1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
10 @item The melody for a @code{\lyricsto} text can be changed during a melody.
12 @item The @code{\lyricsto} keyword now automatically sets @code{\lyrics}.
14 @item The LilyPond binary now supports output options
15 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
16 @code{--preview}. The old wrapper script for La@TeX{} has been
17 renamed to @code{lilypond-latex}.
19 @item Support ambituses has been rewritten. The Ambitus object is now
20 a grouping object, composed of @code{AmbitusLine},
21 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
22 be tuned similar to accidentals and note heads.
24 @item Ledger lines are now shortened when the spacing is tight. This
25 prevents ledger lines from colliding with each other.
27 @item Slur formatting has been rewritten. The new slur code
28 works similar to the Beam formatter: scores are assigned for all
29 esthetic components of a slur. A large number of combinations for
30 begin and end points is then tried out. Slurs will now also take into
31 account collisions with staff lines, scripts (like staccato and
32 accent) and accidentals.
35 @item In the LilyPond emacs mode, entering @code{|} will display the
36 current beat within the measure.
38 @item Colliding notes are now correctly aligned relative to notes in other staves.
40 @item An experimental GNOME output backend is available for developers.
41 It depends on several unreleased packages such as gnome-guile TLA and
42 Pango CVS. The output interface coverage is sparse, but it already
43 does support point-and-click on the GNOME Canvas. See also
44 @file{scm/output-gnome.scm}.
46 @item Context definitions are now stored in identifiers that match the
47 context name, in other words, to modify a @code{Staff} context, the
48 following code may be used.
57 @item A new block, @code{\bookpaper} has been introduced to
58 hold settings for paper size and output scaling. Further options
59 include @code{raggedbottom} (if set, systems are not vertically filled
60 to reach the bottom of the page), and @code{raggedlastbottom}.
64 @item Support for fret diagrams has been contributed by Carl
65 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
67 @item The @code{--safe-mode} has been revisited: GUILE evaluation
68 is done in the R5RS safe module, with only the basic @code{ly:}
69 interface available and malicious @TeX{} code is stopped. However, to
70 be reasonably safe, you are advised to use the PostScript backend
71 rather than the @TeX{} backend anyway; and if possible use an UML
72 sandbox to run gs or latex.
74 @item Music syntax can now be extended seamlessly. As an example,
75 here is the new implementation @code{\applymusic},
78 applymusic = #(ly:make-music-function
79 (list procedure? ly:music?) ; signature
80 (lambda (where func music) ; the function
84 @item @code{\apply} has been renamed to @code{\applymusic}.
86 @item Music can be used as a markup.
87 When inserting a @code{score} block as part of a @code{\markup}, it
88 produces a rendered markup of the music. An example is in
89 @file{input/test/markup-score.ly}.
91 @item LilyPond expressions can be embedded into Scheme. The syntax for
92 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
93 introduced using a @code{$} character (@code{$$} results in a single
94 `$' character). These forms are then inserted in the pattern.
97 #(define (textoffset dx dy)
99 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
103 %% The following embedded scheme call is the same as
104 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
106 c'^"text with offset"
110 @item A music list at toplevel is interpreted as implicit @code{\score}
111 a @code{\score} block at toplevel is interpreted as an implicit
112 @code{\book} and @code{\notes} mode is the default lexer mode. The
116 \header @{ title = "The Title" @}
123 \header @{ title = "The Title" @}
131 This is handled by the function defined in
132 @code{toplevel-music-handler}. Similarly, @code{\score} and
133 @code{\book} are handled by @code{toplevel-score-handler} and a
134 @code{toplevel-book-handler}. By changing these variables, different
135 results can be obtained.
137 This required a small change in the syntax. Mode changing commands,
138 such as @code{\chords} and @code{\figures} now be directly followed by
139 delimeters. The following example demonstrates the new behavior,
142 \figures \context Figures { .. } % wrong
143 \context Figures \figures { .. } % right
147 @item Start pitch for @code{relative} music is optional for music lists.
148 The default value is middle C.
150 @c update-me? formal definition of newaddlyrics, once it works
151 @item Combining lyrics with music can be done with @code{\newlyrics}
156 d2 d c4 bes a2 \break
159 My first Li -- ly song,
162 Not much can go wrong!
166 Syntactically, @code{\newlyrics} acts like an infix operator.
168 @item The parser is encapsulated in a Scheme function
169 @code{ly:parse-file}, so the following fragment processes two files
172 #(ly:parse-file "another.ly")
173 \score { \notes { c4 }}
176 @item The @code{font-encoding} property can now be used to select
177 differently encoded fonts. The previous default setting
178 @code{TeX-text} has been replaced by latin1. LilyPond requires the
179 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
180 package installed to function properly.
