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.
31 @item Support for fret diagrams has been contributed by Carl
32 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
34 @item The @code{--safe-mode} has been revisited: GUILE evaluation
35 is done in the R5RS safe module, with only the basic @code{ly:}
36 interface available and malicious @TeX{} code is stopped. However, to
37 be reasonably safe, you are advised to use the PostScript backend
38 rather than the @TeX{} backend anyway; and if possible use an UML
39 sandbox to run gs or latex.
41 @item Music syntax can now be extended seamlessly. As an example,
42 here is the new implementation @code{\applymusic},
45 applymusic = #(ly:make-music-function
46 (list procedure? ly:music?) ; signature
47 (lambda (where func music) ; the function
51 @item @code{\apply} has been renamed to @code{\applymusic}.
53 @item Music can be used as a markup.
54 When inserting a @code{score} block as part of a @code{\markup}, it
55 produces a rendered markup of the music. An example is in
56 @file{input/test/markup-score.ly}.
58 @item LilyPond expressions can be embedded into Scheme. The syntax for
59 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
60 introduced using a @code{$} character (@code{$$} results in a single
61 `$' character). These forms are then inserted in the pattern.
64 #(define (textoffset dx dy)
66 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
70 %% The following embedded scheme call is the same as
71 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
77 @item A music list at toplevel is interpreted as implicit @code{\score}
78 a @code{\score} block at toplevel is interpreted as an implicit
79 @code{\book} and @code{\notes} mode is the default lexer mode. The
83 \header @{ title = "The Title" @}
90 \header @{ title = "The Title" @}
98 This is handled by the function defined in
99 @code{toplevel-music-handler}. Similarly, @code{\score} and
100 @code{\book} are handled by @code{toplevel-score-handler} and a
101 @code{toplevel-book-handler}. By changing these variables, different
102 results can be obtained.
105 @item Start pitch for @code{relative} music is optional for music lists.
106 The default value is one octave below middle C.
108 @c update-me? formal definition of newaddlyrics, once it works
109 @item Combining lyrics with music can be done with @code{\newlyrics}
114 d2 d c4 bes a2 \break
117 My first Li -- ly song,
120 Not much can go wrong!
124 Syntactically, @code{\newlyrics} acts like an infix operator.
126 @item The parser is encapsulated in a Scheme function
127 @code{ly:parse-file}, so the following fragment processes two files
130 #(ly:parse-file "another.ly")
131 \score { \notes { c4 }}
134 @item The @code{font-encoding} property can now be used to select
135 differently encoded fonts. The previous default setting
136 @code{TeX-text} has been replaced by latin1. LilyPond requires the
137 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
138 package installed to function properly.
140 @item The encoding of a file can be switched with
141 @code{\encoding}. The strings for markup texts are translated
144 @item The toplevel block @code{\book} introduces page layout.
145 A @code{\book} groups @code{\score} blocks into one page layout
146 entity. For example, two scores are combined in one book with
155 Titling and page breaks are handled by LilyPond. For automatic page
156 breaking, two algorithms are available, the classic ragged pages (the
157 default), and optimal page breaking.
158 Page breaks may be inserted manually with
164 The @code{lilypond} program does not generate La@TeX{} titles or page
165 layout. If you need La@TeX{} titles, you can use the
166 @code{lilypond-book} program.
168 @item There is now less of a noticeable ``hook'' at the end of a long slur.
170 @item The meaning of the @code{|} in the input can be redefined, by
171 assigning a music expression to @code{pipeSymbol}.
175 @unnumbered New features in 2.2 since 2.0
179 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
180 causes the last line to be set flush-left instead of justified.
182 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
183 its containing context automatically.
185 @item The code for font selection has been rewritten. In addition to
186 existing font selection properties, the property @code{font-encoding}
187 has been added, which makes the switch between normal @code{text} and
188 other encodings like @code{braces}, @code{music} and @code{math}.
190 @item The pmx2ly script has been removed from the distribution.
