1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
12 LilyPond now uses Pango and FontConfig for selecting and rendering
13 internationalized text in non-@TeX{} backends. A font may be selected
14 by using a FontConfig name,
17 \override TextScript #'font-name = #"Serif"
22 or using the classic font selection mechanism
25 \override TextScript #'font-family = #'roman
26 \override TextScript #'font-series = #'bold
30 Input strings encoded in UTF-8 are then rendered through Pango.
33 Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
34 using the @code{-f texstr} output backend. This provides exact metrics
35 for texts, including kerning and accents.
38 LilyPond now uses FreeType read the Feta font as an OpenType
39 font. This is cleaner design and more robust. A recent version of
40 FontForge (11122004 or newer) and Freetype is required.
42 As a result, the SVG backend is now a fully functional backend.
45 A new script, @code{\espressivo} has been added, for a combination of
46 crescendo and decrescendo on a single note.
49 In markups, expressions stacked with @code{\column},
50 @code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
51 but with @code{@{ ... @}}, eg:
54 \line @{ first line @}
55 \line @{ second line @}
60 LilyPond will now avoid line breaks that cause long texts to stick
61 outside of the page staff.
64 Grace notes following a main note, used to be entered by letting the
65 grace notes follow a skip in a parallel expression, for example,
69 { s2 \grace { c16[ d] } } >>
74 This can now be shortened by doing
77 \afterGrace @{ d1 @} @{ c16[ d] @}
81 Pagebreaks can now be forced or forbidden after title blocks. This is
82 achieved by setting @code{breakbefore} in the @code{\header} block to
86 Shaped note heads. This feature has been sponsored by Jonathan Walther.
89 Layout for titles, page header and footer can now be entered as
90 @code{\markup} commands.
92 @item Positioning of slurs can now be adjusted manually
94 @item Grace notes are correctly quoted and formatted when using cue notes.
96 @item Cue notes can now be created with
99 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
103 This will set stem directions and put the cue notes in the @code{cue}
106 @item Stemlets, short stems over beamed rests, have been added.
111 @unnumbered New features in 2.4 since 2.2
115 @item Parts that use @code{\quote} can now be transposed.
117 @item LilyPond does not try to produce output for files that
120 @item @code{lilypond-book} will now remove any output files that
121 contain failed music snippets.
123 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
124 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
125 command @code{\chords} is an abbreviation for
128 \new ChordNames \chordmode ...
132 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
135 @item The types of events quoted with @code{\quote} can now be tuned
136 with @code{quotedEventTypes}. By default, only notes and rests end up
139 @item LilyPond will try to keep
140 staves at the same distances across a page, but it will stretch
141 distances to prevent collisions. This results in a more even
142 appearance of the page.
144 @item Key signature cancellations are now printed before the bar line,
145 and their appearance has been improved.
147 @item Different voices that all use @code{\quote} can now refer to
151 @item The automatic staff changer, which is invoked with
152 @code{\autochange}, now creates the @code{up} and @code{down} staff
153 automatically, and uses bass clef for the bottom staff.
155 @item There is now support for putting two slurs on chords, both above
156 and below. This is switched on with the @code{doubleSlurs} property.
158 @item Running trills now have their own spanner and event,
161 c1\startTrillSpan c4\stopTrillSpan
164 @item There is a new markup command @code{\postscript} that takes a
165 string that is dumped as verbatim PostScript in the output.
167 @item The melody for a @code{\lyricsto} text can be changed during a
168 melody by setting the @code{associatedVoice} property.
170 @item The @code{\lyricsto} keyword now automatically switches on
173 @item The LilyPond binary now supports output options
174 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
175 @code{--preview}. The old wrapper script for La@TeX{} has been
176 renamed to @code{lilypond-latex}.
178 @item Support for ambitus has been rewritten. The Ambitus object is now
179 a grouping object, composed of @code{AmbitusLine},
180 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
181 be tuned similar to accidentals and note heads.
183 @item Ledger lines are now shortened when the spacing is tight. This
184 prevents ledger lines from colliding with each other.
186 @item Slur formatting has been rewritten. The new slur code
187 works similar to the Beam formatter: scores are assigned for all
188 esthetic components of a slur. A large number of combinations for
189 begin and end points is then tried out. Slurs will now also take into
190 account collisions with staff lines, scripts (like staccato and
191 accent) and accidentals.
