1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.1 since 2.0
21 @item Notes can be excluded from auto-beaming, by marking them with
28 will print two separate eighth notes, and two beamed notes.
30 @item Translators and contexts have been split. The result of this
31 internal cleanup is that @code{Score} no longer is the top context;
32 @code{Score} is contained in the @code{Global} context. Consequently,
33 it is possible to tweak @code{Score} as follows:
36 \context Score \with @{
41 @item The number of staff lines in Tablature notation is now
42 automatically deduced from the @code{stringTunings} property.
44 @item The program reference has been cleaned up and revised.
46 @item The syntax for setting properties has been simplified:
47 the following table lists the differences:
52 \property A.B = #C \set A.B = #C
53 \property A.B \unset \unset A.B
54 \property A.B \set #C = #D \override A.B #C = #D
55 \property A.B \override #C = #D (removed)
56 \property A.B \revert #C \revert A.B #C
59 Furthermore, if @code{A} is left out, the bottommost context is used
60 by default. In other words, it is no longer necessary to explicitly
61 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
66 \property Voice.autoBeaming = ##f
67 \property Staff.TimeSignature \set #'style = #'C
73 \set autoBeaming = ##f
74 \override Staff.TimeSignature #'style = #'C
78 @item Tweaks made with @code{\override} and @code{\revert} no longer
79 hide tweaks at higher context levels.
81 @item Melismata in lyrics are also properly handled in the MIDI output.
83 @item The lilypond-book script has been rewritten.
84 It is shorter, cleaner and faster. The special construct
85 @code{mbinclude} has been removed, plain @code{@@include} or
86 @code{\input} can be used now.
90 running convert-ly on the lilypond snippets like so:
92 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
96 @item The @code{LyricsVoice} context has been removed. Lyrics should only
97 be constructed in @code{Lyrics}.
99 @item The @code{Thread} context has been removed. Note heads and rests
100 are now constructed at @code{Voice} level.
102 @item Harmonic notes can now be entered as
108 @item Drum notation is now supported as a regular feature:
109 percussion may be entered in @code{\drums} mode, and printed or
110 performed in a @code{DrumStaff} context:
114 \drums \new DrumStaff @{ hihat4 cowbell8 @}
118 @item The automatic staff changer was internally rewritten. As a
119 result, the syntax has been simplified as well:
122 \autochange @var{the music}
125 @item The ergonomic syntax of @code{\markup} now has an equivalent in
126 Scheme. The @code{markup*} macro creates such objects; the following
127 two markup commands are equivalent:
129 f4^#(markup* #:raise 0.2 #:bold "hi")
130 f4^\markup @{ \raise #0.2 \bold hi @}
133 @item Voice names, for vocal lines, have been added. They are similar
134 to instrument names. They can be set by defining @code{vocalName}
137 @item Safe mode has been reinstated for lilypond.
138 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
139 PostScript file output is disallowed, and lilypond-bin is invoked with
140 @code{--safe-mode}, the user's Guile expressions are evaluated in a
141 safe environment and file inclusion is not allowed.
143 Warning: this does not protect against denial-of-service attacks using
144 Guile, @TeX{} or PostScript.
146 (This feature is still experimental.)
148 @item There is now a Scheme macro for defining markup
149 commands. Special mark-up commands can be defined in user-files too.
151 @item Many fixes for dimension scaling have been made,
152 resulting in correct results for scores that mix staves in different
155 @item Improved robustness when layout properties are accidentally removed.
157 @item A more cleanly constructed part combiner has been installed.
158 It is more robust and less buggy. The part-combiner can be used with
160 \partcombine @var{mus1} @var{mus2}
164 See @file{input/regression/new-part-combine.ly} for an example.
166 @item Formatting of rehearsal marks has been improved. The @code{\mark}
167 command now only does automatic incrementing for marks specified as
168 integer. For example, @code{\mark #1} will print an A in the default
169 style. See @file{input/regression/rehearsal-mark-letter.ly},
170 @file{input/regression/rehearsal-mark-number.ly}.