192 @item Pedal brackets will now run to the last bar of a piece if they are not
195 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
197 @item Property functions may be used as an argument to @code{set!},
201 (set! (ly:grob-property grob 'beam) ... )
204 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
207 @item Cue notes can be quoted directly from the parts that
208 contain them. This will take into account transposition of source and target
209 instrument. For example,
212 \addquote clarinet \notes\relative c' {
218 \notes \relative c'' {
219 c8 d8 \quote 2 oboe es8 gis
224 @item The transposition of an instrument can be specified using the
225 @code{\transposition} command. An
226 E-flat alto saxophone is specified as
232 @item The naming of exported Scheme functions now follows Scheme conventions.
233 Changes be applied to Scheme files with
236 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
240 @item Notes can be excluded from auto-beaming, by marking them with
247 will print two separate eighth notes, and two beamed notes.
249 @item Translators and contexts have been split. The result of this
250 internal cleanup is that @code{Score} no longer is the top context;
251 @code{Score} is contained in the @code{Global} context. Consequently,
252 it is possible to tweak @code{Score} as follows:
255 \context Score \with @{
260 @item The number of staff lines in Tablature notation is now
261 automatically deduced from the @code{stringTunings} property.
263 @item The program reference has been cleaned up and revised.
265 @item The syntax for setting properties has been simplified:
266 the following table lists the differences:
271 \property A.B = #C \set A.B = #C
272 \property A.B \unset \unset A.B
273 \property A.B \set #C = #D \override A.B #C = #D
274 \property A.B \override #C = #D (removed)
275 \property A.B \revert #C \revert A.B #C
278 Furthermore, if @code{A} is left out, the bottommost context is used
279 by default. In other words, it is no longer necessary to explicitly
280 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
285 \property Voice.autoBeaming = ##f
286 \property Staff.TimeSignature \set #'style = #'C
292 \set autoBeaming = ##f
293 \override Staff.TimeSignature #'style = #'C
297 @item Tweaks made with @code{\override} and @code{\revert} no longer
298 hide tweaks at higher context levels.
300 @item Melismata in lyrics are also properly handled in the MIDI output.
302 @item The lilypond-book script has been rewritten.
303 It is shorter, cleaner and faster. The special construct
304 @code{mbinclude} has been removed, plain @code{@@include} or
305 @code{\input} can be used now.
307 It now supports running convert-ly on the lilypond snippets,
309 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
312 @item The @code{LyricsVoice} context has been removed. Lyrics should only
313 be constructed in @code{Lyrics}.
315 @item The @code{Thread} context has been removed. Note heads and rests
316 are now constructed at @code{Voice} level.
318 @item Harmonic notes can now be entered as
324 @item Drum notation is now supported as a regular feature:
325 percussion may be entered in @code{\drums} mode, and printed or
326 performed in a @code{DrumStaff} context:
330 \drums \new DrumStaff @{ hihat4 cowbell8 @}
334 @item The automatic staff changer was internally rewritten. As a
335 result, the syntax has been simplified as well:
338 \autochange @var{the-music}
341 @item The ergonomic syntax of @code{\markup} now has an equivalent in
342 Scheme. The @code{markup*} macro creates such objects; the following
343 two markup commands are equivalent:
345 f4^#(markup* #:raise 0.2 #:bold "hi")
346 f4^\markup @{ \raise #0.2 \bold hi @}
349 @item Voice names, for vocal lines, have been added. They are similar
350 to instrument names. They can be set by defining @code{vocalName}
353 @item Safe mode has been reinstated for lilypond.
354 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
355 PostScript file output is disallowed, and lilypond-bin is invoked with
356 @code{--safe-mode}, the user's Guile expressions are evaluated in a
357 safe environment and file inclusion is not allowed.
359 Warning: this does not protect against denial-of-service attacks using
360 Guile, @TeX{} or PostScript.
362 (This feature is still experimental.)
364 @item There is now a Scheme macro for defining markup
365 commands. Special mark-up commands can be defined in user-files too.
367 @item Many fixes for dimension scaling have been made,
368 resulting in correct results for scores that mix staves in different
371 @item Improved robustness when layout properties are accidentally removed.
