1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item Running trills now have their own spanner and event,
15 c1\startTrillSpan c4\stopTrillSpan
18 @item There is a new markup command @code{\postscript} that takes a
19 string that is dumped as verbatim PostScript in the output.
21 @item The melody for a @code{\lyricsto} text can be changed during a
22 melody by setting the @code{associatedVoice} property.
24 @item The @code{\lyricsto} keyword now automatically switches on
27 @item The LilyPond binary now supports output options
28 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
29 @code{--preview}. The old wrapper script for La@TeX{} has been
30 renamed to @code{lilypond-latex}.
32 @item Support for ambitus has been rewritten. The Ambitus object is now
33 a grouping object, composed of @code{AmbitusLine},
34 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
35 be tuned similar to accidentals and note heads.
37 @item Ledger lines are now shortened when the spacing is tight. This
38 prevents ledger lines from colliding with each other.
40 @item Slur formatting has been rewritten. The new slur code
41 works similar to the Beam formatter: scores are assigned for all
42 esthetic components of a slur. A large number of combinations for
43 begin and end points is then tried out. Slurs will now also take into
44 account collisions with staff lines, scripts (like staccato and
45 accent) and accidentals.
48 @item In the LilyPond emacs mode, entering @code{|} will display the
49 current beat within the measure.
51 @item Colliding notes are now correctly aligned relative to notes in other staves.
53 @item An experimental GNOME output backend is available for developers.
54 It depends on several unreleased packages such as gnome-guile TLA and
55 Pango CVS. The output interface coverage is sparse, but it already
56 does support point-and-click on the GNOME Canvas. See also
57 @file{scm/output-gnome.scm}.
59 @item Context definitions are now stored in identifiers that match the
60 context name, in other words, to modify a @code{Staff} context, the
61 following code may be used.
70 @item A new block, @code{\bookpaper} has been introduced to
71 hold settings for paper size and output scaling. Further options
72 include @code{raggedbottom} (if set, systems are not vertically filled
73 to reach the bottom of the page), and @code{raggedlastbottom}.
77 @item Support for fret diagrams has been contributed by Carl
78 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
80 @item The @code{--safe-mode} has been revisited: GUILE evaluation
81 is done in the R5RS safe module, with only the basic @code{ly:}
82 interface available and malicious @TeX{} code is stopped. However, to
83 be reasonably safe, you are advised to use the PostScript backend
84 rather than the @TeX{} backend anyway; and if possible use an UML
85 sandbox to run gs or latex.
87 @item Music syntax can now be extended seamlessly. As an example,
88 here is the new implementation @code{\applymusic},
91 applymusic = #(ly:make-music-function
92 (list procedure? ly:music?) ; signature
93 (lambda (where func music) ; the function
97 @item @code{\apply} has been renamed to @code{\applymusic}.
99 @item Music can be used as a markup.
100 When inserting a @code{score} block as part of a @code{\markup}, it
101 produces a rendered markup of the music. An example is in
102 @file{input/test/markup-score.ly}.
104 @item LilyPond expressions can be embedded into Scheme. The syntax for
105 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
106 introduced using a @code{$} character (@code{$$} results in a single
107 `$' character). These forms are then inserted in the pattern.
110 #(define (textoffset dx dy)
112 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
116 %% The following embedded scheme call is the same as
117 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
119 c'^"text with offset"
123 @item A music list at toplevel is interpreted as implicit @code{\score}
124 a @code{\score} block at toplevel is interpreted as an implicit
125 @code{\book} and @code{\notes} mode is the default lexer mode. The
129 \header @{ title = "The Title" @}
136 \header @{ title = "The Title" @}
144 This is handled by the function defined in
145 @code{toplevel-music-handler}. Similarly, @code{\score} and
146 @code{\book} are handled by @code{toplevel-score-handler} and a
147 @code{toplevel-book-handler}. By changing these variables, different
148 results can be obtained.
150 This required a small change in the syntax. Mode changing commands,
151 such as @code{\chords} and @code{\figures} now be directly followed by
152 delimeters. The following example demonstrates the new behavior,
155 \figures \context Figures { .. } % wrong
156 \context Figures \figures { .. } % right
160 @item Start pitch for @code{relative} music is optional for music lists.
