4 @node Tutorial, , , Top
6 * Introduction:: Introduction
7 * The first tune:: The first tune
8 * Lyrics and chords:: Lyrics and chords
9 * Piano music:: Piano music
10 * end of tutorial:: The end
13 @node Introduction, , , Tutorial
17 LilyPond prints music from a specification that you, the user, supply.
18 You have to give that specification using a @emph{language}. This
19 document is a gentle introduction to that language, which is called
20 Mudela, an acronym of Music Definition Language.
22 This tutorial will demonstrate how to use Mudela by presenting
23 examples of input along with resulting output. We will use English
24 terms for notation. In case you are not familiar with those, you may
25 consult the glossary that is distributed with LilyPond.
27 The examples discussed are included in the distribution, in the
28 subdirectory @file{input/tutorial/}. It is recommended that you
29 experiment with writing Mudela input yourself, to get a feel for
32 @node The first tune, , , Tutorial
33 @section The first tune
36 To demonstrate what LilyPond input looks like, we start off with a
37 full fledged, yet simple example. It is a convoluted version
38 of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
41 % lines preceded by a percent are comments which
42 % are ignored by Lilypond.
46 \relative c'' \sequential{
51 d4 g,8 a b c d4 g, g |
52 e'4 c8 d e fis g4 g, g |
53 c4 d8()c b a( )b4 c8 b a g |
54 a4 [b8 a] [g fis] g2. |
59 g4 e8 fis g d cis4 b8 cis a4 |
60 a8-. b-. cis-. d-. e-. fis-.
67 % standard settings are too wide for a book
73 Enter it (or copy it, the filename is @file{menuet.ly}), compile it
74 with LilyPond and view the output. Details of this procedure may vary
75 from system to system. To create the output, one would issue the
76 command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
77 the job of running LilyPond and @TeX{}, handling of titles and
78 adjusting of page margins.
80 If all goes well, the file @file{menuet.dvi} will be created.
81 To view this output, issue the command `@code{xdvi menuet}'.
83 Now that we are familiar with the procedure of producing output, we
84 will analyse the input, line by line.
86 Let's try to redo this
89 % lines preceded by a percent are comments which
90 % are ignored by Lilypond.
94 The percent sign, `@code{%}', introduces a line comment. If you want to
95 make larger comments, you can use block comments. These are delimited
96 by `@code{%@{}' and `@code{%@}}'
98 @multitable @columnfractions .60 .39
101 @c @example urg: no tt font
102 @c @exdent % lines preceded by a percent are comments.
103 @exdent @code{% lines preceded by a percent are comments.}
106 The percent sign, `@code{%}', introduces a line comment. If you
107 want to make larger comments, you can use block comments. These
108 are delimited by `@code{%@{}' and `@code{%@}}'
115 By default, LilyPond will use definitions for a 20
116 point@footnote{A point is the standard measure of length for
117 printing. One point is 1/72.27 inch.} high staff. We want smaller
118 output (16 point staff height), so we must import the settings for
119 that size, which is done.
125 A mudela file combines music with directions for outputting that
126 music. The music is combined with the output directions by putting
127 them into a @code{\score} block.
133 This makes LilyPond ready for accepting notes.
139 As we will see, pitches are combinations of octave, note name and
140 chromatic alteration. In this scheme, the octave is indicated by
141 using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
142 `@code{,}'). The central C is denoted by @code{c'}. The C one octave
143 higher is @code{c''}. One and two octaves below the central C is
144 denoted by @code{c} and @code{c,} respectively.
146 For pitches in a long piece you might have to type many quotes. To
147 remedy this, LilyPond has a ``relative'' octave entry mode. In this
148 mode, octaves of notes without quotes are chosen such that a note is
149 as close as possible (graphically, on the staff) to the the preceding
150 note. If you add a high-quote an extra octave is added. The lowered
151 quote (a comma) will subtract an extra octave. Because the first note
152 has no predecessor, you have to give the (absolute) pitch of the note
159 What follows is sequential music, i.e.,
160 notes that are to be played and printed after each other.
