace notes can be slurred to normal normal notes.
445 Improved accidental handling and formatting: styles for producing
446 cautionaries may vary, and complex collisions between accidentals of a
447 chord are handled much better.
450 Better spacing: both globally and locally. This includes subtle
451 details like optical stem spacing.
454 More support for ancient notation: mensural ligatures, ambitus
455 (pitch range) of voices, more shapes, etc.
458 More support for piano notation: bracket pedals, directed arpeggios,
462 Easier music polyphonic music entry.
465 More extensibility, many speedups and bugfixes
468 The manual has been thoroughly revised.
471 Development is now hosted at http://savannah.gnu.org, and sources
472 can be downloaded through anonymous CVS.
475 Support for windows: LilyPond is part of the cygwin distribution,
476 which comes with a user-friendly installer.