161 The default value is middle C.
163 @c update-me? formal definition of newaddlyrics, once it works
164 @item Combining lyrics with music can be done with @code{\newlyrics}
169 d2 d c4 bes a2 \break
172 My first Li -- ly song,
175 Not much can go wrong!
179 Syntactically, @code{\newlyrics} acts like an infix operator.
181 @item The parser is encapsulated in a Scheme function
182 @code{ly:parse-file}, so the following fragment processes two files
185 #(ly:parse-file "another.ly")
186 \score { \notes { c4 }}
189 @item The @code{font-encoding} property can now be used to select
190 differently encoded fonts. The previous default setting
191 @code{TeX-text} has been replaced by latin1. LilyPond requires the
192 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
193 package installed to function properly.
195 @item The encoding of a file can be switched with
196 @code{\encoding}. The strings for markup texts are translated
199 @item The toplevel block @code{\book} introduces page layout.
200 A @code{\book} groups @code{\score} blocks into one page layout
201 entity. For example, two scores are combined in one book with
210 Titling and page breaks are handled by LilyPond. For automatic page
211 breaking, two algorithms are available, the classic ragged pages (the
212 default), and optimal page breaking.
213 Page breaks may be inserted manually with
219 The @code{lilypond} program does not generate La@TeX{} titles or page
220 layout. If you need La@TeX{} titles, you can use the
221 @code{lilypond-book} program.
223 @item There is now less of a noticeable ``hook'' at the end of a long slur.
225 @item The meaning of the @code{|} in the input can be redefined, by
226 assigning a music expression to @code{pipeSymbol}.
230 @unnumbered New features in 2.2 since 2.0
234 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
235 causes the last line to be set flush-left instead of justified.
237 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
238 its containing context automatically.
240 @item The code for font selection has been rewritten. In addition to
241 existing font selection properties, the property @code{font-encoding}
242 has been added, which makes the switch between normal @code{text} and
243 other encodings like @code{braces}, @code{music} and @code{math}.
245 @item The pmx2ly script has been removed from the distribution.
247 @item Pedal brackets will now run to the last bar of a piece if they are not
250 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
252 @item Property functions may be used as an argument to @code{set!},
256 (set! (ly:grob-property grob 'beam) ... )
259 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
262 @item Cue notes can be quoted directly from the parts that
263 contain them. This will take into account transposition of source and target
264 instrument. For example,
267 \addquote clarinet \notes\relative c' {
273 \notes \relative c'' {
274 c8 d8 \quote 2 oboe es8 gis
279 @item The transposition of an instrument can be specified using the
280 @code{\transposition} command. An
281 E-flat alto saxophone is specified as
287 @item The naming of exported Scheme functions now follows Scheme conventions.
288 Changes be applied to Scheme files with
291 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
295 @item Notes can be excluded from auto-beaming, by marking them with
302 will print two separate eighth notes, and two beamed notes.
304 @item Translators and contexts have been split. The result of this
305 internal cleanup is that @code{Score} no longer is the top context;
306 @code{Score} is contained in the @code{Global} context. Consequently,
307 it is possible to tweak @code{Score} as follows:
310 \context Score \with @{
315 @item The number of staff lines in Tablature notation is now
316 automatically deduced from the @code{stringTunings} property.
318 @item The program reference has been cleaned up and revised.
320 @item The syntax for setting properties has been simplified:
321 the following table lists the differences:
326 \property A.B = #C \set A.B = #C
327 \property A.B \unset \unset A.B
328 \property A.B \set #C = #D \override A.B #C = #D
329 \property A.B \override #C = #D (removed)
330 \property A.B \revert #C \revert A.B #C
333 Furthermore, if @code{A} is left out, the bottommost context is used
334 by default. In other words, it is no longer necessary to explicitly
335 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
340 \property Voice.autoBeaming = ##f
341 \property Staff.TimeSignature \set #'style = #'C
347 \set autoBeaming = ##f
348 \override Staff.TimeSignature #'style = #'C
352 @item Tweaks made with @code{\override} and @code{\revert} no longer
353 hide tweaks at higher context levels.
355 @item Melismata in lyrics are also properly handled in the MIDI output.
357 @item The lilypond-book script has been rewritten.
358 It is shorter, cleaner and faster. The special construct
359 @code{mbinclude} has been removed, plain @code{@@include} or
360 @code{\input} can be used now.
362 It now supports running convert-ly on the lilypond snippets,
364 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
367 @item The @code{LyricsVoice} context has been removed. Lyrics should only
368 be constructed in @code{Lyrics}.
370 @item The @code{Thread} context has been removed. Note heads and rests
371 are now constructed at @code{Voice} level.
