1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.2 since 2.0
11 @item The meaning of the @code{|} in the input can be redefined, by
12 assigning a music expression to @code{pipeSymbol}.
16 @unnumbered New features in 2.2 since 2.0
20 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
21 causes the last line to be set flush-left instead of justified.
23 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
24 its containing context automatically.
26 @item The code for font selection has been rewritten. In addition to
27 existing font selection properties, the property @code{font-encoding}
28 has been added, which makes the switch between normal @code{text} and
29 other encodings like @code{braces}, @code{music} and @code{math}.
31 @item The pmx2ly script has been removed from the distribution.
33 @item Pedal brackets will now run to the last bar of a piece if they are not
36 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
38 @item Property functions may be used as an argument to @code{set!},
42 (set! (ly:grob-property grob 'beam) ... )
45 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
48 @item Cue notes can be quoted directly from the parts that
49 contain them. This will take into account transposition of source and target
50 instrument. For example,
53 \addquote clarinet \notes\relative c' {
59 \notes \relative c'' {
60 c8 d8 \quote 2 oboe es8 gis
65 @item The transposition of an instrument can be specified using the
66 @code{\transposition} command. An
67 E-flat alto saxophone is specified as
73 @item The naming of exported Scheme functions now follows Scheme conventions.
74 Changes be applied to Scheme files with
77 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
81 @item Notes can be excluded from auto-beaming, by marking them with
88 will print two separate eighth notes, and two beamed notes.
90 @item Translators and contexts have been split. The result of this
91 internal cleanup is that @code{Score} no longer is the top context;
92 @code{Score} is contained in the @code{Global} context. Consequently,
93 it is possible to tweak @code{Score} as follows:
96 \context Score \with @{
101 @item The number of staff lines in Tablature notation is now
102 automatically deduced from the @code{stringTunings} property.
104 @item The program reference has been cleaned up and revised.
106 @item The syntax for setting properties has been simplified:
107 the following table lists the differences:
112 \property A.B = #C \set A.B = #C
113 \property A.B \unset \unset A.B
114 \property A.B \set #C = #D \override A.B #C = #D
115 \property A.B \override #C = #D (removed)
116 \property A.B \revert #C \revert A.B #C
119 Furthermore, if @code{A} is left out, the bottommost context is used
120 by default. In other words, it is no longer necessary to explicitly
121 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
126 \property Voice.autoBeaming = ##f
127 \property Staff.TimeSignature \set #'style = #'C
133 \set autoBeaming = ##f
134 \override Staff.TimeSignature #'style = #'C
138 @item Tweaks made with @code{\override} and @code{\revert} no longer
139 hide tweaks at higher context levels.
141 @item Melismata in lyrics are also properly handled in the MIDI output.
143 @item The lilypond-book script has been rewritten.
144 It is shorter, cleaner and faster. The special construct
145 @code{mbinclude} has been removed, plain @code{@@include} or
146 @code{\input} can be used now.
148 It now supports running convert-ly on the lilypond snippets,
150 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
153 @item The @code{LyricsVoice} context has been removed. Lyrics should only
154 be constructed in @code{Lyrics}.
156 @item The @code{Thread} context has been removed. Note heads and rests
157 are now constructed at @code{Voice} level.
159 @item Harmonic notes can now be entered as
165 @item Drum notation is now supported as a regular feature:
166 percussion may be entered in @code{\drums} mode, and printed or
167 performed in a @code{DrumStaff} context:
171 \drums \new DrumStaff @{ hihat4 cowbell8 @}
175 @item The automatic staff changer was internally rewritten. As a
176 result, the syntax has been simplified as well:
179 \autochange @var{the-music}
182 @item The ergonomic syntax of @code{\markup} now has an equivalent in
183 Scheme. The @code{markup*} macro creates such objects; the following
184 two markup commands are equivalent:
186 f4^#(markup* #:raise 0.2 #:bold "hi")
187 f4^\markup @{ \raise #0.2 \bold hi @}
190 @item Voice names, for vocal lines, have been added. They are similar
191 to instrument names. They can be set by defining @code{vocalName}
194 @item Safe mode has been reinstated for lilypond.
