1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
11 Pagebreaks can now be forced or forbidden after title blocks. This is
12 achieved by setting @code{breakbefore} in the @code{\header} block to
16 Shaped note heads. This feature has been sponsored by Jonathan Walther.
19 Layout for titles, page header and footer can now be entered as
20 @code{\markup} commands.
22 @item Positioning of slurs can now be adjusted manually
24 @item Grace notes are correctly quoted and formatted when using cue notes.
26 @item Cue notes can now be created with
29 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
33 This will set stem directions and put the cue notes in the @code{cue}
36 @item Stemlets, short stems over beamed rests, have been added.
41 @unnumbered New features in 2.4 since 2.2
45 @item Parts that use @code{\quote} can now be transposed.
47 @item LilyPond does not try to produce output for files that
50 @item @code{lilypond-book} will now remove any output files that
51 contain failed music snippets.
53 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
54 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
55 command @code{\chords} is an abbreviation for
58 \new ChordNames \chordmode ...
62 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
65 @item The types of events quoted with @code{\quote} can now be tuned
66 with @code{quotedEventTypes}. By default, only notes and rests end up
69 @item LilyPond will try to keep
70 staves at the same distances across a page, but it will stretch
71 distances to prevent collisions. This results in a more even
72 appearance of the page.
74 @item Key signature cancellations are now printed before the bar line,
75 and their appearance has been improved.
77 @item Different voices that all use @code{\quote} can now refer to
81 @item The automatic staff changer, which is invoked with
82 @code{\autochange}, now creates the @code{up} and @code{down} staff
83 automatically, and uses bass clef for the bottom staff.
85 @item There is now support for putting two slurs on chords, both above
86 and below. This is switched on with the @code{doubleSlurs} property.
88 @item Running trills now have their own spanner and event,
91 c1\startTrillSpan c4\stopTrillSpan
94 @item There is a new markup command @code{\postscript} that takes a
95 string that is dumped as verbatim PostScript in the output.
97 @item The melody for a @code{\lyricsto} text can be changed during a
98 melody by setting the @code{associatedVoice} property.
100 @item The @code{\lyricsto} keyword now automatically switches on
103 @item The LilyPond binary now supports output options
104 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
105 @code{--preview}. The old wrapper script for La@TeX{} has been
106 renamed to @code{lilypond-latex}.
108 @item Support for ambitus has been rewritten. The Ambitus object is now
109 a grouping object, composed of @code{AmbitusLine},
110 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
111 be tuned similar to accidentals and note heads.
113 @item Ledger lines are now shortened when the spacing is tight. This
114 prevents ledger lines from colliding with each other.
116 @item Slur formatting has been rewritten. The new slur code
117 works similar to the Beam formatter: scores are assigned for all
118 esthetic components of a slur. A large number of combinations for
119 begin and end points is then tried out. Slurs will now also take into
120 account collisions with staff lines, scripts (like staccato and
121 accent) and accidentals.
124 @item In the LilyPond emacs mode, entering @code{|} will display the
125 current beat within the measure.
127 @item Colliding notes are now correctly aligned relative to notes in other staves.
129 @item An experimental GNOME output backend is available for developers.
130 It depends on several unreleased packages such as gnome-guile TLA and
131 Pango CVS. The output interface coverage is sparse, but it already
132 does support point-and-click on the GNOME Canvas. See also
133 @file{scm/output-gnome.scm}.
135 @item Context definitions are now stored in identifiers that match the
136 context name, in other words, to modify a @code{Staff} context, the
137 following code may be used.
147 The @code{\paper} block has been renamed to @code{\layout}. A new
148 @code{\paper} block has been introduced to hold settings for paper
149 size and output scaling. Further options include @code{raggedbottom}
150 (if set, systems are not vertically filled to reach the bottom of the
151 page), and @code{raggedlastbottom}.
154 @item Support for fret diagrams has been contributed by Carl
155 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
157 @item The @code{--safe-mode} has been revisited: GUILE evaluation
158 is done in the R5RS safe module, with only the basic @code{ly:}
159 interface available and malicious @TeX{} code is stopped. However, to
160 be reasonably safe, you are advised to use the PostScript backend
161 rather than the @TeX{} backend anyway; and if possible use an UML
162 sandbox to run gs or latex.
