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.
45 \relative c'' \sequential{
50 d4 g,8 a b c d4 g, g |
51 e'4 c8 d e fis g4 g, g |
52 c4 d8()c b a( )b4 c8 b a g |
53 a4 [b8 a] [g fis] g2. |
58 g4 e8 fis g d cis4 b8 cis a4 |
59 a8-. b-. cis-. d-. e-. fis-.
66 % standard settings are too wide for a book
72 Enter it (or copy it, the filename is @file{menuet.ly}), compile it
73 with LilyPond and view the output. Details of this procedure may vary
74 from system to system. To create the output, one would issue the
75 command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
76 the job of running LilyPond and TeX, handling of titles and
77 adjusting of page margins.
79 If all goes well, the file @file{menuet.dvi} will be created.
80 To view this output, issue the command `@code{xdvi menuet}'.
82 Now that we are familiar with the procedure of producing output, we
83 will analyse the input, line by line.
85 Let's try to redo this
88 % lines preceded by a percent are comments.
91 The percent sign, `@code{%}', introduces a line comment. If you want to
92 make larger comments, you can use block comments. These are delimited
93 by `@code{%@{}' and `@code{%@}}'
95 @multitable @columnfractions .60 .39
98 @c @example urg: no tt font
99 @c @exdent % lines preceded by a percent are comments.
100 @exdent @code{% lines preceded by a percent are comments.}
103 The percent sign, `@code{%}', introduces a line comment. If you
104 want to make larger comments, you can use block comments. These
105 are delimited by `@code{%@{}' and `@code{%@}}'
112 By default, LilyPond will use definitions for a 20
113 point@footnote{A point is the standard measure of length for
114 printing. One point is 1/72.27 inch.} high staff. We want smaller
115 output (16 point staff height), so we must import the settings for
116 that size, which is done.@example
121 A mudela file combines music with directions for outputting that
122 music. The music is combined with the output directions by putting
123 them into a @code{\score} block.
129 This makes LilyPond ready for accepting notes.
135 As we will see, pitches are combinations of octave, note name and
136 chromatic alteration. In this scheme, the octave is indicated by
137 using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
138 `@code{,}'). The central C is denoted by @code{c'}. The C one octave
139 higher is @code{c''}. One and two octaves below the central C is
140 denoted by @code{c} and @code{c,} respectively.
142 For pitches in a long piece you might have to type many quotes. To
143 remedy this, LilyPond has a ``relative'' octave entry mode. In this
144 mode, octaves of notes without quotes are chosen such that a note is
145 as close as possible (graphically, on the staff) to the the preceding
146 note. If you add a high-quote an extra octave is added. The lowered
147 quote (a comma) will subtract an extra octave. Because the first note
148 has no predecessor, you have to give the (absolute) pitch of the note
149 to start with.@example
154 What follows is sequential music, i.e.,
155 notes that are to be played and printed after each other.@example
160 This command changes the time signature of the current piece: a 3/4
161 sign is printed. This command is also used to generate bar lines in
162 the right spots.@example
167 This command changes the current key to G-major. Although this
168 command comes after the @code{\time} command, in the output, the key
169 signature comes before the time signature: LilyPond knows about music
170 typesetting conventions. @example
175 This command tells LilyPond that the following piece of music must
176 be played twice; @code{"volta"} volta brackets should be used for
177 alternatives---if there were any.
183 The subject of the repeat is again sequential music. Since
184 @code{\sequential} is such a common construct, a shorthand is provided:
185 just leave off @code{\sequential}, and the result is the same. @example
190 This is a note with pitch @code{d} (determined up to octaves). The
191 relative music was started with a @code{c''}, so the real pitch of this
192 note is @code{d''}. The @code{4} designates the duration of the note
193 (it is a quarter note). @example
198 These are notes with pitch @code{a} and @code{b}. Because their
199 duration is the same as the @code{g}, there is no need to enter the
200 duration (You may enter it anyway, eg. @code{a4 b4}) @example
205 Three more notes. The `@code{|}' character is a `barcheck'. When
206 processing the music, LilyPond will verify that barchecks are found at
207 the start of a measure. This can help you track down errors.
209 So far, no notes were chromatically altered. Here is the first one
210 that is: @code{fis}. Mudela by default uses Dutch note names, and
211 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
212 sharp sign in the output. The program keeps track of key signatures,
213 and will only print accidentals if they are needed.
