1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item LilyPond expressions can be embedded into Scheme, thanks to the
12 @code{#@{ ... #@}} syntax. Within such a block, Scheme forms, for
13 instance variable names, can be introduced thanks to a @code{$}
14 character (@code{$$} has to be used to issue a single `$' character).
15 These forms are then 'printed' in the pattern, as if they were called
19 #(define (textoffset dx dy)
21 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
26 %% the following statement is the same as
27 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
35 @item Music lists are allowed at toplevel, and are handled by
36 @code{default-toplevel-music-handler}. Similarly, a @code{score} block
37 at toplevel is handled by @code{default-toplevel-score-handler} an a
38 @code{book} at toplevel is handled by @code{default-toplevel-book-handler}.
40 These default handlers have the following effect. A Music list at
41 toplevel is encapsulated in a @code{score} block, and a @code{score}
42 block at toplevel is encapsulated in a @code{book} block. A
43 @code{book} block at toplevel generates printed output.
46 \header @{ title = "The Title" @}
53 \header @{ title = "The Title" @}
61 @item Start pitch for @code{relative} music is optional for music lists.
62 The default value is one octave below middle C.
64 @c update-me? formal definition of newaddlyrics, once it works
65 @item Combining lyrics with music can be @code{newaddlyrics}
75 My first Li -- ly song,
76 Not much can go wrong!
81 @item The parser is encapsulated in a Scheme function
82 @code{ly:parse-file}, so the following fragment processes two files
85 #(ly:parse-file "another.ly")
86 \score { \notes { c4 }}
89 @item The @code{font-encoding} property can now be used to select
90 differently encoded fonts. The previous default setting
91 @code{TeX-text} has been replaced by latin1. LilyPond requires the
92 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
93 package installed to function properly.
95 @item The encoding of a file can be switched with
96 @code{\encoding}. The strings for markup texts are translated
99 @item The toplevel block @code{book} introduces page layout.
100 A @code{book} groups @code{score} blocks into one page layout entity.
101 Page layout consists of markup titles, headers and footers, and page
102 breaking. Two page breaking algorithms are available, the classic
103 ragged pages (the default), and optimal page breaking
107 %% Select page breaking function.
108 %% #(define page-breaking ly:ragged-page-breaks)
109 #(define page-breaking ly:optimal-page-breaks)
117 The @code{lilypond} program does not generate La@TeX{} titles or page
118 layout. If you need La@TeX{} titles, you can use the
119 @code{lilypond-book} program.
121 @item There is now less of a noticeable ``hook'' at the end of a long slur.
123 @item The meaning of the @code{|} in the input can be redefined, by
124 assigning a music expression to @code{pipeSymbol}.
128 @unnumbered New features in 2.2 since 2.0
132 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
133 causes the last line to be set flush-left instead of justified.
135 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
136 its containing context automatically.
138 @item The code for font selection has been rewritten. In addition to
139 existing font selection properties, the property @code{font-encoding}
140 has been added, which makes the switch between normal @code{text} and
141 other encodings like @code{braces}, @code{music} and @code{math}.
143 @item The pmx2ly script has been removed from the distribution.
145 @item Pedal brackets will now run to the last bar of a piece if they are not
148 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
150 @item Property functions may be used as an argument to @code{set!},
154 (set! (ly:grob-property grob 'beam) ... )
157 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
160 @item Cue notes can be quoted directly from the parts that
161 contain them. This will take into account transposition of source and target
162 instrument. For example,
165 \addquote clarinet \notes\relative c' {
171 \notes \relative c'' {
172 c8 d8 \quote 2 oboe es8 gis
177 @item The transposition of an instrument can be specified using the
178 @code{\transposition} command. An
179 E-flat alto saxophone is specified as
185 @item The naming of exported Scheme functions now follows Scheme conventions.
186 Changes be applied to Scheme files with
189 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
193 @item Notes can be excluded from auto-beaming, by marking them with
200 will print two separate eighth notes, and two beamed notes.
202 @item Translators and contexts have been split. The result of this
203 internal cleanup is that @code{Score} no longer is the top context;
204 @code{Score} is contained in the @code{Global} context. Consequently,
205 it is possible to tweak @code{Score} as follows:
208 \context Score \with @{
213 @item The number of staff lines in Tablature notation is now
214 automatically deduced from the @code{stringTunings} property.
216 @item The program reference has been cleaned up and revised.
218 @item The syntax for setting properties has been simplified:
219 the following table lists the differences:
224 \property A.B = #C \set A.B = #C
225 \property A.B \unset \unset A.B
226 \property A.B \set #C = #D \override A.B #C = #D
227 \property A.B \override #C = #D (removed)
228 \property A.B \revert #C \revert A.B #C
231 Furthermore, if @code{A} is left out, the bottommost context is used
232 by default. In other words, it is no longer necessary to explicitly
233 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
238 \property Voice.autoBeaming = ##f
239 \property Staff.TimeSignature \set #'style = #'C
245 \set autoBeaming = ##f
246 \override Staff.TimeSignature #'style = #'C
250 @item Tweaks made with @code{\override} and @code{\revert} no longer
251 hide tweaks at higher context levels.
