1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.3 since 2.2
11 @item The parser is encapsulated in a Scheme function
12 @code{ly:parse-file}, so the following fragment processes two files
15 #(ly:parse-file "another.ly")
16 \score { \notes { c4 }}
19 @item The @code{font-encoding} property can now be used to select
20 differently encoded fonts. The previous default setting
21 @code{TeX-text} has been replaced by latin1. LilyPond requires the
22 @uref{ec-fonts-mftraced,http://www.lilypond.org/download/fonts/}
23 installed to function properly.
25 @item The encoding of a file can be switched with
26 @code{\encoding}. The strings for markup texts are translated
29 @item The toplevel block @code{book} introduces page layout.
30 A @code{book} groups @code{score} blocks into one page layout entity.
31 Page layout consists of markup titles, headers and footers, and page
32 breaking. Two page breaking algorithms are available, the classic
33 ragged pages (the default), and optimal page breaking
37 %% Select page breaking function.
38 %% #(define page-breaking ly:ragged-page-breaks)
39 #(define page-breaking ly:optimal-page-breaks)
47 The @code{lilypond} program does not generate La@TeX{} titles or page
48 layout. If you need La@TeX{} titles, you can use the
49 @code{lilypond-book} program.
51 @item There is now less of a noticeable ``hook'' at the end of a long slur.
53 @item The meaning of the @code{|} in the input can be redefined, by
54 assigning a music expression to @code{pipeSymbol}.
58 @unnumbered New features in 2.2 since 2.0
62 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
63 causes the last line to be set flush-left instead of justified.
65 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
66 its containing context automatically.
68 @item The code for font selection has been rewritten. In addition to
69 existing font selection properties, the property @code{font-encoding}
70 has been added, which makes the switch between normal @code{text} and
71 other encodings like @code{braces}, @code{music} and @code{math}.
73 @item The pmx2ly script has been removed from the distribution.
75 @item Pedal brackets will now run to the last bar of a piece if they are not
78 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
80 @item Property functions may be used as an argument to @code{set!},
84 (set! (ly:grob-property grob 'beam) ... )
87 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
90 @item Cue notes can be quoted directly from the parts that
91 contain them. This will take into account transposition of source and target
92 instrument. For example,
95 \addquote clarinet \notes\relative c' {
101 \notes \relative c'' {
102 c8 d8 \quote 2 oboe es8 gis
107 @item The transposition of an instrument can be specified using the
108 @code{\transposition} command. An
109 E-flat alto saxophone is specified as
115 @item The naming of exported Scheme functions now follows Scheme conventions.
116 Changes be applied to Scheme files with
119 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
123 @item Notes can be excluded from auto-beaming, by marking them with
130 will print two separate eighth notes, and two beamed notes.
132 @item Translators and contexts have been split. The result of this
133 internal cleanup is that @code{Score} no longer is the top context;
134 @code{Score} is contained in the @code{Global} context. Consequently,
135 it is possible to tweak @code{Score} as follows:
138 \context Score \with @{
143 @item The number of staff lines in Tablature notation is now
144 automatically deduced from the @code{stringTunings} property.
146 @item The program reference has been cleaned up and revised.
148 @item The syntax for setting properties has been simplified:
149 the following table lists the differences:
154 \property A.B = #C \set A.B = #C
155 \property A.B \unset \unset A.B
156 \property A.B \set #C = #D \override A.B #C = #D
157 \property A.B \override #C = #D (removed)
158 \property A.B \revert #C \revert A.B #C
161 Furthermore, if @code{A} is left out, the bottommost context is used
162 by default. In other words, it is no longer necessary to explicitly
163 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
168 \property Voice.autoBeaming = ##f
169 \property Staff.TimeSignature \set #'style = #'C
175 \set autoBeaming = ##f
176 \override Staff.TimeSignature #'style = #'C
180 @item Tweaks made with @code{\override} and @code{\revert} no longer
181 hide tweaks at higher context levels.
183 @item Melismata in lyrics are also properly handled in the MIDI output.
185 @item The lilypond-book script has been rewritten.
186 It is shorter, cleaner and faster. The special construct
187 @code{mbinclude} has been removed, plain @code{@@include} or
188 @code{\input} can be used now.
190 It now supports running convert-ly on the lilypond snippets,
192 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
195 @item The @code{LyricsVoice} context has been removed. Lyrics should only
196 be constructed in @code{Lyrics}.
198 @item The @code{Thread} context has been removed. Note heads and rests
199 are now constructed at @code{Voice} level.