373 @item Harmonic notes can now be entered as
379 @item Drum notation is now supported as a regular feature:
380 percussion may be entered in @code{\drums} mode, and printed or
381 performed in a @code{DrumStaff} context:
385 \drums \new DrumStaff @{ hihat4 cowbell8 @}
389 @item The automatic staff changer was internally rewritten. As a
390 result, the syntax has been simplified as well:
393 \autochange @var{the-music}
396 @item The ergonomic syntax of @code{\markup} now has an equivalent in
397 Scheme. The @code{markup*} macro creates such objects; the following
398 two markup commands are equivalent:
400 f4^#(markup* #:raise 0.2 #:bold "hi")
401 f4^\markup @{ \raise #0.2 \bold hi @}
404 @item Voice names, for vocal lines, have been added. They are similar
405 to instrument names. They can be set by defining @code{vocalName}
408 @item Safe mode has been reinstated for lilypond.
409 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
410 PostScript file output is disallowed, and lilypond-bin is invoked with
411 @code{--safe-mode}, the user's Guile expressions are evaluated in a
412 safe environment and file inclusion is not allowed.
414 Warning: this does not protect against denial-of-service attacks using
415 Guile, @TeX{} or PostScript.
417 (This feature is still experimental.)
419 @item There is now a Scheme macro for defining markup
420 commands. Special mark-up commands can be defined in user-files too.
422 @item Many fixes for dimension scaling have been made,
423 resulting in correct results for scores that mix staves in different
426 @item Improved robustness when layout properties are accidentally removed.
428 @item A more cleanly constructed part combiner has been installed.
429 It is more robust and less buggy. The part-combiner can be used with
431 \partcombine @var{mus1} @var{mus2}
435 See @file{input/regression/new-part-combine.ly} for an example.
437 @item Formatting of rehearsal marks has been improved. The @code{\mark}
438 command now only does automatic incrementing for marks specified as
439 integer. For example, @code{\mark #1} will print an A in the default
440 style. See @file{input/regression/rehearsal-mark-letter.ly},
441 @file{input/regression/rehearsal-mark-number.ly}.
443 @item Formatting of ottava brackets has been much improved.
445 @item Objects in the output can now be documented: the following fragment
446 boxes the note head, and adds the text ``heads or tails?'' three
447 spaces below the box.
450 \context Voice \applyoutput #(add-balloon-text
451 'NoteHead "heads, or tails?"
459 @item Default staff sizes are now scalable. There are two new mechanisms for
460 setting staff sizes. Both are demonstrated in this fragment:
463 #(set-global-staff-size 15)
465 #(paper-set-staff-size (* 15 pt))
471 Both have the same effect on the global layout of a piece. Similarly,
472 the paper size may be changed as follows
475 #(set-default-paper-size "a4")
477 #(set-paper-size "a4")
482 @item Warnings for bar check errors are more cleverly printed. This
483 makes @code{barCheckSynchronize} superfluous, so it is now switched
486 Warning: this will cause problems in scores that use bar checks to
489 @item The black note head was made a little rounder, which causes a less
490 frantic graphic impression.
493 A more concise syntax for checking octaves was introduced. A note may
494 be followed by @code{=}@var{quotes} which indicates what its absolute
495 octave should be. In the following example,
498 \relative c'' @{ c='' b=' d,='' @}
502 the d will generate a warning, because a d'' is
503 expected, but a d' is found.
504 @c @code adds ` ', very confusing.
506 @item There is a new mechanism for putting lyrics to melodies.
507 With this mechanism, @code{Lyrics} lines can be put melodies
508 individually, allowing for different melismatic sections in every
509 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
511 @item Bar lines may now be dotted.
514 @item The documentation now has links to a wiki, where everyone can
515 add personal comments to the manual.
517 @item Contexts may now be changed locally for an isolated music
518 expression. For example,
522 \consists "Pitch_squash_engraver"
528 @item The syntax for changing staffs has changed. The keyword
529 @code{\change} should now be used, e.g.
535 @item Features of spanner contexts, like @code{Staff}, can now be changed
536 using @code{\set}, eg.
540 \override Staff.StaffSymbol #'line-count = #4
546 puts a quarter note C on a staff with 4 lines.
549 @item Multi measure rests are now truly centered between the
550 clefs/barlines of the staff, their position is independent of symbols
553 @item Collision resolution for dots in chords has been improved greatly.
556 Spacing following barlines was improved for widely stretched lines.
559 Lyric hyphens and extenders now conform to standard typesetting
563 Lyrics are now aligned under note heads conforming to engraving
564 standards. The responsible code has been rewritten, and is drastically
565 simpler from the previous version. To aid this rewrite, the syntactic
566 function of the extender line ( __ ) has been changed: it is now
567 attached to the lyric syllable.