194 @item In the LilyPond emacs mode, entering @code{|} will display the
195 current beat within the measure.
197 @item Colliding notes are now correctly aligned relative to notes in other staves.
199 @item An experimental GNOME output backend is available for developers.
200 It depends on several unreleased packages such as gnome-guile TLA and
201 Pango CVS. The output interface coverage is sparse, but it already
202 does support point-and-click on the GNOME Canvas. See also
203 @file{scm/output-gnome.scm}.
205 @item Context definitions are now stored in identifiers that match the
206 context name, in other words, to modify a @code{Staff} context, the
207 following code may be used.
217 The @code{\paper} block has been renamed to @code{\layout}. A new
218 @code{\paper} block has been introduced to hold settings for paper
219 size and output scaling. Further options include @code{raggedbottom}
220 (if set, systems are not vertically filled to reach the bottom of the
221 page), and @code{raggedlastbottom}.
224 @item Support for fret diagrams has been contributed by Carl
225 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
227 @item The @code{--safe-mode} has been revisited: GUILE evaluation
228 is done in the R5RS safe module, with only the basic @code{ly:}
229 interface available and malicious @TeX{} code is stopped. However, to
230 be reasonably safe, you are advised to use the PostScript backend
231 rather than the @TeX{} backend anyway; and if possible use an UML
232 sandbox to run gs or latex.
234 @item Music syntax can now be extended seamlessly. As an example,
235 here is the new implementation @code{\applymusic},
238 applymusic = #(ly:make-music-function
239 (list procedure? ly:music?) ; signature
240 (lambda (where func music) ; the function
244 @item @code{\apply} has been renamed to @code{\applymusic}.
246 @item Music can be used as a markup.
247 When inserting a @code{score} block as part of a @code{\markup}, it
248 produces a rendered markup of the music. An example is in
249 @file{input/test/markup-score.ly}.
251 @item LilyPond expressions can be embedded into Scheme. The syntax for
252 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
253 introduced using a @code{$} character (@code{$$} results in a single
254 `$' character). These forms are then inserted in the pattern.
257 #(define (textoffset dx dy)
259 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
263 %% The following embedded scheme call is the same as
264 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
266 c'^"text with offset"
270 @item A music list at toplevel is interpreted as implicit @code{\score}
271 a @code{\score} block at toplevel is interpreted as an implicit
272 @code{\book} and @code{\notemode} mode is the default lexer mode. The
276 \header @{ title = "The Title" @}
283 \header @{ title = "The Title" @}
286 \notemode @{ a b c @}
291 This is handled by the function defined in
292 @code{toplevel-music-handler}. Similarly, @code{\score} and
293 @code{\book} are handled by @code{toplevel-score-handler} and a
294 @code{toplevel-book-handler}. By changing these variables, different
295 results can be obtained.
297 @item Mode changing commands,
298 such as @code{\chordmode} and @code{\figuremode} must now be directly
299 followed by delimiters. The following example demonstrates the new
303 \figuremode \context Figures { .. } % wrong
304 \context Figures \figuremode { .. } % right
308 @item The starting pitch for @code{relative} music is optional for music lists.
309 The default value is middle C.
311 @item Combining lyrics with music can be done with @code{\addlyrics}
316 d2 d c4 bes a2 \break
319 My first Li -- ly song,
322 Not much can go wrong!
326 Syntactically, @code{\addlyrics} is an infix operator. It is a
327 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
328 and @code{\lyricsto}.
330 @item The parser is encapsulated in a Scheme function
331 @code{ly:parse-file}, so the following fragment processes two files
334 #(ly:parse-file "another.ly")
335 \score { \notes { c4 }}
338 @item The @code{font-encoding} property can now be used to select
339 differently encoded fonts. The previous default setting
340 @code{TeX-text} has been replaced by latin1. LilyPond requires the
341 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
342 package installed to function properly.
344 @item The encoding of a file can be switched with
345 @code{\encoding}. The strings for markup texts are translated
348 @item The toplevel block @code{\book} introduces page layout.
