1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Translators and contexts have been split. The result of this
22 internal cleanup is that @code{Score} no longer is the top context;
23 @code{Score} is contained in the @code{Global} context. Consequently,
24 it is possible to tweak @code{Score} as follows:
27 \context Score \with @{
32 @item The number of staff lines in Tablature notation is now
33 automatically deduced from the @code{stringTunings} property.
35 @item The program reference has been cleaned up and revised.
37 @item The syntax for setting properties has been simplified:
38 the following table lists the differences:
43 \property A.B = #C \set A.B = #C
44 \property A.B \unset \unset A.B
45 \property A.B \set #C = #D \override A.B #C = #D
46 \property A.B \override #C = #D (removed)
47 \property A.B \revert #C \revert A.B #C
50 Furthermore, if @code{A} is left out, the bottommost context is used
51 by default. In other words, it is no longer necessary to explicitly
52 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
57 \property Voice.autoBeaming = ##f
58 \property Staff.TimeSignature \set #'style = #'C
64 \set autoBeaming = ##f
65 \override Staff.TimeSignature #'style = #'C
69 @item Tweaks made with @code{\override} and @code{\revert} no longer
70 hide tweaks at higher context levels.
72 @item Melismata in lyrics are also properly handled in the MIDI output.
74 @item The lilypond-book script has been rewritten.
75 It is shorter, cleaner and faster. The special construct
76 @code{mbinclude} has been removed, plain @code{@@include} or
77 @code{\input} can be used now.
81 running convert-ly on the lilypond snippets like so:
83 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
87 @item The @code{LyricsVoice} context has been removed. Lyrics should only
88 be constructed in @code{Lyrics}.
90 @item The @code{Thread} context has been removed. Note heads and rests
91 are now constructed at @code{Voice} level.
93 @item Harmonic notes can now be entered as
99 @item Drum notation is now supported as a regular feature:
100 percussion may be entered in @code{\drums} mode, and printed or
101 performed in a @code{DrumStaff} context:
105 \drums \new DrumStaff @{ hihat4 cowbell8 @}
109 @item The automatic staff changer was internally rewritten. As a
110 result, the syntax has been simplified as well:
113 \autochange @var{the music}
116 @item The ergonomic syntax of @code{\markup} now has an equivalent in
117 Scheme. The @code{markup*} macro creates such objects; the following
118 two markup commands are equivalent:
120 f4^#(markup* #:raise 0.2 #:bold "hi")
121 f4^\markup @{ \raise #0.2 \bold hi @}
124 @item Voice names, for vocal lines, have been added. They are similar
125 to instrument names. They can be set by defining @code{vocalName}
128 @item Safe mode has been reinstated for lilypond.
129 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
130 PostScript file output is disallowed, and lilypond-bin is invoked with
131 @code{--safe-mode}, the user's Guile expressions are evaluated in a
132 safe environment and file inclusion is not allowed.
134 Warning: this does not protect against denial-of-service attacks using
135 Guile, @TeX{} or PostScript.
137 (This feature is still experimental.)
139 @item There is now a Scheme macro for defining markup
140 commands. Special mark-up commands can be defined in user-files too.
142 @item Many fixes for dimension scaling have been made,
143 resulting in correct results for scores that mix staves in different
146 @item Improved robustness when layout properties are accidentally removed.
148 @item A more cleanly constructed part combiner has been installed.
149 It is more robust and less buggy. The part-combiner can be used with
151 \partcombine @var{mus1} @var{mus2}
155 See @file{input/regression/new-part-combine.ly} for an example.
157 @item Formatting of rehearsal marks has been improved. The @code{\mark}
158 command now only does automatic incrementing for marks specified as
159 integer. For example, @code{\mark #1} will print an A in the default
160 style. See @file{input/regression/rehearsal-mark-letter.ly},
161 @file{input/regression/rehearsal-mark-number.ly}.
163 @item Formatting of ottava brackets has been much improved.
165 @item Objects in the output can now be documented: the following fragment
166 boxes the note head, and adds the text ``heads or tails?'' three
167 spaces below the box.
170 \context Voice \applyoutput #(add-balloon-text
171 'NoteHead "heads, or tails?"
179 @item Default staff sizes are now scalable. There are two new mechanisms for
180 setting staff sizes. Both are demonstrated in this fragment:
183 #(set-global-staff-size 15)
185 #(paper-set-staff-size (* 15 pt))
191 Both have the same effect on the global layout of a piece. Similarly,
192 the paper size may be changed as follows
195 #(set-paper-size "a4")
199 @item Warnings for bar check errors are more cleverly printed. This
200 makes @code{barCheckSynchronize} superfluous, so it is now switched
203 Warning: this will cause problems in scores that use bar checks to
206 @item The black note head was made a little rounder, which causes a less
207 frantic graphic impression.
210 A more concise syntax for checking octaves was introduced. A note may
211 be followed by @code{=}@var{quotes} which indicates what its absolute
212 octave should be. In the following example,
215 \relative c'' @{ c='' b=' d,='' @}
219 the d will generate a warning, because a d'' is
220 expected, but a d' is found.