172 @item Formatting of ottava brackets has been much improved.
174 @item Objects in the output can now be documented: the following fragment
175 boxes the note head, and adds the text ``heads or tails?'' three
176 spaces below the box.
179 \context Voice \applyoutput #(add-balloon-text
180 'NoteHead "heads, or tails?"
188 @item Default staff sizes are now scalable. There are two new mechanisms for
189 setting staff sizes. Both are demonstrated in this fragment:
192 #(set-global-staff-size 15)
194 #(paper-set-staff-size (* 15 pt))
200 Both have the same effect on the global layout of a piece. Similarly,
201 the paper size may be changed as follows
204 #(set-paper-size "a4")
208 @item Warnings for bar check errors are more cleverly printed. This
209 makes @code{barCheckSynchronize} superfluous, so it is now switched
212 Warning: this will cause problems in scores that use bar checks to
215 @item The black note head was made a little rounder, which causes a less
216 frantic graphic impression.
219 A more concise syntax for checking octaves was introduced. A note may
220 be followed by @code{=}@var{quotes} which indicates what its absolute
221 octave should be. In the following example,
224 \relative c'' @{ c='' b=' d,='' @}
228 the d will generate a warning, because a d'' is
229 expected, but a d' is found.
230 @c @code adds ` ' very confusing.
232 @item There is a new mechanism for putting lyrics to melodies.
233 With this mechanism, @code{LyricVoice}s can be put melodies
234 individually, allowing for different melismatic sections in every
235 @code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
237 @item Bar lines may now be dotted.
240 @item The documentation now has links to a wiki, where everyone can
241 add personal comments to the manual.
243 @item Contexts may now be changed locally for an isolated music
244 expression. For example,
248 \consists "Pitch_squash_engraver"
254 @item The syntax for changing staffs has changed. The keyword
255 @code{\change} should now be used, e.g.
261 @item Features of spanner contexts, like @code{Staff}, can now be changed
262 using @code{\property}, eg.
266 \property Staff.StaffSymbol \set #'line-count = #4
272 puts a quarter note C on a staff with 4 lines.
275 @item Multi measure rests are now truly centered between the
276 clefs/barlines of the staff, their position is independent of symbols
279 @item Collision resolution for dots in chords has been improved greatly.
282 Spacing following barlines was improved for widely stretched lines.
285 Lyric hyphens and extenders now conform to standard typesetting
289 Lyrics are now aligned under note heads conforming to engraving
290 standards. The responsible code has been rewritten, and is drastically
291 simpler from the previous version. To aid this rewrite, the syntactic
292 function of the extender line ( __ ) has been changed: it is now
293 attached to the lyric syllable.
296 When redefining a context, the associated identifier is also
297 updated. For example, after reading the following snippet,
304 the definition of @code{ScoreContext} is updated to include the changed
309 The weight of the stafflines is now heavier at smaller staff sizes.
310 The font has been modified to match this look: at smaller sizes, the
311 font is heavier and the note heads are more rounded.
313 @item Processing scores is now done while parsing the file. New
314 Scheme functions give more flexibility: for example, it is now possible
315 interpret a score, collecting synchronized musical events in a list, and
316 manipulate that information using inline Scheme. For an example, see
317 @file{input/no-notation/recording.ly}.
319 @item Font sizes can now truly be scaled continuously: the @code{font-size}
320 is similar to the old @code{font-relative-size}, but may be set to
321 fractional values; the closest design size will be scaled to achieve
322 the desired size. As a side-effect, there are now no longer
323 limitations in using smaller fonts (eg. grace notes) at small staff
326 @item Stem tips are now also engraved with rounded corners.
