1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Info documentation with images.
22 In eager anticipation of Emacs 21.4 or 22.1, the info docs contain
25 @item Cue notes can be quoted directly from the parts that
26 contain them. This will take into account tunings of source and target
27 instrument. For example,
30 \addquote clarinet \notes\relative c' {
36 \notes \relative c'' {
37 c8 d8 \quote 2 oboe es8 gis
42 @item The transposition of an instrument can be specified using the
43 @code{\tuning} command. The following command specifies an E-flat alto
50 @item The naming of exported Scheme functions now follows Scheme conventions.
51 Changes be applied to Scheme files with convert-ly:
54 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
58 @item Notes can be excluded from auto-beaming, by marking them with
65 will print two separate eighth notes, and two beamed notes.
67 @item Translators and contexts have been split. The result of this
68 internal cleanup is that @code{Score} no longer is the top context;
69 @code{Score} is contained in the @code{Global} context. Consequently,
70 it is possible to tweak @code{Score} as follows:
73 \context Score \with @{
78 @item The number of staff lines in Tablature notation is now
79 automatically deduced from the @code{stringTunings} property.
81 @item The program reference has been cleaned up and revised.
83 @item The syntax for setting properties has been simplified:
84 the following table lists the differences:
89 \property A.B = #C \set A.B = #C
90 \property A.B \unset \unset A.B
91 \property A.B \set #C = #D \override A.B #C = #D
92 \property A.B \override #C = #D (removed)
93 \property A.B \revert #C \revert A.B #C
96 Furthermore, if @code{A} is left out, the bottommost context is used
97 by default. In other words, it is no longer necessary to explicitly
98 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
103 \property Voice.autoBeaming = ##f
104 \property Staff.TimeSignature \set #'style = #'C
110 \set autoBeaming = ##f
111 \override Staff.TimeSignature #'style = #'C
115 @item Tweaks made with @code{\override} and @code{\revert} no longer
116 hide tweaks at higher context levels.
118 @item Melismata in lyrics are also properly handled in the MIDI output.
120 @item The lilypond-book script has been rewritten.
121 It is shorter, cleaner and faster. The special construct
122 @code{mbinclude} has been removed, plain @code{@@include} or
123 @code{\input} can be used now.
127 running convert-ly on the lilypond snippets like so:
129 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
133 @item The @code{LyricsVoice} context has been removed. Lyrics should only
134 be constructed in @code{Lyrics}.
136 @item The @code{Thread} context has been removed. Note heads and rests
137 are now constructed at @code{Voice} level.
139 @item Harmonic notes can now be entered as
145 @item Drum notation is now supported as a regular feature:
146 percussion may be entered in @code{\drums} mode, and printed or
147 performed in a @code{DrumStaff} context:
151 \drums \new DrumStaff @{ hihat4 cowbell8 @}
155 @item The automatic staff changer was internally rewritten. As a
156 result, the syntax has been simplified as well:
159 \autochange @var{the music}
162 @item The ergonomic syntax of @code{\markup} now has an equivalent in
163 Scheme. The @code{markup*} macro creates such objects; the following
164 two markup commands are equivalent:
166 f4^#(markup* #:raise 0.2 #:bold "hi")
167 f4^\markup @{ \raise #0.2 \bold hi @}
170 @item Voice names, for vocal lines, have been added. They are similar
171 to instrument names. They can be set by defining @code{vocalName}
174 @item Safe mode has been reinstated for lilypond.
175 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
176 PostScript file output is disallowed, and lilypond-bin is invoked with
177 @code{--safe-mode}, the user's Guile expressions are evaluated in a
178 safe environment and file inclusion is not allowed.
180 Warning: this does not protect against denial-of-service attacks using
181 Guile, @TeX{} or PostScript.
183 (This feature is still experimental.)
185 @item There is now a Scheme macro for defining markup
186 commands. Special mark-up commands can be defined in user-files too.
188 @item Many fixes for dimension scaling have been made,
189 resulting in correct results for scores that mix staves in different
192 @item Improved robustness when layout properties are accidentally removed.
