1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Property functions may be used as an argument to @code{set!},
25 (set! (ly:grob-property grob 'beam) ... )
28 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
31 @item Cue notes can be quoted directly from the parts that
32 contain them. This will take into account transposition of source and target
33 instrument. For example,
36 \addquote clarinet \notes\relative c' {
42 \notes \relative c'' {
43 c8 d8 \quote 2 oboe es8 gis
48 @item The transposition of an instrument can be specified using the
49 @code{\transposition} command. The following command specifies an
50 E-flat alto saxophone:
56 @item The naming of exported Scheme functions now follows Scheme conventions.
57 Changes be applied to Scheme files with convert-ly:
60 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
64 @item Notes can be excluded from auto-beaming, by marking them with
71 will print two separate eighth notes, and two beamed notes.
73 @item Translators and contexts have been split. The result of this
74 internal cleanup is that @code{Score} no longer is the top context;
75 @code{Score} is contained in the @code{Global} context. Consequently,
76 it is possible to tweak @code{Score} as follows:
79 \context Score \with @{
84 @item The number of staff lines in Tablature notation is now
85 automatically deduced from the @code{stringTunings} property.
87 @item The program reference has been cleaned up and revised.
89 @item The syntax for setting properties has been simplified:
90 the following table lists the differences:
95 \property A.B = #C \set A.B = #C
96 \property A.B \unset \unset A.B
97 \property A.B \set #C = #D \override A.B #C = #D
98 \property A.B \override #C = #D (removed)
99 \property A.B \revert #C \revert A.B #C
102 Furthermore, if @code{A} is left out, the bottommost context is used
103 by default. In other words, it is no longer necessary to explicitly
104 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
109 \property Voice.autoBeaming = ##f
110 \property Staff.TimeSignature \set #'style = #'C
116 \set autoBeaming = ##f
117 \override Staff.TimeSignature #'style = #'C
121 @item Tweaks made with @code{\override} and @code{\revert} no longer
122 hide tweaks at higher context levels.
124 @item Melismata in lyrics are also properly handled in the MIDI output.
126 @item The lilypond-book script has been rewritten.
127 It is shorter, cleaner and faster. The special construct
128 @code{mbinclude} has been removed, plain @code{@@include} or
129 @code{\input} can be used now.
133 running convert-ly on the lilypond snippets like so:
135 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
139 @item The @code{LyricsVoice} context has been removed. Lyrics should only
140 be constructed in @code{Lyrics}.
142 @item The @code{Thread} context has been removed. Note heads and rests
143 are now constructed at @code{Voice} level.
145 @item Harmonic notes can now be entered as
151 @item Drum notation is now supported as a regular feature:
152 percussion may be entered in @code{\drums} mode, and printed or
153 performed in a @code{DrumStaff} context:
157 \drums \new DrumStaff @{ hihat4 cowbell8 @}
161 @item The automatic staff changer was internally rewritten. As a
162 result, the syntax has been simplified as well:
165 \autochange @var{the music}
168 @item The ergonomic syntax of @code{\markup} now has an equivalent in
169 Scheme. The @code{markup*} macro creates such objects; the following
170 two markup commands are equivalent:
172 f4^#(markup* #:raise 0.2 #:bold "hi")
173 f4^\markup @{ \raise #0.2 \bold hi @}
176 @item Voice names, for vocal lines, have been added. They are similar
177 to instrument names. They can be set by defining @code{vocalName}
180 @item Safe mode has been reinstated for lilypond.
181 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
182 PostScript file output is disallowed, and lilypond-bin is invoked with
183 @code{--safe-mode}, the user's Guile expressions are evaluated in a
184 safe environment and file inclusion is not allowed.
186 Warning: this does not protect against denial-of-service attacks using
187 Guile, @TeX{} or PostScript.
189 (This feature is still experimental.)
191 @item There is now a Scheme macro for defining markup
192 commands. Special mark-up commands can be defined in user-files too.
194 @item Many fixes for dimension scaling have been made,
195 resulting in correct results for scores that mix staves in different
198 @item Improved robustness when layout properties are accidentally removed.
