1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
10 @item The @code{--safe} mode has been revisited: it makes the basic
11 ly: interface available, and stops malicious @TeX{} code.
13 @item Music syntax can now be extended seamlessly. As an example,
14 here is the new implementation @code{\applymusic},
17 applymusic = #(ly:make-music-function
18 (list procedure? ly:music?) ; signature
19 (lambda (where func music) ; the function
23 @item @code{\apply} has been renamed to @code{\applymusic}.
25 @item Music can be used as a markup.
26 When inserting a @code{score} block as part of a @code{\markup}, it
27 produces a rendered markup of the music. An example is in
28 @file{input/test/markup-score.ly}.
30 @item LilyPond expressions can be embedded into Scheme. The syntax for
31 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
32 introduced using a @code{$} character (@code{$$} results in a single
33 `$' character). These forms are then printed in the pattern.
36 #(define (textoffset dx dy)
38 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
42 %% The following embedded scheme call is the same as
43 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
49 @item A music list at toplevel is interpreted as implicit @code{\score}
50 a @code{\score} block at toplevel is interpreted as an implicit
51 @code{\book} and @code{\notes} mode is the default lexer mode. The
55 \header @{ title = "The Title" @}
62 \header @{ title = "The Title" @}
70 Actually, a toplevel music list is now handled quite flexibly by
71 @code{default-toplevel-music-handler}. Similarly, a @code{\score}
72 block at toplevel is handled by @code{default-toplevel-score-handler}
73 and a @code{book} at toplevel is handled by
74 @code{default-toplevel-book-handler}. The default behavior of these
75 handlers produces the results described above.
80 These default handlers have the following effect. A Music list at
81 toplevel is encapsulated in a @code{score} block, and a @code{score}
82 block at toplevel is encapsulated in a @code{book} block. A
83 @code{book} block at toplevel generates printed output.
87 @item Start pitch for @code{relative} music is optional for music lists.
88 The default value is one octave below middle C.
90 @c update-me? formal definition of newaddlyrics, once it works
91 @item Combining lyrics with music can be @code{\newlyrics}
100 My first Li -- ly song,
103 Not much can go wrong!
108 Syntactically, @code{\newlyrics} acts like an infix operator.
110 @item The parser is encapsulated in a Scheme function
111 @code{ly:parse-file}, so the following fragment processes two files
114 #(ly:parse-file "another.ly")
115 \score { \notes { c4 }}
118 @item The @code{font-encoding} property can now be used to select
119 differently encoded fonts. The previous default setting
120 @code{TeX-text} has been replaced by latin1. LilyPond requires the
121 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
122 package installed to function properly.
124 @item The encoding of a file can be switched with
125 @code{\encoding}. The strings for markup texts are translated
128 @item The toplevel block @code{book} introduces page layout.
129 A @code{book} groups @code{score} blocks into one page layout entity.
130 Page layout consists of markup titles, headers and footers, and page
131 breaking. Two page breaking algorithms are available, the classic
132 ragged pages (the default), and optimal page breaking
136 %% Select page breaking function.
137 %% #(define page-breaking ly:ragged-page-breaks)
138 #(define page-breaking ly:optimal-page-breaks)
146 The @code{lilypond} program does not generate La@TeX{} titles or page
147 layout. If you need La@TeX{} titles, you can use the
148 @code{lilypond-book} program.
150 @item There is now less of a noticeable ``hook'' at the end of a long slur.
152 @item The meaning of the @code{|} in the input can be redefined, by
153 assigning a music expression to @code{pipeSymbol}.
157 @unnumbered New features in 2.2 since 2.0
161 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
162 causes the last line to be set flush-left instead of justified.
164 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
165 its containing context automatically.
167 @item The code for font selection has been rewritten. In addition to
168 existing font selection properties, the property @code{font-encoding}
169 has been added, which makes the switch between normal @code{text} and
170 other encodings like @code{braces}, @code{music} and @code{math}.
172 @item The pmx2ly script has been removed from the distribution.
