1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
12 Locations of errors in the input are now calculated more precisely.
15 LilyPond now uses Pango and FontConfig for selecting and rendering
16 internationalized text in non-@TeX{} backends. A font may be selected
17 by using a FontConfig name,
20 \override TextScript #'font-name = #"Serif"
25 or using the classic font selection mechanism
28 \override TextScript #'font-family = #'roman
29 \override TextScript #'font-series = #'bold
33 Input strings encoded in UTF-8 are then rendered through Pango.
36 Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
37 using the @code{-f texstr} output backend. This provides exact metrics
38 for texts, including kerning and accents.
41 LilyPond now uses FreeType read the Feta font as an OpenType
42 font. This is cleaner design and more robust. A recent version of
43 FontForge (11122004 or newer) and Freetype is required.
45 As a result, the SVG backend is now a fully functional backend.
48 A new script, @code{\espressivo} has been added, for a combination of
49 crescendo and decrescendo on a single note.
52 In markups, expressions stacked with @code{\column},
53 @code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
54 but with @code{@{ ... @}}, eg:
57 \line @{ first line @}
58 \line @{ second line @}
63 LilyPond will now avoid line breaks that cause long texts to stick
64 outside of the page staff.
67 Grace notes following a main note, used to be entered by letting the
68 grace notes follow a skip in a parallel expression, for example,
72 { s2 \grace { c16[ d] } } >>
77 This can now be shortened by doing
80 \afterGrace @{ d1 @} @{ c16[ d] @}
84 Pagebreaks can now be forced or forbidden after title blocks. This is
85 achieved by setting @code{breakbefore} in the @code{\header} block to
89 Shaped note heads. This feature has been sponsored by Jonathan Walther.
92 Layout for titles, page header and footer can now be entered as
93 @code{\markup} commands.
95 @item Positioning of slurs can now be adjusted manually
97 @item Grace notes are correctly quoted and formatted when using cue notes.
99 @item Cue notes can now be created with
102 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
106 This will set stem directions and put the cue notes in the @code{cue}
109 @item Stemlets, short stems over beamed rests, have been added.
114 @unnumbered New features in 2.4 since 2.2
118 @item Parts that use @code{\quote} can now be transposed.
120 @item LilyPond does not try to produce output for files that
123 @item @code{lilypond-book} will now remove any output files that
124 contain failed music snippets.
126 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
127 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
128 command @code{\chords} is an abbreviation for
131 \new ChordNames \chordmode ...
135 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
138 @item The types of events quoted with @code{\quote} can now be tuned
139 with @code{quotedEventTypes}. By default, only notes and rests end up
142 @item LilyPond will try to keep
143 staves at the same distances across a page, but it will stretch
144 distances to prevent collisions. This results in a more even
145 appearance of the page.
147 @item Key signature cancellations are now printed before the bar line,
148 and their appearance has been improved.
150 @item Different voices that all use @code{\quote} can now refer to
154 @item The automatic staff changer, which is invoked with
155 @code{\autochange}, now creates the @code{up} and @code{down} staff
156 automatically, and uses bass clef for the bottom staff.
158 @item There is now support for putting two slurs on chords, both above
159 and below. This is switched on with the @code{doubleSlurs} property.
161 @item Running trills now have their own spanner and event,
164 c1\startTrillSpan c4\stopTrillSpan
167 @item There is a new markup command @code{\postscript} that takes a
168 string that is dumped as verbatim PostScript in the output.
170 @item The melody for a @code{\lyricsto} text can be changed during a
171 melody by setting the @code{associatedVoice} property.
173 @item The @code{\lyricsto} keyword now automatically switches on
176 @item The LilyPond binary now supports output options
177 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
178 @code{--preview}. The old wrapper script for La@TeX{} has been
179 renamed to @code{lilypond-latex}.
181 @item Support for ambitus has been rewritten. The Ambitus object is now
182 a grouping object, composed of @code{AmbitusLine},
183 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
184 be tuned similar to accidentals and note heads.
186 @item Ledger lines are now shortened when the spacing is tight. This
187 prevents ledger lines from colliding with each other.
189 @item Slur formatting has been rewritten. The new slur code
190 works similar to the Beam formatter: scores are assigned for all
191 esthetic components of a slur. A large number of combinations for
192 begin and end points is then tried out. Slurs will now also take into
193 account collisions with staff lines, scripts (like staccato and
194 accent) and accidentals.