219 LilyPond guesses were beams can be added to eighth and shorter notes.
220 In this case, a beam over 4 eighths is added.
223 c4 d8( )c b a( )b4 c8 b a g |
226 The next line shows how to make a slur:
227 the beginning and ending note of the slur is marked with an opening and
228 closing parenthesis respectively. In the line shown above this is
229 done for two slurs. Slur markers (parentheses) are between
235 Automatic beaming can be overridden by inserting beam marks
236 (brackets). Brackets are put around notes you want beamed.@example
241 A duration with augmentation dot is notated
242 with the duration number followed by a period.@example
247 This ends the sequential music to be repeated. LilyPond will typeset
248 a repeat bar. @example
253 This line shows that Lily will print an accidental if that is
254 needed: the first C sharp will be printed with an accidental, the
255 second one without. @example
257 a8-. b-. cis-. d-. e-. fis-.
260 You can enter articulation signs either in a verbose form using a
261 shorthand. Here we demonstrate the shorthand: it is formed by a dash
262 and the the character for the articulation to use, e.g. `@code{-.}' for
263 staccato as shown above. @example
269 Rests are denoted by the special notename `@code{r}'. You can also enter
270 an invisible rest by using the special notename `@code{s}'.
276 All articulations have a verbose form, like @code{\fermata}. The
277 command `@code{\fermata}' is not part of the core of the language (most
278 of the other discussed elements are), but it is a shorthand for a more
279 complicated description of a fermata. @code{\fermata} names that
280 description and is therefore called an @emph{identifier}. @example
294 This specifies a conversion from music to notation output. Most of
295 the details of this conversions (font sizes, dimensions, etc.) have
296 been taken care of, but to fit the output in this document, it has
297 to be smaller. We do this by setting the line width to 14 centimeters
298 (approximately 6 inches).
304 The last brace ends the @code{\score} block.
306 There are two things to note here. The format contains musical
307 concepts like pitches and durations, instead of symbols and positions:
308 the input format tries to capture the meaning of @emph{music}, and not
309 notation. Therefore Second, the format tries to be @emph{context-free}:
310 a note will sound the same regardless of the current time signature,
313 The purpose of LilyPond is explained informally by the term `music
314 typesetter'. This is not a fully correct name: not only does the
315 program print musical symbols, it also makes esthetic decisions. All
316 symbols and their placement is @emph{generated} from a high-level musical
317 description. In other words, LilyPond would be best
318 described by `music compiler' or `music to notation compiler'.
320 @node Lyrics and chords, , , Tutorial
321 @section Lyrics and chords
323 In this section we show how to typeset a song of unknown
324 origin.@footnote{The author would welcome information about the origin
329 title = "The river is flowing";
330 composer = "Traditional (?)";
332 \include "paper16.ly"
333 melody = \notes \relative c' @{
336 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
337 c4 c8 d [es () d] c4 | d4 es8 d c4.
342 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
343 ri -- ver is flo -- wing down to the sea.
346 accompaniment =\chords @{
348 c2:3- f:3-.7 d:min es4 c8:min r8
349 c2:min f:min7 g:7^3.5 c:min @}
354 \context ChordNames \accompaniment
357 \context Staff = mel @{
358 \property Staff.noAutoBeaming = "1"
359 \property Staff.automaticMelismata = "1"
362 \context Lyrics \text
365 \paper @{ linewidth = 10.0\cm; @}
370 The result would look this@footnote{The titling and font size shown
371 may differ, since the titling in this document is not generated by
374 @center @strong{The river is flowing}
379 title = "The river is flowing";
380 composer = "Traditional (?)";
382 \include "paper16.ly"
383 melody = \notes \relative c' {
387 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
388 c4 c8 d [es () d] c4 | d4 es8 d c4.
393 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
394 ri -- ver is flo -- wing down to the sea.
397 accompaniment =\chords {
399 c2:3- f:3-.7 d:min es4 c8:min r8
400 c2:min f:min7 g:7^3.5 c:min }
405 \context ChordNames \accompaniment
408 \context Staff = mel {
409 \property Staff.noAutoBeaming = "1"
410 \property Staff.automaticMelismata = "1"
413 \context Lyrics \text
416 \paper { linewidth = 10.0\cm; }
420 Again, we will dissect the file line by line.@example
425 Information about the music you are about to typeset goes into a
426 @code{\header} block. The information in this block is not used by
427 LilyPond, but it is included in the output. @file{ly2dvi} uses this
428 information to print titles above the music.