329 The placement of accidentals on chords and ledgered notes is improved.
334 @chapter New features in 2.0 since 1.8
339 Crescendos can now be drawn dotted or dashed.
342 Quarter tones are now supported. They are entered by suffixing
343 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
344 following is an ascending list of pitches:
347 ceses ceseh ces ceh c cih cis cisih cisis
351 The following constructs have been removed from the syntax:
354 \duration #SCHEME-DURATION
356 \outputproperty @var{func} @var{symbol} = @var{value}
359 For @code{\outputproperty}, the following may be substituted:
362 \applyoutput #(outputproperty-compatibility @var{func}
363 @var{symbol} @var{value})
367 Clefs may now be transposed arbitrarily, for example
377 The syntax for chords and simultaneous music have changed.
378 Chords are entered as
384 while simultaneous music is entered as
387 <<@var{..music list..}>>
390 In effect, the meanings of both have been swapped relative to their 1.8
391 definition. The syntax for lists in @code{\markup} has changed
392 alongside, but figured bass mode was not changed, i.e.:
395 \markup @{ \center <@var{..list of markups..}> @}
396 \figure @{ <@var{figures}> @}
399 As chords the more often used than simultaneous music, this change will
403 Each music expression can now be tagged, to make different printed
404 versions from the same music expression. In the following example,
405 we see two versions of a piece of music, one for the full score, and
406 one with cue notes for the instrumental part:
410 @{ c4 f2 g4 @} % in the part, we have cue-notes
412 \tag #'score R1 % in the score: only a rest
416 The same can be applied to articulations, texts, etc.: they are
420 -\tag #@var{your-tags}
423 to an articulation, for example,
426 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
429 This defines a note, which has a conditional fingering and a
430 string-number indication.
433 The settings for chord-fingering are more flexible. You can specify a
434 list where fingerings may be placed, eg.
437 \property Voice.fingeringOrientations = #'(left down)
440 This will put the fingering for the lowest note below the chord, and the
444 The script previously known as @code{ly2dvi} has been renamed to
445 @code{lilypond}. The binary itself is now installed as
449 Markup text (ie. general text formatting) may now be used for lyrics too.
452 Two new commands for grace notes have been added, @code{\acciaccatura}
453 and @code{\appoggiatura},
460 Both reflect the traditional meanings of acciaccatura and appogiatura,
461 and both insert insert a slur from the first grace note to the main
465 Layout options for grace notes are now stored in a context property,
466 and may now be set separately from musical content.
469 The @code{\new} command will create a context with a unique
470 name automatically. Hence, for multi-staff scores, it is no longer
471 necessary to invent arbitrary context names. For example, a two-staff
472 score may be created by
476 \new Staff @{ @var{notes for 1st staff} @}
477 \new Staff @{ @var{notes for 2nd staff} @}
484 Octave checks make octave errors easier to correct.
491 This checks that @var{pitch} (without octave) yields @var{pitch} (with
492 octave) in \relative mode. If not, a warning is printed, and the
496 All articulations must now be entered postfix. For example,
503 is a pair of beamed slurred eighth notes.
506 The definition of @code{\relative} has been simplified. Octaves are
507 now always propagated in the order that music is entered. In the
512 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
517 the octave of BODY is based on PRE, the starting octave of ALT1 on
518 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
521 The same mechanism is used for all other music expressions, except the
522 chord. Backwards compatibility is retained through a special program option,
526 #(ly:set-option 'old-relative)
530 Windows users can double click a @code{.ly} file to process and view
531 it automagically through the new @code{lily-wins} frontend.
538 @chapter New features in 1.8 since 1.6
543 The chord entry code has been completely rewritten. It is now
544 cleaner and more flexible.
547 A new syntax has been added for text entry. This syntax is more
548 friendly than the old mechanism, and it is implemented in a more
549 robust and modular way. For more information, refer to the section on
550 "Text markup" in the notation manual.
