3 @node Tutorial, , , Top
7 * Introduction:: Introduction
8 * The first tune:: The first tune
9 * Lyrics and chords:: Lyrics and chords
10 * Piano music:: Piano music
11 * end of tutorial:: The end
14 @node Introduction, , , Tutorial
18 LilyPond prints music from a specification that you, the user, supply.
19 You have to give that specification using a @emph{language}. This
20 document is a gentle introduction to that language, which is called
21 Lilypond, an acronym of Music Definition Language.
23 This tutorial will demonstrate how to use Lilypond by presenting
24 examples of input along with resulting output. We will use English
25 terms for notation. In case you are not familiar with those, you may
26 consult the glossary that is distributed with LilyPond.
28 The examples discussed are included in the distribution, in the
29 subdirectory @file{input/tutorial/}. It is recommended that you
30 experiment with writing Lilypond input yourself, to get a feel for
33 @node The first tune, , , Tutorial
34 @section The first tune
37 To demonstrate what LilyPond input looks like, we start off with a
38 full fledged, yet simple example. It is a convoluted version
39 of the famous menuet in J. S. Bach's @emph{Klavierbuechlein}.
42 % lines preceded by a percent are comments which
43 % are ignored by Lilypond.
47 \relative c'' \sequential{
52 d4 g,8 a b c d4 g, g |
53 e'4 c8 d e fis g4 g, g |
54 c4 d8()c b a( )b4 c8 b a g |
55 a4 [b8 a] [g fis] g2. |
60 g4 e8 fis g d cis4 b8 cis a4 |
61 a8-. b-. cis-. d-. e-. fis-.
68 % standard settings are too wide for a book
74 Enter it (or copy it, the filename is @file{menuet.ly}), compile it
75 with LilyPond and view the output. Details of this procedure may vary
76 from system to system. To create the output, one would issue the
77 command `@code{ly2dvi menuet}'. @file{ly2dvi} is a program that does
78 the job of running LilyPond and @TeX{}, handling of titles and
79 adjusting of page margins.
81 If all goes well, the file @file{menuet.dvi} will be created.
82 To view this output, issue the command `@code{xdvi menuet}'.
84 Now that we are familiar with the procedure of producing output, we
85 will analyse the input, line by line.
87 Let's try to redo this
90 % lines preceded by a percent are comments which
91 % are ignored by Lilypond.
95 The percent sign, `@code{%}', introduces a line comment. If you want to
96 make larger comments, you can use block comments. These are delimited
97 by `@code{%@{}' and `@code{%@}}'
99 @multitable @columnfractions .60 .39
102 @c @example urg: no tt font
103 @c @exdent % lines preceded by a percent are comments.
104 @exdent @code{% lines preceded by a percent are comments.}
107 The percent sign, `@code{%}', introduces a line comment. If you
108 want to make larger comments, you can use block comments. These
109 are delimited by `@code{%@{}' and `@code{%@}}'
116 By default, LilyPond will use definitions for a 20
117 point@footnote{A point is the standard measure of length for
118 printing. One point is 1/72.27 inch.} high staff. We want smaller
119 output (16 point staff height), so we must import the settings for
120 that size, which is done.
126 A lilypond file combines music with directions for outputting that
127 music. The music is combined with the output directions by putting
128 them into a @code{\score} block.
134 This makes LilyPond ready for accepting notes.
140 As we will see, pitches are combinations of octave, note name and
141 chromatic alteration. In this scheme, the octave is indicated by
142 using raised quotes (`@code{'}') and ``lowered'' quotes (commas:
143 `@code{,}'). The central C is denoted by @code{c'}. The C one octave
144 higher is @code{c''}. One and two octaves below the central C is
145 denoted by @code{c} and @code{c,} respectively.
147 For pitches in a long piece you might have to type many quotes. To
148 remedy this, LilyPond has a ``relative'' octave entry mode. In this
149 mode, octaves of notes without quotes are chosen such that a note is
150 as close as possible (graphically, on the staff) to the the preceding
151 note. If you add a high-quote an extra octave is added. The lowered
152 quote (a comma) will subtract an extra octave. Because the first note
153 has no predecessor, you have to give the (absolute) pitch of the note
160 What follows is sequential music, i.e.,
161 notes that are to be played and printed after each other.