174 @item Pedal brackets will now run to the last bar of a piece if they are not
177 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
179 @item Property functions may be used as an argument to @code{set!},
183 (set! (ly:grob-property grob 'beam) ... )
186 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
189 @item Cue notes can be quoted directly from the parts that
190 contain them. This will take into account transposition of source and target
191 instrument. For example,
194 \addquote clarinet \notes\relative c' {
200 \notes \relative c'' {
201 c8 d8 \quote 2 oboe es8 gis
206 @item The transposition of an instrument can be specified using the
207 @code{\transposition} command. An
208 E-flat alto saxophone is specified as
214 @item The naming of exported Scheme functions now follows Scheme conventions.
215 Changes be applied to Scheme files with
218 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
222 @item Notes can be excluded from auto-beaming, by marking them with
229 will print two separate eighth notes, and two beamed notes.
231 @item Translators and contexts have been split. The result of this
232 internal cleanup is that @code{Score} no longer is the top context;
233 @code{Score} is contained in the @code{Global} context. Consequently,
234 it is possible to tweak @code{Score} as follows:
237 \context Score \with @{
242 @item The number of staff lines in Tablature notation is now
243 automatically deduced from the @code{stringTunings} property.
245 @item The program reference has been cleaned up and revised.
247 @item The syntax for setting properties has been simplified:
248 the following table lists the differences:
253 \property A.B = #C \set A.B = #C
254 \property A.B \unset \unset A.B
255 \property A.B \set #C = #D \override A.B #C = #D
256 \property A.B \override #C = #D (removed)
257 \property A.B \revert #C \revert A.B #C
260 Furthermore, if @code{A} is left out, the bottommost context is used
261 by default. In other words, it is no longer necessary to explicitly
262 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
267 \property Voice.autoBeaming = ##f
268 \property Staff.TimeSignature \set #'style = #'C
274 \set autoBeaming = ##f
275 \override Staff.TimeSignature #'style = #'C
279 @item Tweaks made with @code{\override} and @code{\revert} no longer
280 hide tweaks at higher context levels.
282 @item Melismata in lyrics are also properly handled in the MIDI output.
284 @item The lilypond-book script has been rewritten.
285 It is shorter, cleaner and faster. The special construct
286 @code{mbinclude} has been removed, plain @code{@@include} or
287 @code{\input} can be used now.
289 It now supports running convert-ly on the lilypond snippets,
291 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
294 @item The @code{LyricsVoice} context has been removed. Lyrics should only
295 be constructed in @code{Lyrics}.
297 @item The @code{Thread} context has been removed. Note heads and rests
298 are now constructed at @code{Voice} level.
300 @item Harmonic notes can now be entered as
306 @item Drum notation is now supported as a regular feature:
307 percussion may be entered in @code{\drums} mode, and printed or
308 performed in a @code{DrumStaff} context:
312 \drums \new DrumStaff @{ hihat4 cowbell8 @}
316 @item The automatic staff changer was internally rewritten. As a
317 result, the syntax has been simplified as well:
320 \autochange @var{the-music}
323 @item The ergonomic syntax of @code{\markup} now has an equivalent in
324 Scheme. The @code{markup*} macro creates such objects; the following
325 two markup commands are equivalent:
327 f4^#(markup* #:raise 0.2 #:bold "hi")
328 f4^\markup @{ \raise #0.2 \bold hi @}
331 @item Voice names, for vocal lines, have been added. They are similar
332 to instrument names. They can be set by defining @code{vocalName}
335 @item Safe mode has been reinstated for lilypond.
336 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
337 PostScript file output is disallowed, and lilypond-bin is invoked with
338 @code{--safe-mode}, the user's Guile expressions are evaluated in a
339 safe environment and file inclusion is not allowed.
341 Warning: this does not protect against denial-of-service attacks using
342 Guile, @TeX{} or PostScript.
344 (This feature is still experimental.)
346 @item There is now a Scheme macro for defining markup
347 commands. Special mark-up commands can be defined in user-files too.
349 @item Many fixes for dimension scaling have been made,
350 resulting in correct results for scores that mix staves in different
353 @item Improved robustness when layout properties are accidentally removed.