201 @item Harmonic notes can now be entered as
207 @item Drum notation is now supported as a regular feature:
208 percussion may be entered in @code{\drums} mode, and printed or
209 performed in a @code{DrumStaff} context:
213 \drums \new DrumStaff @{ hihat4 cowbell8 @}
217 @item The automatic staff changer was internally rewritten. As a
218 result, the syntax has been simplified as well:
221 \autochange @var{the-music}
224 @item The ergonomic syntax of @code{\markup} now has an equivalent in
225 Scheme. The @code{markup*} macro creates such objects; the following
226 two markup commands are equivalent:
228 f4^#(markup* #:raise 0.2 #:bold "hi")
229 f4^\markup @{ \raise #0.2 \bold hi @}
232 @item Voice names, for vocal lines, have been added. They are similar
233 to instrument names. They can be set by defining @code{vocalName}
236 @item Safe mode has been reinstated for lilypond.
237 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
238 PostScript file output is disallowed, and lilypond-bin is invoked with
239 @code{--safe-mode}, the user's Guile expressions are evaluated in a
240 safe environment and file inclusion is not allowed.
242 Warning: this does not protect against denial-of-service attacks using
243 Guile, @TeX{} or PostScript.
245 (This feature is still experimental.)
247 @item There is now a Scheme macro for defining markup
248 commands. Special mark-up commands can be defined in user-files too.
250 @item Many fixes for dimension scaling have been made,
251 resulting in correct results for scores that mix staves in different
254 @item Improved robustness when layout properties are accidentally removed.
256 @item A more cleanly constructed part combiner has been installed.
257 It is more robust and less buggy. The part-combiner can be used with
259 \partcombine @var{mus1} @var{mus2}
263 See @file{input/regression/new-part-combine.ly} for an example.
265 @item Formatting of rehearsal marks has been improved. The @code{\mark}
266 command now only does automatic incrementing for marks specified as
267 integer. For example, @code{\mark #1} will print an A in the default
268 style. See @file{input/regression/rehearsal-mark-letter.ly},
269 @file{input/regression/rehearsal-mark-number.ly}.
271 @item Formatting of ottava brackets has been much improved.
273 @item Objects in the output can now be documented: the following fragment
274 boxes the note head, and adds the text ``heads or tails?'' three
275 spaces below the box.
278 \context Voice \applyoutput #(add-balloon-text
279 'NoteHead "heads, or tails?"
287 @item Default staff sizes are now scalable. There are two new mechanisms for
288 setting staff sizes. Both are demonstrated in this fragment:
291 #(set-global-staff-size 15)
293 #(paper-set-staff-size (* 15 pt))
299 Both have the same effect on the global layout of a piece. Similarly,
300 the paper size may be changed as follows
303 #(set-default-paper-size "a4")
305 #(set-paper-size "a4")
310 @item Warnings for bar check errors are more cleverly printed. This
311 makes @code{barCheckSynchronize} superfluous, so it is now switched
314 Warning: this will cause problems in scores that use bar checks to
317 @item The black note head was made a little rounder, which causes a less
318 frantic graphic impression.
321 A more concise syntax for checking octaves was introduced. A note may
322 be followed by @code{=}@var{quotes} which indicates what its absolute
323 octave should be. In the following example,
326 \relative c'' @{ c='' b=' d,='' @}
330 the d will generate a warning, because a d'' is
331 expected, but a d' is found.
332 @c @code adds ` ', very confusing.
334 @item There is a new mechanism for putting lyrics to melodies.
335 With this mechanism, @code{Lyrics} lines can be put melodies
336 individually, allowing for different melismatic sections in every
337 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
339 @item Bar lines may now be dotted.
342 @item The documentation now has links to a wiki, where everyone can
343 add personal comments to the manual.
345 @item Contexts may now be changed locally for an isolated music
346 expression. For example,
350 \consists "Pitch_squash_engraver"
356 @item The syntax for changing staffs has changed. The keyword
357 @code{\change} should now be used, e.g.
363 @item Features of spanner contexts, like @code{Staff}, can now be changed
364 using @code{\set}, eg.
368 \override Staff.StaffSymbol #'line-count = #4
374 puts a quarter note C on a staff with 4 lines.
377 @item Multi measure rests are now truly centered between the
378 clefs/barlines of the staff, their position is independent of symbols
381 @item Collision resolution for dots in chords has been improved greatly.