197 @item In the LilyPond emacs mode, entering @code{|} will display the
198 current beat within the measure.
200 @item Colliding notes are now correctly aligned relative to notes in other staves.
202 @item An experimental GNOME output backend is available for developers.
203 It depends on several unreleased packages such as gnome-guile TLA and
204 Pango CVS. The output interface coverage is sparse, but it already
205 does support point-and-click on the GNOME Canvas. See also
206 @file{scm/output-gnome.scm}.
208 @item Context definitions are now stored in identifiers that match the
209 context name, in other words, to modify a @code{Staff} context, the
210 following code may be used.
220 The @code{\paper} block has been renamed to @code{\layout}. A new
221 @code{\paper} block has been introduced to hold settings for paper
222 size and output scaling. Further options include @code{raggedbottom}
223 (if set, systems are not vertically filled to reach the bottom of the
224 page), and @code{raggedlastbottom}.
227 @item Support for fret diagrams has been contributed by Carl
228 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
230 @item The @code{--safe-mode} has been revisited: GUILE evaluation
231 is done in the R5RS safe module, with only the basic @code{ly:}
232 interface available and malicious @TeX{} code is stopped. However, to
233 be reasonably safe, you are advised to use the PostScript backend
234 rather than the @TeX{} backend anyway; and if possible use an UML
235 sandbox to run gs or latex.
237 @item Music syntax can now be extended seamlessly. As an example,
238 here is the new implementation @code{\applymusic},
241 applymusic = #(ly:make-music-function
242 (list procedure? ly:music?) ; signature
243 (lambda (where func music) ; the function
247 @item @code{\apply} has been renamed to @code{\applymusic}.
249 @item Music can be used as a markup.
250 When inserting a @code{score} block as part of a @code{\markup}, it
251 produces a rendered markup of the music. An example is in
252 @file{input/test/markup-score.ly}.
254 @item LilyPond expressions can be embedded into Scheme. The syntax for
255 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
256 introduced using a @code{$} character (@code{$$} results in a single
257 `$' character). These forms are then inserted in the pattern.
260 #(define (textoffset dx dy)
262 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
266 %% The following embedded scheme call is the same as
267 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
269 c'^"text with offset"
273 @item A music list at toplevel is interpreted as implicit @code{\score}
274 a @code{\score} block at toplevel is interpreted as an implicit
275 @code{\book} and @code{\notemode} mode is the default lexer mode. The
279 \header @{ title = "The Title" @}
286 \header @{ title = "The Title" @}
289 \notemode @{ a b c @}
294 This is handled by the function defined in
295 @code{toplevel-music-handler}. Similarly, @code{\score} and
296 @code{\book} are handled by @code{toplevel-score-handler} and a
297 @code{toplevel-book-handler}. By changing these variables, different
298 results can be obtained.
300 @item Mode changing commands,
301 such as @code{\chordmode} and @code{\figuremode} must now be directly
302 followed by delimiters. The following example demonstrates the new
306 \figuremode \context Figures { .. } % wrong
307 \context Figures \figuremode { .. } % right
311 @item The starting pitch for @code{relative} music is optional for music lists.
312 The default value is middle C.
314 @item Combining lyrics with music can be done with @code{\addlyrics}
319 d2 d c4 bes a2 \break
322 My first Li -- ly song,
325 Not much can go wrong!
329 Syntactically, @code{\addlyrics} is an infix operator. It is a
330 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
331 and @code{\lyricsto}.
333 @item The parser is encapsulated in a Scheme function
334 @code{ly:parse-file}, so the following fragment processes two files
337 #(ly:parse-file "another.ly")
338 \score { \notes { c4 }}
341 @item The @code{font-encoding} property can now be used to select
342 differently encoded fonts. The previous default setting
343 @code{TeX-text} has been replaced by latin1. LilyPond requires the
344 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
345 package installed to function properly.
347 @item The encoding of a file can be switched with
348 @code{\encoding}. The strings for markup texts are translated
351 @item The toplevel block @code{\book} introduces page layout.
