1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
9 @dircategory GNU LilyPond --- the music typesetter
11 * Music Glossary: (music-glossary). For non-English users.
15 This glossary provides definitions and translations of musical
16 terms used in the documentation manuals for LilyPond version
20 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
21 @macro copyrightDeclare
22 Copyright @copyright{} 1999--2011 by the authors
29 @c TODO: multiple omfcreators?
31 @omfcreator Christian Mondrup, Kurt Kroon
32 @omfdescription Glossary of musical terms with translations
34 @omfcategory Applications|Publishing
39 @lilyTitlePage{Music Glossary}
43 @c @everyheading @| @thispage @|
44 @c @evenheading @thispage @| @|
45 @c @oddheading @| @| @thispage @|
50 @w{@expansion{}@strong{\word\}}@c
54 @expansion{}@ref{\word\, @strong{\word\}}@c
63 * Duration names notes and rests::
65 * Non-Western terms A-Z::
70 * GNU Free Documentation License:: License of this document.
77 @c TOC - tex. Not desired for this manual. -gp
81 @node Musical terms A-Z
82 @chapter Musical terms A-Z
84 Languages in this order.
86 @item UK - British English (where it differs from American English)
115 * ancient minor scale::
120 * ascending interval::
122 * augmented interval::
157 * Common Practice Period::
160 * compound interval::
164 * conjunct movement::
179 * descending interval::
182 * diminished interval::
186 * disjunct movement::
188 * dissonant interval::
192 * dominant ninth chord::
193 * dominant seventh chord::
195 * dot (augmentation dot)::
197 * double appoggiatura::
199 * double dotted note::
202 * double time signature::
209 * ecclesiastical mode::
216 * equal temperament::
237 * functional harmony::
258 * inverted interval::
273 * long appoggiatura::
280 * meantone temperament::
287 * mensural notation::
292 * metronomic indication::
305 * multi-measure rest::
335 * polymetric time signature::
341 * Pythagorean comma::
372 * sixty-fourth note::
373 * sixty-fourth rest::
404 * thirty-second note::
405 * thirty-second rest::
412 * transposing instrument::
466 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
467 @notation{a due} indicates that:
471 @item A single part notated on a single staff that normally carries parts
472 for two players (e.g. first and second oboes) is to be played by both
475 @item Or conversely, that two pitches or parts notated on a staff that
476 normally carries a single part (e.g. first violin) are to be played by
477 different players, or groups of players (@q{desks}).
490 F: accelerando, en accélérant,
491 D: accelerando, schneller werden,
495 FI: accelerando, kiihdyttäen.
497 [Italian: @q{speed up, accelerate}]
499 An increase in the tempo, abbreviated @notation{accel.}
515 FI: aksentti, korostus.
517 The stress of one tone over others.
531 @section acciaccatura
533 ES: mordente de una nota,
535 F: acciaccatura, appoggiature brève,
542 A grace note which takes its time from the rest or note preceding the
543 principal note to which it is attached. The acciaccatura is drawn as a
544 small eighth note (quaver) with a line drawn through the flag and stem.
547 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
553 ES: alteración accidental,
554 I: alterazione, accidente,
555 F: altération accidentelle,
556 D: Versetzungszeichen, Akzidenz,
557 NL: toevallig (verplaatsings)teken,
559 S: tillfälligt förtecken,
560 FI: tilapäinen etumerkki.
562 An accidental alters a note by:
566 @item Raising its pitch:
568 @item By two semitones—@notation{double sharp}
569 @item By one semitone—@notation{sharp}
572 @item Lowering its pitch:
574 @item By one semitone—@notation{flat}
575 @item By two semitones—@notation{double flat}
578 @item Or canceling the effects of the key signature or previous accidentals.
581 @lilypond[quote,notime]
585 \set Staff.extraNatural = ##f
586 gisis1 gis g! ges geses
591 \center-column { double sharp }
597 \center-column { double flat }
603 \override SpacingSpanner
604 #'base-shortest-duration = #(ly:make-moment 1 32)
611 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
624 FI: adagio, hitaasti.
626 [Italian: @q{comfortable, easy}]
630 @item Slow tempo, slower -- especially in even meter -- than
631 @notation{andante} and faster than @notation{largo}.
633 @item A movement in slow tempo, especially the second (slow) movement
634 of sonatas, symphonies, etc.
639 @ref{andante}, @ref{largo}, @ref{sonata}.
647 F: al niente, en mourant,
652 FI: häviten olemattomiin.
654 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
655 that the sound should fade away to nothing.
657 @notation{Al niente} is indicated by circling the tip of the hairpin:
659 @lilypond[quote,relative=2]
660 \override Hairpin #'circled-tip = ##t
666 or with the actual phrase @notation{al niente}:
668 @lilypond[quote,relative=2]
670 \override DynamicTextSpanner #'(bound-details right text) =
671 \markup { \italic { al niente } }
677 Since one does not crescendo @emph{to} nothing, it is not correct to use
678 @notation{al niente} with @notation{crescendo}. Instead, one should use
679 @emph{dal niente} (@notation{@b{from} nothing}).
682 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
690 F: alla breve, à la brève,
691 D: Allabreve, alla breve
697 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
699 Also called @notation{in cut time}. The name derives from mensural
700 notation, where the @notation{tactus} (or beat) is counted on the semibreve
701 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
702 next longest note value, which (in modern usage) effectively halves all note
705 In mensural notation, breves and semibreves can have a ternary relationship,
706 in which case @notation{alla breve} means thrice (not twice) as fast. In
707 practice, this complication may not have mattered, since Gaffurius's system
708 of multiplex proportions makes it easy to explicitly state which proportion
712 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
713 @ref{proportion}, @ref{whole note}.
721 F: allegro, gaiement,
722 D: Allegro, Schnell, Fröhlich, Lustig,
726 FI: allegro, nopeasti.
728 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
729 quick tempo, especially the first and last movements of a sonata.
742 NL: verhoging of verlaging,
747 An alteration is the modification, raising or lowering, of a note's
748 pitch. It is established by an accidental.
750 @c TODO: add second meaning from mensural notation
766 FI: altto, matala naisääni.
768 A female voice of low range (@emph{contralto}). Originally the alto was a
769 high male voice (hence the name), which by castration or the use of falsetto
770 reached the height of the natural female voice. This type of voice is also
771 known as countertenor.
780 ES: clave de do en tercera,
781 I: chiave di contralto,
782 F: clef d'ut troisième ligne,
783 D: Altschlüssel, Bratschenschlüssel,
789 C clef setting middle C on the middle line of the staff.
800 F: ambitus, tessiture,
805 FI: ambitus, ääniala, soitinala.
807 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
808 Denotes a range of pitches for a given voice in a part of music. It may
809 also denote the pitch range that a musical instrument is capable of playing.
810 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
828 An anacrusis (also known as pickup or upbeat) is an incomplete measure
829 of music before a section of music. It also refers to the initial
830 note(s) of a melody occurring in that incomplete measure.
832 @lilypond[quote,relative=1]
843 @ref{measure}, @ref{meter}.
846 @node ancient minor scale
847 @section ancient minor scale
849 ES: escala menor natural,
850 I: scala minore naturale,
851 F: forme du mode mineur ancien, troisème mode, mode hellénique,
852 D: reines Moll, natürliches Moll,
853 NL: authentieke mineurtoonladder,
856 FI: luonnollinen molliasteikko.
858 Also called @q{natural minor scale}.
860 @lilypond[quote,notime,relative=2]
866 @ref{diatonic scale}.
881 [Italian: present participle of @emph{andare}, @q{to walk}]
883 Walking tempo/character.
890 @section appoggiatura
894 F: appoggiature, (port de voix),
895 D: Vorschlag, Vorhalt
896 NL: (korte) voorslag,
899 FI: appoggiatura, etuhele.
901 Ornamental note, usually a second, that is melodically connected with
902 the main note following it. In music before the 19th century
903 appoggiature were usually performed on the beat, after that mostly
904 before the beat. While the short appoggiatura is performed as a short
905 note regardless of the duration of the main note the duration of the
906 long appoggiatura is proportional to that of the main note.
908 @lilypond[quote,relative=2]
911 <d a fis>4_"notation" r
918 \set Score.measurePosition = #ZERO-MOMENT
919 <d, a fis>4_"performance" r
925 An appoggiatura may have more notes preceding the main note.
927 @lilypond[quote,relative=2]
930 \grace bes16 as8-"notation" as16 bes as8 g |
931 \grace { as16[( bes] } <c as>4)
932 \grace { as16[( bes] } <c as>4) \bar "||"
934 \grace bes16 as8-"performance" as16 bes as8 g |
938 as32 bes c8. as32 bes c8.
942 as16 ~ as8. as16 ~ as8.
957 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
959 DK: arpeggio, akkordbrydning,
961 FI: arpeggio, murtosointu.
963 [Italian: @q{harp-like, played like a harp}]
965 @lilypond[quote,line-width=13\cm]
967 \context Staff = "SA" {
971 r8 g16 c e g, c e r8 g,16 c e g, c e
972 r8 a,16 d f a, d f r8 a,16 d f a, d f
976 \context Staff = "SB" {
982 r16 e8. ( e4) r16 e8. ( e4)
983 r16 d8. ( d4) r16 d8. ( d4)
1001 @section articulation
1010 FI: artikulaatio, ilmaisu.
1012 Articulation refers to notation which indicates how a note or notes
1013 should be played. Slurs, accents, staccato, and legato are all
1014 examples of articulation.
1017 No cross-references.
1020 @node ascending interval
1021 @section ascending interval
1023 ES: intervalo ascendente,
1024 I: intervallo ascendente,
1025 F: intervalle ascendant,
1026 D: steigendes Intervall,
1027 NL: stijgend interval,
1028 DK: stigende interval,
1029 S: stigande intervall,
1030 FI: nouseva intervalli.
1032 A distance between a starting lower note and a higher ending note.
1035 No cross-references.
1039 @section augmentation
1048 FI: aika-arvojen pidentäminen.
1050 @c TODO: add definition.
1052 This is a placeholder for augmentation (wrt mensural notation).
1055 @ref{diminution}, @ref{mensural notation}.
1058 @node augmented interval
1059 @section augmented interval
1061 ES: intervalo aumentado,
1062 I: intervallo aumentato,
1063 F: intervalle augmenté,
1064 D: übermäßiges Intervall,
1065 NL: overmatig interval,
1066 DK: forstørret interval,
1067 S: överstigande intervall,
1068 FI: ylinouseva intervalli.
1079 F: manuscrit, autographe
1080 D: Autograph, Handschrift,
1082 DK: håndskrift, autograf,
1084 FI: käsinkirjoitettu nuotti.
1088 @item A manuscript written in the composer's own hand.
1090 @item Music prepared for photoreproduction by freehand drawing, with
1091 the aid of a straightedge ruler and T-square only, which attempts to
1092 emulate engraving. This required more skill than did engraving.
1097 No cross-references.
1115 @ref{H}, @ref{Pitch names}
1135 ES: barra, línea divisoria,
1136 I: stanghetta, barra (di divisione),
1137 F: barre (de mesure),
1144 A vertical line through the staff (or through multiple staves) that
1145 separates measures. Used very infrequently during the Renaissance (mostly
1146 in secular music, or in sacred music to indicate congruences between parts
1147 in otherwise-unmetered music).
1163 FI: baritoni, keskikorkuinen miesääni.
1165 The male voice intermediate in pitch between the bass and the tenor.
1167 @c F: clef de troisième ligne dropped
1170 @ref{bass}, @ref{tenor}.
1174 @section baritone clef
1176 ES: clave de fa en tercera,
1177 I: chiave di baritono,
1178 F: clef d'ut cinquième ligne, clef de fa troisième,
1179 D: Baritonschlüssel,
1185 C or F clef setting middle C on the upper staff line.
1188 @ref{C clef}, @ref{F clef}.
1201 FI: basso, matala miesääni.
1205 @item The lowest male voice.
1207 @item Sometimes, especially in jazz music, used as an abbreviation for
1219 ES: clave de fa en cuarta,
1221 F: clef de fa quatrième ligne,
1228 A clef setting with middle C on the first top ledger line.
1237 ES: barra (de corcheas),
1239 F: ligature, barre (de croches),
1246 Line connecting a series of notes (shorter than a quarter note). The
1247 number of beams determines the note value of the connected notes.
1249 @lilypond[quote,notime,relative=2,line-width=13\cm]
1250 g8-"1/8"[ g g g] s16
1251 g16-"1/16"[ g g g] s
1252 g32-"1/32"[ s g s g s g] s16
1253 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1257 @ref{feathered beam}.
1263 ES: tiempo, parte (de compás)
1266 D: Takt, Taktschlag, Zeit (im Takt),
1272 Note value used for counting, most often half-, fourth-, and eighth notes.
1273 The base counting value and the number of them in each measure is indicated
1274 at the start of the music by the @notation{time signature}.
1276 @lilypond[quote,relative=2]
1279 g4 c b a | g1 \bar "||"
1281 g8 d' c | b c a | g4. \bar "||"
1285 @ref{time signature}.
1289 @section beat repeat
1292 @ref{percent repeat}.
1305 ES: llave, corchete,
1308 D: Klammer, Akkolade,
1309 NL: accolade, teksthaak,
1312 FI: yhdistävä sulkumerkki.
1314 Symbol at the start of a system connecting staves.
1316 Curly braces are used for connecting piano staves, and sometimes for connecting
1317 the staves of like instruments in an orchestral score when written on different
1318 staves (e.g. first and second flutes):
1322 \context Staff = "SA" {
1328 \context Staff = "SB" {
1338 Angular brackets for connecting parts in an orchestral or choral score:
1342 \context Staff = "SA" {
1348 \context Staff = "SB" {
1359 No cross-references.
1366 I: parentesi quadra,
1384 NL: koper (blazers),
1387 S: brassinstrument, mässingsinstrument,
1390 A family of blown musical instruments made of brass, all using a cup
1391 formed mouth piece. The brass instruments commonly used in a symphony
1392 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1393 sousaphones and contrabass bugles are common.
1396 No cross-references.
1400 @section breath mark
1405 D: Atemzeichen, Trennungszeichen,
1406 NL: repercussieteken,
1407 DK: vejrtrækningstegn,
1411 Indication of where to breathe in vocal and wind instrument parts.
1421 @item US: breve, double-whole note
1422 @item ES: cuadrada, breve
1429 @item FI: brevis, kaksoiskokonuotti
1432 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1434 Mainly used in music from before 1650. In mensural notation, it was a note
1435 of fairly short duration—hence the name, which is Latin for @q{short} or
1436 @q{of short duration}.
