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+# Lilylet Language Tutorial
+
+Lilylet is a text-based music notation language inspired by [LilyPond](https://lilypond.org/). It uses a simplified syntax optimized for embedding music snippets in Markdown documents—ideal for tutorials, analyses, exercises, and documentation where music examples appear alongside explanatory text.
+
+**Audience:** readers with music theory background who understand Markdown. Some may know LilyPond; others may not.
+**Goal:** learn Lilylet basics quickly and use it effectively inside Markdown documents.
+
+---
+
+## Table of Contents
+
+1. [Quick Start: Lilylet inside Markdown](#quick-start-lilylet-inside-markdown)
+2. [Pitches](#pitches)
+3. [Rhythms and Durations](#rhythms-and-durations)
+4. [Rests](#rests)
+5. [Accidentals](#accidentals)
+6. [Key and Time Signatures](#key-and-time-signatures)
+7. [Barlines](#barlines)
+8. [Chords](#chords)
+9. [Articulations](#articulations)
+10. [Fingering](#fingering)
+11. [Dynamics](#dynamics)
+12. [Slurs, Ties, and Beams](#slurs-ties-and-beams)
+13. [Ornaments](#ornaments)
+14. [Grace Notes](#grace-notes)
+15. [Tuplets](#tuplets)
+16. [Tremolo](#tremolo)
+17. [Multiple Voices](#multiple-voices)
+18. [Multiple Staves](#multiple-staves)
+19. [Advanced Features](#advanced-features)
+20. [Complete Examples](#complete-examples)
+21. [Practical Writing Tips](#practical-writing-tips)
+
+---
+
+## Quick Start: Lilylet inside Markdown
+
+Lilylet is a text-based music notation language with a LilyPond-like command style, but optimized for quick entry and editing. The typical workflow is to embed Lilylet snippets in Markdown code blocks (```lilylet), next to explanations, analyses, exercises, or version comparisons.
+
+**Your first score:**
+
+```lilylet
+\time 4/4 \clef "treble"
+c4 d e f | g2 g | a4 a a a | g1
+```
+
+Notes:
+- Commands like `\time`, `\key`, `\clef`, articulations, and dynamics follow familiar LilyPond conventions.
+- Bar lines `|` help you explain or revise music **measure by measure**, which fits well with Markdown-based teaching materials and documentation.
+
+---
+
+## Pitches
+
+### Note names
+
+Use lowercase `a`–`g`:
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c
+```
+
+### Relative pitch (default)
+
+Lilylet always uses relative pitch (similar to LilyPond): if you omit octave markers, Lilylet picks the octave so the interval from the previous note is **less than a fifth** (keeps motion local and predictable).
+
+- Reference pitch at the start: **middle C (C4)**
+- Each next pitch is interpreted relative to the previous one
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c | c b a g | f e d c
+```
+
+### Why "less than a fifth" matters
+
+```lilylet
+\time 4/4 \clef "C"
+c4 e c f | c g c a
+```
+
+From middle C, writing `g` after `c` selects the nearer G (the one below, a fourth down) rather than jumping up a fifth. This rule reduces unintended octave jumps.
+
+### Octave markers
+
+Use octave markers to force larger leaps:
+
+| Marker | Effect |
+|--------|--------|
+| `'` (apostrophe) | Raise one octave |
+| `,` (comma) | Lower one octave |
+
+```lilylet
+\time 4/4
+c4 c' c' c' | c,,, c'' c, c'
+```
+
+```lilylet
+\time 4/4
+c4 g' c g | c' g e c
+```
+
+### Newlines reset pitch (Lilylet-specific)
+
+Different from LilyPond: inserting a **line break** (newline) resets the relative-pitch reference to **middle C**. This is useful when your Markdown is organized as "one line = one bar/phrase", because moving or inserting lines won't unexpectedly shift later octaves.
