1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item The LilyPond binary now supports output options
12 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
13 @code{--preview}. The old wrapper script for La@TeX{} has been
14 renamed to @code{lilypond-latex}.
16 @item Support ambituses has been rewritten. The Ambitus object is now
17 a grouping object, composed of @code{AmbitusLine},
18 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
19 be tuned similar to accidentals and note heads.
21 @item Ledger lines are now shortened to prevent them from colliding.
23 @item Slur formatting has been rewritten. The new slur code
24 works similar to the Beam formatter: scores are assigned for all
25 esthetic components of a slur. A large number of combinations for
26 begin and end points is then tried out. Slurs will now also take into
27 account collisions with staff lines, scripts (like staccato and
28 accent) and accidentals.
31 @item In the LilyPond emacs mode, the @code{|} will now display the
32 current beat within the measure.
34 @item Colliding notes are now correctly aligned relative to notes in other staves.
36 @item An experimental GNOME output backend is available for developers.
37 It depends on several unreleased packages such as gnome-guile TLA and
38 Pango CVS. The output interface coverage is sparse, but it already
39 does support point-and-click on the GNOME Canvas. See also
40 @file{scm/output-gnome.scm}.
42 @item Context definitions are now stored in identifiers that match the
43 context name, in other words, to modify a @code{Staff} context, the
44 following code may be used.
53 @item A new block, @code{\bookpaper} has been introduced to
54 hold settings for paper size and output scaling. Further options
55 include @code{raggedbottom} (if set, systems are not vertically filled
56 to reach the bottom of the page), and @code{raggedlastbottom}.
60 @item Support for fret diagrams has been contributed by Carl
61 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
63 @item The @code{--safe-mode} has been revisited: GUILE evaluation
64 is done in the R5RS safe module, with only the basic @code{ly:}
65 interface available and malicious @TeX{} code is stopped. However, to
66 be reasonably safe, you are advised to use the PostScript backend
67 rather than the @TeX{} backend anyway; and if possible use an UML
68 sandbox to run gs or latex.
70 @item Music syntax can now be extended seamlessly. As an example,
71 here is the new implementation @code{\applymusic},
74 applymusic = #(ly:make-music-function
75 (list procedure? ly:music?) ; signature
76 (lambda (where func music) ; the function
80 @item @code{\apply} has been renamed to @code{\applymusic}.
82 @item Music can be used as a markup.
83 When inserting a @code{score} block as part of a @code{\markup}, it
84 produces a rendered markup of the music. An example is in
85 @file{input/test/markup-score.ly}.
87 @item LilyPond expressions can be embedded into Scheme. The syntax for
88 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
89 introduced using a @code{$} character (@code{$$} results in a single
90 `$' character). These forms are then inserted in the pattern.
93 #(define (textoffset dx dy)
95 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
99 %% The following embedded scheme call is the same as
100 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
102 c'^"text with offset"
106 @item A music list at toplevel is interpreted as implicit @code{\score}
107 a @code{\score} block at toplevel is interpreted as an implicit
108 @code{\book} and @code{\notes} mode is the default lexer mode. The
112 \header @{ title = "The Title" @}
119 \header @{ title = "The Title" @}
127 This is handled by the function defined in
128 @code{toplevel-music-handler}. Similarly, @code{\score} and
129 @code{\book} are handled by @code{toplevel-score-handler} and a
130 @code{toplevel-book-handler}. By changing these variables, different
131 results can be obtained.
134 @item Start pitch for @code{relative} music is optional for music lists.
135 The default value is middle C.
137 @c update-me? formal definition of newaddlyrics, once it works
138 @item Combining lyrics with music can be done with @code{\newlyrics}
143 d2 d c4 bes a2 \break
146 My first Li -- ly song,
149 Not much can go wrong!
153 Syntactically, @code{\newlyrics} acts like an infix operator.
155 @item The parser is encapsulated in a Scheme function
156 @code{ly:parse-file}, so the following fragment processes two files
159 #(ly:parse-file "another.ly")
160 \score { \notes { c4 }}
163 @item The @code{font-encoding} property can now be used to select
164 differently encoded fonts. The previous default setting
165 @code{TeX-text} has been replaced by latin1. LilyPond requires the
166 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
167 package installed to function properly.
169 @item The encoding of a file can be switched with
170 @code{\encoding}. The strings for markup texts are translated
173 @item The toplevel block @code{\book} introduces page layout.
