1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
11 Layout for titles, page header and footer can now be entered as
12 @code{\markup} commands.
14 @item Positioning of slurs can now be adjusted manually
16 @item Grace notes are correctly quoted and formatted when using cue notes.
18 @item Cue notes can now be created with
21 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
25 This will set stem directions and put the cue notes in the @code{cue}
28 @item Stemlets, short stems over beamed rests, have been added.
33 @unnumbered New features in 2.4 since 2.2
37 @item Parts that use @code{\quote} can now be transposed.
39 @item LilyPond does not try to produce output for files that
42 @item @code{lilypond-book} will now remove any output files that
43 contain failed music snippets.
45 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
46 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
47 command @code{\chords} is an abbreviation for
50 \new ChordNames \chordmode ...
54 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
57 @item The types of events quoted with @code{\quote} can now be tuned
58 with @code{quotedEventTypes}. By default, only notes and rests end up
61 @item LilyPond will try to keep
62 staves at the same distances across a page, but it will stretch
63 distances to prevent collisions. This results in a more even
64 appearance of the page.
66 @item Key signature cancellations are now printed before the bar line,
67 and their appearance has been improved.
69 @item Different voices that all use @code{\quote} can now refer to
73 @item The automatic staff changer, which is invoked with
74 @code{\autochange}, now creates the @code{up} and @code{down} staff
75 automatically, and uses bass clef for the bottom staff.
77 @item There is now support for putting two slurs on chords, both above
78 and below. This is switched on with the @code{doubleSlurs} property.
80 @item Running trills now have their own spanner and event,
83 c1\startTrillSpan c4\stopTrillSpan
86 @item There is a new markup command @code{\postscript} that takes a
87 string that is dumped as verbatim PostScript in the output.
89 @item The melody for a @code{\lyricsto} text can be changed during a
90 melody by setting the @code{associatedVoice} property.
92 @item The @code{\lyricsto} keyword now automatically switches on
95 @item The LilyPond binary now supports output options
96 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
97 @code{--preview}. The old wrapper script for La@TeX{} has been
98 renamed to @code{lilypond-latex}.
100 @item Support for ambitus has been rewritten. The Ambitus object is now
101 a grouping object, composed of @code{AmbitusLine},
102 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
103 be tuned similar to accidentals and note heads.
105 @item Ledger lines are now shortened when the spacing is tight. This
106 prevents ledger lines from colliding with each other.
108 @item Slur formatting has been rewritten. The new slur code
109 works similar to the Beam formatter: scores are assigned for all
110 esthetic components of a slur. A large number of combinations for
111 begin and end points is then tried out. Slurs will now also take into
112 account collisions with staff lines, scripts (like staccato and
113 accent) and accidentals.
116 @item In the LilyPond emacs mode, entering @code{|} will display the
117 current beat within the measure.
119 @item Colliding notes are now correctly aligned relative to notes in other staves.
121 @item An experimental GNOME output backend is available for developers.
122 It depends on several unreleased packages such as gnome-guile TLA and
123 Pango CVS. The output interface coverage is sparse, but it already
124 does support point-and-click on the GNOME Canvas. See also
125 @file{scm/output-gnome.scm}.
127 @item Context definitions are now stored in identifiers that match the
128 context name, in other words, to modify a @code{Staff} context, the
129 following code may be used.
139 The @code{\paper} block has been renamed to @code{\layout}. A new
140 @code{\paper} block has been introduced to hold settings for paper
141 size and output scaling. Further options include @code{raggedbottom}
142 (if set, systems are not vertically filled to reach the bottom of the
143 page), and @code{raggedlastbottom}.
146 @item Support for fret diagrams has been contributed by Carl
147 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
149 @item The @code{--safe-mode} has been revisited: GUILE evaluation
150 is done in the R5RS safe module, with only the basic @code{ly:}
151 interface available and malicious @TeX{} code is stopped. However, to
152 be reasonably safe, you are advised to use the PostScript backend
153 rather than the @TeX{} backend anyway; and if possible use an UML
154 sandbox to run gs or latex.