253 @item Melismata in lyrics are also properly handled in the MIDI output.
255 @item The lilypond-book script has been rewritten.
256 It is shorter, cleaner and faster. The special construct
257 @code{mbinclude} has been removed, plain @code{@@include} or
258 @code{\input} can be used now.
260 It now supports running convert-ly on the lilypond snippets,
262 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
265 @item The @code{LyricsVoice} context has been removed. Lyrics should only
266 be constructed in @code{Lyrics}.
268 @item The @code{Thread} context has been removed. Note heads and rests
269 are now constructed at @code{Voice} level.
271 @item Harmonic notes can now be entered as
277 @item Drum notation is now supported as a regular feature:
278 percussion may be entered in @code{\drums} mode, and printed or
279 performed in a @code{DrumStaff} context:
283 \drums \new DrumStaff @{ hihat4 cowbell8 @}
287 @item The automatic staff changer was internally rewritten. As a
288 result, the syntax has been simplified as well:
291 \autochange @var{the-music}
294 @item The ergonomic syntax of @code{\markup} now has an equivalent in
295 Scheme. The @code{markup*} macro creates such objects; the following
296 two markup commands are equivalent:
298 f4^#(markup* #:raise 0.2 #:bold "hi")
299 f4^\markup @{ \raise #0.2 \bold hi @}
302 @item Voice names, for vocal lines, have been added. They are similar
303 to instrument names. They can be set by defining @code{vocalName}
306 @item Safe mode has been reinstated for lilypond.
307 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
308 PostScript file output is disallowed, and lilypond-bin is invoked with
309 @code{--safe-mode}, the user's Guile expressions are evaluated in a
310 safe environment and file inclusion is not allowed.
312 Warning: this does not protect against denial-of-service attacks using
313 Guile, @TeX{} or PostScript.
315 (This feature is still experimental.)
317 @item There is now a Scheme macro for defining markup
318 commands. Special mark-up commands can be defined in user-files too.
320 @item Many fixes for dimension scaling have been made,
321 resulting in correct results for scores that mix staves in different
324 @item Improved robustness when layout properties are accidentally removed.
326 @item A more cleanly constructed part combiner has been installed.
327 It is more robust and less buggy. The part-combiner can be used with
329 \partcombine @var{mus1} @var{mus2}
333 See @file{input/regression/new-part-combine.ly} for an example.
335 @item Formatting of rehearsal marks has been improved. The @code{\mark}
336 command now only does automatic incrementing for marks specified as
337 integer. For example, @code{\mark #1} will print an A in the default
338 style. See @file{input/regression/rehearsal-mark-letter.ly},
339 @file{input/regression/rehearsal-mark-number.ly}.
341 @item Formatting of ottava brackets has been much improved.
343 @item Objects in the output can now be documented: the following fragment
344 boxes the note head, and adds the text ``heads or tails?'' three
345 spaces below the box.
348 \context Voice \applyoutput #(add-balloon-text
349 'NoteHead "heads, or tails?"
357 @item Default staff sizes are now scalable. There are two new mechanisms for
358 setting staff sizes. Both are demonstrated in this fragment:
361 #(set-global-staff-size 15)
363 #(paper-set-staff-size (* 15 pt))
369 Both have the same effect on the global layout of a piece. Similarly,
370 the paper size may be changed as follows
373 #(set-default-paper-size "a4")
375 #(set-paper-size "a4")
380 @item Warnings for bar check errors are more cleverly printed. This
381 makes @code{barCheckSynchronize} superfluous, so it is now switched
384 Warning: this will cause problems in scores that use bar checks to
387 @item The black note head was made a little rounder, which causes a less
388 frantic graphic impression.
391 A more concise syntax for checking octaves was introduced. A note may
392 be followed by @code{=}@var{quotes} which indicates what its absolute
393 octave should be. In the following example,
396 \relative c'' @{ c='' b=' d,='' @}
400 the d will generate a warning, because a d'' is
401 expected, but a d' is found.
402 @c @code adds ` ', very confusing.
404 @item There is a new mechanism for putting lyrics to melodies.
405 With this mechanism, @code{Lyrics} lines can be put melodies
406 individually, allowing for different melismatic sections in every
407 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
409 @item Bar lines may now be dotted.
412 @item The documentation now has links to a wiki, where everyone can
413 add personal comments to the manual.
415 @item Contexts may now be changed locally for an isolated music
416 expression. For example,
420 \consists "Pitch_squash_engraver"
426 @item The syntax for changing staffs has changed. The keyword
427 @code{\change} should now be used, e.g.
