1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
12 With the new @code{tieWaitForNote} property, arpeggios may be written
13 out using ties, for example,
15 @lilypond[fragment,verbatim,relative=1,raggedright]
16 \set tieWaitForNote = ##t
17 \grace { c16[~ e~ g]~ } <c, e g>4
20 Thanks to Steve Doonan for funding development of this feature.
23 Individual objects may be assigned colors, for example,
25 @lilypond[fragment,relative=1,verbatim,raggedright]
26 \override Beam #'color = #cyan
27 \override NoteHead #'color = #darkyellow
32 The PostScript backend is now used by default. This backend requires
33 less machinery to run, and gives more consistent results.
35 Due bugs in GhostScript's PDF handling, it is recommended to upgrade
39 Separator slashes may be inserted between systems in a score. For an
41 @file{input/regression/system-separator.ly}:
43 @lilypondfile{system-separator.ly}
46 Locations of errors in the input are now calculated more precisely.
49 LilyPond now uses Pango and FontConfig for selecting and rendering
50 internationalized text in non-@TeX{} backends. A font may be selected
51 by using a FontConfig name,
54 \override TextScript #'font-name = #"Serif"
59 or using the classic font selection mechanism
62 \override TextScript #'font-family = #'roman
63 \override TextScript #'font-series = #'bold
66 Any Type1 and TrueType font recognized by FontConfig is available in
70 Input strings encoded in UTF-8 are then rendered through Pango.
73 Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
74 using the @code{-f texstr} output backend. This provides exact metrics
75 for texts, including kerning and accents.
78 LilyPond now uses FreeType read the Feta font as an OpenType
79 font. This is cleaner design and more robust. A recent version of
80 FontForge (11122004 or newer) and Freetype is required.
82 As a result, the SVG backend is now a fully functional backend.
85 A new script, @code{\espressivo} has been added, for a combination of
86 crescendo and decrescendo on a single note.
89 In markups, expressions stacked with @code{\column},
90 @code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
91 but with @code{@{ ... @}}, eg:
94 \line @{ first line @}
95 \line @{ second line @}
100 LilyPond will now avoid line breaks that cause long texts to stick
101 outside of the page staff.
104 Grace notes following a main note, used to be entered by letting the
105 grace notes follow a skip in a parallel expression, for example,
109 { s2 \grace { c16[ d] } } >>
114 This can now be shortened by doing
117 \afterGrace @{ d1 @} @{ c16[ d] @}
121 Pagebreaks can now be forced or forbidden after title blocks. This is
122 achieved by setting @code{breakbefore} in the @code{\header} block to
126 Shaped note heads. This feature has been sponsored by Jonathan Walther.
129 Layout for titles, page header and footer can now be entered as
130 @code{\markup} commands.
132 @item Positioning of slurs can now be adjusted manually
134 @item Grace notes are correctly quoted and formatted when using cue notes.
136 @item Cue notes can now be created with
139 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
143 This will set stem directions and put the cue notes in the @code{cue}
146 @item Stemlets, short stems over beamed rests, have been added.
151 @unnumbered New features in 2.4 since 2.2
155 @item Parts that use @code{\quote} can now be transposed.
157 @item LilyPond does not try to produce output for files that
160 @item @code{lilypond-book} will now remove any output files that
161 contain failed music snippets.
163 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
164 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
165 command @code{\chords} is an abbreviation for
168 \new ChordNames \chordmode ...
172 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
175 @item The types of events quoted with @code{\quote} can now be tuned
176 with @code{quotedEventTypes}. By default, only notes and rests end up
179 @item LilyPond will try to keep
180 staves at the same distances across a page, but it will stretch
181 distances to prevent collisions. This results in a more even
182 appearance of the page.
184 @item Key signature cancellations are now printed before the bar line,
185 and their appearance has been improved.
187 @item Different voices that all use @code{\quote} can now refer to
191 @item The automatic staff changer, which is invoked with
192 @code{\autochange}, now creates the @code{up} and @code{down} staff
193 automatically, and uses bass clef for the bottom staff.
195 @item There is now support for putting two slurs on chords, both above
196 and below. This is switched on with the @code{doubleSlurs} property.
198 @item Running trills now have their own spanner and event,
201 c1\startTrillSpan c4\stopTrillSpan
204 @item There is a new markup command @code{\postscript} that takes a
205 string that is dumped as verbatim PostScript in the output.
207 @item The melody for a @code{\lyricsto} text can be changed during a
208 melody by setting the @code{associatedVoice} property.
