1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
16 @macro copyrightDeclare
17 Copyright @copyright{} 1999--2011 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
60 * Non-Western terms A-Z::
65 * GNU Free Documentation License:: License of this document.
72 @c TOC - tex. Not desired for this manual. -gp
76 @node Musical terms A-Z
77 @chapter Musical terms A-Z
79 Languages in this order.
81 @item UK - British English (where it differs from American English)
110 * ancient minor scale::
115 * ascending interval::
117 * augmented interval::
152 * Common Practice Period::
155 * compound interval::
159 * conjunct movement::
174 * descending interval::
177 * diminished interval::
181 * disjunct movement::
183 * dissonant interval::
187 * dominant ninth chord::
188 * dominant seventh chord::
190 * dot (augmentation dot)::
192 * double appoggiatura::
194 * double dotted note::
197 * double time signature::
204 * ecclesiastical mode::
211 * equal temperament::
232 * functional harmony::
253 * inverted interval::
268 * long appoggiatura::
275 * meantone temperament::
282 * mensural notation::
287 * metronomic indication::
300 * multi-measure rest::
330 * polymetric time signature::
336 * Pythagorean comma::
367 * sixty-fourth note::
368 * sixty-fourth rest::
399 * thirty-second note::
400 * thirty-second rest::
407 * transposing instrument::
461 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
462 @notation{a due} indicates that:
466 @item A single part notated on a single staff that normally carries parts
467 for two players (e.g. first and second oboes) is to be played by both
470 @item Or conversely, that two pitches or parts notated on a staff that
471 normally carries a single part (e.g. first violin) are to be played by
472 different players, or groups of players (@q{desks}).
485 F: accelerando, en accélérant,
486 D: accelerando, schneller werden,
490 FI: accelerando, kiihdyttäen.
492 [Italian: @q{speed up, accelerate}]
494 An increase in the tempo, abbreviated @notation{accel.}
510 FI: aksentti, korostus.
512 The stress of one tone over others.
526 @section acciaccatura
528 ES: mordente de una nota,
530 F: acciaccatura, appoggiature brève,
537 A grace note which takes its time from the rest or note preceding the
538 principal note to which it is attached. The acciaccatura is drawn as a
539 small eighth note (quaver) with a line drawn through the flag and stem.
542 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
548 ES: alteración accidental,
549 I: alterazione, accidente,
550 F: altération accidentelle,
551 D: Versetzungszeichen, Akzidenz,
552 NL: toevallig (verplaatsings)teken,
554 S: tillfälligt förtecken,
555 FI: tilapäinen etumerkki.
557 An accidental alters a note by:
561 @item Raising its pitch:
563 @item By two semitones—@notation{double sharp}
564 @item By one semitone—@notation{sharp}
567 @item Lowering its pitch:
569 @item By one semitone—@notation{flat}
570 @item By two semitones—@notation{double flat}
573 @item Or canceling the effects of the key signature or previous accidentals.
576 @lilypond[quote,notime]
580 \set Staff.extraNatural = ##f
581 gisis1 gis g! ges geses
586 \center-column { double sharp }
592 \center-column { double flat }
598 \override SpacingSpanner
599 #'base-shortest-duration = #(ly:make-moment 1 32)
606 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
619 FI: adagio, hitaasti.
621 [Italian: @q{comfortable, easy}]
625 @item Slow tempo, slower -- especially in even meter -- than
626 @notation{andante} and faster than @notation{largo}.
628 @item A movement in slow tempo, especially the second (slow) movement
629 of sonatas, symphonies, etc.
634 @ref{andante}, @ref{largo}, @ref{sonata}.
642 F: al niente, en mourant,
647 FI: häviten olemattomiin.
649 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
650 that the sound should fade away to nothing.
652 @notation{Al niente} is indicated by circling the tip of the hairpin:
654 @lilypond[quote,relative=2]
655 \override Hairpin #'circled-tip = ##t
661 or with the actual phrase @notation{al niente}:
663 @lilypond[quote,relative=2]
665 \override DynamicTextSpanner #'(bound-details right text) =
666 \markup { \italic { al niente } }
672 Since one does not crescendo @emph{to} nothing, it is not correct to use
673 @notation{al niente} with @notation{crescendo}. Instead, one should use
674 @emph{dal niente} (@notation{@b{from} nothing}).
677 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
685 F: alla breve, à la brève,
686 D: Allabreve, alla breve
692 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
694 Also called @notation{in cut time}. The name derives from mensural
695 notation, where the @notation{tactus} (or beat) is counted on the semibreve
696 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
697 next longest note value, which (in modern usage) effectively halves all note
700 In mensural notation, breves and semibreves can have a ternary relationship,
701 in which case @notation{alla breve} means thrice (not twice) as fast. In
702 practice, this complication may not have mattered, since Gaffurius's system
703 of multiplex proportions makes it easy to explicitly state which proportion
707 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
708 @ref{proportion}, @ref{whole note}.
716 F: allegro, gaiement,
717 D: Allegro, Schnell, Fröhlich, Lustig,
721 FI: allegro, nopeasti.
723 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
724 quick tempo, especially the first and last movements of a sonata.
