1 \input texinfo @c -*-texinfo-*-
7 @unnumbered New features in 2.5 since 2.4
11 Metrics of blocks of text can be retrieved from (La)@TeX{} directly,
12 using the @code{-f texstr} output backend. This provides exact metrics,
13 including kerning and accents, for texts.
16 LilyPond now uses FreeType read the Feta font as an OpenType
17 font. This is cleaner design and more robust. A recent version of
18 FontForge (11122004 or newer) and Freetype is required.
20 As a result, the SVG backend is now a fully functional backend.
23 A new script, @code{\espressivo} has been added, for a combination of
24 crescendo and decrescendo on a single note.
27 In markups, expressions stacked with @code{\column},
28 @code{\center-align}, etc, are not grouped with @code{< ... >} anymore,
29 but with @code{@{ ... @}}, eg:
32 \line @{ first line @}
33 \line @{ second line @}
38 LilyPond will now avoid line breaks that cause long texts to stick
39 outside of the page staff.
42 Grace notes following a main note, used to be entered by letting the
43 grace notes follow a skip in a parallel expression, for example,
47 { s2 \grace { c16[ d] } } >>
52 This can now be shortened by doing
55 \afterGrace @{ d1 @} @{ c16[ d] @}
59 Pagebreaks can now be forced or forbidden after title blocks. This is
60 achieved by setting @code{breakbefore} in the @code{\header} block to
64 Shaped note heads. This feature has been sponsored by Jonathan Walther.
67 Layout for titles, page header and footer can now be entered as
68 @code{\markup} commands.
70 @item Positioning of slurs can now be adjusted manually
72 @item Grace notes are correctly quoted and formatted when using cue notes.
74 @item Cue notes can now be created with
77 \cueDuring #@var{voice-name} #@var{direction} @{ @var{music} @}
81 This will set stem directions and put the cue notes in the @code{cue}
84 @item Stemlets, short stems over beamed rests, have been added.
89 @unnumbered New features in 2.4 since 2.2
93 @item Parts that use @code{\quote} can now be transposed.
95 @item LilyPond does not try to produce output for files that
98 @item @code{lilypond-book} will now remove any output files that
99 contain failed music snippets.
101 @item The mode changing commands (@code{\chords}, @code{\lyrics}, etc.)
102 have been renamed to @code{\chordmode}, @code{\lyricmode}, etc. The
103 command @code{\chords} is an abbreviation for
106 \new ChordNames \chordmode ...
110 @code{\drums}, @code{\lyrics}, @code{\chords}, @code{\figures}
113 @item The types of events quoted with @code{\quote} can now be tuned
114 with @code{quotedEventTypes}. By default, only notes and rests end up
117 @item LilyPond will try to keep
118 staves at the same distances across a page, but it will stretch
119 distances to prevent collisions. This results in a more even
120 appearance of the page.
122 @item Key signature cancellations are now printed before the bar line,
123 and their appearance has been improved.
125 @item Different voices that all use @code{\quote} can now refer to
129 @item The automatic staff changer, which is invoked with
130 @code{\autochange}, now creates the @code{up} and @code{down} staff
131 automatically, and uses bass clef for the bottom staff.
133 @item There is now support for putting two slurs on chords, both above
134 and below. This is switched on with the @code{doubleSlurs} property.
136 @item Running trills now have their own spanner and event,
139 c1\startTrillSpan c4\stopTrillSpan
142 @item There is a new markup command @code{\postscript} that takes a
143 string that is dumped as verbatim PostScript in the output.
145 @item The melody for a @code{\lyricsto} text can be changed during a
146 melody by setting the @code{associatedVoice} property.
148 @item The @code{\lyricsto} keyword now automatically switches on
151 @item The LilyPond binary now supports output options
152 @code{--dvi} @code{--png} @code{--ps} @code{--pdf} and
153 @code{--preview}. The old wrapper script for La@TeX{} has been
154 renamed to @code{lilypond-latex}.