1438 @lilypond[quote,notime,relative=2]
1443 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1476 Clef symbol indicating the position of the middle C. Used on all note
1479 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1481 \override Staff.Clef #'full-size-change = ##t
1483 \clef mezzosoprano c1
1489 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1490 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1495 No cross-references.
1508 FI: kadenssi, lopuke.
1511 @ref{harmonic cadence}, @ref{functional harmony}.
1524 FI: kadenssi, lopuke.
1526 An extended, improvisatory style section inserted near the end of
1527 movement. The purpose of a cadenza is to give singers or players a
1528 chance to exhibit their technical skill and -- not last -- their
1529 ability to improvise. Since the middle of the 19th century, however,
1530 most cadenzas have been written down by the composer.
1533 No cross-references.
1548 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1550 The break between two musical phrases, sometimes (but not always) marked by a
1551 rest or a breath mark.
1567 FI: kaanon, tarkka jäljittely.
1583 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1584 viritysjärjestelmässä.
1586 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1587 an octave (1/100 of an equally tempered semitone).
1590 @ref{equal temperament}, @ref{semitone}.
1612 Three or more tones sounding simultaneously. In traditional European music
1613 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1614 (major + minor third) as well as @emph{minor} (minor + major third) chords
1615 may be extended with more thirds. Four-tone @emph{seventh chords} and
1616 five-tone @emph{ninth} major chords are most often used as dominants
1617 (functional harmony). Chords having no third above the lower notes to
1618 define their mood are a special case called @q{open chords}. The lack of
1619 the middle third means their quality is ambivalent -- neither major nor
1622 @lilypond[quote,notime,line-width=13.0\cm]
1626 \set Staff.extraNatural = ##f
1647 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1651 @node chromatic scale
1652 @section chromatic scale
1654 ES: escala cromática,
1656 F: gamme chromatique,
1657 D: chro@-ma@-ti@-sche Tonleiter,
1658 NL: chromatische toonladder,
1659 DK: kromatisk skala,
1661 FI: kromaattinen asteikko.
1663 A scale consisting of all 12 semitones.
1665 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1666 c1 cis d dis e f fis g gis a ais b c
1674 @section chromaticism
1685 Using tones extraneous to a diatonic scale (minor, major).
1688 @ref{diatonic scale}.
1692 @section church mode
1694 ES: modo eclesiástico,
1695 I: modo ecclesiastico,
1696 F: mode ecclésiastique, mode d'église,
1701 FI: moodi, kirkkosävellaji.
1704 @ref{diatonic scale}.
1713 D: Schlüssel, Notenschlüssel,
1717 FI: avain, nuottiavain.
1719 The clef indicates which lines of the staff correspond to which
1720 pitches. The three clef symbols in common use are:
1725 \line { The Treble or G clef: }
1727 \line { The Bass or F clef: }
1729 \line { The Alto or C clef: }
1733 \musicglyph #"clefs.G"
1735 \musicglyph #"clefs.F"
1737 \musicglyph #"clefs.C"
1742 Imagine a large staff of 11 lines centered on middle C, sometimes
1743 called a @q{grand staff}, with the bottom line representing low G and
1744 the top line high F:
1749 %-- Note names above treble staff --%
1751 \set printOctaveNames = ##t
1753 \once \override NoteName #'color = #red
1757 %-- Treble Staff --%
1759 \override Staff.Clef #'stencil = ##f
1765 %-- Alto Staff reduced to a single line on middle C --%
1767 \override Staff.StaffSymbol #'line-count = #1
1768 \override Staff.StaffSymbol #'color = #red
1769 \override Staff.Clef #'stencil = ##f
1772 \override NoteHead #'color = #red
1778 \override Staff.Clef #'stencil = ##f
1787 \override SpacingSpanner
1788 #'base-shortest-duration = #(ly:make-moment 1 1)
1789 \override NonMusicalPaperColumn
1790 #'line-break-system-details = #'((alignment-distances . (3 3)))
1791 \override BarLine #'stencil = ##f
1795 \remove "Time_signature_engraver"
1801 Staves of five lines are usually used, and the clef superimposed on them
1802 indicates which five lines have been selected from this @notation{grand
1803 staff}. For example, the treble or G clef indicates that the top five lines
1809 %-- Note names above treble staff --%
1811 \set printOctaveNames = ##t
1813 \once \override NoteName #'color = #red
1818 %-- Treble Staff --%
1820 \once \override Staff.Clef #'stencil = ##f
1823 \override Staff.Clef #'full-size-change = ##t
1824 \set Staff.forceClef = ##t
1828 %-- Alto Staff reduced to a single line on middle C --%
1830 \override Staff.StaffSymbol #'line-count = #1
1831 \override Staff.StaffSymbol #'color = #red
1832 \override Staff.Clef #'stencil = ##f
1835 \override NoteHead #'color = #red
1840 \override Staff.Clef #'stencil = ##f
1848 \override SpacingSpanner
1849 #'base-shortest-duration = #(ly:make-moment 2 1)
1850 \override NonMusicalPaperColumn
1851 #'line-break-system-details = #'((alignment-distances . (3 3)))
1852 \override BarLine #'stencil = ##f
1856 \remove "Time_signature_engraver"
1862 The @q{curl} of the G clef is centered on the line that represents the
1865 In the same way, the bass or F clef indicates that the bottom five lines
1866 have been selected from the @notation{grand staff}, and the alto or C clef
1867 indicates the middle five lines have been selected. This relationship is
1868 shown below, where the notes show an arpeggio on a C major chord.
1873 %-- Treble Staff --%
1881 \override Staff.StaffSymbol #'line-count = #1
1882 \once \override Staff.Clef #'stencil = ##f
1887 \revert Staff.StaffSymbol #'stencil
1888 \override Staff.StaffSymbol #'color = #red
1891 \stopStaff \startStaff
1892 \revert Staff.StaffSymbol #'line-count
1893 \revert Staff.StaffSymbol #'color
1894 \stopStaff \startStaff
1895 \override Staff.Clef #'full-size-change = ##t
1896 \set Staff.forceClef = ##t
1911 \override SpacingSpanner #'base-shortest-duration =
1912 #(ly:make-moment 2 1)
1913 \override NonMusicalPaperColumn
1914 #'line-break-system-details = #'((alignment-distances . (3 3)))
1915 \override BarLine #'stencil = ##f
1919 \remove "Time_signature_engraver"
1926 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1939 FI: klusteri, cluster.
1941 A @emph{cluster} is a range of simultaneously sounding pitches that
1942 may change over time. The set of available pitches to apply usually
1943 depends on the acoustic source. Thus, in piano music, a cluster
1944 typically consists of a continuous range of the semitones as provided
1945 by the piano's fixed set of a chromatic scale. In choral music, each
1946 singer of the choir typically may sing an arbitrary pitch within the
1947 cluster's range that is not bound to any diatonic, chromatic or other
1948 scale. In electronic music, a cluster (theoretically) may even cover
1949 a continuous range of pitches, thus resulting in colored noise, such
1952 Clusters can be denoted in the context of ordinary staff notation by
1953 engraving simple geometrical shapes that replace ordinary notation of
1954 notes. Ordinary notes as musical events specify starting time and
1955 duration of pitches; however, the duration of a note is expressed by
1956 the shape of the note head rather than by the horizontal graphical
1957 extent of the note symbol. In contrast, the shape of a cluster
1958 geometrically describes the development of a range of pitches
1959 (vertical extent) over time (horizontal extent). Still, the
1960 geometrical shape of a cluster covers the area in which any single
1961 pitch contained in the cluster would be notated as an ordinary note.
1963 @lilypond[quote,relative=2]
1964 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1968 No cross-references.
1981 FI: komma, korvinkuultava ero äänenkorkeudessa.
1983 Difference in pitch between a note derived from pure tuning and the
1984 same note derived from some other tuning method.
1987 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1992 @section common meter
1994 Another name for @ref{common time}.
1997 @ref{common time}, @ref{meter}.
2000 @node Common Practice Period
2001 @section Common Practice Period
2013 This is a stub for Common Practice Period (CPP).
2016 @ruser{Note names in other languages}.
2020 @section common time
2031 4/4 time. The symbol, which resembles a capital letter C, comes from
2035 @ref{mensural notation}, @ref{meter}.
2041 ES: intervalo invertido,
2043 F: intervalle complémentaire,
2044 D: Komplementärintervall,
2045 NL: complementair interval,
2046 DK: komplementærinterval,
2047 S: komplementärintervall (?),
2048 FI: täydentävä intervalli.
2051 @ref{inverted interval}.
2054 @node compound interval
2055 @section compound interval
2057 ES: intervalo compuesto,
2058 I: intervallo composto,
2059 F: intervalle composé,
2060 D: weites Intervall,
2061 NL: samengesteld interval,
2062 DK: sammensat interval,
2063 S: sammansatt intervall,
2064 FI: oktaavia laajempi intervalli.
2066 Intervals larger than an octave.
2072 @node compound meter
2073 @section compound meter
2075 ES: compás compuesto, compás de subdivisión ternaria,
2082 FI: kolmijakoinen tahtilaji.
2084 A meter that includes a triplet subdivision within the beat, such as
2088 @ref{meter}, @ref{simple meter}.
2092 @section compound time
2094 ES: compás compuesto, compás de amalgama (def. 2),
2097 D: zusammengesetzte Taktart,
2101 FI: yhdistetty tahtilajiosoitus.
2106 A meter that includes a triplet subdivision within the beat: see
2107 @ref{compound meter}.
2110 A time signature that additively combines two or more unequal meters, e.g.,
2111 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2115 @lilypond[quote,line-width=13.0\cm]
2116 #(define ((compound-time one two three num) grob)
2117 (grob-interpret-markup grob
2119 #:override '(baseline-skip . 0)
2122 #:left-column (one num)
2124 #:left-column (two num)
2126 #:left-column (three num)))))
2130 #(set-time-signature 8 8 '(3 2 3))
2131 \override Staff.TimeSignature #'stencil =
2132 #(compound-time "3" "2" "3" "8")
2140 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2144 @section concert pitch
2146 ES: en Do, tono de concierto,
2147 I: intonazione reale,
2148 F: tonalité de concert, en ut,
2153 FI: konserttikorkeus.
2155 The pitch at which the piano and other nontransposing instruments play: such
2156 instruments are said to be @q{in C}. The following list includes some (but not
2157 all) instruments that play in concert pitch:
2159 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2161 @multitable {bassoon} {violoncello}
2162 @headitem Woodwinds @tab Strings
2181 @ignore This needs to be reworked.
2182 The trombones are a special case: although they are said to be @q{in F} (alto or
2183 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2184 their parts' transposition. (In fact, the trombones' parts are written at
2185 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2186 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2190 Instruments that play @q{in C} but in a different octave than what is written
2191 are, technically speaking, @emph{transposing instruments}:
2195 @item piccolo (plays an octave higher than written)
2196 @item celesta (plays an octave higher than written)
2197 @item classical guitar (plays an octave lower than written)
2198 @item double bass (plays an octave lower than written)
2203 @ref{transposing instrument}.
2206 @node conjunct movement
2207 @section conjunct movement
2209 ES: movimiento conjunto,
2211 F: mouvement conjoint,
2212 D: schritt@-weise, stufenweise Bewegung,
2213 NL: stapsgewijze, trapsgewijze beweging,
2214 DK: trinvis bevægelse,
2216 FI: asteittainen liike.
2218 Progressing melodically by intervals of a second, as contrasted with
2219 @emph{disjunct movement}.
2221 @lilypond[quote,relative=2,line-width=13.0\cm]
2224 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2228 @ref{disjunct movement}.
2241 FI: konsonanssi, sopusointi.
2264 @section copying music
2266 A music copyist did fast freehand scores and parts on preprinted staff
2267 lines for performance. Some of their conventions (e.g., the placement
2268 of note heads on stems) varied slightly from those of engravers. Some
2269 of their working methods were superior and could well be adopted by
2272 @c Copying music required more skill than engraving. Flagged for NPOV
2275 No cross-references.
2279 @section counterpoint
2288 FI: kontrapunkti, ääni ääntä vastaan.
2290 From Latin @emph{punctus contra punctum}, note against note. The
2291 combination into a single musical fabric of lines or parts which have
2292 distinct melodic significance. A frequently used polyphonic technique
2293 is imitation, in its strictest form found in the canon needing only
2294 one part to be written down while the other parts are performed with a
2295 given displacement. Imitation is also the contrapuntal technique
2296 used in the @emph{fugue} which, since the music of the baroque era,
2297 has been one of the most popular polyphonic composition methods.
2299 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2301 \context Staff = SA \relative c' {
2305 << \context Voice = rha {
2307 r1 | r2 r8 g'8 bes d, |
2308 cis4 d r8 e!16 f g8 f16 e |
2309 f8 g16 a bes8 a16 g a8
2311 \context Voice = rhb {
2317 \context Staff = SB \relative c' {
2320 << \context Voice = lha {
2322 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2323 r8 a16 g f8 g16 a bes8 g e! cis' |
2326 \context Voice = lhb {
2335 No cross-references.
2339 @section countertenor
2344 D: Countertenor, Kontratenor,
2347 S: kontratenor, counter tenor,
2360 D: Crescendo, lauter werden,
2364 FI: cresendo, voimistuen.
2366 Increasing volume. Indicated by a rightwards opening horizontal wedge
2367 (hairpin) or the abbreviation @notation{cresc.}
2369 @lilypond[quote,relative=2]
2372 g4\< a b c | d1\! \bar "|."
2376 @ref{decrescendo}, @ref{hairpin}.
2384 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2391 Notes belonging to one part printed in another to hint when to start
2392 playing. Usually printed in a smaller type.
2395 Compare: @ref{ossia}.
2404 D: Notenzeiger, Custos,
2410 A custos (plural: custodes) is a staff symbol that appears at the end of a
2411 staff line with monophonic musical contents (i.e., with a single voice). It
2412 anticipates the pitch of the first note of the following line and thus helps
2413 the player or singer to manage line breaks during performance, which
2414 enhances the readability of a score.