349 A @code{\book} groups @code{\score} blocks into one page layout
350 entity. For example, two scores are combined in one book with
361 Titling and page breaks are handled by LilyPond. Page breaks may be
362 inserted manually with
369 Invoking @code{lilypond} runs the actual binary, which not use
370 La@TeX{} for titling or page layout. If you need La@TeX{} code in
371 titles, you can use the @code{lilypond-book} program. The former
372 @code{lilypond} script has been retained as @code{lilypond-latex}.
374 @item There is now less of a noticeable ``hook'' at the end of a long slur.
376 @item The meaning of the @code{|} in the input can be redefined, by
377 assigning a music expression to @code{pipeSymbol}.
383 @c ****************************************************************
385 @unnumbered New features in 2.2 since 2.0
389 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
390 causes the last line to be set flush-left instead of justified.
392 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
393 its containing context automatically.
395 @item The code for font selection has been rewritten. In addition to
396 existing font selection properties, the property @code{font-encoding}
397 has been added, which makes the switch between normal @code{text} and
398 other encodings like @code{braces}, @code{music} and @code{math}.
400 @item The pmx2ly script has been removed from the distribution.
402 @item Pedal brackets will now run to the last bar of a piece if they are not
405 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
407 @item Property functions may be used as an argument to @code{set!},
411 (set! (ly:grob-property grob 'beam) ... )
414 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
417 @item Cue notes can be quoted directly from the parts that
418 contain them. This will take into account transposition of source and target
419 instrument. For example,
422 \addquote clarinet \notes\relative c' {
428 \notes \relative c'' {
429 c8 d8 \quote 2 oboe es8 gis
434 @item The transposition of an instrument can be specified using the
435 @code{\transposition} command. An
436 E-flat alto saxophone is specified as
442 @item The naming of exported Scheme functions now follows Scheme conventions.
443 Changes be applied to Scheme files with
446 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
450 @item Notes can be excluded from auto-beaming, by marking them with
457 will print two separate eighth notes, and two beamed notes.
459 @item Translators and contexts have been split. The result of this
460 internal cleanup is that @code{Score} no longer is the top context;
461 @code{Score} is contained in the @code{Global} context. Consequently,
462 it is possible to tweak @code{Score} as follows:
465 \context Score \with @{
470 @item The number of staff lines in Tablature notation is now
471 automatically deduced from the @code{stringTunings} property.
473 @item The program reference has been cleaned up and revised.
475 @item The syntax for setting properties has been simplified:
476 the following table lists the differences:
481 \property A.B = #C \set A.B = #C
482 \property A.B \unset \unset A.B
483 \property A.B \set #C = #D \override A.B #C = #D
484 \property A.B \override #C = #D (removed)
485 \property A.B \revert #C \revert A.B #C
488 Furthermore, if @code{A} is left out, the bottommost context is used
489 by default. In other words, it is no longer necessary to explicitly
490 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
495 \property Voice.autoBeaming = ##f
496 \property Staff.TimeSignature \set #'style = #'C
502 \set autoBeaming = ##f
503 \override Staff.TimeSignature #'style = #'C
507 @item Tweaks made with @code{\override} and @code{\revert} no longer
508 hide tweaks at higher context levels.
510 @item Melismata in lyrics are also properly handled in the MIDI output.
512 @item The lilypond-book script has been rewritten.
513 It is shorter, cleaner and faster. The special construct
514 @code{mbinclude} has been removed, plain @code{@@include} or
515 @code{\input} can be used now.
517 It now supports running convert-ly on the lilypond snippets,
519 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
522 @item The @code{LyricsVoice} context has been removed. Lyrics should only
523 be constructed in @code{Lyrics}.
525 @item The @code{Thread} context has been removed. Note heads and rests
526 are now constructed at @code{Voice} level.
528 @item Harmonic notes can now be entered as
534 @item Drum notation is now supported as a regular feature:
535 percussion may be entered in @code{\drums} mode, and printed or
536 performed in a @code{DrumStaff} context:
540 \drums \new DrumStaff @{ hihat4 cowbell8 @}
544 @item The automatic staff changer was internally rewritten. As a
545 result, the syntax has been simplified as well:
548 \autochange @var{the-music}
551 @item The ergonomic syntax of @code{\markup} now has an equivalent in
552 Scheme. The @code{markup*} macro creates such objects; the following
553 two markup commands are equivalent:
555 f4^#(markup* #:raise 0.2 #:bold "hi")
556 f4^\markup @{ \raise #0.2 \bold hi @}
559 @item Voice names, for vocal lines, have been added. They are similar
560 to instrument names. They can be set by defining @code{vocalName}
563 @item Safe mode has been reinstated for lilypond.