194 @item A more cleanly constructed part combiner has been installed.
195 It is more robust and less buggy. The part-combiner can be used with
197 \partcombine @var{mus1} @var{mus2}
201 See @file{input/regression/new-part-combine.ly} for an example.
203 @item Formatting of rehearsal marks has been improved. The @code{\mark}
204 command now only does automatic incrementing for marks specified as
205 integer. For example, @code{\mark #1} will print an A in the default
206 style. See @file{input/regression/rehearsal-mark-letter.ly},
207 @file{input/regression/rehearsal-mark-number.ly}.
209 @item Formatting of ottava brackets has been much improved.
211 @item Objects in the output can now be documented: the following fragment
212 boxes the note head, and adds the text ``heads or tails?'' three
213 spaces below the box.
216 \context Voice \applyoutput #(add-balloon-text
217 'NoteHead "heads, or tails?"
225 @item Default staff sizes are now scalable. There are two new mechanisms for
226 setting staff sizes. Both are demonstrated in this fragment:
229 #(set-global-staff-size 15)
231 #(paper-set-staff-size (* 15 pt))
237 Both have the same effect on the global layout of a piece. Similarly,
238 the paper size may be changed as follows
241 #(set-paper-size "a4")
245 @item Warnings for bar check errors are more cleverly printed. This
246 makes @code{barCheckSynchronize} superfluous, so it is now switched
249 Warning: this will cause problems in scores that use bar checks to
252 @item The black note head was made a little rounder, which causes a less
253 frantic graphic impression.
256 A more concise syntax for checking octaves was introduced. A note may
257 be followed by @code{=}@var{quotes} which indicates what its absolute
258 octave should be. In the following example,
261 \relative c'' @{ c='' b=' d,='' @}
265 the d will generate a warning, because a d'' is
266 expected, but a d' is found.
267 @c @code adds ` ', very confusing.
269 @item There is a new mechanism for putting lyrics to melodies.
270 With this mechanism, @code{Lyrics} lines can be put melodies
271 individually, allowing for different melismatic sections in every
272 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
274 @item Bar lines may now be dotted.
277 @item The documentation now has links to a wiki, where everyone can
278 add personal comments to the manual.
280 @item Contexts may now be changed locally for an isolated music
281 expression. For example,
285 \consists "Pitch_squash_engraver"
291 @item The syntax for changing staffs has changed. The keyword
292 @code{\change} should now be used, e.g.
298 @item Features of spanner contexts, like @code{Staff}, can now be changed
299 using @code{\property}, eg.
303 \property Staff.StaffSymbol \set #'line-count = #4
309 puts a quarter note C on a staff with 4 lines.
312 @item Multi measure rests are now truly centered between the
313 clefs/barlines of the staff, their position is independent of symbols
316 @item Collision resolution for dots in chords has been improved greatly.
319 Spacing following barlines was improved for widely stretched lines.
322 Lyric hyphens and extenders now conform to standard typesetting
326 Lyrics are now aligned under note heads conforming to engraving
327 standards. The responsible code has been rewritten, and is drastically
328 simpler from the previous version. To aid this rewrite, the syntactic
329 function of the extender line ( __ ) has been changed: it is now
330 attached to the lyric syllable.
333 When redefining a context, the associated identifier is also
334 updated. For example, after reading the following snippet,
341 the definition of @code{ScoreContext} is updated to include the changed
346 The weight of the stafflines is now heavier at smaller staff sizes.
347 The font has been modified to match this look: at smaller sizes, the
348 font is heavier and the note heads are more rounded.
350 @item Processing scores is now done while parsing the file. New
351 Scheme functions give more flexibility: for example, it is now possible
352 interpret a score, collecting synchronized musical events in a list, and
353 manipulate that information using inline Scheme. For an example, see
354 @file{input/no-notation/recording.ly}.