2416 Custodes were frequently used in music notation until the 16th century.
2417 There were different appearances for different notation styles. Nowadays,
2418 they have survived only in special forms of musical notation such as the
2419 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2421 @lilypond[quote,ragged-right]
2424 \override Staff.Custos #'neutral-direction = #DOWN
2425 \override Staff.Custos #'style = #'hufnagel
2432 \consists "Custos_engraver"
2439 No cross-references.
2472 F: da capo, depuis le commencement,
2473 D: da capo, von Anfang,
2477 FI: da capo, alusta.
2479 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2480 the beginning to the end or to a certain place marked @emph{fine}.
2483 No cross-references.
2489 ES: dal niente, de la nada,
2492 D: aus dem Nichts, dal niente,
2496 FI: tyhjästä ilmaantuen.
2498 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2499 that the sound should gradually increase from nothing.
2510 F: dal segno, depuis le signe,
2511 D: dal segno, ab dem Zeichen,
2515 FI: dal segno, lähtien merkistä.
2517 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2518 another place frequently near the beginning marked by a sign
2521 @lilypond[quote,relative=2]
2529 \musicglyph #"scripts.segno"
2535 No cross-references.
2539 @section decrescendo
2543 D: Decrescendo, leiser werden,
2547 FI: decresendo, hiljentyen.
2549 Decreasing tone volume. Indicated by a leftwards opening horizontal
2550 wedge (hairpin) or the abbreviation @notation{decresc.}
2552 @lilypond[quote,relative=2]
2555 d4\> c b a | g1 \! \bar "|."
2559 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2562 @node descending interval
2563 @section descending interval
2565 ES: intervalo descendente,
2566 I: intervallo discendente,
2567 F: intervalle descendant,
2568 D: fallendes Intervall, absteigendes Intervall,
2569 NL: dalend interval,
2570 DK: faldende interval,
2571 S: fallande intervall,
2572 FI: laskeva intervalli.
2574 A distance between a starting higher note and a lower ending note.
2577 No cross-references.
2580 @node diatonic scale
2581 @section diatonic scale
2583 ES: escala diatónica,
2585 F: gamme diatonique,
2586 D: diatonische Tonleiter,
2587 NL: diatonische toonladder,
2588 DK: diatonisk skala,
2590 FI: diatoninen asteikko.
2592 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2593 played on the white keys of a piano keyboard are diatonic. These scales
2594 are sometimes called, somewhat inaccurately, @q{church modes}).
2596 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2597 but also to some extent in newer jazz music.
2599 @lilypond[quote,notime,relative=1]
2603 e^"~~ S" f g a b^"~~ S" c
2611 @lilypond[quote,notime,relative=1]
2615 e^"~~ S" f g a b^"~~ S" c d
2623 @lilypond[quote,notime,relative=1]
2626 e1^"~~ S" f g a b^"~~ S" c d e
2634 @lilypond[quote,notime,relative=1]
2638 b^"~~ S" c d e^"~~ S" f
2646 @lilypond[quote,notime,relative=2]
2650 b^"~~ S" c d e^"~~ S" f g
2658 @lilypond[quote,notime,relative=2]
2662 b^"~~ S" c d e^"~~ S" f g a
2670 @lilypond[quote,notime,relative=2]
2673 b1^"~~ S" c d e^"~~ S" f g a b
2681 From the beginning of the 17th century the scales used in European
2682 compositional music are primarily the major and the minor scales. In
2683 the harmonic minor scale type an augmented second (A) occurs between
2684 the 6th and 7th tone.
2686 @lilypond[quote,notime,relative=1]
2690 e^"~~ S" f g a b^"~~ S" c
2698 @lilypond[quote,notime,relative=2]
2702 b^"~~ S" c d e^"~~ S" f g a
2705 "Ancient (or Natural) minor"
2710 @lilypond[quote,notime,relative=2]
2714 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2722 @lilypond[quote,notime,relative=2]
2726 b^"~~ S" c d e fis gis^"~~ S" a
2729 "Melodic minor ascending"
2734 @lilypond[quote,notime,relative=3]
2738 g! f!^"~~ S" e d c^"~~ S" b a
2741 "Melodic minor descending"
2747 @ref{semitone}, @ref{whole tone}.
2751 @section didymic comma
2754 @ref{syntonic comma}.
2757 @node diminished interval
2758 @section diminished interval
2760 ES: intervalo disminuido,
2761 I: intervallo diminuito,
2762 F: intervalle diminué,
2763 D: vermindertes Intervall,
2764 NL: verminderd interval,
2765 DK: formindsket interval,
2766 S: förminskat intervall,
2767 FI: vähennetty intervalli.
2778 F: diminuendo, en diminuant,
2783 FI: diminuendo, hiljentyen.
2785 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2801 FI: aika-arvojen tihennys.
2803 This is a stub for diminution (@emph{wrt} mensural notation).
2806 @ref{augmentation}, @ref{mensural notation}.
2825 @node disjunct movement
2826 @section disjunct movement
2828 ES: movimiento disjunto,
2830 F: mouvement disjoint,
2831 D: sprunghafte Bewegung,
2832 NL: sprongsgewijze beweging,
2833 DK: springende bevægelse,
2834 S: hoppande rörelse,
2835 FI: melodian hyppivä liike.
2837 Progressing melodically by intervals larger than a major second, as contrasted
2838 with conjunct movement.
2840 @lilypond[quote,relative=1]
2844 a4. gis8 b a e cis |
2850 @ref{conjunct movement}.
2856 Another name for @ref{dissonant interval}.
2859 @ref{dissonant interval}, @ref{harmony}.
2862 @node dissonant interval
2863 @section dissonant interval
2865 ES: intervalo disonante, disonancia,
2866 I: intervallo dissonante, dissonanza,
2867 F: intervalle dissonant, dissonance,
2869 NL: dissonant interval, dissonant,
2870 DK: dissonerende interval, dissonans,
2872 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2890 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2891 vertical stroke through part or all of the staff that serves to
2892 structure a chant into phrases and sections. There are four types:
2896 @item @emph{divisio minima}, a short pause
2898 @item @emph{divisio maior}, a medium pause
2900 @item @emph{divisio maxima}, a long pause
2902 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2903 section in a long antiphonal or responsorial chant.
2907 TODO: musical example here?
2910 No cross-references.
2916 ES: elevación [de tono],
2919 D: Glissando zu unbestimmter Tonhöhe,
2925 Indicator for a indeterminately rising pitch bend. Compare with
2926 @emph{glissando}, which has determinate starting and ending pitches.
2929 @ref{fall}, @ref{glissando}.
2942 FI: dominantti, huippusointu.
2944 The fifth @emph{scale degree} in @emph{functional harmony}.
2947 @ref{functional harmony}, @ref{scale degree}.
2950 @node dominant ninth chord
2951 @section dominant ninth chord
2953 ES: acorde de novena de dominante,
2954 I: accordo di nona di dominante,
2955 F: accord de neuvième de dominante,
2956 D: Domi@-nant@-nonen@-akkord,
2957 NL: dominant noon akkoord,
2958 DK: dominantnoneakkord,
2959 S: dominantnonackord,
2960 FI: dominanttinoonisointu.
2963 @ref{chord}, @ref{functional harmony}.
2966 @node dominant seventh chord
2967 @section dominant seventh chord
2969 ES: acorde de séptima de dominante,
2970 I: accordo di settima di dominante,
2971 F: accord de septième de dominante,
2972 D: Dominantseptakkord,
2973 NL: dominant septiem akkoord,
2974 DK: dominantseptimakkord,
2975 S: dominantseptimackord,
2976 FI: dominanttiseptimisointu.
2979 @ref{chord}, @ref{functional harmony}.
2983 @section dorian mode
2988 D: dorisch, dorischer Kirchenton,
2989 NL: dorische toonladder,
2995 @ref{diatonic scale}.
2998 @node dot (augmentation dot)
2999 @section dot (augmentation dot)
3002 I: punto (di valore),
3004 D: Punkt (Verlängerungspunkt),
3011 @ref{dotted note}, @ref{note value}.
3015 @section dotted note
3017 ES: nota con puntillo,
3021 NL: gepuncteerde noot,
3024 FI: pisteellinen nuotti.
3030 @node double appoggiatura
3031 @section double appoggiatura
3033 ES: apoyatura doble,
3034 I: appoggiatura doppia,
3035 F: appoggiature double,
3036 D: doppelter Vorschlag,
3037 NL: dubbele voorslag,
3038 DK: dobbelt forslag,
3040 FI: kaksoisappogiatura, kaksoisetuhele.
3046 @node double bar line
3047 @section double bar line
3053 NL: dubbele maatstreep,
3056 FI: kaksoistahtiviiva.
3058 Indicates the end of a section within a movement.
3061 No cross-references.
3064 @node double dotted note
3065 @section double dotted note
3067 ES: nota con doble puntillo,
3068 I: nota doppiamente puntata,
3069 F: note doublement pointée,
3070 D: doppelt punktierte Note,
3071 NL: dubbelgepuncteerde noot,
3072 DK: dob@-belt@-punk@-te@-ret node,
3073 S: dub@-bel@-punk@-te@-rad not,
3074 FI: kaksoispisteellinen nuotti.
3081 @section double flat
3090 FI: kaksoisalennusmerkki.
3097 @section double sharp
3099 ES: doble sostenido,
3104 DK: dob@-belt@-kryds,
3106 FI: kaksoisylennysmerkki.
3112 @node double time signature
3113 @section double time signature
3115 ES: compás polimétrico,
3118 D: zusammengesetzte Taktart,
3122 FI: kaksois-aika-arvomerkintä.
3125 @ref{polymetric time signature}.
3129 @section double trill
3135 NL: dubbele triller,
3140 A simultaneous trill on two notes, usually in the distance of a third.
3143 No cross-references.
3147 @section duple meter
3151 F: métrique binaire,
3152 D: in zwei, grader Takt,
3153 NL: tweedelige maatsoort,
3188 FI: kesto, aika-arvo.
3197 ES: dinámica, matices,
3200 D: Dynamik, Lautstärke,
3204 FI: äänen voimakkuusvaihtelu, dynamiikka.
3206 The aspect of music relating to degrees of loudness, or changes from
3207 one degree to another. The terms, abbreviations, and symbols used to
3208 indicate this information are called dynamic marks.
3211 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3233 @node ecclesiastical mode
3234 @section ecclesiastical mode
3237 @ref{church mode}, @ref{diatonic scale}.
3241 @section eighth note
3248 @item D: Achtel, Achtelnote
3249 @item NL: achtste noot
3250 @item DK: ottendedelsnode
3251 @item S: åttondelsnot
3252 @item FI: kahdeksasosanuotti
3260 @section eighth rest
3263 @item UK: quaver rest
3264 @item ES: silencio de corchea
3265 @item I: pausa di croma
3266 @item F: demi-soupir
3267 @item D: Achtelpause
3268 @item NL: achtste rust
3269 @item DK: ottendedelspause
3270 @item S: åttonddelspaus
3271 @item FI: kahdeksasosatauko
3281 @c TODO: add languages
3290 FI: tavujen yhdistäminen yhteen ääneen.
3292 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3293 @emph{συναλοιφην} @q{to smear together}].
3295 The singing of several syllables on a single note. Elision may be indicated
3296 by a lyric tie, which looks like (and serves the same function) as a musical
3304 @section embellishment
3316 D: Notenstich, Notendruck
3322 Engraving means incising or etching a metal plate for printing.
3323 Photoengraving means drawing music with ink in a manner similar to
3324 drafting or engineering drawing, using similar tools.
3326 The traditional process of music printing is done through cutting in a
3327 plate of metal. Now also the term for the art of music typesetting.
3330 No cross-references.
3345 Two notes, intervals, or scales are enharmonic if they have different
3346 names but equal pitch.
3348 @lilypond[quote,notime,line-width=13.0\cm]
3352 gis1 as <des g,!> <cis g!>
3356 "g sharp " "a flat " "dim fifth " "augm fourth"
3362 No cross-references.
3365 @node equal temperament
3366 @section equal temperament
3368 ES: temperamento igual,
3369 I: temperamento equabile,
3370 F: tempérament égal,
3371 D: gleichschwebende Stimmung,
3372 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3373 DK: ligesvævende temperatur,
3374 S: liksvävande temperatur,
3377 A tuning system that divides the octave into 12 equal semitones (each of
3378 which is precisely equal to 100 cents).
3381 @ref{cent}, @ref{semitone}, @ref{temperament}.
3384 @node expression mark
3385 @section expression mark
3388 I: segno d'espressione,
3389 F: signe d'expression, indication de nuance,
3391 NL: voordrachtsteken,
3392 DK: foredragsbetegnelse,
3393 S: föredragsbeteckning,
3394 FI: nyanssiosoitus, esitysmerkki.
3396 Performance indications concerning:
3400 @item volume, dynamics (for example, @notation{forte},
3401 @notation{crescendo}),
3403 @item tempo (for example, @notation{andante}, @notation{allegro}).
3408 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3412 @section extender line
3414 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3415 I: linea di estensione,
3416 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3423 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3424 extends text (without indicating the musical @emph{function} of that text).
3426 Used in many contexts, for example:
3430 @item In vocal music to indicate the syllable for a melisma. Called
3431 @q{extension} in the
3432 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3436 In figured bass to indicate that:
3440 @item The extended note should be held through a change in harmony, when applied
3441 to one figure --OR--
3442 @item The chord thus represented should be held above a moving bass line, when
3443 applied to more than one figure.
3444 @item These uses were not completely standardized, and some composers used a
3445 single extender line to indicate the latter case.
3450 In string music to indicate that all notes in the passage thus indicated should
3451 be played on the same string. On the violin, for example, a series of notes to
3452 be played on the G string would be indicated @notation{sul G}, another series to be
3453 played on the D string would be indicated @notation{sul D}, and so on.
3456 With an octave mark to indicate that a passage is to be played higher or lower
3457 by the given number of octaves.
3462 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3463 @ref{octave marking}.
3496 The position between the dots of the key symbol is the line of the F
3497 below central@w{ }C. Used on the third, fourth and fifth note line.
3498 A digit@w{ }8 above the clef symbol indicates that the notes must be
3499 played an octave higher (for example, bass recorder) while 8@w{ }below
3500 the clef symbol indicates playing an octave lower (for example, on the
3503 @lilypond[quote,notime,line-width=13.0\cm]
3506 \override Staff.Clef #'full-size-change = ##t
3529 @ref{baritone clef}, @ref{strings}.
3535 ES: caída [de tono],
3538 D: Glissando zu unbestimmter Tonhöhe nach unten,
3544 Indicator for a indeterminately falling pitch bend. Compare with
3545 @emph{glissando}, which has determinate starting and ending pitches.