156 @item Support for ambitus has been rewritten. The Ambitus object is now
157 a grouping object, composed of @code{AmbitusLine},
158 @code{AmbitusAccidental} and @code{AmbitusNoteHead}. These objects may
159 be tuned similar to accidentals and note heads.
161 @item Ledger lines are now shortened when the spacing is tight. This
162 prevents ledger lines from colliding with each other.
164 @item Slur formatting has been rewritten. The new slur code
165 works similar to the Beam formatter: scores are assigned for all
166 esthetic components of a slur. A large number of combinations for
167 begin and end points is then tried out. Slurs will now also take into
168 account collisions with staff lines, scripts (like staccato and
169 accent) and accidentals.
172 @item In the LilyPond emacs mode, entering @code{|} will display the
173 current beat within the measure.
175 @item Colliding notes are now correctly aligned relative to notes in other staves.
177 @item An experimental GNOME output backend is available for developers.
178 It depends on several unreleased packages such as gnome-guile TLA and
179 Pango CVS. The output interface coverage is sparse, but it already
180 does support point-and-click on the GNOME Canvas. See also
181 @file{scm/output-gnome.scm}.
183 @item Context definitions are now stored in identifiers that match the
184 context name, in other words, to modify a @code{Staff} context, the
185 following code may be used.
195 The @code{\paper} block has been renamed to @code{\layout}. A new
196 @code{\paper} block has been introduced to hold settings for paper
197 size and output scaling. Further options include @code{raggedbottom}
198 (if set, systems are not vertically filled to reach the bottom of the
199 page), and @code{raggedlastbottom}.
202 @item Support for fret diagrams has been contributed by Carl
203 D. Sorensen. @file{input/test/fret-diagram.ly} contains an example.
205 @item The @code{--safe-mode} has been revisited: GUILE evaluation
206 is done in the R5RS safe module, with only the basic @code{ly:}
207 interface available and malicious @TeX{} code is stopped. However, to
208 be reasonably safe, you are advised to use the PostScript backend
209 rather than the @TeX{} backend anyway; and if possible use an UML
210 sandbox to run gs or latex.
212 @item Music syntax can now be extended seamlessly. As an example,
213 here is the new implementation @code{\applymusic},
216 applymusic = #(ly:make-music-function
217 (list procedure? ly:music?) ; signature
218 (lambda (where func music) ; the function
222 @item @code{\apply} has been renamed to @code{\applymusic}.
224 @item Music can be used as a markup.
225 When inserting a @code{score} block as part of a @code{\markup}, it
226 produces a rendered markup of the music. An example is in
227 @file{input/test/markup-score.ly}.
229 @item LilyPond expressions can be embedded into Scheme. The syntax for
230 this is @code{#@{ ... #@}}. Within such a block, Scheme forms can be
231 introduced using a @code{$} character (@code{$$} results in a single
232 `$' character). These forms are then inserted in the pattern.
235 #(define (textoffset dx dy)
237 #@{ \override Voice.TextScript #'extra-offset = #(cons $dx $dy) #@}))
241 %% The following embedded scheme call is the same as
242 %% \override Voice.TextScript #'extra-offset = #(cons 2 -3)
244 c'^"text with offset"
248 @item A music list at toplevel is interpreted as implicit @code{\score}
249 a @code{\score} block at toplevel is interpreted as an implicit
250 @code{\book} and @code{\notemode} mode is the default lexer mode. The
254 \header @{ title = "The Title" @}
261 \header @{ title = "The Title" @}
264 \notemode @{ a b c @}
269 This is handled by the function defined in
270 @code{toplevel-music-handler}. Similarly, @code{\score} and
271 @code{\book} are handled by @code{toplevel-score-handler} and a
272 @code{toplevel-book-handler}. By changing these variables, different
273 results can be obtained.