166 This command changes the time signature of the current piece: a 3/4
167 sign is printed. This command is also used to generate bar lines in
174 This command changes the current key to G-major. Although this
175 command comes after the @code{\time} command, in the output, the key
176 signature comes before the time signature: LilyPond knows about music
177 typesetting conventions.
183 This command tells LilyPond that the following piece of music must
184 be played twice; @code{"volta"} means that volta brackets should be used
185 for alternatives---if there were any.
191 The subject of the repeat is again sequential music. Since
192 @code{\sequential} is such a common construct, a shorthand is provided:
193 just leave off @code{\sequential}, and the result is the same.
199 This is a note with pitch @code{d} (determined up to octaves). The
200 relative music was started with a @code{c''}, so the real pitch of this
201 note is @code{d''}. The @code{4} designates the duration of the note
202 (it is a quarter note).
208 These are notes with pitch @code{a} and @code{b}. Because their
209 duration is the same as the @code{g}, there is no need to enter the
210 duration (You may enter it anyway, e.g. @code{a4 b4})
216 Three more notes. The `@code{|}' character is a `bar check'. When
217 processing the music, LilyPond will verify that bar checks are found at
218 the start of a measure. This can help you track down errors.
220 So far, no notes were chromatically altered. Here is the first one
221 that is: @code{fis}. Mudela by default uses Dutch note names, and
222 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
223 sharp sign in the output. The program keeps track of key signatures,
224 and will only print accidentals if they are needed.
230 LilyPond guesses were beams can be added to eighth and shorter notes.
231 In this case, a beam over 4 eighths is added.
234 c4 d8( )c b a( )b4 c8 b a g |
237 The next line shows how to make a slur:
238 the beginning and ending note of the slur is marked with an opening and
239 closing parenthesis respectively. In the line shown above, this is
240 done for two slurs. Slur markers (parentheses) are put between
247 Automatic beaming can be overridden by inserting beam marks
248 (brackets). Brackets are put around the notes you want beamed.
254 A duration with augmentation dot is notated
255 with the duration number followed by a period.
261 This ends the sequential music to be repeated. LilyPond will typeset
268 This line shows that Lily will print an accidental if that is
269 needed: the first C sharp of the bar will be printed with an accidental,
270 the second one without.
273 a8-. b-. cis-. d-. e-. fis-.
276 You can enter articulation signs either in a verbose form using a
277 shorthand. Here we demonstrate the shorthand: it is formed by a dash
278 and the character for the articulation to use, e.g. `@code{-.}' for
279 staccato as shown above.
286 Rests are denoted by the special notename `@code{r}'. You can also enter
287 an invisible rest by using the special notename `@code{s}'.
293 All articulations have a verbose form, like @code{\fermata}. The
294 command `@code{\fermata}' is not part of the core of the language (most
295 of the other discussed elements are), but it is a shorthand for a more
296 complicated description of a fermata. @code{\fermata} names that
297 description and is therefore called an @emph{identifier}.
312 This specifies a conversion from music to notation output. Most of
313 the details of this conversions (font sizes, dimensions, etc.) have
314 been taken care of, but to fit the output in this document, it has
315 to be smaller. We do this by setting the line width to 14 centimeters
316 (approximately 6 inches).
322 The last brace ends the @code{\score} block.
324 There are two things to note here. The format contains musical
325 concepts like pitches and durations, instead of symbols and positions:
326 the input format tries to capture the meaning of @emph{music}, and not
327 notation. Therefore Second, the format tries to be @emph{context-free}:
328 a note will sound the same regardless of the current time signature,
331 The purpose of LilyPond is explained informally by the term `music
332 typesetter'. This is not a fully correct name: not only does the
333 program print musical symbols, it also makes esthetic decisions. All
334 symbols and their placement is @emph{generated} from a high-level musical
335 description. In other words, LilyPond would be best
336 described by `music compiler' or `music to notation compiler'.
