1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item A experimental GNOME output backend is available for developers.
12 It depends on several unreleased softwares such as gnome-guile TLA and
13 Pango CVS. The output interface coverage is sparse, but it already
14 does support point-and-click on the GNOME Canvas. See also
15 @file{scm/output-gnome.scm}.
17 @item Context definitions are now stored in identifiers that match the
18 context name, in other words, to modify a @code{Staff} context, the
19 following code may be used.
28 @item A new block, @code{\bookpaper} has been introduced to
29 hold settings for paper size and output scaling. Further options
30 include @code{raggedbottom} (if set, systems are not vertically filled
31 to reach the bottom of the page), and @code{raggedlastbottom}.
35 @item Support for fret diagrams has been contributed by Carl
36 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
38 @item The @code{--safe-mode} has been revisited: GUILE evaluation
39 is done in the R5RS safe module, with only the basic @code{ly:}
40 interface available and malicious @TeX{} code is stopped. However, to
41 be reasonably safe, you are advised to use the PostScript backend
42 rather than the @TeX{} backend anyway; and if possible use an UML
43 sandbox to run gs or latex.
45 @item Music syntax can now be extended seamlessly. As an example,
46 here is the new implementation @code{\applymusic},
49 applymusic = #(ly:make-music-function
50 (list procedure? ly:music?) ; signature
51 (lambda (where func music) ; the function
55 @item @code{\apply} has been renamed to @code{\applymusic}.
57 @item Music can be used as a markup.
58 When inserting a @code{score} block as part of a @code{\markup}, it
59 produces a rendered markup of the music. An example is in
60 @file{input/test/markup-score.ly}.
62 @item LilyPond expressions can be embedded into Scheme. The syntax for
63 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
64 introduced using a @code{$} character (@code{$$} results in a single
65 `$' character). These forms are then inserted in the pattern.
68 #(define (textoffset dx dy)
70 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
74 %% The following embedded scheme call is the same as
75 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
81 @item A music list at toplevel is interpreted as implicit @code{\score}
82 a @code{\score} block at toplevel is interpreted as an implicit
83 @code{\book} and @code{\notes} mode is the default lexer mode. The
87 \header @{ title = "The Title" @}
94 \header @{ title = "The Title" @}
102 This is handled by the function defined in
103 @code{toplevel-music-handler}. Similarly, @code{\score} and
104 @code{\book} are handled by @code{toplevel-score-handler} and a
105 @code{toplevel-book-handler}. By changing these variables, different
106 results can be obtained.
109 @item Start pitch for @code{relative} music is optional for music lists.
110 The default value is middle C.
112 @c update-me? formal definition of newaddlyrics, once it works
113 @item Combining lyrics with music can be done with @code{\newlyrics}
118 d2 d c4 bes a2 \break
121 My first Li -- ly song,
124 Not much can go wrong!
128 Syntactically, @code{\newlyrics} acts like an infix operator.
130 @item The parser is encapsulated in a Scheme function
131 @code{ly:parse-file}, so the following fragment processes two files
134 #(ly:parse-file "another.ly")
135 \score { \notes { c4 }}
138 @item The @code{font-encoding} property can now be used to select
139 differently encoded fonts. The previous default setting
140 @code{TeX-text} has been replaced by latin1. LilyPond requires the
141 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
142 package installed to function properly.
144 @item The encoding of a file can be switched with
145 @code{\encoding}. The strings for markup texts are translated
148 @item The toplevel block @code{\book} introduces page layout.
149 A @code{\book} groups @code{\score} blocks into one page layout
150 entity. For example, two scores are combined in one book with
159 Titling and page breaks are handled by LilyPond. For automatic page
160 breaking, two algorithms are available, the classic ragged pages (the
161 default), and optimal page breaking.
162 Page breaks may be inserted manually with
168 The @code{lilypond} program does not generate La@TeX{} titles or page
169 layout. If you need La@TeX{} titles, you can use the
170 @code{lilypond-book} program.
172 @item There is now less of a noticeable ``hook'' at the end of a long slur.
174 @item The meaning of the @code{|} in the input can be redefined, by
175 assigning a music expression to @code{pipeSymbol}.
