1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 2.0 since 1.8
14 Crescendos can now be drawn dotted or stippled.
17 Quarter tones are now supported. They are entered by suffixing
18 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
19 following is an ascending list of pitches:
22 ceses ceseh ces ceh c cih cis cisih cisis
26 The following constructs have been removed from the syntax:
29 \duration #SCHEME-DURATION
31 \outputproperty @var{func} @var{symbol} = @var{value}
34 For @code{\outputproperty}, the following may be substituted:
37 \applyoutput #(outputproperty-compatibility @var{func}
38 @var{symbol} @var{value})
42 Clefs may now be transposed arbitrarily, for example
52 The syntax for chords and simultaneous music have changed.
59 while simultaneous music is entered as
62 <<@var{..music list..}>>
65 In effect, the meanings of both have been swapped relative to their 1.8
66 definition. The syntax for lists in @code{\markup} has changed
67 alongside, but figured bass mode was not changed, i.e.:
70 \markup @{ \center <@var{..list of markups..}> @}
71 \figure @{ <@var{figures> @}
74 As chords the more often used than simultaneous music, this change will
78 Each music expression can now be tagged, to make different printed
79 versions from the same music expression. In the following example,
80 we see two versions of a piece of music, one for the full score, and
81 one with cue notes for the instrumental part:
85 @{ c4 f2 g @} % in the part, we have cue-notes
87 \tag #'score R1 % in the score: only a rest
91 The same can be applied to articulations, texts, etc.: they are
95 -\tag #@var{your-tags}
98 to an articulation, for example,
101 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
104 This defines a note, which has a conditional fingering and a
105 string-number indication.
108 The settings for chord-fingering are more flexible. You can specify a
109 list where fingerings may be placed, eg.
112 \property Voice.fingeringOrientations = #'(left down)
115 This will put the fingering for the lowest note below the chord, and the
119 The script previously known as @file{ly2dvi} has been renamed to
120 @file{lilypond}. The binary itself is now installed as
124 Markup text (ie. general text formatting) may now be used for lyrics too.
127 Two new commands for grace notes have been added, @code{\acciaccatura}
128 and @code{\appoggiatura},
135 Both reflect the traditional meanings of acciaccatura and appogiatura,
136 and both insert insert a slur from the first grace note to the main
140 Layout options for grace notes are now stored in a context property,
141 and may now be set separately from musical content.
144 The @code{\new} command will create a context with a unique
145 name automatically. Hence, for multi-staff scores, it is no longer
146 necessary to invent arbitrary context names. For example, a two-staff
147 score may be created by
151 \new Staff @{ @var{notes for 1st staff} @}
152 \new Staff @{ @var{notes for 2nd staff} @}
159 Octave checks make octave errors easier to correct.
166 This checks that @var{pitch} (without octave) yields @var{pitch} (with
167 octave) in \relative mode. If not, a warning is printed, and the
171 All articulations must now be entered postfix. For example,
178 is a pair of beamed slurred eighth notes.
181 The definition of @code{\relative} has been simplified. Octaves are
182 now always propagated in the order that music is entered. In the
187 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
192 the octave of BODY is based on PRE, the starting octave of ALT1 on
193 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
196 The same mechanism is used for all other music expressions, except the
197 chord. Backwards compatibility is retained through a special program option,
201 #(ly:set-option 'old-relative)
205 Windows users can double click a @code{.ly} to process and view it
206 automagically through the new @code{lily-wins} frontend.
213 @chapter New features in 1.8 since 1.6
218 The chord entry code has been completely rewritten. It is now
219 cleaner and more flexible.
222 A new syntax has been added for text entry. This syntax is more
223 friendly than the old mechanism, and it is implemented in a more
224 robust and modular way. For more information, refer to the section on
225 "Text markup" in the notation manual.
228 The integration of the input language and Scheme has been made deeper:
229 you can now use LilyPond identifiers in Scheme, and use Scheme
230 expressions instead of LilyPond identifiers.
233 The internal representation of music has been cleaned up completely
234 and converted to Scheme data structures. The representation may be
238 A new uniform postfix syntax for articulation has been introduced.
239 A beamed slurred pair of eighth notes can be entered as
245 In version 2.0, postfix syntax will be the only syntax
246 available, and the dashes will become optional.
248 This will simplify the language: all articulations can be entered as
249 postfix, in any order.
252 A new syntax has been added for chords:
259 It is not necessary to update files to this syntax, but it will be for
260 using LilyPond version 2.0. In version 2.0, this syntax will be
270 \simultaneous @{ .. @}
273 for simultaneous music.
275 To convert your files from <PITCHES> to <<PITCHES>>, use the script
276 included in buildscripts/convert-new-chords.py
278 This change was introduced for the following reasons
282 It solves the "start score with chord" problem, where you have to
283 state \context Voice explicitly when a chord was the start of a
286 With the new syntax, it is possible to distinguish between
287 articulations (or fingerings) which are for a single chord note,
288 and which are for the entire chord. This allows for per-note
289 fingerings, and is more logical on the whole.
293 User code may now be executed during interpreting. The syntax for
297 \applycontext #SCHEME-FUNCTION
301 User code may now be executed on arbitrary grobs during interpreting.
302 The syntax for this feature is
305 \applyoutput #SCHEME-FUNCTION
309 SCHEME-FUNCTION takes a single argument, and is called for every grob
310 that is created in the current context.
313 New algorithms for chord-name formatting have been installed. They
314 can be tuned and have ergonomic syntax for entering exceptions.
317 Texts may now be put on multimeasure rests, e.g.
320 R1*20^\markup @{ "GP" @}
324 Ancient notation now prints ligatures in Gregorian square neumes
325 notation, roughly following the typographical style of the Liber
326 hymnarius of Solesmes, published in 1983. Ligatures are still printed
327 without the proper line breaking and horizontal spacing.
330 Glissandi can now be printed using the zigzag style.
333 LilyPond can now print clusters. The syntax is
336 \apply #notes-to-clusters @{ NOTE NOTE .. @}
340 For irregular meters, beat grouping marks can be printed. The
344 #(set-time-signature 7 8 '(3 2 2))
349 Nested horizontal brackets for music analysis can now be printed:
358 @item Ottava brackets are now fully supported as a feature. The syntax
366 @item Metronome markings are printed when a \tempo command is processed.
370 @item Fingerings can be put on chords horizontally.
374 @item The appearance of various glyphs has been fine-tuned.
378 @item Different types of percent style repeats may now be nested.
382 @item The emacs support has been extended.
386 The manual has been completely revised and extended.
390 @chapter New features in 1.6 since 1.4
396 Support for figured bass and tablature.
399 Completely rewritten beam formatting: provides much better output
404 Completely revised and improved music font.
408 Completely rewritten MIDI import support.
411 Completely rewritten grace note support. Practically speaking this
412 means that grace notes can be slurred to normal normal notes.
416 Improved accidental handling and formatting: styles for producing
417 cautionaries may vary, and complex collisions between accidentals of a
418 chord are handled much better.
421 Better spacing: both globally and locally. This includes subtle
422 details like optical stem spacing.
425 More support for ancient notation: mensural ligatures, ambitus
426 (pitch range) of voices, more shapes, etc.
429 More support for piano notation: bracket pedals, directed arpeggios,
433 Easier music polyphonic music entry.
436 More extensibility, many speedups and bugfixes
439 The manual has been thoroughly revised.
442 Development is now hosted at http://savannah.gnu.org, and sources
443 can be downloaded through anonymous CVS.
446 Support for windows: LilyPond is part of the cygwin distribution,
447 which comes with a user-friendly installer.