338 @node Lyrics and chords, , , Tutorial
339 @section Lyrics and chords
341 In this section we show how to typeset a song of unknown
342 origin.@footnote{The author would welcome information about the origin
347 title = "The river is flowing";
348 composer = "Traditional (?)";
350 \include "paper16.ly"
351 melody = \notes \relative c' @{
355 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
356 c4 c8 d [es () d] c4 | d4 es8 d c4.
361 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
362 ri -- ver is flo -- wing down to the sea.
365 accompaniment =\chords @{
367 c2:3- f:3-.7 d:min es4 c8:min r8
368 c2:min f:min7 g:7^3.5 c:min @}
373 \context ChordNames \accompaniment
376 \context Staff = mel @{
377 \property Staff.noAutoBeaming = ##t
378 \property Staff.automaticMelismata = ##t
381 \context Lyrics \text
383 \midi @{ \tempo 4=72;@}
384 \paper @{ linewidth = 10.0\cm; @}
389 The result would look this@footnote{The titling and font size shown
390 may differ, since the titling in this document is not generated by
393 @center @strong{The river is flowing}
398 title = "The river is flowing";
399 composer = "Traditional (?)";
401 \include "paper16.ly"
402 melody = \notes \relative c' {
406 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
407 c4 c8 d [es () d] c4 | d4 es8 d c4.
412 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
413 ri -- ver is flo -- wing down to the sea.
416 accompaniment =\chords {
418 c2:3- f:3-.7 d:min es4 c8:min r8
419 c2:min f:min7 g:7^3.5 c:min }
424 \context ChordNames \accompaniment
427 \context Staff = mel {
428 \property Staff.noAutoBeaming = ##t
429 \property Staff.automaticMelismata = ##t
432 \context Lyrics \text
434 \midi { \tempo 4=72;}
435 \paper { linewidth = 10.0\cm; }
439 Again, we will dissect the file line by line.
445 Information about the music you are about to typeset goes into a
446 @code{\header} block. The information in this block is not used by
447 LilyPond, but it is included in the output. @file{ly2dvi} uses this
448 information to print titles above the music.
451 title = "The river is flowing";
452 composer = "Traditional (?)";
454 the @code{\header} block contains assignments. An assignment starts
455 with a string. (which is unquoted, in this case). Then comes the
456 equal sign `@code{=}'. After the equal sign comes the expression you
457 want to store. In this case, you want to put in strings. The
458 information has to be quoted here, because it contains spaces. Each
459 assignment is finished with a semicolon.
462 \include "paper16.ly"
465 Smaller size for inclusion in a book.
468 melody = \notes \relative c' @{
471 The structure of the file will be the same as the previous one, a
472 @code{\score} block with music in it. To keep things readable, we will
473 give names to the different parts of music, and use the names to
474 construct the music within the score block.
480 The piece starts with an anacrusis of one eighth.
484 The key is C minor: we have three flats.
488 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
489 c4 c8 d [es () d] c4 | d4 es8 d c4.
494 We use explicit beaming. Since this is a song, we will turn automatic
495 beams off, and use explicit beaming where needed.
501 This ends the definition of @code{melody}. Note that there are no
502 semicolons after assignments at top level.
508 Another identifier assignment. This one is for the lyrics.
509 Lyrics are formed by syllables that have duration, and not by
510 notes. To make LilyPond parse words as syllables, switch it into
511 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
512 is a shorthand for @code{\sequential @{}.
515 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
516 ri- ver is flo- __ wing down to the sea.
520 The syllables themselves are separated by spaces. You can get syllable
521 extenders by entering `@code{__}', and centered hyphens with
522 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
523 in length (hence the @code{4}), and use a feature to align the
524 syllables to the music (which obviously isn't all quarter notes.)
527 accompaniment =\chords @{
530 We'll put chords over the music. There is a special mode (analogous
531 to @code{\lyrics} and @code{\notes} mode) where you can give the names
532 of the chords you want, instead of the notes comprising the chord.
