-@end lilypond
-@end quotation
-
-To specify chord inversions, append @code{/<notename>}. To specify an
-added bass note, append @code{/+<notename}:
-
-@quotation
-@lilypond[verbatim,center,singleline]
-scheme = \chords {
- d1 d/a d/+gis
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
-}
-@end lilypond
-@end quotation
-
-The chord names that LilyPond should print are fully customizable. The
-code to print chord names is written in Scheme. It can be found in
-@file{scm/chord-name.scm}. Chord names are based on Banter style
-naming, which is unambiguous and has a logical structure. Typical
-American style chord names are implemented as a variation on Banter
-names, they can be selected by setting property @code{ChordName.style}
-to @code{american}:
-
-@quotation
-@lilypond[verbatim]
-\include "english.ly"
-
-scheme = \chords {
- c % Major triad
- cs:m % Minor triad
- df:m5- % Diminished triad
- c:5^3 % Root-fifth chord
- c:4^3 % Suspended fourth triad
- c:5+ % Augmented triad
- c:2^3 % "2" chord
- c:m5-.7- % Diminished seventh
- c:7+ % Major seventh
- c:7.4^3 % Dominant seventh suspended fourth
- c:5+.7 % Augmented dominant seventh
- c:m5-.7 % "Half" diminished seventh
- c:5-.7 % Dominant seventh flat fifth
- c:5-.7+ % Major seventh flat fifth
- c:m7+ % Minor-major seventh
- c:m7 % Minor seventh
- c:7 % Dominant seventh
- c:6 % Major sixth
- c:m6 % Minor sixth
- c:9^7 % Major triad w/added ninth
- c:6.9^7 % Six/Nine chord
- c:9 % Dominant ninth
- c:7+.9 % Major ninth
- c:m7.9 % Minor ninth
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'american
- }
- }
-}
-@end lilypond
-@end quotation
-
-Similarly, Jazz style chord names are implemented as a variation on
-American style names:
-@quotation
-@lilypond[verbatim]
-scheme = \chords {
- % major chords
- c
- c:6 % 6 = major triad with added sixth
- c:maj % triangle = maj
- c:6.9^7 % 6/9
- c:9^7 % add9
-
- % minor chords
- c:m % m = minor triad
- c:m.6 % m6 = minor triad with added sixth
- c:m.7+ % m triangle = minor major seventh chord
- c:3-.6.9^7 % m6/9
- c:m.7 % m7
- c:3-.9 % m9
- c:3-.9^7 % madd9
-
- % dominant chords
- c:7 % 7 = dominant
- c:7.5+ % +7 = augmented dominant
- c:7.5- % 7b5 = hard diminished dominant
- c:9 % 7(9)
- c:9- % 7(b9)
- c:9+ % 7(#9)
- c:13^9.11 % 7(13)
- c:13-^9.11 % 7(b13)
- c:13^11 % 7(9,13)
- c:13.9-^11 % 7(b9,13)
- c:13.9+^11 % 7(#9,13)
- c:13-^11 % 7(9,b13)
- c:13-.9-^11 % 7(b9,b13)
- c:13-.9+^11 % 7(#9,b13)
-
- % half diminished chords
- c:m5-.7 % slashed o = m7b5
- c:9.3-.5- % o/7(pure 9)
-
- % diminished chords
- c:m5-.7- % o = diminished seventh chord
-}
-
-\score {
- \notes <
- \context ChordNames \scheme
- \context Staff \transpose c'' \scheme
- >
- \paper {
- \translator {
- \ChordNamesContext
- ChordName \override #'word-space = #1
- ChordName \override #'style = #'jazz
- }
- }
-}
-@end lilypond
-@end quotation
-
-@node Writing parts
-@section Writing parts
-
-@c . {Transpose}
-@menu
-* Rehearsal marks::
-* Instrument names::
-* Transpose::
-* Sound output for transposing instruments::
-* Multi measure rests::
-* Automatic part combining::
-@end menu
-
-@c . {Rehearsal marks}
-@node Rehearsal marks
-@subsection Rehearsal marks
-@cindex Rehearsal marks
-@cindex mark
-@cindex @code{\mark}
-@cindex @code{Mark_engraver}
-
-@example
- \mark @var{unsigned};
- \mark @var{string};
- \mark ;
-@end example
-
-With this command, you can print a rehearsal mark above the system. You
-can provide a number, a string or a markup text as argument. If there is
-no argument, the property @code{rehearsalMark} is used and automatically
-incremented.