553 The integration of the input language and Scheme has been made deeper:
554 you can now use LilyPond identifiers in Scheme, and use Scheme
555 expressions instead of LilyPond identifiers.
558 The internal representation of music has been cleaned up completely
559 and converted to Scheme data structures. The representation may be
563 A new uniform postfix syntax for articulation has been introduced.
564 A beamed slurred pair of eighth notes can be entered as
570 In version 2.0, postfix syntax will be the only syntax
571 available, and the dashes will become optional.
573 This will simplify the language: all articulations can be entered as
574 postfix, in any order.
577 A new syntax has been added for chords:
584 It is not necessary to update files to this syntax, but it will be for
585 using LilyPond version 2.0. In version 2.0, this syntax will be
595 \simultaneous @{ .. @}
598 for simultaneous music.
600 To convert your files from <PITCHES> to <<PITCHES>>, use the script
601 included in buildscripts/convert-new-chords.py
603 This change was introduced for the following reasons
607 It solves the "start score with chord" problem, where you have to
608 state \context Voice explicitly when a chord was the start of a
611 With the new syntax, it is possible to distinguish between
612 articulations (or fingerings) which are for a single chord note,
613 and which are for the entire chord. This allows for per-note
614 fingerings, and is more logical on the whole.
618 User code may now be executed during interpreting. The syntax for
622 \applycontext #SCHEME-FUNCTION
626 User code may now be executed on arbitrary grobs during interpreting.
627 The syntax for this feature is
630 \applyoutput #SCHEME-FUNCTION
634 SCHEME-FUNCTION takes a single argument, and is called for every grob
635 that is created in the current context.
638 New algorithms for chord-name formatting have been installed. They
639 can be tuned and have ergonomic syntax for entering exceptions.
642 Texts may now be put on multimeasure rests, e.g.
645 R1*20^\markup @{ "GP" @}
649 Ancient notation now prints ligatures in Gregorian square neumes
650 notation, roughly following the typographical style of the Liber
651 hymnarius of Solesmes, published in 1983. Ligatures are still printed
652 without the proper line breaking and horizontal spacing.
655 Glissandi can now be printed using the zigzag style.
658 LilyPond can now print clusters. The syntax is
661 \apply #notes-to-clusters @{ NOTE NOTE .. @}
665 For irregular meters, beat grouping marks can be printed. The
669 #(set-time-signature 7 8 '(3 2 2))
674 Nested horizontal brackets for music analysis can now be printed:
683 @item Ottava brackets are now fully supported as a feature. The syntax
691 @item Metronome markings are printed when a \tempo command is processed.
695 @item Fingerings can be put on chords horizontally.
699 @item The appearance of various glyphs has been fine-tuned.
703 @item Different types of percent style repeats may now be nested.
707 @item The emacs support has been extended.
711 The manual has been completely revised and extended.
715 @chapter New features in 1.6 since 1.4
721 Support for figured bass and tablature.
724 Completely rewritten beam formatting: provides much better output
729 Completely revised and improved music font.
733 Completely rewritten MIDI import support.
736 Completely rewritten grace note support. Practically speaking this
737 means that grace notes can be slurred to normal normal notes.
741 Improved accidental handling and formatting: styles for producing
742 cautionaries may vary, and complex collisions between accidentals of a
743 chord are handled much better.
746 Better spacing: both globally and locally. This includes subtle
747 details like optical stem spacing.
750 More support for ancient notation: mensural ligatures, ambitus
751 (pitch range) of voices, more shapes, etc.
754 More support for piano notation: bracket pedals, directed arpeggios,
758 Easier music polyphonic music entry.
761 More extensibility, many speedups and bugfixes
764 The manual has been thoroughly revised.
767 Development is now hosted at http://savannah.gnu.org, and sources
768 can be downloaded through anonymous CVS.
771 Support for windows: LilyPond is part of the cygwin distribution,
772 which comes with a user-friendly installer.