3548 @ref{doit}, @ref{glissando}.
3551 @node feathered beam
3552 @section feathered beam
3554 ES: barra progresiva,
3556 F: ligature en soufflet, lien de croches en soufflet,
3557 D: gespreizter Balken,
3563 A type of beam used to indicate that a small group of notes should be
3564 played at an increasing or decreasing tempo -- depending on the
3565 direction of @q{feathering} -- but without changing the overall tempo
3569 Internals Reference: @ruser{Manual beams}
3575 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3579 F: point d'orgue, point d'arrêt,
3584 FI: fermaatti, pidäke.
3586 Prolonged note or rest of indefinite duration.
3588 @lilypond[quote,relative=2]
3595 No cross-references.
3615 @section figured bass
3618 I: basso continuo, basso numerato,
3619 F: basse chiffrée, basse continue,
3620 D: Generalbass, bezifferter Bass,
3621 NL: basso continuo, becijferde bas
3624 FI: kenraalibasso, numeroitu basso.
3626 Also called @q{thorough bass}.
3628 A method of indicating an accompaniment part by the bass notes only,
3629 together with figures designating the chief intervals and chords to be
3630 played above the bass notes.
3632 @lilypond[quote,line-width=13.0\cm]
3634 \new Staff = "rh" \with {
3636 \override StaffSymbol #'staff-space = #(magstep -3)
3642 \context Voice = "rha" {
3647 \context Voice = "rhb" {
3649 <bes g>8 as <as f> g <g es> f <d f> es
3654 \new Staff = "lh" \relative c' {
3657 es8 c d bes c as bes16 as g f
3661 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3667 @ref{chord}, @ref{interval}.
3682 Figures to the side or above the note that methodically indicate which
3683 fingers to use while playing a passage.
3686 No cross-references.
3693 I: coda (uncinata), bandiera,
3701 Ornament at the end of the stem of a note used for notes with values less
3702 than a quarter note. The number of flags determines the note value.
3704 @lilypond[quote,notime,relative=2]
3727 An articulation for string players that means the note or passage is to
3728 be played in harmonics.
3734 @item A duct flute similar to the recorder.
3736 @item An organ stop of flute scale at 1' or 2' pitch.
3741 @ref{articulation}, @ref{harmonics}.
3777 FI: forte, voimakkaasti.
3781 Abbreviated @notation{@b{f}}. Variants include:
3784 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3785 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3789 No cross-references.
3808 @node Frenched score
3809 @section Frenched score
3811 ES: partitura a la francesa,
3814 D: Orchesterpartitur ohne leere Systeme,
3818 FI: partituuri ilman tyhjiä nuottiviivastoja.
3820 A @q{condensed} score, produced by omitting staves for instruments that are not
3821 playing at the moment, and by moving up additional systems from following pages
3822 to take up the space thus liberated, which reduces the total number of pages
3823 used to print the work.
3825 The specific rules for @q{frenching} a score differ from publisher to publisher.
3826 If you are producing scores for eventual publication by a commercial publisher,
3827 you may wish to procure a copy of their style manual.
3830 @ref{Frenched staff}.
3833 @node Frenched staff
3834 @section Frenched staff
3836 ES: pentagrama a la francesa,
3839 D: zeitweiliges Notensystem,
3843 FI: karsittu nuotinnus.
3845 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3846 Frenched staff has unneeded measures or sections removed. This is useful
3847 for producing, for example, an @emph{ossia} staff.
3853 @node Frenched staves
3854 @section Frenched staves
3856 Plural of @ref{Frenched staff}.
3875 @node functional harmony
3876 @section functional harmony
3878 ES: armonía funcional,
3879 I: armonia funzionale,
3880 F: étude des functions,
3882 NL: functionele harmonie,
3883 DK: funktionsanalyse, funktionsharmonik,
3885 FI: harmoniajärjestelmä.
3887 A system of harmonic analysis.
3889 It is based on the idea that, in a given key, there are only three
3890 functionally different chords: tonic (T, the chord on the first note of the
3891 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3892 chord on the fifth note). Others are considered to be variants of the base
3895 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3897 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3900 <g e c>1 <a f d> <b g e>
3901 <c a f> <d b g> <e c a> <f d b>
3905 \markup { D \translate #'(-2 . 0) | }
3911 No cross-references.
3938 D: G-Schlüssel, Violinschlüssel,
3944 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3945 second note lines. A digit 8 above the clef symbol indicates that the notes
3946 must be played an octave higher while 8 below the clef symbol indicates
3947 playing or singing an octave lower (used most frequently to notate the tenor
3948 part in modern choral scores).
3950 @lilypond[quote,notime]
3952 \override Staff.Clef #'full-size-change = ##t
3953 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3964 "french violin clef"
3972 No cross-references.
3985 FI: glissando, liukuen.
3987 Letting the pitch slide fluently from one note to the other.
3990 No cross-references.
3994 @section grace notes
3996 ES: notas de adorno,
3998 F: ornement, fioriture,
3999 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4005 Notes printed in small types to indicate that their time values are not
4006 counted in the rhythm of the bar.
4009 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4014 @section grand staff
4016 ES: sistema de piano,
4018 F: système [de portées], accolade,
4019 D: Akkolade, Klaviersystem,
4022 S: ackolad, böjd klammer,
4023 FI: kaksoisnuottiviivasto.
4025 A combination of two staves with a brace. Usually used for piano music.
4041 FI: grave, raskaasti.
4043 [Italian] Slow, solemn.
4046 No cross-references.
4070 Letter name used for @notation{B natural} in German and Scandinavian
4071 usage. In the standard usage of these countries, @notation{B} means
4075 @ref{Pitch names}, @ref{B}.
4081 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4084 @lilypond[quote,relative=2]
4091 @ref{crescendo}, @ref{decrescendo}.
4102 @item D: Halbe, halbe Note,
4103 @item NL: halve noot,
4106 @item FI: puolinuotti.
4117 @item UK: minim rest,
4118 @item ES: silencio de blanca,
4119 @item I: pausa di minima,
4120 @item F: demi-pause,
4121 @item D: halbe Pause,
4122 @item NL: halve, rust,
4123 @item DK: halvnodespause,
4125 @item FI: puolitauko.
4132 @node harmonic cadence
4133 @section harmonic cadence
4135 ES: cadencia (armónica),
4136 I: cadenza (armonica),
4137 F: cadence harmonique,
4139 NL: harmonische cadens,
4140 DK: harmonisk kadence,
4141 S: (harmonisk) kadens,
4142 FI: harmoninen kadenssi.
4144 A sequence of chords that terminates a musical phrase or section.
4148 \context Staff = "SA" \relative c'' {
4151 \partial 4 <c g e>4 |
4152 <c a f> <b g d> <c g e>2
4155 \context Staff = "SB" \relative c {
4157 \partial 4 c4 | f, g c2
4169 @ref{functional harmony}.
4175 ES: armónicos, sonidos aflautados,
4177 F: flageolet, sons harmoniques,
4182 FI: harmoniset äänet, huiluäänet.
4184 The general class of pitches produced by sounding the second or higher
4185 harmonic of a tone producer: string, column of air, and so on.
4187 On stringed instruments, these pitches sound rather flute-like; hence,
4188 their name in languages other than English. They are produced by
4189 lightly touching the string at a node for the desired mode of vibration
4190 while it is being bowed or plucked.
4192 For instruments of the violin family, there are two types of harmonics:
4193 natural harmonics, which are those played on the open string; and
4194 artificial harmonics, which are produced on stopped strings.
4197 No cross-references.
4206 D: Harmonie, Zusammenklang,
4210 FI: harmonia, yhteissointi.
4212 Tones sounding simultaneously. Two note harmonies fall into the
4213 categories @emph{consonances} and @emph{dissonances}.
4217 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4229 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4230 <g a>1_"second " s s
4231 <g f'>_"seventh " s s
4235 For harmony that uses three or more notes, see @ref{chord}.
4245 I: emiolia, (rarely hemiola or emiola),
4251 FI: hemioli, 3/2 -suhde.
4253 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4255 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4256 time normally occupied by two. The resulting rhythm can be expressed in modern
4257 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4258 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4259 as a special effect (or @emph{affect}) at cadences.
4261 For example, this phrase in 6/4 time
4263 @lilypond[quote,relative=1,line-width=13.0\cm]
4266 c2. e | d2 c d | c1. \bar "||"
4269 may be thought of having alternating time signatures
4271 @lilypond[quote,relative=1,line-width=13.0\cm]
4281 and is therefore a polymeter (second definition) of considerable antiquity.
4284 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4297 FI: homofonia, yksiäänisyys.
4299 Music in which one voice leads melodically supported by the other voices in
4300 the same rhythm (more or less). In contrast to @emph{polyphony}.
4323 FI: säkeiden tavumäärät.
4325 A group or list of numbers that indicate the number of syllables in a line
4326 of a hymn's verse. Different hymnals have different ways of noting the hymn
4327 meter: for example, consider a hymn that has four lines in two couplets
4328 alternating regularly between eight and seven syllables. The @emph{English
4329 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4330 or 8@w{ }7@w{ }8@w{ }7.
4332 Some frequently-used hymn meters have traditional names:
4335 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4336 @item 86.86 is called Common Meter (CM or C.M.)
4337 @item 88.88 is called Long Meter (LM or L.M.)
4340 Some hymns and their tunes are doubled versions of a simpler meter: for
4341 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4342 87.87D. The traditional names above also have doubled versions:
4345 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4346 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4347 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4351 No cross-references.
4364 FI: intervalli, kahden sävelen korkeusero.
4366 Difference in pitch between two notes. Intervals may be diminished, minor,
4367 perfect, major, or augmented. The augmented fourth and the diminished fifth
4368 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4369 and are called @emph{tritonus} because they consist of three whole tones.
4370 The addition of such two intervals forms an octave.
4372 @lilypond[quote,notime,line-width=13.0\cm]
4374 \context Voice \relative c'' {
4411 \context Lyrics \lyrics {
4413 "second " "second " "second " "second "
4414 "third " "third " "third " "third "
4415 "fourth " "fourth " "fourth "
4416 "fifth " "fifth " "fifth "
4417 "sixth " "sixth " "sixth " "sixth "
4418 "seventh" "seventh" "seventh" "seventh"
4419 "octave " "octave " "octave "
4425 @ref{enharmonic}, @ref{whole tone}.
4440 When a chord sounds with a bass note that differs from the root of the
4441 chord, it is said to be @emph{inverted}. The number of inversions that a
4442 chord can have is one fewer than the number of constituent notes. For
4443 example, triads (which have three constituent notes) can have three
4444 positions, two of which are inversions:
4448 The root note is in the bass, and above that are the third and the fifth. A
4449 triad built on the first scale degree, for example, is marked @notation{I}.
4451 @item First inversion
4452 The third is in the bass, and above it are the fifth and the root. This
4453 creates an interval of a sixth and a third above the bass note, and so is
4454 marked in figured Roman notation as @notation{6/3}. This is commonly
4455 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4456 characteristic interval of the inversion, and so always implies
4459 @item Second inversion
4460 The fifth is in the bass, and above it are the root and the third. This
4461 creates an interval of a sixth and a fourth above the bass note, and so is
4462 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4463 unstable chord position.
4467 No cross-references.
4470 @node inverted interval
4471 @section inverted interval
4473 ES: intervalo invertido,
4474 I: intervallo rivolto,
4475 F: intervalle renversé,
4476 D: umgekehrtes Intervall,
4477 NL: interval inversie,
4478 DK: omvendingsinterval,
4479 S: intervallets omvändning,
4480 FI: käänteisintervalli.
4482 The difference between an interval and an octave.
4484 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4485 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4486 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4487 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4491 No cross-references.
4494 @node just intonation
4495 @section just intonation
4497 ES: entonación justa,
4498 I: intonazione giusta,
4499 F: intonation juste,
4506 Tuning system in which the notes are obtained by adding and subtracting
4507 natural fifths and thirds.
4525 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4526 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4529 @ref{chromatic scale}, @ref{key signature}.
4533 @section key signature
4535 ES: armadura (de la clave),
4536 I: armatura di chiave,
4537 F: armure, armature [de la clé],
4538 D: Vorzeichen, Tonart,
4539 NL: toon@-soort (voortekens),
4542 FI: sävellajiosoitus.
4544 The sharps or flats appearing at the beginning of each staff indicating the
4551 @node laissez vibrer
4552 @section laissez vibrer
4557 D: Laissez vibrer, schwingen lassen,
4563 [French: @q{Let vibrate}] Most frequently associated with harp
4564 parts. Marked @notation{l.v.} in the score.
4567 No cross-references.
4575 F: largo, large, ample,
4576 D: Largo, Langsam, Breit,
4580 FI: largo, hitaasti, leveästi.
4582 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4583 expressiveness. @emph{Larghetto} is less slow than largo.
4587 @section leading note
4598 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4599 called because of its strong tendency to @q{lead up} (resolve upwards)
4600 to the tonic scale degree.
4603 @ref{scale degree}, @ref{semitone}.
4607 @section ledger line
4609 ES: línea adicional,
4610 I: tagli addizionali,
4611 F: ligne supplémentaire,
4618 A ledger line is an extension of the staff.
4620 @lilypond[quote,notime,relative=2]
4627 No cross-references.
4636 D: legato, gebunden,
4642 To be performed (a) without any perceptible interruption between the
4643 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4644 @notation{portato}, or (d) @notation{staccato}.
4646 @lilypond[quote,notime,line-width=13.0\cm]
4648 \context Staff \relative c'' {
4649 c4-( d e-) \bar "||"
4650 c4-- d-- e-- \bar "||"
4651 c4-.-( d-. e-.-) \bar "||"
4652 c4-. d-. e-. \bar "||"
4668 @section legato curve
4671 @ref{slur}, @ref{legato}.
4693 A ligature is a coherent graphical symbol that represents at least two
4694 distinct notes. Ligatures originally appeared in the manuscripts of
4695 Gregorian chant notation around the 9th century to denote ascending or
4696 descending sequences of notes. In early notation, ligatures were used for
4697 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4698 performance in the sense of articulation. With the invention of the metric
4699 system of the white mensural notation, the need for ligatures to denote such
4700 patterns disappeared.
4703 @ref{mensural notation}.