174 A @code{\book} groups @code{\score} blocks into one page layout
175 entity. For example, two scores are combined in one book with
184 Titling and page breaks are handled by LilyPond. For automatic page
185 breaking, two algorithms are available, the classic ragged pages (the
186 default), and optimal page breaking.
187 Page breaks may be inserted manually with
193 The @code{lilypond} program does not generate La@TeX{} titles or page
194 layout. If you need La@TeX{} titles, you can use the
195 @code{lilypond-book} program.
197 @item There is now less of a noticeable ``hook'' at the end of a long slur.
199 @item The meaning of the @code{|} in the input can be redefined, by
200 assigning a music expression to @code{pipeSymbol}.
204 @unnumbered New features in 2.2 since 2.0
208 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
209 causes the last line to be set flush-left instead of justified.
211 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
212 its containing context automatically.
214 @item The code for font selection has been rewritten. In addition to
215 existing font selection properties, the property @code{font-encoding}
216 has been added, which makes the switch between normal @code{text} and
217 other encodings like @code{braces}, @code{music} and @code{math}.
219 @item The pmx2ly script has been removed from the distribution.
221 @item Pedal brackets will now run to the last bar of a piece if they are not
224 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
226 @item Property functions may be used as an argument to @code{set!},
230 (set! (ly:grob-property grob 'beam) ... )
233 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
236 @item Cue notes can be quoted directly from the parts that
237 contain them. This will take into account transposition of source and target
238 instrument. For example,
241 \addquote clarinet \notes\relative c' {
247 \notes \relative c'' {
248 c8 d8 \quote 2 oboe es8 gis
253 @item The transposition of an instrument can be specified using the
254 @code{\transposition} command. An
255 E-flat alto saxophone is specified as
261 @item The naming of exported Scheme functions now follows Scheme conventions.
262 Changes be applied to Scheme files with
265 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
269 @item Notes can be excluded from auto-beaming, by marking them with
276 will print two separate eighth notes, and two beamed notes.
278 @item Translators and contexts have been split. The result of this
279 internal cleanup is that @code{Score} no longer is the top context;
280 @code{Score} is contained in the @code{Global} context. Consequently,
281 it is possible to tweak @code{Score} as follows:
284 \context Score \with @{
289 @item The number of staff lines in Tablature notation is now
290 automatically deduced from the @code{stringTunings} property.
292 @item The program reference has been cleaned up and revised.
294 @item The syntax for setting properties has been simplified:
295 the following table lists the differences:
300 \property A.B = #C \set A.B = #C
301 \property A.B \unset \unset A.B
302 \property A.B \set #C = #D \override A.B #C = #D
303 \property A.B \override #C = #D (removed)
304 \property A.B \revert #C \revert A.B #C
307 Furthermore, if @code{A} is left out, the bottommost context is used
308 by default. In other words, it is no longer necessary to explicitly
309 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
314 \property Voice.autoBeaming = ##f
315 \property Staff.TimeSignature \set #'style = #'C
321 \set autoBeaming = ##f
322 \override Staff.TimeSignature #'style = #'C
326 @item Tweaks made with @code{\override} and @code{\revert} no longer
327 hide tweaks at higher context levels.
329 @item Melismata in lyrics are also properly handled in the MIDI output.
331 @item The lilypond-book script has been rewritten.
332 It is shorter, cleaner and faster. The special construct
333 @code{mbinclude} has been removed, plain @code{@@include} or
334 @code{\input} can be used now.
336 It now supports running convert-ly on the lilypond snippets,
338 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
341 @item The @code{LyricsVoice} context has been removed. Lyrics should only
342 be constructed in @code{Lyrics}.
344 @item The @code{Thread} context has been removed. Note heads and rests
345 are now constructed at @code{Voice} level.
347 @item Harmonic notes can now be entered as
353 @item Drum notation is now supported as a regular feature:
354 percussion may be entered in @code{\drums} mode, and printed or
355 performed in a @code{DrumStaff} context:
359 \drums \new DrumStaff @{ hihat4 cowbell8 @}
363 @item The automatic staff changer was internally rewritten. As a
364 result, the syntax has been simplified as well:
367 \autochange @var{the-music}
370 @item The ergonomic syntax of @code{\markup} now has an equivalent in
371 Scheme. The @code{markup*} macro creates such objects; the following
372 two markup commands are equivalent:
374 f4^#(markup* #:raise 0.2 #:bold "hi")
375 f4^\markup @{ \raise #0.2 \bold hi @}
378 @item Voice names, for vocal lines, have been added. They are similar
379 to instrument names. They can be set by defining @code{vocalName}
382 @item Safe mode has been reinstated for lilypond.