164 @item Music syntax can now be extended seamlessly. As an example,
165 here is the new implementation @code{\applymusic},
168 applymusic = #(ly:make-music-function
169 (list procedure? ly:music?) ; signature
170 (lambda (where func music) ; the function
174 @item @code{\apply} has been renamed to @code{\applymusic}.
176 @item Music can be used as a markup.
177 When inserting a @code{score} block as part of a @code{\markup}, it
178 produces a rendered markup of the music. An example is in
179 @file{input/test/markup-score.ly}.
181 @item LilyPond expressions can be embedded into Scheme. The syntax for
182 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
183 introduced using a @code{$} character (@code{$$} results in a single
184 `$' character). These forms are then inserted in the pattern.
187 #(define (textoffset dx dy)
189 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
193 %% The following embedded scheme call is the same as
194 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
196 c'^"text with offset"
200 @item A music list at toplevel is interpreted as implicit @code{\score}
201 a @code{\score} block at toplevel is interpreted as an implicit
202 @code{\book} and @code{\notemode} mode is the default lexer mode. The
206 \header @{ title = "The Title" @}
213 \header @{ title = "The Title" @}
216 \notemode @{ a b c @}
221 This is handled by the function defined in
222 @code{toplevel-music-handler}. Similarly, @code{\score} and
223 @code{\book} are handled by @code{toplevel-score-handler} and a
224 @code{toplevel-book-handler}. By changing these variables, different
225 results can be obtained.
227 @item Mode changing commands,
228 such as @code{\chordmode} and @code{\figuremode} must now be directly
229 followed by delimiters. The following example demonstrates the new
233 \figuremode \context Figures { .. } % wrong
234 \context Figures \figuremode { .. } % right
238 @item The starting pitch for @code{relative} music is optional for music lists.
239 The default value is middle C.
241 @item Combining lyrics with music can be done with @code{\addlyrics}
246 d2 d c4 bes a2 \break
249 My first Li -- ly song,
252 Not much can go wrong!
256 Syntactically, @code{\addlyrics} is an infix operator. It is a
257 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
258 and @code{\lyricsto}.
260 @item The parser is encapsulated in a Scheme function
261 @code{ly:parse-file}, so the following fragment processes two files
264 #(ly:parse-file "another.ly")
265 \score { \notes { c4 }}
268 @item The @code{font-encoding} property can now be used to select
269 differently encoded fonts. The previous default setting
270 @code{TeX-text} has been replaced by latin1. LilyPond requires the
271 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
272 package installed to function properly.
274 @item The encoding of a file can be switched with
275 @code{\encoding}. The strings for markup texts are translated
278 @item The toplevel block @code{\book} introduces page layout.
279 A @code{\book} groups @code{\score} blocks into one page layout
280 entity. For example, two scores are combined in one book with
291 Titling and page breaks are handled by LilyPond. Page breaks may be
292 inserted manually with
299 Invoking @code{lilypond} runs the actual binary, which not use
300 La@TeX{} for titling or page layout. If you need La@TeX{} code in
301 titles, you can use the @code{lilypond-book} program. The former
302 @code{lilypond} script has been retained as @code{lilypond-latex}.
304 @item There is now less of a noticeable ``hook'' at the end of a long slur.
306 @item The meaning of the @code{|} in the input can be redefined, by
307 assigning a music expression to @code{pipeSymbol}.
313 @c ****************************************************************
315 @unnumbered New features in 2.2 since 2.0
319 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
320 causes the last line to be set flush-left instead of justified.
322 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
323 its containing context automatically.
325 @item The code for font selection has been rewritten. In addition to
326 existing font selection properties, the property @code{font-encoding}
327 has been added, which makes the switch between normal @code{text} and
328 other encodings like @code{braces}, @code{music} and @code{math}.
330 @item The pmx2ly script has been removed from the distribution.