352 A @code{\book} groups @code{\score} blocks into one page layout
353 entity. For example, two scores are combined in one book with
364 Titling and page breaks are handled by LilyPond. Page breaks may be
365 inserted manually with
372 Invoking @code{lilypond} runs the actual binary, which not use
373 La@TeX{} for titling or page layout. If you need La@TeX{} code in
374 titles, you can use the @code{lilypond-book} program. The former
375 @code{lilypond} script has been retained as @code{lilypond-latex}.
377 @item There is now less of a noticeable ``hook'' at the end of a long slur.
379 @item The meaning of the @code{|} in the input can be redefined, by
380 assigning a music expression to @code{pipeSymbol}.
386 @c ****************************************************************
388 @unnumbered New features in 2.2 since 2.0
392 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
393 causes the last line to be set flush-left instead of justified.
395 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
396 its containing context automatically.
398 @item The code for font selection has been rewritten. In addition to
399 existing font selection properties, the property @code{font-encoding}
400 has been added, which makes the switch between normal @code{text} and
401 other encodings like @code{braces}, @code{music} and @code{math}.
403 @item The pmx2ly script has been removed from the distribution.
405 @item Pedal brackets will now run to the last bar of a piece if they are not
408 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
410 @item Property functions may be used as an argument to @code{set!},
414 (set! (ly:grob-property grob 'beam) ... )
417 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
420 @item Cue notes can be quoted directly from the parts that
421 contain them. This will take into account transposition of source and target
422 instrument. For example,
425 \addquote clarinet \notes\relative c' {
431 \notes \relative c'' {
432 c8 d8 \quote 2 oboe es8 gis
437 @item The transposition of an instrument can be specified using the
438 @code{\transposition} command. An
439 E-flat alto saxophone is specified as
445 @item The naming of exported Scheme functions now follows Scheme conventions.
446 Changes be applied to Scheme files with
449 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
453 @item Notes can be excluded from auto-beaming, by marking them with
460 will print two separate eighth notes, and two beamed notes.
462 @item Translators and contexts have been split. The result of this
463 internal cleanup is that @code{Score} no longer is the top context;
464 @code{Score} is contained in the @code{Global} context. Consequently,
465 it is possible to tweak @code{Score} as follows:
468 \context Score \with @{
473 @item The number of staff lines in Tablature notation is now
474 automatically deduced from the @code{stringTunings} property.
476 @item The program reference has been cleaned up and revised.
478 @item The syntax for setting properties has been simplified:
479 the following table lists the differences:
484 \property A.B = #C \set A.B = #C
485 \property A.B \unset \unset A.B
486 \property A.B \set #C = #D \override A.B #C = #D
487 \property A.B \override #C = #D (removed)
488 \property A.B \revert #C \revert A.B #C
491 Furthermore, if @code{A} is left out, the bottommost context is used
492 by default. In other words, it is no longer necessary to explicitly
493 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
498 \property Voice.autoBeaming = ##f
499 \property Staff.TimeSignature \set #'style = #'C
505 \set autoBeaming = ##f
506 \override Staff.TimeSignature #'style = #'C
510 @item Tweaks made with @code{\override} and @code{\revert} no longer
511 hide tweaks at higher context levels.
513 @item Melismata in lyrics are also properly handled in the MIDI output.
515 @item The lilypond-book script has been rewritten.
516 It is shorter, cleaner and faster. The special construct
517 @code{mbinclude} has been removed, plain @code{@@include} or
518 @code{\input} can be used now.
520 It now supports running convert-ly on the lilypond snippets,
522 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
525 @item The @code{LyricsVoice} context has been removed. Lyrics should only
526 be constructed in @code{Lyrics}.
528 @item The @code{Thread} context has been removed. Note heads and rests
529 are now constructed at @code{Voice} level.
531 @item Harmonic notes can now be entered as
537 @item Drum notation is now supported as a regular feature:
538 percussion may be entered in @code{\drums} mode, and printed or
539 performed in a @code{DrumStaff} context:
543 \drums \new DrumStaff @{ hihat4 cowbell8 @}
547 @item The automatic staff changer was internally rewritten. As a
548 result, the syntax has been simplified as well:
551 \autochange @var{the-music}
554 @item The ergonomic syntax of @code{\markup} now has an equivalent in
555 Scheme. The @code{markup*} macro creates such objects; the following
556 two markup commands are equivalent:
558 f4^#(markup* #:raise 0.2 #:bold "hi")
559 f4^\markup @{ \raise #0.2 \bold hi @}
562 @item Voice names, for vocal lines, have been added. They are similar
563 to instrument names. They can be set by defining @code{vocalName}
566 @item Safe mode has been reinstated for lilypond.