384 Spacing following barlines was improved for widely stretched lines.
387 Lyric hyphens and extenders now conform to standard typesetting
391 Lyrics are now aligned under note heads conforming to engraving
392 standards. The responsible code has been rewritten, and is drastically
393 simpler from the previous version. To aid this rewrite, the syntactic
394 function of the extender line ( __ ) has been changed: it is now
395 attached to the lyric syllable.
398 When redefining a context, the associated identifier is also
399 updated. For example, after reading
409 the definition of @code{ScoreContext} is updated to include the changed
414 The weight of the stafflines is now heavier at smaller staff sizes.
415 The font has been modified to match this look: at smaller sizes, the
416 font is heavier and the note heads are more rounded.
418 @item Processing scores is now done while parsing the file. New
419 Scheme functions give more flexibility: for example, it is now possible
420 interpret a score, collecting synchronized musical events in a list, and
421 manipulate that information using inline Scheme. For an example, see
422 @file{input/no-notation/recording.ly}.
424 @item Font sizes can now truly be scaled continuously: the @code{font-size}
425 is similar to the old @code{font-relative-size}, but may be set to
426 fractional values; the closest design size will be scaled to achieve
427 the desired size. As a side-effect, there are now no longer
428 limitations in using smaller fonts (eg. grace notes) at small staff
431 @item Stem tips are now also engraved with rounded corners.
434 The placement of accidentals on chords and ledgered notes is improved.
439 @unnumbered New features in 2.0 since 1.8
444 Crescendos can now be drawn dotted or dashed.
447 Quarter tones are now supported. They are entered by suffixing
448 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
449 following is an ascending list of pitches:
452 ceses ceseh ces ceh c cih cis cisih cisis
456 The following constructs have been removed from the syntax:
459 \duration #SCHEME-DURATION
461 \outputproperty @var{func} @var{symbol} = @var{value}
464 For @code{\outputproperty}, the following may be substituted:
467 \applyoutput #(outputproperty-compatibility @var{func}
468 @var{symbol} @var{value})
472 Clefs may now be transposed arbitrarily, for example
482 The syntax for chords and simultaneous music have changed.
483 Chords are entered as
489 while simultaneous music is entered as
492 <<@var{..music list..}>>
495 In effect, the meanings of both have been swapped relative to their 1.8
496 definition. The syntax for lists in @code{\markup} has changed
497 alongside, but figured bass mode was not changed, i.e.:
500 \markup @{ \center <@var{..list of markups..}> @}
501 \figure @{ <@var{figures}> @}
504 As chords the more often used than simultaneous music, this change will
508 Each music expression can now be tagged, to make different printed
509 versions from the same music expression. In the following example,
510 we see two versions of a piece of music, one for the full score, and
511 one with cue notes for the instrumental part:
515 @{ c4 f2 g4 @} % in the part, we have cue-notes
517 \tag #'score R1 % in the score: only a rest
521 The same can be applied to articulations, texts, etc.: they are
525 -\tag #@var{your-tags}
528 to an articulation, for example,
531 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
534 This defines a note, which has a conditional fingering and a
535 string-number indication.
538 The settings for chord-fingering are more flexible. You can specify a
539 list where fingerings may be placed, eg.
542 \property Voice.fingeringOrientations = #'(left down)
545 This will put the fingering for the lowest note below the chord, and the
549 The script previously known as @code{ly2dvi} has been renamed to
550 @code{lilypond}. The binary itself is now installed as
554 Markup text (ie. general text formatting) may now be used for lyrics too.
557 Two new commands for grace notes have been added, @code{\acciaccatura}
558 and @code{\appoggiatura},
565 Both reflect the traditional meanings of acciaccatura and appogiatura,
566 and both insert insert a slur from the first grace note to the main
570 Layout options for grace notes are now stored in a context property,
571 and may now be set separately from musical content.
574 The @code{\new} command will create a context with a unique
575 name automatically. Hence, for multi-staff scores, it is no longer
576 necessary to invent arbitrary context names. For example, a two-staff
577 score may be created by
581 \new Staff @{ @var{notes for 1st staff} @}
582 \new Staff @{ @var{notes for 2nd staff} @}
589 Octave checks make octave errors easier to correct.
596 This checks that @var{pitch} (without octave) yields @var{pitch} (with
597 octave) in \relative mode. If not, a warning is printed, and the
601 All articulations must now be entered postfix. For example,
608 is a pair of beamed slurred eighth notes.