355 @item A more cleanly constructed part combiner has been installed.
356 It is more robust and less buggy. The part-combiner can be used with
358 \partcombine @var{mus1} @var{mus2}
362 See @file{input/regression/new-part-combine.ly} for an example.
364 @item Formatting of rehearsal marks has been improved. The @code{\mark}
365 command now only does automatic incrementing for marks specified as
366 integer. For example, @code{\mark #1} will print an A in the default
367 style. See @file{input/regression/rehearsal-mark-letter.ly},
368 @file{input/regression/rehearsal-mark-number.ly}.
370 @item Formatting of ottava brackets has been much improved.
372 @item Objects in the output can now be documented: the following fragment
373 boxes the note head, and adds the text ``heads or tails?'' three
374 spaces below the box.
377 \context Voice \applyoutput #(add-balloon-text
378 'NoteHead "heads, or tails?"
386 @item Default staff sizes are now scalable. There are two new mechanisms for
387 setting staff sizes. Both are demonstrated in this fragment:
390 #(set-global-staff-size 15)
392 #(paper-set-staff-size (* 15 pt))
398 Both have the same effect on the global layout of a piece. Similarly,
399 the paper size may be changed as follows
402 #(set-default-paper-size "a4")
404 #(set-paper-size "a4")
409 @item Warnings for bar check errors are more cleverly printed. This
410 makes @code{barCheckSynchronize} superfluous, so it is now switched
413 Warning: this will cause problems in scores that use bar checks to
416 @item The black note head was made a little rounder, which causes a less
417 frantic graphic impression.
420 A more concise syntax for checking octaves was introduced. A note may
421 be followed by @code{=}@var{quotes} which indicates what its absolute
422 octave should be. In the following example,
425 \relative c'' @{ c='' b=' d,='' @}
429 the d will generate a warning, because a d'' is
430 expected, but a d' is found.
431 @c @code adds ` ', very confusing.
433 @item There is a new mechanism for putting lyrics to melodies.
434 With this mechanism, @code{Lyrics} lines can be put melodies
435 individually, allowing for different melismatic sections in every
436 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
438 @item Bar lines may now be dotted.
441 @item The documentation now has links to a wiki, where everyone can
442 add personal comments to the manual.
444 @item Contexts may now be changed locally for an isolated music
445 expression. For example,
449 \consists "Pitch_squash_engraver"
455 @item The syntax for changing staffs has changed. The keyword
456 @code{\change} should now be used, e.g.
462 @item Features of spanner contexts, like @code{Staff}, can now be changed
463 using @code{\set}, eg.
467 \override Staff.StaffSymbol #'line-count = #4
473 puts a quarter note C on a staff with 4 lines.
476 @item Multi measure rests are now truly centered between the
477 clefs/barlines of the staff, their position is independent of symbols
480 @item Collision resolution for dots in chords has been improved greatly.
483 Spacing following barlines was improved for widely stretched lines.
486 Lyric hyphens and extenders now conform to standard typesetting
490 Lyrics are now aligned under note heads conforming to engraving
491 standards. The responsible code has been rewritten, and is drastically
492 simpler from the previous version. To aid this rewrite, the syntactic
493 function of the extender line ( __ ) has been changed: it is now
494 attached to the lyric syllable.
497 When redefining a context, the associated identifier is also
498 updated. For example, after reading
508 the definition of @code{ScoreContext} is updated to include the changed
513 The weight of the stafflines is now heavier at smaller staff sizes.
514 The font has been modified to match this look: at smaller sizes, the
515 font is heavier and the note heads are more rounded.
517 @item Processing scores is now done while parsing the file. New
518 Scheme functions give more flexibility: for example, it is now possible
519 interpret a score, collecting synchronized musical events in a list, and
520 manipulate that information using inline Scheme. For an example, see
521 @file{input/no-notation/recording.ly}.