737 NL: verhoging of verlaging,
742 An alteration is the modification, raising or lowering, of a note's
743 pitch. It is established by an accidental.
745 @c TODO: add second meaning from mensural notation
761 FI: altto, matala naisääni.
763 A female voice of low range (@emph{contralto}). Originally the alto was a
764 high male voice (hence the name), which by castration or the use of falsetto
765 reached the height of the natural female voice. This type of voice is also
766 known as countertenor.
775 ES: clave de do en tercera,
776 I: chiave di contralto,
777 F: clef d'ut troisième ligne,
778 D: Altschlüssel, Bratschenschlüssel,
784 C clef setting middle C on the middle line of the staff.
795 F: ambitus, tessiture,
800 FI: ambitus, ääniala, soitinala.
802 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
803 Denotes a range of pitches for a given voice in a part of music. It may
804 also denote the pitch range that a musical instrument is capable of playing.
805 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
823 An anacrusis (also known as pickup or upbeat) is an incomplete measure
824 of music before a section of music. It also refers to the initial
825 note(s) of a melody occurring in that incomplete measure.
827 @lilypond[quote,relative=1]
838 @ref{measure}, @ref{meter}.
841 @node ancient minor scale
842 @section ancient minor scale
844 ES: escala menor natural,
845 I: scala minore naturale,
846 F: forme du mode mineur ancien, troisème mode, mode hellénique,
847 D: reines Moll, natürliches Moll,
848 NL: authentieke mineurtoonladder,
851 FI: luonnollinen molliasteikko.
853 Also called @q{natural minor scale}.
855 @lilypond[quote,notime,relative=2]
861 @ref{diatonic scale}.
876 [Italian: present participle of @emph{andare}, @q{to walk}]
878 Walking tempo/character.
885 @section appoggiatura
889 F: appoggiature, (port de voix),
890 D: Vorschlag, Vorhalt
891 NL: (korte) voorslag,
894 FI: appoggiatura, etuhele.
896 Ornamental note, usually a second, that is melodically connected with
897 the main note following it. In music before the 19th century
898 appoggiature were usually performed on the beat, after that mostly
899 before the beat. While the short appoggiatura is performed as a short
900 note regardless of the duration of the main note the duration of the
901 long appoggiatura is proportional to that of the main note.
903 @lilypond[quote,relative=2]
906 <d a fis>4_"notation" r
913 \set Score.measurePosition = #ZERO-MOMENT
914 <d, a fis>4_"performance" r
920 An appoggiatura may have more notes preceding the main note.
922 @lilypond[quote,relative=2]
925 \grace bes16 as8-"notation" as16 bes as8 g |
926 \grace { as16[( bes] } <c as>4)
927 \grace { as16[( bes] } <c as>4) \bar "||"
929 \grace bes16 as8-"performance" as16 bes as8 g |
933 as32 bes c8. as32 bes c8.
937 as16 ~ as8. as16 ~ as8.
952 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
954 DK: arpeggio, akkordbrydning,
956 FI: arpeggio, murtosointu.
958 [Italian: @q{harp-like, played like a harp}]
960 @lilypond[quote,line-width=13\cm]
962 \context Staff = "SA" {
966 r8 g16 c e g, c e r8 g,16 c e g, c e
967 r8 a,16 d f a, d f r8 a,16 d f a, d f
971 \context Staff = "SB" {
977 r16 e8. ( e4) r16 e8. ( e4)
978 r16 d8. ( d4) r16 d8. ( d4)
996 @section articulation
1005 FI: artikulaatio, ilmaisu.
1007 Articulation refers to notation which indicates how a note or notes
1008 should be played. Slurs, accents, staccato, and legato are all
1009 examples of articulation.
1012 No cross-references.
1015 @node ascending interval
1016 @section ascending interval
1018 ES: intervalo ascendente,
1019 I: intervallo ascendente,
1020 F: intervalle ascendant,
1021 D: steigendes Intervall,
1022 NL: stijgend interval,
1023 DK: stigende interval,
1024 S: stigande intervall,
1025 FI: nouseva intervalli.
1027 A distance between a starting lower note and a higher ending note.
1030 No cross-references.
1034 @section augmentation
1043 FI: aika-arvojen pidentäminen.
1045 @c TODO: add definition.
1047 This is a placeholder for augmentation (wrt mensural notation).
1050 @ref{diminution}, @ref{mensural notation}.
1053 @node augmented interval
1054 @section augmented interval
1056 ES: intervalo aumentado,
1057 I: intervallo aumentato,
1058 F: intervalle augmenté,
1059 D: übermäßiges Intervall,
1060 NL: overmatig interval,
1061 DK: forstørret interval,
1062 S: överstigande intervall,
1063 FI: ylinouseva intervalli.
1074 F: manuscrit, autographe
1075 D: Autograph, Handschrift,
1077 DK: håndskrift, autograf,
1079 FI: käsinkirjoitettu nuotti.
1083 @item A manuscript written in the composer's own hand.