156 @item Music syntax can now be extended seamlessly. As an example,
157 here is the new implementation @code{\applymusic},
160 applymusic = #(ly:make-music-function
161 (list procedure? ly:music?) ; signature
162 (lambda (where func music) ; the function
166 @item @code{\apply} has been renamed to @code{\applymusic}.
168 @item Music can be used as a markup.
169 When inserting a @code{score} block as part of a @code{\markup}, it
170 produces a rendered markup of the music. An example is in
171 @file{input/test/markup-score.ly}.
173 @item LilyPond expressions can be embedded into Scheme. The syntax for
174 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
175 introduced using a @code{$} character (@code{$$} results in a single
176 `$' character). These forms are then inserted in the pattern.
179 #(define (textoffset dx dy)
181 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
185 %% The following embedded scheme call is the same as
186 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
188 c'^"text with offset"
192 @item A music list at toplevel is interpreted as implicit @code{\score}
193 a @code{\score} block at toplevel is interpreted as an implicit
194 @code{\book} and @code{\notemode} mode is the default lexer mode. The
198 \header @{ title = "The Title" @}
205 \header @{ title = "The Title" @}
208 \notemode @{ a b c @}
213 This is handled by the function defined in
214 @code{toplevel-music-handler}. Similarly, @code{\score} and
215 @code{\book} are handled by @code{toplevel-score-handler} and a
216 @code{toplevel-book-handler}. By changing these variables, different
217 results can be obtained.
219 @item Mode changing commands,
220 such as @code{\chordmode} and @code{\figuremode} must now be directly
221 followed by delimiters. The following example demonstrates the new
225 \figuremode \context Figures { .. } % wrong
226 \context Figures \figuremode { .. } % right
230 @item The starting pitch for @code{relative} music is optional for music lists.
231 The default value is middle C.
233 @item Combining lyrics with music can be done with @code{\addlyrics}
238 d2 d c4 bes a2 \break
241 My first Li -- ly song,
244 Not much can go wrong!
248 Syntactically, @code{\addlyrics} is an infix operator. It is a
249 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
250 and @code{\lyricsto}.
252 @item The parser is encapsulated in a Scheme function
253 @code{ly:parse-file}, so the following fragment processes two files
256 #(ly:parse-file "another.ly")
257 \score { \notes { c4 }}
260 @item The @code{font-encoding} property can now be used to select
261 differently encoded fonts. The previous default setting
262 @code{TeX-text} has been replaced by latin1. LilyPond requires the
263 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
264 package installed to function properly.
266 @item The encoding of a file can be switched with
267 @code{\encoding}. The strings for markup texts are translated
270 @item The toplevel block @code{\book} introduces page layout.
271 A @code{\book} groups @code{\score} blocks into one page layout
272 entity. For example, two scores are combined in one book with
283 Titling and page breaks are handled by LilyPond. Page breaks may be
284 inserted manually with
291 Invoking @code{lilypond} runs the actual binary, which not use
292 La@TeX{} for titling or page layout. If you need La@TeX{} code in
293 titles, you can use the @code{lilypond-book} program. The former
294 @code{lilypond} script has been retained as @code{lilypond-latex}.
296 @item There is now less of a noticeable ``hook'' at the end of a long slur.
298 @item The meaning of the @code{|} in the input can be redefined, by
299 assigning a music expression to @code{pipeSymbol}.
305 @c ****************************************************************
307 @unnumbered New features in 2.2 since 2.0
311 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
312 causes the last line to be set flush-left instead of justified.
314 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
315 its containing context automatically.
317 @item The code for font selection has been rewritten. In addition to
318 existing font selection properties, the property @code{font-encoding}
319 has been added, which makes the switch between normal @code{text} and
320 other encodings like @code{braces}, @code{music} and @code{math}.
322 @item The pmx2ly script has been removed from the distribution.