431 title = "The river is flowing";
432 composer = "Traditional (?)";
434 the @code{\header} block contains assignments. An assignment starts
435 with a string. (which is unquoted, in this case). Then comes the
436 equal sign `@code{=}'. After the equal sign comes the expression you
437 want to store. In this case, you want to put in strings. The
438 information has to be quoted here, because it contains spaces. The
439 assignment is finished with a semicolon.@example
441 \include "paper16.ly"
444 Smaller size for inclusion in a book.@example
446 melody = \notes \relative c' @{
449 The structure of the file will be the same as the previous one, a
450 @code{\score} block with music in it. To keep things readable, we will
451 give names to the different parts of music, and use the names to
452 construct the music within the score block.
458 The piece starts with an anacrusis of one eighth.
462 The key is C minor: we have three flats.
467 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
468 c4 c8 d [es () d] c4 | d4 es8 d c4.
472 We use explicit beaming. Since this is a song, we will turn automatic
473 beams off, and use explicit beaming where needed.@example
478 This ends the definition of @code{melody}. Note that there are no
479 semicolons after assignments at top level.@example
484 Another identifier assignment. This one is for the lyrics.
485 Lyrics are formed by syllables that have duration, and not by
486 notes. To make LilyPond parse words as syllables, switch it into
487 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
488 is a shorthand for @code{\sequential @{}. @example
490 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
491 ri- ver is flo- __ wing down to the sea.
495 The syllables themselves are separated by spaces. You can get syllable
496 extenders by entering `@code{__}', and centered hyphens with
497 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
498 in length (hence the @code{4}), and use a feature to align the
499 syllables to the music (which obviously isn't all quarter notes.)
502 accompaniment =\chords @{
505 We'll put chords over the music. There is a special mode (analogous
506 to @code{\lyrics} and @code{\notes} mode) where you can give the names
507 of the chords you want, instead of the notes comprising the chord.
513 There is no accompaniment during the anacrusis.@example
518 A chord is started by the tonic of the chord. The
519 first one lasts a half note. An unadorned note creates a major
520 triad, while a minor triad is wanted. @code{3-} modifies the third to
521 be small. @code{7} modifies (adds) a seventh, which is small by default
522 to create the @code{f a c es} chord. Multiple modifiers must be
523 separated by a dot.@example
528 Some modifiers have predefined names, eg. @code{min} is the same as
529 @code{3-}, so @code{d-min} is a minor @code{d} chord.@example
531 c2:min f:min7 g:7^3.5 c:min @}
534 A named modifier @code{min} and a normal modifier @code{7} do not have
535 to be separated by a dot. Tones from a chord are removed with chord
536 subtractions. Subtractions are started with a caret, and they are
537 also separated by dots. In this example, @code{g:7^3.5} produces a
538 minor seventh. The brace ends the sequential music. @example
544 We assemble the music in the @code{\score} block. Melody, lyrics and
545 accompaniment have to sound at the same time, so they should be
546 @code{\simultaneous}.@example
551 Chord mode generates notes grouped in @code{\simultaneous} music. If
552 you remove the comment sign, you can see the chords in normal
553 notation: they will be printed as note heads on a separate
556 \context ChordNames \accompaniment
559 Normally, the notes that you enter are transformed into note heads.
560 The note heads alone make no sense, they need surrounding information:
561 a key signature, a clef, staff lines, etc. They need @emph{context}. In
562 LilyPond, these symbols are created by objects called `interpretation
563 context'. Interpretation contexts only exist during a run of
564 LilyPond. Interpretation contexts that are for printing music (as
565 opposed to playing music) are called `notation context'.
567 By default, LilyPond will create a Staff contexts for you. If you
568 would remove the @code{%} sign in the previous line, you can see that
571 We don't want default contexts here, because we want names, not note
572 heads. An interpretation context can also created upon explicit
573 request. The keyword for such a request is @code{\context}. It takes
574 two arguments. The first is the name of a interpretation context.