-
-@lilypond[fragment,verbatim]
-\relative c'' {
- c1 \mark "A2";
- c1 \mark ;
- c1 \mark ;
- c1 \mark "12";
- c1 \mark #'(music "scripts-segno") ;
- c1
-}
-@end lilypond
-
-@node Instrument names
-@subsection Instrument names
-
-You can specify an instrument name for a staff by setting
-@code{Staff.instrument} and @code{Staff.instr}. This will print a string
-before the start of the staff. For the first start, @code{instrument} is
-used, for the next ones @code{instr} is used.
-
-@lilypond[verbatim,singleline]
-\score { \notes {
- \property Staff.instrument = "instr " { c''4 } }
- \paper {
- \translator { \StaffContext
- \consists "Instrument_name_engraver"; } } }
-@end lilypond
-
-This requires that you add the @code{Instrument_name_engraver} to the
-staff context.
-
-
-@node Transpose
-@subsection Transpose
-@cindex Transpose
-@cindex transposition of pitches
-@cindex @code{\transpose}
-
-A music expression can be transposed with @code{\transpose}. The syntax
-is
-@example
- \transpose @var{pitch} @var{musicexpr}
-@end example
-
-This means that middle C in @var{musicexpr} is transposed to
-@var{pitch}.
-
-@code{\transpose} distinguishes between enharmonic pitches: both
-@code{\transpose cis'} or @code{\transpose des'} will transpose up half
-a tone. The first version will print sharps and the second version
-will print flats.
-
-@quotation
-@lilypond[fragment,verbatim]
-\context Staff {
- \clef "F";
- { \key e \major; c d e f }
- \clef "G";
- \transpose des'' { \key e \major; c d e f }
- \transpose cis'' { \key e \major; c d e f }
-}
-
-@end lilypond
-@end quotation
-
-If you want to use both @code{\transpose} and @code{\relative}, then
-you must use @code{\transpose} first. @code{\relative} will have no
-effect music that appears inside a @code{\transpose}.
-
-@node Sound output for transposing instruments
-@subsection Sound output transposing instruments
-
-When you want to play a score containing transposed and untransposed
-instruments, you have to instruct LilyPond the pitch offset (in
-semitones) for the transposed instruments. This is done using
-@code{transposing}.
-
-@cindex @code{transposing}
-
-@example
- \property Staff.instrument = #"Cl. in B-flat"
- \property Staff.transposing = #-2
-@end example
-
-
-@c . {Multi measure rests}
-@node Multi measure rests
-@subsection Multi measure rests
-@cindex Multi measure rests
-
-@cindex @code{R}
-
-Multi measure rests are entered using `@code{R}'. It is specifically
-meant for entering parts: the rest can expand to fill a score with
-rests, or it can be printed as a single multimeasure rest This expansion
-is controlled by the property @code{Score.skipBars}. If this is set to true,
-Lily will not expand empty measures, and the appropriate number is added
-automatically.
-
-@lilypond[fragment,verbatim]
- \time 3/4; R2.*2 \property Score.skipBars = ##t R2.*17 R2.*4
-@end lilypond
-
-Currently, there is no way to condense multiple rests into a single
-multimeasure rest.
-
-@cindex condensing rests
-
-@node Automatic part combining
-@subsection Automatic part combining
-
-[TODO]
-
-
-@c . {Custodes}
-@node Custodes
-@section Custodes
-@cindex Custos
-@cindex Custodes
-
-A @emph{custos} (plural: @emph{custodes}; latin word for "guard") is a
-staff context symbol that appears at the end of a staff line. It
-anticipates the pitch of the first note(s) of the following line and
-thus helps the player or singer to manage line breaks during
-performance, thus enhancing readability of a score.
-
-@quotation
-@lilypond[verbatim]
-\score {
- \notes { c'1 d' e' d' \break c' d' e' d' }
- \paper {
- \translator {
- \StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
- }
- }
-}
-@end lilypond
-@end quotation
-
-Custodes were frequently used in music notation until the 16th century.
-There were different appearences for different notation styles.
-Nowadays, they have survived only in special forms of musical notation
-such as via the editio vaticana dating back to the beginning of the 20th
-century.
-
-For typesetting custodes, just put a @code{Custos_engraver} into the
-@code{StaffContext} when declaring the @code{\paper} block. In this
-block, you can also globally control the appearance of the custos symbol
-by setting the custos @code{style} property. Currently supported styles
-are @code{vaticana}, @code{medicaea}, @code{hufnagel} and
-@code{mensural}.
