1 \input texinfo @c -*-texinfo-*-
8 @unnumbered New features in 2.1 since 2.0
11 @item The code for font selection has been rewritten. In addition to
12 existing font selection properties, the property @code{font-encoding}
13 has been added, which makes the switch between normal @code{text} and other
14 encodings like @code{braces}, @code{music} and @code{math}.
16 @item The pmx2ly script has been removed from the distribution.
18 @item Pedal brackets will now run to the last bar of a piece if they are not
21 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
23 @item Property functions may be used as an argument to @code{set!},
27 (set! (ly:grob-property grob 'beam) ... )
30 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
33 @item Cue notes can be quoted directly from the parts that
34 contain them. This will take into account transposition of source and target
35 instrument. For example,
38 \addquote clarinet \notes\relative c' {
44 \notes \relative c'' {
45 c8 d8 \quote 2 oboe es8 gis
50 @item The transposition of an instrument can be specified using the
51 @code{\transposition} command. An
52 E-flat alto saxophone is specified as
58 @item The naming of exported Scheme functions now follows Scheme conventions.
59 Changes be applied to Scheme files with
62 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
66 @item Notes can be excluded from auto-beaming, by marking them with
73 will print two separate eighth notes, and two beamed notes.
75 @item Translators and contexts have been split. The result of this
76 internal cleanup is that @code{Score} no longer is the top context;
77 @code{Score} is contained in the @code{Global} context. Consequently,
78 it is possible to tweak @code{Score} as follows:
81 \context Score \with @{
86 @item The number of staff lines in Tablature notation is now
87 automatically deduced from the @code{stringTunings} property.
89 @item The program reference has been cleaned up and revised.
91 @item The syntax for setting properties has been simplified:
92 the following table lists the differences:
97 \property A.B = #C \set A.B = #C
98 \property A.B \unset \unset A.B
99 \property A.B \set #C = #D \override A.B #C = #D
100 \property A.B \override #C = #D (removed)
101 \property A.B \revert #C \revert A.B #C
104 Furthermore, if @code{A} is left out, the bottommost context is used
105 by default. In other words, it is no longer necessary to explicitly
106 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
111 \property Voice.autoBeaming = ##f
112 \property Staff.TimeSignature \set #'style = #'C
118 \set autoBeaming = ##f
119 \override Staff.TimeSignature #'style = #'C
123 @item Tweaks made with @code{\override} and @code{\revert} no longer
124 hide tweaks at higher context levels.
126 @item Melismata in lyrics are also properly handled in the MIDI output.
128 @item The lilypond-book script has been rewritten.
129 It is shorter, cleaner and faster. The special construct
130 @code{mbinclude} has been removed, plain @code{@@include} or
131 @code{\input} can be used now.
135 running convert-ly on the lilypond snippets like so:
137 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
141 @item The @code{LyricsVoice} context has been removed. Lyrics should only
142 be constructed in @code{Lyrics}.
144 @item The @code{Thread} context has been removed. Note heads and rests
145 are now constructed at @code{Voice} level.
147 @item Harmonic notes can now be entered as
153 @item Drum notation is now supported as a regular feature:
154 percussion may be entered in @code{\drums} mode, and printed or
155 performed in a @code{DrumStaff} context:
159 \drums \new DrumStaff @{ hihat4 cowbell8 @}
163 @item The automatic staff changer was internally rewritten. As a
164 result, the syntax has been simplified as well:
167 \autochange @var{the music}
170 @item The ergonomic syntax of @code{\markup} now has an equivalent in
171 Scheme. The @code{markup*} macro creates such objects; the following
172 two markup commands are equivalent:
174 f4^#(markup* #:raise 0.2 #:bold "hi")
175 f4^\markup @{ \raise #0.2 \bold hi @}
178 @item Voice names, for vocal lines, have been added. They are similar
179 to instrument names. They can be set by defining @code{vocalName}
182 @item Safe mode has been reinstated for lilypond.
183 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
184 PostScript file output is disallowed, and lilypond-bin is invoked with
185 @code{--safe-mode}, the user's Guile expressions are evaluated in a
186 safe environment and file inclusion is not allowed.