179 @unnumbered New features in 2.2 since 2.0
183 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
184 causes the last line to be set flush-left instead of justified.
186 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
187 its containing context automatically.
189 @item The code for font selection has been rewritten. In addition to
190 existing font selection properties, the property @code{font-encoding}
191 has been added, which makes the switch between normal @code{text} and
192 other encodings like @code{braces}, @code{music} and @code{math}.
194 @item The pmx2ly script has been removed from the distribution.
196 @item Pedal brackets will now run to the last bar of a piece if they are not
199 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
201 @item Property functions may be used as an argument to @code{set!},
205 (set! (ly:grob-property grob 'beam) ... )
208 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
211 @item Cue notes can be quoted directly from the parts that
212 contain them. This will take into account transposition of source and target
213 instrument. For example,
216 \addquote clarinet \notes\relative c' {
222 \notes \relative c'' {
223 c8 d8 \quote 2 oboe es8 gis
228 @item The transposition of an instrument can be specified using the
229 @code{\transposition} command. An
230 E-flat alto saxophone is specified as
236 @item The naming of exported Scheme functions now follows Scheme conventions.
237 Changes be applied to Scheme files with
240 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
244 @item Notes can be excluded from auto-beaming, by marking them with
251 will print two separate eighth notes, and two beamed notes.
253 @item Translators and contexts have been split. The result of this
254 internal cleanup is that @code{Score} no longer is the top context;
255 @code{Score} is contained in the @code{Global} context. Consequently,
256 it is possible to tweak @code{Score} as follows:
259 \context Score \with @{
264 @item The number of staff lines in Tablature notation is now
265 automatically deduced from the @code{stringTunings} property.
267 @item The program reference has been cleaned up and revised.
269 @item The syntax for setting properties has been simplified:
270 the following table lists the differences:
275 \property A.B = #C \set A.B = #C
276 \property A.B \unset \unset A.B
277 \property A.B \set #C = #D \override A.B #C = #D
278 \property A.B \override #C = #D (removed)
279 \property A.B \revert #C \revert A.B #C
282 Furthermore, if @code{A} is left out, the bottommost context is used
283 by default. In other words, it is no longer necessary to explicitly
284 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
289 \property Voice.autoBeaming = ##f
290 \property Staff.TimeSignature \set #'style = #'C
296 \set autoBeaming = ##f
297 \override Staff.TimeSignature #'style = #'C
301 @item Tweaks made with @code{\override} and @code{\revert} no longer
302 hide tweaks at higher context levels.
304 @item Melismata in lyrics are also properly handled in the MIDI output.
306 @item The lilypond-book script has been rewritten.
307 It is shorter, cleaner and faster. The special construct
308 @code{mbinclude} has been removed, plain @code{@@include} or
309 @code{\input} can be used now.
311 It now supports running convert-ly on the lilypond snippets,
313 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
316 @item The @code{LyricsVoice} context has been removed. Lyrics should only
317 be constructed in @code{Lyrics}.
319 @item The @code{Thread} context has been removed. Note heads and rests
320 are now constructed at @code{Voice} level.
322 @item Harmonic notes can now be entered as
328 @item Drum notation is now supported as a regular feature:
329 percussion may be entered in @code{\drums} mode, and printed or
330 performed in a @code{DrumStaff} context:
334 \drums \new DrumStaff @{ hihat4 cowbell8 @}
338 @item The automatic staff changer was internally rewritten. As a
339 result, the syntax has been simplified as well:
342 \autochange @var{the-music}
345 @item The ergonomic syntax of @code{\markup} now has an equivalent in
346 Scheme. The @code{markup*} macro creates such objects; the following
347 two markup commands are equivalent:
349 f4^#(markup* #:raise 0.2 #:bold "hi")
350 f4^\markup @{ \raise #0.2 \bold hi @}
353 @item Voice names, for vocal lines, have been added. They are similar
354 to instrument names. They can be set by defining @code{vocalName}
357 @item Safe mode has been reinstated for lilypond.
358 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
359 PostScript file output is disallowed, and lilypond-bin is invoked with
360 @code{--safe-mode}, the user's Guile expressions are evaluated in a
361 safe environment and file inclusion is not allowed.