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c |
+c4 b a g | f e d c |
+```
+
+If you want the second line to start higher, specify it explicitly:
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c |
+c'4 b a g | f e d c |
+```
+
+#### Why Lilylet differs from LilyPond here
+
+Unlike LilyPond's typical workflow of writing an entire voice from start to finish, Lilylet favors interleaved, measure-by-measure voice entry: write all voices for a measure before advancing to the next. This makes multi-voice alignment and live editing simpler, and ensures relative-pitch decisions (octave choice, small-interval preference) are resolved locally within each measure.
+
+Resetting the pitch reference on newlines keeps short snippets stable when copied, reordered, or edited inside a Markdown document. Long, continuous monophonic lines remain supported but are primarily useful for educational examples; in practical Lilylet usage, prefer short, interleaved voice segments for clearer notation and more predictable rendering.
+
+---
+
+## Rhythms and Durations
+
+### Duration values
+
+Append a number to a note name:
+
+| Number | Duration | Name |
+|--------|----------|------|
+| 1 | Whole note | Semibreve |
+| 2 | Half note | Minim |
+| 4 | Quarter note | Crotchet |
+| 8 | Eighth note | Quaver |
+| 16 | Sixteenth note | Semiquaver |
+| 32 | Thirty-second note | Demisemiquaver |
+| 64 | Sixty-fourth note | Hemidemisemiquaver |
+
+```lilylet
+\time 4/4
+g'1 | g2 g2 | g4 g4 g4 g4 | g8 g8 g8 g8 g8 g8 g8 g16 g32 g64 g128 g128\rest |
+```
+
+### Duration persistence
+
+If you omit the duration, Lilylet reuses the previous one:
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c
+```
+
+### Dotted notes
+
+Add dots after the duration:
+
+| Notation | Duration |
+|----------|----------|
+| `c4.` | Dotted quarter |
+| `c2.` | Dotted half |
+| `c4..` | Double-dotted quarter |
+
+```lilylet
+\time 6/8
+c4. d4. | e8 e e f4.
+```
+
+```lilylet
+\time 12/8
+c2. e | g8. g16 g4.. g16
+```
+
+---
+
+## Rests
+
+### Basic rests
+
+Use `r` plus a duration:
+
+```lilylet
+\time 4/4
+c4 r4 e4 r4 | g2 r2
+```
+
+### Full-measure rests
+
+Use `R` for a centered full-measure rest (display style), while duration may vary:
+
+```lilylet
+\time 4/4
+R1 | g'4 a b c
+```
+
+```lilylet
+\time 3/4
+R2. | c4 d e
+```
+
+### Space rests (invisible)
+
+Use `s` to reserve rhythmic space without printing a rest (common in multi-voice alignment):
+
+```lilylet
+\time 4/4 \clef "bass"
+r4 d, b b \\
+s4 g,2 e4
+```
+
+---
+
+## Accidentals
+
+Lilylet uses LilyPond's English pitch spelling:
+- `s` for sharp
+- `f` for flat
+
+| Notation | Meaning |
+|----------|---------|
+| `cs` | C sharp |
+| `cf` | C flat |
+| `ds` | D sharp |
+| `ef` | E flat |
+
+```lilylet
+\time 4/4
+c4 cs d ds | e f fs g | gs a as b | c1
+```
+
+Double accidentals:
+- `ss` double-sharp
+- `ff` double-flat
+
+```lilylet
+\time 4/4
+c4 css d dff | e1
+```
+
+```lilylet
+\key e \minor
+\time 4/4
+e4 fs g a | b cs ds e | e d c b | a g fs e
+```
+
+---
+
+## Key and Time Signatures
+
+### Time signature: `\time`
+
+```lilylet
+\time 3/4
+c4 d e | f g a | b c d | e2.
+```
+
+Common meters:
+
+```lilylet
+\time 4/4
+c4 d e f | g1
+```
+
+```lilylet
+\time 3/4
+c4 d e | f2.