538 There is no accompaniment during the anacrusis.
544 A chord is started by the tonic of the chord. The
545 first one lasts a half note. An unadorned note creates a major
546 triad, while a minor triad is wanted. @code{3-} modifies the third to
547 be small. @code{7} modifies (adds) a seventh, which is small by default
548 to create the @code{f a c es} chord. Multiple modifiers must be
555 Some modifiers have predefined names, eg. @code{min} is the same as
556 @code{3-}, so @code{d-min} is a minor @code{d} chord.
559 c2:min f:min7 g:7^3.5 c:min @}
562 A named modifier @code{min} and a normal modifier @code{7} do not have
563 to be separated by a dot. Tones from a chord are removed with chord
564 subtractions. Subtractions are started with a caret, and they are
565 also separated by dots. In this example, @code{g:7^3.5} produces a
566 minor seventh. The brace ends the sequential music.
573 We assemble the music in the @code{\score} block. Melody, lyrics and
574 accompaniment have to sound at the same time, so they should be
575 @code{\simultaneous}.
581 Chord mode generates notes grouped in @code{\simultaneous} music. If
582 you remove the comment sign, you can see the chords in normal
583 notation: they will be printed as note heads on a separate
587 \context ChordNames \accompaniment
590 Normally, the notes that you enter are transformed into note heads.
591 The note heads alone make no sense, they need surrounding information:
592 a key signature, a clef, staff lines, etc. They need @emph{context}. In
593 LilyPond, these symbols are created by objects called `interpretation
594 contexts'. Interpretation contexts only exist during a run of
595 LilyPond. Interpretation contexts that are for printing music (as
596 opposed to playing music) are called `notation contexts'.
598 By default, LilyPond will create a Staff context for you. If you
599 removed the @code{%} sign in the previous line, you would see that
602 We don't want default contexts here, because we want chord names, not
603 note heads. An interpretation context can also created upon explicit
604 request. The keyword for such a request is @code{\context}. It takes
605 two arguments. The first is the name of an interpretation context.
606 The name is a string, it can be quoted with double quotes). The
607 second argument is the music that should be interpreted in this
608 context. For the previous line, we could have written @code{\context
609 Staff \accompaniment}, and get the same effect.
615 The lyrics need to be aligned with the melody. This is done by
616 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
617 pieces of music (usually a melody and lyrics, in that order) and
618 aligns the syllables of the second piece under the notes of the
619 first piece. If you would reverse the order, the notes would be
620 aligned on the lyrics, which is not very useful. (Besides, it looks
624 \context Staff = mel @{
627 This is the argument of @code{\addlyrics}. We instantiate a
628 @code{Staff} context explicitly: should you chose to remove the comment
629 before the ``note heads'' version of the accompaniment, the
630 accompaniment will be on a nameless staff. The melody has to be on a
631 different staff as the accompaniment. This is accomplished by giving
632 the melody staff a different name.
635 \property Staff.noAutoBeaming = ##t
638 An interpretation context has variables that tune its behaviour. One
639 of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
640 true) LilyPond will not try to put automatic beaming on the current
644 \property Staff.automaticMelismata = ##t
647 Similarly, we don't want to print a syllable when there is
648 a slur. This sets up the Staff context to signal slurs while
649 @code{\addlyrics} is processed.
656 Finally, we put the melody on the current staff. Note that the
657 @code{\property} directives and @code{\melody} are grouped in sequential
658 music, so the property settings are done before the melody is
662 \context Lyrics \text
665 The second argument of @code{\addlyrics} is the text. The text also
666 should not land on a Staff, but on a interpretation context for
667 syllables, extenders, hyphens etc. This context is called
674 This ends @code{\simultaneous}.
677 \midi @{ \tempo 4=72;@}
680 This makes the music go to a MIDI file. MIDI is great for
681 checking music you enter. You listen to the MIDI file: if you hear
682 something unexpected, it's probably a typing error. @code{\midi} is an
683 `output definition', a declaration that specifies how to output music
684 analogous to @code{\paper @{ @}}. You can specify the tempo using the
685 @code{\tempo} command, in this case the tempo of quarter notes is set
686 to 72 beats per minute.