275 @item Mode changing commands,
276 such as @code{\chordmode} and @code{\figuremode} must now be directly
277 followed by delimiters. The following example demonstrates the new
281 \figuremode \context Figures { .. } % wrong
282 \context Figures \figuremode { .. } % right
286 @item The starting pitch for @code{relative} music is optional for music lists.
287 The default value is middle C.
289 @item Combining lyrics with music can be done with @code{\addlyrics}
294 d2 d c4 bes a2 \break
297 My first Li -- ly song,
300 Not much can go wrong!
304 Syntactically, @code{\addlyrics} is an infix operator. It is a
305 shortcut for a combination of @code{\new Lyrics}, @code{\lyricmode}
306 and @code{\lyricsto}.
308 @item The parser is encapsulated in a Scheme function
309 @code{ly:parse-file}, so the following fragment processes two files
312 #(ly:parse-file "another.ly")
313 \score { \notes { c4 }}
316 @item The @code{font-encoding} property can now be used to select
317 differently encoded fonts. The previous default setting
318 @code{TeX-text} has been replaced by latin1. LilyPond requires the
319 @uref{http://www.lilypond.org/download/fonts/,ec-fonts-mftraced}
320 package installed to function properly.
322 @item The encoding of a file can be switched with
323 @code{\encoding}. The strings for markup texts are translated
326 @item The toplevel block @code{\book} introduces page layout.
327 A @code{\book} groups @code{\score} blocks into one page layout
328 entity. For example, two scores are combined in one book with
339 Titling and page breaks are handled by LilyPond. Page breaks may be
340 inserted manually with
347 Invoking @code{lilypond} runs the actual binary, which not use
348 La@TeX{} for titling or page layout. If you need La@TeX{} code in
349 titles, you can use the @code{lilypond-book} program. The former
350 @code{lilypond} script has been retained as @code{lilypond-latex}.
352 @item There is now less of a noticeable ``hook'' at the end of a long slur.
354 @item The meaning of the @code{|} in the input can be redefined, by
355 assigning a music expression to @code{pipeSymbol}.
361 @c ****************************************************************
363 @unnumbered New features in 2.2 since 2.0
367 @item Setting @code{raggedlast = ##t} in the @code{\paper} block
368 causes the last line to be set flush-left instead of justified.
370 @item The @code{Timing_engraver} now sets the @code{Timing} alias on
371 its containing context automatically.
373 @item The code for font selection has been rewritten. In addition to
374 existing font selection properties, the property @code{font-encoding}
375 has been added, which makes the switch between normal @code{text} and
376 other encodings like @code{braces}, @code{music} and @code{math}.
378 @item The pmx2ly script has been removed from the distribution.
380 @item Pedal brackets will now run to the last bar of a piece if they are not
383 @item Context definitions now use the word @code{\context} instead of @code{\translator}.
385 @item Property functions may be used as an argument to @code{set!},
389 (set! (ly:grob-property grob 'beam) ... )
392 @item In anticipation of Emacs 21.4 or 22.1, the info documentation contains
395 @item Cue notes can be quoted directly from the parts that
396 contain them. This will take into account transposition of source and target
397 instrument. For example,
400 \addquote clarinet \notes\relative c' {
406 \notes \relative c'' {
407 c8 d8 \quote 2 oboe es8 gis
412 @item The transposition of an instrument can be specified using the
413 @code{\transposition} command. An
414 E-flat alto saxophone is specified as
420 @item The naming of exported Scheme functions now follows Scheme conventions.
421 Changes be applied to Scheme files with
424 convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
428 @item Notes can be excluded from auto-beaming, by marking them with
435 will print two separate eighth notes, and two beamed notes.
437 @item Translators and contexts have been split. The result of this
438 internal cleanup is that @code{Score} no longer is the top context;
439 @code{Score} is contained in the @code{Global} context. Consequently,
440 it is possible to tweak @code{Score} as follows:
443 \context Score \with @{
448 @item The number of staff lines in Tablature notation is now
449 automatically deduced from the @code{stringTunings} property.