182 @item The encoding of a file can be switched with
183 @code{\encoding}. The strings for markup texts are translated
186 @item The toplevel block @code{\book} introduces page layout.
187 A @code{\book} groups @code{\score} blocks into one page layout
188 entity. For example, two scores are combined in one book with
197 Titling and page breaks are handled by LilyPond. For automatic page
198 breaking, two algorithms are available, the classic ragged pages (the
199 default), and optimal page breaking.
200 Page breaks may be inserted manually with
206 The @code{lilypond} program does not generate La@TeX{} titles or page
207 layout. If you need La@TeX{} titles, you can use the
208 @code{lilypond-book} program.
210 @item There is now less of a noticeable ``hook'' at the end of a long slur.
212 @item The meaning of the @code{|} in the input can be redefined, by
213 assigning a music expression to @code{pipeSymbol}.
217 @unnumbered New features in 2.2 since 2.0
221 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
222 causes the last line to be set flush-left instead of justified.
224 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
225 its containing context automatically.
227 @item The code for font selection has been rewritten. In addition to
228 existing font selection properties, the property @code{font-encoding}
229 has been added, which makes the switch between normal @code{text} and
230 other encodings like @code{braces}, @code{music} and @code{math}.
232 @item The pmx2ly script has been removed from the distribution.
234 @item Pedal brackets will now run to the last bar of a piece if they are not
237 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
239 @item Property functions may be used as an argument to @code{set!},
243 (set! (ly:grob-property grob 'beam) ... )
246 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
249 @item Cue notes can be quoted directly from the parts that
250 contain them. This will take into account transposition of source and target
251 instrument. For example,
254 \addquote clarinet \notes\relative c' {
260 \notes \relative c'' {
261 c8 d8 \quote 2 oboe es8 gis
266 @item The transposition of an instrument can be specified using the
267 @code{\transposition} command. An
268 E-flat alto saxophone is specified as
274 @item The naming of exported Scheme functions now follows Scheme conventions.
275 Changes be applied to Scheme files with
278 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
282 @item Notes can be excluded from auto-beaming, by marking them with
289 will print two separate eighth notes, and two beamed notes.
291 @item Translators and contexts have been split. The result of this
292 internal cleanup is that @code{Score} no longer is the top context;
293 @code{Score} is contained in the @code{Global} context. Consequently,
294 it is possible to tweak @code{Score} as follows:
297 \context Score \with @{
302 @item The number of staff lines in Tablature notation is now
303 automatically deduced from the @code{stringTunings} property.
305 @item The program reference has been cleaned up and revised.
307 @item The syntax for setting properties has been simplified:
308 the following table lists the differences:
313 \property A.B = #C \set A.B = #C
314 \property A.B \unset \unset A.B
315 \property A.B \set #C = #D \override A.B #C = #D
316 \property A.B \override #C = #D (removed)
317 \property A.B \revert #C \revert A.B #C
320 Furthermore, if @code{A} is left out, the bottommost context is used
321 by default. In other words, it is no longer necessary to explicitly
322 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
327 \property Voice.autoBeaming = ##f
328 \property Staff.TimeSignature \set #'style = #'C
334 \set autoBeaming = ##f
335 \override Staff.TimeSignature #'style = #'C
339 @item Tweaks made with @code{\override} and @code{\revert} no longer
340 hide tweaks at higher context levels.
342 @item Melismata in lyrics are also properly handled in the MIDI output.
344 @item The lilypond-book script has been rewritten.
345 It is shorter, cleaner and faster. The special construct
346 @code{mbinclude} has been removed, plain @code{@@include} or
347 @code{\input} can be used now.
349 It now supports running convert-ly on the lilypond snippets,
351 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
354 @item The @code{LyricsVoice} context has been removed. Lyrics should only
355 be constructed in @code{Lyrics}.
357 @item The @code{Thread} context has been removed. Note heads and rests
358 are now constructed at @code{Voice} level.