689 \paper @{ linewidth = 10.0\cm; @}
692 We also want notation output. The linewidth is short so the piece
693 will be set in two lines.
701 @node Piano music, , , Tutorial
704 Our third subject is a piece of piano music. The fragment in the input
705 file is a piano reduction of the G major Sinfonia by Giovanni Battista
706 Sammartini. It was composed around 1740.
711 \include "paper16.ly";
713 viola = \notes \relative c' \context Voice = viola {
715 \property Voice.verticalDirection = \down g'8. b,16
720 oboes = \notes \relative c'' \context Voice = oboe {
721 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
722 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
724 { \times 2/3 { a8 g c } \! c2 }
725 \context Voice = oboeTwo {
728 \property Grace.verticalDirection = \down
733 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
734 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
735 [<c16( e> < )e8. g>] <c8 e,>
738 hoomPah = \notes \transpose c' {
739 c8 \translator Staff = top \stemdown
740 c'8 \translator Staff = bottom \stemup }
742 hoomPahHoomPah = { [\hoomPah \hoomPah] }
744 bassvoices = \notes \relative c' {
746 \repeat unfold 4 {\hoomPahHoomPah}
747 \stemdown [c8 c'8] r4
749 < {\stemup r2 <e4 c'> <c8 g'> }
750 \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
754 \context PianoStaff \notes <
755 \context Staff = top < \time 2/2;
759 \context Staff = bottom < \time 2/2; \clef bass;
766 linewidth = 15.0 \cm; }
770 If it looks like incomprehensible gibberish to you@dots{} Then you are
771 right. The author has doctored this example to have as many quirks in
772 one system as possible.
776 Lilypond and the Mudela language is still under development, therefore
777 it is useful to indicate the Lilypond version of the file. Lilypond
778 will check the version number and warn you when the syntax has
779 changed. Also, the @code{convert-mudela} program will be able to
780 update most of the syntax changes automatically.
782 viola = \notes \relative c' \context Voice = viola @{
784 In this example, you can see multiple parts on a staff. Each part is
785 associated with one notation context. This notation context handles
786 stems and dynamics (among others). The name of this context is
787 @code{Voice}. For each part we have to make sure that there is
788 precisely one Voice context.
792 @code{<} and @code{>} are short hands for @code{\simultaneous @{} and
793 @code{@}}. So the expression enclosed in @code{<} and @code{>} is a
794 chord. @code{\f} places a forte symbol under the chord.
796 \property Voice.verticalDirection = \down
798 @code{verticalDirection} is a property of the voice context. It
799 controls the directions of stems, articulations marks and other
801 If @code{verticalDirection} is set to @code{\down}
802 (identifier for the integer -1) the stems go down,
803 @code{\up} (identifier for the integer 1) makes the stems go up.
807 Relative octaves work a little differently with chords. The starting
808 point for the note following a chord is the first note of the chord. So
809 the @code{g} gets an octave up quote: it is a fifth above the starting
810 note of the previous chord (the central C).
815 @code{s} is a `spacer' rest. It does not print anything, but it does
816 have the duration of a rest.
818 oboes = \notes \relative c'' \context Voice = oboe @{
820 Now comes a part for two oboes. They play homophonically, so we
821 print the notes as one voice that makes chords. Again, we insure that
822 these notes are indeed processed by precisely one context with
825 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
827 @code{\stemup} is an identifier reference. It is shorthand for
828 @code{\property Voice.verticalDirection = \up}. If possible, you
829 should use predefined identifiers like these for setting properties.
830 Your input will be less dependent upon the implementation of LilyPond.
832 \grace <e8( g> < )d4 f> <c2 e>
834 @code{\grace} introduces grace notes. It takes one argument, in this
835 case a chord. The slur started on the @code{e} of the chord
836 will be attached to the next note.@footnote{LilyPond will squirm
837 about unended Slurs. In this case, you can ignore the warning}.