324 @item Pedal brackets will now run to the last bar of a piece if they are not
327 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
329 @item Property functions may be used as an argument to @code{set!},
333 (set! (ly:grob-property grob 'beam) ... )
336 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
339 @item Cue notes can be quoted directly from the parts that
340 contain them. This will take into account transposition of source and target
341 instrument. For example,
344 \addquote clarinet \notes\relative c' {
350 \notes \relative c'' {
351 c8 d8 \quote 2 oboe es8 gis
356 @item The transposition of an instrument can be specified using the
357 @code{\transposition} command. An
358 E-flat alto saxophone is specified as
364 @item The naming of exported Scheme functions now follows Scheme conventions.
365 Changes be applied to Scheme files with
368 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
372 @item Notes can be excluded from auto-beaming, by marking them with
379 will print two separate eighth notes, and two beamed notes.
381 @item Translators and contexts have been split. The result of this
382 internal cleanup is that @code{Score} no longer is the top context;
383 @code{Score} is contained in the @code{Global} context. Consequently,
384 it is possible to tweak @code{Score} as follows:
387 \context Score \with @{
392 @item The number of staff lines in Tablature notation is now
393 automatically deduced from the @code{stringTunings} property.
395 @item The program reference has been cleaned up and revised.
397 @item The syntax for setting properties has been simplified:
398 the following table lists the differences:
403 \property A.B = #C \set A.B = #C
404 \property A.B \unset \unset A.B
405 \property A.B \set #C = #D \override A.B #C = #D
406 \property A.B \override #C = #D (removed)
407 \property A.B \revert #C \revert A.B #C
410 Furthermore, if @code{A} is left out, the bottommost context is used
411 by default. In other words, it is no longer necessary to explicitly
412 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
417 \property Voice.autoBeaming = ##f
418 \property Staff.TimeSignature \set #'style = #'C
424 \set autoBeaming = ##f
425 \override Staff.TimeSignature #'style = #'C
429 @item Tweaks made with @code{\override} and @code{\revert} no longer
430 hide tweaks at higher context levels.
432 @item Melismata in lyrics are also properly handled in the MIDI output.
434 @item The lilypond-book script has been rewritten.
435 It is shorter, cleaner and faster. The special construct
436 @code{mbinclude} has been removed, plain @code{@@include} or
437 @code{\input} can be used now.
439 It now supports running convert-ly on the lilypond snippets,
441 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
444 @item The @code{LyricsVoice} context has been removed. Lyrics should only
445 be constructed in @code{Lyrics}.
447 @item The @code{Thread} context has been removed. Note heads and rests
448 are now constructed at @code{Voice} level.
450 @item Harmonic notes can now be entered as
456 @item Drum notation is now supported as a regular feature:
457 percussion may be entered in @code{\drums} mode, and printed or
458 performed in a @code{DrumStaff} context:
462 \drums \new DrumStaff @{ hihat4 cowbell8 @}
466 @item The automatic staff changer was internally rewritten. As a
467 result, the syntax has been simplified as well:
470 \autochange @var{the-music}
473 @item The ergonomic syntax of @code{\markup} now has an equivalent in
474 Scheme. The @code{markup*} macro creates such objects; the following
475 two markup commands are equivalent:
477 f4^#(markup* #:raise 0.2 #:bold "hi")
478 f4^\markup @{ \raise #0.2 \bold hi @}
481 @item Voice names, for vocal lines, have been added. They are similar
482 to instrument names. They can be set by defining @code{vocalName}
485 @item Safe mode has been reinstated for lilypond.
486 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
487 PostScript file output is disallowed, and lilypond-bin is invoked with
488 @code{--safe-mode}, the user's Guile expressions are evaluated in a
489 safe environment and file inclusion is not allowed.
491 Warning: this does not protect against denial-of-service attacks using
492 Guile, @TeX{} or PostScript.
494 (This feature is still experimental.)
496 @item There is now a Scheme macro for defining markup
497 commands. Special mark-up commands can be defined in user-files too.
499 @item Many fixes for dimension scaling have been made,
500 resulting in correct results for scores that mix staves in different
503 @item Improved robustness when layout properties are accidentally removed.