451 @item The program reference has been cleaned up and revised.
453 @item The syntax for setting properties has been simplified:
454 the following table lists the differences:
459 \property A.B = #C \set A.B = #C
460 \property A.B \unset \unset A.B
461 \property A.B \set #C = #D \override A.B #C = #D
462 \property A.B \override #C = #D (removed)
463 \property A.B \revert #C \revert A.B #C
466 Furthermore, if @code{A} is left out, the bottommost context is used
467 by default. In other words, it is no longer necessary to explicitly
468 mention @code{Voice}, @code{Lyrics} or @code{ChordNames}.
473 \property Voice.autoBeaming = ##f
474 \property Staff.TimeSignature \set #'style = #'C
480 \set autoBeaming = ##f
481 \override Staff.TimeSignature #'style = #'C
485 @item Tweaks made with @code{\override} and @code{\revert} no longer
486 hide tweaks at higher context levels.
488 @item Melismata in lyrics are also properly handled in the MIDI output.
490 @item The lilypond-book script has been rewritten.
491 It is shorter, cleaner and faster. The special construct
492 @code{mbinclude} has been removed, plain @code{@@include} or
493 @code{\input} can be used now.
495 It now supports running convert-ly on the lilypond snippets,
497 lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
500 @item The @code{LyricsVoice} context has been removed. Lyrics should only
501 be constructed in @code{Lyrics}.
503 @item The @code{Thread} context has been removed. Note heads and rests
504 are now constructed at @code{Voice} level.
506 @item Harmonic notes can now be entered as
512 @item Drum notation is now supported as a regular feature:
513 percussion may be entered in @code{\drums} mode, and printed or
514 performed in a @code{DrumStaff} context:
518 \drums \new DrumStaff @{ hihat4 cowbell8 @}
522 @item The automatic staff changer was internally rewritten. As a
523 result, the syntax has been simplified as well:
526 \autochange @var{the-music}
529 @item The ergonomic syntax of @code{\markup} now has an equivalent in
530 Scheme. The @code{markup*} macro creates such objects; the following
531 two markup commands are equivalent:
533 f4^#(markup* #:raise 0.2 #:bold "hi")
534 f4^\markup @{ \raise #0.2 \bold hi @}
537 @item Voice names, for vocal lines, have been added. They are similar
538 to instrument names. They can be set by defining @code{vocalName}
541 @item Safe mode has been reinstated for lilypond.
542 When lilypond is invoked with @code{--safe-mode}, @TeX{} and
543 PostScript file output is disallowed, and lilypond-bin is invoked with
544 @code{--safe-mode}, the user's Guile expressions are evaluated in a
545 safe environment and file inclusion is not allowed.
547 Warning: this does not protect against denial-of-service attacks using
548 Guile, @TeX{} or PostScript.
550 (This feature is still experimental.)
552 @item There is now a Scheme macro for defining markup
553 commands. Special mark-up commands can be defined in user-files too.
555 @item Many fixes for dimension scaling have been made,
556 resulting in correct results for scores that mix staves in different
559 @item Improved robustness when layout properties are accidentally removed.
561 @item A more cleanly constructed part combiner has been installed.
562 It is more robust and less buggy. The part-combiner can be used with
564 \partcombine @var{mus1} @var{mus2}
568 See @file{input/regression/new-part-combine.ly} for an example.
570 @item Formatting of rehearsal marks has been improved. The @code{\mark}
571 command now only does automatic incrementing for marks specified as
572 integer. For example, @code{\mark #1} will print an A in the default
573 style. See @file{input/regression/rehearsal-mark-letter.ly},
574 @file{input/regression/rehearsal-mark-number.ly}.
576 @item Formatting of ottava brackets has been much improved.
578 @item Objects in the output can now be documented: the following fragment
579 boxes the note head, and adds the text ``heads or tails?'' three
580 spaces below the box.
583 \context Voice \applyoutput #(add-balloon-text
584 'NoteHead "heads, or tails?"
