1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
11 @item The appearance of stem tips is now also engraved with rounded corners.
14 The placement of accidentals on chords and ledgered notes is improved.
19 @chapter New features in 2.0 since 1.8
24 Crescendos can now be drawn dotted or dashed.
27 Quarter tones are now supported. They are entered by suffixing
28 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
29 following is an ascending list of pitches:
32 ceses ceseh ces ceh c cih cis cisih cisis
36 The following constructs have been removed from the syntax:
39 \duration #SCHEME-DURATION
41 \outputproperty @var{func} @var{symbol} = @var{value}
44 For @code{\outputproperty}, the following may be substituted:
47 \applyoutput #(outputproperty-compatibility @var{func}
48 @var{symbol} @var{value})
52 Clefs may now be transposed arbitrarily, for example
62 The syntax for chords and simultaneous music have changed.
69 while simultaneous music is entered as
72 <<@var{..music list..}>>
75 In effect, the meanings of both have been swapped relative to their 1.8
76 definition. The syntax for lists in @code{\markup} has changed
77 alongside, but figured bass mode was not changed, i.e.:
80 \markup @{ \center <@var{..list of markups..}> @}
81 \figure @{ <@var{figures}> @}
84 As chords the more often used than simultaneous music, this change will
88 Each music expression can now be tagged, to make different printed
89 versions from the same music expression. In the following example,
90 we see two versions of a piece of music, one for the full score, and
91 one with cue notes for the instrumental part:
95 @{ c4 f2 g4 @} % in the part, we have cue-notes
97 \tag #'score R1 % in the score: only a rest
101 The same can be applied to articulations, texts, etc.: they are
105 -\tag #@var{your-tags}
108 to an articulation, for example,
111 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
114 This defines a note, which has a conditional fingering and a
115 string-number indication.
118 The settings for chord-fingering are more flexible. You can specify a
119 list where fingerings may be placed, eg.
122 \property Voice.fingeringOrientations = #'(left down)
125 This will put the fingering for the lowest note below the chord, and the
129 The script previously known as @code{ly2dvi} has been renamed to
130 @code{lilypond}. The binary itself is now installed as
134 Markup text (ie. general text formatting) may now be used for lyrics too.
137 Two new commands for grace notes have been added, @code{\acciaccatura}
138 and @code{\appoggiatura},
145 Both reflect the traditional meanings of acciaccatura and appogiatura,
146 and both insert insert a slur from the first grace note to the main
150 Layout options for grace notes are now stored in a context property,
151 and may now be set separately from musical content.
154 The @code{\new} command will create a context with a unique
155 name automatically. Hence, for multi-staff scores, it is no longer
156 necessary to invent arbitrary context names. For example, a two-staff
157 score may be created by
161 \new Staff @{ @var{notes for 1st staff} @}
162 \new Staff @{ @var{notes for 2nd staff} @}
169 Octave checks make octave errors easier to correct.
176 This checks that @var{pitch} (without octave) yields @var{pitch} (with
177 octave) in \relative mode. If not, a warning is printed, and the
181 All articulations must now be entered postfix. For example,
188 is a pair of beamed slurred eighth notes.
191 The definition of @code{\relative} has been simplified. Octaves are
192 now always propagated in the order that music is entered. In the
197 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
202 the octave of BODY is based on PRE, the starting octave of ALT1 on
203 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
206 The same mechanism is used for all other music expressions, except the
207 chord. Backwards compatibility is retained through a special program option,
211 #(ly:set-option 'old-relative)
215 Windows users can double click a @code{.ly} file to process and view
216 it automagically through the new @code{lily-wins} frontend.
223 @chapter New features in 1.8 since 1.6
228 The chord entry code has been completely rewritten. It is now
229 cleaner and more flexible.
232 A new syntax has been added for text entry. This syntax is more
233 friendly than the old mechanism, and it is implemented in a more
234 robust and modular way. For more information, refer to the section on
235 "Text markup" in the notation manual.