567 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
568 PostScript file output is disallowed, and lilypond-bin is invoked with
569 @code{--safe-mode}, the user's Guile expressions are evaluated in a
570 safe environment and file inclusion is not allowed.
572 Warning: this does not protect against denial-of-service attacks using
573 Guile, @TeX{} or PostScript.
575 (This feature is still experimental.)
577 @item There is now a Scheme macro for defining markup
578 commands. Special mark-up commands can be defined in user-files too.
580 @item Many fixes for dimension scaling have been made,
581 resulting in correct results for scores that mix staves in different
584 @item Improved robustness when layout properties are accidentally removed.
586 @item A more cleanly constructed part combiner has been installed.
587 It is more robust and less buggy. The part-combiner can be used with
589 \partcombine @var{mus1} @var{mus2}
593 See @file{input/regression/new-part-combine.ly} for an example.
595 @item Formatting of rehearsal marks has been improved. The @code{\mark}
596 command now only does automatic incrementing for marks specified as
597 integer. For example, @code{\mark #1} will print an A in the default
598 style. See @file{input/regression/rehearsal-mark-letter.ly},
599 @file{input/regression/rehearsal-mark-number.ly}.
601 @item Formatting of ottava brackets has been much improved.
603 @item Objects in the output can now be documented: the following fragment
604 boxes the note head, and adds the text ``heads or tails?'' three
605 spaces below the box.
608 \context Voice \applyoutput #(add-balloon-text
609 'NoteHead "heads, or tails?"
617 @item Default staff sizes are now scalable. There are two new mechanisms for
618 setting staff sizes. Both are demonstrated in this fragment:
621 #(set-global-staff-size 15)
623 #(paper-set-staff-size (* 15 pt))
629 Both have the same effect on the global layout of a piece. Similarly,
630 the paper size may be changed as follows
633 #(set-default-paper-size "a4")
635 #(set-paper-size "a4")
640 @item Warnings for bar check errors are more cleverly printed. This
641 makes @code{barCheckSynchronize} superfluous, so it is now switched
644 Warning: this will cause problems in scores that use bar checks to
647 @item The black note head was made a little rounder, which causes a less
648 frantic graphic impression.
651 A more concise syntax for checking octaves was introduced. A note may
652 be followed by @code{=}@var{quotes} which indicates what its absolute
653 octave should be. In the following example,
656 \relative c'' @{ c='' b=' d,='' @}
660 the d will generate a warning, because a d'' is
661 expected, but a d' is found.
662 @c @code adds ` ', very confusing.
664 @item There is a new mechanism for putting lyrics to melodies.
665 With this mechanism, @code{Lyrics} lines can be put melodies
666 individually, allowing for different melismatic sections in every
667 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
669 @item Bar lines may now be dotted.
672 @item The documentation now has links to a wiki, where everyone can
673 add personal comments to the manual.
675 @item Contexts may now be changed locally for an isolated music
676 expression. For example,
680 \consists "Pitch_squash_engraver"
686 @item The syntax for changing staffs has changed. The keyword
687 @code{\change} should now be used, e.g.
693 @item Features of spanner contexts, like @code{Staff}, can now be changed
694 using @code{\set}, eg.
698 \override Staff.StaffSymbol #'line-count = #4
704 puts a quarter note C on a staff with 4 lines.
707 @item Multi measure rests are now truly centered between the
708 clefs/barlines of the staff, their position is independent of symbols
711 @item Collision resolution for dots in chords has been improved greatly.
714 Spacing following barlines was improved for widely stretched lines.
717 Lyric hyphens and extenders now conform to standard typesetting
721 Lyrics are now aligned under note heads conforming to engraving
722 standards. The responsible code has been rewritten, and is drastically
723 simpler from the previous version. To aid this rewrite, the syntactic
724 function of the extender line ( __ ) has been changed: it is now
725 attached to the lyric syllable.
728 When redefining a context, the associated identifier is also
729 updated. For example, after reading
739 the definition of @code{ScoreContext} is updated to include the changed
744 The weight of the stafflines is now heavier at smaller staff sizes.
745 The font has been modified to match this look: at smaller sizes, the
746 font is heavier and the note heads are more rounded.