+```
+
+```lilylet
+\time 6/8
+c4. d | e4. f
+```
+
+```lilylet
+\time 2/2
+c2 d | e f | g1
+```
+
+### Key signature: `\key`
+
+Use `\key` + tonic + mode:
+
+```lilylet
+\key g \major
+\time 4/4
+g4 a b c | d e fs g
+```
+
+```lilylet
+\key d \minor
+\time 4/4
+d4 e f g | a bf cs d
+```
+
+More examples:
+
+```lilylet
+\key c \major
+\time 4/4
+c4 d e f | g a b c
+```
+
+```lilylet
+\key f \major
+\time 4/4
+f4 g a bf | c d e f
+```
+
+```lilylet
+\key a \minor
+\time 4/4
+a4 b c d | e f gs a
+```
+
+### Clef: `\clef`
+
+```lilylet
+\clef "bass"
+\time 4/4
+c,4 d e f | g a b c
+```
+
+```lilylet
+\clef "alto"
+\time 4/4
+c4 d e f | g a b c
+```
+
+Supported clefs: `treble`, `bass`, `alto`
+
+---
+
+## Barlines
+
+By default, Lilylet uses standard single barlines `|` to separate measures. For special barlines, use the `\bar` command.
+
+### Barline types
+
+| Notation | Meaning |
+|----------|---------|
+| `\bar "\|\|"` | Double barline |
+| `\bar "\|."` | Final barline (end of piece) |
+| `\bar ":\|."` | End repeat |
+| `\bar ".\|:"` | Start repeat |
+
+```lilylet
+\time 4/4
+c4 d e f \bar "||" | g a b c
+```
+
+```lilylet
+\time 4/4
+c4 d e f | g a b c \bar "|."
+```
+
+### Repeat barlines
+
+```lilylet
+\time 4/4
+c4 d e f \bar ".|:" | g a b c | d e f g \bar ":|."
+```
+
+---
+
+## Chords
+
+### Basic chords
+
+Enclose pitches in angle brackets `< >`:
+
+```lilylet
+\time 4/4
+<c e g>4 <d f a> <e g b> <f a c> | <g b d>1
+```
+
+### Progressions / texture examples
+
+```lilylet
+\time 4/4
+<c e g>2 <f, a c> | <g b d> <c e g> | <c e g>1
+```
+
+```lilylet
+\time 4/4
+<cs e a cs>4 \arpeggio <b d g b>2. \arpeggio | <a cs e a>1 \arpeggio
+```
+
+**Note**: only the first pitch in a chord will pass the relative pitch base to next music event. And inside a chord, pitches also follow relative pitch rules.
+
+```
+Example: <c e g>  <d f a>  <e g b>
+
+         Chord 1      Chord 2      Chord 3
+           g            a            b
+           ↓            ↓            ↓
+           e            f            g      (relative to previous pitch in chord)
+           ↓            ↓            ↓
+           c ←───────── d ←───────── e      (relative pitch bass passing by the root pitch in chords)
+```
+
+### Chord duration
+
+The duration applies to the entire chord:
+
+```lilylet
+\time 4/4
+<c e g>4 <c e g>8 <c e g>8 <c e g>2
+```
+
+### Chord symbols (lead sheet style)
+
+Use `\chords "symbol"` to add chord symbols above the staff, commonly used in lead sheets and jazz charts:
+
+```lilylet
+\time 4/4
+c'4 \chords "C" e g c | a, \chords "Am" c e a
+```
+
+```lilylet
+\time 4/4
+c'4 \chords "Cmaj7" d e f | g \chords "G7" a b c
+```
+
+---
+
+## Articulations
+
+Lilylet supports LilyPond-style commands and common shorthand:
+
+| Command | Shorthand | Name |
+|---------|-----------|------|
+| `\staccato` | `-.` or `.` | Staccato |
+| `\tenuto` | `--` or `-` | Tenuto |
+| `\accent` | `->` or `>` | Accent |
+| `\marcato` | `-^` or `^` | Marcato |
+| `\staccatissimo` | `-!` or `!` | Staccatissimo |
+| `\portato` | `-_` or `_` | Portato |
+
+**Dot warning (`.`):**
+- After a duration number: `c4.` = dotted rhythm
+- As an articulation: `c4-.` or `c.` = staccato
+
+```lilylet
+\time 4/4
+c4-. d-. e-. f-. | g4\staccato a\staccato b\staccato c\staccato
+```
+
+```lilylet
+\time 4/4
+c4\staccato d\tenuto e\accent f\marcato | g4-. a-- b-> c-^
+```
+
+### Placement (above/below)
+
+Prefix the articulation with:
+- `^` above
+- `_` below
+
+```lilylet
+\time 4/4
+c4^. d_. e^> f_>
+```
+
+---
+
+## Fingering
+
+Use `-1` through `-5` to add fingering numbers to notes, commonly used in piano and guitar music:
+
+```lilylet
+\time 4/4
+c'4-1 d-2 e-3 f-4 | g-5 a-3 b-2 c-1
+```
+
+Fingering can also be applied to chords:
+
+```lilylet
+\time 4/4
+<c e c'>2-1-2-5 <e g c>-2-3-5 | <e g b>-1-2-4 <f a c>-1-2-3
+```
+
+### Fingering placement
+
+Use `^` for above or `_` for below.