4710 ES: estanque de nenúfares,
4711 I: stagno del giglio,
4712 F: étang de nénuphars, étang de nymphéas,
4714 NL: le@-lie@-vij@-ver,
4719 A pond with lilies floating in it.
4721 Also, the name of a music typesetting program.
4724 No cross-references.
4733 D: Linie, Notenlinie,
4737 FI: viiva, nuottiviiva.
4753 FI: kirjoitetussa äänenkorkeudessa.
4755 [Italian: @q{place}] Instruction to play the following passage at the
4756 written pitch. Cancels octave mark (q.v.).
4759 @ref{octave mark}, @ref{octave marking}.
4762 @node long appoggiatura
4763 @section long appoggiatura
4765 ES: apoyatura larga,
4766 I: appoggiatura lunga,
4767 F: appoggiature longue,
4772 FI: pitkä appoggiatura, pitkä etuhele.
4782 @item US: long, longa,
4785 @item F: longa, longue,
4793 Note value: twice the length of a @notation{breve}.
4795 @lilypond[quote,notime,relative=2]
4796 \override NoteHead #'style = #'mensural
4801 @ref{breve}, @ref{note value}.
4807 ES: ligadura de letra,
4809 F: ligature de mots,
4814 FI: sidonta sanoituksessa.
4816 @c TODO: add languages
4825 ES: letra (de la canción),
4828 D: Liedtext, Gesangstext,
4837 No cross-references.
4853 @ref{diatonic scale}.
4856 @node major interval
4857 @section major interval
4859 ES: intervalo mayor,
4860 I: intervallo maggiore,
4861 F: intervalle majeur,
4862 D: großes Intervall,
4866 FI: suuri intervalli.
4884 Note value: twice the length of a @notation{longa}.
4886 The maxima is the largest duration in use during the 15th and 16th centuries.
4887 Like the longa, the maxima can be either two or three times as long as the
4888 @notation{longa} (called @notation{binary} and @notation{ternary},
4889 respectively). By the late 15th century, most composers used the smaller
4890 proportion by default.
4893 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4896 @node meantone temperament
4897 @section meantone temperament
4899 ES: afinación mesotónica,
4900 I: accordatura mesotonica,
4901 F: tempérament mésotonique,
4902 D: mitteltönige Stimmung,
4903 NL: middenstemming, middentoonstemming,
4904 DK: middeltonetemperatur,
4905 S: medeltonstemperatur,
4906 FI: keskisävelviritys.
4908 Temperament yielding acoustically pure thirds by decreasing the natural
4909 fifth by 16@w{ }cents. Due to the non-circular character of this
4910 temperament only a limited set of keys are playable. Used for tuning
4911 keyboard instruments for performance of pre-1650 music.
4914 @ref{cent}, @ref{temperament}.
4929 A group of beats (units of musical time) the first of which bears an accent.
4930 Such groups in numbers of two or more recur consistently throughout the
4931 composition and are separated from each other by bar lines.
4934 @ref{bar line}, @ref{beat}, @ref{meter}.
4937 @node measure repeat
4938 @section measure repeat
4941 @ref{percent repeat}.
4948 I: mediante, modale,
4958 @item The third @b{scale degree}.
4960 @item A @emph{chord} having its base tone a third from that of another
4961 chord. For example, the tonic chord may be replaced by its lower
4962 mediant (variant tonic).
4967 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4980 FI: melisma, laulettavan tavun sävelkuvio.
4982 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4983 on one syllable, especially as applied to liturgical chant.
4986 No cross-references.
4990 @section melisma line
4992 @c TODO: add languages
4994 ES: línea de melisma,
4995 I: linea del melisma,
4996 F: trait de mélisme, trait de tenue,
5004 @ref{extender line}.
5007 @node melodic cadence
5008 @section melodic cadence
5014 @node mensural notation
5015 @section mensural notation
5017 @c TODO: add languages
5019 ES: notación mensural,
5020 I: notazione mensurale,
5021 F: notation mensurale,
5022 D: Mensuralnotation,
5026 FI: mensuraalinuotinnus.
5028 A system of duration notation whose principles were first established in the
5029 mid-13th century, and that (with various changes) remained in use until about
5030 1600. As such, it is the basis for the notation of rhythms in Western musical
5033 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5034 of the notation's principles, so the notation of this earliest period is called
5035 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5036 and semibreve -- each of which was normally equivalent to three of the next
5039 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5040 added several note values (the minim, semiminim and fusa) and extended Franco's
5041 principles to govern the relationship between these values. They also put the
5042 duple division of note values on an equal footing with the earlier (preferred)
5045 TODO: continue description of French and Italian black notation, and the
5046 relationship betwixt them.
5048 @b{White or void mensural notation}
5050 In the 15th century, hollow (or void) notes began to substitute for the earlier
5051 solid black ones, which were then free to assume the function of red (or
5052 colored) notes in the earlier notation. ...
5054 TODO: add to definition (including summary info on proportional notation)
5057 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5058 @c TODO: more cross-references?
5061 @node mensuration sign
5062 @section mensuration sign
5064 @c TODO: add languages
5066 ES: signo de mensuración,
5068 F: signe de mensuration,
5075 The ancestor of the time signature, mensuration signs were used to indicate the
5076 relationship between two sets of note durations—specifically, the ratio of
5077 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5078 (called @notation{prolatio}).
5080 Each ratio was represented with a single single sign, and was either
5081 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5082 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5083 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5084 represented by a complete circle; applied to the @emph{prolatio}, it was called
5085 @emph{major} and was represented by a dot in the middle of the sign. The binary
5086 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5087 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5088 @emph{minor} and was represented by the lack of an internal dot. There are four
5089 possible combinations, which can be represented in modern time signatures with
5090 and without reduction of note values. (These signs are hard-coded in LilyPond
5094 @item perfect @emph{tempus} with major @emph{prolatio}
5095 Indicated by a complete circle with an internal dot. In modern time signatures,
5098 @item 9/4, with reduction or
5099 @item 9/2, without reduction
5102 @item perfect @emph{tempus} and minor @emph{prolatio}
5103 Indicated by a complete circle without an internal dot. In modern time
5104 signatures, this equals:
5106 @item 3/2, with reduction or
5107 @item 3/1, without reduction
5110 @item imperfect @emph{tempus} and major @emph{prolatio}
5111 Indicated by an incomplete circle with an internal dot. In modern time
5112 signatures, this equals:
5114 @item 6/4, with reduction or
5115 @item 6/2, without reduction
5118 @item imperfect @emph{tempus} and minor @emph{prolatio}
5119 Indicated by an incomplete circle without an internal dot. In modern time
5120 signatures, this equals:
5122 @item 4/4, with reduction or
5123 @item 2/1, without reduction
5127 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5128 with note values reduced from the original semibreve to a modern quarter note.
5129 Being doubly imperfect, this sign represented the (theoretically)
5130 least-preferred mensuration, but it was actually used fairly often.
5132 This system extended to the ratio of longer note values to each other:
5136 @item maxima to longa, called:
5140 @item @notation{modus maximorum},
5141 @item @notation{modus major}, or
5142 @item @notation{maximodus})
5146 @item longa to breve, called:
5150 @item @notation{modus longarum},
5151 @item @notation{modus minor}, or
5152 @item @notation{modus}
5158 In the absence of any other indication, these modes were assumed to be
5159 binary. The mensuration signs only indicated tempus and prolatio, so
5160 composers needed another way to indicate these longer ratios (called modes.
5161 Around the middle of the 15th century started to use groups of rests at the
5162 beginning of the staff, preceding the mensuration sign.
5165 Two mensuration signs have survived to the present day: the C-shaped sign,
5166 which originally designated @notation{tempus imperfectum} and
5167 @notation{prolatio minor} now stands for @notation{common time}; and the
5168 slashed C, which designated the same with @notation{diminution} now stands
5169 for @notation{cut time} (essentially, it has not lost its original meaning).
5172 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5173 @c TODO: more cross-references?
5181 F: indication de mesure, mesure,
5188 The pattern of note values and accents in a composition or a section thereof.
5189 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5190 by grouping beats and by subdividing the primary beat.
5192 @b{By grouping beats}:
5196 @item @b{duple}: groups of two.
5197 @item @b{triple}: groups of three.
5198 @item @b{quadruple}: groups of four. A special case of duple meter.
5199 @item @b{quintuple}: groups of five beats.
5200 @item @b{sextuple} meter: groups of six. A special case of:
5204 @item duple meter, subdivided in three; or
5205 @item triple meter, subdivided in two.
5209 @item @b{septuple} meter: groups of seven.
5214 Other than triple meter and its subdivided variants (see below), meters that
5215 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5216 frequently used prior to the 20th Century.
5218 @b{By subdividing the primary beat}:
5222 @item simple: subdivided in groups of two.
5226 @item duple: 2/2, 2/4, 2/8
5227 @item triple: 3/2, 3/4, 3/8
5228 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5232 @item compound: subdivided in groups of three.
5238 @item quadruple: 12/8
5244 Time signatures are placed at the beginning of a composition (or section) to
5245 indicate the meter. For instance, a piece written in simple triple meter with a
5246 beat on each quarter note is conventionally written with a time signature of
5247 3/4. Here are some combinations of the two classifications above:
5249 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5251 @lilypond[quote,line-width=13.0\cm]
5255 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5258 Simple triple meter:
5260 @lilypond[quote,line-width=13.0\cm]
5264 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5267 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5269 @lilypond[quote,line-width=13.0\cm]
5273 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5276 Simple quintuple meter (B. Marcello, 1686-1739):
5278 @lilypond[quote,line-width=13.0\cm]
5282 r4 cis8 bis ais4 dis c8 ais |
5283 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5286 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5287 the source, with sharps in the accompaniment where the voice has flats and
5290 Compound duple meter (unknown):
5292 @lilypond[quote,line-width=13.0\cm]
5296 f8 f g a bes16 a g f |
5297 g8 g bes a c16 a bes g
5301 Compound triple meter (J.S. Bach, 1685-1750):
5303 @lilypond[quote,line-width=13.0\cm]
5307 r8 g'( a) b( d c) c( e d) |
5308 d( g fis) g( d b) g( a b)
5312 Compound quadruple meter (P. Yon, 1886-1943):
5314 @lilypond[quote,line-width=13.0\cm]
5318 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5319 e4 e8 fis( gis) a b4.~ b4 b8
5324 @b{@q{Monometer} vs Polymeter}
5326 TODO: add information from discussion on lilypond-user related to polymeter.
5330 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5345 Device used to indicate the exact tempo of a piece.
5347 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5348 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5349 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5350 followed acknowledged Winkler as the creator, but by then Mälzel had already
5351 sold many of them, and people had taken to calling it a Mälzel Metronome.
5354 @ref{metronome mark}.
5357 @node metronome mark
5358 @section metronome mark
5360 ES: indicación metronómica,
5361 I: indicazione metronomica,
5362 F: indication métronomique,
5364 NL: metronoom aanduiding,
5366 S: metronomangivelse,
5367 FI: metronomiosoitus.
5369 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5370 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5377 @node metronomic indication
5378 @section metronomic indication
5381 @ref{metronome mark}
5394 FI: kohtalaisen, melko.
5396 [Italian: @q{medium}]
5398 Used to qualify other indications, such as:
5404 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5406 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5412 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5419 No cross-references.
5423 @section mezzo-soprano
5434 The female voice between soprano and contralto.
5437 @ref{soprano}, @ref{contralto}.
5446 D: zweigestrichenes@w{ }c,
5448 DK: enstreget@w{ }c,
5449 S: ettstruket@w{ }c,
5452 First C below the 440 Hz A.
5454 @lilypond[quote,notime,relative=1]
5455 \override Staff.Clef #'full-size-change = ##t
5462 No cross-references.
5478 @ref{diatonic scale}.
5481 @node minor interval
5482 @section minor interval
5484 ES: intervalo menor,
5485 I: intervallo minore,
5486 F: intervalle mineur,
5487 D: kleines Intervall,
5491 FI: pieni intervalli.
5497 @node mixolydian mode
5498 @section mixolydian mode
5501 @ref{diatonic scale}.
5510 D: Kirchentonart, Modus,
5514 FI: moodi, kirkkosävelasteikko.
5517 @ref{church mode}, @ref{diatonic scale}.
5530 FI: modulaatio, sävellajin vaihdos.
5532 Moving from one @ref{key} to another. For example, the second subject
5533 of a @ref{sonata form} movement modulates to the dominant key if the
5534 key is major and to the @ref{relative key} if the key is minor.
5537 No cross-references.
5549 FI: mordent, korukuvio.
5572 FI: teema, sävelaihe.
5574 The briefest intelligible and self-contained fragment of a musical
5577 @lilypond[quote,line-width=13.0\cm]
5580 \set Score.implicitTimeSignatureVisibility = #all-invisible
5581 \override Score.TimeSignature #'break-visibility = #all-invisible
5584 \partial 8 g16\startGroup fis |
5585 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5586 g8 g,16 a b8 cis d16 s
5590 \Staff \consists "Horizontal_bracket_engraver"
5596 No cross-references.
5611 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5612 several -- more or less -- independent pieces called movements.
5615 No cross-references.
5618 @node multi-measure rest
5619 @section multi-measure rest
5621 ES: compases de espera, silencio multicompás,
5623 F: pause multiple, mesure à compter,
5625 D: mehrtaktige Pause, Kirchenpause,
5628 FI: usean tahdin mittainen tauko.
5630 Multi-measure rests are conventionally typeset with a combination of
5631 longa, breve and whole rests for shorter and a long horizontal bar for
5632 longer spans of rest, with a number above to indicate the duration (in
5633 measures) of the rest. The former style is called @q{Kirchenpausen} in
5634 German, as a reminiscence of its use in Renaissance vocal polyphony.
5636 @lilypond[quote,relative=2]
5638 \set Score.skipBars = ##t
5641 \set Score.skipBars = ##t
5647 @ref{longa}, @ref{breve}.
5656 D: Auflösungszeichen,
5657 NL: herstellingsteken,
5658 DK: op@-løsningstegn,
5659 S: återställningstecken,
5666 @node neighbor tones
5667 @section neighbor tones
5669 @c TODO: add definition.
5681 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5720 Notes are signs by means of which music is fixed in writing. The term is also
5721 used for the sound indicated by a note, and even for the key of the piano
5722 which produces the sound. However, a clear distinction between the terms tone
5723 and @ref{note} is strongly recommended. Briefly, one sees a note,
5727 No cross-references.
5734 I: testa, testina, capocchia,
5742 A head-like sign which indicates pitch by its position on a @notation{staff}
5743 provided with a @notation{clef}, and duration by a variety of shapes such as
5744 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5745 For percussion instruments (often having no defined pitch) the note head may
5746 indicate the instrument.