188 Warning: this does not protect against denial-of-service attacks using
189 Guile, @TeX{} or PostScript.
191 (This feature is still experimental.)
193 @item There is now a Scheme macro for defining markup
194 commands. Special mark-up commands can be defined in user-files too.
196 @item Many fixes for dimension scaling have been made,
197 resulting in correct results for scores that mix staves in different
200 @item Improved robustness when layout properties are accidentally removed.
202 @item A more cleanly constructed part combiner has been installed.
203 It is more robust and less buggy. The part-combiner can be used with
205 \partcombine @var{mus1} @var{mus2}
209 See @file{input/regression/new-part-combine.ly} for an example.
211 @item Formatting of rehearsal marks has been improved. The @code{\mark}
212 command now only does automatic incrementing for marks specified as
213 integer. For example, @code{\mark #1} will print an A in the default
214 style. See @file{input/regression/rehearsal-mark-letter.ly},
215 @file{input/regression/rehearsal-mark-number.ly}.
217 @item Formatting of ottava brackets has been much improved.
219 @item Objects in the output can now be documented: the following fragment
220 boxes the note head, and adds the text ``heads or tails?'' three
221 spaces below the box.
224 \context Voice \applyoutput #(add-balloon-text
225 'NoteHead "heads, or tails?"
233 @item Default staff sizes are now scalable. There are two new mechanisms for
234 setting staff sizes. Both are demonstrated in this fragment:
237 #(set-global-staff-size 15)
239 #(paper-set-staff-size (* 15 pt))
245 Both have the same effect on the global layout of a piece. Similarly,
246 the paper size may be changed as follows
249 #(set-paper-size "a4")
253 @item Warnings for bar check errors are more cleverly printed. This
254 makes @code{barCheckSynchronize} superfluous, so it is now switched
257 Warning: this will cause problems in scores that use bar checks to
260 @item The black note head was made a little rounder, which causes a less
261 frantic graphic impression.
264 A more concise syntax for checking octaves was introduced. A note may
265 be followed by @code{=}@var{quotes} which indicates what its absolute
266 octave should be. In the following example,
269 \relative c'' @{ c='' b=' d,='' @}
273 the d will generate a warning, because a d'' is
274 expected, but a d' is found.
275 @c @code adds ` ', very confusing.
277 @item There is a new mechanism for putting lyrics to melodies.
278 With this mechanism, @code{Lyrics} lines can be put melodies
279 individually, allowing for different melismatic sections in every
280 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
282 @item Bar lines may now be dotted.
285 @item The documentation now has links to a wiki, where everyone can
286 add personal comments to the manual.
288 @item Contexts may now be changed locally for an isolated music
289 expression. For example,
293 \consists "Pitch_squash_engraver"
299 @item The syntax for changing staffs has changed. The keyword
300 @code{\change} should now be used, e.g.
306 @item Features of spanner contexts, like @code{Staff}, can now be changed
307 using @code{\property}, eg.
311 \property Staff.StaffSymbol \set #'line-count = #4
317 puts a quarter note C on a staff with 4 lines.
320 @item Multi measure rests are now truly centered between the
321 clefs/barlines of the staff, their position is independent of symbols
324 @item Collision resolution for dots in chords has been improved greatly.
327 Spacing following barlines was improved for widely stretched lines.
330 Lyric hyphens and extenders now conform to standard typesetting
334 Lyrics are now aligned under note heads conforming to engraving
335 standards. The responsible code has been rewritten, and is drastically
336 simpler from the previous version. To aid this rewrite, the syntactic
337 function of the extender line ( __ ) has been changed: it is now
338 attached to the lyric syllable.
341 When redefining a context, the associated identifier is also
342 updated. For example, after reading the following snippet,
349 the definition of @code{ScoreContext} is updated to include the changed
354 The weight of the stafflines is now heavier at smaller staff sizes.
355 The font has been modified to match this look: at smaller sizes, the
356 font is heavier and the note heads are more rounded.
358 @item Processing scores is now done while parsing the file. New
359 Scheme functions give more flexibility: for example, it is now possible
360 interpret a score, collecting synchronized musical events in a list, and
361 manipulate that information using inline Scheme. For an example, see
362 @file{input/no-notation/recording.ly}.