383 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
384 PostScript file output is disallowed, and lilypond-bin is invoked with
385 @code{--safe-mode}, the user's Guile expressions are evaluated in a
386 safe environment and file inclusion is not allowed.
388 Warning: this does not protect against denial-of-service attacks using
389 Guile, @TeX{} or PostScript.
391 (This feature is still experimental.)
393 @item There is now a Scheme macro for defining markup
394 commands. Special mark-up commands can be defined in user-files too.
396 @item Many fixes for dimension scaling have been made,
397 resulting in correct results for scores that mix staves in different
400 @item Improved robustness when layout properties are accidentally removed.
402 @item A more cleanly constructed part combiner has been installed.
403 It is more robust and less buggy. The part-combiner can be used with
405 \partcombine @var{mus1} @var{mus2}
409 See @file{input/regression/new-part-combine.ly} for an example.
411 @item Formatting of rehearsal marks has been improved. The @code{\mark}
412 command now only does automatic incrementing for marks specified as
413 integer. For example, @code{\mark #1} will print an A in the default
414 style. See @file{input/regression/rehearsal-mark-letter.ly},
415 @file{input/regression/rehearsal-mark-number.ly}.
417 @item Formatting of ottava brackets has been much improved.
419 @item Objects in the output can now be documented: the following fragment
420 boxes the note head, and adds the text ``heads or tails?'' three
421 spaces below the box.
424 \context Voice \applyoutput #(add-balloon-text
425 'NoteHead "heads, or tails?"
433 @item Default staff sizes are now scalable. There are two new mechanisms for
434 setting staff sizes. Both are demonstrated in this fragment:
437 #(set-global-staff-size 15)
439 #(paper-set-staff-size (* 15 pt))
445 Both have the same effect on the global layout of a piece. Similarly,
446 the paper size may be changed as follows
449 #(set-default-paper-size "a4")
451 #(set-paper-size "a4")
456 @item Warnings for bar check errors are more cleverly printed. This
457 makes @code{barCheckSynchronize} superfluous, so it is now switched
460 Warning: this will cause problems in scores that use bar checks to
463 @item The black note head was made a little rounder, which causes a less
464 frantic graphic impression.
467 A more concise syntax for checking octaves was introduced. A note may
468 be followed by @code{=}@var{quotes} which indicates what its absolute
469 octave should be. In the following example,
472 \relative c'' @{ c='' b=' d,='' @}
476 the d will generate a warning, because a d'' is
477 expected, but a d' is found.
478 @c @code adds ` ', very confusing.
480 @item There is a new mechanism for putting lyrics to melodies.
481 With this mechanism, @code{Lyrics} lines can be put melodies
482 individually, allowing for different melismatic sections in every
483 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
485 @item Bar lines may now be dotted.
488 @item The documentation now has links to a wiki, where everyone can
489 add personal comments to the manual.
491 @item Contexts may now be changed locally for an isolated music
492 expression. For example,
496 \consists "Pitch_squash_engraver"
502 @item The syntax for changing staffs has changed. The keyword
503 @code{\change} should now be used, e.g.
509 @item Features of spanner contexts, like @code{Staff}, can now be changed
510 using @code{\set}, eg.
514 \override Staff.StaffSymbol #'line-count = #4
520 puts a quarter note C on a staff with 4 lines.
523 @item Multi measure rests are now truly centered between the
524 clefs/barlines of the staff, their position is independent of symbols
527 @item Collision resolution for dots in chords has been improved greatly.
530 Spacing following barlines was improved for widely stretched lines.
533 Lyric hyphens and extenders now conform to standard typesetting
537 Lyrics are now aligned under note heads conforming to engraving
538 standards. The responsible code has been rewritten, and is drastically
539 simpler from the previous version. To aid this rewrite, the syntactic
540 function of the extender line ( __ ) has been changed: it is now
541 attached to the lyric syllable.