210 @item The @code{\lyricsto} keyword now automatically switches on
213 @item The LilyPond binary now supports output options
214 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
215 @code{--preview}. The old wrapper script for La@TeX{} has been
216 renamed to @code{lilypond-latex}.
218 @item Support for ambitus has been rewritten. The Ambitus object is now
219 a grouping object, composed of @code{AmbitusLine},
220 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
221 be tuned similar to accidentals and note heads.
223 @item Ledger lines are now shortened when the spacing is tight. This
224 prevents ledger lines from colliding with each other.
226 @item Slur formatting has been rewritten. The new slur code
227 works similar to the Beam formatter: scores are assigned for all
228 esthetic components of a slur. A large number of combinations for
229 begin and end points is then tried out. Slurs will now also take into
230 account collisions with staff lines, scripts (like staccato and
231 accent) and accidentals.
234 @item In the LilyPond emacs mode, entering @code{|} will display the
235 current beat within the measure.
237 @item Colliding notes are now correctly aligned relative to notes in other staves.
239 @item An experimental GNOME output backend is available for developers.
240 It depends on several unreleased packages such as gnome-guile TLA and
241 Pango CVS. The output interface coverage is sparse, but it already
242 does support point-and-click on the GNOME Canvas. See also
243 @file{scm/output-gnome.scm}.
245 @item Context definitions are now stored in identifiers that match the
246 context name, in other words, to modify a @code{Staff} context, the
247 following code may be used.
257 The @code{\paper} block has been renamed to @code{\layout}. A new
258 @code{\paper} block has been introduced to hold settings for paper
259 size and output scaling. Further options include @code{raggedbottom}
260 (if set, systems are not vertically filled to reach the bottom of the
261 page), and @code{raggedlastbottom}.
264 @item Support for fret diagrams has been contributed by Carl
265 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
267 @item The @code{--safe-mode} has been revisited: GUILE evaluation
268 is done in the R5RS safe module, with only the basic @code{ly:}
269 interface available and malicious @TeX{} code is stopped. However, to
270 be reasonably safe, you are advised to use the PostScript backend
271 rather than the @TeX{} backend anyway; and if possible use an UML
272 sandbox to run gs or latex.
274 @item Music syntax can now be extended seamlessly. As an example,
275 here is the new implementation @code{\applymusic},
278 applymusic = #(ly:make-music-function
279 (list procedure? ly:music?) ; signature
280 (lambda (where func music) ; the function
284 @item @code{\apply} has been renamed to @code{\applymusic}.
286 @item Music can be used as a markup.
287 When inserting a @code{score} block as part of a @code{\markup}, it
288 produces a rendered markup of the music. An example is in
289 @file{input/test/markup-score.ly}.
291 @item LilyPond expressions can be embedded into Scheme. The syntax for
292 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
293 introduced using a @code{$} character (@code{$$} results in a single
294 `$' character). These forms are then inserted in the pattern.
297 #(define (textoffset dx dy)
299 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
303 %% The following embedded scheme call is the same as
304 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
306 c'^"text with offset"
310 @item A music list at toplevel is interpreted as implicit @code{\score}
311 a @code{\score} block at toplevel is interpreted as an implicit
312 @code{\book} and @code{\notemode} mode is the default lexer mode. The
316 \header @{ title = "The Title" @}
323 \header @{ title = "The Title" @}
326 \notemode @{ a b c @}
331 This is handled by the function defined in
332 @code{toplevel-music-handler}. Similarly, @code{\score} and
333 @code{\book} are handled by @code{toplevel-score-handler} and a
334 @code{toplevel-book-handler}. By changing these variables, different
335 results can be obtained.
337 @item Mode changing commands,
338 such as @code{\chordmode} and @code{\figuremode} must now be directly
339 followed by delimiters. The following example demonstrates the new
343 \figuremode \context Figures { .. } % wrong
344 \context Figures \figuremode { .. } % right
348 @item The starting pitch for @code{relative} music is optional for music lists.
349 The default value is middle C.
351 @item Combining lyrics with music can be done with @code{\addlyrics}
356 d2 d c4 bes a2 \break
359 My first Li -- ly song,
362 Not much can go wrong!
366 Syntactically, @code{\addlyrics} is an infix operator. It is a
367 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
368 and @code{\lyricsto}.