-
-@quotation
-\paper @{
- \translator @{
- \StaffContext
- \consists Custos_engraver;
- Custos \override #'style = #'mensural;
- @}
-@}
-@end quotation
-
-The property can also be set locally, for example in a @code{\notes}
-block:
-
-@quotation
-\notes @{
- \property Staff.Custos \override #'style = #'vaticana
- c'1 d' e' d' \break c' d' e' d'
-@}
-@end quotation
-
-@c . {Tuning output}
-@node Tuning output
-@section Tuning output
-
-LilyPond tries to take as much formatting as possible out of your
-hands. Nevertheless, there are situations where it needs some help, or
-where you want to override its decisions.
-
-Here we discuss how you can do that.
-
-Notational output is specified in so called grobs (graphic
-objects). Each grob carries with it a set of properties (grob
-properties) specific to that grob. For example, a stem grob has grob
-properties that specify its direction, length and thickness.
-
-The most common way of tuning the output is to alter the values of these
-properties. There are two ways of doing that: first, you can
-specifically select a set of grobs at one point, and set properties as
-you wish, or secondly, you can (temporarily) modify the definition of a
-grob, thereby affecting an entire group of grobs.
-
-@menu
-* Tuning groups of grobs ::
-* Tuning per grob ::
-* What to tune?::
-* Text markup::
-@end menu
-
-@node Tuning groups of grobs
-@subsection Tuning groups of grobs
-
-@cindex grob description
-
-A grob definition is an association list, that is stored in a context
-property. By assigning to that property (using plain @code{\property}),
-you can change the resulting grobs.
-@lilypond[verbatim, fragment]
-c'4 \property Voice.Stem = #'((meta . ((interfaces . ())))) c'4
-@end lilypond
-The @code{\property} statement effectively empties the definition of the
-Stem object. One of the effects is that property specifying how it
-should be printed is erased, with the effect of rendering it invisible.
-
-@cindex \override
-@cindex \revert
-@cindex \set
-
-
-This mechanism is fairly crude, since you can only set, but not modify,
-the definition of a grob. For this reason, there is a more advanced
-mechanism: you can add a property on top of an existing definition, or
-remove a property: @code{\override} adds a settings, @code{\revert}
-removes that setting.
-@lilypond[verbatim]
-c'4 \property Voice.Stem \override #'thickness = #4.0
-c'4 \property Voice.Stem \revert #'thickness
-c'4
-@end lilypond
-
-For the digirati, the grob description is an Scheme association
-list. Since it is singly linked, we can treat it as a stack, and
-@code{\override} and @code{\revert} are just push and pop
-operations. This pushing and popping is also used in the
-@code{autoBeamSettings} property.
-
-If you revert a setting which was not set in the first place, then it
-has no effect. However, if the setting was set as a system default, it
-may remove the default value, and this may give surprising results,
-including crashes. In other words, if you use @code{\override} and
-@code{\revert}, be sure to balance the overrides and reverts.
-
-If balancing them is too much work, use the following shorthand:
-@code{\set} performs a revert followed by an override:
-@example
-\property Voice.Stem \set #'thickness = #2.0
-@end example
-
-Formally the syntax for these constructions is
-@example
-\property @var{context}.@var{grobname} \override @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \set @var{symbol} = @var{value}
-\property @var{context}.@var{grobname} \revert @var{symbol}
-@end example
-Here @var{symbol} is a Scheme expression of symbol type, @var{context}
-and @var{grobname} are strings and @var{value} is a Scheme expression.
-
-LilyPond will hang or crash if @var{value} contains cyclic references.
-
-
-
-@node Tuning per grob
-@subsection Tuning per grob
-
-@cindex \outputproperty
-
-A second way of tuning grobs is the more arcane @code{\outputproperty}
-feature.
-Syntax is as follows
-@example
-\outputproperty @var{predicate} @var{symbol} = @var{value}
-@end example
-Here @code{predicate} is a Scheme functoin taking a grob a argument
-argument, and returning a boolean. This statement is processed by the
-@code{Output_property_engraver}. It instructs the engraver to feed all
-grobs that it sees to @var{predicate}. Whenever the predicate returns
-true, the grob property @var{symbol} will be set to @var{value}.
-
-You will need to combine this statement with @code{\context} to select
-the appropriate context to apply this to.
-
-If possible, avoid this feature: the semantics are not very clean, and
-the syntax and semantics are up for rewrite.