570 When redefining a context, the associated identifier is also
571 updated. For example, after reading
581 the definition of @code{ScoreContext} is updated to include the changed
586 The weight of the stafflines is now heavier at smaller staff sizes.
587 The font has been modified to match this look: at smaller sizes, the
588 font is heavier and the note heads are more rounded.
590 @item Processing scores is now done while parsing the file. New
591 Scheme functions give more flexibility: for example, it is now possible
592 interpret a score, collecting synchronized musical events in a list, and
593 manipulate that information using inline Scheme. For an example, see
594 @file{input/no-notation/recording.ly}.
596 @item Font sizes can now truly be scaled continuously: the @code{font-size}
597 is similar to the old @code{font-relative-size}, but may be set to
598 fractional values; the closest design size will be scaled to achieve
599 the desired size. As a side-effect, there are now no longer
600 limitations in using smaller fonts (eg. grace notes) at small staff
603 @item Stem tips are now also engraved with rounded corners.
606 The placement of accidentals on chords and ledgered notes is improved.
611 @unnumbered New features in 2.0 since 1.8
616 Crescendos can now be drawn dotted or dashed.
619 Quarter tones are now supported. They are entered by suffixing
620 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
621 following is an ascending list of pitches:
624 ceses ceseh ces ceh c cih cis cisih cisis
628 The following constructs have been removed from the syntax:
631 \duration #SCHEME-DURATION
633 \outputproperty @var{func} @var{symbol} = @var{value}
636 For @code{\outputproperty}, the following may be substituted:
639 \applyoutput #(outputproperty-compatibility @var{func}
640 @var{symbol} @var{value})
644 Clefs may now be transposed arbitrarily, for example
654 The syntax for chords and simultaneous music have changed.
655 Chords are entered as
661 while simultaneous music is entered as
664 <<@var{..music list..}>>
667 In effect, the meanings of both have been swapped relative to their 1.8
668 definition. The syntax for lists in @code{\markup} has changed
669 alongside, but figured bass mode was not changed, i.e.:
672 \markup @{ \center <@var{..list of markups..}> @}
673 \figure @{ <@var{figures}> @}
676 As chords the more often used than simultaneous music, this change will
680 Each music expression can now be tagged, to make different printed
681 versions from the same music expression. In the following example,
682 we see two versions of a piece of music, one for the full score, and
683 one with cue notes for the instrumental part:
687 @{ c4 f2 g4 @} % in the part, we have cue-notes
689 \tag #'score R1 % in the score: only a rest
693 The same can be applied to articulations, texts, etc.: they are
697 -\tag #@var{your-tags}
700 to an articulation, for example,
703 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
706 This defines a note, which has a conditional fingering and a
707 string-number indication.
710 The settings for chord-fingering are more flexible. You can specify a
711 list where fingerings may be placed, eg.
714 \property Voice.fingeringOrientations = #'(left down)
717 This will put the fingering for the lowest note below the chord, and the
721 The script previously known as @code{ly2dvi} has been renamed to
722 @code{lilypond}. The binary itself is now installed as
726 Markup text (ie. general text formatting) may now be used for lyrics too.
729 Two new commands for grace notes have been added, @code{\acciaccatura}
730 and @code{\appoggiatura},
737 Both reflect the traditional meanings of acciaccatura and appogiatura,
738 and both insert insert a slur from the first grace note to the main
742 Layout options for grace notes are now stored in a context property,
743 and may now be set separately from musical content.
746 The @code{\new} command will create a context with a unique
747 name automatically. Hence, for multi-staff scores, it is no longer
748 necessary to invent arbitrary context names. For example, a two-staff
749 score may be created by
753 \new Staff @{ @var{notes for 1st staff} @}
754 \new Staff @{ @var{notes for 2nd staff} @}
761 Octave checks make octave errors easier to correct.
768 This checks that @var{pitch} (without octave) yields @var{pitch} (with
769 octave) in \relative mode. If not, a warning is printed, and the
773 All articulations must now be entered postfix. For example,
780 is a pair of beamed slurred eighth notes.
783 The definition of @code{\relative} has been simplified. Octaves are
784 now always propagated in the order that music is entered. In the
789 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
794 the octave of BODY is based on PRE, the starting octave of ALT1 on
795 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
798 The same mechanism is used for all other music expressions, except the
799 chord. Backwards compatibility is retained through a special program option,
803 #(ly:set-option 'old-relative)
807 Windows users can double click a @code{.ly} file to process and view
808 it automagically through the new @code{lily-wins} frontend.