370 @item The parser is encapsulated in a Scheme function
371 @code{ly:parse-file}, so the following fragment processes two files
374 #(ly:parse-file "another.ly")
375 \score { \notes { c4 }}
378 @item The @code{font-encoding} property can now be used to select
379 differently encoded fonts. The previous default setting
380 @code{TeX-text} has been replaced by latin1. LilyPond requires the
381 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
382 package installed to function properly.
384 @item The encoding of a file can be switched with
385 @code{\encoding}. The strings for markup texts are translated
388 @item The toplevel block @code{\book} introduces page layout.
389 A @code{\book} groups @code{\score} blocks into one page layout
390 entity. For example, two scores are combined in one book with
401 Titling and page breaks are handled by LilyPond. Page breaks may be
402 inserted manually with
409 Invoking @code{lilypond} runs the actual binary, which not use
410 La@TeX{} for titling or page layout. If you need La@TeX{} code in
411 titles, you can use the @code{lilypond-book} program. The former
412 @code{lilypond} script has been retained as @code{lilypond-latex}.
414 @item There is now less of a noticeable ``hook'' at the end of a long slur.
416 @item The meaning of the @code{|} in the input can be redefined, by
417 assigning a music expression to @code{pipeSymbol}.
423 @c ****************************************************************
425 @unnumbered New features in 2.2 since 2.0
429 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
430 causes the last line to be set flush-left instead of justified.
432 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
433 its containing context automatically.
435 @item The code for font selection has been rewritten. In addition to
436 existing font selection properties, the property @code{font-encoding}
437 has been added, which makes the switch between normal @code{text} and
438 other encodings like @code{braces}, @code{music} and @code{math}.
440 @item The pmx2ly script has been removed from the distribution.
442 @item Pedal brackets will now run to the last bar of a piece if they are not
445 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
447 @item Property functions may be used as an argument to @code{set!},
451 (set! (ly:grob-property grob 'beam) ... )
454 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
457 @item Cue notes can be quoted directly from the parts that
458 contain them. This will take into account transposition of source and target
459 instrument. For example,
462 \addquote clarinet \notes\relative c' {
468 \notes \relative c'' {
469 c8 d8 \quote 2 oboe es8 gis
474 @item The transposition of an instrument can be specified using the
475 @code{\transposition} command. An
476 E-flat alto saxophone is specified as
482 @item The naming of exported Scheme functions now follows Scheme conventions.
483 Changes be applied to Scheme files with
486 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
490 @item Notes can be excluded from auto-beaming, by marking them with
497 will print two separate eighth notes, and two beamed notes.
499 @item Translators and contexts have been split. The result of this
500 internal cleanup is that @code{Score} no longer is the top context;
501 @code{Score} is contained in the @code{Global} context. Consequently,
502 it is possible to tweak @code{Score} as follows:
505 \context Score \with @{
510 @item The number of staff lines in Tablature notation is now
511 automatically deduced from the @code{stringTunings} property.
513 @item The program reference has been cleaned up and revised.
515 @item The syntax for setting properties has been simplified:
516 the following table lists the differences:
521 \property A.B = #C \set A.B = #C
522 \property A.B \unset \unset A.B
523 \property A.B \set #C = #D \override A.B #C = #D
524 \property A.B \override #C = #D (removed)
525 \property A.B \revert #C \revert A.B #C
528 Furthermore, if @code{A} is left out, the bottommost context is used
529 by default. In other words, it is no longer necessary to explicitly
530 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
535 \property Voice.autoBeaming = ##f
536 \property Staff.TimeSignature \set #'style = #'C
542 \set autoBeaming = ##f
543 \override Staff.TimeSignature #'style = #'C
547 @item Tweaks made with @code{\override} and @code{\revert} no longer
548 hide tweaks at higher context levels.
550 @item Melismata in lyrics are also properly handled in the MIDI output.
552 @item The lilypond-book script has been rewritten.
553 It is shorter, cleaner and faster. The special construct
554 @code{mbinclude} has been removed, plain @code{@@include} or
555 @code{\input} can be used now.
557 It now supports running convert-ly on the lilypond snippets,
559 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
562 @item The @code{LyricsVoice} context has been removed. Lyrics should only
563 be constructed in @code{Lyrics}.
565 @item The @code{Thread} context has been removed. Note heads and rests
566 are now constructed at @code{Voice} level.