523 @item Font sizes can now truly be scaled continuously: the @code{font-size}
524 is similar to the old @code{font-relative-size}, but may be set to
525 fractional values; the closest design size will be scaled to achieve
526 the desired size. As a side-effect, there are now no longer
527 limitations in using smaller fonts (eg. grace notes) at small staff
530 @item Stem tips are now also engraved with rounded corners.
533 The placement of accidentals on chords and ledgered notes is improved.
538 @unnumbered New features in 2.0 since 1.8
543 Crescendos can now be drawn dotted or dashed.
546 Quarter tones are now supported. They are entered by suffixing
547 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
548 following is an ascending list of pitches:
551 ceses ceseh ces ceh c cih cis cisih cisis
555 The following constructs have been removed from the syntax:
558 \duration #SCHEME-DURATION
560 \outputproperty @var{func} @var{symbol} = @var{value}
563 For @code{\outputproperty}, the following may be substituted:
566 \applyoutput #(outputproperty-compatibility @var{func}
567 @var{symbol} @var{value})
571 Clefs may now be transposed arbitrarily, for example
581 The syntax for chords and simultaneous music have changed.
582 Chords are entered as
588 while simultaneous music is entered as
591 <<@var{..music list..}>>
594 In effect, the meanings of both have been swapped relative to their 1.8
595 definition. The syntax for lists in @code{\markup} has changed
596 alongside, but figured bass mode was not changed, i.e.:
599 \markup @{ \center <@var{..list of markups..}> @}
600 \figure @{ <@var{figures}> @}
603 As chords the more often used than simultaneous music, this change will
607 Each music expression can now be tagged, to make different printed
608 versions from the same music expression. In the following example,
609 we see two versions of a piece of music, one for the full score, and
610 one with cue notes for the instrumental part:
614 @{ c4 f2 g4 @} % in the part, we have cue-notes
616 \tag #'score R1 % in the score: only a rest
620 The same can be applied to articulations, texts, etc.: they are
624 -\tag #@var{your-tags}
627 to an articulation, for example,
630 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
633 This defines a note, which has a conditional fingering and a
634 string-number indication.
637 The settings for chord-fingering are more flexible. You can specify a
638 list where fingerings may be placed, eg.
641 \property Voice.fingeringOrientations = #'(left down)
644 This will put the fingering for the lowest note below the chord, and the
648 The script previously known as @code{ly2dvi} has been renamed to
649 @code{lilypond}. The binary itself is now installed as
653 Markup text (ie. general text formatting) may now be used for lyrics too.
656 Two new commands for grace notes have been added, @code{\acciaccatura}
657 and @code{\appoggiatura},
664 Both reflect the traditional meanings of acciaccatura and appogiatura,
665 and both insert insert a slur from the first grace note to the main
669 Layout options for grace notes are now stored in a context property,
670 and may now be set separately from musical content.
673 The @code{\new} command will create a context with a unique
674 name automatically. Hence, for multi-staff scores, it is no longer
675 necessary to invent arbitrary context names. For example, a two-staff
676 score may be created by
680 \new Staff @{ @var{notes for 1st staff} @}
681 \new Staff @{ @var{notes for 2nd staff} @}
688 Octave checks make octave errors easier to correct.
695 This checks that @var{pitch} (without octave) yields @var{pitch} (with
696 octave) in \relative mode. If not, a warning is printed, and the
700 All articulations must now be entered postfix. For example,
707 is a pair of beamed slurred eighth notes.
710 The definition of @code{\relative} has been simplified. Octaves are
711 now always propagated in the order that music is entered. In the
716 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
721 the octave of BODY is based on PRE, the starting octave of ALT1 on
722 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
725 The same mechanism is used for all other music expressions, except the
726 chord. Backwards compatibility is retained through a special program option,
730 #(ly:set-option 'old-relative)
734 Windows users can double click a @code{.ly} file to process and view
735 it automagically through the new @code{lily-wins} frontend.
742 @unnumbered New features in 1.8 since 1.6
747 The chord entry code has been completely rewritten. It is now
748 cleaner and more flexible.