1085 @item Music prepared for photoreproduction by freehand drawing, with
1086 the aid of a straightedge ruler and T-square only, which attempts to
1087 emulate engraving. This required more skill than did engraving.
1092 No cross-references.
1110 @ref{H}, @ref{Pitch names}
1130 ES: barra, línea divisoria,
1131 I: stanghetta, barra (di divisione),
1132 F: barre (de mesure),
1139 A vertical line through the staff (or through multiple staves) that
1140 separates measures. Used very infrequently during the Renaissance (mostly
1141 in secular music, or in sacred music to indicate congruences between parts
1142 in otherwise-unmetered music).
1158 FI: baritoni, keskikorkuinen miesääni.
1160 The male voice intermediate in pitch between the bass and the tenor.
1162 @c F: clef de troisième ligne dropped
1165 @ref{bass}, @ref{tenor}.
1169 @section baritone clef
1171 ES: clave de fa en tercera,
1172 I: chiave di baritono,
1173 F: clef d'ut cinquième ligne, clef de fa troisième,
1174 D: Baritonschlüssel,
1180 C or F clef setting middle C on the upper staff line.
1183 @ref{C clef}, @ref{F clef}.
1196 FI: basso, matala miesääni.
1200 @item The lowest male voice.
1202 @item Sometimes, especially in jazz music, used as an abbreviation for
1214 ES: clave de fa en cuarta,
1216 F: clef de fa quatrième ligne,
1223 A clef setting with middle C on the first top ledger line.
1232 ES: barra (de corcheas),
1234 F: ligature, barre (de croches),
1241 Line connecting a series of notes (shorter than a quarter note). The
1242 number of beams determines the note value of the connected notes.
1244 @lilypond[quote,notime,relative=2,line-width=13\cm]
1245 g8-"1/8"[ g g g] s16
1246 g16-"1/16"[ g g g] s
1247 g32-"1/32"[ s g s g s g] s16
1248 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1252 @ref{feathered beam}.
1258 ES: tiempo, parte (de compás)
1261 D: Takt, Taktschlag, Zeit (im Takt),
1267 Note value used for counting, most often half-, fourth-, and eighth notes.
1268 The base counting value and the number of them in each measure is indicated
1269 at the start of the music by the @notation{time signature}.
1271 @lilypond[quote,relative=2]
1274 g4 c b a | g1 \bar "||"
1276 g8 d' c | b c a | g4. \bar "||"
1280 @ref{time signature}.
1284 @section beat repeat
1287 @ref{percent repeat}.
1300 ES: llave, corchete,
1303 D: Klammer, Akkolade,
1304 NL: accolade, teksthaak,
1307 FI: yhdistävä sulkumerkki.
1309 Symbol at the start of a system connecting staves.
1311 Curly braces are used for connecting piano staves, and sometimes for connecting
1312 the staves of like instruments in an orchestral score when written on different
1313 staves (e.g. first and second flutes):
1317 \context Staff = "SA" {
1323 \context Staff = "SB" {
1333 Angular brackets for connecting parts in an orchestral or choral score:
1337 \context Staff = "SA" {
1343 \context Staff = "SB" {
1354 No cross-references.
1361 I: parentesi quadra,
1379 NL: koper (blazers),
1382 S: brassinstrument, mässingsinstrument,
1385 A family of blown musical instruments made of brass, all using a cup
1386 formed mouth piece. The brass instruments commonly used in a symphony
1387 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1388 sousaphones and contrabass bugles are common.
1391 No cross-references.
1395 @section breath mark
1400 D: Atemzeichen, Trennungszeichen,
1401 NL: repercussieteken,
1402 DK: vejrtrækningstegn,
1406 Indication of where to breathe in vocal and wind instrument parts.
1416 @item US: breve, double-whole note
1417 @item ES: cuadrada, breve
1424 @item FI: brevis, kaksoiskokonuotti
1427 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1429 Mainly used in music from before 1650. In mensural notation, it was a note
1430 of fairly short duration—hence the name, which is Latin for @q{short} or
1431 @q{of short duration}.
1433 @lilypond[quote,notime,relative=2]
1438 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1471 Clef symbol indicating the position of the middle C. Used on all note
1474 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1476 \override Staff.Clef #'full-size-change = ##t
1478 \clef mezzosoprano c1
1484 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1485 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1490 No cross-references.
1503 FI: kadenssi, lopuke.
1506 @ref{harmonic cadence}, @ref{functional harmony}.
1519 FI: kadenssi, lopuke.
1521 An extended, improvisatory style section inserted near the end of
1522 movement. The purpose of a cadenza is to give singers or players a
1523 chance to exhibit their technical skill and -- not last -- their
1524 ability to improvise. Since the middle of the 19th century, however,
1525 most cadenzas have been written down by the composer.
1528 No cross-references.
1543 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1545 The break between two musical phrases, sometimes (but not always) marked by a
1546 rest or a breath mark.
1562 FI: kaanon, tarkka jäljittely.
1578 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1579 viritysjärjestelmässä.
1581 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1582 an octave (1/100 of an equally tempered semitone).
