@node Top, , ,
@top
-@chapter New features in 1.9 since 1.8
+@chapter New features in 2.1 since 2.0
+
+@ignore
+Unreleased:
@itemize
+@end itemize
+
+Version 2.1.9
+@end ignore
+
+@itemize @bullet
+@item Formatting of ottava brackets has been much improved.
+
+@item Objects in the output can now be documented: the following fragment
+ boxes the note head, and adds the text ``heads or tails?'' three
+spaces below the box.
+
+@example
+ \context Voice \applyoutput #(add-balloon-text
+ 'NoteHead "heads, or tails?"
+ '(0 . -3))
+
+
+ c8
+@end example
+
+
+@item Default staff sizes are now scalable. There are two new mechanisms for
+setting staff sizes. Both are demonstrated in this fragment:
+
+@example
+ #(set-staff-size 15)
+ \paper @{
+ #(paper-set-staff-size (* 15 pt))
+ @}
+@end example
+
+
+@noindent
+Both have the same effect on the global layout of a
+piece. Similarly, the paper size may be changed as follows
+
+@example
+ #(set-paper-size "a4")
+@end example
+
+
+@item Warnings for bar check errors are more cleverly printed. This
+makes @code{barCheckSynchronize} superfluous, so it is now switched
+off by default.
+
+Warning: this will cause problems in scores that use bar checks to
+shorten measures.
+
+@item The black note head was made a little rounder, which causes a less
+ frantic graphic impression.
+
+@item
+A more concise syntax for checking octaves was introduced. A note may
+be followed by @code{=}@var{quotes} which indicates what its absolute
+octave should be. In the following example,
+
+@example
+ \relative c'' @{ c='' b=' d,='' @}
+@end example
+
+@noindent
+the @code{d} will generate a warning, because a @code{d''} is
+expected, but a @code{d'} is found.
+
+@item There is a new mechanism for putting lyrics to melodies.
+With this mechanism, @code{LyricVoice}s can be put melodies
+individually, allowing for different melismatic sections in every
+@code{LyricVoice}. See @file{input/regression/lyric-combine-new.ly}.
+
+@item Bar lines may now be dotted.
+
+
+@item The documentation now has links to a wiki, where everyone can
+add personal comments to the manual.
+
+@item Contexts may now be changed locally for an isolated music
+expression. For example,
+
+@example
+ \new Voice \with @{
+ \consists "Pitch_squash_engraver"
+ @} @{
+ c'4
+ @}
+@end example
+
+@item The syntax for changing staffs has changed. The keyword
+@code{\change} should now be used, e.g.
+
+@example
+ \change Staff = up
+@end example
+
+@item Features of spanner contexts, like @code{Staff}, can now be changed
+ using @code{\property}, eg.
+
+@example
+ \new Staff @{
+ \property Staff.StaffSymbol \set #'line-count = #4
+ c'4
+ @}
+@end example
+
+@noindent
+puts a quarter note C on a staff with 4 lines.
+
+
+@item Multi measure rests are now truly centered between the
+clefs/barlines of the staff, their position is independent of symbols
+on the other staffs.
+
+@item Collision resolution for dots in chords has been improved greatly.
+
+@item
+Spacing following barlines was improved for widely stretched lines.
+
+@item
+Lyric hyphens and extenders now conform to standard typesetting
+practice.
+
+@item
+Lyrics are now aligned under note heads conforming to engraving
+standards. The responsible code has been rewritten, and is drastically
+simpler from the previous version. To aid this rewrite, the syntactic
+function of the extender line ( __ ) has been changed: it is now
+attached to the lyric syllable.
+
+@item
+When redefining a context, the associated identifier is also
+updated. For example, after reading the following snippet,
+@example
+ \translator @{
+ \ScoreContext
+ autoBeaming = ##f
+ @}
+@end example
+the definition of @code{ScoreContext} is updated to include the changed
+setting.
+
+
+@item
+The weight of the stafflines is now heavier at smaller staff sizes.
+The font has been modified to match this look: at smaller sizes, the
+font is heavier and the note heads are more rounded.
+
+@item Processing scores is now done while parsing the file. New
+Scheme functions give more flexibility: for example, it is now possible
+interpret a score, collecting synchronized musical events in a list, and
+manipulate that information using inline Scheme. For an example, see
+@file{input/no-notation/recording.ly}.
+
+@item Font sizes can now truly be scaled continuously: the @code{font-size}
+is similar to the old @code{font-relative-size}, but may be set to
+fractional values; the closest design size will be scaled to achieve
+the desired size. As a side-effect, there are now no longer
+limitations in using smaller fonts (eg. grace notes) at small staff
+sizes.