200 @item A more cleanly constructed part combiner has been installed.
201 It is more robust and less buggy. The part-combiner can be used with
203 \partcombine @var{mus1} @var{mus2}
207 See @file{input/regression/new-part-combine.ly} for an example.
209 @item Formatting of rehearsal marks has been improved. The @code{\mark}
210 command now only does automatic incrementing for marks specified as
211 integer. For example, @code{\mark #1} will print an A in the default
212 style. See @file{input/regression/rehearsal-mark-letter.ly},
213 @file{input/regression/rehearsal-mark-number.ly}.
215 @item Formatting of ottava brackets has been much improved.
217 @item Objects in the output can now be documented: the following fragment
218 boxes the note head, and adds the text ``heads or tails?'' three
219 spaces below the box.
222 \context Voice \applyoutput #(add-balloon-text
223 'NoteHead "heads, or tails?"
231 @item Default staff sizes are now scalable. There are two new mechanisms for
232 setting staff sizes. Both are demonstrated in this fragment:
235 #(set-global-staff-size 15)
237 #(paper-set-staff-size (* 15 pt))
243 Both have the same effect on the global layout of a piece. Similarly,
244 the paper size may be changed as follows
247 #(set-paper-size "a4")
251 @item Warnings for bar check errors are more cleverly printed. This
252 makes @code{barCheckSynchronize} superfluous, so it is now switched
255 Warning: this will cause problems in scores that use bar checks to
258 @item The black note head was made a little rounder, which causes a less
259 frantic graphic impression.
262 A more concise syntax for checking octaves was introduced. A note may
263 be followed by @code{=}@var{quotes} which indicates what its absolute
264 octave should be. In the following example,
267 \relative c'' @{ c='' b=' d,='' @}
271 the d will generate a warning, because a d'' is
272 expected, but a d' is found.
273 @c @code adds ` ', very confusing.
275 @item There is a new mechanism for putting lyrics to melodies.
276 With this mechanism, @code{Lyrics} lines can be put melodies
277 individually, allowing for different melismatic sections in every
278 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
280 @item Bar lines may now be dotted.
283 @item The documentation now has links to a wiki, where everyone can
284 add personal comments to the manual.
286 @item Contexts may now be changed locally for an isolated music
287 expression. For example,
291 \consists "Pitch_squash_engraver"
297 @item The syntax for changing staffs has changed. The keyword
298 @code{\change} should now be used, e.g.
304 @item Features of spanner contexts, like @code{Staff}, can now be changed
305 using @code{\property}, eg.
309 \property Staff.StaffSymbol \set #'line-count = #4
315 puts a quarter note C on a staff with 4 lines.
318 @item Multi measure rests are now truly centered between the
319 clefs/barlines of the staff, their position is independent of symbols
322 @item Collision resolution for dots in chords has been improved greatly.
325 Spacing following barlines was improved for widely stretched lines.
328 Lyric hyphens and extenders now conform to standard typesetting
332 Lyrics are now aligned under note heads conforming to engraving
333 standards. The responsible code has been rewritten, and is drastically
334 simpler from the previous version. To aid this rewrite, the syntactic
335 function of the extender line ( __ ) has been changed: it is now
336 attached to the lyric syllable.
339 When redefining a context, the associated identifier is also
340 updated. For example, after reading the following snippet,
347 the definition of @code{ScoreContext} is updated to include the changed
352 The weight of the stafflines is now heavier at smaller staff sizes.
353 The font has been modified to match this look: at smaller sizes, the
354 font is heavier and the note heads are more rounded.
356 @item Processing scores is now done while parsing the file. New
357 Scheme functions give more flexibility: for example, it is now possible
358 interpret a score, collecting synchronized musical events in a list, and
359 manipulate that information using inline Scheme. For an example, see
360 @file{input/no-notation/recording.ly}.