568 @item Harmonic notes can now be entered as
574 @item Drum notation is now supported as a regular feature:
575 percussion may be entered in @code{\drums} mode, and printed or
576 performed in a @code{DrumStaff} context:
580 \drums \new DrumStaff @{ hihat4 cowbell8 @}
584 @item The automatic staff changer was internally rewritten. As a
585 result, the syntax has been simplified as well:
588 \autochange @var{the-music}
591 @item The ergonomic syntax of @code{\markup} now has an equivalent in
592 Scheme. The @code{markup*} macro creates such objects; the following
593 two markup commands are equivalent:
595 f4^#(markup* #:raise 0.2 #:bold "hi")
596 f4^\markup @{ \raise #0.2 \bold hi @}
599 @item Voice names, for vocal lines, have been added. They are similar
600 to instrument names. They can be set by defining @code{vocalName}
603 @item Safe mode has been reinstated for lilypond.
604 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
605 PostScript file output is disallowed, and lilypond-bin is invoked with
606 @code{--safe-mode}, the user's Guile expressions are evaluated in a
607 safe environment and file inclusion is not allowed.
609 Warning: this does not protect against denial-of-service attacks using
610 Guile, @TeX{} or PostScript.
612 (This feature is still experimental.)
614 @item There is now a Scheme macro for defining markup
615 commands. Special mark-up commands can be defined in user-files too.
617 @item Many fixes for dimension scaling have been made,
618 resulting in correct results for scores that mix staves in different
621 @item Improved robustness when layout properties are accidentally removed.
623 @item A more cleanly constructed part combiner has been installed.
624 It is more robust and less buggy. The part-combiner can be used with
626 \partcombine @var{mus1} @var{mus2}
630 See @file{input/regression/new-part-combine.ly} for an example.
632 @item Formatting of rehearsal marks has been improved. The @code{\mark}
633 command now only does automatic incrementing for marks specified as
634 integer. For example, @code{\mark #1} will print an A in the default
635 style. See @file{input/regression/rehearsal-mark-letter.ly},
636 @file{input/regression/rehearsal-mark-number.ly}.
638 @item Formatting of ottava brackets has been much improved.
640 @item Objects in the output can now be documented: the following fragment
641 boxes the note head, and adds the text ``heads or tails?'' three
642 spaces below the box.
645 \context Voice \applyoutput #(add-balloon-text
646 'NoteHead "heads, or tails?"
654 @item Default staff sizes are now scalable. There are two new mechanisms for
655 setting staff sizes. Both are demonstrated in this fragment:
658 #(set-global-staff-size 15)
660 #(paper-set-staff-size (* 15 pt))
666 Both have the same effect on the global layout of a piece. Similarly,
667 the paper size may be changed as follows
670 #(set-default-paper-size "a4")
672 #(set-paper-size "a4")
677 @item Warnings for bar check errors are more cleverly printed. This
678 makes @code{barCheckSynchronize} superfluous, so it is now switched
681 Warning: this will cause problems in scores that use bar checks to
684 @item The black note head was made a little rounder, which causes a less
685 frantic graphic impression.
688 A more concise syntax for checking octaves was introduced. A note may
689 be followed by @code{=}@var{quotes} which indicates what its absolute
690 octave should be. In the following example,
693 \relative c'' @{ c='' b=' d,='' @}
697 the d will generate a warning, because a d'' is
698 expected, but a d' is found.
699 @c @code adds ` ', very confusing.
701 @item There is a new mechanism for putting lyrics to melodies.
702 With this mechanism, @code{Lyrics} lines can be put melodies
703 individually, allowing for different melismatic sections in every
704 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
706 @item Bar lines may now be dotted.
709 @item The documentation now has links to a wiki, where everyone can
710 add personal comments to the manual.
712 @item Contexts may now be changed locally for an isolated music
713 expression. For example,
717 \consists "Pitch_squash_engraver"
723 @item The syntax for changing staffs has changed. The keyword
724 @code{\change} should now be used, e.g.
730 @item Features of spanner contexts, like @code{Staff}, can now be changed
731 using @code{\set}, eg.
735 \override Staff.StaffSymbol #'line-count = #4
741 puts a quarter note C on a staff with 4 lines.
744 @item Multi measure rests are now truly centered between the
745 clefs/barlines of the staff, their position is independent of symbols
748 @item Collision resolution for dots in chords has been improved greatly.
751 Spacing following barlines was improved for widely stretched lines.
754 Lyric hyphens and extenders now conform to standard typesetting
758 Lyrics are now aligned under note heads conforming to engraving
759 standards. The responsible code has been rewritten, and is drastically
760 simpler from the previous version. To aid this rewrite, the syntactic
761 function of the extender line ( __ ) has been changed: it is now
762 attached to the lyric syllable.