1585 @ref{equal temperament}, @ref{semitone}.
1607 Three or more tones sounding simultaneously. In traditional European music
1608 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1609 (major + minor third) as well as @emph{minor} (minor + major third) chords
1610 may be extended with more thirds. Four-tone @emph{seventh chords} and
1611 five-tone @emph{ninth} major chords are most often used as dominants
1612 (functional harmony). Chords having no third above the lower notes to
1613 define their mood are a special case called @q{open chords}. The lack of
1614 the middle third means their quality is ambivalent -- neither major nor
1617 @lilypond[quote,notime,line-width=13.0\cm]
1621 \set Staff.extraNatural = ##f
1642 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1646 @node chromatic scale
1647 @section chromatic scale
1649 ES: escala cromática,
1651 F: gamme chromatique,
1652 D: chro@-ma@-ti@-sche Tonleiter,
1653 NL: chromatische toonladder,
1654 DK: kromatisk skala,
1656 FI: kromaattinen asteikko.
1658 A scale consisting of all 12 semitones.
1660 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1661 c1 cis d dis e f fis g gis a ais b c
1669 @section chromaticism
1680 Using tones extraneous to a diatonic scale (minor, major).
1683 @ref{diatonic scale}.
1687 @section church mode
1689 ES: modo eclesiástico,
1690 I: modo ecclesiastico,
1691 F: mode ecclésiastique, mode d'église,
1696 FI: moodi, kirkkosävellaji.
1699 @ref{diatonic scale}.
1708 D: Schlüssel, Notenschlüssel,
1712 FI: avain, nuottiavain.
1714 The clef indicates which lines of the staff correspond to which
1715 pitches. The three clef symbols in common use are:
1720 \line { The Treble or G clef: }
1722 \line { The Bass or F clef: }
1724 \line { The Alto or C clef: }
1728 \musicglyph #"clefs.G"
1730 \musicglyph #"clefs.F"
1732 \musicglyph #"clefs.C"
1737 Imagine a large staff of 11 lines centered on middle C, sometimes
1738 called a @q{grand staff}, with the bottom line representing low G and
1739 the top line high F:
1744 %-- Note names above treble staff --%
1746 \set printOctaveNames = ##t
1748 \once \override NoteName #'color = #red
1752 %-- Treble Staff --%
1754 \override Staff.Clef #'stencil = ##f
1760 %-- Alto Staff reduced to a single line on middle C --%
1762 \override Staff.StaffSymbol #'line-count = #1
1763 \override Staff.StaffSymbol #'color = #red
1764 \override Staff.Clef #'stencil = ##f
1767 \override NoteHead #'color = #red
1773 \override Staff.Clef #'stencil = ##f
1782 \override SpacingSpanner
1783 #'base-shortest-duration = #(ly:make-moment 1 1)
1784 \override NonMusicalPaperColumn
1785 #'line-break-system-details = #'((alignment-distances . (3 3)))
1786 \override BarLine #'stencil = ##f
1790 \remove "Time_signature_engraver"
1796 Staves of five lines are usually used, and the clef superimposed on them
1797 indicates which five lines have been selected from this @notation{grand
1798 staff}. For example, the treble or G clef indicates that the top five lines
1804 %-- Note names above treble staff --%
1806 \set printOctaveNames = ##t
1808 \once \override NoteName #'color = #red
1813 %-- Treble Staff --%
1815 \once \override Staff.Clef #'stencil = ##f
1818 \override Staff.Clef #'full-size-change = ##t
1819 \set Staff.forceClef = ##t
1823 %-- Alto Staff reduced to a single line on middle C --%
1825 \override Staff.StaffSymbol #'line-count = #1
1826 \override Staff.StaffSymbol #'color = #red
1827 \override Staff.Clef #'stencil = ##f
1830 \override NoteHead #'color = #red
1835 \override Staff.Clef #'stencil = ##f
1843 \override SpacingSpanner
1844 #'base-shortest-duration = #(ly:make-moment 2 1)
1845 \override NonMusicalPaperColumn
1846 #'line-break-system-details = #'((alignment-distances . (3 3)))
1847 \override BarLine #'stencil = ##f
1851 \remove "Time_signature_engraver"
1857 The @q{curl} of the G clef is centered on the line that represents the
1860 In the same way, the bass or F clef indicates that the bottom five lines
1861 have been selected from the @notation{grand staff}, and the alto or C clef
1862 indicates the middle five lines have been selected. This relationship is
1863 shown below, where the notes show an arpeggio on a C major chord.
1868 %-- Treble Staff --%
1876 \override Staff.StaffSymbol #'line-count = #1
1877 \once \override Staff.Clef #'stencil = ##f
1882 \revert Staff.StaffSymbol #'stencil
1883 \override Staff.StaffSymbol #'color = #red
1886 \stopStaff \startStaff
1887 \revert Staff.StaffSymbol #'line-count
1888 \revert Staff.StaffSymbol #'color
1889 \stopStaff \startStaff
1890 \override Staff.Clef #'full-size-change = ##t
1891 \set Staff.forceClef = ##t
1906 \override SpacingSpanner #'base-shortest-duration =
1907 #(ly:make-moment 2 1)
1908 \override NonMusicalPaperColumn
1909 #'line-break-system-details = #'((alignment-distances . (3 3)))
1910 \override BarLine #'stencil = ##f
1914 \remove "Time_signature_engraver"
1921 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1934 FI: klusteri, cluster.