364 @item Font sizes can now truly be scaled continuously: the @code{font-size}
365 is similar to the old @code{font-relative-size}, but may be set to
366 fractional values; the closest design size will be scaled to achieve
367 the desired size. As a side-effect, there are now no longer
368 limitations in using smaller fonts (eg. grace notes) at small staff
371 @item Stem tips are now also engraved with rounded corners.
374 The placement of accidentals on chords and ledgered notes is improved.
379 @chapter New features in 2.0 since 1.8
384 Crescendos can now be drawn dotted or dashed.
387 Quarter tones are now supported. They are entered by suffixing
388 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
389 following is an ascending list of pitches:
392 ceses ceseh ces ceh c cih cis cisih cisis
396 The following constructs have been removed from the syntax:
399 \duration #SCHEME-DURATION
401 \outputproperty @var{func} @var{symbol} = @var{value}
404 For @code{\outputproperty}, the following may be substituted:
407 \applyoutput #(outputproperty-compatibility @var{func}
408 @var{symbol} @var{value})
412 Clefs may now be transposed arbitrarily, for example
422 The syntax for chords and simultaneous music have changed.
423 Chords are entered as
429 while simultaneous music is entered as
432 <<@var{..music list..}>>
435 In effect, the meanings of both have been swapped relative to their 1.8
436 definition. The syntax for lists in @code{\markup} has changed
437 alongside, but figured bass mode was not changed, i.e.:
440 \markup @{ \center <@var{..list of markups..}> @}
441 \figure @{ <@var{figures}> @}
444 As chords the more often used than simultaneous music, this change will
448 Each music expression can now be tagged, to make different printed
449 versions from the same music expression. In the following example,
450 we see two versions of a piece of music, one for the full score, and
451 one with cue notes for the instrumental part:
455 @{ c4 f2 g4 @} % in the part, we have cue-notes
457 \tag #'score R1 % in the score: only a rest
461 The same can be applied to articulations, texts, etc.: they are
465 -\tag #@var{your-tags}
468 to an articulation, for example,
471 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
474 This defines a note, which has a conditional fingering and a
475 string-number indication.
478 The settings for chord-fingering are more flexible. You can specify a
479 list where fingerings may be placed, eg.
482 \property Voice.fingeringOrientations = #'(left down)
485 This will put the fingering for the lowest note below the chord, and the
489 The script previously known as @code{ly2dvi} has been renamed to
490 @code{lilypond}. The binary itself is now installed as
494 Markup text (ie. general text formatting) may now be used for lyrics too.
497 Two new commands for grace notes have been added, @code{\acciaccatura}
498 and @code{\appoggiatura},
505 Both reflect the traditional meanings of acciaccatura and appogiatura,
506 and both insert insert a slur from the first grace note to the main
510 Layout options for grace notes are now stored in a context property,
511 and may now be set separately from musical content.
514 The @code{\new} command will create a context with a unique
515 name automatically. Hence, for multi-staff scores, it is no longer
516 necessary to invent arbitrary context names. For example, a two-staff
517 score may be created by
521 \new Staff @{ @var{notes for 1st staff} @}
522 \new Staff @{ @var{notes for 2nd staff} @}
529 Octave checks make octave errors easier to correct.
536 This checks that @var{pitch} (without octave) yields @var{pitch} (with
537 octave) in \relative mode. If not, a warning is printed, and the
541 All articulations must now be entered postfix. For example,
548 is a pair of beamed slurred eighth notes.
551 The definition of @code{\relative} has been simplified. Octaves are
552 now always propagated in the order that music is entered. In the
557 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
562 the octave of BODY is based on PRE, the starting octave of ALT1 on
563 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
566 The same mechanism is used for all other music expressions, except the
567 chord. Backwards compatibility is retained through a special program option,
571 #(ly:set-option 'old-relative)
575 Windows users can double click a @code{.ly} file to process and view
576 it automagically through the new @code{lily-wins} frontend.
583 @unnumbered New features in 1.8 since 1.6
588 The chord entry code has been completely rewritten. It is now
589 cleaner and more flexible.