363 Warning: this does not protect against denial-of-service attacks using
364 Guile, @TeX{} or PostScript.
366 (This feature is still experimental.)
368 @item There is now a Scheme macro for defining markup
369 commands. Special mark-up commands can be defined in user-files too.
371 @item Many fixes for dimension scaling have been made,
372 resulting in correct results for scores that mix staves in different
375 @item Improved robustness when layout properties are accidentally removed.
377 @item A more cleanly constructed part combiner has been installed.
378 It is more robust and less buggy. The part-combiner can be used with
380 \partcombine @var{mus1} @var{mus2}
384 See @file{input/regression/new-part-combine.ly} for an example.
386 @item Formatting of rehearsal marks has been improved. The @code{\mark}
387 command now only does automatic incrementing for marks specified as
388 integer. For example, @code{\mark #1} will print an A in the default
389 style. See @file{input/regression/rehearsal-mark-letter.ly},
390 @file{input/regression/rehearsal-mark-number.ly}.
392 @item Formatting of ottava brackets has been much improved.
394 @item Objects in the output can now be documented: the following fragment
395 boxes the note head, and adds the text ``heads or tails?'' three
396 spaces below the box.
399 \context Voice \applyoutput #(add-balloon-text
400 'NoteHead "heads, or tails?"
408 @item Default staff sizes are now scalable. There are two new mechanisms for
409 setting staff sizes. Both are demonstrated in this fragment:
412 #(set-global-staff-size 15)
414 #(paper-set-staff-size (* 15 pt))
420 Both have the same effect on the global layout of a piece. Similarly,
421 the paper size may be changed as follows
424 #(set-default-paper-size "a4")
426 #(set-paper-size "a4")
431 @item Warnings for bar check errors are more cleverly printed. This
432 makes @code{barCheckSynchronize} superfluous, so it is now switched
435 Warning: this will cause problems in scores that use bar checks to
438 @item The black note head was made a little rounder, which causes a less
439 frantic graphic impression.
442 A more concise syntax for checking octaves was introduced. A note may
443 be followed by @code{=}@var{quotes} which indicates what its absolute
444 octave should be. In the following example,
447 \relative c'' @{ c='' b=' d,='' @}
451 the d will generate a warning, because a d'' is
452 expected, but a d' is found.
453 @c @code adds ` ', very confusing.
455 @item There is a new mechanism for putting lyrics to melodies.
456 With this mechanism, @code{Lyrics} lines can be put melodies
457 individually, allowing for different melismatic sections in every
458 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
460 @item Bar lines may now be dotted.
463 @item The documentation now has links to a wiki, where everyone can
464 add personal comments to the manual.
466 @item Contexts may now be changed locally for an isolated music
467 expression. For example,
471 \consists "Pitch_squash_engraver"
477 @item The syntax for changing staffs has changed. The keyword
478 @code{\change} should now be used, e.g.
484 @item Features of spanner contexts, like @code{Staff}, can now be changed
485 using @code{\set}, eg.
489 \override Staff.StaffSymbol #'line-count = #4
495 puts a quarter note C on a staff with 4 lines.
498 @item Multi measure rests are now truly centered between the
499 clefs/barlines of the staff, their position is independent of symbols
502 @item Collision resolution for dots in chords has been improved greatly.
505 Spacing following barlines was improved for widely stretched lines.
508 Lyric hyphens and extenders now conform to standard typesetting
512 Lyrics are now aligned under note heads conforming to engraving
513 standards. The responsible code has been rewritten, and is drastically
514 simpler from the previous version. To aid this rewrite, the syntactic
515 function of the extender line ( __ ) has been changed: it is now
516 attached to the lyric syllable.
519 When redefining a context, the associated identifier is also
520 updated. For example, after reading
530 the definition of @code{ScoreContext} is updated to include the changed
535 The weight of the stafflines is now heavier at smaller staff sizes.
536 The font has been modified to match this look: at smaller sizes, the
537 font is heavier and the note heads are more rounded.
539 @item Processing scores is now done while parsing the file. New
540 Scheme functions give more flexibility: for example, it is now possible
541 interpret a score, collecting synchronized musical events in a list, and
542 manipulate that information using inline Scheme. For an example, see
543 @file{input/no-notation/recording.ly}.