195 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
196 PostScript file output is disallowed, and lilypond-bin is invoked with
197 @code{--safe-mode}, the user's Guile expressions are evaluated in a
198 safe environment and file inclusion is not allowed.
200 Warning: this does not protect against denial-of-service attacks using
201 Guile, @TeX{} or PostScript.
203 (This feature is still experimental.)
205 @item There is now a Scheme macro for defining markup
206 commands. Special mark-up commands can be defined in user-files too.
208 @item Many fixes for dimension scaling have been made,
209 resulting in correct results for scores that mix staves in different
212 @item Improved robustness when layout properties are accidentally removed.
214 @item A more cleanly constructed part combiner has been installed.
215 It is more robust and less buggy. The part-combiner can be used with
217 \partcombine @var{mus1} @var{mus2}
221 See @file{input/regression/new-part-combine.ly} for an example.
223 @item Formatting of rehearsal marks has been improved. The @code{\mark}
224 command now only does automatic incrementing for marks specified as
225 integer. For example, @code{\mark #1} will print an A in the default
226 style. See @file{input/regression/rehearsal-mark-letter.ly},
227 @file{input/regression/rehearsal-mark-number.ly}.
229 @item Formatting of ottava brackets has been much improved.
231 @item Objects in the output can now be documented: the following fragment
232 boxes the note head, and adds the text ``heads or tails?'' three
233 spaces below the box.
236 \context Voice \applyoutput #(add-balloon-text
237 'NoteHead "heads, or tails?"
245 @item Default staff sizes are now scalable. There are two new mechanisms for
246 setting staff sizes. Both are demonstrated in this fragment:
249 #(set-global-staff-size 15)
251 #(paper-set-staff-size (* 15 pt))
257 Both have the same effect on the global layout of a piece. Similarly,
258 the paper size may be changed as follows
261 #(set-default-paper-size "a4")
263 #(set-paper-size "a4")
268 @item Warnings for bar check errors are more cleverly printed. This
269 makes @code{barCheckSynchronize} superfluous, so it is now switched
272 Warning: this will cause problems in scores that use bar checks to
275 @item The black note head was made a little rounder, which causes a less
276 frantic graphic impression.
279 A more concise syntax for checking octaves was introduced. A note may
280 be followed by @code{=}@var{quotes} which indicates what its absolute
281 octave should be. In the following example,
284 \relative c'' @{ c='' b=' d,='' @}
288 the d will generate a warning, because a d'' is
289 expected, but a d' is found.
290 @c @code adds ` ', very confusing.
292 @item There is a new mechanism for putting lyrics to melodies.
293 With this mechanism, @code{Lyrics} lines can be put melodies
294 individually, allowing for different melismatic sections in every
295 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
297 @item Bar lines may now be dotted.
300 @item The documentation now has links to a wiki, where everyone can
301 add personal comments to the manual.
303 @item Contexts may now be changed locally for an isolated music
304 expression. For example,
308 \consists "Pitch_squash_engraver"
314 @item The syntax for changing staffs has changed. The keyword
315 @code{\change} should now be used, e.g.
321 @item Features of spanner contexts, like @code{Staff}, can now be changed
322 using @code{\set}, eg.
326 \override Staff.StaffSymbol #'line-count = #4
332 puts a quarter note C on a staff with 4 lines.
335 @item Multi measure rests are now truly centered between the
336 clefs/barlines of the staff, their position is independent of symbols
339 @item Collision resolution for dots in chords has been improved greatly.
342 Spacing following barlines was improved for widely stretched lines.
345 Lyric hyphens and extenders now conform to standard typesetting
349 Lyrics are now aligned under note heads conforming to engraving
350 standards. The responsible code has been rewritten, and is drastically
351 simpler from the previous version. To aid this rewrite, the syntactic
352 function of the extender line ( __ ) has been changed: it is now
353 attached to the lyric syllable.
356 When redefining a context, the associated identifier is also
357 updated. For example, after reading
367 the definition of @code{ScoreContext} is updated to include the changed
372 The weight of the stafflines is now heavier at smaller staff sizes.
373 The font has been modified to match this look: at smaller sizes, the
374 font is heavier and the note heads are more rounded.