841 Tuplets are made with the @code{\times} keyword. It takes two
842 arguments: a fraction and a piece of music. The duration of the
843 second argument is multiplied by the first argument. Triplets make
844 notes occupy 2/3 of their notated duration, so in this case the
847 @{ <d8 \< f> <e g> <f a> @}
849 The piece of music to be `tripletted' is sequential music containing
850 three notes. On the first chord (the @code{d}), a crescendo is started
855 At this point, the homophonic music splits into two rhythmically
856 different parts. We can't use a sequence of chords to enter this, so
857 we make a `chord' of sequences to do it. We start with the upper
858 voice, which continues with upward stems:
860 @{ \times 2/3 @{ a8 g c @} \! c2 @}
862 The crescendo is ended at the half note by the escaped exclamation
865 \context Voice = oboeTwo @{
868 We can't share stems with the other voice, so we have to create a new
869 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
870 it from the other context. Stems go down in this voice.
874 When a grace section is processed, a @code{Grace} context is
875 created. This context acts like a miniature score of its own. It has
876 its own time bookkeeping, and you can make notes, beams, slurs
877 etc. Here we fiddle with a property and make a beam. The argument of
878 @code{\grace} is sequential music.
880 \property Grace.verticalDirection = \down
883 Normally, grace notes are always stem up, but in this case, the upper
884 voice interferes. We set the stems down here.
886 As far as relative mode is concerned, the previous note is the
887 @code{c'''2} of the upper voice, so we have to go an octave down for
894 This ends the two-part section.
897 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
899 @code{\stemboth} ends the forced stem directions. From here, stems are
900 positioned as if it were single part music.
902 The bass has a little hoom-pah melody to demonstrate parts switching
903 between staffs. Since it is repetitive, we use identifiers:
905 hoomPah = \notes \transpose c' @{
907 Transposing can be done with @code{\transpose}. It takes two
908 arguments; the first specifies what central C should be transposed to.
909 The second is the to-be-transposed music. As you can see, in this
910 case, the transposition is a no-op. Central C is transposed to
913 The purpose of this no-op is circumventing relative mode. Relative
914 mode can not be used in conjunction with transposition, so relative
915 mode will leave the contents of @code{\hoomPah} alone. We can use it
916 without having to worry about getting the motive in a wrong
917 octave@footnote{@code{hoomPah = \relative @dots{}} would be more
918 intuitive to use, but that would not let me plug @code{\transpose}
921 c8 \translator Staff = top \stemdown
923 We assume that the first note will be put in the lower staff. After
924 that note we switch to the upper staff with @code{\translator}. To be
925 precise, this @code{\translator} entry switches the current voice to a
926 @code{Staff} named @code{top}. So we have to name the upper staff
927 `@code{top}'. Stem directions are set to avoid interfering with the
930 c'8 \translator Staff = bottom \stemup @}
932 Then a note is put on the upper staff, and we switch again. We have
933 to name the lower staff `@code{bottom}'.
935 hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
937 Put two of these fragments in sequence, and beam them.@example
938 bassvoices = \notes \relative c' @{
940 \repeat unfold 4 {\hoomPahHoomPah}
942 Entering the bass part is easy: the hoomPahHoomPah variable is
943 repeated four times; @code{unfold} means that all four repetitions
944 should be written out.
946 \context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
948 After skipping some lines, we see @code{~}. This mark makes ties.
952 For piano music, a special context is needed to get cross staff
953 beaming right. It is called @code{PianoStaff}.
955 \context Staff = bottom < \time 2/2; \clef bass;
957 The bottom staff must have a different clef.
961 To make some more room on the line, the first (in this case the only)
962 line is not indented. The line still looks very cramped, but that is due
963 to the format of this tutorial.
965 This example shows a lot of features, but the organisation isn't
966 perfect. For example, it would be less confusing to use a chord
967 containing sequential music than a sequence of chords for the oboe
970 [TODO: demonstrate Hara-Kiri with scores and part extraction.]
972 @node end of tutorial, , , Tutorial
975 That's all folks. From here, you can either try fiddling with input
976 files, or you can read the reference manual.