+
+```lilylet
+\time 4/4
+c'4^1 d^2 e^3 f^4 | g_5 a_3 b_2 c_1
+```
+
+---
+
+## Dynamics
+
+### Dynamic markings
+
+| Notation | Meaning |
+|----------|---------|
+| `\ppp` | Pianississimo |
+| `\pp` | Pianissimo |
+| `\p` | Piano |
+| `\mp` | Mezzo-piano |
+| `\mf` | Mezzo-forte |
+| `\f` | Forte |
+| `\ff` | Fortissimo |
+| `\fff` | Fortississimo |
+| `\sfz` | Sforzando |
+
+```lilylet
+\time 4/4
+c4\pp d e f | g\mf a b c | d\f e f g | a\ff b c d\sfz
+```
+
+### Hairpins (crescendo/diminuendo)
+
+| Notation | Meaning |
+|----------|---------|
+| `\<` | Start crescendo |
+| `\>` | Start diminuendo |
+| `\!` | End hairpin |
+
+```lilylet
+\time 4/4
+c4\< d e f | g a b c\!
+```
+
+```lilylet
+\time 4/4
+c'4\> b a g | f e d c\!
+```
+
+```lilylet
+\time 4/4
+c4\pp\< d e f | g\mf a b c | d e f g\! | a\ff\> b a g | f\p\! e d c
+```
+
+---
+
+## Slurs, Ties, and Beams
+
+### Slurs
+
+Use `(` to start and `)` to end:
+
+```lilylet
+\time 4/4
+c4( d e f) | g( a b c) | c( b a g) | f1
+```
+
+### Ties
+
+Use `~` between the same pitch:
+
+```lilylet
+\time 4/4
+c2~ c4 d | e2~ e4 f | g1~ | g2 r2
+```
+
+```lilylet
+\time 4/4
+c4 d8~ d c4 d | e8~ e d4~ d e | f2~ f4 g | a1
+```
+
+### Beams
+
+Use `[` and `]`:
+
+```lilylet
+\time 4/4
+c8[ d e f] g[ a b c] | c[ b a g] f4 r
+```
+
+```lilylet
+\time 6/8
+c8[ d e] f[ g a] | b[ c d] e4.
+```
+
+**Note**: As in LilyPond, `(` `)` `[` `]` are postfixes on musical events, not scope delimiters.