362 @item Font sizes can now truly be scaled continuously: the @code{font-size}
363 is similar to the old @code{font-relative-size}, but may be set to
364 fractional values; the closest design size will be scaled to achieve
365 the desired size. As a side-effect, there are now no longer
366 limitations in using smaller fonts (eg. grace notes) at small staff
369 @item Stem tips are now also engraved with rounded corners.
372 The placement of accidentals on chords and ledgered notes is improved.
377 @chapter New features in 2.0 since 1.8
382 Crescendos can now be drawn dotted or dashed.
385 Quarter tones are now supported. They are entered by suffixing
386 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
387 following is an ascending list of pitches:
390 ceses ceseh ces ceh c cih cis cisih cisis
394 The following constructs have been removed from the syntax:
397 \duration #SCHEME-DURATION
399 \outputproperty @var{func} @var{symbol} = @var{value}
402 For @code{\outputproperty}, the following may be substituted:
405 \applyoutput #(outputproperty-compatibility @var{func}
406 @var{symbol} @var{value})
410 Clefs may now be transposed arbitrarily, for example
420 The syntax for chords and simultaneous music have changed.
421 Chords are entered as
427 while simultaneous music is entered as
430 <<@var{..music list..}>>
433 In effect, the meanings of both have been swapped relative to their 1.8
434 definition. The syntax for lists in @code{\markup} has changed
435 alongside, but figured bass mode was not changed, i.e.:
438 \markup @{ \center <@var{..list of markups..}> @}
439 \figure @{ <@var{figures}> @}
442 As chords the more often used than simultaneous music, this change will
446 Each music expression can now be tagged, to make different printed
447 versions from the same music expression. In the following example,
448 we see two versions of a piece of music, one for the full score, and
449 one with cue notes for the instrumental part:
453 @{ c4 f2 g4 @} % in the part, we have cue-notes
455 \tag #'score R1 % in the score: only a rest
459 The same can be applied to articulations, texts, etc.: they are
463 -\tag #@var{your-tags}
466 to an articulation, for example,
469 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
472 This defines a note, which has a conditional fingering and a
473 string-number indication.
476 The settings for chord-fingering are more flexible. You can specify a
477 list where fingerings may be placed, eg.
480 \property Voice.fingeringOrientations = #'(left down)
483 This will put the fingering for the lowest note below the chord, and the
487 The script previously known as @code{ly2dvi} has been renamed to
488 @code{lilypond}. The binary itself is now installed as
492 Markup text (ie. general text formatting) may now be used for lyrics too.
495 Two new commands for grace notes have been added, @code{\acciaccatura}
496 and @code{\appoggiatura},
503 Both reflect the traditional meanings of acciaccatura and appogiatura,
504 and both insert insert a slur from the first grace note to the main
508 Layout options for grace notes are now stored in a context property,
509 and may now be set separately from musical content.
512 The @code{\new} command will create a context with a unique
513 name automatically. Hence, for multi-staff scores, it is no longer
514 necessary to invent arbitrary context names. For example, a two-staff
515 score may be created by
519 \new Staff @{ @var{notes for 1st staff} @}
520 \new Staff @{ @var{notes for 2nd staff} @}
527 Octave checks make octave errors easier to correct.
534 This checks that @var{pitch} (without octave) yields @var{pitch} (with
535 octave) in \relative mode. If not, a warning is printed, and the
539 All articulations must now be entered postfix. For example,
546 is a pair of beamed slurred eighth notes.
549 The definition of @code{\relative} has been simplified. Octaves are
550 now always propagated in the order that music is entered. In the
555 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
560 the octave of BODY is based on PRE, the starting octave of ALT1 on
561 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
564 The same mechanism is used for all other music expressions, except the
565 chord. Backwards compatibility is retained through a special program option,
569 #(ly:set-option 'old-relative)
573 Windows users can double click a @code{.ly} file to process and view
574 it automagically through the new @code{lily-wins} frontend.
581 @chapter New features in 1.8 since 1.6
586 The chord entry code has been completely rewritten. It is now
587 cleaner and more flexible.