575 The name is a string, it can be quoted with double quotes). The
576 second argument is the music that should be interpreted in this
577 context. For the previous line, we could have written @code{\context
578 Staff \accompaniment}, and get the same effect.@example
583 The lyrics need to be aligned with the melody. This is done by
584 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
585 pieces of music (usually a melody and lyrics, in that order) and
586 aligns the syllables of the second piece under the notes of the
587 first piece. If you would reverse the order, the notes would be
588 aligned on the lyrics, which is not very useful. (Besides, it looks
591 \context Staff = mel @{
594 This is the argument of @code{\addlyrics}. We instantiate a
595 @code{Staff} context explicitly: should you chose to remove comment
596 before the ``note heads'' version of the accompaniment, the
597 accompaniment will be on a nameless staff. The melody has to be on a
598 different staff as the accompaniment. This is accomplished by giving
599 the melody staff a different name.@example
601 \property Staff.noAutoBeaming = "1"
604 An interpretation context has variables that tune its behaviour. One
605 of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
606 true) LilyPond will not try to put automatic beaming on the current
609 \property Staff.automaticMelismata = "1"
612 Similarly, we don't want to print a syllable when there is
613 a slur. This sets up the Staff context to signal slurs while
614 @code{\addlyrics} is processed. @example
620 Finally, we put the melody on the current staff. Note that the
621 @code{\property} directives and @code{\melody} are grouped in sequential
622 music, so the property settings are done before the melody is
625 \context Lyrics \text
628 The second argument of @code{\addlyrics} is the text. The text also
629 should not land on a Staff, but on a interpretation context for
630 syllables, extenders, hyphens etc. This context is called
636 This ends @code{\simultaneous}.@example
641 This makes the music go to a MIDI file. MIDI is great for
642 checking music you enter. You listen to the MIDI file: if you hear
643 something unexpected, it's probably a typing error. @code{\midi} is an
644 `output definition', a declaration that specifies how to output music
645 analogous to @code{\paper @{ @}}.@example
647 \paper @{ linewidth = 10.0\cm; @}
650 We also want notation output. The linewidth is short so the piece
651 will be set in two lines. @example
658 @node Piano music, , , Tutorial
661 Our third subject is a piece piano music. The fragment in the input
662 file is a piano reduction of the G major Sinfonia by Giovanni Battista
663 Sammartini. It was composed around 1740.
667 \include "paper16.ly";
669 viola = \notes \relative c' \context Voice = viola {
671 \property Voice.verticalDirection = \down g'8. b,16
676 oboes = \notes \relative c'' \context Voice = oboe {
677 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
678 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
680 { \times 2/3 { a8 g c } \! c2 }
681 \context Voice = oboeTwo {
684 \property Grace.verticalDirection = \down
689 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
690 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
691 [<c16( e> < )e8. g>] <c8 e,>
694 hoomPah = \notes \transpose c' {
695 c8 \translator Staff = top \stemdown
696 c'8 \translator Staff = bottom \stemup }
698 hoomPahHoomPah = { [\hoomPah \hoomPah] }
700 bassvoices = \notes \relative c' {
702 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
703 \stemdown [c8 c'8] r4
705 < {\stemup r2 <e4 c'> <c8 g'> }
706 \context Voice = reallyLow {\stemdown g2 ~ | g4 c8 } >
710 \context PianoStaff \notes <
711 \context Staff = top < \time 2/2;
712 \context Voice = viola \viola
715 \context Staff = bottom < \time 2/2; \clef bass;
722 linewidth = 15.0 \cm; }
726 If it looks like incomprehensible gibberish to you@dots{} Then you are
727 right. The author has doctored this example to have as many quirks in
728 one system as possible.@example
729 viola = \notes \relative c' \context Voice = viola @{
731 In this example, you can see multiple parts on a staff. Each part is
732 associated with one notation context. This notation context handles
733 stems and dynamics (among others). The name of this context is
734 @code{Voice}. For each part we have to make sure that there is
735 precisely one Voice context@footnote{If @code{\context} would not
736 have been specified explicitly, three @code{Voice} contexts would be
737 created: one for each note in the first chord.}.@example
740 @code{<} and @code{>} are short hands for @code{\simultaneous @{} and
741 @code{@}}. So the expression enclosed in @code{<} and @code{>} is a
742 chord. @code{\f} places a forte symbol under the chord.@example
743 \property Voice.verticalDirection = \down
745 @code{verticalDirection} is a property of the voice context. It
746 controls the directions of stems, articulations marks and other
748 If @code{verticalDirection} is set to @code{\down}
749 (identifier for the integer -1) the stems go down,
750 @code{\up} (identifier for the integer 1) makes the stems go up.@example
753 Relative octaves work a little differently with chords. The starting
754 point for the note following a chord is the first note of the chord. So
755 the @code{g} gets an octave up quote: it is a fifth above the starting
756 note of the previous chord (the central C).
761 @code{s} is a `spacer' rest. It does not print anything, but it does
762 have the duration of a rest. @example
763 oboes = \notes \relative c'' \context Voice = oboe @{
765 Now comes a part for two oboes. They play homophonically, so we
766 print the notes as one voice that makes chords. Again, we insure that
767 these notes are indeed processed by precisely one context with
768 @code{\context}.@example
769 \stemup s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
771 @code{\stemup} is an identifier reference. It is shorthand for
772 @code{\property Voice.verticalDirection = \up}. If possible, you
773 should use predefined identifiers like these for setting properties.