564 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
565 PostScript file output is disallowed, and lilypond-bin is invoked with
566 @code{--safe-mode}, the user's Guile expressions are evaluated in a
567 safe environment and file inclusion is not allowed.
569 Warning: this does not protect against denial-of-service attacks using
570 Guile, @TeX{} or PostScript.
572 (This feature is still experimental.)
574 @item There is now a Scheme macro for defining markup
575 commands. Special mark-up commands can be defined in user-files too.
577 @item Many fixes for dimension scaling have been made,
578 resulting in correct results for scores that mix staves in different
581 @item Improved robustness when layout properties are accidentally removed.
583 @item A more cleanly constructed part combiner has been installed.
584 It is more robust and less buggy. The part-combiner can be used with
586 \partcombine @var{mus1} @var{mus2}
590 See @file{input/regression/new-part-combine.ly} for an example.
592 @item Formatting of rehearsal marks has been improved. The @code{\mark}
593 command now only does automatic incrementing for marks specified as
594 integer. For example, @code{\mark #1} will print an A in the default
595 style. See @file{input/regression/rehearsal-mark-letter.ly},
596 @file{input/regression/rehearsal-mark-number.ly}.
598 @item Formatting of ottava brackets has been much improved.
600 @item Objects in the output can now be documented: the following fragment
601 boxes the note head, and adds the text ``heads or tails?'' three
602 spaces below the box.
605 \context Voice \applyoutput #(add-balloon-text
606 'NoteHead "heads, or tails?"
614 @item Default staff sizes are now scalable. There are two new mechanisms for
615 setting staff sizes. Both are demonstrated in this fragment:
618 #(set-global-staff-size 15)
620 #(paper-set-staff-size (* 15 pt))
626 Both have the same effect on the global layout of a piece. Similarly,
627 the paper size may be changed as follows
630 #(set-default-paper-size "a4")
632 #(set-paper-size "a4")
637 @item Warnings for bar check errors are more cleverly printed. This
638 makes @code{barCheckSynchronize} superfluous, so it is now switched
641 Warning: this will cause problems in scores that use bar checks to
644 @item The black note head was made a little rounder, which causes a less
645 frantic graphic impression.
648 A more concise syntax for checking octaves was introduced. A note may
649 be followed by @code{=}@var{quotes} which indicates what its absolute
650 octave should be. In the following example,
653 \relative c'' @{ c='' b=' d,='' @}
657 the d will generate a warning, because a d'' is
658 expected, but a d' is found.
659 @c @code adds ` ', very confusing.
661 @item There is a new mechanism for putting lyrics to melodies.
662 With this mechanism, @code{Lyrics} lines can be put melodies
663 individually, allowing for different melismatic sections in every
664 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
666 @item Bar lines may now be dotted.
669 @item The documentation now has links to a wiki, where everyone can
670 add personal comments to the manual.
672 @item Contexts may now be changed locally for an isolated music
673 expression. For example,
677 \consists "Pitch_squash_engraver"
683 @item The syntax for changing staffs has changed. The keyword
684 @code{\change} should now be used, e.g.
690 @item Features of spanner contexts, like @code{Staff}, can now be changed
691 using @code{\set}, eg.
695 \override Staff.StaffSymbol #'line-count = #4
701 puts a quarter note C on a staff with 4 lines.
704 @item Multi measure rests are now truly centered between the
705 clefs/barlines of the staff, their position is independent of symbols
708 @item Collision resolution for dots in chords has been improved greatly.
711 Spacing following barlines was improved for widely stretched lines.
714 Lyric hyphens and extenders now conform to standard typesetting
718 Lyrics are now aligned under note heads conforming to engraving
719 standards. The responsible code has been rewritten, and is drastically
720 simpler from the previous version. To aid this rewrite, the syntactic
721 function of the extender line ( __ ) has been changed: it is now
722 attached to the lyric syllable.
725 When redefining a context, the associated identifier is also
726 updated. For example, after reading
736 the definition of @code{ScoreContext} is updated to include the changed
741 The weight of the stafflines is now heavier at smaller staff sizes.
742 The font has been modified to match this look: at smaller sizes, the
743 font is heavier and the note heads are more rounded.