373 @item A more cleanly constructed part combiner has been installed.
374 It is more robust and less buggy. The part-combiner can be used with
376 \partcombine @var{mus1} @var{mus2}
380 See @file{input/regression/new-part-combine.ly} for an example.
382 @item Formatting of rehearsal marks has been improved. The @code{\mark}
383 command now only does automatic incrementing for marks specified as
384 integer. For example, @code{\mark #1} will print an A in the default
385 style. See @file{input/regression/rehearsal-mark-letter.ly},
386 @file{input/regression/rehearsal-mark-number.ly}.
388 @item Formatting of ottava brackets has been much improved.
390 @item Objects in the output can now be documented: the following fragment
391 boxes the note head, and adds the text ``heads or tails?'' three
392 spaces below the box.
395 \context Voice \applyoutput #(add-balloon-text
396 'NoteHead "heads, or tails?"
404 @item Default staff sizes are now scalable. There are two new mechanisms for
405 setting staff sizes. Both are demonstrated in this fragment:
408 #(set-global-staff-size 15)
410 #(paper-set-staff-size (* 15 pt))
416 Both have the same effect on the global layout of a piece. Similarly,
417 the paper size may be changed as follows
420 #(set-default-paper-size "a4")
422 #(set-paper-size "a4")
427 @item Warnings for bar check errors are more cleverly printed. This
428 makes @code{barCheckSynchronize} superfluous, so it is now switched
431 Warning: this will cause problems in scores that use bar checks to
434 @item The black note head was made a little rounder, which causes a less
435 frantic graphic impression.
438 A more concise syntax for checking octaves was introduced. A note may
439 be followed by @code{=}@var{quotes} which indicates what its absolute
440 octave should be. In the following example,
443 \relative c'' @{ c='' b=' d,='' @}
447 the d will generate a warning, because a d'' is
448 expected, but a d' is found.
449 @c @code adds ` ', very confusing.
451 @item There is a new mechanism for putting lyrics to melodies.
452 With this mechanism, @code{Lyrics} lines can be put melodies
453 individually, allowing for different melismatic sections in every
454 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
456 @item Bar lines may now be dotted.
459 @item The documentation now has links to a wiki, where everyone can
460 add personal comments to the manual.
462 @item Contexts may now be changed locally for an isolated music
463 expression. For example,
467 \consists "Pitch_squash_engraver"
473 @item The syntax for changing staffs has changed. The keyword
474 @code{\change} should now be used, e.g.
480 @item Features of spanner contexts, like @code{Staff}, can now be changed
481 using @code{\set}, eg.
485 \override Staff.StaffSymbol #'line-count = #4
491 puts a quarter note C on a staff with 4 lines.
494 @item Multi measure rests are now truly centered between the
495 clefs/barlines of the staff, their position is independent of symbols
498 @item Collision resolution for dots in chords has been improved greatly.
501 Spacing following barlines was improved for widely stretched lines.
504 Lyric hyphens and extenders now conform to standard typesetting
508 Lyrics are now aligned under note heads conforming to engraving
509 standards. The responsible code has been rewritten, and is drastically
510 simpler from the previous version. To aid this rewrite, the syntactic
511 function of the extender line ( __ ) has been changed: it is now
512 attached to the lyric syllable.
515 When redefining a context, the associated identifier is also
516 updated. For example, after reading
526 the definition of @code{ScoreContext} is updated to include the changed
531 The weight of the stafflines is now heavier at smaller staff sizes.
532 The font has been modified to match this look: at smaller sizes, the
533 font is heavier and the note heads are more rounded.
535 @item Processing scores is now done while parsing the file. New
536 Scheme functions give more flexibility: for example, it is now possible
537 interpret a score, collecting synchronized musical events in a list, and
538 manipulate that information using inline Scheme. For an example, see
539 @file{input/no-notation/recording.ly}.