592 @item Default staff sizes are now scalable. There are two new mechanisms for
593 setting staff sizes. Both are demonstrated in this fragment:
596 #(set-global-staff-size 15)
598 #(paper-set-staff-size (* 15 pt))
604 Both have the same effect on the global layout of a piece. Similarly,
605 the paper size may be changed as follows
608 #(set-default-paper-size "a4")
610 #(set-paper-size "a4")
615 @item Warnings for bar check errors are more cleverly printed. This
616 makes @code{barCheckSynchronize} superfluous, so it is now switched
619 Warning: this will cause problems in scores that use bar checks to
622 @item The black note head was made a little rounder, which causes a less
623 frantic graphic impression.
626 A more concise syntax for checking octaves was introduced. A note may
627 be followed by @code{=}@var{quotes} which indicates what its absolute
628 octave should be. In the following example,
631 \relative c'' @{ c='' b=' d,='' @}
635 the d will generate a warning, because a d'' is
636 expected, but a d' is found.
637 @c @code adds ` ', very confusing.
639 @item There is a new mechanism for putting lyrics to melodies.
640 With this mechanism, @code{Lyrics} lines can be put melodies
641 individually, allowing for different melismatic sections in every
642 @code{Lyrics}. See @file{input/regression/lyric-combine-new.ly}.
644 @item Bar lines may now be dotted.
647 @item The documentation now has links to a wiki, where everyone can
648 add personal comments to the manual.
650 @item Contexts may now be changed locally for an isolated music
651 expression. For example,
655 \consists "Pitch_squash_engraver"
661 @item The syntax for changing staffs has changed. The keyword
662 @code{\change} should now be used, e.g.
668 @item Features of spanner contexts, like @code{Staff}, can now be changed
669 using @code{\set}, eg.
673 \override Staff.StaffSymbol #'line-count = #4
679 puts a quarter note C on a staff with 4 lines.
682 @item Multi measure rests are now truly centered between the
683 clefs/barlines of the staff, their position is independent of symbols
686 @item Collision resolution for dots in chords has been improved greatly.
689 Spacing following barlines was improved for widely stretched lines.
692 Lyric hyphens and extenders now conform to standard typesetting
696 Lyrics are now aligned under note heads conforming to engraving
697 standards. The responsible code has been rewritten, and is drastically
698 simpler from the previous version. To aid this rewrite, the syntactic
699 function of the extender line ( __ ) has been changed: it is now
700 attached to the lyric syllable.
703 When redefining a context, the associated identifier is also
704 updated. For example, after reading
714 the definition of @code{ScoreContext} is updated to include the changed
719 The weight of the stafflines is now heavier at smaller staff sizes.
720 The font has been modified to match this look: at smaller sizes, the
721 font is heavier and the note heads are more rounded.
723 @item Processing scores is now done while parsing the file. New
724 Scheme functions give more flexibility: for example, it is now possible
725 interpret a score, collecting synchronized musical events in a list, and
726 manipulate that information using inline Scheme. For an example, see
727 @file{input/no-notation/recording.ly}.
729 @item Font sizes can now truly be scaled continuously: the @code{font-size}
730 is similar to the old @code{font-relative-size}, but may be set to
731 fractional values; the closest design size will be scaled to achieve
732 the desired size. As a side-effect, there are now no longer
733 limitations in using smaller fonts (eg. grace notes) at small staff
736 @item Stem tips are now also engraved with rounded corners.