+
+---
+
+## Ornaments
+
+| Notation | Name |
+|----------|------|
+| `\trill` | Trill |
+| `\turn` | Turn |
+| `\mordent` | Mordent |
+| `\prall` | Pralltriller |
+| `\fermata` | Fermata |
+| `\shortfermata` | Short fermata |
+| `\arpeggio` | Arpeggio (for chords) |
+
+```lilylet
+\time 4/4
+c2\trill d | e4\trill f g2 | a1\trill
+```
+
+```lilylet
+\time 4/4
+c4 d e f | g2\fermata r2 | a4 b c d | e1\fermata
+```
+
+```lilylet
+\time 4/4
+<c e g>2\arpeggio <d f a>\arpeggio | <e g b>1\arpeggio
+```
+
+---
+
+## Grace Notes
+
+Use `\grace` before a note or a group:
+
+```lilylet
+\time 4/4
+\grace d16 c4 e g c | \grace { b,16 c } d4 f a d
+```
+
+```lilylet
+\time 4/4
+\grace e16 d4 f a d | \grace fs16 g4 b d g
+```
+
+```lilylet
+\time 4/4
+\grace { c16[ d e] } f4 a c f | \grace { g16[ a] } b4 d f b
+```
+
+---
+
+## Tuplets
+
+Use `\times numerator/denominator { notes }`:
+
+```lilylet
+\time 4/4
+\times 2/3 { c4 d e } \times 2/3 { f g a } | b2 c
+```
+
+```lilylet
+\time 4/4
+c4 \times 2/3 { d8[ e f] } g4 \times 2/3 { a8[ b c] } | d1
+```
+
+```lilylet
+\time 4/4
+\times 4/5 { c8[ d e f g] } \times 4/5 { a[ b c d e] } | f1
+```
+
+---
+
+## Tremolo
+
+### Single-note tremolo
+
+Use `:` followed by the tremolo division:
+
+```lilylet
+\time 4/4
+c2:16 d:16 | e1:32
+```
+
+### Two-note tremolo
+
+Use `\repeat tremolo`:
+
+```lilylet
+\time 4/4
+\repeat tremolo 4 { c16 e } \repeat tremolo 4 { d f } | <c e g>1
+```
+
+---
+
+## Multiple Voices
+
+### Voice separator: `\\`
+
+Use `\\` to separate voices on the same staff:
+
+```lilylet
+\time 4/4 \stemUp c'2 d \\
+\stemDown g2 a | % 1
+
+\stemUp e'2 f \\
+\stemDown b2 c | % 2
+```
+
+```lilylet
+\time 4/4 \stemUp e'4 d c b \\
+\stemDown c4 g a e | % 1
+
+\stemUp c'2 b \\
+\stemDown f2 g | % 2
+
+\stemUp c'1 \\
+\stemDown c1 | % 3
+```
+
+### Stem direction
+
+| Command | Effect |
+|---------|--------|
+| `\stemUp` | Force stems up |
+| `\stemDown` | Force stems down |
+
+---
+
+## Multiple Staves
+
+### Staff assignment: `\staff "N"`
+
+```lilylet
+\time 4/4
+\staff "1" \clef "treble" c'4 e g c \\
+\staff "2" \clef "bass" c4 g c g | % 1
+
+\staff "1" d'4 f a d \\
+\staff "2" d4 a d a | % 2
+```
+
+### Part separator: `\\\` (triple backslash)
+
+Use `\\\` to separate different staves/parts:
+
+```lilylet
+\staff "1" \time 4/4 \clef "treble" c'4 d e f \\
+\staff "2" \clef "treble" r4 g' r g \\\
+\clef "bass" <c, g' c>1 ~ | % 1
+
+\staff "1" g'1 \\
+\staff "2" r4 c r c \\\
+<c, g' c>1 | % 2
+```
+
+---
+
+## Advanced Features
+
+### Tempo markings
+
+```lilylet
+\tempo "Allegro" 4=120
+\time 4/4
+c4 d e f | g a b c
+```
+
+```lilylet
+\tempo "Andante" 4=72
+\time 3/4
+c4 e g | c2.
+```
+
+### Ottava (octave transposition)
+
+```lilylet
+\time 4/4
+c''4 d e f | \ottava #1 g a b c | b a g f | \ottava #0 e d c2
+```
+
+### Pedal markings
+
+```lilylet
+\time 4/4
+c4\sustainOn e g c\sustainOff | d\sustainOn fs a d\sustainOff |
+```
+
+### Text markup
+
+Use `\markup "text"` to add text annotations to your score. Control placement with `^` (above) or `_` (below):
+
+```lilylet
+\time 4/4
+c'4 \markup "dolce" d e f | g a b c
+```
+
+```lilylet
+\time 4/4
+c'4^\markup "espressivo" d e f | g_\markup "cantabile" a b c
+```
+
+Markup is useful for expressive indications, technique instructions, or any text that doesn't fit standard dynamic or tempo markings.