356 @item Font sizes can now truly be scaled continuously: the @code{font-size}
357 is similar to the old @code{font-relative-size}, but may be set to
358 fractional values; the closest design size will be scaled to achieve
359 the desired size. As a side-effect, there are now no longer
360 limitations in using smaller fonts (eg. grace notes) at small staff
363 @item Stem tips are now also engraved with rounded corners.
366 The placement of accidentals on chords and ledgered notes is improved.
371 @chapter New features in 2.0 since 1.8
376 Crescendos can now be drawn dotted or dashed.
379 Quarter tones are now supported. They are entered by suffixing
380 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
381 following is an ascending list of pitches:
384 ceses ceseh ces ceh c cih cis cisih cisis
388 The following constructs have been removed from the syntax:
391 \duration #SCHEME-DURATION
393 \outputproperty @var{func} @var{symbol} = @var{value}
396 For @code{\outputproperty}, the following may be substituted:
399 \applyoutput #(outputproperty-compatibility @var{func}
400 @var{symbol} @var{value})
404 Clefs may now be transposed arbitrarily, for example
414 The syntax for chords and simultaneous music have changed.
415 Chords are entered as
421 while simultaneous music is entered as
424 <<@var{..music list..}>>
427 In effect, the meanings of both have been swapped relative to their 1.8
428 definition. The syntax for lists in @code{\markup} has changed
429 alongside, but figured bass mode was not changed, i.e.:
432 \markup @{ \center <@var{..list of markups..}> @}
433 \figure @{ <@var{figures}> @}
436 As chords the more often used than simultaneous music, this change will
440 Each music expression can now be tagged, to make different printed
441 versions from the same music expression. In the following example,
442 we see two versions of a piece of music, one for the full score, and
443 one with cue notes for the instrumental part:
447 @{ c4 f2 g4 @} % in the part, we have cue-notes
449 \tag #'score R1 % in the score: only a rest
453 The same can be applied to articulations, texts, etc.: they are
457 -\tag #@var{your-tags}
460 to an articulation, for example,
463 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
466 This defines a note, which has a conditional fingering and a
467 string-number indication.
470 The settings for chord-fingering are more flexible. You can specify a
471 list where fingerings may be placed, eg.
474 \property Voice.fingeringOrientations = #'(left down)
477 This will put the fingering for the lowest note below the chord, and the
481 The script previously known as @code{ly2dvi} has been renamed to
482 @code{lilypond}. The binary itself is now installed as
486 Markup text (ie. general text formatting) may now be used for lyrics too.
489 Two new commands for grace notes have been added, @code{\acciaccatura}
490 and @code{\appoggiatura},
497 Both reflect the traditional meanings of acciaccatura and appogiatura,
498 and both insert insert a slur from the first grace note to the main
502 Layout options for grace notes are now stored in a context property,
503 and may now be set separately from musical content.
506 The @code{\new} command will create a context with a unique
507 name automatically. Hence, for multi-staff scores, it is no longer
508 necessary to invent arbitrary context names. For example, a two-staff
509 score may be created by
513 \new Staff @{ @var{notes for 1st staff} @}
514 \new Staff @{ @var{notes for 2nd staff} @}
521 Octave checks make octave errors easier to correct.
528 This checks that @var{pitch} (without octave) yields @var{pitch} (with
529 octave) in \relative mode. If not, a warning is printed, and the
533 All articulations must now be entered postfix. For example,
540 is a pair of beamed slurred eighth notes.
543 The definition of @code{\relative} has been simplified. Octaves are
544 now always propagated in the order that music is entered. In the
549 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
554 the octave of BODY is based on PRE, the starting octave of ALT1 on
555 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
558 The same mechanism is used for all other music expressions, except the
559 chord. Backwards compatibility is retained through a special program option,
563 #(ly:set-option 'old-relative)
567 Windows users can double click a @code{.ly} file to process and view
568 it automagically through the new @code{lily-wins} frontend.
575 @chapter New features in 1.8 since 1.6
580 The chord entry code has been completely rewritten. It is now
581 cleaner and more flexible.
