1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 1.9 since 1.8
13 Two new commands for grace note have been added, @code{\accacciatura}
14 and @code{\appogiatura}. Both reflect the traditional meanings of
20 The @code{\new} command will create a context with a unique
21 name automatically. Hence, for multi-staff scores, it is no longer
22 necessary to invent arbitrary context names. For example, a two-staff
23 score may be created by
27 \new Staff @{ @var{notes for 1st staff} @}
28 \new Staff @{ @var{notes for 2nd staff} @}
35 Octave checks make octave errors easier to correct.
42 This checks that @var{pitch} (without octave) yields @var{pitch} (with
43 octave) in \relative mode. If not, a warning is printed, and the
47 All articulations must now be entered postfix. For example,
54 is a pair of beamed slurred eighth notes.
57 The definition of @code{\relative} has been simplified. Octaves are
58 now always propagated in the order that music is entered. In the
63 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
68 the octave of BODY is based on PRE, the starting octave of ALT1 on
69 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
72 The same mechanism is used for all other music expressions, except the
73 chord. Backwards compatibility is retained through a special program option,
77 #(ly:set-option 'old-relative)
85 @chapter New features in 1.8 since 1.6
90 The chord entry code has been completely rewritten. It is now
91 cleaner and more flexible.
94 A new syntax has been added for text entry. This syntax is more
95 friendly than the old mechanism, and it is implemented in a more
96 robust and modular way. For more information, refer to the section on
97 "Text markup" in the notation manual.
100 The integration of the input language and Scheme has been made deeper:
101 you can now use LilyPond identifiers in Scheme, and use Scheme
102 expressions instead of LilyPond identifiers.
105 The internal representation of music has been cleaned up completely
106 and converted to Scheme data structures. The representation may be
110 A new uniform postfix syntax for articulation has been introduced.
111 A beamed slurred pair of eighth notes can be entered as
117 In version 2.0, postfix syntax will be the only syntax
118 available, and the dashes will become optional.
120 This will simplify the language: all articulations can be entered as
121 postfix, in any order.
124 A new syntax has been added for chords:
131 It is not necessary to update files to this syntax, but it will be for
132 using LilyPond version 2.0. In version 2.0, this syntax will be
142 \simultaneous @{ .. @}
145 for simultaneous music.
147 To convert your files from <PITCHES> to <<PITCHES>>, use the script
148 included in buildscripts/convert-new-chords.py
150 This change was introduced for the following reasons
154 It solves the "start score with chord" problem, where you have to
155 state \context Voice explicitly when a chord was the start of a
158 With the new syntax, it is possible to distinguish between
159 articulations (or fingerings) which are for a single chord note,
160 and which are for the entire chord. This allows for per-note
161 fingerings, and is more logical on the whole.
165 User code may now be executed during interpreting. The syntax for
169 \applycontext #SCHEME-FUNCTION
173 User code may now be executed on arbitrary grobs during interpreting.
174 The syntax for this feature is
177 \applyoutput #SCHEME-FUNCTION
181 SCHEME-FUNCTION takes a single argument, and is called for every grob
182 that is created in the current context.
185 New algorithms for chord-name formatting have been installed. They
186 can be tuned and have ergonomic syntax for entering exceptions.
189 Texts may now be put on multimeasure rests, e.g.
192 R1*20^\markup @{ "GP" @}
196 Ancient notation now prints ligatures in Gregorian square neumes
197 notation, roughly following the typographical style of the Liber
198 hymnarius of Solesmes, published in 1983. Ligatures are still printed
199 without the proper line breaking and horizontal spacing.
202 Glissandi can now be printed using the zigzag style.
205 LilyPond can now print clusters. The syntax is
208 \apply #notes-to-clusters @{ NOTE NOTE .. @}
212 For irregular meters, beat grouping marks can be printed. The
216 #(set-time-signature 7 8 '(3 2 2))
221 Nested horizontal brackets for music analysis can now be printed:
230 @item Ottava brackets are now fully supported as a feature. The syntax
238 @item Metronome markings are printed when a \tempo command is processed.
242 @item Fingerings can be put on chords horizontally.
246 @item The appearance of various glyphs has been fine-tuned.
250 @item Different types of percent style repeats may now be nested.
254 @item The emacs support has been extended.
258 The manual has been completely revised and extended.
262 @chapter New features in 1.6 since 1.4
268 Support for figured bass and tablature.
271 Completely rewritten beam formatting: provides much better output
276 Completely revised and improved music font.
280 Completely rewritten MIDI import support.
283 Completely rewritten grace note support. Practically speaking this
284 means that grace notes can be slurred to normal normal notes.
288 Improved accidental handling and formatting: styles for producing
289 cautionaries may vary, and complex collisions between accidentals of a
290 chord are handled much better.
293 Better spacing: both globally and locally. This includes subtle
294 details like optical stem spacing.
297 More support for ancient notation: mensural ligatures, ambitus
298 (pitch range) of voices, more shapes, etc.
301 More support for piano notation: bracket pedals, directed arpeggios,
305 Easier music polyphonic music entry.
308 More extensibility, many speedups and bugfixes
311 The manual has been thoroughly revised.
314 Development is now hosted at http://savannah.gnu.org, and sources
315 can be downloaded through anonymous CVS.
318 Support for windows: LilyPond is part of the cygwin distribution,
319 which comes with a user-friendly installer.