221 @c @code adds ` ' very confusing.
223 @item There is a new mechanism for putting lyrics to melodies.
224 With this mechanism, @code{LyricVoice}s can be put melodies
225 individually, allowing for different melismatic sections in every
226 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
228 @item Bar lines may now be dotted.
231 @item The documentation now has links to a wiki, where everyone can
232 add personal comments to the manual.
234 @item Contexts may now be changed locally for an isolated music
235 expression. For example,
239 \consists "Pitch_squash_engraver"
245 @item The syntax for changing staffs has changed. The keyword
246 @code{\change} should now be used, e.g.
252 @item Features of spanner contexts, like @code{Staff}, can now be changed
253 using @code{\property}, eg.
257 \property Staff.StaffSymbol \set #'line-count = #4
263 puts a quarter note C on a staff with 4 lines.
266 @item Multi measure rests are now truly centered between the
267 clefs/barlines of the staff, their position is independent of symbols
270 @item Collision resolution for dots in chords has been improved greatly.
273 Spacing following barlines was improved for widely stretched lines.
276 Lyric hyphens and extenders now conform to standard typesetting
280 Lyrics are now aligned under note heads conforming to engraving
281 standards. The responsible code has been rewritten, and is drastically
282 simpler from the previous version. To aid this rewrite, the syntactic
283 function of the extender line ( __ ) has been changed: it is now
284 attached to the lyric syllable.
287 When redefining a context, the associated identifier is also
288 updated. For example, after reading the following snippet,
295 the definition of @code{ScoreContext} is updated to include the changed
300 The weight of the stafflines is now heavier at smaller staff sizes.
301 The font has been modified to match this look: at smaller sizes, the
302 font is heavier and the note heads are more rounded.
304 @item Processing scores is now done while parsing the file. New
305 Scheme functions give more flexibility: for example, it is now possible
306 interpret a score, collecting synchronized musical events in a list, and
307 manipulate that information using inline Scheme. For an example, see
308 @file{input/no-notation/recording.ly}.
310 @item Font sizes can now truly be scaled continuously: the @code{font-size}
311 is similar to the old @code{font-relative-size}, but may be set to
312 fractional values; the closest design size will be scaled to achieve
313 the desired size. As a side-effect, there are now no longer
314 limitations in using smaller fonts (eg. grace notes) at small staff
317 @item Stem tips are now also engraved with rounded corners.
320 The placement of accidentals on chords and ledgered notes is improved.
325 @chapter New features in 2.0 since 1.8
330 Crescendos can now be drawn dotted or dashed.
333 Quarter tones are now supported. They are entered by suffixing
334 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
335 following is an ascending list of pitches:
338 ceses ceseh ces ceh c cih cis cisih cisis
342 The following constructs have been removed from the syntax:
345 \duration #SCHEME-DURATION
347 \outputproperty @var{func} @var{symbol} = @var{value}
350 For @code{\outputproperty}, the following may be substituted:
353 \applyoutput #(outputproperty-compatibility @var{func}
354 @var{symbol} @var{value})
358 Clefs may now be transposed arbitrarily, for example
368 The syntax for chords and simultaneous music have changed.
369 Chords are entered as
375 while simultaneous music is entered as
378 <<@var{..music list..}>>
381 In effect, the meanings of both have been swapped relative to their 1.8
382 definition. The syntax for lists in @code{\markup} has changed
383 alongside, but figured bass mode was not changed, i.e.:
386 \markup @{ \center <@var{..list of markups..}> @}
387 \figure @{ <@var{figures}> @}
390 As chords the more often used than simultaneous music, this change will
394 Each music expression can now be tagged, to make different printed
395 versions from the same music expression. In the following example,
396 we see two versions of a piece of music, one for the full score, and
397 one with cue notes for the instrumental part:
401 @{ c4 f2 g4 @} % in the part, we have cue-notes
403 \tag #'score R1 % in the score: only a rest
407 The same can be applied to articulations, texts, etc.: they are
411 -\tag #@var{your-tags}
414 to an articulation, for example,
417 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
420 This defines a note, which has a conditional fingering and a
421 string-number indication.
424 The settings for chord-fingering are more flexible. You can specify a
425 list where fingerings may be placed, eg.
428 \property Voice.fingeringOrientations = #'(left down)
431 This will put the fingering for the lowest note below the chord, and the
435 The script previously known as @code{ly2dvi} has been renamed to
436 @code{lilypond}. The binary itself is now installed as
440 Markup text (ie. general text formatting) may now be used for lyrics too.
443 Two new commands for grace notes have been added, @code{\acciaccatura}
444 and @code{\appoggiatura},
451 Both reflect the traditional meanings of acciaccatura and appogiatura,
452 and both insert insert a slur from the first grace note to the main
456 Layout options for grace notes are now stored in a context property,
457 and may now be set separately from musical content.