167 This command changes the time signature of the current piece: a 3/4
168 sign is printed. This command is also used to generate bar lines in
175 This command changes the current key to G-major. Although this
176 command comes after the @code{\time} command, in the output, the key
177 signature comes before the time signature: LilyPond knows about music
178 typesetting conventions.
184 This command tells LilyPond that the following piece of music must
185 be played twice; @code{"volta"} means that volta brackets should be used
186 for alternatives---if there were any.
192 The subject of the repeat is again sequential music. Since
193 @code{\sequential} is such a common construct, a shorthand is provided:
194 just leave off @code{\sequential}, and the result is the same.
200 This is a note with pitch @code{d} (determined up to octaves). The
201 relative music was started with a @code{c''}, so the real pitch of this
202 note is @code{d''}. The @code{4} designates the duration of the note
203 (it is a quarter note).
209 These are notes with pitch @code{a} and @code{b}. Because their
210 duration is the same as the @code{g}, there is no need to enter the
211 duration (You may enter it anyway, e.g. @code{a4 b4})
217 Three more notes. The `@code{|}' character is a `bar check'. When
218 processing the music, LilyPond will verify that bar checks are found at
219 the start of a measure. This can help you track down errors.
221 So far, no notes were chromatically altered. Here is the first one
222 that is: @code{fis}. Lilypond by default uses Dutch note names, and
223 ``Fis'' is the Dutch note name for ``F sharp''. However, there is no
224 sharp sign in the output. The program keeps track of key signatures,
225 and will only print accidentals if they are needed.
231 LilyPond guesses were beams can be added to eighth and shorter notes.
232 In this case, a beam over 4 eighths is added.
235 c4 d8( )c b a( )b4 c8 b a g |
238 The next line shows how to make a slur:
239 the beginning and ending note of the slur is marked with an opening and
240 closing parenthesis respectively. In the line shown above, this is
241 done for two slurs. Slur markers (parentheses) are put between
248 Automatic beaming can be overridden by inserting beam marks
249 (brackets). Brackets are put around the notes you want beamed.
255 A duration with augmentation dot is notated
256 with the duration number followed by a period.
262 This ends the sequential music to be repeated. LilyPond will typeset
269 This line shows that Lily will print an accidental if that is
270 needed: the first C sharp of the bar will be printed with an accidental,
271 the second one without.
274 a8-. b-. cis-. d-. e-. fis-.
277 You can enter articulation signs either in a verbose form using a
278 shorthand. Here we demonstrate the shorthand: it is formed by a dash
279 and the character for the articulation to use, e.g. `@code{-.}' for
280 staccato as shown above.
287 Rests are denoted by the special notename `@code{r}'. You can also enter
288 an invisible rest by using the special notename `@code{s}'.
294 All articulations have a verbose form, like @code{\fermata}. The
295 command `@code{\fermata}' is not part of the core of the language (most
296 of the other discussed elements are), but it is a shorthand for a more
297 complicated description of a fermata. @code{\fermata} names that
298 description and is therefore called an @emph{identifier}.
313 This specifies a conversion from music to notation output. Most of
314 the details of this conversions (font sizes, dimensions, etc.) have
315 been taken care of, but to fit the output in this document, it has
316 to be smaller. We do this by setting the line width to 14 centimeters
317 (approximately 6 inches).
323 The last brace ends the @code{\score} block.
325 There are two things to note here. The format contains musical
326 concepts like pitches and durations, instead of symbols and positions:
327 the input format tries to capture the meaning of @emph{music}, and not
328 notation. Therefore Second, the format tries to be @emph{context-free}:
329 a note will sound the same regardless of the current time signature,
332 The purpose of LilyPond is explained informally by the term `music
333 typesetter'. This is not a fully correct name: not only does the
334 program print musical symbols, it also makes esthetic decisions. All
335 symbols and their placement is @emph{generated} from a high-level musical
336 description. In other words, LilyPond would be best
337 described by `music compiler' or `music to notation compiler'.
339 @node Lyrics and chords, , , Tutorial
340 @section Lyrics and chords
342 In this section we show how to typeset a song of unknown
343 origin.@footnote{The author would welcome information about the origin
348 title = "The river is flowing";
349 composer = "Traditional (?)";
351 \include "paper16.ly"
352 melody = \notes \relative c' @{
356 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
357 c4 c8 d [es () d] c4 | d4 es8 d c4.