505 @item A more cleanly constructed part combiner has been installed.
506 It is more robust and less buggy. The part-combiner can be used with
508 \partcombine @var{mus1} @var{mus2}
512 See @file{input/regression/new-part-combine.ly} for an example.
514 @item Formatting of rehearsal marks has been improved. The @code{\mark}
515 command now only does automatic incrementing for marks specified as
516 integer. For example, @code{\mark #1} will print an A in the default
517 style. See @file{input/regression/rehearsal-mark-letter.ly},
518 @file{input/regression/rehearsal-mark-number.ly}.
520 @item Formatting of ottava brackets has been much improved.
522 @item Objects in the output can now be documented: the following fragment
523 boxes the note head, and adds the text ``heads or tails?'' three
524 spaces below the box.
527 \context Voice \applyoutput #(add-balloon-text
528 'NoteHead "heads, or tails?"
536 @item Default staff sizes are now scalable. There are two new mechanisms for
537 setting staff sizes. Both are demonstrated in this fragment:
540 #(set-global-staff-size 15)
542 #(paper-set-staff-size (* 15 pt))
548 Both have the same effect on the global layout of a piece. Similarly,
549 the paper size may be changed as follows
552 #(set-default-paper-size "a4")
554 #(set-paper-size "a4")
559 @item Warnings for bar check errors are more cleverly printed. This
560 makes @code{barCheckSynchronize} superfluous, so it is now switched
563 Warning: this will cause problems in scores that use bar checks to
566 @item The black note head was made a little rounder, which causes a less
567 frantic graphic impression.
570 A more concise syntax for checking octaves was introduced. A note may
571 be followed by @code{=}@var{quotes} which indicates what its absolute
572 octave should be. In the following example,
575 \relative c'' @{ c='' b=' d,='' @}
579 the d will generate a warning, because a d'' is
580 expected, but a d' is found.
581 @c @code adds ` ', very confusing.
583 @item There is a new mechanism for putting lyrics to melodies.
584 With this mechanism, @code{Lyrics} lines can be put melodies
585 individually, allowing for different melismatic sections in every
586 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
588 @item Bar lines may now be dotted.
591 @item The documentation now has links to a wiki, where everyone can
592 add personal comments to the manual.
594 @item Contexts may now be changed locally for an isolated music
595 expression. For example,
599 \consists "Pitch_squash_engraver"
605 @item The syntax for changing staffs has changed. The keyword
606 @code{\change} should now be used, e.g.
612 @item Features of spanner contexts, like @code{Staff}, can now be changed
613 using @code{\set}, eg.
617 \override Staff.StaffSymbol #'line-count = #4
623 puts a quarter note C on a staff with 4 lines.
626 @item Multi measure rests are now truly centered between the
627 clefs/barlines of the staff, their position is independent of symbols
630 @item Collision resolution for dots in chords has been improved greatly.
633 Spacing following barlines was improved for widely stretched lines.
636 Lyric hyphens and extenders now conform to standard typesetting
640 Lyrics are now aligned under note heads conforming to engraving
641 standards. The responsible code has been rewritten, and is drastically
642 simpler from the previous version. To aid this rewrite, the syntactic
643 function of the extender line ( __ ) has been changed: it is now
644 attached to the lyric syllable.
647 When redefining a context, the associated identifier is also
648 updated. For example, after reading
658 the definition of @code{ScoreContext} is updated to include the changed
663 The weight of the stafflines is now heavier at smaller staff sizes.
664 The font has been modified to match this look: at smaller sizes, the
665 font is heavier and the note heads are more rounded.
667 @item Processing scores is now done while parsing the file. New
668 Scheme functions give more flexibility: for example, it is now possible
669 interpret a score, collecting synchronized musical events in a list, and
670 manipulate that information using inline Scheme. For an example, see
671 @file{input/no-notation/recording.ly}.