751 A new syntax has been added for text entry. This syntax is more
752 friendly than the old mechanism, and it is implemented in a more
753 robust and modular way. For more information, refer to the section on
754 "Text markup" in the notation manual.
757 The integration of the input language and Scheme has been made deeper:
758 you can now use LilyPond identifiers in Scheme, and use Scheme
759 expressions instead of LilyPond identifiers.
762 The internal representation of music has been cleaned up completely
763 and converted to Scheme data structures. The representation may be
767 A new uniform postfix syntax for articulation has been introduced.
768 A beamed slurred pair of eighth notes can be entered as
774 In version 2.0, postfix syntax will be the only syntax
775 available, and the dashes will become optional.
777 This will simplify the language: all articulations can be entered as
778 postfix, in any order.
781 A new syntax has been added for chords:
788 It is not necessary to update files to this syntax, but it will be for
789 using LilyPond version 2.0. In version 2.0, this syntax will be
799 \simultaneous @{ .. @}
802 for simultaneous music.
804 To convert your files from <PITCHES> to <<PITCHES>>, use the script
805 included in @file{buildscripts/convert-new-chords.py}.
807 This change was introduced for the following reasons
811 It solves the "start score with chord" problem, where you have to
812 state \context Voice explicitly when a chord was the start of a
815 With the new syntax, it is possible to distinguish between
816 articulations (or fingerings) which are for a single chord note,
817 and which are for the entire chord. This allows for per-note
818 fingerings, and is more logical on the whole.
822 User code may now be executed during interpreting. The syntax for
826 \applycontext #SCHEME-FUNCTION
830 User code may now be executed on arbitrary grobs during interpreting.
831 The syntax for this feature is
834 \applyoutput #SCHEME-FUNCTION
838 SCHEME-FUNCTION takes a single argument, and is called for every grob
839 that is created in the current context.
842 New algorithms for chord-name formatting have been installed. They
843 can be tuned and have ergonomic syntax for entering exceptions.
846 Texts may now be put on multimeasure rests, e.g.
849 R1*20^\markup @{ "GP" @}
853 Ancient notation now prints ligatures in Gregorian square neumes
854 notation, roughly following the typographical style of the Liber
855 hymnarius of Solesmes, published in 1983. Ligatures are still printed
856 without the proper line breaking and horizontal spacing.
859 Glissandi can now be printed using the zigzag style.
862 LilyPond can now print clusters. The syntax is
865 \apply #notes-to-clusters @{ NOTE NOTE .. @}
869 For irregular meters, beat grouping marks can be printed. The
873 #(set-time-signature 7 8 '(3 2 2))
878 Nested horizontal brackets for music analysis can now be printed:
887 @item Ottava brackets are now fully supported as a feature. The syntax
895 @item Metronome markings are printed when a \tempo command is processed.
899 @item Fingerings can be put on chords horizontally.
903 @item The appearance of various glyphs has been fine-tuned.
907 @item Different types of percent style repeats may now be nested.
911 @item The emacs support has been extended.
915 The manual has been completely revised and extended.
919 @unnumbered New features in 1.6 since 1.4
925 Support for figured bass and tablature.
928 Completely rewritten beam formatting: provides much better output
933 Completely revised and improved music font.
937 Completely rewritten MIDI import support.
940 Completely rewritten grace note support. Practically speaking this
941 means that grace notes can be slurred to normal normal notes.
945 Improved accidental handling and formatting: styles for producing
946 cautionaries may vary, and complex collisions between accidentals of a
947 chord are handled much better.
950 Better spacing: both globally and locally. This includes subtle
951 details like optical stem spacing.
954 More support for ancient notation: mensural ligatures, ambitus
955 (pitch range) of voices, more shapes, etc.
958 More support for piano notation: bracket pedals, directed arpeggios,
962 Easier music polyphonic music entry.
965 More extensibility, many speedups and bugfixes
968 The manual has been thoroughly revised.
971 Development is now hosted at http://savannah.gnu.org, and sources
972 can be downloaded through anonymous CVS.
975 Support for windows: LilyPond is part of the cygwin distribution,
976 which comes with a user-friendly installer.