748 @item Processing scores is now done while parsing the file. New
749 Scheme functions give more flexibility: for example, it is now possible
750 interpret a score, collecting synchronized musical events in a list, and
751 manipulate that information using inline Scheme. For an example, see
752 @file{input/no-notation/recording.ly}.
754 @item Font sizes can now truly be scaled continuously: the @code{font-size}
755 is similar to the old @code{font-relative-size}, but may be set to
756 fractional values; the closest design size will be scaled to achieve
757 the desired size. As a side-effect, there are now no longer
758 limitations in using smaller fonts (eg. grace notes) at small staff
761 @item Stem tips are now also engraved with rounded corners.
764 The placement of accidentals on chords and ledgered notes is improved.
769 @unnumbered New features in 2.0 since 1.8
774 Crescendos can now be drawn dotted or dashed.
777 Quarter tones are now supported. They are entered by suffixing
778 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
779 following is an ascending list of pitches:
782 ceses ceseh ces ceh c cih cis cisih cisis
786 The following constructs have been removed from the syntax:
789 \duration #SCHEME-DURATION
791 \outputproperty @var{func} @var{symbol} = @var{value}
794 For @code{\outputproperty}, the following may be substituted:
797 \applyoutput #(outputproperty-compatibility @var{func}
798 @var{symbol} @var{value})
802 Clefs may now be transposed arbitrarily, for example
812 The syntax for chords and simultaneous music have changed.
813 Chords are entered as
819 while simultaneous music is entered as
822 <<@var{..music list..}>>
825 In effect, the meanings of both have been swapped relative to their 1.8
826 definition. The syntax for lists in @code{\markup} has changed
827 alongside, but figured bass mode was not changed, i.e.:
830 \markup @{ \center <@var{..list of markups..}> @}
831 \figure @{ <@var{figures}> @}
834 As chords the more often used than simultaneous music, this change will
838 Each music expression can now be tagged, to make different printed
839 versions from the same music expression. In the following example,
840 we see two versions of a piece of music, one for the full score, and
841 one with cue notes for the instrumental part:
845 @{ c4 f2 g4 @} % in the part, we have cue-notes
847 \tag #'score R1 % in the score: only a rest
851 The same can be applied to articulations, texts, etc.: they are
855 -\tag #@var{your-tags}
858 to an articulation, for example,
861 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
864 This defines a note, which has a conditional fingering and a
865 string-number indication.
868 The settings for chord-fingering are more flexible. You can specify a
869 list where fingerings may be placed, eg.
872 \property Voice.fingeringOrientations = #'(left down)
875 This will put the fingering for the lowest note below the chord, and the
879 The script previously known as @code{ly2dvi} has been renamed to
880 @code{lilypond}. The binary itself is now installed as
884 Markup text (ie. general text formatting) may now be used for lyrics too.
887 Two new commands for grace notes have been added, @code{\acciaccatura}
888 and @code{\appoggiatura},
895 Both reflect the traditional meanings of acciaccatura and appogiatura,
896 and both insert insert a slur from the first grace note to the main
900 Layout options for grace notes are now stored in a context property,
901 and may now be set separately from musical content.
904 The @code{\new} command will create a context with a unique
905 name automatically. Hence, for multi-staff scores, it is no longer
906 necessary to invent arbitrary context names. For example, a two-staff
907 score may be created by
911 \new Staff @{ @var{notes for 1st staff} @}
912 \new Staff @{ @var{notes for 2nd staff} @}
919 Octave checks make octave errors easier to correct.
926 This checks that @var{pitch} (without octave) yields @var{pitch} (with
927 octave) in \relative mode. If not, a warning is printed, and the
931 All articulations must now be entered postfix. For example,
938 is a pair of beamed slurred eighth notes.
941 The definition of @code{\relative} has been simplified. Octaves are
942 now always propagated in the order that music is entered. In the
947 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
952 the octave of BODY is based on PRE, the starting octave of ALT1 on
953 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
956 The same mechanism is used for all other music expressions, except the
957 chord. Backwards compatibility is retained through a special program option,
961 #(ly:set-option 'old-relative)
965 Windows users can double click a @code{.ly} file to process and view
966 it automagically through the new @code{lily-wins} frontend.