815 @unnumbered New features in 1.8 since 1.6
820 The chord entry code has been completely rewritten. It is now
821 cleaner and more flexible.
824 A new syntax has been added for text entry. This syntax is more
825 friendly than the old mechanism, and it is implemented in a more
826 robust and modular way. For more information, refer to the section on
827 "Text markup" in the notation manual.
830 The integration of the input language and Scheme has been made deeper:
831 you can now use LilyPond identifiers in Scheme, and use Scheme
832 expressions instead of LilyPond identifiers.
835 The internal representation of music has been cleaned up completely
836 and converted to Scheme data structures. The representation may be
840 A new uniform postfix syntax for articulation has been introduced.
841 A beamed slurred pair of eighth notes can be entered as
847 In version 2.0, postfix syntax will be the only syntax
848 available, and the dashes will become optional.
850 This will simplify the language: all articulations can be entered as
851 postfix, in any order.
854 A new syntax has been added for chords:
861 It is not necessary to update files to this syntax, but it will be for
862 using LilyPond version 2.0. In version 2.0, this syntax will be
872 \simultaneous @{ .. @}
875 for simultaneous music.
877 To convert your files from <PITCHES> to <<PITCHES>>, use the script
878 included in @file{buildscripts/convert-new-chords.py}.
880 This change was introduced for the following reasons
884 It solves the "start score with chord" problem, where you have to
885 state \context Voice explicitly when a chord was the start of a
888 With the new syntax, it is possible to distinguish between
889 articulations (or fingerings) which are for a single chord note,
890 and which are for the entire chord. This allows for per-note
891 fingerings, and is more logical on the whole.
895 User code may now be executed during interpreting. The syntax for
899 \applycontext #SCHEME-FUNCTION
903 User code may now be executed on arbitrary grobs during interpreting.
904 The syntax for this feature is
907 \applyoutput #SCHEME-FUNCTION
911 SCHEME-FUNCTION takes a single argument, and is called for every grob
912 that is created in the current context.
915 New algorithms for chord-name formatting have been installed. They
916 can be tuned and have ergonomic syntax for entering exceptions.
919 Texts may now be put on multimeasure rests, e.g.
922 R1*20^\markup @{ "GP" @}
926 Ancient notation now prints ligatures in Gregorian square neumes
927 notation, roughly following the typographical style of the Liber
928 hymnarius of Solesmes, published in 1983. Ligatures are still printed
929 without the proper line breaking and horizontal spacing.
932 Glissandi can now be printed using the zigzag style.
935 LilyPond can now print clusters. The syntax is
938 \apply #notes-to-clusters @{ NOTE NOTE .. @}
942 For irregular meters, beat grouping marks can be printed. The
946 #(set-time-signature 7 8 '(3 2 2))
951 Nested horizontal brackets for music analysis can now be printed:
960 @item Ottava brackets are now fully supported as a feature. The syntax
968 @item Metronome markings are printed when a \tempo command is processed.
972 @item Fingerings can be put on chords horizontally.
976 @item The appearance of various glyphs has been fine-tuned.
980 @item Different types of percent style repeats may now be nested.
984 @item The emacs support has been extended.
988 The manual has been completely revised and extended.
992 @unnumbered New features in 1.6 since 1.4
998 Support for figured bass and tablature.
1001 Completely rewritten beam formatting: provides much better output
1006 Completely revised and improved music font.
1010 Completely rewritten MIDI import support.
1013 Completely rewritten grace note support. Practically speaking this
1014 means that grace notes can be slurred to normal normal notes.
1018 Improved accidental handling and formatting: styles for producing
1019 cautionaries may vary, and complex collisions between accidentals of a
1020 chord are handled much better.
1023 Better spacing: both globally and locally. This includes subtle
1024 details like optical stem spacing.
1027 More support for ancient notation: mensural ligatures, ambitus
1028 (pitch range) of voices, more shapes, etc.
1031 More support for piano notation: bracket pedals, directed arpeggios,
1035 Easier music polyphonic music entry.
1038 More extensibility, many speedups and bugfixes
1041 The manual has been thoroughly revised.
1044 Development is now hosted at http://savannah.gnu.org, and sources
1045 can be downloaded through anonymous CVS.
1048 Support for windows: LilyPond is part of the cygwin distribution,
1049 which comes with a user-friendly installer.