611 The definition of @code{\relative} has been simplified. Octaves are
612 now always propagated in the order that music is entered. In the
617 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
622 the octave of BODY is based on PRE, the starting octave of ALT1 on
623 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
626 The same mechanism is used for all other music expressions, except the
627 chord. Backwards compatibility is retained through a special program option,
631 #(ly:set-option 'old-relative)
635 Windows users can double click a @code{.ly} file to process and view
636 it automagically through the new @code{lily-wins} frontend.
643 @unnumbered New features in 1.8 since 1.6
648 The chord entry code has been completely rewritten. It is now
649 cleaner and more flexible.
652 A new syntax has been added for text entry. This syntax is more
653 friendly than the old mechanism, and it is implemented in a more
654 robust and modular way. For more information, refer to the section on
655 "Text markup" in the notation manual.
658 The integration of the input language and Scheme has been made deeper:
659 you can now use LilyPond identifiers in Scheme, and use Scheme
660 expressions instead of LilyPond identifiers.
663 The internal representation of music has been cleaned up completely
664 and converted to Scheme data structures. The representation may be
668 A new uniform postfix syntax for articulation has been introduced.
669 A beamed slurred pair of eighth notes can be entered as
675 In version 2.0, postfix syntax will be the only syntax
676 available, and the dashes will become optional.
678 This will simplify the language: all articulations can be entered as
679 postfix, in any order.
682 A new syntax has been added for chords:
689 It is not necessary to update files to this syntax, but it will be for
690 using LilyPond version 2.0. In version 2.0, this syntax will be
700 \simultaneous @{ .. @}
703 for simultaneous music.
705 To convert your files from <PITCHES> to <<PITCHES>>, use the script
706 included in buildscripts/convert-new-chords.py
708 This change was introduced for the following reasons
712 It solves the "start score with chord" problem, where you have to
713 state \context Voice explicitly when a chord was the start of a
716 With the new syntax, it is possible to distinguish between
717 articulations (or fingerings) which are for a single chord note,
718 and which are for the entire chord. This allows for per-note
719 fingerings, and is more logical on the whole.
723 User code may now be executed during interpreting. The syntax for
727 \applycontext #SCHEME-FUNCTION
731 User code may now be executed on arbitrary grobs during interpreting.
732 The syntax for this feature is
735 \applyoutput #SCHEME-FUNCTION
739 SCHEME-FUNCTION takes a single argument, and is called for every grob
740 that is created in the current context.
743 New algorithms for chord-name formatting have been installed. They
744 can be tuned and have ergonomic syntax for entering exceptions.
747 Texts may now be put on multimeasure rests, e.g.
750 R1*20^\markup @{ "GP" @}
754 Ancient notation now prints ligatures in Gregorian square neumes
755 notation, roughly following the typographical style of the Liber
756 hymnarius of Solesmes, published in 1983. Ligatures are still printed
757 without the proper line breaking and horizontal spacing.
760 Glissandi can now be printed using the zigzag style.
763 LilyPond can now print clusters. The syntax is
766 \apply #notes-to-clusters @{ NOTE NOTE .. @}
770 For irregular meters, beat grouping marks can be printed. The
774 #(set-time-signature 7 8 '(3 2 2))
779 Nested horizontal brackets for music analysis can now be printed:
788 @item Ottava brackets are now fully supported as a feature. The syntax
796 @item Metronome markings are printed when a \tempo command is processed.
800 @item Fingerings can be put on chords horizontally.
804 @item The appearance of various glyphs has been fine-tuned.
808 @item Different types of percent style repeats may now be nested.
812 @item The emacs support has been extended.
816 The manual has been completely revised and extended.
820 @unnumbered New features in 1.6 since 1.4
826 Support for figured bass and tablature.
829 Completely rewritten beam formatting: provides much better output
834 Completely revised and improved music font.
838 Completely rewritten MIDI import support.
841 Completely rewritten grace note support. Practically speaking this
842 means that grace notes can be slurred to normal normal notes.
846 Improved accidental handling and formatting: styles for producing
847 cautionaries may vary, and complex collisions between accidentals of a
848 chord are handled much better.
851 Better spacing: both globally and locally. This includes subtle
852 details like optical stem spacing.
855 More support for ancient notation: mensural ligatures, ambitus
856 (pitch range) of voices, more shapes, etc.
859 More support for piano notation: bracket pedals, directed arpeggios,
863 Easier music polyphonic music entry.
866 More extensibility, many speedups and bugfixes
869 The manual has been thoroughly revised.
872 Development is now hosted at http://savannah.gnu.org, and sources
873 can be downloaded through anonymous CVS.
876 Support for windows: LilyPond is part of the cygwin distribution,
877 which comes with a user-friendly installer.