362 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
363 ri -- ver is flo -- wing down to the sea.
366 accompaniment =\chords @{
368 c2:3- f:3-.7 d:min es4 c8:min r8
369 c2:min f:min7 g:7^3.5 c:min @}
374 \context ChordNames \accompaniment
377 \context Staff = mel @{
378 \property Staff.noAutoBeaming = ##t
379 \property Staff.automaticMelismata = ##t
382 \context Lyrics \text
384 \midi @{ \tempo 4=72;@}
385 \paper @{ linewidth = 10.0\cm; @}
390 The result would look this@footnote{The titling and font size shown
391 may differ, since the titling in this document is not generated by
394 @center @strong{The river is flowing}
399 title = "The river is flowing";
400 composer = "Traditional (?)";
402 \include "paper16.ly"
403 melody = \notes \relative c' {
407 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
408 c4 c8 d [es () d] c4 | d4 es8 d c4.
413 The ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
414 ri -- ver is flo -- wing down to the sea.
417 accompaniment =\chords {
419 c2:3- f:3-.7 d:min es4 c8:min r8
420 c2:min f:min7 g:7^3.5 c:min }
425 \context ChordNames \accompaniment
428 \context Staff = mel {
429 \property Staff.noAutoBeaming = ##t
430 \property Staff.automaticMelismata = ##t
433 \context Lyrics \text
435 \midi { \tempo 4=72;}
436 \paper { linewidth = 10.0\cm; }
440 Again, we will dissect the file line by line.
446 Information about the music you are about to typeset goes into a
447 @code{\header} block. The information in this block is not used by
448 LilyPond, but it is included in the output. @file{ly2dvi} uses this
449 information to print titles above the music.
452 title = "The river is flowing";
453 composer = "Traditional (?)";
455 the @code{\header} block contains assignments. An assignment starts
456 with a string. (which is unquoted, in this case). Then comes the
457 equal sign `@code{=}'. After the equal sign comes the expression you
458 want to store. In this case, you want to put in strings. The
459 information has to be quoted here, because it contains spaces. Each
460 assignment is finished with a semicolon.
463 \include "paper16.ly"
466 Smaller size for inclusion in a book.
469 melody = \notes \relative c' @{
472 The structure of the file will be the same as the previous one, a
473 @code{\score} block with music in it. To keep things readable, we will
474 give names to the different parts of music, and use the names to
475 construct the music within the score block.
481 The piece starts with an anacrusis of one eighth.
485 The key is C minor: we have three flats.
489 c4 c8 d [es () d] c4 | f4 f8 g [es() d] c g |
490 c4 c8 d [es () d] c4 | d4 es8 d c4.
495 We use explicit beaming. Since this is a song, we will turn automatic
496 beams off, and use explicit beaming where needed.
502 This ends the definition of @code{melody}. Note that there are no
503 semicolons after assignments at top level.
509 Another identifier assignment. This one is for the lyrics.
510 Lyrics are formed by syllables that have duration, and not by
511 notes. To make LilyPond parse words as syllables, switch it into
512 lyrics mode with @code{\lyrics}. Again, the brace after @code{\lyrics}
513 is a shorthand for @code{\sequential @{}.
516 The4 ri -- ver is flo- __ wing, flo -- wing and gro -- wing, the
517 ri- ver is flo- __ wing down to the sea.
521 The syllables themselves are separated by spaces. You can get syllable
522 extenders by entering `@code{__}', and centered hyphens with
523 `@code{-}@code{-}'. We enter the syllables as if they are all quarter notes
524 in length (hence the @code{4}), and use a feature to align the
525 syllables to the music (which obviously isn't all quarter notes.)
528 accompaniment =\chords @{
531 We'll put chords over the music. There is a special mode (analogous
532 to @code{\lyrics} and @code{\notes} mode) where you can give the names
533 of the chords you want, instead of the notes comprising the chord.