739 The placement of accidentals on chords and ledgered notes is improved.
744 @unnumbered New features in 2.0 since 1.8
749 Crescendos can now be drawn dotted or dashed.
752 Quarter tones are now supported. They are entered by suffixing
753 @code{ih} for a half-sharp and @code{eh} for a half-flat. Hence, the
754 following is an ascending list of pitches:
757 ceses ceseh ces ceh c cih cis cisih cisis
761 The following constructs have been removed from the syntax:
764 \duration #SCHEME-DURATION
766 \outputproperty @var{func} @var{symbol} = @var{value}
769 For @code{\outputproperty}, the following may be substituted:
772 \applyoutput #(outputproperty-compatibility @var{func}
773 @var{symbol} @var{value})
777 Clefs may now be transposed arbitrarily, for example
787 The syntax for chords and simultaneous music have changed.
788 Chords are entered as
794 while simultaneous music is entered as
797 <<@var{..music list..}>>
800 In effect, the meanings of both have been swapped relative to their 1.8
801 definition. The syntax for lists in @code{\markup} has changed
802 alongside, but figured bass mode was not changed, i.e.:
805 \markup @{ \center <@var{..list of markups..}> @}
806 \figure @{ <@var{figures}> @}
809 As chords the more often used than simultaneous music, this change will
813 Each music expression can now be tagged, to make different printed
814 versions from the same music expression. In the following example,
815 we see two versions of a piece of music, one for the full score, and
816 one with cue notes for the instrumental part:
820 @{ c4 f2 g4 @} % in the part, we have cue-notes
822 \tag #'score R1 % in the score: only a rest
826 The same can be applied to articulations, texts, etc.: they are
830 -\tag #@var{your-tags}
833 to an articulation, for example,
836 c4-\tag #'with-fingerings -4 -\tag #'with-strings \6
839 This defines a note, which has a conditional fingering and a
840 string-number indication.
843 The settings for chord-fingering are more flexible. You can specify a
844 list where fingerings may be placed, eg.
847 \property Voice.fingeringOrientations = #'(left down)
850 This will put the fingering for the lowest note below the chord, and the
854 The script previously known as @code{ly2dvi} has been renamed to
855 @code{lilypond}. The binary itself is now installed as
859 Markup text (ie. general text formatting) may now be used for lyrics too.
862 Two new commands for grace notes have been added, @code{\acciaccatura}
863 and @code{\appoggiatura},
870 Both reflect the traditional meanings of acciaccatura and appogiatura,
871 and both insert insert a slur from the first grace note to the main
875 Layout options for grace notes are now stored in a context property,
876 and may now be set separately from musical content.
879 The @code{\new} command will create a context with a unique
880 name automatically. Hence, for multi-staff scores, it is no longer
881 necessary to invent arbitrary context names. For example, a two-staff
882 score may be created by
886 \new Staff @{ @var{notes for 1st staff} @}
887 \new Staff @{ @var{notes for 2nd staff} @}
894 Octave checks make octave errors easier to correct.
901 This checks that @var{pitch} (without octave) yields @var{pitch} (with
902 octave) in \relative mode. If not, a warning is printed, and the
906 All articulations must now be entered postfix. For example,
913 is a pair of beamed slurred eighth notes.
916 The definition of @code{\relative} has been simplified. Octaves are
917 now always propagated in the order that music is entered. In the
922 \repeat "unfold" 3 BODY \alternative @{ ALT1 ALT2 @}
927 the octave of BODY is based on PRE, the starting octave of ALT1 on
928 BODY, the starting octave of ALT2 on ALT1, and the starting octave of
931 The same mechanism is used for all other music expressions, except the
932 chord. Backwards compatibility is retained through a special program option,
936 #(ly:set-option 'old-relative)
940 Windows users can double click a @code{.ly} file to process and view
941 it automagically through the new @code{lily-wins} frontend.
948 @unnumbered New features in 1.8 since 1.6
953 The chord entry code has been completely rewritten. It is now
954 cleaner and more flexible.
957 A new syntax has been added for text entry. This syntax is more
958 friendly than the old mechanism, and it is implemented in a more
959 robust and modular way. For more information, refer to the section on
960 "Text markup" in the notation manual.
963 The integration of the input language and Scheme has been made deeper:
964 you can now use LilyPond identifiers in Scheme, and use Scheme
965 expressions instead of LilyPond identifiers.