-
-Here are some random examples:
-
-@lilypond[fragment,verbatim,singleline]
-\relative c'' { c4
- \context Staff \outputproperty
- #(make-type-checker 'note-head-interface)
- #'extra-offset = #'(0.5 . 0.75)
- <c8 e g> }
-@end lilypond
-
-@cindex @code{extra-offset}
-
-This selects all note heads occurring at current staff level, and sets
-the @code{extra-offset} of those heads to @code{(0.5,0.75)}, shifting
-them up and right.
-
-Move the text "m.d.", but not the fingering instruction "2".
-@lilypond[verbatim,singleline]
-#(define (make-text-checker text)
- (lambda (grob) (equal? text (ly-get-elt-property grob 'text))))
-
-\score {
- \notes\relative c''' {
- \property Voice.Stem \set #'direction = #1
- \outputproperty #(make-text-checker "m.d.")
- #'extra-offset = #'(-3.5 . -4.5)
- a^2^"m.d."
- }
-}
-@end lilypond
-
-
-
-
-@node What to tune?
-@subsection What to tune?
-
-This all tells you how to tune grobs, but what variables are there? The
-question is not answered in this manual (although you may encounter
-some examples.).
-
-Grob properties are tied directly to the implementation of LilyPond, and
-they are thus a moving target. Refer to the automatically generated
-documentation of the internals (available from the website).
-
-You need the following information
-
-@itemize @bullet
-@item
-which grob to modify
-@item
-which property to modify
-@item
-which context the grob comes from.
-@end itemize
-
-Included with the automatically generated documentation is a master list
-of grobs. Each one can be clicked, taking you to a overview of the
-available properties.
-
-There is also a master list of contexts. Clicking each takes you to an
-overview of the context, listing which grob types are created there.
-
-
-
-@node Text markup
-@subsection Text markup
-@cindex text markup
-@cindex markup text
-
-LilyPond has an internal mechanism to typeset texts. You can
-form text markup expressions by composing scheme expressions
-in the following way.
-
-@lilypond[verbatim]
-\score { \notes \relative c' {
- b-#"text"
- c-#'(bold "text")
- d-#'(lines "one" (bold "text"))
- e-#'(music (named "noteheads-2" "flags-u3"))
-}
-\paper { linewidth = 10.\cm; } }
-@end lilypond
-
-Normally, the Scheme markup text is stored in the @code{text} property
-of a grob. Formally, it is defined as follows:
-
-@example
-text: string | (head? text+)
-head: markup | (markup+)
-markup-item: property | abbrev | @var{fontstyle}
-property: (@var{key} . @var{value})
-abbrev: @code{rows lines roman music bold italic named super sub text}
-@end example
-
-The markup is broken down and converted into a list of grob properties,
-which are prepended to the grop's property list. The
-@var{key}-@var{value} pair is a grob property.
-
-The following abbreviations are currently
-defined:
-
-@table @code
-@item rows
-horizontal mode: set all text on one line (default)
-@item lines
- vertical mode: set every text on new line
-@item roman
- select roman font
-@item music
- select feta font
-@item bold
- select bold series
-@item italic
- select italic shape
-@item named
- lookup by character name
-@item text
- plain text lookup (by character value)
-@item super
- superscript
-@item sub
- subscript
-@end table
-
-@var{fontstyle} may be any of @code{finger volta timesig mmrest mark
-script large Large dynamic}
-
-
-@c . {Page layout}
-@node Page layout
-@section Page layout
-@cindex Page layout
-
-@menu
-* Paper block::
-* Paper variables::
-* Font Size::
-* Paper size::
-* Line break::
-* Page break::
-@end menu
-
-@c . {Paper block}
-@node Paper block
-@subsection Paper block
-@cindex Paper block
-
-The most important output definition is the @code{\paper} block, for
-music notation. The syntax is
-
-@example
- @code{\paper @{} [@var{paperidentifier}] @var{items} @code{@}}
-@end example
-
-where each of the items is one of
-
-@itemize @bullet
- @item An assignment. The assignment must be terminated by a
- semicolon.
-
- @item A context definition. See Section @ref{Notation Contexts} for
- more information on context definitions.
-
- @item \stylesheet declaration. Its syntax is
- @example
- \stylesheet @var{alist}
- @end example
-
- See @file{font.scm} for details of @var{alist}.
-@end itemize
-
-@c . {Paper variables}
-@node Paper variables
-@subsection Paper variables
-@cindex Paper variables
-
-The paper block has some variables you may want to use or change:
-
-@table @code
-@cindex @code{indent}
- @item @code{indent}
- The indentation of the first line of music.