592 A new syntax has been added for text entry. This syntax is more
593 friendly than the old mechanism, and it is implemented in a more
594 robust and modular way. For more information, refer to the section on
595 "Text markup" in the notation manual.
598 The integration of the input language and Scheme has been made deeper:
599 you can now use LilyPond identifiers in Scheme, and use Scheme
600 expressions instead of LilyPond identifiers.
603 The internal representation of music has been cleaned up completely
604 and converted to Scheme data structures. The representation may be
608 A new uniform postfix syntax for articulation has been introduced.
609 A beamed slurred pair of eighth notes can be entered as
615 In version 2.0, postfix syntax will be the only syntax
616 available, and the dashes will become optional.
618 This will simplify the language: all articulations can be entered as
619 postfix, in any order.
622 A new syntax has been added for chords:
629 It is not necessary to update files to this syntax, but it will be for
630 using LilyPond version 2.0. In version 2.0, this syntax will be
640 \simultaneous @{ .. @}
643 for simultaneous music.
645 To convert your files from <PITCHES> to <<PITCHES>>, use the script
646 included in buildscripts/convert-new-chords.py
648 This change was introduced for the following reasons
652 It solves the "start score with chord" problem, where you have to
653 state \context Voice explicitly when a chord was the start of a
656 With the new syntax, it is possible to distinguish between
657 articulations (or fingerings) which are for a single chord note,
658 and which are for the entire chord. This allows for per-note
659 fingerings, and is more logical on the whole.
663 User code may now be executed during interpreting. The syntax for
667 \applycontext #SCHEME-FUNCTION
671 User code may now be executed on arbitrary grobs during interpreting.
672 The syntax for this feature is
675 \applyoutput #SCHEME-FUNCTION
679 SCHEME-FUNCTION takes a single argument, and is called for every grob
680 that is created in the current context.
683 New algorithms for chord-name formatting have been installed. They
684 can be tuned and have ergonomic syntax for entering exceptions.
687 Texts may now be put on multimeasure rests, e.g.
690 R1*20^\markup @{ "GP" @}
694 Ancient notation now prints ligatures in Gregorian square neumes
695 notation, roughly following the typographical style of the Liber
696 hymnarius of Solesmes, published in 1983. Ligatures are still printed
697 without the proper line breaking and horizontal spacing.
700 Glissandi can now be printed using the zigzag style.
703 LilyPond can now print clusters. The syntax is
706 \apply #notes-to-clusters @{ NOTE NOTE .. @}
710 For irregular meters, beat grouping marks can be printed. The
714 #(set-time-signature 7 8 '(3 2 2))
719 Nested horizontal brackets for music analysis can now be printed:
728 @item Ottava brackets are now fully supported as a feature. The syntax
736 @item Metronome markings are printed when a \tempo command is processed.
740 @item Fingerings can be put on chords horizontally.
744 @item The appearance of various glyphs has been fine-tuned.
748 @item Different types of percent style repeats may now be nested.
752 @item The emacs support has been extended.
756 The manual has been completely revised and extended.
760 @unnumbered New features in 1.6 since 1.4
766 Support for figured bass and tablature.
769 Completely rewritten beam formatting: provides much better output
774 Completely revised and improved music font.
778 Completely rewritten MIDI import support.
781 Completely rewritten grace note support. Practically speaking this
782 means that grace notes can be slurred to normal normal notes.
786 Improved accidental handling and formatting: styles for producing
787 cautionaries may vary, and complex collisions between accidentals of a
788 chord are handled much better.
791 Better spacing: both globally and locally. This includes subtle
792 details like optical stem spacing.
795 More support for ancient notation: mensural ligatures, ambitus
796 (pitch range) of voices, more shapes, etc.
799 More support for piano notation: bracket pedals, directed arpeggios,
803 Easier music polyphonic music entry.
806 More extensibility, many speedups and bugfixes
809 The manual has been thoroughly revised.
812 Development is now hosted at http://savannah.gnu.org, and sources
813 can be downloaded through anonymous CVS.
816 Support for windows: LilyPond is part of the cygwin distribution,
817 which comes with a user-friendly installer.