539 There is no accompaniment during the anacrusis.
545 A chord is started by the tonic of the chord. The
546 first one lasts a half note. An unadorned note creates a major
547 triad, while a minor triad is wanted. @code{3-} modifies the third to
548 be small. @code{7} modifies (adds) a seventh, which is small by default
549 to create the @code{f a c es} chord. Multiple modifiers must be
556 Some modifiers have predefined names, eg. @code{min} is the same as
557 @code{3-}, so @code{d-min} is a minor @code{d} chord.
560 c2:min f:min7 g:7^3.5 c:min @}
563 A named modifier @code{min} and a normal modifier @code{7} do not have
564 to be separated by a dot. Tones from a chord are removed with chord
565 subtractions. Subtractions are started with a caret, and they are
566 also separated by dots. In this example, @code{g:7^3.5} produces a
567 minor seventh. The brace ends the sequential music.
574 We assemble the music in the @code{\score} block. Melody, lyrics and
575 accompaniment have to sound at the same time, so they should be
576 @code{\simultaneous}.
582 Chord mode generates notes grouped in @code{\simultaneous} music. If
583 you remove the comment sign, you can see the chords in normal
584 notation: they will be printed as note heads on a separate
588 \context ChordNames \accompaniment
591 Normally, the notes that you enter are transformed into note heads.
592 The note heads alone make no sense, they need surrounding information:
593 a key signature, a clef, staff lines, etc. They need @emph{context}. In
594 LilyPond, these symbols are created by objects called `interpretation
595 contexts'. Interpretation contexts only exist during a run of
596 LilyPond. Interpretation contexts that are for printing music (as
597 opposed to playing music) are called `notation contexts'.
599 By default, LilyPond will create a Staff context for you. If you
600 removed the @code{%} sign in the previous line, you would see that
603 We don't want default contexts here, because we want chord names, not
604 note heads. An interpretation context can also created upon explicit
605 request. The keyword for such a request is @code{\context}. It takes
606 two arguments. The first is the name of an interpretation context.
607 The name is a string, it can be quoted with double quotes). The
608 second argument is the music that should be interpreted in this
609 context. For the previous line, we could have written @code{\context
610 Staff \accompaniment}, and get the same effect.
616 The lyrics need to be aligned with the melody. This is done by
617 combining both with @code{\addlyrics}. @code{\addlyrics} takes two
618 pieces of music (usually a melody and lyrics, in that order) and
619 aligns the syllables of the second piece under the notes of the
620 first piece. If you would reverse the order, the notes would be
621 aligned on the lyrics, which is not very useful. (Besides, it looks
625 \context Staff = mel @{
628 This is the argument of @code{\addlyrics}. We instantiate a
629 @code{Staff} context explicitly: should you chose to remove the comment
630 before the ``note heads'' version of the accompaniment, the
631 accompaniment will be on a nameless staff. The melody has to be on a
632 different staff as the accompaniment. This is accomplished by giving
633 the melody staff a different name.
636 \property Staff.noAutoBeaming = ##t
639 An interpretation context has variables that tune its behaviour. One
640 of the variables is @code{noAutoBeaming}. If set and non-zero (i.e.,
641 true) LilyPond will not try to put automatic beaming on the current
645 \property Staff.automaticMelismata = ##t
648 Similarly, we don't want to print a syllable when there is
649 a slur. This sets up the Staff context to signal slurs while
650 @code{\addlyrics} is processed.
657 Finally, we put the melody on the current staff. Note that the
658 @code{\property} directives and @code{\melody} are grouped in sequential
659 music, so the property settings are done before the melody is
663 \context Lyrics \text
666 The second argument of @code{\addlyrics} is the text. The text also
667 should not land on a Staff, but on a interpretation context for
668 syllables, extenders, hyphens etc. This context is called
675 This ends @code{\simultaneous}.
678 \midi @{ \tempo 4=72;@}
681 This makes the music go to a MIDI file. MIDI is great for
682 checking music you enter. You listen to the MIDI file: if you hear
683 something unexpected, it's probably a typing error. @code{\midi} is an
684 `output definition', a declaration that specifies how to output music
685 analogous to @code{\paper @{ @}}. You can specify the tempo using the
686 @code{\tempo} command, in this case the tempo of quarter notes is set
687 to 72 beats per minute.
690 \paper @{ linewidth = 10.0\cm; @}
693 We also want notation output. The linewidth is short so the piece
694 will be set in two lines.