673 @item Font sizes can now truly be scaled continuously: the @code{font-size}
674 is similar to the old @code{font-relative-size}, but may be set to
675 fractional values; the closest design size will be scaled to achieve
676 the desired size. As a side-effect, there are now no longer
677 limitations in using smaller fonts (eg. grace notes) at small staff
680 @item Stem tips are now also engraved with rounded corners.
683 The placement of accidentals on chords and ledgered notes is improved.
688 @unnumbered New features in 2.0 since 1.8
693 Crescendos can now be drawn dotted or dashed.
696 Quarter tones are now supported. They are entered by suffixing
697 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
698 following is an ascending list of pitches:
701 ceses ceseh ces ceh c cih cis cisih cisis
705 The following constructs have been removed from the syntax:
708 \duration #SCHEME-DURATION
710 \outputproperty @var{func} @var{symbol} = @var{value}
713 For @code{\outputproperty}, the following may be substituted:
716 \applyoutput #(outputproperty-compatibility @var{func}
717 @var{symbol} @var{value})
721 Clefs may now be transposed arbitrarily, for example
731 The syntax for chords and simultaneous music have changed.
732 Chords are entered as
738 while simultaneous music is entered as
741 <<@var{..music list..}>>
744 In effect, the meanings of both have been swapped relative to their 1.8
745 definition. The syntax for lists in @code{\markup} has changed
746 alongside, but figured bass mode was not changed, i.e.:
749 \markup @{ \center <@var{..list of markups..}> @}
750 \figure @{ <@var{figures}> @}
753 As chords the more often used than simultaneous music, this change will
757 Each music expression can now be tagged, to make different printed
758 versions from the same music expression. In the following example,
759 we see two versions of a piece of music, one for the full score, and
760 one with cue notes for the instrumental part:
764 @{ c4 f2 g4 @} % in the part, we have cue-notes
766 \tag #'score R1 % in the score: only a rest
770 The same can be applied to articulations, texts, etc.: they are
774 -\tag #@var{your-tags}
777 to an articulation, for example,
780 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
783 This defines a note, which has a conditional fingering and a
784 string-number indication.
787 The settings for chord-fingering are more flexible. You can specify a
788 list where fingerings may be placed, eg.
791 \property Voice.fingeringOrientations = #'(left down)
794 This will put the fingering for the lowest note below the chord, and the
798 The script previously known as @code{ly2dvi} has been renamed to
799 @code{lilypond}. The binary itself is now installed as
803 Markup text (ie. general text formatting) may now be used for lyrics too.
806 Two new commands for grace notes have been added, @code{\acciaccatura}
807 and @code{\appoggiatura},
814 Both reflect the traditional meanings of acciaccatura and appogiatura,
815 and both insert insert a slur from the first grace note to the main
819 Layout options for grace notes are now stored in a context property,
820 and may now be set separately from musical content.
823 The @code{\new} command will create a context with a unique
824 name automatically. Hence, for multi-staff scores, it is no longer
825 necessary to invent arbitrary context names. For example, a two-staff
826 score may be created by
830 \new Staff @{ @var{notes for 1st staff} @}
831 \new Staff @{ @var{notes for 2nd staff} @}
838 Octave checks make octave errors easier to correct.
845 This checks that @var{pitch} (without octave) yields @var{pitch} (with
846 octave) in \relative mode. If not, a warning is printed, and the
850 All articulations must now be entered postfix. For example,
857 is a pair of beamed slurred eighth notes.
860 The definition of @code{\relative} has been simplified. Octaves are
861 now always propagated in the order that music is entered. In the
866 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
871 the octave of BODY is based on PRE, the starting octave of ALT1 on
872 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
875 The same mechanism is used for all other music expressions, except the
876 chord. Backwards compatibility is retained through a special program option,
880 #(ly:set-option 'old-relative)
884 Windows users can double click a @code{.ly} file to process and view
885 it automagically through the new @code{lily-wins} frontend.
892 @unnumbered New features in 1.8 since 1.6
897 The chord entry code has been completely rewritten. It is now
898 cleaner and more flexible.