+
+@item The appearance of stem tips is now also engraved with rounded corners.
+
+@item
+The placement of accidentals on chords and ledgered notes is improved.
+
+@end itemize
+
+
+@chapter New features in 2.0 since 1.8
+
+@itemize
+
+@item
+Crescendos can now be drawn dotted or dashed.
+
+@item
+Quarter tones are now supported. They are entered by suffixing
+@code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
+following is an ascending list of pitches:
+
+@example
+ ceses ceseh ces ceh c cih cis cisih cisis
+@end example
+
+@item
+The following constructs have been removed from the syntax:
+
+@example
+ \duration #SCHEME-DURATION
+ \pitch #SCHEME-PITCH
+ \outputproperty @var{func} @var{symbol} = @var{value}
+@end example
+
+For @code{\outputproperty}, the following may be substituted:
+
+@example
+ \applyoutput #(outputproperty-compatibility @var{func}
+ @var{symbol} @var{value})
+@end example
+
+@item
+Clefs may now be transposed arbitrarily, for example
+
+@example
+ \clef "G_8"
+ \clef "G_15"
+ \clef "G_9"
+@end example
+
+
+@item
+The syntax for chords and simultaneous music have changed.
+Chords are entered as
+
+@example
+ <@var{pitches}>
+@end example
+
+while simultaneous music is entered as
+
+@example
+ <<@var{..music list..}>>
+@end example
+
+In effect, the meanings of both have been swapped relative to their 1.8
+definition. The syntax for lists in @code{\markup} has changed
+alongside, but figured bass mode was not changed, i.e.:
+
+@example
+ \markup @{ \center <@var{..list of markups..}> @}
+ \figure @{ <@var{figures}> @}
+@end example
+
+As chords the more often used than simultaneous music, this change will
+save keystrokes.
+
+@item
+Each music expression can now be tagged, to make different printed
+versions from the same music expression. In the following example,
+we see two versions of a piece of music, one for the full score, and
+one with cue notes for the instrumental part:
+
+@example
+<< \tag #'part <<
+ @{ c4 f2 g4 @} % in the part, we have cue-notes
+ \\ R1 >>
+ \tag #'score R1 % in the score: only a rest
+>>
+@end example
+
+The same can be applied to articulations, texts, etc.: they are
+made by prepending
+
+@example
+ -\tag #@var{your-tags}
+@end example
+
+to an articulation, for example,
+
+@example
+ c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
+@end example
+
+This defines a note, which has a conditional fingering and a
+string-number indication.
+
+@item
+The settings for chord-fingering are more flexible. You can specify a
+list where fingerings may be placed, eg.
+
+@example
+ \property Voice.fingeringOrientations = #'(left down)
+@end example
+
+This will put the fingering for the lowest note below the chord, and the
+rest to the left.
+
+@item
+The script previously known as @code{ly2dvi} has been renamed to
+@code{lilypond}. The binary itself is now installed as
+@code{lilypond-bin}.
+
+@item
+Markup text (ie. general text formatting) may now be used for lyrics too.
+
+@item
+Two new commands for grace notes have been added, @code{\acciaccatura}
+and @code{\appoggiatura},
+
+@example
+ \appoggiatura f8 e4
+ \acciaccatura g8 f4
+@end example
+
+Both reflect the traditional meanings of acciaccatura and appogiatura,
+and both insert insert a slur from the first grace note to the main
+note.
+
+@item
+Layout options for grace notes are now stored in a context property,
+and may now be set separately from musical content.
+
+@item
+The @code{\new} command will create a context with a unique
+name automatically. Hence, for multi-staff scores, it is no longer
+necessary to invent arbitrary context names. For example, a two-staff
+score may be created by
+
+@example
+ \simultaneous @{
+ \new Staff @{ @var{notes for 1st staff} @}
+ \new Staff @{ @var{notes for 2nd staff} @}
+ @}
+@end example
+
+
@item
Octave checks make octave errors easier to correct.
@example
PRE
- \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 ALT3 @}
+ \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
POST
@end example
@noindent
the octave of BODY is based on PRE, the starting octave of ALT1 on
-BODY, the starting octave of ALT2 on ALT1, etc.
-
+BODY, the starting octave of ALT2 on ALT1, and the starting octave of
+POST on ALT2.
The same mechanism is used for all other music expressions, except the
chord. Backwards compatibility is retained through a special program option,
#(ly:set-option 'old-relative)
@end example
+@item
+Windows users can double click a @code{.ly} file to process and view
+it automagically through the new @code{lily-wins} frontend.
+
@end itemize
-@chapter New features in 1.8 since 1.6
+@chapter New features in 1.8 since 1.6
@itemize
projects / lilypond.git / blobdiff