332 @item Pedal brackets will now run to the last bar of a piece if they are not
335 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
337 @item Property functions may be used as an argument to @code{set!},
341 (set! (ly:grob-property grob 'beam) ... )
344 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
347 @item Cue notes can be quoted directly from the parts that
348 contain them. This will take into account transposition of source and target
349 instrument. For example,
352 \addquote clarinet \notes\relative c' {
358 \notes \relative c'' {
359 c8 d8 \quote 2 oboe es8 gis
364 @item The transposition of an instrument can be specified using the
365 @code{\transposition} command. An
366 E-flat alto saxophone is specified as
372 @item The naming of exported Scheme functions now follows Scheme conventions.
373 Changes be applied to Scheme files with
376 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
380 @item Notes can be excluded from auto-beaming, by marking them with
387 will print two separate eighth notes, and two beamed notes.
389 @item Translators and contexts have been split. The result of this
390 internal cleanup is that @code{Score} no longer is the top context;
391 @code{Score} is contained in the @code{Global} context. Consequently,
392 it is possible to tweak @code{Score} as follows:
395 \context Score \with @{
400 @item The number of staff lines in Tablature notation is now
401 automatically deduced from the @code{stringTunings} property.
403 @item The program reference has been cleaned up and revised.
405 @item The syntax for setting properties has been simplified:
406 the following table lists the differences:
411 \property A.B = #C \set A.B = #C
412 \property A.B \unset \unset A.B
413 \property A.B \set #C = #D \override A.B #C = #D
414 \property A.B \override #C = #D (removed)
415 \property A.B \revert #C \revert A.B #C
418 Furthermore, if @code{A} is left out, the bottommost context is used
419 by default. In other words, it is no longer necessary to explicitly
420 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
425 \property Voice.autoBeaming = ##f
426 \property Staff.TimeSignature \set #'style = #'C
432 \set autoBeaming = ##f
433 \override Staff.TimeSignature #'style = #'C
437 @item Tweaks made with @code{\override} and @code{\revert} no longer
438 hide tweaks at higher context levels.
440 @item Melismata in lyrics are also properly handled in the MIDI output.
442 @item The lilypond-book script has been rewritten.
443 It is shorter, cleaner and faster. The special construct
444 @code{mbinclude} has been removed, plain @code{@@include} or
445 @code{\input} can be used now.
447 It now supports running convert-ly on the lilypond snippets,
449 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
452 @item The @code{LyricsVoice} context has been removed. Lyrics should only
453 be constructed in @code{Lyrics}.
455 @item The @code{Thread} context has been removed. Note heads and rests
456 are now constructed at @code{Voice} level.
458 @item Harmonic notes can now be entered as
464 @item Drum notation is now supported as a regular feature:
465 percussion may be entered in @code{\drums} mode, and printed or
466 performed in a @code{DrumStaff} context:
470 \drums \new DrumStaff @{ hihat4 cowbell8 @}
474 @item The automatic staff changer was internally rewritten. As a
475 result, the syntax has been simplified as well:
478 \autochange @var{the-music}
481 @item The ergonomic syntax of @code{\markup} now has an equivalent in
482 Scheme. The @code{markup*} macro creates such objects; the following
483 two markup commands are equivalent:
485 f4^#(markup* #:raise 0.2 #:bold "hi")
486 f4^\markup @{ \raise #0.2 \bold hi @}
489 @item Voice names, for vocal lines, have been added. They are similar
490 to instrument names. They can be set by defining @code{vocalName}
493 @item Safe mode has been reinstated for lilypond.
494 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
495 PostScript file output is disallowed, and lilypond-bin is invoked with
496 @code{--safe-mode}, the user's Guile expressions are evaluated in a
497 safe environment and file inclusion is not allowed.
499 Warning: this does not protect against denial-of-service attacks using
500 Guile, @TeX{} or PostScript.
502 (This feature is still experimental.)
504 @item There is now a Scheme macro for defining markup
505 commands. Special mark-up commands can be defined in user-files too.