901 A new syntax has been added for text entry. This syntax is more
902 friendly than the old mechanism, and it is implemented in a more
903 robust and modular way. For more information, refer to the section on
904 "Text markup" in the notation manual.
907 The integration of the input language and Scheme has been made deeper:
908 you can now use LilyPond identifiers in Scheme, and use Scheme
909 expressions instead of LilyPond identifiers.
912 The internal representation of music has been cleaned up completely
913 and converted to Scheme data structures. The representation may be
917 A new uniform postfix syntax for articulation has been introduced.
918 A beamed slurred pair of eighth notes can be entered as
924 In version 2.0, postfix syntax will be the only syntax
925 available, and the dashes will become optional.
927 This will simplify the language: all articulations can be entered as
928 postfix, in any order.
931 A new syntax has been added for chords:
938 It is not necessary to update files to this syntax, but it will be for
939 using LilyPond version 2.0. In version 2.0, this syntax will be
949 \simultaneous @{ .. @}
952 for simultaneous music.
954 To convert your files from <PITCHES> to <<PITCHES>>, use the script
955 included in @file{buildscripts/convert-new-chords.py}.
957 This change was introduced for the following reasons
961 It solves the "start score with chord" problem, where you have to
962 state \context Voice explicitly when a chord was the start of a
965 With the new syntax, it is possible to distinguish between
966 articulations (or fingerings) which are for a single chord note,
967 and which are for the entire chord. This allows for per-note
968 fingerings, and is more logical on the whole.
972 User code may now be executed during interpreting. The syntax for
976 \applycontext #SCHEME-FUNCTION
980 User code may now be executed on arbitrary grobs during interpreting.
981 The syntax for this feature is
984 \applyoutput #SCHEME-FUNCTION
988 SCHEME-FUNCTION takes a single argument, and is called for every grob
989 that is created in the current context.
992 New algorithms for chord-name formatting have been installed. They
993 can be tuned and have ergonomic syntax for entering exceptions.
996 Texts may now be put on multimeasure rests, e.g.
999 R1*20^\markup @{ "GP" @}
1003 Ancient notation now prints ligatures in Gregorian square neumes
1004 notation, roughly following the typographical style of the Liber
1005 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1006 without the proper line breaking and horizontal spacing.
1009 Glissandi can now be printed using the zigzag style.
1012 LilyPond can now print clusters. The syntax is
1015 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1019 For irregular meters, beat grouping marks can be printed. The
1023 #(set-time-signature 7 8 '(3 2 2))
1028 Nested horizontal brackets for music analysis can now be printed:
1037 @item Ottava brackets are now fully supported as a feature. The syntax
1045 @item Metronome markings are printed when a \tempo command is processed.
1049 @item Fingerings can be put on chords horizontally.
1053 @item The appearance of various glyphs has been fine-tuned.
1057 @item Different types of percent style repeats may now be nested.
1061 @item The emacs support has been extended.
1065 The manual has been completely revised and extended.
1069 @unnumbered New features in 1.6 since 1.4
1075 Support for figured bass and tablature.
1078 Completely rewritten beam formatting: provides much better output
1083 Completely revised and improved music font.
1087 Completely rewritten MIDI import support.
1090 Completely rewritten grace note support. Practically speaking this
1091 means that grace notes can be slurred to normal normal notes.
1095 Improved accidental handling and formatting: styles for producing
1096 cautionaries may vary, and complex collisions between accidentals of a
1097 chord are handled much better.
1100 Better spacing: both globally and locally. This includes subtle
1101 details like optical stem spacing.
1104 More support for ancient notation: mensural ligatures, ambitus
1105 (pitch range) of voices, more shapes, etc.
1108 More support for piano notation: bracket pedals, directed arpeggios,
1112 Easier music polyphonic music entry.
1115 More extensibility, many speedups and bugfixes
1118 The manual has been thoroughly revised.
1121 Development is now hosted at http://savannah.gnu.org, and sources
1122 can be downloaded through anonymous CVS.
1125 Support for windows: LilyPond is part of the cygwin distribution,
1126 which comes with a user-friendly installer.