360 @item Harmonic notes can now be entered as
366 @item Drum notation is now supported as a regular feature:
367 percussion may be entered in @code{\drums} mode, and printed or
368 performed in a @code{DrumStaff} context:
372 \drums \new DrumStaff @{ hihat4 cowbell8 @}
376 @item The automatic staff changer was internally rewritten. As a
377 result, the syntax has been simplified as well:
380 \autochange @var{the-music}
383 @item The ergonomic syntax of @code{\markup} now has an equivalent in
384 Scheme. The @code{markup*} macro creates such objects; the following
385 two markup commands are equivalent:
387 f4^#(markup* #:raise 0.2 #:bold "hi")
388 f4^\markup @{ \raise #0.2 \bold hi @}
391 @item Voice names, for vocal lines, have been added. They are similar
392 to instrument names. They can be set by defining @code{vocalName}
395 @item Safe mode has been reinstated for lilypond.
396 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
397 PostScript file output is disallowed, and lilypond-bin is invoked with
398 @code{--safe-mode}, the user's Guile expressions are evaluated in a
399 safe environment and file inclusion is not allowed.
401 Warning: this does not protect against denial-of-service attacks using
402 Guile, @TeX{} or PostScript.
404 (This feature is still experimental.)
406 @item There is now a Scheme macro for defining markup
407 commands. Special mark-up commands can be defined in user-files too.
409 @item Many fixes for dimension scaling have been made,
410 resulting in correct results for scores that mix staves in different
413 @item Improved robustness when layout properties are accidentally removed.
415 @item A more cleanly constructed part combiner has been installed.
416 It is more robust and less buggy. The part-combiner can be used with
418 \partcombine @var{mus1} @var{mus2}
422 See @file{input/regression/new-part-combine.ly} for an example.
424 @item Formatting of rehearsal marks has been improved. The @code{\mark}
425 command now only does automatic incrementing for marks specified as
426 integer. For example, @code{\mark #1} will print an A in the default
427 style. See @file{input/regression/rehearsal-mark-letter.ly},
428 @file{input/regression/rehearsal-mark-number.ly}.
430 @item Formatting of ottava brackets has been much improved.
432 @item Objects in the output can now be documented: the following fragment
433 boxes the note head, and adds the text ``heads or tails?'' three
434 spaces below the box.
437 \context Voice \applyoutput #(add-balloon-text
438 'NoteHead "heads, or tails?"
446 @item Default staff sizes are now scalable. There are two new mechanisms for
447 setting staff sizes. Both are demonstrated in this fragment:
450 #(set-global-staff-size 15)
452 #(paper-set-staff-size (* 15 pt))
458 Both have the same effect on the global layout of a piece. Similarly,
459 the paper size may be changed as follows
462 #(set-default-paper-size "a4")
464 #(set-paper-size "a4")
469 @item Warnings for bar check errors are more cleverly printed. This
470 makes @code{barCheckSynchronize} superfluous, so it is now switched
473 Warning: this will cause problems in scores that use bar checks to
476 @item The black note head was made a little rounder, which causes a less
477 frantic graphic impression.
480 A more concise syntax for checking octaves was introduced. A note may
481 be followed by @code{=}@var{quotes} which indicates what its absolute
482 octave should be. In the following example,
485 \relative c'' @{ c='' b=' d,='' @}
489 the d will generate a warning, because a d'' is
490 expected, but a d' is found.
491 @c @code adds ` ', very confusing.
493 @item There is a new mechanism for putting lyrics to melodies.
494 With this mechanism, @code{Lyrics} lines can be put melodies
495 individually, allowing for different melismatic sections in every
496 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
498 @item Bar lines may now be dotted.
501 @item The documentation now has links to a wiki, where everyone can
502 add personal comments to the manual.
504 @item Contexts may now be changed locally for an isolated music
505 expression. For example,
509 \consists "Pitch_squash_engraver"
515 @item The syntax for changing staffs has changed. The keyword
516 @code{\change} should now be used, e.g.
522 @item Features of spanner contexts, like @code{Staff}, can now be changed
523 using @code{\set}, eg.
527 \override Staff.StaffSymbol #'line-count = #4
533 puts a quarter note C on a staff with 4 lines.
536 @item Multi measure rests are now truly centered between the
537 clefs/barlines of the staff, their position is independent of symbols
540 @item Collision resolution for dots in chords has been improved greatly.
543 Spacing following barlines was improved for widely stretched lines.
546 Lyric hyphens and extenders now conform to standard typesetting
550 Lyrics are now aligned under note heads conforming to engraving
551 standards. The responsible code has been rewritten, and is drastically
552 simpler from the previous version. To aid this rewrite, the syntactic
553 function of the extender line ( __ ) has been changed: it is now
554 attached to the lyric syllable.