507 @item Many fixes for dimension scaling have been made,
508 resulting in correct results for scores that mix staves in different
511 @item Improved robustness when layout properties are accidentally removed.
513 @item A more cleanly constructed part combiner has been installed.
514 It is more robust and less buggy. The part-combiner can be used with
516 \partcombine @var{mus1} @var{mus2}
520 See @file{input/regression/new-part-combine.ly} for an example.
522 @item Formatting of rehearsal marks has been improved. The @code{\mark}
523 command now only does automatic incrementing for marks specified as
524 integer. For example, @code{\mark #1} will print an A in the default
525 style. See @file{input/regression/rehearsal-mark-letter.ly},
526 @file{input/regression/rehearsal-mark-number.ly}.
528 @item Formatting of ottava brackets has been much improved.
530 @item Objects in the output can now be documented: the following fragment
531 boxes the note head, and adds the text ``heads or tails?'' three
532 spaces below the box.
535 \context Voice \applyoutput #(add-balloon-text
536 'NoteHead "heads, or tails?"
544 @item Default staff sizes are now scalable. There are two new mechanisms for
545 setting staff sizes. Both are demonstrated in this fragment:
548 #(set-global-staff-size 15)
550 #(paper-set-staff-size (* 15 pt))
556 Both have the same effect on the global layout of a piece. Similarly,
557 the paper size may be changed as follows
560 #(set-default-paper-size "a4")
562 #(set-paper-size "a4")
567 @item Warnings for bar check errors are more cleverly printed. This
568 makes @code{barCheckSynchronize} superfluous, so it is now switched
571 Warning: this will cause problems in scores that use bar checks to
574 @item The black note head was made a little rounder, which causes a less
575 frantic graphic impression.
578 A more concise syntax for checking octaves was introduced. A note may
579 be followed by @code{=}@var{quotes} which indicates what its absolute
580 octave should be. In the following example,
583 \relative c'' @{ c='' b=' d,='' @}
587 the d will generate a warning, because a d'' is
588 expected, but a d' is found.
589 @c @code adds ` ', very confusing.
591 @item There is a new mechanism for putting lyrics to melodies.
592 With this mechanism, @code{Lyrics} lines can be put melodies
593 individually, allowing for different melismatic sections in every
594 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
596 @item Bar lines may now be dotted.
599 @item The documentation now has links to a wiki, where everyone can
600 add personal comments to the manual.
602 @item Contexts may now be changed locally for an isolated music
603 expression. For example,
607 \consists "Pitch_squash_engraver"
613 @item The syntax for changing staffs has changed. The keyword
614 @code{\change} should now be used, e.g.
620 @item Features of spanner contexts, like @code{Staff}, can now be changed
621 using @code{\set}, eg.
625 \override Staff.StaffSymbol #'line-count = #4
631 puts a quarter note C on a staff with 4 lines.
634 @item Multi measure rests are now truly centered between the
635 clefs/barlines of the staff, their position is independent of symbols
638 @item Collision resolution for dots in chords has been improved greatly.
641 Spacing following barlines was improved for widely stretched lines.
644 Lyric hyphens and extenders now conform to standard typesetting
648 Lyrics are now aligned under note heads conforming to engraving
649 standards. The responsible code has been rewritten, and is drastically
650 simpler from the previous version. To aid this rewrite, the syntactic
651 function of the extender line ( __ ) has been changed: it is now
652 attached to the lyric syllable.
655 When redefining a context, the associated identifier is also
656 updated. For example, after reading
666 the definition of @code{ScoreContext} is updated to include the changed
671 The weight of the stafflines is now heavier at smaller staff sizes.
672 The font has been modified to match this look: at smaller sizes, the
673 font is heavier and the note heads are more rounded.
675 @item Processing scores is now done while parsing the file. New
676 Scheme functions give more flexibility: for example, it is now possible
677 interpret a score, collecting synchronized musical events in a list, and
678 manipulate that information using inline Scheme. For an example, see
679 @file{input/no-notation/recording.ly}.