702 @node Piano music, , , Tutorial
705 Our third subject is a piece of piano music. The fragment in the input
706 file is a piano reduction of the G major Sinfonia by Giovanni Battista
707 Sammartini. It was composed around 1740.
712 \include "paper16.ly";
714 viola = \notes \relative c' \context Voice = viola {
721 oboes = \notes \relative c'' \context Voice = oboe {
722 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
723 \grace <e8( g> <d4 f> <c2 e> \times 2/3 { <d8 \< f> <e g> <f a> }
725 { \times 2/3 { a8 g c } \! c2 }
726 \context Voice = oboeTwo {
729 \property Grace.Stem \push #'direction = #-1
734 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
735 [<d ( f> < )f8. a>] <)b,8 d> r [<d16( f> <f8. )a>] <b,8 d> r |
736 [<c16( e> < )e8. g>] <c8 e,>
739 hoomPah = \notes \transpose c' {
740 c8 \translator Staff = top \stemDown
741 c'8 \translator Staff = bottom \stemUp }
743 hoomPahHoomPah = { [\hoomPah \hoomPah] }
745 bassvoices = \notes \relative c' {
747 \repeat unfold 4 {\hoomPahHoomPah}
748 \stemDown [c8 c'8] r4
750 < {\stemUp r2 <e4 c'> <c8 g'> }
751 \context Voice = reallyLow {\stemDown g2 ~ | g4 c8 } >
755 \context PianoStaff \notes <
756 \context Staff = top < \time 2/2;
760 \context Staff = bottom < \time 2/2; \clef bass;
767 linewidth = 15.0 \cm; }
771 If it looks like incomprehensible gibberish to you@dots{} Then you are
772 right. The author has doctored this example to have as many quirks in
773 one system as possible.
777 Lilypond and the Lilypond language is still under development, therefore
778 it is useful to indicate the Lilypond version of the file. Lilypond
779 will check the version number and warn you when the syntax has
780 changed. Also, the @code{convert-ly} program will be able to
781 update most of the syntax changes automatically.
783 viola = \notes \relative c' \context Voice = viola @{
785 In this example, you can see multiple parts on a staff. Each part is
786 associated with one notation context. This notation context handles
787 stems and dynamics (among others). The name of this context is
788 @code{Voice}. For each part we have to make sure that there is
789 precisely one Voice context.
793 @code{<} and @code{>} are short hands for @code{\simultaneous @{} and
794 @code{@}}. So the expression enclosed in @code{<} and @code{>} is a
795 chord. @code{\f} places a forte symbol under the chord.
799 \property Voice.verticalDirection = \down
801 @code{verticalDirection} is a property of the voice context. It
802 controls the directions of stems, articulations marks and other
805 If @code{verticalDirection} is set to @code{\down}
806 (identifier for the integer -1) the stems go down,
807 @code{\up} (identifier for the integer 1) makes the stems go up.
811 Relative octaves work a little differently with chords. The starting
812 point for the note following a chord is the first note of the chord. So
813 the @code{g} gets an octave up quote: it is a fifth above the starting
814 note of the previous chord (the central C).
819 @code{s} is a `spacer' rest. It does not print anything, but it does
820 have the duration of a rest.
822 oboes = \notes \relative c'' \context Voice = oboe @{
824 Now comes a part for two oboes. They play homophonically, so we
825 print the notes as one voice that makes chords. Again, we insure that
826 these notes are indeed processed by precisely one context with
829 \stemUp s4 g8. b,16 c8 r <e'8.-\p g> <f16 a>
831 @code{\stemUp} is an identifier reference. It is shorthand for
832 @code{\property Voice.verticalDirection = \up}. If possible, you
833 should use predefined identifiers like these for setting properties.
834 Your input will be less dependent upon the implementation of LilyPond.
836 \grace <e8( g> < )d4 f> <c2 e>
838 @code{\grace} introduces grace notes. It takes one argument, in this
839 case a chord. The slur started on the @code{e} of the chord
840 will be attached to the next note.@footnote{LilyPond will squirm
841 about unended Slurs. In this case, you can ignore the warning}.