545 @item Font sizes can now truly be scaled continuously: the @code{font-size}
546 is similar to the old @code{font-relative-size}, but may be set to
547 fractional values; the closest design size will be scaled to achieve
548 the desired size. As a side-effect, there are now no longer
549 limitations in using smaller fonts (eg. grace notes) at small staff
552 @item Stem tips are now also engraved with rounded corners.
555 The placement of accidentals on chords and ledgered notes is improved.
560 @unnumbered New features in 2.0 since 1.8
565 Crescendos can now be drawn dotted or dashed.
568 Quarter tones are now supported. They are entered by suffixing
569 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
570 following is an ascending list of pitches:
573 ceses ceseh ces ceh c cih cis cisih cisis
577 The following constructs have been removed from the syntax:
580 \duration #SCHEME-DURATION
582 \outputproperty @var{func} @var{symbol} = @var{value}
585 For @code{\outputproperty}, the following may be substituted:
588 \applyoutput #(outputproperty-compatibility @var{func}
589 @var{symbol} @var{value})
593 Clefs may now be transposed arbitrarily, for example
603 The syntax for chords and simultaneous music have changed.
604 Chords are entered as
610 while simultaneous music is entered as
613 <<@var{..music list..}>>
616 In effect, the meanings of both have been swapped relative to their 1.8
617 definition. The syntax for lists in @code{\markup} has changed
618 alongside, but figured bass mode was not changed, i.e.:
621 \markup @{ \center <@var{..list of markups..}> @}
622 \figure @{ <@var{figures}> @}
625 As chords the more often used than simultaneous music, this change will
629 Each music expression can now be tagged, to make different printed
630 versions from the same music expression. In the following example,
631 we see two versions of a piece of music, one for the full score, and
632 one with cue notes for the instrumental part:
636 @{ c4 f2 g4 @} % in the part, we have cue-notes
638 \tag #'score R1 % in the score: only a rest
642 The same can be applied to articulations, texts, etc.: they are
646 -\tag #@var{your-tags}
649 to an articulation, for example,
652 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
655 This defines a note, which has a conditional fingering and a
656 string-number indication.
659 The settings for chord-fingering are more flexible. You can specify a
660 list where fingerings may be placed, eg.
663 \property Voice.fingeringOrientations = #'(left down)
666 This will put the fingering for the lowest note below the chord, and the
670 The script previously known as @code{ly2dvi} has been renamed to
671 @code{lilypond}. The binary itself is now installed as
675 Markup text (ie. general text formatting) may now be used for lyrics too.
678 Two new commands for grace notes have been added, @code{\acciaccatura}
679 and @code{\appoggiatura},
686 Both reflect the traditional meanings of acciaccatura and appogiatura,
687 and both insert insert a slur from the first grace note to the main
691 Layout options for grace notes are now stored in a context property,
692 and may now be set separately from musical content.
695 The @code{\new} command will create a context with a unique
696 name automatically. Hence, for multi-staff scores, it is no longer
697 necessary to invent arbitrary context names. For example, a two-staff
698 score may be created by
702 \new Staff @{ @var{notes for 1st staff} @}
703 \new Staff @{ @var{notes for 2nd staff} @}
710 Octave checks make octave errors easier to correct.
717 This checks that @var{pitch} (without octave) yields @var{pitch} (with
718 octave) in \relative mode. If not, a warning is printed, and the
722 All articulations must now be entered postfix. For example,
729 is a pair of beamed slurred eighth notes.
732 The definition of @code{\relative} has been simplified. Octaves are
733 now always propagated in the order that music is entered. In the
738 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
743 the octave of BODY is based on PRE, the starting octave of ALT1 on
744 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
747 The same mechanism is used for all other music expressions, except the
748 chord. Backwards compatibility is retained through a special program option,
752 #(ly:set-option 'old-relative)
756 Windows users can double click a @code{.ly} file to process and view
757 it automagically through the new @code{lily-wins} frontend.
764 @unnumbered New features in 1.8 since 1.6
769 The chord entry code has been completely rewritten. It is now
770 cleaner and more flexible.