973 @unnumbered New features in 1.8 since 1.6
978 The chord entry code has been completely rewritten. It is now
979 cleaner and more flexible.
982 A new syntax has been added for text entry. This syntax is more
983 friendly than the old mechanism, and it is implemented in a more
984 robust and modular way. For more information, refer to the section on
985 "Text markup" in the notation manual.
988 The integration of the input language and Scheme has been made deeper:
989 you can now use LilyPond identifiers in Scheme, and use Scheme
990 expressions instead of LilyPond identifiers.
993 The internal representation of music has been cleaned up completely
994 and converted to Scheme data structures. The representation may be
998 A new uniform postfix syntax for articulation has been introduced.
999 A beamed slurred pair of eighth notes can be entered as
1005 In version 2.0, postfix syntax will be the only syntax
1006 available, and the dashes will become optional.
1008 This will simplify the language: all articulations can be entered as
1009 postfix, in any order.
1012 A new syntax has been added for chords:
1019 It is not necessary to update files to this syntax, but it will be for
1020 using LilyPond version 2.0. In version 2.0, this syntax will be
1030 \simultaneous @{ .. @}
1033 for simultaneous music.
1035 To convert your files from <PITCHES> to <<PITCHES>>, use the script
1036 included in @file{buildscripts/convert-new-chords.py}.
1038 This change was introduced for the following reasons
1042 It solves the "start score with chord" problem, where you have to
1043 state \context Voice explicitly when a chord was the start of a
1046 With the new syntax, it is possible to distinguish between
1047 articulations (or fingerings) which are for a single chord note,
1048 and which are for the entire chord. This allows for per-note
1049 fingerings, and is more logical on the whole.
1053 User code may now be executed during interpreting. The syntax for
1057 \applycontext #SCHEME-FUNCTION
1061 User code may now be executed on arbitrary grobs during interpreting.
1062 The syntax for this feature is
1065 \applyoutput #SCHEME-FUNCTION
1069 SCHEME-FUNCTION takes a single argument, and is called for every grob
1070 that is created in the current context.
1073 New algorithms for chord-name formatting have been installed. They
1074 can be tuned and have ergonomic syntax for entering exceptions.
1077 Texts may now be put on multimeasure rests, e.g.
1080 R1*20^\markup @{ "GP" @}
1084 Ancient notation now prints ligatures in Gregorian square neumes
1085 notation, roughly following the typographical style of the Liber
1086 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1087 without the proper line breaking and horizontal spacing.
1090 Glissandi can now be printed using the zigzag style.
1093 LilyPond can now print clusters. The syntax is
1096 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1100 For irregular meters, beat grouping marks can be printed. The
1104 #(set-time-signature 7 8 '(3 2 2))
1109 Nested horizontal brackets for music analysis can now be printed:
1118 @item Ottava brackets are now fully supported as a feature. The syntax
1126 @item Metronome markings are printed when a \tempo command is processed.
1130 @item Fingerings can be put on chords horizontally.
1134 @item The appearance of various glyphs has been fine-tuned.
1138 @item Different types of percent style repeats may now be nested.
1142 @item The emacs support has been extended.
1146 The manual has been completely revised and extended.
1150 @unnumbered New features in 1.6 since 1.4
1156 Support for figured bass and tablature.
1159 Completely rewritten beam formatting: provides much better output
1164 Completely revised and improved music font.
1168 Completely rewritten MIDI import support.
1171 Completely rewritten grace note support. Practically speaking this
1172 means that grace notes can be slurred to normal normal notes.
1176 Improved accidental handling and formatting: styles for producing
1177 cautionaries may vary, and complex collisions between accidentals of a
1178 chord are handled much better.
1181 Better spacing: both globally and locally. This includes subtle
1182 details like optical stem spacing.
1185 More support for ancient notation: mensural ligatures, ambitus
1186 (pitch range) of voices, more shapes, etc.
1189 More support for piano notation: bracket pedals, directed arpeggios,
1193 Easier music polyphonic music entry.
1196 More extensibility, many speedups and bugfixes
1199 The manual has been thoroughly revised.
1202 Development is now hosted at http://savannah.gnu.org, and sources
1203 can be downloaded through anonymous CVS.
1206 Support for windows: LilyPond is part of the cygwin distribution,
1207 which comes with a user-friendly installer.