745 @item Processing scores is now done while parsing the file. New
746 Scheme functions give more flexibility: for example, it is now possible
747 interpret a score, collecting synchronized musical events in a list, and
748 manipulate that information using inline Scheme. For an example, see
749 @file{input/no-notation/recording.ly}.
751 @item Font sizes can now truly be scaled continuously: the @code{font-size}
752 is similar to the old @code{font-relative-size}, but may be set to
753 fractional values; the closest design size will be scaled to achieve
754 the desired size. As a side-effect, there are now no longer
755 limitations in using smaller fonts (eg. grace notes) at small staff
758 @item Stem tips are now also engraved with rounded corners.
761 The placement of accidentals on chords and ledgered notes is improved.
766 @unnumbered New features in 2.0 since 1.8
771 Crescendos can now be drawn dotted or dashed.
774 Quarter tones are now supported. They are entered by suffixing
775 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
776 following is an ascending list of pitches:
779 ceses ceseh ces ceh c cih cis cisih cisis
783 The following constructs have been removed from the syntax:
786 \duration #SCHEME-DURATION
788 \outputproperty @var{func} @var{symbol} = @var{value}
791 For @code{\outputproperty}, the following may be substituted:
794 \applyoutput #(outputproperty-compatibility @var{func}
795 @var{symbol} @var{value})
799 Clefs may now be transposed arbitrarily, for example
809 The syntax for chords and simultaneous music have changed.
810 Chords are entered as
816 while simultaneous music is entered as
819 <<@var{..music list..}>>
822 In effect, the meanings of both have been swapped relative to their 1.8
823 definition. The syntax for lists in @code{\markup} has changed
824 alongside, but figured bass mode was not changed, i.e.:
827 \markup @{ \center <@var{..list of markups..}> @}
828 \figure @{ <@var{figures}> @}
831 As chords the more often used than simultaneous music, this change will
835 Each music expression can now be tagged, to make different printed
836 versions from the same music expression. In the following example,
837 we see two versions of a piece of music, one for the full score, and
838 one with cue notes for the instrumental part:
842 @{ c4 f2 g4 @} % in the part, we have cue-notes
844 \tag #'score R1 % in the score: only a rest
848 The same can be applied to articulations, texts, etc.: they are
852 -\tag #@var{your-tags}
855 to an articulation, for example,
858 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
861 This defines a note, which has a conditional fingering and a
862 string-number indication.
865 The settings for chord-fingering are more flexible. You can specify a
866 list where fingerings may be placed, eg.
869 \property Voice.fingeringOrientations = #'(left down)
872 This will put the fingering for the lowest note below the chord, and the
876 The script previously known as @code{ly2dvi} has been renamed to
877 @code{lilypond}. The binary itself is now installed as
881 Markup text (ie. general text formatting) may now be used for lyrics too.
884 Two new commands for grace notes have been added, @code{\acciaccatura}
885 and @code{\appoggiatura},
892 Both reflect the traditional meanings of acciaccatura and appogiatura,
893 and both insert insert a slur from the first grace note to the main
897 Layout options for grace notes are now stored in a context property,
898 and may now be set separately from musical content.
901 The @code{\new} command will create a context with a unique
902 name automatically. Hence, for multi-staff scores, it is no longer
903 necessary to invent arbitrary context names. For example, a two-staff
904 score may be created by
908 \new Staff @{ @var{notes for 1st staff} @}
909 \new Staff @{ @var{notes for 2nd staff} @}
916 Octave checks make octave errors easier to correct.
923 This checks that @var{pitch} (without octave) yields @var{pitch} (with
924 octave) in \relative mode. If not, a warning is printed, and the
928 All articulations must now be entered postfix. For example,
935 is a pair of beamed slurred eighth notes.
938 The definition of @code{\relative} has been simplified. Octaves are
939 now always propagated in the order that music is entered. In the
944 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
949 the octave of BODY is based on PRE, the starting octave of ALT1 on
950 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
953 The same mechanism is used for all other music expressions, except the
954 chord. Backwards compatibility is retained through a special program option,
958 #(ly:set-option 'old-relative)
962 Windows users can double click a @code{.ly} file to process and view
963 it automagically through the new @code{lily-wins} frontend.