544 When redefining a context, the associated identifier is also
545 updated. For example, after reading
555 the definition of @code{ScoreContext} is updated to include the changed
560 The weight of the stafflines is now heavier at smaller staff sizes.
561 The font has been modified to match this look: at smaller sizes, the
562 font is heavier and the note heads are more rounded.
564 @item Processing scores is now done while parsing the file. New
565 Scheme functions give more flexibility: for example, it is now possible
566 interpret a score, collecting synchronized musical events in a list, and
567 manipulate that information using inline Scheme. For an example, see
568 @file{input/no-notation/recording.ly}.
570 @item Font sizes can now truly be scaled continuously: the @code{font-size}
571 is similar to the old @code{font-relative-size}, but may be set to
572 fractional values; the closest design size will be scaled to achieve
573 the desired size. As a side-effect, there are now no longer
574 limitations in using smaller fonts (eg. grace notes) at small staff
577 @item Stem tips are now also engraved with rounded corners.
580 The placement of accidentals on chords and ledgered notes is improved.
585 @unnumbered New features in 2.0 since 1.8
590 Crescendos can now be drawn dotted or dashed.
593 Quarter tones are now supported. They are entered by suffixing
594 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
595 following is an ascending list of pitches:
598 ceses ceseh ces ceh c cih cis cisih cisis
602 The following constructs have been removed from the syntax:
605 \duration #SCHEME-DURATION
607 \outputproperty @var{func} @var{symbol} = @var{value}
610 For @code{\outputproperty}, the following may be substituted:
613 \applyoutput #(outputproperty-compatibility @var{func}
614 @var{symbol} @var{value})
618 Clefs may now be transposed arbitrarily, for example
628 The syntax for chords and simultaneous music have changed.
629 Chords are entered as
635 while simultaneous music is entered as
638 <<@var{..music list..}>>
641 In effect, the meanings of both have been swapped relative to their 1.8
642 definition. The syntax for lists in @code{\markup} has changed
643 alongside, but figured bass mode was not changed, i.e.:
646 \markup @{ \center <@var{..list of markups..}> @}
647 \figure @{ <@var{figures}> @}
650 As chords the more often used than simultaneous music, this change will
654 Each music expression can now be tagged, to make different printed
655 versions from the same music expression. In the following example,
656 we see two versions of a piece of music, one for the full score, and
657 one with cue notes for the instrumental part:
661 @{ c4 f2 g4 @} % in the part, we have cue-notes
663 \tag #'score R1 % in the score: only a rest
667 The same can be applied to articulations, texts, etc.: they are
671 -\tag #@var{your-tags}
674 to an articulation, for example,
677 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
680 This defines a note, which has a conditional fingering and a
681 string-number indication.
684 The settings for chord-fingering are more flexible. You can specify a
685 list where fingerings may be placed, eg.
688 \property Voice.fingeringOrientations = #'(left down)
691 This will put the fingering for the lowest note below the chord, and the
695 The script previously known as @code{ly2dvi} has been renamed to
696 @code{lilypond}. The binary itself is now installed as
700 Markup text (ie. general text formatting) may now be used for lyrics too.
703 Two new commands for grace notes have been added, @code{\acciaccatura}
704 and @code{\appoggiatura},
711 Both reflect the traditional meanings of acciaccatura and appogiatura,
712 and both insert insert a slur from the first grace note to the main
716 Layout options for grace notes are now stored in a context property,
717 and may now be set separately from musical content.
720 The @code{\new} command will create a context with a unique
721 name automatically. Hence, for multi-staff scores, it is no longer
722 necessary to invent arbitrary context names. For example, a two-staff
723 score may be created by
727 \new Staff @{ @var{notes for 1st staff} @}
728 \new Staff @{ @var{notes for 2nd staff} @}
735 Octave checks make octave errors easier to correct.
742 This checks that @var{pitch} (without octave) yields @var{pitch} (with
743 octave) in \relative mode. If not, a warning is printed, and the
747 All articulations must now be entered postfix. For example,
754 is a pair of beamed slurred eighth notes.
757 The definition of @code{\relative} has been simplified. Octaves are
758 now always propagated in the order that music is entered. In the
763 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
768 the octave of BODY is based on PRE, the starting octave of ALT1 on
769 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
772 The same mechanism is used for all other music expressions, except the
773 chord. Backwards compatibility is retained through a special program option,
777 #(ly:set-option 'old-relative)
781 Windows users can double click a @code{.ly} file to process and view
782 it automagically through the new @code{lily-wins} frontend.