-@cindex @code{staffspace}
-
- @item @code{staffspace}
- The distance between two staff lines, calculated from the center
- of the lines. You should use either this or @code{stafflinethickness}
- as a unit for distances you modify.
-
-@cindex @code{linewidth}
- @item @code{linewidth}
- Sets the width of the lines.
-
-If set to a negative value, a single
- unjustified line is produced.
-
-@cindex @code{textheight}
-
- @item @code{textheight}
- Sets the total height of the music on each page. Only used by
- ly2dvi.
-@cindex @code{interscoreline}
-
- @item @code{interscoreline}
- Sets the spacing between the score lines. Defaults to 16 pt.
-@cindex @code{interscorelinefill}
-
- @item @code{interscorelinefill}
- If set to a positive number, the distance between the score
- lines will stretch in order to fill the full page. In that
- case @code{interscoreline} specifies the minimum spacing.
- Defaults to 0.
-@cindex @code{stafflinethickness}
-
- @item @code{stafflinethickness}
- Determines the thickness of staff lines, and also acts as a scaling
- parameter for other line thicknesses.
-@end table
-
-
-
-@c . {Font size}
-@node Font Size
-@subsection Font size
-@cindex font size
-
-The Feta font provides musical symbols at six different sizes. These
-fonts are 11 point, 13 point, 16 point, 20 point,
-23 point, and 26 point. The point size of a font is the
-height of the five lines in a staff when displayed in the font.
-
-Definitions for these sizes are the files @file{paperSZ.ly}, where
-@code{SZ} is one of 11, 13, 16, 20, 23 and 26. If you include any of
-these files, the identifiers @code{paperEleven}, @code{paperThirteen},
-@code{paperSixteen}, @code{paperTwenty}, @code{paperTwentythree}, and
-@code{paperTwentysix} are defined respectively. The default
-@code{\paper} block is also set.
-
-The font definitions are generated using a Scheme function. For more
-details, see the file @file{font.scm}.
-
-
-
-@c . {Paper size}
-@node Paper size
-@subsection Paper size
-@cindex Paper size
-
-@cindex paper size
-@cindex page size
-@cindex @code{papersize}
-
-To change the paper size, you must first set the
-@code{papersize} variable at top level. Set it to
-the strings @code{a4}, @code{letter}, or @code{legal}. After this
-specification, you must set the font as described above. If you want
-the default font, then use the 20 point font. The new paper size will
-not take effect if the font is not loaded and selected afterwards.
-
-@example
- papersize = "a4"
- \include "paper16.ly"
-
- \score @{
- ...
- \paper @{ \paperSixteen @}
- @}
-@end example
-
-The file "paper16.ly" will now include a file named @file{a4.ly}, which
-will set the paper variables @code{hsize} and @code{vsize} (used by
-@code{ly2dvi})
-
-
-
-
-
-
-
-@c . {Line break}
-@node Line break
-@subsection Line break
-
-@cindex line breaks
-@cindex breaking lines
-
-Line breaks are normally computed automatically. They are chosen such
-that the resulting spacing has low variation, and looks neither cramped
-nor loose.
-
-Occasionally you might want to override the automatic breaks; you can do
-this by specifying @code{\break}. This will force a line break at this
-point. Do remember that line breaks can only occur at places where there
-are barlines. If you want to have a line break where there is no
-barline, you can force a barline by entering @code{\bar "";}.
-
-Similarly, @code{\noBreak} forbids a line break at a certain point.
-
-@cindex @code{\penalty}
-
-The @code{\break} and @code{\noBreak} commands are defined in terms of
-the penalty command:
-@example
- \penalty @var{int} @code{;}
-@end example
-
-This imposes encourages or discourages LilyPond to make a line break
-at this point.
-
-@strong{Warning} do not use @code{\penalty} directly. It is rather
-kludgy, and slated for rewriting.
-
-@c . {Page break}
-@node Page break
-@subsection Page break
-
-@cindex page breaks
-@cindex breaking pages
-
-
-Page breaks are normally computed by @TeX{}, so they are not under direct
-control. However, you can insert a commands into the @file{.tex} output to
-instruct @TeX{} where to break pages. For more details, see the
-example file @file{input/test/between-systems.ly}
-
-[or -> Tricks? ]
-
-
-
-
-
-
-@c . {Sound}
-@node Sound
-@section Sound
-@cindex Sound
-
-LilyPond allows MIDI output, with the purpose of proof-hearing the music
-you enter. The performance lacks lots of interesting effects, such as
-swing, articulation, slurring, tieing, etc.