765 When redefining a context, the associated identifier is also
766 updated. For example, after reading
776 the definition of @code{ScoreContext} is updated to include the changed
781 The weight of the stafflines is now heavier at smaller staff sizes.
782 The font has been modified to match this look: at smaller sizes, the
783 font is heavier and the note heads are more rounded.
785 @item Processing scores is now done while parsing the file. New
786 Scheme functions give more flexibility: for example, it is now possible
787 interpret a score, collecting synchronized musical events in a list, and
788 manipulate that information using inline Scheme. For an example, see
789 @file{input/no-notation/recording.ly}.
791 @item Font sizes can now truly be scaled continuously: the @code{font-size}
792 is similar to the old @code{font-relative-size}, but may be set to
793 fractional values; the closest design size will be scaled to achieve
794 the desired size. As a side-effect, there are now no longer
795 limitations in using smaller fonts (eg. grace notes) at small staff
798 @item Stem tips are now also engraved with rounded corners.
801 The placement of accidentals on chords and ledgered notes is improved.
806 @unnumbered New features in 2.0 since 1.8
811 Crescendos can now be drawn dotted or dashed.
814 Quarter tones are now supported. They are entered by suffixing
815 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
816 following is an ascending list of pitches:
819 ceses ceseh ces ceh c cih cis cisih cisis
823 The following constructs have been removed from the syntax:
826 \duration #SCHEME-DURATION
828 \outputproperty @var{func} @var{symbol} = @var{value}
831 For @code{\outputproperty}, the following may be substituted:
834 \applyoutput #(outputproperty-compatibility @var{func}
835 @var{symbol} @var{value})
839 Clefs may now be transposed arbitrarily, for example
849 The syntax for chords and simultaneous music have changed.
850 Chords are entered as
856 while simultaneous music is entered as
859 <<@var{..music list..}>>
862 In effect, the meanings of both have been swapped relative to their 1.8
863 definition. The syntax for lists in @code{\markup} has changed
864 alongside, but figured bass mode was not changed, i.e.:
867 \markup @{ \center <@var{..list of markups..}> @}
868 \figure @{ <@var{figures}> @}
871 As chords the more often used than simultaneous music, this change will
875 Each music expression can now be tagged, to make different printed
876 versions from the same music expression. In the following example,
877 we see two versions of a piece of music, one for the full score, and
878 one with cue notes for the instrumental part:
882 @{ c4 f2 g4 @} % in the part, we have cue-notes
884 \tag #'score R1 % in the score: only a rest
888 The same can be applied to articulations, texts, etc.: they are
892 -\tag #@var{your-tags}
895 to an articulation, for example,
898 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
901 This defines a note, which has a conditional fingering and a
902 string-number indication.
905 The settings for chord-fingering are more flexible. You can specify a
906 list where fingerings may be placed, eg.
909 \property Voice.fingeringOrientations = #'(left down)
912 This will put the fingering for the lowest note below the chord, and the
916 The script previously known as @code{ly2dvi} has been renamed to
917 @code{lilypond}. The binary itself is now installed as
921 Markup text (ie. general text formatting) may now be used for lyrics too.
924 Two new commands for grace notes have been added, @code{\acciaccatura}
925 and @code{\appoggiatura},
932 Both reflect the traditional meanings of acciaccatura and appogiatura,
933 and both insert insert a slur from the first grace note to the main
937 Layout options for grace notes are now stored in a context property,
938 and may now be set separately from musical content.
941 The @code{\new} command will create a context with a unique
942 name automatically. Hence, for multi-staff scores, it is no longer
943 necessary to invent arbitrary context names. For example, a two-staff
944 score may be created by
948 \new Staff @{ @var{notes for 1st staff} @}
949 \new Staff @{ @var{notes for 2nd staff} @}
956 Octave checks make octave errors easier to correct.
963 This checks that @var{pitch} (without octave) yields @var{pitch} (with
964 octave) in \relative mode. If not, a warning is printed, and the
968 All articulations must now be entered postfix. For example,
975 is a pair of beamed slurred eighth notes.
978 The definition of @code{\relative} has been simplified. Octaves are
979 now always propagated in the order that music is entered. In the
984 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
989 the octave of BODY is based on PRE, the starting octave of ALT1 on
990 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
993 The same mechanism is used for all other music expressions, except the
994 chord. Backwards compatibility is retained through a special program option,
998 #(ly:set-option 'old-relative)
1002 Windows users can double click a @code{.ly} file to process and view
1003 it automagically through the new @code{lily-wins} frontend.