+
+### Metadata headers
+
+Put metadata at the top of a snippet. This works well in Markdown collections (handouts, chapters, indexes).
+
+```lilylet
+[title "Minuet in G"]
+[subtitle "BWV-114"]
+[composer "J.S. Bach"]
+
+\key g \major \time 3/4 \clef "treble" \stemDown d'4(\p \stemUp g,8[ a b c] | \stemDown d4) \stemUp g, g
+```
+
+---
+
+## Complete Examples
+
+### Example 1: Simple Melody
+
+```lilylet
+[title "Twinkle Twinkle"]
+
+\time 4/4
+c4 c g' g | a a g2 | f4 f e e | d d c2 | g'4 g f f | e e d2 | g4 g f f | e e d2 | c4 c g' g | a a g2 | f4 f e e | d d c2 \bar "|."
+```
+
+### Example 2: Piano Style with Chords
+
+```lilylet
+[title "Simple Waltz"]
+
+\key g \major
+\time 3/4
+\stemUp d'4 g b \\ \stemDown <g b>4 <g b> <g b> |
+\stemUp d'4 a c' \\ \stemDown <fs a>4 <fs a> <fs a> |
+\stemUp d'4 g b \\ \stemDown <g b>4 <g b> <g b> |
+\stemUp d'2. \\ \stemDown <g b d'>2.
+```
+
+### Example 3: With Dynamics and Articulations
+
+```lilylet
+[title "Expressive Melody"]
+
+\time 4/4
+c4\p( d e f) | g2\< a | b4\mf\> a g f | e2\p d | c4\pp( e g c) | c2.\fermata r4
+```
+
+### Example 4: Two-Staff Piano Score
+
+Expressive etude in E Major with complex texture.
+
+```lilylet
+[title "Etude in E Major (excerpt)"]
+[subtitle "Tristesse"]
+[composer "Chopin"]
+
+\staff "1" \key e \major \time 2/4 \clef "treble" \stemUp b8\p \\
+\staff "2" \clef "bass" g8\rest | %1
+
+\staff "1" \clef "treble" \stemUp e8[ ds16 e] fs4~ \\
+\staff "1" \clef "treble" s4 \stemDown ds~ \\
+\staff "2" \stemUp \clef "bass" e,,4 b \\
+\staff "2" \stemDown \clef "bass" e,,16[ b'8 b16] b,[ b'8 b16] \\
+\staff "2" \stemUp \clef "bass" gs16[ b gs b] a[ b a b] | %2
+
+\staff "1" \clef "treble" \stemUp fs16([ gs] gs[ fs)] gs4~ \\
+\staff "1" \clef "treble" \stemDown ds8[ ds] e4 \\
+\staff "2" \clef "bass" \stemUp b,,4 e \\
+\staff "2" \clef "bass" \stemDown b,,16[ b'8 b16] e,[ b'8 b16] \\
+\staff "2" \clef "bass" \stemUp a16[ b a b] gs[ b gs b] | %3
+
+\staff "1" \clef "treble" \stemUp gs'16([ a] a[ gs)] cs8.([ b16] \\
+\staff "1" \clef "treble" \stemDown gs16[ e' b e] ds[ a' b, ds] \\
+\staff "2" \clef "bass" \stemDown e,,16[ b'8 b16] b,[ b'8 b16] \\
+\staff "2" \clef "bass" \stemUp e,,4 b | %4
+
+\staff "1" \clef "treble" \stemUp a'16[ gs ds e)] fs4~ \\
+\staff "1" \clef "treble" \stemDown b16[ e gs, b] \stemUp <a cs>[ <b ds> <a cs> <b ds>] \\
+\staff "2" \clef "bass" \stemDown e,,16[ b'8 b16] b,[ b'8 b16] \\
+\staff "2" \clef "bass" \stemUp e,,4 b | %5
+
+\staff "1" \clef "treble" \stemUp fs16([ gs] gs[ fs)] e4 \\
+\staff "2" \clef "bass" \stemUp b,,4 e \\
+\staff "2" \clef "bass" \stemDown b,,16[ b'8 b16] e,[ b'8 b16] \\
+\staff "2" \clef "bass" \stemUp <a cs>16[ <b ds>] <a cs>[ <b ds>] gs[ b gs b] | %6