557 When redefining a context, the associated identifier is also
558 updated. For example, after reading
568 the definition of @code{ScoreContext} is updated to include the changed
573 The weight of the stafflines is now heavier at smaller staff sizes.
574 The font has been modified to match this look: at smaller sizes, the
575 font is heavier and the note heads are more rounded.
577 @item Processing scores is now done while parsing the file. New
578 Scheme functions give more flexibility: for example, it is now possible
579 interpret a score, collecting synchronized musical events in a list, and
580 manipulate that information using inline Scheme. For an example, see
581 @file{input/no-notation/recording.ly}.
583 @item Font sizes can now truly be scaled continuously: the @code{font-size}
584 is similar to the old @code{font-relative-size}, but may be set to
585 fractional values; the closest design size will be scaled to achieve
586 the desired size. As a side-effect, there are now no longer
587 limitations in using smaller fonts (eg. grace notes) at small staff
590 @item Stem tips are now also engraved with rounded corners.
593 The placement of accidentals on chords and ledgered notes is improved.
598 @unnumbered New features in 2.0 since 1.8
603 Crescendos can now be drawn dotted or dashed.
606 Quarter tones are now supported. They are entered by suffixing
607 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
608 following is an ascending list of pitches:
611 ceses ceseh ces ceh c cih cis cisih cisis
615 The following constructs have been removed from the syntax:
618 \duration #SCHEME-DURATION
620 \outputproperty @var{func} @var{symbol} = @var{value}
623 For @code{\outputproperty}, the following may be substituted:
626 \applyoutput #(outputproperty-compatibility @var{func}
627 @var{symbol} @var{value})
631 Clefs may now be transposed arbitrarily, for example
641 The syntax for chords and simultaneous music have changed.
642 Chords are entered as
648 while simultaneous music is entered as
651 <<@var{..music list..}>>
654 In effect, the meanings of both have been swapped relative to their 1.8
655 definition. The syntax for lists in @code{\markup} has changed
656 alongside, but figured bass mode was not changed, i.e.:
659 \markup @{ \center <@var{..list of markups..}> @}
660 \figure @{ <@var{figures}> @}
663 As chords the more often used than simultaneous music, this change will
667 Each music expression can now be tagged, to make different printed
668 versions from the same music expression. In the following example,
669 we see two versions of a piece of music, one for the full score, and
670 one with cue notes for the instrumental part:
674 @{ c4 f2 g4 @} % in the part, we have cue-notes
676 \tag #'score R1 % in the score: only a rest
680 The same can be applied to articulations, texts, etc.: they are
684 -\tag #@var{your-tags}
687 to an articulation, for example,
690 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
693 This defines a note, which has a conditional fingering and a
694 string-number indication.
697 The settings for chord-fingering are more flexible. You can specify a
698 list where fingerings may be placed, eg.
701 \property Voice.fingeringOrientations = #'(left down)
704 This will put the fingering for the lowest note below the chord, and the
708 The script previously known as @code{ly2dvi} has been renamed to
709 @code{lilypond}. The binary itself is now installed as
713 Markup text (ie. general text formatting) may now be used for lyrics too.
716 Two new commands for grace notes have been added, @code{\acciaccatura}
717 and @code{\appoggiatura},
724 Both reflect the traditional meanings of acciaccatura and appogiatura,
725 and both insert insert a slur from the first grace note to the main
729 Layout options for grace notes are now stored in a context property,
730 and may now be set separately from musical content.
733 The @code{\new} command will create a context with a unique
734 name automatically. Hence, for multi-staff scores, it is no longer
735 necessary to invent arbitrary context names. For example, a two-staff
736 score may be created by
740 \new Staff @{ @var{notes for 1st staff} @}
741 \new Staff @{ @var{notes for 2nd staff} @}
748 Octave checks make octave errors easier to correct.
755 This checks that @var{pitch} (without octave) yields @var{pitch} (with
756 octave) in \relative mode. If not, a warning is printed, and the
760 All articulations must now be entered postfix. For example,
767 is a pair of beamed slurred eighth notes.
770 The definition of @code{\relative} has been simplified. Octaves are
771 now always propagated in the order that music is entered. In the
776 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
781 the octave of BODY is based on PRE, the starting octave of ALT1 on
782 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
785 The same mechanism is used for all other music expressions, except the
786 chord. Backwards compatibility is retained through a special program option,
790 #(ly:set-option 'old-relative)
794 Windows users can double click a @code{.ly} file to process and view
795 it automagically through the new @code{lily-wins} frontend.