433 @item Features of spanner contexts, like @code{Staff}, can now be changed
434 using @code{\set}, eg.
438 \override Staff.StaffSymbol #'line-count = #4
444 puts a quarter note C on a staff with 4 lines.
447 @item Multi measure rests are now truly centered between the
448 clefs/barlines of the staff, their position is independent of symbols
451 @item Collision resolution for dots in chords has been improved greatly.
454 Spacing following barlines was improved for widely stretched lines.
457 Lyric hyphens and extenders now conform to standard typesetting
461 Lyrics are now aligned under note heads conforming to engraving
462 standards. The responsible code has been rewritten, and is drastically
463 simpler from the previous version. To aid this rewrite, the syntactic
464 function of the extender line ( __ ) has been changed: it is now
465 attached to the lyric syllable.
468 When redefining a context, the associated identifier is also
469 updated. For example, after reading
479 the definition of @code{ScoreContext} is updated to include the changed
484 The weight of the stafflines is now heavier at smaller staff sizes.
485 The font has been modified to match this look: at smaller sizes, the
486 font is heavier and the note heads are more rounded.
488 @item Processing scores is now done while parsing the file. New
489 Scheme functions give more flexibility: for example, it is now possible
490 interpret a score, collecting synchronized musical events in a list, and
491 manipulate that information using inline Scheme. For an example, see
492 @file{input/no-notation/recording.ly}.
494 @item Font sizes can now truly be scaled continuously: the @code{font-size}
495 is similar to the old @code{font-relative-size}, but may be set to
496 fractional values; the closest design size will be scaled to achieve
497 the desired size. As a side-effect, there are now no longer
498 limitations in using smaller fonts (eg. grace notes) at small staff
501 @item Stem tips are now also engraved with rounded corners.
504 The placement of accidentals on chords and ledgered notes is improved.
509 @unnumbered New features in 2.0 since 1.8
514 Crescendos can now be drawn dotted or dashed.
517 Quarter tones are now supported. They are entered by suffixing
518 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
519 following is an ascending list of pitches:
522 ceses ceseh ces ceh c cih cis cisih cisis
526 The following constructs have been removed from the syntax:
529 \duration #SCHEME-DURATION
531 \outputproperty @var{func} @var{symbol} = @var{value}
534 For @code{\outputproperty}, the following may be substituted:
537 \applyoutput #(outputproperty-compatibility @var{func}
538 @var{symbol} @var{value})
542 Clefs may now be transposed arbitrarily, for example
552 The syntax for chords and simultaneous music have changed.
553 Chords are entered as
559 while simultaneous music is entered as
562 <<@var{..music list..}>>
565 In effect, the meanings of both have been swapped relative to their 1.8
566 definition. The syntax for lists in @code{\markup} has changed
567 alongside, but figured bass mode was not changed, i.e.:
570 \markup @{ \center <@var{..list of markups..}> @}
571 \figure @{ <@var{figures}> @}
574 As chords the more often used than simultaneous music, this change will
578 Each music expression can now be tagged, to make different printed
579 versions from the same music expression. In the following example,
580 we see two versions of a piece of music, one for the full score, and
581 one with cue notes for the instrumental part:
585 @{ c4 f2 g4 @} % in the part, we have cue-notes
587 \tag #'score R1 % in the score: only a rest
591 The same can be applied to articulations, texts, etc.: they are
595 -\tag #@var{your-tags}
598 to an articulation, for example,
601 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
604 This defines a note, which has a conditional fingering and a
605 string-number indication.
608 The settings for chord-fingering are more flexible. You can specify a
609 list where fingerings may be placed, eg.
612 \property Voice.fingeringOrientations = #'(left down)
615 This will put the fingering for the lowest note below the chord, and the
619 The script previously known as @code{ly2dvi} has been renamed to
620 @code{lilypond}. The binary itself is now installed as
624 Markup text (ie. general text formatting) may now be used for lyrics too.
627 Two new commands for grace notes have been added, @code{\acciaccatura}
628 and @code{\appoggiatura},
635 Both reflect the traditional meanings of acciaccatura and appogiatura,
636 and both insert insert a slur from the first grace note to the main
640 Layout options for grace notes are now stored in a context property,
641 and may now be set separately from musical content.
644 The @code{\new} command will create a context with a unique
645 name automatically. Hence, for multi-staff scores, it is no longer
646 necessary to invent arbitrary context names. For example, a two-staff
647 score may be created by
651 \new Staff @{ @var{notes for 1st staff} @}
652 \new Staff @{ @var{notes for 2nd staff} @}
659 Octave checks make octave errors easier to correct.
666 This checks that @var{pitch} (without octave) yields @var{pitch} (with
667 octave) in \relative mode. If not, a warning is printed, and the
671 All articulations must now be entered postfix. For example,
678 is a pair of beamed slurred eighth notes.