970 @unnumbered New features in 1.8 since 1.6
975 The chord entry code has been completely rewritten. It is now
976 cleaner and more flexible.
979 A new syntax has been added for text entry. This syntax is more
980 friendly than the old mechanism, and it is implemented in a more
981 robust and modular way. For more information, refer to the section on
982 "Text markup" in the notation manual.
985 The integration of the input language and Scheme has been made deeper:
986 you can now use LilyPond identifiers in Scheme, and use Scheme
987 expressions instead of LilyPond identifiers.
990 The internal representation of music has been cleaned up completely
991 and converted to Scheme data structures. The representation may be
995 A new uniform postfix syntax for articulation has been introduced.
996 A beamed slurred pair of eighth notes can be entered as
1002 In version 2.0, postfix syntax will be the only syntax
1003 available, and the dashes will become optional.
1005 This will simplify the language: all articulations can be entered as
1006 postfix, in any order.
1009 A new syntax has been added for chords:
1016 It is not necessary to update files to this syntax, but it will be for
1017 using LilyPond version 2.0. In version 2.0, this syntax will be
1027 \simultaneous @{ .. @}
1030 for simultaneous music.
1032 To convert your files from <PITCHES> to <<PITCHES>>, use the script
1033 included in @file{buildscripts/convert-new-chords.py}.
1035 This change was introduced for the following reasons
1039 It solves the "start score with chord" problem, where you have to
1040 state \context Voice explicitly when a chord was the start of a
1043 With the new syntax, it is possible to distinguish between
1044 articulations (or fingerings) which are for a single chord note,
1045 and which are for the entire chord. This allows for per-note
1046 fingerings, and is more logical on the whole.
1050 User code may now be executed during interpreting. The syntax for
1054 \applycontext #SCHEME-FUNCTION
1058 User code may now be executed on arbitrary grobs during interpreting.
1059 The syntax for this feature is
1062 \applyoutput #SCHEME-FUNCTION
1066 SCHEME-FUNCTION takes a single argument, and is called for every grob
1067 that is created in the current context.
1070 New algorithms for chord-name formatting have been installed. They
1071 can be tuned and have ergonomic syntax for entering exceptions.
1074 Texts may now be put on multimeasure rests, e.g.
1077 R1*20^\markup @{ "GP" @}
1081 Ancient notation now prints ligatures in Gregorian square neumes
1082 notation, roughly following the typographical style of the Liber
1083 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1084 without the proper line breaking and horizontal spacing.
1087 Glissandi can now be printed using the zigzag style.
1090 LilyPond can now print clusters. The syntax is
1093 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1097 For irregular meters, beat grouping marks can be printed. The
1101 #(set-time-signature 7 8 '(3 2 2))
1106 Nested horizontal brackets for music analysis can now be printed:
1115 @item Ottava brackets are now fully supported as a feature. The syntax
1123 @item Metronome markings are printed when a \tempo command is processed.
1127 @item Fingerings can be put on chords horizontally.
1131 @item The appearance of various glyphs has been fine-tuned.
1135 @item Different types of percent style repeats may now be nested.
1139 @item The emacs support has been extended.
1143 The manual has been completely revised and extended.
1147 @unnumbered New features in 1.6 since 1.4
1153 Support for figured bass and tablature.
1156 Completely rewritten beam formatting: provides much better output
1161 Completely revised and improved music font.
1165 Completely rewritten MIDI import support.
1168 Completely rewritten grace note support. Practically speaking this
1169 means that grace notes can be slurred to normal normal notes.
1173 Improved accidental handling and formatting: styles for producing
1174 cautionaries may vary, and complex collisions between accidentals of a
1175 chord are handled much better.
1178 Better spacing: both globally and locally. This includes subtle
1179 details like optical stem spacing.
1182 More support for ancient notation: mensural ligatures, ambitus
1183 (pitch range) of voices, more shapes, etc.
1186 More support for piano notation: bracket pedals, directed arpeggios,
1190 Easier music polyphonic music entry.
1193 More extensibility, many speedups and bugfixes
1196 The manual has been thoroughly revised.
1199 Development is now hosted at http://savannah.gnu.org, and sources
1200 can be downloaded through anonymous CVS.
1203 Support for windows: LilyPond is part of the cygwin distribution,
1204 which comes with a user-friendly installer.