584 A new syntax has been added for text entry. This syntax is more
585 friendly than the old mechanism, and it is implemented in a more
586 robust and modular way. For more information, refer to the section on
587 "Text markup" in the notation manual.
590 The integration of the input language and Scheme has been made deeper:
591 you can now use LilyPond identifiers in Scheme, and use Scheme
592 expressions instead of LilyPond identifiers.
595 The internal representation of music has been cleaned up completely
596 and converted to Scheme data structures. The representation may be
600 A new uniform postfix syntax for articulation has been introduced.
601 A beamed slurred pair of eighth notes can be entered as
607 In version 2.0, postfix syntax will be the only syntax
608 available, and the dashes will become optional.
610 This will simplify the language: all articulations can be entered as
611 postfix, in any order.
614 A new syntax has been added for chords:
621 It is not necessary to update files to this syntax, but it will be for
622 using LilyPond version 2.0. In version 2.0, this syntax will be
632 \simultaneous @{ .. @}
635 for simultaneous music.
637 To convert your files from <PITCHES> to <<PITCHES>>, use the script
638 included in buildscripts/convert-new-chords.py
640 This change was introduced for the following reasons
644 It solves the "start score with chord" problem, where you have to
645 state \context Voice explicitly when a chord was the start of a
648 With the new syntax, it is possible to distinguish between
649 articulations (or fingerings) which are for a single chord note,
650 and which are for the entire chord. This allows for per-note
651 fingerings, and is more logical on the whole.
655 User code may now be executed during interpreting. The syntax for
659 \applycontext #SCHEME-FUNCTION
663 User code may now be executed on arbitrary grobs during interpreting.
664 The syntax for this feature is
667 \applyoutput #SCHEME-FUNCTION
671 SCHEME-FUNCTION takes a single argument, and is called for every grob
672 that is created in the current context.
675 New algorithms for chord-name formatting have been installed. They
676 can be tuned and have ergonomic syntax for entering exceptions.
679 Texts may now be put on multimeasure rests, e.g.
682 R1*20^\markup @{ "GP" @}
686 Ancient notation now prints ligatures in Gregorian square neumes
687 notation, roughly following the typographical style of the Liber
688 hymnarius of Solesmes, published in 1983. Ligatures are still printed
689 without the proper line breaking and horizontal spacing.
692 Glissandi can now be printed using the zigzag style.
695 LilyPond can now print clusters. The syntax is
698 \apply #notes-to-clusters @{ NOTE NOTE .. @}
702 For irregular meters, beat grouping marks can be printed. The
706 #(set-time-signature 7 8 '(3 2 2))
711 Nested horizontal brackets for music analysis can now be printed:
720 @item Ottava brackets are now fully supported as a feature. The syntax
728 @item Metronome markings are printed when a \tempo command is processed.
732 @item Fingerings can be put on chords horizontally.
736 @item The appearance of various glyphs has been fine-tuned.
740 @item Different types of percent style repeats may now be nested.
744 @item The emacs support has been extended.
748 The manual has been completely revised and extended.
752 @chapter New features in 1.6 since 1.4
758 Support for figured bass and tablature.
761 Completely rewritten beam formatting: provides much better output
766 Completely revised and improved music font.
770 Completely rewritten MIDI import support.
773 Completely rewritten grace note support. Practically speaking this
774 means that grace notes can be slurred to normal normal notes.
778 Improved accidental handling and formatting: styles for producing
779 cautionaries may vary, and complex collisions between accidentals of a
780 chord are handled much better.
783 Better spacing: both globally and locally. This includes subtle
784 details like optical stem spacing.
787 More support for ancient notation: mensural ligatures, ambitus
788 (pitch range) of voices, more shapes, etc.
791 More support for piano notation: bracket pedals, directed arpeggios,
795 Easier music polyphonic music entry.
798 More extensibility, many speedups and bugfixes
801 The manual has been thoroughly revised.
804 Development is now hosted at http://savannah.gnu.org, and sources
805 can be downloaded through anonymous CVS.
808 Support for windows: LilyPond is part of the cygwin distribution,
809 which comes with a user-friendly installer.