5749 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5762 ES: valor, duración,
5764 F: durée, valeur (d'une note),
5769 FI: nuotin aika-arvo.
5771 Note values (durations) are measured as fractions—in modern usage, one-half—of
5772 the next higher note value. The longest duration in current use is the
5773 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5774 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5775 or @notation{maxima} (eight whole notes) may be found.
5777 As used in mensural notation, this fraction was more flexible: it could also
5778 be one-third the higher note value. Composers indicated which proportions
5779 to use with various signs—two of which survive to the present day: the
5780 C-shaped sign for @notation{common time}, and the slashed C for
5781 @notation{alla breve} or @notation{cut time}.
5783 @c TODO -- add maxima to this example, in a way that doesn't break it.
5785 @lilypond[quote,notime,line-width=13.0\cm]
5787 \override NoteHead #'style = #'mensural
5788 a\longa_"longa" a\breve_"breve"
5789 \revert NoteHead #'style
5790 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5791 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5794 @c TODO -- add maxima rest to this example
5796 @lilypond[quote,notime,line-width=13.0\cm]
5798 r\longa_"longa" r\breve_"breve"
5799 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5800 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5803 An augmentation dot after a note increases its duration by half; a second dot
5804 increases it by half of the first addition (that is, by a fourth of the original
5805 duration). More dots can be used to add further halved fractions of the
5806 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5808 @lilypond[quote,line-width=13.0\cm]
5811 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5812 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5815 Alternatively note values may be subdivided by other ratios. Most common is
5816 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5817 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5818 dotted notes are also frequently used.
5820 @lilypond[quote,line-width=13.0\cm]
5823 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5824 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5828 @lilypond[quote,line-width=13.0\cm]
5831 \times 3/2 {g4_"duplets" g} |
5833 \times 6/4 {g8_"quadruplets" g g g} |
5834 g8 g g g g4 \bar "||"
5846 @ref{octave marking}.
5861 The interval of an octave, sometimes abbreviated @notation{8ve}.
5863 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5864 bracket, or @notation{loco} see octave marking.
5867 @ref{interval}, @ref{octave marking}.
5871 @section octave mark
5873 ES: indicación de octava,
5875 F: indication d'octave,
5876 D: Oktavierungszeichen,
5882 The phrase, abbreviation, or other mark used (with or without an extender line
5883 or bracket) to indicate that the music is to be played in a different octave:
5887 @item @notation{15ma}: play two octaves higher
5888 @item @notation{8va}: play one octave higher
5889 @item @notation{8vb}: play one octave lower
5890 @item @notation{8va} (written below the passage): unusual, same as
5892 @item @notation{15vb}: play two octaves lower
5893 @item @notation{15va} (written below the passage): unusual, same as
5898 For longer passages, it may be more practical to mark the octave change at the
5899 beginning with a phrase (see the list below for examples), but without a bracket
5900 or extender line. Then, when the music returns to the written pitch, the octave
5901 change is cancelled with the word @notation{loco} (q.v.).
5903 To parallel the list above:
5907 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5908 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5909 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5910 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5914 In the phrases above, @notation{quindicesima} is sometimes replaced with
5915 @notation{quindecima}, which is Latin.
5917 The music on an entire staff can be marked to be played in a different octave by
5918 putting a small 8 or 15 above or below the clef at the beginning. This octave
5919 mark can be applied to any clef, but it is most frequently used with the G and F
5923 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5926 @node octave marking
5927 @section octave marking
5936 FI: oktaavamerkintä.
5938 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5939 that it is to be played in a different octave. If applied to the clef at the
5940 beginning of the staff, all music on that staff is to played at the indicated
5943 For a list of the specific marks used, see @ref{octave mark}.
5946 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5950 @section octave sign
5960 I: abbellimento, fioriture,
5961 F: agrément, ornement,
5962 D: Verzierung, Ornament,
5968 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5969 with the diatonic @ref{second} above it. In the music from the
5970 middle of the 19th century and onwards the trill is performed with the main
5971 note first while in the music from the preceding baroque and classic periods
5972 the upper note is played first.
5974 @lilypond[quote,line-width=13.0\cm]
5976 \context Staff = sa {
5978 c2._"pre-1850" b4\trill | c1 \bar "||"
5979 c2._"post-1850" b4\trill | c1 \bar "||"
5983 c2. c32 b c b c b c b | c1
5984 c2. b32 c b c \times 4/5 { b c b c b } | c1
5989 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5990 the @emph{prall} (inverted mordent).
5992 @lilypond[quote,line-width=13.0\cm]
5994 \context Staff = sa {
5996 a4_"turn" b\turn c2 \bar "||"
5997 g4_"mordent" a b\mordent a \bar "||"
5998 e'4_"prall" d\prall c2 \bar "||"
6004 e'4 e32[ d e d ~ d8] c2
6010 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6018 F: ossia, alternative,
6023 FI: ossia, vaihtoehtoinen esitystapa.
6025 Ossia (otherwise) marks an alternative. It is an added staff or piano
6026 score, usually only a few measures long, which presents another version
6027 of the music, for example for small hands.
6030 Compare: @ref{cue-notes}.
6036 ES: parte, particella,
6043 FI: stemma, instrumenttiosuus.
6047 @item In instrumental or choral music, the music for a single
6048 instrument or voice.
6050 @item in contrapuntal music, a single melodic line in the contrapuntal
6073 @node percent repeat
6074 @section percent repeat
6076 LilyPond-specific term to indicate the repetition of a musical expression on a
6077 single staff, as opposed to the more usual definition of repeat, which affects
6078 all parts. The musical expression can be anything from a single note or note
6079 pattern to one or more measures. There are other names for this symbol:
6084 @item slash mark, or slash repeat
6086 @item measure (or multi-measure) repeat
6090 @lilypond[quote,relative=2,line-width=13.0\cm]
6092 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6093 \repeat percent 2 { c4 e g b_"Measure repeat" }
6094 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6099 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6100 Vermont Music Dictionary}.
6109 D: Schlagzeug, Schlagwerk,
6115 A family of musical instruments which are played on by striking or
6116 shaking. Percussion instruments commonly used in a symphony orchestra are
6117 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6118 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6122 No cross-references.
6125 @node perfect interval
6126 @section perfect interval
6128 ES: intervalo justo,
6129 I: intervallo giusto,
6130 F: intervalle juste,
6131 D: reines Intervall,
6135 FI: puhdas intervalli.
6153 A natural division of the melodic line, comparable to a sentence of speech.
6169 FI: fraseeraus, jäsentäminen.
6171 The clear rendering in musical performance of the @notation{phrases} of the
6172 melody. Phrasing may be indicated by a @notation{slur}.
6175 @ref{phrase}, @ref{slur}.
6190 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6191 @emph{mezzo piano} (@b{mp}) medium soft.
6194 No cross-references.
6202 F: anacrouse, levée,
6227 @item The perceived quality of a sound that is primarily a function of its
6228 fundamental frequency.
6230 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6232 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6233 association of a particular frequency with a particular pitch name, e.g., c' =
6249 NL: pizzicato, getokkeld,
6252 FI: pizzicato, näppäillen.
6254 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6258 No cross-references.
6264 ES: compás polimétrico,
6271 FI: monia tahtiosoituksia sisältävä.
6275 @item The @emph{simultaneous} use of two or more meters, in two or more
6278 @item The @emph{successive} use of different meters in one or more parts.
6283 @ref{polymetric} (adj.)
6296 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6298 Characterized by @emph{polymeter}: using two or more metric frameworks
6299 simultaneously or in alternation.
6302 @ref{polymeter} (noun)
6305 @node polymetric time signature
6306 @section polymetric time signature
6308 ES: indicación de compás polimétrico,
6309 I: tempo polimetrico,
6311 D: zusammengesetzte Taktart,
6315 FI: vaihtelevan tahtiosoitusmerkintä.
6317 A time signature that indicates regularly alternating polymetric time.
6329 D: Polyphonie, Mehrstimmigkeit,
6333 FI: polyfonia, moniäänisyys.
6335 Music written in a combination of several simultaneous voices (parts)
6336 of a more or less pronounced individuality.
6345 [Italian: past participle of @emph{portare}, @q{to carry}]
6347 A stroke in which each of several notes is separated slightly within a slur,
6348 without changing the bow's direction. It is used for passages of a
6349 @notation{cantabile} character.
6355 @section power chord
6357 A chord containing only the root and the fifth (possibly in multiple
6358 octaves). Commonly used in guitar music, particularly with electric
6359 guitar and high distortion.
6367 ES: presto, muy rápido,
6369 F: presto, très rapide, enlevé,
6370 D: Presto, Sehr schnell,
6371 NL: presto, Sehr schnell,
6374 FI: presto, hyvin nopeasti.
6378 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6379 denotes the highest possible degree of speed.
6382 No cross-references.
6397 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6398 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6403 @item A ratio that expresses the relationship between the note values that
6404 follow with those that precede;
6406 @item A ratio between the note values of a passage and the @q{normal}
6407 relationship of note values to the metrical pulse. (A special case of the
6412 The most common proportions are:
6415 @item 2:1 (or simply 2), expressed by a vertical line through the
6416 mensuration sign (the origin of the @notation{alla breve} time signature),
6417 or by turning the sign backwards
6418 @item 3:1 (or simply 3)
6419 @item 3:2 (@emph{sesquialtera})
6422 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6425 @item 1:2 cancels 2:1
6426 @item 1:3 cancels 3:1
6427 @item 2:3 cancels 3:2
6431 Gaffurius enumerates five basic types of major:minor proportions and their
6435 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6436 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6438 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6439 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6440 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6442 @item Superpartiens, if the major number is one less than twice the minor
6443 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6445 @item Multiplexsuperparticular, if the major number is one more than twice the
6446 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6449 @item Multiplexsuperpartiens, if the major number is one less than some other
6450 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6451 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6455 He then continues to subdivide each type in various ways. For the multiplex
6456 proportions, for example, he indicates how many times greater the major number
6461 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6462 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6464 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6467 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6468 Example: 4:1, 8:2, and 12:3
6472 Other proportions were possible, but whether they were frequently used is
6477 @item 33:9, @emph{triplasuperbipartientetertias}
6478 @item 51:15, @emph{triplasuperbipartientequintas}
6482 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6485 @ref{mensural notation}.
6488 @node Pythagorean comma
6489 @section Pythagorean comma
6491 ES: coma pitagórica,
6492 I: comma pitagorico,
6493 F: comma pythagoricien,
6494 D: Pythagoräisches Komma,
6495 NL: komma van Pythagoras,
6496 DK: pythagoræisk komma,
6497 S: pytagoreiskt komma,
6498 FI: pytagorinen komma.
6500 Originally, the interval by which the sum of six whole tones exceeds the octave
6501 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6503 Modern acoustical theory defines it as the interval by which twelve fifths
6504 exceed seven octaves. To put it another way: A sequence of fifths that starts
6505 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6506 than the C obtained by adding 7 octaves. The difference between those two
6507 pitches is the Pythagorean comma.
6510 @ref{cent}, @ref{temperament}.
6532 ES: variante [de acorde o intervalo],
6535 D: Modus (Dur oder Moll),
6541 The quality of a triad is determined by the precise arrangement of its
6542 intervals. Tertian triads can be described as a series of three notes. The
6543 first element is the root note (or simply @q{root}) of the chord, the second
6544 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6545 the chord. These are described below:
6547 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6548 @headitem Chord name
6549 @tab Component intervals
6552 @item major triad @tab major third/perfect fifth
6554 @tab C, CM, Cma, Cmaj, CΔ
6555 @item minor triad @tab minor third/perfect fifth
6557 @tab Cm, Cmi, Cmin, C-
6558 @item augmented triad @tab major third/augmented fifth
6561 @item diminished triad @tab minor third/diminished fifth
6563 @tab Cm(♭5), Cº, Cdim
6566 There are various types of seventh chords depending on the quality of the
6567 original chord and the quality of the seventh added.
6569 Five common types of seventh chords have standard symbols. The chord quality
6570 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6571 and D^m7 are all identical). The last three chords are not commonly used
6579 @section quarter note
6584 @item I: semiminima, nera
6586 @item D: Viertel, Viertelnote
6588 @item DK: fjerdedelsnode
6589 @item S: fjärdedelsnot
6590 @item FI: neljäsosanuotti
6598 @section quarter rest
6601 @item UK: crotchet rest
6602 @item ES: silencio de negra
6603 @item I: pausa di semiminima
6605 @item D: Viertelpause
6607 @item DK: fjerdedelspause
6608 @item S: fjärdedelspaus
6609 @item FI: neljäsosatauko
6617 @section quarter tone
6626 FI: neljännessävelaskel.
6628 An interval equal to half a semitone.
6637 ES: cinquillo, quintillo,
6651 @section rallentando
6655 F: rallentando, en ralentissant,
6656 D: rallentando, langsamer werden,
6660 FI: rallerdando, hidastuen.
6662 [Italian] A performance indication, abbreviated @notation{rall.}
6669 @section relative key
6672 I: tonalità relativa,
6673 F: tonalité relative,
6675 NL: paralleltoonsoort,
6676 DK: paralleltoneart,
6678 FI: rinnakkaissävellaji.
6680 Major and minor keys that have the same key signature.
6682 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6684 es1_"e flat major" f g as bes c d es
6688 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6690 c1_"c minor" d es f g a! b! c
6695 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6703 F: barre de reprise,
6706 DK: gen@-ta@-gel@-se,
6710 @lilypond[quote,relative=2,line-width=13.0\cm]
6722 No cross-references.
6737 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6738 @c specify the rest's value.
6758 @item Metrical rhythm in which every time value is a multiple or
6759 fraction of a fixed unit of time, called @emph{beat}, and in which the
6760 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6761 The basic scheme of time values is called @emph{meter}.
6763 @item Measured rhythm which lacks regularly recurrent accent. In
6764 modern notation such music appears as a free alternation of different
6767 @item Free rhythm, i.e., the use of temporal values having no common
6768 metrical unit (beat).
6773 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6779 ES: ritardando, retardando,
6781 F: ritardando, en ralentissant,
6782 D: ritardando, langsamer werden,
6786 FI: ritardando, hidastuen,
6788 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6792 No cross-references.
