[linux-audio-announce] (no subject)

Han-Wen Nienhuys hanwen at cs.uu.nl
Fri Sep 19 10:36:24 EDT 2003

Subject: LilyPond 2.0 prerelease available
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I have just released Lilypond 1.9.8. Relative to 1.9.7, it has a
number of small bugfixes and sports dotted hairpin crescendos.
However, this release also marks the end of my 2.0 release TODO
list. In other words, 1.9.8 is the first (and hopefully only) LilyPond
2.0 release candidate.

Please download and test it as widely as possible, before it is
released some time next week.



New features in 2.0 since 1.8

   * Crescendos can now be drawn dotted or stippled.

   * Quarter tones are now supported. They are entered by suffixing
     `ih' for a half-sharp and `eh' for a half-flat. Hence, the
     following is an ascending list of pitches:

            ceses ceseh ces ceh c cih cis cisih cisis

   * The following constructs have been removed from the syntax:

            \duration #SCHEME-DURATION
            \pitch #SCHEME-PITCH
            \outputproperty FUNC SYMBOL = VALUE

     For `\outputproperty', the following may be substituted:

             \applyoutput #(outputproperty-compatibility FUNC
                            SYMBOL VALUE)

   * Clefs may now be transposed arbitrarily, for example

            \clef "G_8"
            \clef "G_15"
            \clef "G_9"

   * The syntax for chords and simultaneous music have changed.  Chords
     are entered as


     while simultaneous music is entered as

             <<..MUSIC LIST..>>

     In effect, the meanings of both have been swapped relative to
     their 1.8 definition.  The syntax for lists in `\markup' has
     changed alongside, but figured bass mode was not  changed, i.e.:

            \markup { \center <..LIST OF MARKUPS..> }
            \figure { <figures> }

     As chords the more often used than simultaneous music, this change
     will save keystrokes.

   * 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:

          < \tag #'part <
            { c4 f2 g }      % in the part, we have cue-notes
            \\ R1 >
            \tag #'score R1  % in the score: only a rest

     The same can be applied to articulations, texts, etc.: they are
     made by prepending

                  -\tag #YOUR-TAGS

     to an articulation, for example,

                  c4-\tag #'with-fingerings -4 -\tag #'with-strings \6

     This defines a note, which has a conditional fingering and a
     string-number indication.

   * The settings for chord-fingering are more flexible. You can
     specify a list where fingerings may be placed, eg.

          	\property Voice.fingeringOrientations = #'(left down)

     This will put the fingering for the lowest note below the chord,
     and the rest to the left.

   * The script previously known as `ly2dvi' has been renamed to
     `lilypond'. The binary itself is now installed as `lilypond-bin'.

   * Markup text (ie. general text formatting) may now be used for
     lyrics too.

   * Two new commands for grace notes have been added, `\acciaccatura'
     and `\appoggiatura',

            \appoggiatura f8 e4
            \acciaccatura g8 f4

     Both reflect the traditional meanings of acciaccatura and
     appogiatura, and both insert insert a slur from the first grace
     note to the main note.

   * Layout options for grace notes are now stored in a context
     property, and may now be set separately from musical content.

   * The `\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

            \simultaneous {
              \new Staff { NOTES FOR 1ST STAFF }
              \new Staff { NOTES FOR 2ND STAFF }

   * Octave checks make octave errors easier to correct.  The syntax is

            \octave PITCH

     This checks that PITCH (without octave) yields PITCH (with octave)
     in \relative mode. If not, a warning is printed, and the octave is

   * All articulations must now be entered postfix. For example,

          	c8[( d8])

     is a pair of beamed slurred eighth notes.

   * The definition of `\relative' has been simplified.  Octaves are
     now always propagated in the order that music is entered. In the
     following example,

            \repeat "unfold" 3  BODY \alternative { ALT1 ALT2 }

     the octave of BODY is based on PRE, the starting octave of ALT1 on
     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, which is set through

            #(ly:set-option 'old-relative)


Han-Wen Nienhuys   |   hanwen at cs.uu.nl   |   http://www.xs4all.nl/~hanwen 

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