590 A new syntax has been added for text entry. This syntax is more
591 friendly than the old mechanism, and it is implemented in a more
592 robust and modular way. For more information, refer to the section on
593 "Text markup" in the notation manual.
596 The integration of the input language and Scheme has been made deeper:
597 you can now use LilyPond identifiers in Scheme, and use Scheme
598 expressions instead of LilyPond identifiers.
601 The internal representation of music has been cleaned up completely
602 and converted to Scheme data structures. The representation may be
606 A new uniform postfix syntax for articulation has been introduced.
607 A beamed slurred pair of eighth notes can be entered as
613 In version 2.0, postfix syntax will be the only syntax
614 available, and the dashes will become optional.
616 This will simplify the language: all articulations can be entered as
617 postfix, in any order.
620 A new syntax has been added for chords:
627 It is not necessary to update files to this syntax, but it will be for
628 using LilyPond version 2.0. In version 2.0, this syntax will be
638 \simultaneous @{ .. @}
641 for simultaneous music.
643 To convert your files from <PITCHES> to <<PITCHES>>, use the script
644 included in buildscripts/convert-new-chords.py
646 This change was introduced for the following reasons
650 It solves the "start score with chord" problem, where you have to
651 state \context Voice explicitly when a chord was the start of a
654 With the new syntax, it is possible to distinguish between
655 articulations (or fingerings) which are for a single chord note,
656 and which are for the entire chord. This allows for per-note
657 fingerings, and is more logical on the whole.
661 User code may now be executed during interpreting. The syntax for
665 \applycontext #SCHEME-FUNCTION
669 User code may now be executed on arbitrary grobs during interpreting.
670 The syntax for this feature is
673 \applyoutput #SCHEME-FUNCTION
677 SCHEME-FUNCTION takes a single argument, and is called for every grob
678 that is created in the current context.
681 New algorithms for chord-name formatting have been installed. They
682 can be tuned and have ergonomic syntax for entering exceptions.
685 Texts may now be put on multimeasure rests, e.g.
688 R1*20^\markup @{ "GP" @}
692 Ancient notation now prints ligatures in Gregorian square neumes
693 notation, roughly following the typographical style of the Liber
694 hymnarius of Solesmes, published in 1983. Ligatures are still printed
695 without the proper line breaking and horizontal spacing.
698 Glissandi can now be printed using the zigzag style.
701 LilyPond can now print clusters. The syntax is
704 \apply #notes-to-clusters @{ NOTE NOTE .. @}
708 For irregular meters, beat grouping marks can be printed. The
712 #(set-time-signature 7 8 '(3 2 2))
717 Nested horizontal brackets for music analysis can now be printed:
726 @item Ottava brackets are now fully supported as a feature. The syntax
734 @item Metronome markings are printed when a \tempo command is processed.
738 @item Fingerings can be put on chords horizontally.
742 @item The appearance of various glyphs has been fine-tuned.
746 @item Different types of percent style repeats may now be nested.
750 @item The emacs support has been extended.
754 The manual has been completely revised and extended.
758 @chapter New features in 1.6 since 1.4
764 Support for figured bass and tablature.
767 Completely rewritten beam formatting: provides much better output
772 Completely revised and improved music font.
776 Completely rewritten MIDI import support.
779 Completely rewritten grace note support. Practically speaking this
780 means that grace notes can be slurred to normal normal notes.
784 Improved accidental handling and formatting: styles for producing
785 cautionaries may vary, and complex collisions between accidentals of a
786 chord are handled much better.
789 Better spacing: both globally and locally. This includes subtle
790 details like optical stem spacing.
793 More support for ancient notation: mensural ligatures, ambitus
794 (pitch range) of voices, more shapes, etc.
797 More support for piano notation: bracket pedals, directed arpeggios,
801 Easier music polyphonic music entry.
804 More extensibility, many speedups and bugfixes
807 The manual has been thoroughly revised.
810 Development is now hosted at http://savannah.gnu.org, and sources
811 can be downloaded through anonymous CVS.
814 Support for windows: LilyPond is part of the cygwin distribution,
815 which comes with a user-friendly installer.