6798 ES: ritenuto, reteniendo,
6800 F: ritenuto, en retenant,
6805 FI: ritenuto, hidastaen.
6807 Immediate reduction of speed.
6810 No cross-references.
6823 FI: asteikko, sävelasteikko.
6826 @ref{diatonic scale}.
6830 @section scale degree
6832 ES: grado (de la escala),
6833 I: grado della scala,
6834 F: degré [de la gamme],
6836 NL: trap [van de toonladder],
6839 FI: sävelaste, asteikon sävel.
6841 Names and symbols used in harmonic analysis to denote tones of the
6842 scale as roots of chords. The most important are degrees I = tonic
6843 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6845 @lilypond[quote,notime,line-width=13.0\cm]
6847 \new Staff \relative c' {
6851 << { I II III IV V VI VII I }
6858 @ref{functional harmony}.
6866 F: à cordes ravallées,
6871 FI: epätavallinen viritys.
6873 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6874 tuning of stringed instruments, particularly lutes or violins. Used
6879 @item facilitate pitch combinations that would otherwise be difficult
6882 @item alter the characteristic timbre of the instrument, for example,
6883 to increase brilliance
6885 @item reinforce certain sonorities or tonalities by making them
6886 available on open strings
6888 @item imitate other instruments
6894 Tunings that could be called @var{scordatura} first appeared early in
6895 the 16th Century and became commonplace in the 17th.
6898 No cross-references.
6906 F: partition, conducteur (full score),
6907 D: Partitur (full score), Klavierauszug (vocal score),
6913 A copy of orchestral, choral, or chamber music showing what each
6914 instrument is to play, each voice to sing, having each part arranged
6915 one underneath the other on different staves @ref{staff}.
6918 No cross-references.
6933 The interval between two neighboring tones of a scale. A diatonic scale
6934 consists of alternating semitones and whole tones, hence the size of a
6935 second depends on the scale degrees in question.
6938 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6945 @item US: whole note,
6949 @item D: Ganze, ganze Note, Semibrevis,
6950 @item NL: hele noot,
6953 @item FI: kokonuotti.
6956 Note value: called @notation{whole note} in the US.
6958 The semibreve is the basis for the @notation{tactus} in mensural notation
6959 (i.e. music written before ca. 1600).
6962 @ref{mensural notation}, @ref{note value}.
6977 The interval of a minor second. The (usually) smallest interval in European
6978 composed music. The interval between two neighboring tones on the piano
6979 keyboard -- including black and white keys -- is a semitone. An octave may
6980 be divided into 12@w{ }semitones.
6982 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6983 g1 gis s a bes s b! c
6987 @ref{interval}, @ref{chromatic scale}.
7010 @ref{sextuplet}, @ref{note value}.
7055 ES: simile, similar,
7058 D: simile, gleichartig,
7064 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7065 is to be played in the same manner (i.e. with the same articulations, dynamics,
7066 etc.) as the music that precedes it.
7069 TODO: Where else could I refer the reader?
7073 @section simple meter
7075 ES: compás simple, compás de subdivisión binaria,
7082 FI: kaksijakoinen tahtiosoitus.
7084 A meter in which the basic beat is subdivided in two: that is, a meter
7085 that does not include triplet subdivision of the beat.
7088 @ref{compound meter}, @ref{meter}.
7091 @node sixteenth note
7092 @section sixteenth note
7095 @item UK: semiquaver
7096 @item ES: semicorchea
7098 @item F: double croche
7099 @item D: Sechzehntel, Sechzehntelnote
7100 @item NL: zestiende noot
7101 @item DK: sekstendedelsnode
7102 @item S: sextondelsnot
7103 @item FI: kuudestoistaosanuotti
7110 @node sixteenth rest
7111 @section sixteenth rest
7114 @item UK: semiquaver rest
7115 @item ES: silencio de semicorchea
7116 @item I: pausa di semicroma
7117 @item F: quart de soupir
7118 @item D: Sechzehntelpause
7119 @item NL: zestiende rust
7120 @item DK: sekstendedelspause
7121 @item S: sextondelspaus
7122 @item FI: kuudestoistaosatauko
7145 @node sixty-fourth note
7146 @section sixty-fourth note
7149 @item UK: hemidemisemiquaver
7151 @item I: semibiscroma
7152 @item F: quadruple croche
7153 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7154 @item NL: vierenzestigste noot
7155 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7156 @item S: sextiofjärdedelsnot
7157 @item FI: kuudeskymmenesneljäsosanuotti
7164 @node sixty-fourth rest
7165 @section sixty-fourth rest
7168 @item UK: hemidemisemiquaver rest
7169 @item ES: silencio de semifusa
7170 @item I: pausa di semibiscroma
7171 @item F: seizième de soupir
7172 @item D: Vierundsechzigstelpause
7173 @item NL: vierenzestigste rust
7174 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7175 @item S: sextiofjärdedelspaus
7176 @item FI: kuudeskymmenesneljäsosatauko
7184 @section slash repeat
7187 @ref{percent repeat}.
7193 ES: ligadura de expresión,
7194 I: legatura (di portamento o espressiva),
7196 D: Bogen (Legatobogen, Phrasierungsbogen),
7197 NL: fraseringsboog, legatoboog, streekboog,
7198 DK: legatobue, fraseringsbue,
7202 A slur above or below a group of notes indicates that they are to be
7203 played @ref{legato}, e.g., with one stroke of the violin bow or with
7204 one breath in singing.
7207 No cross-references.
7211 @section solmization
7220 FI: suhteelliset laulunimet.
7222 General term for systems of designating the degrees of the
7223 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7224 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7228 @ref{scale}, @ref{scale degree}.
7243 In its present-day meaning a sonata denotes an instrumental
7244 composition for piano or for some other instrument with piano
7245 accompaniment, which consists of three or four independent pieces,
7249 No cross-references.
7253 @section sonata form
7257 F: [en] forme de sonate,
7259 NL: hoofdvorm, sonatevorm,
7264 A form used frequently for single movements of the @emph{sonata},
7265 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7266 three sections called @notation{exposition}, @notation{development} and
7267 @notation{recapitulation}. In the exposition the composer introduces some
7268 musical ideas, consisting of a number of themes; in the development section the
7269 composer @emph{develops} this material, and in the recapitulation the composer
7270 repeats the exposition, with certain modifications. The exposition contains a
7271 number of themes that fall into two groups, often called first and second
7272 subject. Other melodies occurring in each group are considered as continuations
7273 of these two. The second theme is in another key, normally in the key of the
7274 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7275 @notation{relative key} if the tonic is @notation{minor}.
7278 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7279 @ref{symphony}, @ref{tonic}.
7299 FI: sopraano, korkea naisääni.
7301 The highest female voice.
7304 No cross-references.
7312 F: staccato, piqué, détaché,
7317 FI: staccato, lyhyesti, terävästi.
7319 Playing the note(s) short. Staccato is indicated by a dot above or
7320 below the note head.
7322 @lilypond[quote,relative=2]
7326 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7332 No cross-references.
7339 ES: pentagrama, pauta,
7340 I: pentagramma, rigo (musicale),
7342 D: Notensystem, Notenzeile,
7343 NL: (noten)balk, partij,
7348 A staff (plural: staves) is a series of (normally five) horizontal
7349 lines upon and between which the musical notes are written, thus
7350 indicating (in connection with a @ref{clef}) their pitch. Staves for
7351 @ref{percussion} instruments may have fewer lines.
7353 @lilypond[quote,relative=1]
7374 D: Hals, Notenhals, Stiel,
7380 Vertical line above or below a @ref{note head} shorter than a
7383 @lilypond[quote,notime,relative=2]
7384 \set Score.autoBeaming = ##f
7398 ES: stringendo, acelerando,
7400 F: stringendo, en accélérant,
7405 FI: kiihdyttäen, nopeuttaen.
7407 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7426 A family of stringed musical instruments played with a bow. Strings
7427 commonly used in a symphony orchestra are violin, viola, violoncello,
7431 No cross-references.
7435 @section strong beat
7440 D: betonter Taktteil oder Taktschlag,
7442 D: betonet taktslag,
7443 S: betonat taktslag,
7444 FI: tahdin vahva isku.
7447 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7451 @section subdominant
7460 FI: subdominantti, alidominantti.
7462 The fourth @notation{scale degree}.
7465 @ref{functional harmony}, @ref{scale degree}.
7480 The sixth @notation{scale degree}.
7483 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7496 FI: subtoonika, alitoonika.
7498 The seventh @ref{scale degree}.
7501 @ref{functional harmony}, @ref{scale degree}.
7507 ES: sobre la cuerda de Sol,
7510 D: auf G, auf der G-Saite,
7516 Indicates that the indicated passage (or note) should be played on the
7520 No cross-references.
7524 @section superdominant
7535 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7538 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7553 The second @ref{scale degree}.
7556 @ref{functional harmony}, @ref{scale degree}.
7565 D: Sinfonie, Symphonie,
7571 A symphony may be defined as a @emph{sonata} for orchestra.
7578 @section syncopation
7589 Any deliberate upsetting of the normal pulse of @ref{meter},
7590 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7591 rhythm rests upon the grouping of equal beats into groups of two or
7592 three, with a regularly recurrent accent on the first beat of each
7593 group. Any deviation from this scheme is felt as a disturbance or
7594 contradiction between the underlaying (normal) pulse and the actual
7597 @lilypond[quote,relative=1]
7600 e16 c'8 e,16 c'8 e,16 c' ~
7605 No cross-references.
7608 @node syntonic comma
7609 @section syntonic comma
7611 ES: coma sintónica, coma de Dídimo,
7612 I: comma sintonico (o didimico),
7613 F: comma syntonique,
7614 D: syntonisches Komma,
7615 NL: syntonische komma,
7616 DK: syntonisk komma,
7617 S: syntoniskt komma,
7618 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7619 Pytagorisessa viritysjärjestelmässä.
7621 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7622 by which the ditone exceeds the pure major third obtained by Pythagorean
7623 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7625 Modern acoustical theory defines it as the interval by which four fifths exceed
7626 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7628 This comma is also known as the comma of Didymus, or didymic comma.
7631 @ref{Pythagorean comma}
7640 D: Notensystem, Partitur,
7646 The collection of staves (@notation{staff}), two or more, as used
7647 for writing down keyboard, chamber, choral, or orchestral music;
7648 a section of the score spanning the width of a single page.
7655 @section temperament
7660 D: Stimmung, Tem@-pe@-ra@-tur,
7661 NL: stemming, temperatuur,
7664 FI: viritysjärjestelmä.
7666 Systems of tuning in which the intervals deviate from the acoustically
7670 @ref{meantone temperament}, @ref{equal temperament}.
7673 @node tempo indication
7674 @section tempo indication
7676 ES: indicación de tempo,
7677 I: indicazione di tempo,
7678 F: indication de tempo,
7679 D: Zeitmaß, Tempobezeichnung,
7680 NL: tempo aanduiding,
7685 The rate of speed of a composition or a section thereof, ranging from the
7686 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7687 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7691 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7705 FI: tenori, korkea miesääni.
7707 The highest @q{natural} male voice (apart from @notation{countertenor}).
7732 ES: subrayado (tenuto),
7741 An indication that a particular note should be held for the whole
7742 length, although this can vary depending on the composer and era.
7745 No cross-references.
7764 @node thirty-second note
7765 @section thirty-second note
7768 @item UK: demisemiquaver
7771 @item F: triple croche
7772 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7773 @item NL: twee@-endertig@-ste (32e) noot
7774 @item DK: toogtredivtedelsnode
7775 @item S: trettiotvåondelsnot
7776 @item FI: kolmaskymmeneskahdesosanuotti
7783 @node thirty-second rest
7784 @section thirty-second rest
7787 @item UK: demisemiquaver rest
7788 @item ES: silencio de fusa
7789 @item I: pausa di biscroma
7790 @item F: huitième de soupir
7791 @item D: Zweiunddreissigstel@-pause
7792 @item NL: twee@-endertig@-ste (32e) rust
7793 @item DK: toogtredivtedelspause
7794 @item S: trettiotvåondelspaus
7795 @item FI: kolmaskymmeneskahdesosatauko
7803 @section thorough bass
7812 ES: ligadura de unión (o de prolongación),
7813 I: legatura (di valore),
7814 F: liaison (de tenue),
7815 D: Haltebogen, Bindebogen,
7816 NL: overbinding, bindingsboog,
7818 S: bindebåge, överbindning,
7821 A curved line, identical in appearance with the @ref{slur}, which
7822 connects two succesive notes of the same pitch, and which has the
7823 function of uniting them into a single sound (tone) equal to the
7826 @lilypond[quote,notime,relative=2]
7838 @node time signature
7839 @section time signature
7841 ES: indicación de compás,
7843 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7844 D: Taktangabe, Angabe der Taktart,
7847 S: taktartssignatur,
7850 The sign placed at the beginning of a composition to indicate its
7851 meter. It most often takes the form of a fraction, but a few signs
7852 derived from mensural notation and proportions are also employed.
7855 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7870 A sound of definite pitch and duration, as distinct from @emph{noise}.
7871 Tone is a primary building material of music.
7873 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7876 No cross-references.
7891 The first @notation{scale degree}.
7894 @ref{functional harmony}, @ref{scale degree}.
7897 @node transposing instrument
7898 @section transposing instrument
7900 ES: instrumento transpositor,
7901 I: strumento traspositore,
7902 F: instrument transpositeur,
7903 D: transponierende Instrumente,
7907 FI: transponoitava soitin.
7909 Instruments whose notated pitch is different from their sounded pitch. Except
7910 for those whose notated and sounding pitches differ by one or more octaves (to
7911 reduce the number of ledger lines needed), most such instruments are identified
7912 by the letter name of the pitch class of their fundamental. The pitch class is
7913 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7914 the instrument plays a notated C.
7916 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7917 the B-flat one tone lower. If played on the A clarinet, the same written
7918 note sounds the A (one and half tones -- a minor third -- lower).
7920 Not all transposing instruments include the pitch class in their name:
7923 @item Alto flute (in G)
7924 @item English horn (in F)
7925 @item Saxophones (in B-flat or E-flat)
7928 @ignore Can we do better?
7930 To make matters more complex, some instruments are transposing instruments,
7931 but their players play from parts written at concert pitch. This is the
7932 case for orchestral trombone and tuba players—whereas trombone players in
7933 brass bands treat their parts as if written for a true transposing
7934 instrument in B-flat.
7939 @ref{concert pitch}.