968 The internal representation of music has been cleaned up completely
969 and converted to Scheme data structures. The representation may be
973 A new uniform postfix syntax for articulation has been introduced.
974 A beamed slurred pair of eighth notes can be entered as
980 In version 2.0, postfix syntax will be the only syntax
981 available, and the dashes will become optional.
983 This will simplify the language: all articulations can be entered as
984 postfix, in any order.
987 A new syntax has been added for chords:
994 It is not necessary to update files to this syntax, but it will be for
995 using LilyPond version 2.0. In version 2.0, this syntax will be
1005 \simultaneous @{ .. @}
1008 for simultaneous music.
1010 To convert your files from <PITCHES> to <<PITCHES>>, use the script
1011 included in @file{buildscripts/convert-new-chords.py}.
1013 This change was introduced for the following reasons
1017 It solves the "start score with chord" problem, where you have to
1018 state \context Voice explicitly when a chord was the start of a
1021 With the new syntax, it is possible to distinguish between
1022 articulations (or fingerings) which are for a single chord note,
1023 and which are for the entire chord. This allows for per-note
1024 fingerings, and is more logical on the whole.
1028 User code may now be executed during interpreting. The syntax for
1032 \applycontext #SCHEME-FUNCTION
1036 User code may now be executed on arbitrary grobs during interpreting.
1037 The syntax for this feature is
1040 \applyoutput #SCHEME-FUNCTION
1044 SCHEME-FUNCTION takes a single argument, and is called for every grob
1045 that is created in the current context.
1048 New algorithms for chord-name formatting have been installed. They
1049 can be tuned and have ergonomic syntax for entering exceptions.
1052 Texts may now be put on multimeasure rests, e.g.
1055 R1*20^\markup @{ "GP" @}
1059 Ancient notation now prints ligatures in Gregorian square neumes
1060 notation, roughly following the typographical style of the Liber
1061 hymnarius of Solesmes, published in 1983. Ligatures are still printed
1062 without the proper line breaking and horizontal spacing.
1065 Glissandi can now be printed using the zigzag style.
1068 LilyPond can now print clusters. The syntax is
1071 \apply #notes-to-clusters @{ NOTE NOTE .. @}
1075 For irregular meters, beat grouping marks can be printed. The
1079 #(set-time-signature 7 8 '(3 2 2))
1084 Nested horizontal brackets for music analysis can now be printed:
1093 @item Ottava brackets are now fully supported as a feature. The syntax
1101 @item Metronome markings are printed when a \tempo command is processed.
1105 @item Fingerings can be put on chords horizontally.
1109 @item The appearance of various glyphs has been fine-tuned.
1113 @item Different types of percent style repeats may now be nested.
1117 @item The emacs support has been extended.
1121 The manual has been completely revised and extended.
1125 @unnumbered New features in 1.6 since 1.4
1131 Support for figured bass and tablature.
1134 Completely rewritten beam formatting: provides much better output
1139 Completely revised and improved music font.
1143 Completely rewritten MIDI import support.
1146 Completely rewritten grace note support. Practically speaking this
1147 means that grace notes can be slurred to normal normal notes.
1151 Improved accidental handling and formatting: styles for producing
1152 cautionaries may vary, and complex collisions between accidentals of a
1153 chord are handled much better.
1156 Better spacing: both globally and locally. This includes subtle
1157 details like optical stem spacing.
1160 More support for ancient notation: mensural ligatures, ambitus
1161 (pitch range) of voices, more shapes, etc.
1164 More support for piano notation: bracket pedals, directed arpeggios,
1168 Easier music polyphonic music entry.
1171 More extensibility, many speedups and bugfixes
1174 The manual has been thoroughly revised.
1177 Development is now hosted at http://savannah.gnu.org, and sources
1178 can be downloaded through anonymous CVS.
1181 Support for windows: LilyPond is part of the cygwin distribution,
1182 which comes with a user-friendly installer.