802 @unnumbered New features in 1.8 since 1.6
807 The chord entry code has been completely rewritten. It is now
808 cleaner and more flexible.
811 A new syntax has been added for text entry. This syntax is more
812 friendly than the old mechanism, and it is implemented in a more
813 robust and modular way. For more information, refer to the section on
814 "Text markup" in the notation manual.
817 The integration of the input language and Scheme has been made deeper:
818 you can now use LilyPond identifiers in Scheme, and use Scheme
819 expressions instead of LilyPond identifiers.
822 The internal representation of music has been cleaned up completely
823 and converted to Scheme data structures. The representation may be
827 A new uniform postfix syntax for articulation has been introduced.
828 A beamed slurred pair of eighth notes can be entered as
834 In version 2.0, postfix syntax will be the only syntax
835 available, and the dashes will become optional.
837 This will simplify the language: all articulations can be entered as
838 postfix, in any order.
841 A new syntax has been added for chords:
848 It is not necessary to update files to this syntax, but it will be for
849 using LilyPond version 2.0. In version 2.0, this syntax will be
859 \simultaneous @{ .. @}
862 for simultaneous music.
864 To convert your files from <PITCHES> to <<PITCHES>>, use the script
865 included in @file{buildscripts/convert-new-chords.py}.
867 This change was introduced for the following reasons
871 It solves the "start score with chord" problem, where you have to
872 state \context Voice explicitly when a chord was the start of a
875 With the new syntax, it is possible to distinguish between
876 articulations (or fingerings) which are for a single chord note,
877 and which are for the entire chord. This allows for per-note
878 fingerings, and is more logical on the whole.
882 User code may now be executed during interpreting. The syntax for
886 \applycontext #SCHEME-FUNCTION
890 User code may now be executed on arbitrary grobs during interpreting.
891 The syntax for this feature is
894 \applyoutput #SCHEME-FUNCTION
898 SCHEME-FUNCTION takes a single argument, and is called for every grob
899 that is created in the current context.
902 New algorithms for chord-name formatting have been installed. They
903 can be tuned and have ergonomic syntax for entering exceptions.
906 Texts may now be put on multimeasure rests, e.g.
909 R1*20^\markup @{ "GP" @}
913 Ancient notation now prints ligatures in Gregorian square neumes
914 notation, roughly following the typographical style of the Liber
915 hymnarius of Solesmes, published in 1983. Ligatures are still printed
916 without the proper line breaking and horizontal spacing.
919 Glissandi can now be printed using the zigzag style.
922 LilyPond can now print clusters. The syntax is
925 \apply #notes-to-clusters @{ NOTE NOTE .. @}
929 For irregular meters, beat grouping marks can be printed. The
933 #(set-time-signature 7 8 '(3 2 2))
938 Nested horizontal brackets for music analysis can now be printed:
947 @item Ottava brackets are now fully supported as a feature. The syntax
955 @item Metronome markings are printed when a \tempo command is processed.
959 @item Fingerings can be put on chords horizontally.
963 @item The appearance of various glyphs has been fine-tuned.
967 @item Different types of percent style repeats may now be nested.
971 @item The emacs support has been extended.
975 The manual has been completely revised and extended.
979 @unnumbered New features in 1.6 since 1.4
985 Support for figured bass and tablature.
988 Completely rewritten beam formatting: provides much better output
993 Completely revised and improved music font.
997 Completely rewritten MIDI import support.
1000 Completely rewritten grace note support. Practically speaking this
1001 means that grace notes can be slurred to normal normal notes.
1005 Improved accidental handling and formatting: styles for producing
1006 cautionaries may vary, and complex collisions between accidentals of a
1007 chord are handled much better.
1010 Better spacing: both globally and locally. This includes subtle
1011 details like optical stem spacing.
1014 More support for ancient notation: mensural ligatures, ambitus
1015 (pitch range) of voices, more shapes, etc.
1018 More support for piano notation: bracket pedals, directed arpeggios,
1022 Easier music polyphonic music entry.
1025 More extensibility, many speedups and bugfixes
1028 The manual has been thoroughly revised.
1031 Development is now hosted at http://savannah.gnu.org, and sources
1032 can be downloaded through anonymous CVS.
1035 Support for windows: LilyPond is part of the cygwin distribution,
1036 which comes with a user-friendly installer.