376 @item Processing scores is now done while parsing the file. New
377 Scheme functions give more flexibility: for example, it is now possible
378 interpret a score, collecting synchronized musical events in a list, and
379 manipulate that information using inline Scheme. For an example, see
380 @file{input/no-notation/recording.ly}.
382 @item Font sizes can now truly be scaled continuously: the @code{font-size}
383 is similar to the old @code{font-relative-size}, but may be set to
384 fractional values; the closest design size will be scaled to achieve
385 the desired size. As a side-effect, there are now no longer
386 limitations in using smaller fonts (eg. grace notes) at small staff
389 @item Stem tips are now also engraved with rounded corners.
392 The placement of accidentals on chords and ledgered notes is improved.
397 @unnumbered New features in 2.0 since 1.8
402 Crescendos can now be drawn dotted or dashed.
405 Quarter tones are now supported. They are entered by suffixing
406 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
407 following is an ascending list of pitches:
410 ceses ceseh ces ceh c cih cis cisih cisis
414 The following constructs have been removed from the syntax:
417 \duration #SCHEME-DURATION
419 \outputproperty @var{func} @var{symbol} = @var{value}
422 For @code{\outputproperty}, the following may be substituted:
425 \applyoutput #(outputproperty-compatibility @var{func}
426 @var{symbol} @var{value})
430 Clefs may now be transposed arbitrarily, for example
440 The syntax for chords and simultaneous music have changed.
441 Chords are entered as
447 while simultaneous music is entered as
450 <<@var{..music list..}>>
453 In effect, the meanings of both have been swapped relative to their 1.8
454 definition. The syntax for lists in @code{\markup} has changed
455 alongside, but figured bass mode was not changed, i.e.:
458 \markup @{ \center <@var{..list of markups..}> @}
459 \figure @{ <@var{figures}> @}
462 As chords the more often used than simultaneous music, this change will
466 Each music expression can now be tagged, to make different printed
467 versions from the same music expression. In the following example,
468 we see two versions of a piece of music, one for the full score, and
469 one with cue notes for the instrumental part:
473 @{ c4 f2 g4 @} % in the part, we have cue-notes
475 \tag #'score R1 % in the score: only a rest
479 The same can be applied to articulations, texts, etc.: they are
483 -\tag #@var{your-tags}
486 to an articulation, for example,
489 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
492 This defines a note, which has a conditional fingering and a
493 string-number indication.
496 The settings for chord-fingering are more flexible. You can specify a
497 list where fingerings may be placed, eg.
500 \property Voice.fingeringOrientations = #'(left down)
503 This will put the fingering for the lowest note below the chord, and the
507 The script previously known as @code{ly2dvi} has been renamed to
508 @code{lilypond}. The binary itself is now installed as
512 Markup text (ie. general text formatting) may now be used for lyrics too.
515 Two new commands for grace notes have been added, @code{\acciaccatura}
516 and @code{\appoggiatura},
523 Both reflect the traditional meanings of acciaccatura and appogiatura,
524 and both insert insert a slur from the first grace note to the main
528 Layout options for grace notes are now stored in a context property,
529 and may now be set separately from musical content.
532 The @code{\new} command will create a context with a unique
533 name automatically. Hence, for multi-staff scores, it is no longer
534 necessary to invent arbitrary context names. For example, a two-staff
535 score may be created by
539 \new Staff @{ @var{notes for 1st staff} @}
540 \new Staff @{ @var{notes for 2nd staff} @}
547 Octave checks make octave errors easier to correct.
554 This checks that @var{pitch} (without octave) yields @var{pitch} (with
555 octave) in \relative mode. If not, a warning is printed, and the
559 All articulations must now be entered postfix. For example,
566 is a pair of beamed slurred eighth notes.
569 The definition of @code{\relative} has been simplified. Octaves are
570 now always propagated in the order that music is entered. In the
575 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
580 the octave of BODY is based on PRE, the starting octave of ALT1 on
581 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
584 The same mechanism is used for all other music expressions, except the
585 chord. Backwards compatibility is retained through a special program option,
589 #(ly:set-option 'old-relative)
593 Windows users can double click a @code{.ly} file to process and view
594 it automagically through the new @code{lily-wins} frontend.