1010 @unnumbered New features in 1.8 since 1.6
1015 The chord entry code has been completely rewritten. It is now
1016 cleaner and more flexible.
1019 A new syntax has been added for text entry. This syntax is more
1020 friendly than the old mechanism, and it is implemented in a more
1021 robust and modular way. For more information, refer to the section on
1022 "Text markup" in the notation manual.
1025 The integration of the input language and Scheme has been made deeper:
1026 you can now use LilyPond identifiers in Scheme, and use Scheme
1027 expressions instead of LilyPond identifiers.
1030 The internal representation of music has been cleaned up completely
1031 and converted to Scheme data structures. The representation may be
1035 A new uniform postfix syntax for articulation has been introduced.
1036 A beamed slurred pair of eighth notes can be entered as
1042 In version 2.0, postfix syntax will be the only syntax
1043 available, and the dashes will become optional.
1045 This will simplify the language: all articulations can be entered as
1046 postfix, in any order.
1049 A new syntax has been added for chords:
1056 It is not necessary to update files to this syntax, but it will be for
1057 using LilyPond version 2.0. In version 2.0, this syntax will be
1067 \simultaneous @{ .. @}
1070 for simultaneous music.
1072 To convert your files from <PITCHES> to <<PITCHES>>, use the script
1073 included in @file{buildscripts/convert-new-chords.py}.
1075 This change was introduced for the following reasons
1079 It solves the "start score with chord" problem, where you have to
1080 state \context Voice explicitly when a chord was the start of a
1083 With the new syntax, it is possible to distinguish between
1084 articulations (or fingerings) which are for a single chord note,
1085 and which are for the entire chord. This allows for per-note
1086 fingerings, and is more logical on the whole.
1090 User code may now be executed during interpreting. The syntax for
1094 \applycontext #SCHEME-FUNCTION
1098 User code may now be executed on arbitrary grobs during interpreting.
1099 The syntax for this feature is
1102 \applyoutput #SCHEME-FUNCTION
1106 SCHEME-FUNCTION takes a single argument, and is called for every grob
1107 that is created in the current context.
1110 New algorithms for chord-name formatting have been installed. They
1111 can be tuned and have ergonomic syntax for entering exceptions.
1114 Texts may now be put on multimeasure rests, e.g.
1117 R1*20^\markup @{ "GP" @}
1121 Ancient notation now prints ligatures in Gregorian square neumes
1122 notation, roughly following the typographical style of the Liber
1123 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1124 without the proper line breaking and horizontal spacing.
1127 Glissandi can now be printed using the zigzag style.
1130 LilyPond can now print clusters. The syntax is
1133 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1137 For irregular meters, beat grouping marks can be printed. The
1141 #(set-time-signature 7 8 '(3 2 2))
1146 Nested horizontal brackets for music analysis can now be printed:
1155 @item Ottava brackets are now fully supported as a feature. The syntax
1163 @item Metronome markings are printed when a \tempo command is processed.
1167 @item Fingerings can be put on chords horizontally.
1171 @item The appearance of various glyphs has been fine-tuned.
1175 @item Different types of percent style repeats may now be nested.
1179 @item The emacs support has been extended.
1183 The manual has been completely revised and extended.
1187 @unnumbered New features in 1.6 since 1.4
1193 Support for figured bass and tablature.
1196 Completely rewritten beam formatting: provides much better output
1201 Completely revised and improved music font.
1205 Completely rewritten MIDI import support.
1208 Completely rewritten grace note support. Practically speaking this
1209 means that grace notes can be slurred to normal normal notes.
1213 Improved accidental handling and formatting: styles for producing
1214 cautionaries may vary, and complex collisions between accidentals of a
1215 chord are handled much better.
1218 Better spacing: both globally and locally. This includes subtle
1219 details like optical stem spacing.
1222 More support for ancient notation: mensural ligatures, ambitus
1223 (pitch range) of voices, more shapes, etc.
1226 More support for piano notation: bracket pedals, directed arpeggios,
1230 Easier music polyphonic music entry.
1233 More extensibility, many speedups and bugfixes
1236 The manual has been thoroughly revised.
1239 Development is now hosted at http://savannah.gnu.org, and sources
1240 can be downloaded through anonymous CVS.
1243 Support for windows: LilyPond is part of the cygwin distribution,
1244 which comes with a user-friendly installer.