-
-Also note that it is not possible to use the percussion channel
-(generally channel 10 of a MIDI file).
-
-@menu
-* MIDI block::
-* MIDI instrument names::
-* Tempo::
-@end menu
-
-@c . {MIDI block}
-@node MIDI block
-@subsection MIDI block
-@cindex MIDI block
-
-
-The MIDI block is analogous to the paper block, but it is somewhat
-simpler. The @code{\midi} block can contain:
-@cindex MIDI block
-
-@itemize @bullet
- @item a @code{\tempo} definition
- @item context definitions
-@end itemize
-
-Assignments in the @code{\midi} block are not allowed.
-
-
-
-@cindex context definition
-
-Context definitions follow precisely the same syntax as within the
-\paper block. Translation modules for sound are called performers.
-The contexts for MIDI output are defined in @file{ly/performer.ly}.
-
-
-@c . {MIDI instrument names}
-@node MIDI instrument names
-@subsection MIDI instrument names
-@cindex instrument names
-@cindex @code{Staff.midiInstrument}
-@cindex @code{Staff.instrument}
-
-The MIDI instrument name is set by the @code{Staff.midiInstrument}
-property or, if that property is not set, the @code{Staff.instrument}
-property. The instrument name should be chosen from the following list.
-If the selected string does not exactly match, then LilyPond uses the
-default piano.
-
-[FIXME: to appendix ]
-
-
-@example
-"acoustic grand" "contrabass" "lead 7 (fifths)"
-"bright acoustic" "tremolo strings" "lead 8 (bass+lead)"
-"electric grand" "pizzicato strings" "pad 1 (new age)"
-"honky-tonk" "orchestral strings" "pad 2 (warm)"
-"electric piano 1" "timpani" "pad 3 (polysynth)"
-"electric piano 2" "string ensemble 1" "pad 4 (choir)"
-"harpsichord" "string ensemble 2" "pad 5 (bowed)"
-"clav" "synthstrings 1" "pad 6 (metallic)"
-"celesta" "synthstrings 2" "pad 7 (halo)"
-"glockenspiel" "choir aahs" "pad 8 (sweep)"
-"music box" "voice oohs" "fx 1 (rain)"
-"vibraphone" "synth voice" "fx 2 (soundtrack)"
-"marimba" "orchestra hit" "fx 3 (crystal)"
-"xylophone" "trumpet" "fx 4 (atmosphere)"
-"tubular bells" "trombone" "fx 5 (brightness)"
-"dulcimer" "tuba" "fx 6 (goblins)"
-"drawbar organ" "muted trumpet" "fx 7 (echoes)"
-"percussive organ" "french horn" "fx 8 (sci-fi)"
-"rock organ" "brass section" "sitar"
-"church organ" "synthbrass 1" "banjo"
-"reed organ" "synthbrass 2" "shamisen"
-"accordion" "soprano sax" "koto"
-"harmonica" "alto sax" "kalimba"
-"concertina" "tenor sax" "bagpipe"
-"acoustic guitar (nylon)" "baritone sax" "fiddle"
-"acoustic guitar (steel)" "oboe" "shanai"
-"electric guitar (jazz)" "english horn" "tinkle bell"
-"electric guitar (clean)" "bassoon" "agogo"
-"electric guitar (muted)" "clarinet" "steel drums"
-"overdriven guitar" "piccolo" "woodblock"
-"distorted guitar" "flute" "taiko drum"
-"guitar harmonics" "recorder" "melodic tom"
-"acoustic bass" "pan flute" "synth drum"
-"electric bass (finger)" "blown bottle" "reverse cymbal"
-"electric bass (pick)" "skakuhachi" "guitar fret noise"
-"fretless bass" "whistle" "breath noise"
-"slap bass 1" "ocarina" "seashore"
-"slap bass 2" "lead 1 (square)" "bird tweet"
-"synth bass 1" "lead 2 (sawtooth)" "telephone ring"
-"synth bass 2" "lead 3 (calliope)" "helicopter"
-"violin" "lead 4 (chiff)" "applause"
-"viola" "lead 5 (charang)" "gunshot"
-"cello" "lead 6 (voice)"
-@end example
-
-
-
-
-
-@c . {Tempo}
-@node Tempo
-@subsection Tempo
-@cindex Tempo
-@cindex beats per minute
-@cindex metronome marking