460 The @code{\new} command will create a context with a unique
461 name automatically. Hence, for multi-staff scores, it is no longer
462 necessary to invent arbitrary context names. For example, a two-staff
463 score may be created by
467 \new Staff @{ @var{notes for 1st staff} @}
468 \new Staff @{ @var{notes for 2nd staff} @}
475 Octave checks make octave errors easier to correct.
482 This checks that @var{pitch} (without octave) yields @var{pitch} (with
483 octave) in \relative mode. If not, a warning is printed, and the
487 All articulations must now be entered postfix. For example,
494 is a pair of beamed slurred eighth notes.
497 The definition of @code{\relative} has been simplified. Octaves are
498 now always propagated in the order that music is entered. In the
503 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
508 the octave of BODY is based on PRE, the starting octave of ALT1 on
509 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
512 The same mechanism is used for all other music expressions, except the
513 chord. Backwards compatibility is retained through a special program option,
517 #(ly:set-option 'old-relative)
521 Windows users can double click a @code{.ly} file to process and view
522 it automagically through the new @code{lily-wins} frontend.
529 @chapter New features in 1.8 since 1.6
534 The chord entry code has been completely rewritten. It is now
535 cleaner and more flexible.
538 A new syntax has been added for text entry. This syntax is more
539 friendly than the old mechanism, and it is implemented in a more
540 robust and modular way. For more information, refer to the section on
541 "Text markup" in the notation manual.
544 The integration of the input language and Scheme has been made deeper:
545 you can now use LilyPond identifiers in Scheme, and use Scheme
546 expressions instead of LilyPond identifiers.
549 The internal representation of music has been cleaned up completely
550 and converted to Scheme data structures. The representation may be
554 A new uniform postfix syntax for articulation has been introduced.
555 A beamed slurred pair of eighth notes can be entered as
561 In version 2.0, postfix syntax will be the only syntax
562 available, and the dashes will become optional.
564 This will simplify the language: all articulations can be entered as
565 postfix, in any order.
568 A new syntax has been added for chords:
575 It is not necessary to update files to this syntax, but it will be for
576 using LilyPond version 2.0. In version 2.0, this syntax will be
586 \simultaneous @{ .. @}
589 for simultaneous music.
591 To convert your files from <PITCHES> to <<PITCHES>>, use the script
592 included in buildscripts/convert-new-chords.py
594 This change was introduced for the following reasons
598 It solves the "start score with chord" problem, where you have to
599 state \context Voice explicitly when a chord was the start of a
602 With the new syntax, it is possible to distinguish between
603 articulations (or fingerings) which are for a single chord note,
604 and which are for the entire chord. This allows for per-note
605 fingerings, and is more logical on the whole.
609 User code may now be executed during interpreting. The syntax for
613 \applycontext #SCHEME-FUNCTION
617 User code may now be executed on arbitrary grobs during interpreting.
618 The syntax for this feature is
621 \applyoutput #SCHEME-FUNCTION
625 SCHEME-FUNCTION takes a single argument, and is called for every grob
626 that is created in the current context.
629 New algorithms for chord-name formatting have been installed. They
630 can be tuned and have ergonomic syntax for entering exceptions.
633 Texts may now be put on multimeasure rests, e.g.
636 R1*20^\markup @{ "GP" @}
640 Ancient notation now prints ligatures in Gregorian square neumes
641 notation, roughly following the typographical style of the Liber
642 hymnarius of Solesmes, published in 1983. Ligatures are still printed
643 without the proper line breaking and horizontal spacing.
646 Glissandi can now be printed using the zigzag style.
649 LilyPond can now print clusters. The syntax is
652 \apply #notes-to-clusters @{ NOTE NOTE .. @}
656 For irregular meters, beat grouping marks can be printed. The
660 #(set-time-signature 7 8 '(3 2 2))
665 Nested horizontal brackets for music analysis can now be printed:
674 @item Ottava brackets are now fully supported as a feature. The syntax
682 @item Metronome markings are printed when a \tempo command is processed.
686 @item Fingerings can be put on chords horizontally.
690 @item The appearance of various glyphs has been fine-tuned.
694 @item Different types of percent style repeats may now be nested.
698 @item The emacs support has been extended.
702 The manual has been completely revised and extended.
706 @chapter New features in 1.6 since 1.4
712 Support for figured bass and tablature.
715 Completely rewritten beam formatting: provides much better output
720 Completely revised and improved music font.
724 Completely rewritten MIDI import support.
727 Completely rewritten grace note support. Practically speaking this
728 means that grace notes can be slurred to normal normal notes.
732 Improved accidental handling and formatting: styles for producing
733 cautionaries may vary, and complex collisions between accidentals of a
734 chord are handled much better.
737 Better spacing: both globally and locally. This includes subtle
738 details like optical stem spacing.
741 More support for ancient notation: mensural ligatures, ambitus
742 (pitch range) of voices, more shapes, etc.
745 More support for piano notation: bracket pedals, directed arpeggios,
749 Easier music polyphonic music entry.
752 More extensibility, many speedups and bugfixes
755 The manual has been thoroughly revised.
758 Development is now hosted at http://savannah.gnu.org, and sources
759 can be downloaded through anonymous CVS.
762 Support for windows: LilyPond is part of the cygwin distribution,
763 which comes with a user-friendly installer.