845 Tuplets are made with the @code{\times} keyword. It takes two
846 arguments: a fraction and a piece of music. The duration of the
847 second argument is multiplied by the first argument. Triplets make
848 notes occupy 2/3 of their notated duration, so in this case the
851 @{ <d8 \< f> <e g> <f a> @}
853 The piece of music to be `tripletted' is sequential music containing
854 three notes. On the first chord (the @code{d}), a crescendo is started
859 At this point, the homophonic music splits into two rhythmically
860 different parts. We can't use a sequence of chords to enter this, so
861 we make a `chord' of sequences to do it. We start with the upper
862 voice, which continues with upward stems:
864 @{ \times 2/3 @{ a8 g c @} \! c2 @}
866 The crescendo is ended at the half note by the escaped exclamation
869 \context Voice = oboeTwo @{
872 We can't share stems with the other voice, so we have to create a new
873 @code{Voice} context. We give it the name @code{oboeTwo} to distinguish
874 it from the other context. Stems go down in this voice.
878 When a grace section is processed, a @code{Grace} context is
879 created. This context acts like a miniature score of its own. It has
880 its own time bookkeeping, and you can make notes, beams, slurs
881 etc. Here we fiddle with a property and make a beam. The argument of
882 @code{\grace} is sequential music.
885 \property Grace.verticalDirection = \down
889 Normally, grace notes are always stem up, but in this case, the upper
890 voice interferes. We set the stems down here.
892 As far as relative mode is concerned, the previous note is the
893 @code{c'''2} of the upper voice, so we have to go an octave down for
900 This ends the two-part section.
903 \grace <c,8( e> <)b8. d8.-\trill> <c16 e> |
905 @code{\stemBoth} ends the forced stem directions. From here, stems are
906 positioned as if it were single part music.
908 The bass has a little hoom-pah melody to demonstrate parts switching
909 between staffs. Since it is repetitive, we use identifiers:
911 hoomPah = \notes \transpose c' @{
913 Transposing can be done with @code{\transpose}. It takes two
914 arguments; the first specifies what central C should be transposed to.
915 The second is the to-be-transposed music. As you can see, in this
916 case, the transposition is a no-op. Central C is transposed to
919 The purpose of this no-op is circumventing relative mode. Relative
920 mode can not be used in conjunction with transposition, so relative
921 mode will leave the contents of @code{\hoomPah} alone. We can use it
922 without having to worry about getting the motive in a wrong
923 octave@footnote{@code{hoomPah = \relative @dots{}} would be more
924 intuitive to use, but that would not let me plug @code{\transpose}
927 c8 \translator Staff = top \stemDown
929 We assume that the first note will be put in the lower staff. After
930 that note we switch to the upper staff with @code{\translator}. To be
931 precise, this @code{\translator} entry switches the current voice to a
932 @code{Staff} named @code{top}. So we have to name the upper staff
933 `@code{top}'. Stem directions are set to avoid interfering with the
936 c'8 \translator Staff = bottom \stemUp @}
938 Then a note is put on the upper staff, and we switch again. We have
939 to name the lower staff `@code{bottom}'.
941 hoomPahHoomPah = @{ [\hoomPah \hoomPah] @}
943 Put two of these fragments in sequence, and beam them.@example
944 bassvoices = \notes \relative c' @{
946 \repeat unfold 4 @{\hoomPahHoomPah @}
948 Entering the bass part is easy: the hoomPahHoomPah variable is
949 repeated four times; @code{unfold} means that all four repetitions
950 should be written out.
952 \context Voice = reallyLow @{\stemDown g2 ~ | g4 c8 @} >
954 After skipping some lines, we see @code{~}. This mark makes ties.
958 For piano music, a special context is needed to get cross staff
959 beaming right. It is called @code{PianoStaff}.
961 \context Staff = bottom < \time 2/2; \clef bass;
963 The bottom staff must have a different clef.
967 To make some more room on the line, the first (in this case the only)
968 line is not indented. The line still looks very cramped, but that is due
969 to the format of this tutorial.
971 This example shows a lot of features, but the organisation isn't
972 perfect. For example, it would be less confusing to use a chord
973 containing sequential music than a sequence of chords for the oboe
976 [TODO: demonstrate Hara-Kiri with scores and part extraction.]
978 @node end of tutorial, , , Tutorial
981 That's all folks. From here, you can either try fiddling with input
982 files, or you can read the reference manual.