+
+\staff "1" \clef "treble" \stemUp gs'16([ a fs gs] a[ b gs a)] \\
+\staff "1" \stemDown \clef "treble" d16[ e d e] cs[ e cs e] \\
+\staff "2" \clef "bass" \stemDown e,,16[ e'8 e16] a,[ e'8 e16] \\
+\staff "2" \clef "bass" \stemUp e,,4 a | %7
+
+\staff "1" \clef "treble" \stemUp cs'8 fs,4 \stemUp \grace as8( \stemUp gs16)([ fs)]~ \\
+\staff "1" \clef "treble" \stemDown cs16[ e cs e] b[ e b e] \\
+\staff "2" \clef "bass" \stemDown a,16[ fs'8 fs16] b,[ fs'8 fs16] \\
+\staff "2" \clef "bass" \stemUp a,4 b | %8
+```
+
+### Example 5: Baroque Style
+
+Complex contrapuntal writing with three independent voices.
+
+```lilylet
+[title "Sinfonia No.1 C Major (excerpt)"]
+[arranger "BWV787"]
+
+\staff "1" \key c \major \time 4/4 \clef "treble" g'16\rest \stemUp g([ a b] \stemDown c[ d e f] g[ f g a] f[ a g f] \\
+\staff "2" \clef "bass" \stemUp c,4 d8 \stemDown c'( b[ g] a[ b] | %1
+
+\staff "1" \stemUp \clef "treble" e'2)~ e4 fs( \\
+\staff "1" \clef "treble" g'16 \stemUp c,[ d e] f[ \stemDown g a b] c[ b c d] c[ e d c] \\
+\staff "2" \clef "bass" \stemDown c4)( c8\rest b a[ g] a)[ d,(] | %2
+
+\staff "1" \clef "treble" \stemUp g''8[ f] e4 d8[ e16 f] d4~ \\
+\staff "1" \clef "treble" \stemDown b'8([ d]~ d[ c]~ c4 b~ \\
+\staff "2" \clef "bass" \stemDown g,16)[ g'( a b] \clef "treble" \stemUp c[ d e f] g[ f g a] f[ a g f] | %3
+
+\staff "1" \clef "treble" \stemUp d'8\f[ g16 f] e4)~ e8[ e] d4~ \\
+\staff "1" \clef "treble" \stemDown b'4) g16 d'([ c b] a4.) a8( \\
+\staff "2" \clef "treble" \stemUp e16)[ f( e d] \clef "bass" \stemDown c[ b a g] f[ g f e] f[ d e f] | %4
+```
+
+### Example 6: Modern Rhythms
+
+```lilylet
+[title "Syncopated"]
+
+\time 4/4
+c4. d8~ d4 e | f8 g4 a8~ a4 b | c8\< d4 e8 f4 g | a\ff\> g8 f~ f4\p r
+```
+
+---
+
+## Practical Writing Tips
+
+1. **Put setup first**: start each snippet/section with `\time`, `\key`, `\clef` so the fragment is portable in Markdown.
+2. **Write in short lines**: one bar/phrase per line works well with Lilylet's newline pitch reset and reduces "octave drift".
+3. **Use duration persistence**: set the rhythmic unit once (e.g., `c4`) and omit repeated numbers to keep lines readable.
+4. **Add octave markers only when needed**: let relative pitch handle defaults; use `'`/`,` for intentional wide leaps.
+5. **Align voices with `s`**: in multi-voice examples, place invisible rests to lock rhythm before adding details.
+
+---
+
+*This tutorial covers Lilylet's core notation features. For rarer engraving cases and deeper notation concepts, the corresponding sections of the [LilyPond documentation](https://lilypond.org/doc/) are often helpful, since Lilylet follows similar command conventions.*