681 @item Font sizes can now truly be scaled continuously: the @code{font-size}
682 is similar to the old @code{font-relative-size}, but may be set to
683 fractional values; the closest design size will be scaled to achieve
684 the desired size. As a side-effect, there are now no longer
685 limitations in using smaller fonts (eg. grace notes) at small staff
688 @item Stem tips are now also engraved with rounded corners.
691 The placement of accidentals on chords and ledgered notes is improved.
696 @unnumbered New features in 2.0 since 1.8
701 Crescendos can now be drawn dotted or dashed.
704 Quarter tones are now supported. They are entered by suffixing
705 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
706 following is an ascending list of pitches:
709 ceses ceseh ces ceh c cih cis cisih cisis
713 The following constructs have been removed from the syntax:
716 \duration #SCHEME-DURATION
718 \outputproperty @var{func} @var{symbol} = @var{value}
721 For @code{\outputproperty}, the following may be substituted:
724 \applyoutput #(outputproperty-compatibility @var{func}
725 @var{symbol} @var{value})
729 Clefs may now be transposed arbitrarily, for example
739 The syntax for chords and simultaneous music have changed.
740 Chords are entered as
746 while simultaneous music is entered as
749 <<@var{..music list..}>>
752 In effect, the meanings of both have been swapped relative to their 1.8
753 definition. The syntax for lists in @code{\markup} has changed
754 alongside, but figured bass mode was not changed, i.e.:
757 \markup @{ \center <@var{..list of markups..}> @}
758 \figure @{ <@var{figures}> @}
761 As chords the more often used than simultaneous music, this change will
765 Each music expression can now be tagged, to make different printed
766 versions from the same music expression. In the following example,
767 we see two versions of a piece of music, one for the full score, and
768 one with cue notes for the instrumental part:
772 @{ c4 f2 g4 @} % in the part, we have cue-notes
774 \tag #'score R1 % in the score: only a rest
778 The same can be applied to articulations, texts, etc.: they are
782 -\tag #@var{your-tags}
785 to an articulation, for example,
788 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
791 This defines a note, which has a conditional fingering and a
792 string-number indication.
795 The settings for chord-fingering are more flexible. You can specify a
796 list where fingerings may be placed, eg.
799 \property Voice.fingeringOrientations = #'(left down)
802 This will put the fingering for the lowest note below the chord, and the
806 The script previously known as @code{ly2dvi} has been renamed to
807 @code{lilypond}. The binary itself is now installed as
811 Markup text (ie. general text formatting) may now be used for lyrics too.
814 Two new commands for grace notes have been added, @code{\acciaccatura}
815 and @code{\appoggiatura},
822 Both reflect the traditional meanings of acciaccatura and appogiatura,
823 and both insert insert a slur from the first grace note to the main
827 Layout options for grace notes are now stored in a context property,
828 and may now be set separately from musical content.
831 The @code{\new} command will create a context with a unique
832 name automatically. Hence, for multi-staff scores, it is no longer
833 necessary to invent arbitrary context names. For example, a two-staff
834 score may be created by
838 \new Staff @{ @var{notes for 1st staff} @}
839 \new Staff @{ @var{notes for 2nd staff} @}
846 Octave checks make octave errors easier to correct.
853 This checks that @var{pitch} (without octave) yields @var{pitch} (with
854 octave) in \relative mode. If not, a warning is printed, and the
858 All articulations must now be entered postfix. For example,
865 is a pair of beamed slurred eighth notes.
868 The definition of @code{\relative} has been simplified. Octaves are
869 now always propagated in the order that music is entered. In the
874 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
879 the octave of BODY is based on PRE, the starting octave of ALT1 on
880 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
883 The same mechanism is used for all other music expressions, except the
884 chord. Backwards compatibility is retained through a special program option,
888 #(ly:set-option 'old-relative)
892 Windows users can double click a @code{.ly} file to process and view
893 it automagically through the new @code{lily-wins} frontend.
900 @unnumbered New features in 1.8 since 1.6
905 The chord entry code has been completely rewritten. It is now
906 cleaner and more flexible.