1936 A @emph{cluster} is a range of simultaneously sounding pitches that
1937 may change over time. The set of available pitches to apply usually
1938 depends on the acoustic source. Thus, in piano music, a cluster
1939 typically consists of a continuous range of the semitones as provided
1940 by the piano's fixed set of a chromatic scale. In choral music, each
1941 singer of the choir typically may sing an arbitrary pitch within the
1942 cluster's range that is not bound to any diatonic, chromatic or other
1943 scale. In electronic music, a cluster (theoretically) may even cover
1944 a continuous range of pitches, thus resulting in colored noise, such
1947 Clusters can be denoted in the context of ordinary staff notation by
1948 engraving simple geometrical shapes that replace ordinary notation of
1949 notes. Ordinary notes as musical events specify starting time and
1950 duration of pitches; however, the duration of a note is expressed by
1951 the shape of the note head rather than by the horizontal graphical
1952 extent of the note symbol. In contrast, the shape of a cluster
1953 geometrically describes the development of a range of pitches
1954 (vertical extent) over time (horizontal extent). Still, the
1955 geometrical shape of a cluster covers the area in which any single
1956 pitch contained in the cluster would be notated as an ordinary note.
1958 @lilypond[quote,relative=2]
1959 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1963 No cross-references.
1976 FI: komma, korvinkuultava ero äänenkorkeudessa.
1978 Difference in pitch between a note derived from pure tuning and the
1979 same note derived from some other tuning method.
1982 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1987 @section common meter
1989 Another name for @ref{common time}.
1992 @ref{common time}, @ref{meter}.
1995 @node Common Practice Period
1996 @section Common Practice Period
2008 This is a stub for Common Practice Period (CPP).
2011 @ruser{Note names in other languages}.
2015 @section common time
2026 4/4 time. The symbol, which resembles a capital letter C, comes from
2030 @ref{mensural notation}, @ref{meter}.
2036 ES: intervalo invertido,
2038 F: intervalle complémentaire,
2039 D: Komplementärintervall,
2040 NL: complementair interval,
2041 DK: komplementærinterval,
2042 S: komplementärintervall (?),
2043 FI: täydentävä intervalli.
2046 @ref{inverted interval}.
2049 @node compound interval
2050 @section compound interval
2052 ES: intervalo compuesto,
2053 I: intervallo composto,
2054 F: intervalle composé,
2055 D: weites Intervall,
2056 NL: samengesteld interval,
2057 DK: sammensat interval,
2058 S: sammansatt intervall,
2059 FI: oktaavia laajempi intervalli.
2061 Intervals larger than an octave.
2067 @node compound meter
2068 @section compound meter
2070 ES: compás compuesto, compás de subdivisión ternaria,
2077 FI: kolmijakoinen tahtilaji.
2079 A meter that includes a triplet subdivision within the beat, such as
2083 @ref{meter}, @ref{simple meter}.
2087 @section compound time
2089 ES: compás compuesto, compás de amalgama (def. 2),
2092 D: zusammengesetzte Taktart,
2096 FI: yhdistetty tahtilajiosoitus.
2101 A meter that includes a triplet subdivision within the beat: see
2102 @ref{compound meter}.
2105 A time signature that additively combines two or more unequal meters, e.g.,
2106 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2110 @lilypond[quote,line-width=13.0\cm]
2111 #(define ((compound-time one two three num) grob)
2112 (grob-interpret-markup grob
2114 #:override '(baseline-skip . 0)
2117 #:left-column (one num)
2119 #:left-column (two num)
2121 #:left-column (three num)))))
2125 #(set-time-signature 8 8 '(3 2 3))
2126 \override Staff.TimeSignature #'stencil =
2127 #(compound-time "3" "2" "3" "8")
2135 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2139 @section concert pitch
2141 ES: en Do, tono de concierto,
2142 I: intonazione reale,
2143 F: tonalité de concert, en ut,
2148 FI: konserttikorkeus.
2150 The pitch at which the piano and other nontransposing instruments play: such
2151 instruments are said to be @q{in C}. The following list includes some (but not
2152 all) instruments that play in concert pitch:
2154 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2156 @multitable {bassoon} {violoncello}
2157 @headitem Woodwinds @tab Strings
2176 @ignore This needs to be reworked.
2177 The trombones are a special case: although they are said to be @q{in F} (alto or
2178 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2179 their parts' transposition. (In fact, the trombones' parts are written at
2180 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2181 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2185 Instruments that play @q{in C} but in a different octave than what is written
2186 are, technically speaking, @emph{transposing instruments}:
2190 @item piccolo (plays an octave higher than written)
2191 @item celesta (plays an octave higher than written)
2192 @item classical guitar (plays an octave lower than written)
2193 @item double bass (plays an octave lower than written)
2198 @ref{transposing instrument}.