601 @unnumbered New features in 1.8 since 1.6
606 The chord entry code has been completely rewritten. It is now
607 cleaner and more flexible.
610 A new syntax has been added for text entry. This syntax is more
611 friendly than the old mechanism, and it is implemented in a more
612 robust and modular way. For more information, refer to the section on
613 "Text markup" in the notation manual.
616 The integration of the input language and Scheme has been made deeper:
617 you can now use LilyPond identifiers in Scheme, and use Scheme
618 expressions instead of LilyPond identifiers.
621 The internal representation of music has been cleaned up completely
622 and converted to Scheme data structures. The representation may be
626 A new uniform postfix syntax for articulation has been introduced.
627 A beamed slurred pair of eighth notes can be entered as
633 In version 2.0, postfix syntax will be the only syntax
634 available, and the dashes will become optional.
636 This will simplify the language: all articulations can be entered as
637 postfix, in any order.
640 A new syntax has been added for chords:
647 It is not necessary to update files to this syntax, but it will be for
648 using LilyPond version 2.0. In version 2.0, this syntax will be
658 \simultaneous @{ .. @}
661 for simultaneous music.
663 To convert your files from <PITCHES> to <<PITCHES>>, use the script
664 included in buildscripts/convert-new-chords.py
666 This change was introduced for the following reasons
670 It solves the "start score with chord" problem, where you have to
671 state \context Voice explicitly when a chord was the start of a
674 With the new syntax, it is possible to distinguish between
675 articulations (or fingerings) which are for a single chord note,
676 and which are for the entire chord. This allows for per-note
677 fingerings, and is more logical on the whole.
681 User code may now be executed during interpreting. The syntax for
685 \applycontext #SCHEME-FUNCTION
689 User code may now be executed on arbitrary grobs during interpreting.
690 The syntax for this feature is
693 \applyoutput #SCHEME-FUNCTION
697 SCHEME-FUNCTION takes a single argument, and is called for every grob
698 that is created in the current context.
701 New algorithms for chord-name formatting have been installed. They
702 can be tuned and have ergonomic syntax for entering exceptions.
705 Texts may now be put on multimeasure rests, e.g.
708 R1*20^\markup @{ "GP" @}
712 Ancient notation now prints ligatures in Gregorian square neumes
713 notation, roughly following the typographical style of the Liber
714 hymnarius of Solesmes, published in 1983. Ligatures are still printed
715 without the proper line breaking and horizontal spacing.
718 Glissandi can now be printed using the zigzag style.
721 LilyPond can now print clusters. The syntax is
724 \apply #notes-to-clusters @{ NOTE NOTE .. @}
728 For irregular meters, beat grouping marks can be printed. The
732 #(set-time-signature 7 8 '(3 2 2))
737 Nested horizontal brackets for music analysis can now be printed:
746 @item Ottava brackets are now fully supported as a feature. The syntax
754 @item Metronome markings are printed when a \tempo command is processed.
758 @item Fingerings can be put on chords horizontally.
762 @item The appearance of various glyphs has been fine-tuned.
766 @item Different types of percent style repeats may now be nested.
770 @item The emacs support has been extended.
774 The manual has been completely revised and extended.
778 @unnumbered New features in 1.6 since 1.4
784 Support for figured bass and tablature.
787 Completely rewritten beam formatting: provides much better output
792 Completely revised and improved music font.
796 Completely rewritten MIDI import support.
799 Completely rewritten grace note support. Practically speaking this
800 means that grace notes can be slurred to normal normal notes.
804 Improved accidental handling and formatting: styles for producing
805 cautionaries may vary, and complex collisions between accidentals of a
806 chord are handled much better.
809 Better spacing: both globally and locally. This includes subtle
810 details like optical stem spacing.
813 More support for ancient notation: mensural ligatures, ambitus
814 (pitch range) of voices, more shapes, etc.
817 More support for piano notation: bracket pedals, directed arpeggios,
821 Easier music polyphonic music entry.
824 More extensibility, many speedups and bugfixes
827 The manual has been thoroughly revised.
830 Development is now hosted at http://savannah.gnu.org, and sources
831 can be downloaded through anonymous CVS.
834 Support for windows: LilyPond is part of the cygwin distribution,
835 which comes with a user-friendly installer.