681 The definition of @code{\relative} has been simplified. Octaves are
682 now always propagated in the order that music is entered. In the
687 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
692 the octave of BODY is based on PRE, the starting octave of ALT1 on
693 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
696 The same mechanism is used for all other music expressions, except the
697 chord. Backwards compatibility is retained through a special program option,
701 #(ly:set-option 'old-relative)
705 Windows users can double click a @code{.ly} file to process and view
706 it automagically through the new @code{lily-wins} frontend.
713 @unnumbered New features in 1.8 since 1.6
718 The chord entry code has been completely rewritten. It is now
719 cleaner and more flexible.
722 A new syntax has been added for text entry. This syntax is more
723 friendly than the old mechanism, and it is implemented in a more
724 robust and modular way. For more information, refer to the section on
725 "Text markup" in the notation manual.
728 The integration of the input language and Scheme has been made deeper:
729 you can now use LilyPond identifiers in Scheme, and use Scheme
730 expressions instead of LilyPond identifiers.
733 The internal representation of music has been cleaned up completely
734 and converted to Scheme data structures. The representation may be
738 A new uniform postfix syntax for articulation has been introduced.
739 A beamed slurred pair of eighth notes can be entered as
745 In version 2.0, postfix syntax will be the only syntax
746 available, and the dashes will become optional.
748 This will simplify the language: all articulations can be entered as
749 postfix, in any order.
752 A new syntax has been added for chords:
759 It is not necessary to update files to this syntax, but it will be for
760 using LilyPond version 2.0. In version 2.0, this syntax will be
770 \simultaneous @{ .. @}
773 for simultaneous music.
775 To convert your files from <PITCHES> to <<PITCHES>>, use the script
776 included in buildscripts/convert-new-chords.py
778 This change was introduced for the following reasons
782 It solves the "start score with chord" problem, where you have to
783 state \context Voice explicitly when a chord was the start of a
786 With the new syntax, it is possible to distinguish between
787 articulations (or fingerings) which are for a single chord note,
788 and which are for the entire chord. This allows for per-note
789 fingerings, and is more logical on the whole.
793 User code may now be executed during interpreting. The syntax for
797 \applycontext #SCHEME-FUNCTION
801 User code may now be executed on arbitrary grobs during interpreting.
802 The syntax for this feature is
805 \applyoutput #SCHEME-FUNCTION
809 SCHEME-FUNCTION takes a single argument, and is called for every grob
810 that is created in the current context.
813 New algorithms for chord-name formatting have been installed. They
814 can be tuned and have ergonomic syntax for entering exceptions.
817 Texts may now be put on multimeasure rests, e.g.
820 R1*20^\markup @{ "GP" @}
824 Ancient notation now prints ligatures in Gregorian square neumes
825 notation, roughly following the typographical style of the Liber
826 hymnarius of Solesmes, published in 1983. Ligatures are still printed
827 without the proper line breaking and horizontal spacing.
830 Glissandi can now be printed using the zigzag style.
833 LilyPond can now print clusters. The syntax is
836 \apply #notes-to-clusters @{ NOTE NOTE .. @}
840 For irregular meters, beat grouping marks can be printed. The
844 #(set-time-signature 7 8 '(3 2 2))
849 Nested horizontal brackets for music analysis can now be printed:
858 @item Ottava brackets are now fully supported as a feature. The syntax
866 @item Metronome markings are printed when a \tempo command is processed.
870 @item Fingerings can be put on chords horizontally.
874 @item The appearance of various glyphs has been fine-tuned.
878 @item Different types of percent style repeats may now be nested.
882 @item The emacs support has been extended.
886 The manual has been completely revised and extended.
890 @unnumbered New features in 1.6 since 1.4
896 Support for figured bass and tablature.
899 Completely rewritten beam formatting: provides much better output
904 Completely revised and improved music font.
908 Completely rewritten MIDI import support.
911 Completely rewritten grace note support. Practically speaking this
912 means that grace notes can be slurred to normal normal notes.
916 Improved accidental handling and formatting: styles for producing
917 cautionaries may vary, and complex collisions between accidentals of a
918 chord are handled much better.
921 Better spacing: both globally and locally. This includes subtle
922 details like optical stem spacing.
925 More support for ancient notation: mensural ligatures, ambitus
926 (pitch range) of voices, more shapes, etc.
929 More support for piano notation: bracket pedals, directed arpeggios,
933 Easier music polyphonic music entry.
936 More extensibility, many speedups and bugfixes
939 The manual has been thoroughly revised.
942 Development is now hosted at http://savannah.gnu.org, and sources
943 can be downloaded through anonymous CVS.
946 Support for windows: LilyPond is part of the cygwin distribution,
947 which comes with a user-friendly installer.