2201 @node conjunct movement
2202 @section conjunct movement
2204 ES: movimiento conjunto,
2206 F: mouvement conjoint,
2207 D: schritt@-weise, stufenweise Bewegung,
2208 NL: stapsgewijze, trapsgewijze beweging,
2209 DK: trinvis bevægelse,
2211 FI: asteittainen liike.
2213 Progressing melodically by intervals of a second, as contrasted with
2214 @emph{disjunct movement}.
2216 @lilypond[quote,relative=2,line-width=13.0\cm]
2219 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2223 @ref{disjunct movement}.
2236 FI: konsonanssi, sopusointi.
2259 @section copying music
2261 A music copyist did fast freehand scores and parts on preprinted staff
2262 lines for performance. Some of their conventions (e.g., the placement
2263 of note heads on stems) varied slightly from those of engravers. Some
2264 of their working methods were superior and could well be adopted by
2267 @c Copying music required more skill than engraving. Flagged for NPOV
2270 No cross-references.
2274 @section counterpoint
2283 FI: kontrapunkti, ääni ääntä vastaan.
2285 From Latin @emph{punctus contra punctum}, note against note. The
2286 combination into a single musical fabric of lines or parts which have
2287 distinct melodic significance. A frequently used polyphonic technique
2288 is imitation, in its strictest form found in the canon needing only
2289 one part to be written down while the other parts are performed with a
2290 given displacement. Imitation is also the contrapuntal technique
2291 used in the @emph{fugue} which, since the music of the baroque era,
2292 has been one of the most popular polyphonic composition methods.
2294 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2296 \context Staff = SA \relative c' {
2300 << \context Voice = rha {
2302 r1 | r2 r8 g'8 bes d, |
2303 cis4 d r8 e!16 f g8 f16 e |
2304 f8 g16 a bes8 a16 g a8
2306 \context Voice = rhb {
2312 \context Staff = SB \relative c' {
2315 << \context Voice = lha {
2317 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2318 r8 a16 g f8 g16 a bes8 g e! cis' |
2321 \context Voice = lhb {
2330 No cross-references.
2334 @section countertenor
2339 D: Countertenor, Kontratenor,
2342 S: kontratenor, counter tenor,
2355 D: Crescendo, lauter werden,
2359 FI: cresendo, voimistuen.
2361 Increasing volume. Indicated by a rightwards opening horizontal wedge
2362 (hairpin) or the abbreviation @notation{cresc.}
2364 @lilypond[quote,relative=2]
2367 g4\< a b c | d1\! \bar "|."
2371 @ref{decrescendo}, @ref{hairpin}.
2379 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2386 Notes belonging to one part printed in another to hint when to start
2387 playing. Usually printed in a smaller type.
2390 Compare: @ref{ossia}.
2399 D: Notenzeiger, Custos,
2405 A custos (plural: custodes) is a staff symbol that appears at the end of a
2406 staff line with monophonic musical contents (i.e., with a single voice). It
2407 anticipates the pitch of the first note of the following line and thus helps
2408 the player or singer to manage line breaks during performance, which
2409 enhances the readability of a score.
2411 Custodes were frequently used in music notation until the 16th century.
2412 There were different appearances for different notation styles. Nowadays,
2413 they have survived only in special forms of musical notation such as the
2414 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2416 @lilypond[quote,ragged-right]
2419 \override Staff.Custos #'neutral-direction = #DOWN
2420 \override Staff.Custos #'style = #'hufnagel
2427 \consists "Custos_engraver"
2434 No cross-references.
2467 F: da capo, depuis le commencement,
2468 D: da capo, von Anfang,
2472 FI: da capo, alusta.
2474 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2475 the beginning to the end or to a certain place marked @emph{fine}.
2478 No cross-references.
2484 ES: dal niente, de la nada,
2487 D: aus dem Nichts, dal niente,
2491 FI: tyhjästä ilmaantuen.
2493 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2494 that the sound should gradually increase from nothing.
2505 F: dal segno, depuis le signe,
2506 D: dal segno, ab dem Zeichen,
2510 FI: dal segno, lähtien merkistä.
2512 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2513 another place frequently near the beginning marked by a sign
2516 @lilypond[quote,relative=2]
2524 \musicglyph #"scripts.segno"
2530 No cross-references.
2534 @section decrescendo
2538 D: Decrescendo, leiser werden,
2542 FI: decresendo, hiljentyen.
2544 Decreasing tone volume. Indicated by a leftwards opening horizontal
2545 wedge (hairpin) or the abbreviation @notation{decresc.}
2547 @lilypond[quote,relative=2]
2550 d4\> c b a | g1 \! \bar "|."