7943 @section transposition
7945 ES: transporte, transposición,
7954 Shifting a melody up or down in pitch, while keeping the same
7957 @lilypond[quote,line-width=13.0\cm]
7962 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7967 @lilypond[quote,line-width=13.0\cm]
7970 \transpose c bes \relative c'' {
7972 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7978 No cross-references.
7982 @section treble clef
7984 ES: clave de sol en segunda,
7985 I: chiave di violino,
7987 D: Violinschlüssel, Sopranschlüssel,
8009 On stringed instruments:
8013 @item The quick reiteration of the same tone, produced by a rapid
8014 up-and-down movement of the bow.
8016 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8017 in the distance of a third (@ref{interval}).
8021 @lilypond[quote,notime,relative=1]
8023 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8024 \repeat tremolo 8 { e32_"b" g }
8036 F: triade, accord parfait, accord de trois sons,
8052 F: trille, tremblement, battement (cadence),
8064 @section triple meter
8066 ES: compás ternario,
8069 D: Dreiertakt, ungerader Takt,
8070 NL: driedelige maatsoort,
8112 @section tuning fork
8114 ES: diapasón [de horquilla],
8115 I: diapason, corista,
8121 FI: viritysavain, äänirauta.
8123 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8124 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8125 standard. Tuning forks for other pitches are available.
8134 ES: grupo de valoración especial,
8135 I: gruppi irregolari,
8138 NL: Antimetrische figuur,
8143 A non-standard subdivision of a beat or part of a beat, usually
8144 indicated with a bracket and a number indicating the number of
8148 @ref{triplet}, @ref{note value}.
8154 ES: grupeto (circular),
8177 FI: unisono, yksiäänisesti.
8179 Playing of the same notes or the same melody by various instruments
8180 (voices) or by the whole orchestra (choir), either at exactly the same
8181 pitch or in a different octave.
8184 No cross-references.
8192 F: anacrouse, levée,
8213 FI: ääni, lauluääni.
8221 @item @ref{mezzo-soprano}
8222 @item @ref{contralto}
8224 @item @ref{baritone}
8228 @item A melodic layer or part of a polyphonic composition.
8233 No cross-references.
8239 ES: vez, primera y segunda vez,
8242 D: volta-Klammer, Wiederholungsklammer,
8246 FI: yksi kertauksen maaleista.
8248 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8249 or second ending. LilyPond extends this idea to any number, and allows any text
8250 (not just a number) -- to serve as the @notation{volta} text.
8253 No cross-references.
8260 I: tempo debole, arsi,
8262 D: unbetonter Taktteil oder Taktschlag,
8264 DK: ubetonet taktslag,
8265 S: obetonat taktslag,
8266 FI: tahdin heikko isku.
8269 @ref{beat}, @ref{measure}, @ref{rhythm}.
8280 @item D: Ganze, ganze Note
8284 @item FI: kokonuotti
8295 @item UK: semibreve rest
8296 @item ES: silencio de redonda
8297 @item I: pausa di semibreve
8299 @item D: ganze Pause, ganztaktige Pause
8301 @item DK: helnodespause
8322 The interval of a major second. The interval between two tones
8323 on the piano keyboard with exactly one key between them -- including
8324 black and white keys -- is a whole tone.
8342 A family of blown wooden musical instruments. Today some of these
8343 instruments are actually made from metal. The woodwind instruments
8344 commonly used in a symphony orchestra are flute, oboe, clarinet,
8345 saxophone, and bassoon.
8348 No cross-references.
8351 @node Duration names notes and rests
8352 @chapter Duration names notes and rests
8354 @multitable @columnfractions .12 .22 .22 .22 .22
8356 @headitem Lang. @tab note name
8360 @item @strong{US} @tab long
8364 @item @strong{UK} @tab longa
8368 @item @strong{ES} @tab longa
8369 @tab silencio de longa
8371 @tab silencio de cuadrada
8372 @item @strong{IT} @tab longa
8376 @item @strong{FR} @tab longa
8377 @tab quadruple-pause
8380 @item @strong{DE} @tab Longa
8384 @item @strong{NL} @tab longa
8388 @item @strong{DK} @tab longa
8389 @tab longanodespause
8391 @tab brevis(nodes)pause
8392 @item @strong{SE} @tab longa
8396 @item @strong{FI} @tab longa-nuotti
8398 @tab brevis-nuotti, kaksoiskoko@-nuotti
8399 @tab brevis-tauko, kaksoiskoko@-tauko
8403 @multitable @columnfractions .12 .22 .22 .22 .22
8405 @headitem Lang. @tab note name
8409 @item @strong{US} @tab whole note
8413 @item @strong{UK} @tab semibreve
8417 @item @strong{ES} @tab redonda
8418 @tab silencio de redonda
8420 @tab silencio de blanca
8421 @item @strong{IT} @tab semibreve
8422 @tab pause di semibreve
8424 @tab pausa di minima
8425 @item @strong{FR} @tab ronde
8429 @item @strong{DE} @tab ganze Note
8433 @item @strong{NL} @tab hele noot
8437 @item @strong{DK} @tab helnode
8441 @item @strong{SE} @tab helnot
8445 @item @strong{FI} @tab kokonuotti
8452 @multitable @columnfractions .12 .22 .22 .22 .22
8454 @headitem Lang. @tab note name
8458 @item @strong{US} @tab quarter note
8462 @item @strong{UK} @tab crotchet
8466 @item @strong{ES} @tab negra
8467 @tab silencio de negra
8469 @tab silencio de corchea
8470 @item @strong{IT} @tab semiminima, nera
8471 @tab pausa di semiminima, pausa di nera
8474 @item @strong{FR} @tab noire
8478 @item @strong{DE} @tab Viertelnote
8482 @item @strong{NL} @tab kwartnoot
8486 @item @strong{DK} @tab fjerdedelsnode
8487 @tab fjerdedelspause
8488 @tab ottendedelsnode
8489 @tab ottendedelspause
8490 @item @strong{SE} @tab fjärdedelsnot
8494 @item @strong{FI} @tab neljäsosa@-nuotti
8495 @tab neljäsosa@-tauko
8496 @tab kahdeksasosa@-nuotti
8497 @tab kahdeksasosa@-tauko
8501 * About the French naming system: @notation{croche} refers to the note's
8502 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8503 @q{doubled hook}, @q{trebled hook}, and so on.
8505 The rest names are based on the @notation{soupir}, or quarter rest.
8506 Subsequent rests are expressed as fractions thereof: half a
8507 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8509 Each of the following tables contains one type of note and its matching rest,
8510 with abbreviations that apply to both notes and rests. Just switch the part
8511 that means @q{note} with the part that means @q{rest}, for example:
8515 @item English: 16th @strong{note}, 16th @strong{rest}
8516 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8517 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8521 Editor's note: I put a dash @q{-} when I could not find a language-specific
8522 abbreviation for a duration name. If you know of one that I missed, please
8523 send it to me, care of the lilypond-user discussion list.
8525 @multitable @columnfractions .10 .35 .35 .20
8527 @headitem Lang. @tab Note name
8530 @item @strong{US} @tab sixteenth note
8533 @item @strong{UK} @tab semiquaver
8534 @tab semiquaver rest
8536 @item @strong{ES} @tab semicorchea
8537 @tab silencio de semicorchea
8539 @item @strong{IT} @tab semicroma
8540 @tab pausa di semicroma
8542 @item @strong{FR} @tab double croche
8543 @tab quart de soupir
8545 @item @strong{DE} @tab Sechzehntelnote
8546 @tab Sechzehntelpause
8548 @item @strong{NL} @tab zes@-ti@-ende noot
8549 @tab zes@-ti@-ende rust
8551 @item @strong{DK} @tab sekstendedelsnode
8552 @tab sekstendedelspause
8554 @item @strong{SE} @tab sextondelsnot
8557 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8558 @tab kuudes@-toistaosa@-tauko
8563 @multitable @columnfractions .10 .35 .35 .20
8565 @headitem Lang. @tab Note name
8568 @item @strong{US} @tab thirty-second note
8569 @tab thirty-second rest
8571 @item @strong{UK} @tab demisemiquaver
8572 @tab demisemiquaver rest
8574 @item @strong{ES} @tab fusa
8575 @tab silencio de fusa
8577 @item @strong{IT} @tab biscroma
8578 @tab pausa di biscroma
8580 @item @strong{FR} @tab triple croche
8581 @tab huitième de soupir
8583 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8584 @tab Zweiunddreißig@-stelpause
8586 @item @strong{NL} @tab twee@-endertigste noot
8587 @tab twee@-endertigste rust
8589 @item @strong{DK} @tab toogtredivtedelsnode
8590 @tab toogtredivtedelspause
8592 @item @strong{SE} @tab trettio@-tvåondelsnot
8593 @tab trettio@-tvåondelspaus
8595 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8596 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8601 @multitable @columnfractions .10 .35 .35 .20
8603 @headitem Lang. @tab Note name
8606 @item @strong{US} @tab sixty-fourth note
8607 @tab sixty-fourth rest
8609 @item @strong{UK} @tab hemidemisemiquaver
8610 @tab hemidemisemiquaver rest
8612 @item @strong{ES} @tab semifusa
8613 @tab silencio de semifusa
8615 @item @strong{IT} @tab semibiscroma
8616 @tab pausa di semibiscroma
8618 @item @strong{FR} @tab quadruple croche
8619 @tab seizième de soupir
8621 @item @strong{DE} @tab Vierundsechzigstelnote
8622 @tab Vierundsechzigstelpause
8624 @item @strong{NL} @tab vierenzestigste noot
8625 @tab vierenzestigste rust
8627 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8628 @tab fireog@-tredsindstyven@-dedelspause
8630 @item @strong{SE} @tab sextiofjärdedelsnot
8631 @tab sextiofjärdedelspaus
8633 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8634 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8639 @multitable @columnfractions .10 .35 .35 .20
8641 @headitem Lang. @tab Note name
8644 @item @strong{US} @tab one-hundred-twenty-eighth note
8645 @tab one-hundred-twenty-eighth rest
8647 @item @strong{UK} @tab semihemidemisemiquaver
8648 @tab semihemidemisemiquaver rest
8650 @item @strong{ES} @tab garrapatea
8651 @tab silencio de garrapatea
8653 @item @strong{IT} @tab fusa
8656 @item @strong{FR} @tab quintuple croche
8657 @tab trente-deuxième de soupir @tab -
8658 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8659 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8660 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8661 @tab honderd@-acht@-en@-twintigste rust
8663 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8664 @tab hundrede@-otte@-og@-tyvendedels@-pause
8666 @item @strong{SE} @tab hundratjugoåttondelsnot
8667 @tab hundratjugoåttondelspaus
8669 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8670 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8675 @multitable @columnfractions .10 .35 .35 .20
8677 @headitem Lang. @tab Note name
8680 @item @strong{US} @tab two-hundred-fifty-sixth note
8681 @tab two-hundred-fifty-sixth rest
8683 @item @strong{UK} @tab demisemihemidemisemiquaver
8684 @tab demisemihemidemisemiquaver rest
8686 @item @strong{ES} @tab semigarrapatea
8687 @tab silencio de semigarrapatea @tab -
8688 @item @strong{IT} @tab semifusa
8689 @tab pausa di semifusa
8691 @item @strong{FR} @tab sextuple croche
8692 @tab soixante-quatrième de soupir @tab -
8693 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8694 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8695 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8696 @tab tweehonderd@-zesenvijftigste rust
8698 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8699 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8701 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8702 @tab tvåhundra@-femtiosjättedelspaus
8704 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8705 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8711 @ref{mensural notation}
8715 @chapter Pitch names
8718 -is/-es endings for Danish per Rune Zedeler, pace,
8719 and for Finnish per Risto Vääräniemi;
8720 -iss/-ess endings for Swedish per Mats Bengtsson
8721 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8723 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8724 multiple lines -- as texinfo needs it to allow enough space for the
8725 table entries. (For the curious, it's a list of the widest items in
8726 each column of the table. Romance pitch names are two characters,
8727 except for g (sol) ... so there you go.)
8730 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8731 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8732 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8733 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8734 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8735 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8736 @tab des @tab des @tab dess @tab des
8737 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8738 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8739 @tab dis @tab dis @tab diss @tab dis
8740 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8741 @tab es @tab es @tab ess @tab es
8742 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8743 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8744 @tab Fes @tab fes @tab fes @tab fess @tab fes
8745 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8746 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8747 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8748 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8749 @tab fis @tab fis @tab fiss @tab fis
8750 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8751 @tab ges @tab ges @tab gess @tab ges
8752 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8753 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8754 @tab Gis @tab gis @tab gis @tab giss @tab gis
8755 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8756 @tab as @tab as @tab ass @tab as
8757 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8758 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8759 @tab ais @tab ais @tab aiss @tab ais
8760 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8761 @tab bes @tab b @tab b @tab b
8762 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8763 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8764 @tab ces @tab ces @tab cess @tab ces
8765 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8766 @tab His @tab bis @tab his @tab hiss @tab his
8770 @node Non-Western terms A-Z
8771 @chapter Non-Western terms A-Z
8791 This is a stub for @code{bayati}.
8795 @ruser{Arabic key signatures}.
8802 This is a stub for @code{iraq}.
8806 @ruser{Arabic key signatures}.
8813 This is a stub for @code{kurd}.
8817 @ruser{Arabic key signatures}.
8824 This is a stub for @code{makam}.
8828 @ruser{Turkish classical music}.
8835 This is a stub for @code{makamlar}.
8839 @ruser{Turkish classical music}.
8846 This is a stub for @code{maqam}.
8850 @ruser{Arabic music},
8851 @ruser{Arabic key signatures}.
8858 This is a stub for @code{rast}.
8862 @ruser{Arabic key signatures}.
8869 This is a stub for @code{semai}.
8873 @ruser{Arabic key signatures}.
8880 This is a stub for @code{sikah}.
8884 @ruser{Arabic key signatures}.
8891 This is a stub for @code{taqasim}.
8895 @ruser{Arabic key signatures}.
8898 @node Literature used
8899 @appendix Literature used
8902 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8903 Cambridge: Belknap Press (Harvard University Press), 1944.
8905 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8908 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8909 Terminologie}. Kassel, 1980.
8911 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8912 Current English}, 3rd ed. London: Oxford University Press, 1974.
8914 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8915 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8917 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8918 Cambridge: Belknap Press (Harvard University Press), 1986.
8920 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.