909 A new syntax has been added for text entry. This syntax is more
910 friendly than the old mechanism, and it is implemented in a more
911 robust and modular way. For more information, refer to the section on
912 "Text markup" in the notation manual.
915 The integration of the input language and Scheme has been made deeper:
916 you can now use LilyPond identifiers in Scheme, and use Scheme
917 expressions instead of LilyPond identifiers.
920 The internal representation of music has been cleaned up completely
921 and converted to Scheme data structures. The representation may be
925 A new uniform postfix syntax for articulation has been introduced.
926 A beamed slurred pair of eighth notes can be entered as
932 In version 2.0, postfix syntax will be the only syntax
933 available, and the dashes will become optional.
935 This will simplify the language: all articulations can be entered as
936 postfix, in any order.
939 A new syntax has been added for chords:
946 It is not necessary to update files to this syntax, but it will be for
947 using LilyPond version 2.0. In version 2.0, this syntax will be
957 \simultaneous @{ .. @}
960 for simultaneous music.
962 To convert your files from <PITCHES> to <<PITCHES>>, use the script
963 included in @file{buildscripts/convert-new-chords.py}.
965 This change was introduced for the following reasons
969 It solves the "start score with chord" problem, where you have to
970 state \context Voice explicitly when a chord was the start of a
973 With the new syntax, it is possible to distinguish between
974 articulations (or fingerings) which are for a single chord note,
975 and which are for the entire chord. This allows for per-note
976 fingerings, and is more logical on the whole.
980 User code may now be executed during interpreting. The syntax for
984 \applycontext #SCHEME-FUNCTION
988 User code may now be executed on arbitrary grobs during interpreting.
989 The syntax for this feature is
992 \applyoutput #SCHEME-FUNCTION
996 SCHEME-FUNCTION takes a single argument, and is called for every grob
997 that is created in the current context.
1000 New algorithms for chord-name formatting have been installed. They
1001 can be tuned and have ergonomic syntax for entering exceptions.
1004 Texts may now be put on multimeasure rests, e.g.
1007 R1*20^\markup @{ "GP" @}
1011 Ancient notation now prints ligatures in Gregorian square neumes
1012 notation, roughly following the typographical style of the Liber
1013 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1014 without the proper line breaking and horizontal spacing.
1017 Glissandi can now be printed using the zigzag style.
1020 LilyPond can now print clusters. The syntax is
1023 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1027 For irregular meters, beat grouping marks can be printed. The
1031 #(set-time-signature 7 8 '(3 2 2))
1036 Nested horizontal brackets for music analysis can now be printed:
1045 @item Ottava brackets are now fully supported as a feature. The syntax
1053 @item Metronome markings are printed when a \tempo command is processed.
1057 @item Fingerings can be put on chords horizontally.
1061 @item The appearance of various glyphs has been fine-tuned.
1065 @item Different types of percent style repeats may now be nested.
1069 @item The emacs support has been extended.
1073 The manual has been completely revised and extended.
1077 @unnumbered New features in 1.6 since 1.4
1083 Support for figured bass and tablature.
1086 Completely rewritten beam formatting: provides much better output
1091 Completely revised and improved music font.
1095 Completely rewritten MIDI import support.
1098 Completely rewritten grace note support. Practically speaking this
1099 means that grace notes can be slurred to normal normal notes.
1103 Improved accidental handling and formatting: styles for producing
1104 cautionaries may vary, and complex collisions between accidentals of a
1105 chord are handled much better.
1108 Better spacing: both globally and locally. This includes subtle
1109 details like optical stem spacing.
1112 More support for ancient notation: mensural ligatures, ambitus
1113 (pitch range) of voices, more shapes, etc.
1116 More support for piano notation: bracket pedals, directed arpeggios,
1120 Easier music polyphonic music entry.
1123 More extensibility, many speedups and bugfixes
1126 The manual has been thoroughly revised.
1129 Development is now hosted at http://savannah.gnu.org, and sources
1130 can be downloaded through anonymous CVS.
1133 Support for windows: LilyPond is part of the cygwin distribution,
1134 which comes with a user-friendly installer.