2554 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2557 @node descending interval
2558 @section descending interval
2560 ES: intervalo descendente,
2561 I: intervallo discendente,
2562 F: intervalle descendant,
2563 D: fallendes Intervall, absteigendes Intervall,
2564 NL: dalend interval,
2565 DK: faldende interval,
2566 S: fallande intervall,
2567 FI: laskeva intervalli.
2569 A distance between a starting higher note and a lower ending note.
2572 No cross-references.
2575 @node diatonic scale
2576 @section diatonic scale
2578 ES: escala diatónica,
2580 F: gamme diatonique,
2581 D: diatonische Tonleiter,
2582 NL: diatonische toonladder,
2583 DK: diatonisk skala,
2585 FI: diatoninen asteikko.
2587 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2588 played on the white keys of a piano keyboard are diatonic. These scales
2589 are sometimes called, somewhat inaccurately, @q{church modes}).
2591 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2592 but also to some extent in newer jazz music.
2594 @lilypond[quote,notime,relative=1]
2598 e^"~~ S" f g a b^"~~ S" c
2606 @lilypond[quote,notime,relative=1]
2610 e^"~~ S" f g a b^"~~ S" c d
2618 @lilypond[quote,notime,relative=1]
2621 e1^"~~ S" f g a b^"~~ S" c d e
2629 @lilypond[quote,notime,relative=1]
2633 b^"~~ S" c d e^"~~ S" f
2641 @lilypond[quote,notime,relative=2]
2645 b^"~~ S" c d e^"~~ S" f g
2653 @lilypond[quote,notime,relative=2]
2657 b^"~~ S" c d e^"~~ S" f g a
2665 @lilypond[quote,notime,relative=2]
2668 b1^"~~ S" c d e^"~~ S" f g a b
2676 From the beginning of the 17th century the scales used in European
2677 compositional music are primarily the major and the minor scales. In
2678 the harmonic minor scale type an augmented second (A) occurs between
2679 the 6th and 7th tone.
2681 @lilypond[quote,notime,relative=1]
2685 e^"~~ S" f g a b^"~~ S" c
2693 @lilypond[quote,notime,relative=2]
2697 b^"~~ S" c d e^"~~ S" f g a
2700 "Ancient (or Natural) minor"
2705 @lilypond[quote,notime,relative=2]
2709 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2717 @lilypond[quote,notime,relative=2]
2721 b^"~~ S" c d e fis gis^"~~ S" a
2724 "Melodic minor ascending"
2729 @lilypond[quote,notime,relative=3]
2733 g! f!^"~~ S" e d c^"~~ S" b a
2736 "Melodic minor descending"
2742 @ref{semitone}, @ref{whole tone}.
2746 @section didymic comma
2749 @ref{syntonic comma}.
2752 @node diminished interval
2753 @section diminished interval
2755 ES: intervalo disminuido,
2756 I: intervallo diminuito,
2757 F: intervalle diminué,
2758 D: vermindertes Intervall,
2759 NL: verminderd interval,
2760 DK: formindsket interval,
2761 S: förminskat intervall,
2762 FI: vähennetty intervalli.
2773 F: diminuendo, en diminuant,
2778 FI: diminuendo, hiljentyen.
2780 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2796 FI: aika-arvojen tihennys.
2798 This is a stub for diminution (@emph{wrt} mensural notation).
2801 @ref{augmentation}, @ref{mensural notation}.
2820 @node disjunct movement
2821 @section disjunct movement
2823 ES: movimiento disjunto,
2825 F: mouvement disjoint,
2826 D: sprunghafte Bewegung,
2827 NL: sprongsgewijze beweging,
2828 DK: springende bevægelse,
2829 S: hoppande rörelse,
2830 FI: melodian hyppivä liike.
2832 Progressing melodically by intervals larger than a major second, as contrasted
2833 with conjunct movement.
2835 @lilypond[quote,relative=1]
2839 a4. gis8 b a e cis |
2845 @ref{conjunct movement}.
2851 Another name for @ref{dissonant interval}.
2854 @ref{dissonant interval}, @ref{harmony}.
2857 @node dissonant interval
2858 @section dissonant interval
2860 ES: intervalo disonante, disonancia,
2861 I: intervallo dissonante, dissonanza,
2862 F: intervalle dissonant, dissonance,
2864 NL: dissonant interval, dissonant,
2865 DK: dissonerende interval, dissonans,
2867 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2885 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2886 vertical stroke through part or all of the staff that serves to
2887 structure a chant into phrases and sections. There are four types:
2891 @item @emph{divisio minima}, a short pause
2893 @item @emph{divisio maior}, a medium pause
2895 @item @emph{divisio maxima}, a long pause
2897 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2898 section in a long antiphonal or responsorial chant.
2902 TODO: musical example here?
2905 No cross-references.
2911 ES: elevación [de tono],
2914 D: Glissando zu unbestimmter Tonhöhe,
2920 Indicator for a indeterminately rising pitch bend. Compare with
2921 @emph{glissando}, which has determinate starting and ending pitches.
2924 @ref{fall}, @ref{glissando}.
2937 FI: dominantti, huippusointu.
2939 The fifth @emph{scale degree} in @emph{functional harmony}.
2942 @ref{functional harmony}, @ref{scale degree}.