541 @item Font sizes can now truly be scaled continuously: the @code{font-size}
542 is similar to the old @code{font-relative-size}, but may be set to
543 fractional values; the closest design size will be scaled to achieve
544 the desired size. As a side-effect, there are now no longer
545 limitations in using smaller fonts (eg. grace notes) at small staff
548 @item Stem tips are now also engraved with rounded corners.
551 The placement of accidentals on chords and ledgered notes is improved.
556 @unnumbered New features in 2.0 since 1.8
561 Crescendos can now be drawn dotted or dashed.
564 Quarter tones are now supported. They are entered by suffixing
565 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
566 following is an ascending list of pitches:
569 ceses ceseh ces ceh c cih cis cisih cisis
573 The following constructs have been removed from the syntax:
576 \duration #SCHEME-DURATION
578 \outputproperty @var{func} @var{symbol} = @var{value}
581 For @code{\outputproperty}, the following may be substituted:
584 \applyoutput #(outputproperty-compatibility @var{func}
585 @var{symbol} @var{value})
589 Clefs may now be transposed arbitrarily, for example
599 The syntax for chords and simultaneous music have changed.
600 Chords are entered as
606 while simultaneous music is entered as
609 <<@var{..music list..}>>
612 In effect, the meanings of both have been swapped relative to their 1.8
613 definition. The syntax for lists in @code{\markup} has changed
614 alongside, but figured bass mode was not changed, i.e.:
617 \markup @{ \center <@var{..list of markups..}> @}
618 \figure @{ <@var{figures}> @}
621 As chords the more often used than simultaneous music, this change will
625 Each music expression can now be tagged, to make different printed
626 versions from the same music expression. In the following example,
627 we see two versions of a piece of music, one for the full score, and
628 one with cue notes for the instrumental part:
632 @{ c4 f2 g4 @} % in the part, we have cue-notes
634 \tag #'score R1 % in the score: only a rest
638 The same can be applied to articulations, texts, etc.: they are
642 -\tag #@var{your-tags}
645 to an articulation, for example,
648 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
651 This defines a note, which has a conditional fingering and a
652 string-number indication.
655 The settings for chord-fingering are more flexible. You can specify a
656 list where fingerings may be placed, eg.
659 \property Voice.fingeringOrientations = #'(left down)
662 This will put the fingering for the lowest note below the chord, and the
666 The script previously known as @code{ly2dvi} has been renamed to
667 @code{lilypond}. The binary itself is now installed as
671 Markup text (ie. general text formatting) may now be used for lyrics too.
674 Two new commands for grace notes have been added, @code{\acciaccatura}
675 and @code{\appoggiatura},
682 Both reflect the traditional meanings of acciaccatura and appogiatura,
683 and both insert insert a slur from the first grace note to the main
687 Layout options for grace notes are now stored in a context property,
688 and may now be set separately from musical content.
691 The @code{\new} command will create a context with a unique
692 name automatically. Hence, for multi-staff scores, it is no longer
693 necessary to invent arbitrary context names. For example, a two-staff
694 score may be created by
698 \new Staff @{ @var{notes for 1st staff} @}
699 \new Staff @{ @var{notes for 2nd staff} @}
706 Octave checks make octave errors easier to correct.
713 This checks that @var{pitch} (without octave) yields @var{pitch} (with
714 octave) in \relative mode. If not, a warning is printed, and the
718 All articulations must now be entered postfix. For example,
725 is a pair of beamed slurred eighth notes.
728 The definition of @code{\relative} has been simplified. Octaves are
729 now always propagated in the order that music is entered. In the
734 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
739 the octave of BODY is based on PRE, the starting octave of ALT1 on
740 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
743 The same mechanism is used for all other music expressions, except the
744 chord. Backwards compatibility is retained through a special program option,
748 #(ly:set-option 'old-relative)
752 Windows users can double click a @code{.ly} file to process and view
753 it automagically through the new @code{lily-wins} frontend.
760 @unnumbered New features in 1.8 since 1.6
765 The chord entry code has been completely rewritten. It is now
766 cleaner and more flexible.