789 @unnumbered New features in 1.8 since 1.6
794 The chord entry code has been completely rewritten. It is now
795 cleaner and more flexible.
798 A new syntax has been added for text entry. This syntax is more
799 friendly than the old mechanism, and it is implemented in a more
800 robust and modular way. For more information, refer to the section on
801 "Text markup" in the notation manual.
804 The integration of the input language and Scheme has been made deeper:
805 you can now use LilyPond identifiers in Scheme, and use Scheme
806 expressions instead of LilyPond identifiers.
809 The internal representation of music has been cleaned up completely
810 and converted to Scheme data structures. The representation may be
814 A new uniform postfix syntax for articulation has been introduced.
815 A beamed slurred pair of eighth notes can be entered as
821 In version 2.0, postfix syntax will be the only syntax
822 available, and the dashes will become optional.
824 This will simplify the language: all articulations can be entered as
825 postfix, in any order.
828 A new syntax has been added for chords:
835 It is not necessary to update files to this syntax, but it will be for
836 using LilyPond version 2.0. In version 2.0, this syntax will be
846 \simultaneous @{ .. @}
849 for simultaneous music.
851 To convert your files from <PITCHES> to <<PITCHES>>, use the script
852 included in @file{buildscripts/convert-new-chords.py}.
854 This change was introduced for the following reasons
858 It solves the "start score with chord" problem, where you have to
859 state \context Voice explicitly when a chord was the start of a
862 With the new syntax, it is possible to distinguish between
863 articulations (or fingerings) which are for a single chord note,
864 and which are for the entire chord. This allows for per-note
865 fingerings, and is more logical on the whole.
869 User code may now be executed during interpreting. The syntax for
873 \applycontext #SCHEME-FUNCTION
877 User code may now be executed on arbitrary grobs during interpreting.
878 The syntax for this feature is
881 \applyoutput #SCHEME-FUNCTION
885 SCHEME-FUNCTION takes a single argument, and is called for every grob
886 that is created in the current context.
889 New algorithms for chord-name formatting have been installed. They
890 can be tuned and have ergonomic syntax for entering exceptions.
893 Texts may now be put on multimeasure rests, e.g.
896 R1*20^\markup @{ "GP" @}
900 Ancient notation now prints ligatures in Gregorian square neumes
901 notation, roughly following the typographical style of the Liber
902 hymnarius of Solesmes, published in 1983. Ligatures are still printed
903 without the proper line breaking and horizontal spacing.
906 Glissandi can now be printed using the zigzag style.
909 LilyPond can now print clusters. The syntax is
912 \apply #notes-to-clusters @{ NOTE NOTE .. @}
916 For irregular meters, beat grouping marks can be printed. The
920 #(set-time-signature 7 8 '(3 2 2))
925 Nested horizontal brackets for music analysis can now be printed:
934 @item Ottava brackets are now fully supported as a feature. The syntax
942 @item Metronome markings are printed when a \tempo command is processed.
946 @item Fingerings can be put on chords horizontally.
950 @item The appearance of various glyphs has been fine-tuned.
954 @item Different types of percent style repeats may now be nested.
958 @item The emacs support has been extended.
962 The manual has been completely revised and extended.
966 @unnumbered New features in 1.6 since 1.4
972 Support for figured bass and tablature.
975 Completely rewritten beam formatting: provides much better output
980 Completely revised and improved music font.
984 Completely rewritten MIDI import support.
987 Completely rewritten grace note support. Practically speaking this
988 means that grace notes can be slurred to normal normal notes.
992 Improved accidental handling and formatting: styles for producing
993 cautionaries may vary, and complex collisions between accidentals of a
994 chord are handled much better.
997 Better spacing: both globally and locally. This includes subtle
998 details like optical stem spacing.
1001 More support for ancient notation: mensural ligatures, ambitus
1002 (pitch range) of voices, more shapes, etc.
1005 More support for piano notation: bracket pedals, directed arpeggios,
1009 Easier music polyphonic music entry.
1012 More extensibility, many speedups and bugfixes
1015 The manual has been thoroughly revised.
1018 Development is now hosted at http://savannah.gnu.org, and sources
1019 can be downloaded through anonymous CVS.
1022 Support for windows: LilyPond is part of the cygwin distribution,
1023 which comes with a user-friendly installer.