773 A new syntax has been added for text entry. This syntax is more
774 friendly than the old mechanism, and it is implemented in a more
775 robust and modular way. For more information, refer to the section on
776 "Text markup" in the notation manual.
779 The integration of the input language and Scheme has been made deeper:
780 you can now use LilyPond identifiers in Scheme, and use Scheme
781 expressions instead of LilyPond identifiers.
784 The internal representation of music has been cleaned up completely
785 and converted to Scheme data structures. The representation may be
789 A new uniform postfix syntax for articulation has been introduced.
790 A beamed slurred pair of eighth notes can be entered as
796 In version 2.0, postfix syntax will be the only syntax
797 available, and the dashes will become optional.
799 This will simplify the language: all articulations can be entered as
800 postfix, in any order.
803 A new syntax has been added for chords:
810 It is not necessary to update files to this syntax, but it will be for
811 using LilyPond version 2.0. In version 2.0, this syntax will be
821 \simultaneous @{ .. @}
824 for simultaneous music.
826 To convert your files from <PITCHES> to <<PITCHES>>, use the script
827 included in @file{buildscripts/convert-new-chords.py}.
829 This change was introduced for the following reasons
833 It solves the "start score with chord" problem, where you have to
834 state \context Voice explicitly when a chord was the start of a
837 With the new syntax, it is possible to distinguish between
838 articulations (or fingerings) which are for a single chord note,
839 and which are for the entire chord. This allows for per-note
840 fingerings, and is more logical on the whole.
844 User code may now be executed during interpreting. The syntax for
848 \applycontext #SCHEME-FUNCTION
852 User code may now be executed on arbitrary grobs during interpreting.
853 The syntax for this feature is
856 \applyoutput #SCHEME-FUNCTION
860 SCHEME-FUNCTION takes a single argument, and is called for every grob
861 that is created in the current context.
864 New algorithms for chord-name formatting have been installed. They
865 can be tuned and have ergonomic syntax for entering exceptions.
868 Texts may now be put on multimeasure rests, e.g.
871 R1*20^\markup @{ "GP" @}
875 Ancient notation now prints ligatures in Gregorian square neumes
876 notation, roughly following the typographical style of the Liber
877 hymnarius of Solesmes, published in 1983. Ligatures are still printed
878 without the proper line breaking and horizontal spacing.
881 Glissandi can now be printed using the zigzag style.
884 LilyPond can now print clusters. The syntax is
887 \apply #notes-to-clusters @{ NOTE NOTE .. @}
891 For irregular meters, beat grouping marks can be printed. The
895 #(set-time-signature 7 8 '(3 2 2))
900 Nested horizontal brackets for music analysis can now be printed:
909 @item Ottava brackets are now fully supported as a feature. The syntax
917 @item Metronome markings are printed when a \tempo command is processed.
921 @item Fingerings can be put on chords horizontally.
925 @item The appearance of various glyphs has been fine-tuned.
929 @item Different types of percent style repeats may now be nested.
933 @item The emacs support has been extended.
937 The manual has been completely revised and extended.
941 @unnumbered New features in 1.6 since 1.4
947 Support for figured bass and tablature.
950 Completely rewritten beam formatting: provides much better output
955 Completely revised and improved music font.
959 Completely rewritten MIDI import support.
962 Completely rewritten grace note support. Practically speaking this
963 means that grace notes can be slurred to normal normal notes.
967 Improved accidental handling and formatting: styles for producing
968 cautionaries may vary, and complex collisions between accidentals of a
969 chord are handled much better.
972 Better spacing: both globally and locally. This includes subtle
973 details like optical stem spacing.
976 More support for ancient notation: mensural ligatures, ambitus
977 (pitch range) of voices, more shapes, etc.
980 More support for piano notation: bracket pedals, directed arpeggios,
984 Easier music polyphonic music entry.
987 More extensibility, many speedups and bugfixes
990 The manual has been thoroughly revised.
993 Development is now hosted at http://savannah.gnu.org, and sources
994 can be downloaded through anonymous CVS.
997 Support for windows: LilyPond is part of the cygwin distribution,
998 which comes with a user-friendly installer.