769 A new syntax has been added for text entry. This syntax is more
770 friendly than the old mechanism, and it is implemented in a more
771 robust and modular way. For more information, refer to the section on
772 "Text markup" in the notation manual.
775 The integration of the input language and Scheme has been made deeper:
776 you can now use LilyPond identifiers in Scheme, and use Scheme
777 expressions instead of LilyPond identifiers.
780 The internal representation of music has been cleaned up completely
781 and converted to Scheme data structures. The representation may be
785 A new uniform postfix syntax for articulation has been introduced.
786 A beamed slurred pair of eighth notes can be entered as
792 In version 2.0, postfix syntax will be the only syntax
793 available, and the dashes will become optional.
795 This will simplify the language: all articulations can be entered as
796 postfix, in any order.
799 A new syntax has been added for chords:
806 It is not necessary to update files to this syntax, but it will be for
807 using LilyPond version 2.0. In version 2.0, this syntax will be
817 \simultaneous @{ .. @}
820 for simultaneous music.
822 To convert your files from <PITCHES> to <<PITCHES>>, use the script
823 included in @file{buildscripts/convert-new-chords.py}.
825 This change was introduced for the following reasons
829 It solves the "start score with chord" problem, where you have to
830 state \context Voice explicitly when a chord was the start of a
833 With the new syntax, it is possible to distinguish between
834 articulations (or fingerings) which are for a single chord note,
835 and which are for the entire chord. This allows for per-note
836 fingerings, and is more logical on the whole.
840 User code may now be executed during interpreting. The syntax for
844 \applycontext #SCHEME-FUNCTION
848 User code may now be executed on arbitrary grobs during interpreting.
849 The syntax for this feature is
852 \applyoutput #SCHEME-FUNCTION
856 SCHEME-FUNCTION takes a single argument, and is called for every grob
857 that is created in the current context.
860 New algorithms for chord-name formatting have been installed. They
861 can be tuned and have ergonomic syntax for entering exceptions.
864 Texts may now be put on multimeasure rests, e.g.
867 R1*20^\markup @{ "GP" @}
871 Ancient notation now prints ligatures in Gregorian square neumes
872 notation, roughly following the typographical style of the Liber
873 hymnarius of Solesmes, published in 1983. Ligatures are still printed
874 without the proper line breaking and horizontal spacing.
877 Glissandi can now be printed using the zigzag style.
880 LilyPond can now print clusters. The syntax is
883 \apply #notes-to-clusters @{ NOTE NOTE .. @}
887 For irregular meters, beat grouping marks can be printed. The
891 #(set-time-signature 7 8 '(3 2 2))
896 Nested horizontal brackets for music analysis can now be printed:
905 @item Ottava brackets are now fully supported as a feature. The syntax
913 @item Metronome markings are printed when a \tempo command is processed.
917 @item Fingerings can be put on chords horizontally.
921 @item The appearance of various glyphs has been fine-tuned.
925 @item Different types of percent style repeats may now be nested.
929 @item The emacs support has been extended.
933 The manual has been completely revised and extended.
937 @unnumbered New features in 1.6 since 1.4
943 Support for figured bass and tablature.
946 Completely rewritten beam formatting: provides much better output
951 Completely revised and improved music font.
955 Completely rewritten MIDI import support.
958 Completely rewritten grace note support. Practically speaking this
959 means that grace notes can be slurred to normal normal notes.
963 Improved accidental handling and formatting: styles for producing
964 cautionaries may vary, and complex collisions between accidentals of a
965 chord are handled much better.
968 Better spacing: both globally and locally. This includes subtle
969 details like optical stem spacing.
972 More support for ancient notation: mensural ligatures, ambitus
973 (pitch range) of voices, more shapes, etc.
976 More support for piano notation: bracket pedals, directed arpeggios,
980 Easier music polyphonic music entry.
983 More extensibility, many speedups and bugfixes
986 The manual has been thoroughly revised.
989 Development is now hosted at http://savannah.gnu.org, and sources
990 can be downloaded through anonymous CVS.
993 Support for windows: LilyPond is part of the cygwin distribution,
994 which comes with a user-friendly installer.