238 The integration of the input language and Scheme has been made deeper:
239 you can now use LilyPond identifiers in Scheme, and use Scheme
240 expressions instead of LilyPond identifiers.
243 The internal representation of music has been cleaned up completely
244 and converted to Scheme data structures. The representation may be
248 A new uniform postfix syntax for articulation has been introduced.
249 A beamed slurred pair of eighth notes can be entered as
255 In version 2.0, postfix syntax will be the only syntax
256 available, and the dashes will become optional.
258 This will simplify the language: all articulations can be entered as
259 postfix, in any order.
262 A new syntax has been added for chords:
269 It is not necessary to update files to this syntax, but it will be for
270 using LilyPond version 2.0. In version 2.0, this syntax will be
280 \simultaneous @{ .. @}
283 for simultaneous music.
285 To convert your files from <PITCHES> to <<PITCHES>>, use the script
286 included in buildscripts/convert-new-chords.py
288 This change was introduced for the following reasons
292 It solves the "start score with chord" problem, where you have to
293 state \context Voice explicitly when a chord was the start of a
296 With the new syntax, it is possible to distinguish between
297 articulations (or fingerings) which are for a single chord note,
298 and which are for the entire chord. This allows for per-note
299 fingerings, and is more logical on the whole.
303 User code may now be executed during interpreting. The syntax for
307 \applycontext #SCHEME-FUNCTION
311 User code may now be executed on arbitrary grobs during interpreting.
312 The syntax for this feature is
315 \applyoutput #SCHEME-FUNCTION
319 SCHEME-FUNCTION takes a single argument, and is called for every grob
320 that is created in the current context.
323 New algorithms for chord-name formatting have been installed. They
324 can be tuned and have ergonomic syntax for entering exceptions.
327 Texts may now be put on multimeasure rests, e.g.
330 R1*20^\markup @{ "GP" @}
334 Ancient notation now prints ligatures in Gregorian square neumes
335 notation, roughly following the typographical style of the Liber
336 hymnarius of Solesmes, published in 1983. Ligatures are still printed
337 without the proper line breaking and horizontal spacing.
340 Glissandi can now be printed using the zigzag style.
343 LilyPond can now print clusters. The syntax is
346 \apply #notes-to-clusters @{ NOTE NOTE .. @}
350 For irregular meters, beat grouping marks can be printed. The
354 #(set-time-signature 7 8 '(3 2 2))
359 Nested horizontal brackets for music analysis can now be printed:
368 @item Ottava brackets are now fully supported as a feature. The syntax
376 @item Metronome markings are printed when a \tempo command is processed.
380 @item Fingerings can be put on chords horizontally.
384 @item The appearance of various glyphs has been fine-tuned.
388 @item Different types of percent style repeats may now be nested.
392 @item The emacs support has been extended.
396 The manual has been completely revised and extended.
400 @chapter New features in 1.6 since 1.4
406 Support for figured bass and tablature.
409 Completely rewritten beam formatting: provides much better output
414 Completely revised and improved music font.
418 Completely rewritten MIDI import support.
421 Completely rewritten grace note support. Practically speaking this
422 means that grace notes can be slurred to normal normal notes.
426 Improved accidental handling and formatting: styles for producing
427 cautionaries may vary, and complex collisions between accidentals of a
428 chord are handled much better.
431 Better spacing: both globally and locally. This includes subtle
432 details like optical stem spacing.
435 More support for ancient notation: mensural ligatures, ambitus
436 (pitch range) of voices, more shapes, etc.
439 More support for piano notation: bracket pedals, directed arpeggios,
443 Easier music polyphonic music entry.
446 More extensibility, many speedups and bugfixes
449 The manual has been thoroughly revised.
452 Development is now hosted at http://savannah.gnu.org, and sources
453 can be downloaded through anonymous CVS.
456 Support for windows: LilyPond is part of the cygwin distribution,
457 which comes with a user-friendly installer.