1 \input texinfo @c -*-texinfo-*-
8 @chapter New features in 1.9 since 1.8
13 Each music expression can now be tagged, to make different printed
14 versions from the same music expression. In the following example,
15 we see two versions of a piece of music, one for the full score, and
16 one with cue notes for the instrumental part:
19 @{ c4 f2 g @} % in the part, we have cue-notes
21 \tag #'score R1 % in the score: only a rest
25 The same can be applied to articulations, texts, etc.: they are
28 -\tag #@var{your-tag(s)}
30 to an articulation, for example,
32 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
35 This defines a note, which has a fingering and a string-number
41 Markup text (ie. general text formatting) may now be used for lyrics too.
44 Two new commands for grace notes have been added, @code{\acciaccatura}
45 and @code{\appoggiatura},
52 Both reflect the traditional meanings of acciaccatura and appogiatura,
53 and both insert insert a slur from the first grace note to the main
57 Layout options for grace notes are now stored in a context property,
58 and may now be set separately from musical content.
61 The @code{\new} command will create a context with a unique
62 name automatically. Hence, for multi-staff scores, it is no longer
63 necessary to invent arbitrary context names. For example, a two-staff
64 score may be created by
68 \new Staff @{ @var{notes for 1st staff} @}
69 \new Staff @{ @var{notes for 2nd staff} @}
76 Octave checks make octave errors easier to correct.
83 This checks that @var{pitch} (without octave) yields @var{pitch} (with
84 octave) in \relative mode. If not, a warning is printed, and the
88 All articulations must now be entered postfix. For example,
95 is a pair of beamed slurred eighth notes.
98 The definition of @code{\relative} has been simplified. Octaves are
99 now always propagated in the order that music is entered. In the
104 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
109 the octave of BODY is based on PRE, the starting octave of ALT1 on
110 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
113 The same mechanism is used for all other music expressions, except the
114 chord. Backwards compatibility is retained through a special program option,
118 #(ly:set-option 'old-relative)
126 @chapter New features in 1.8 since 1.6
131 The chord entry code has been completely rewritten. It is now
132 cleaner and more flexible.
135 A new syntax has been added for text entry. This syntax is more
136 friendly than the old mechanism, and it is implemented in a more
137 robust and modular way. For more information, refer to the section on
138 "Text markup" in the notation manual.
141 The integration of the input language and Scheme has been made deeper:
142 you can now use LilyPond identifiers in Scheme, and use Scheme
143 expressions instead of LilyPond identifiers.
146 The internal representation of music has been cleaned up completely
147 and converted to Scheme data structures. The representation may be
151 A new uniform postfix syntax for articulation has been introduced.
152 A beamed slurred pair of eighth notes can be entered as
158 In version 2.0, postfix syntax will be the only syntax
159 available, and the dashes will become optional.
161 This will simplify the language: all articulations can be entered as
162 postfix, in any order.
165 A new syntax has been added for chords:
172 It is not necessary to update files to this syntax, but it will be for
173 using LilyPond version 2.0. In version 2.0, this syntax will be
183 \simultaneous @{ .. @}
186 for simultaneous music.
188 To convert your files from <PITCHES> to <<PITCHES>>, use the script
189 included in buildscripts/convert-new-chords.py
191 This change was introduced for the following reasons
195 It solves the "start score with chord" problem, where you have to
196 state \context Voice explicitly when a chord was the start of a
199 With the new syntax, it is possible to distinguish between
200 articulations (or fingerings) which are for a single chord note,
201 and which are for the entire chord. This allows for per-note
202 fingerings, and is more logical on the whole.
206 User code may now be executed during interpreting. The syntax for
210 \applycontext #SCHEME-FUNCTION
214 User code may now be executed on arbitrary grobs during interpreting.
215 The syntax for this feature is
218 \applyoutput #SCHEME-FUNCTION
222 SCHEME-FUNCTION takes a single argument, and is called for every grob
223 that is created in the current context.
226 New algorithms for chord-name formatting have been installed. They
227 can be tuned and have ergonomic syntax for entering exceptions.
230 Texts may now be put on multimeasure rests, e.g.
233 R1*20^\markup @{ "GP" @}
237 Ancient notation now prints ligatures in Gregorian square neumes
238 notation, roughly following the typographical style of the Liber
239 hymnarius of Solesmes, published in 1983. Ligatures are still printed
240 without the proper line breaking and horizontal spacing.
243 Glissandi can now be printed using the zigzag style.
246 LilyPond can now print clusters. The syntax is
249 \apply #notes-to-clusters @{ NOTE NOTE .. @}
253 For irregular meters, beat grouping marks can be printed. The
257 #(set-time-signature 7 8 '(3 2 2))
262 Nested horizontal brackets for music analysis can now be printed:
271 @item Ottava brackets are now fully supported as a feature. The syntax
279 @item Metronome markings are printed when a \tempo command is processed.
283 @item Fingerings can be put on chords horizontally.
287 @item The appearance of various glyphs has been fine-tuned.
291 @item Different types of percent style repeats may now be nested.
295 @item The emacs support has been extended.
299 The manual has been completely revised and extended.
303 @chapter New features in 1.6 since 1.4
309 Support for figured bass and tablature.
312 Completely rewritten beam formatting: provides much better output
317 Completely revised and improved music font.
321 Completely rewritten MIDI import support.
324 Completely rewritten grace note support. Practically speaking this
325 means that grace notes can be slurred to normal normal notes.
329 Improved accidental handling and formatting: styles for producing
330 cautionaries may vary, and complex collisions between accidentals of a
331 chord are handled much better.
334 Better spacing: both globally and locally. This includes subtle
335 details like optical stem spacing.
338 More support for ancient notation: mensural ligatures, ambitus
339 (pitch range) of voices, more shapes, etc.
342 More support for piano notation: bracket pedals, directed arpeggios,
346 Easier music polyphonic music entry.
349 More extensibility, many speedups and bugfixes
352 The manual has been thoroughly revised.
355 Development is now hosted at http://savannah.gnu.org, and sources
356 can be downloaded through anonymous CVS.
359 Support for windows: LilyPond is part of the cygwin distribution,
360 which comes with a user-friendly installer.