774 Your input will be less dependent upon the implementation of LilyPond.
776 \grace <e8( g> < )d4 f> <c2 e>
778 @code{\grace} introduces grace notes. It takes one argument, in this
779 case a chord. The slur started on the @code{e} of the chord
780 will be attached to the next note.@footnote{LilyPond will squirm
781 about unended Slurs. In this case, you can ignore the warning}.
785 Tuplets are made with the @code{\times} keyword. It takes two
786 arguments: a fraction and a piece of music. The duration of the
787 second argument is multiplied by the first argument. Triplets make
788 notes occupy 2/3 of their notated duration, so in this case the
789 fraction is 2/3. @example
790 @{ <d8 \< f> <e g> <f a> @}
792 The piece of music to be `tripletted' is sequential music containing
793 three notes. On the first chord (the @code{d}), a crescendo is started
794 with @code{\<}.@example
797 At this point, the homophonic music splits into two rhythmically
798 different parts. We can't use a sequence of chords to enter this, so
799 we make a `chord' of sequences to do it. We start with the upper
800 voice, which continues with upward stems: @example
801 @{ \times 2/3 @{ a8 g c @} \! c2 @}
803 The crescendo is ended at the half note by the escaped exclamation
804 mark `@code{\!}'. @example
805 \context Voice = oboeTwo @{
808 We can't share stems with the other voice, so we have to create a new
809 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
810 it from the other context. Stems go down in this voice. @example
813 When a grace section is processed, a @code{Grace} context is
814 created. This context acts like a miniature score of its own. It has
815 its own time bookkeeping, and you can make notes, beams, slurs
816 etc. Here fiddle with a property and make a beam. The argument of
817 @code{\grace} is sequential music.@example
818 \property Grace.verticalDirection = \down
821 Normally, grace notes are always stem up, but in this case, the upper
822 voice interferes. We set the stems down here.
824 As far as relative mode is concerned, the previous note is the
825 @code{c'''2} of the upper voice, so we have to go an octave down for
832 This ends the two-part section. @example
834 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
836 @code{\stemboth} ends the forced stem directions. From here, stems are
837 positioned as if it were single part music.
839 The bass has a little hoom-pah melody to demonstrate parts switching
840 between staffs. Since it is repetitive, we use identifiers:@example
841 hoomPah = \notes \transpose c' @{
843 Transposing can be done with @code{\transpose}. It takes two
844 arguments; the first specifies what central C should be transposed to.
845 The second is the to-be-transposed music. As you can see, in this
846 case, the transposition is a no-op. Central C is transposed to
849 The purpose of this no-op is circumventing relative mode. Relative
850 mode can not be used in conjunction with transposition, so relative
851 mode will leave the contents of @code{\hoomPah} alone. We can use it
852 without having to worry about getting the motive in a wrong
853 octave@footnote{@code{hoomPah = \relative @dots{}} would be more
854 intuitive to use, but that would not let me plug @code{\transpose}
856 c8 \translator Staff = top \stemdown
858 We assume that the first note will be put in the lower staff. After
859 that note we switch to the upper staff with @code{\translator}. To be
860 precise, this @code{\translator} entry switches the current voice to a
861 @code{Staff} named @code{top}. So we have to name the upper staff
862 `@code{top}'. Stem directions are set to avoid interfering with the
863 oboe voices. @example
864 c'8 \translator Staff = bottom \stemup @}
866 Then a note is put on the upper staff, and we switch again. We have
867 to name the lower staff `@code{bottom}'. @example
868 hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
870 Put two of these fragments in sequence, and beam them.@example
871 bassvoices = \notes \relative c' @{
873 \hoomPahHoomPah \hoomPahHoomPah \hoomPahHoomPah
876 Entering the bass part is easy: the hoomPahHoomPah variable is
877 referenced four times.@example
878 \context Voice = reallyLow @{\stemdown g2 ~ | g4 c8 @} >
880 After skipping some lines, we see @code{~}. This mark makes ties.@example
883 For piano music, a special context is needed to get cross staff
884 beaming right. It is called @code{PianoStaff}.@example
885 \context Staff = bottom < \time 2/2; \clef bass;
887 The bottom staff must have a different clef.@example
890 To make some more room on the line, the first (in this case the only)
891 line is not indented. The line still looks is very cramped, but that is due
892 to the format of this tutorial.
894 This example shows a lot of features, but the organisation isn't
895 perfect. For example, it would be less confusing to use a chord
896 containing sequential music than a sequence of chords for the oboe
899 [TODO: demonstrate Hara-Kiri with scores and part extraction.]
901 @node end of tutorial, , , Tutorial
904 That's all folks. From here, you can either try fiddling with input
905 files, or you can read the reference manual.