2945 @node dominant ninth chord
2946 @section dominant ninth chord
2948 ES: acorde de novena de dominante,
2949 I: accordo di nona di dominante,
2950 F: accord de neuvième de dominante,
2951 D: Domi@-nant@-nonen@-akkord,
2952 NL: dominant noon akkoord,
2953 DK: dominantnoneakkord,
2954 S: dominantnonackord,
2955 FI: dominanttinoonisointu.
2958 @ref{chord}, @ref{functional harmony}.
2961 @node dominant seventh chord
2962 @section dominant seventh chord
2964 ES: acorde de séptima de dominante,
2965 I: accordo di settima di dominante,
2966 F: accord de septième de dominante,
2967 D: Dominantseptakkord,
2968 NL: dominant septiem akkoord,
2969 DK: dominantseptimakkord,
2970 S: dominantseptimackord,
2971 FI: dominanttiseptimisointu.
2974 @ref{chord}, @ref{functional harmony}.
2978 @section dorian mode
2983 D: dorisch, dorischer Kirchenton,
2984 NL: dorische toonladder,
2990 @ref{diatonic scale}.
2993 @node dot (augmentation dot)
2994 @section dot (augmentation dot)
2997 I: punto (di valore),
2999 D: Punkt (Verlängerungspunkt),
3006 @ref{dotted note}, @ref{note value}.
3010 @section dotted note
3012 ES: nota con puntillo,
3016 NL: gepuncteerde noot,
3019 FI: pisteellinen nuotti.
3025 @node double appoggiatura
3026 @section double appoggiatura
3028 ES: apoyatura doble,
3029 I: appoggiatura doppia,
3030 F: appoggiature double,
3031 D: doppelter Vorschlag,
3032 NL: dubbele voorslag,
3033 DK: dobbelt forslag,
3035 FI: kaksoisappogiatura, kaksoisetuhele.
3041 @node double bar line
3042 @section double bar line
3048 NL: dubbele maatstreep,
3051 FI: kaksoistahtiviiva.
3053 Indicates the end of a section within a movement.
3056 No cross-references.
3059 @node double dotted note
3060 @section double dotted note
3062 ES: nota con doble puntillo,
3063 I: nota doppiamente puntata,
3064 F: note doublement pointée,
3065 D: doppelt punktierte Note,
3066 NL: dubbelgepuncteerde noot,
3067 DK: dob@-belt@-punk@-te@-ret node,
3068 S: dub@-bel@-punk@-te@-rad not,
3069 FI: kaksoispisteellinen nuotti.
3076 @section double flat
3085 FI: kaksoisalennusmerkki.
3092 @section double sharp
3094 ES: doble sostenido,
3099 DK: dob@-belt@-kryds,
3101 FI: kaksoisylennysmerkki.
3107 @node double time signature
3108 @section double time signature
3110 ES: compás polimétrico,
3113 D: zusammengesetzte Taktart,
3117 FI: kaksois-aika-arvomerkintä.
3120 @ref{polymetric time signature}.
3124 @section double trill
3130 NL: dubbele triller,
3135 A simultaneous trill on two notes, usually in the distance of a third.
3138 No cross-references.
3142 @section duple meter
3146 F: métrique binaire,
3147 D: in zwei, grader Takt,
3148 NL: tweedelige maatsoort,
3183 FI: kesto, aika-arvo.
3192 ES: dinámica, matices,
3195 D: Dynamik, Lautstärke,
3199 FI: äänen voimakkuusvaihtelu, dynamiikka.
3201 The aspect of music relating to degrees of loudness, or changes from
3202 one degree to another. The terms, abbreviations, and symbols used to
3203 indicate this information are called dynamic marks.
3206 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3228 @node ecclesiastical mode
3229 @section ecclesiastical mode
3232 @ref{church mode}, @ref{diatonic scale}.
3236 @section eighth note
3243 @item D: Achtel, Achtelnote
3244 @item NL: achtste noot
3245 @item DK: ottendedelsnode
3246 @item S: åttondelsnot
3247 @item FI: kahdeksasosanuotti
3255 @section eighth rest
3258 @item UK: quaver rest
3259 @item ES: silencio de corchea
3260 @item I: pausa di croma
3261 @item F: demi-soupir
3262 @item D: Achtelpause
3263 @item NL: achtste rust
3264 @item DK: ottendedelspause
3265 @item S: åttonddelspaus
3266 @item FI: kahdeksasosatauko
3276 @c TODO: add languages
3285 FI: tavujen yhdistäminen yhteen ääneen.
3287 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3288 @emph{συναλοιφην} @q{to smear together}].
3290 The singing of several syllables on a single note. Elision may be indicated
3291 by a lyric tie, which looks like (and serves the same function) as a musical
3299 @section embellishment
3311 D: Notenstich, Notendruck
3317 Engraving means incising or etching a metal plate for printing.
3318 Photoengraving means drawing music with ink in a manner similar to
3319 drafting or engineering drawing, using similar tools.
3321 The traditional process of music printing is done through cutting in a
3322 plate of metal. Now also the term for the art of music typesetting.
3325 No cross-references.
3340 Two notes, intervals, or scales are enharmonic if they have different
3341 names but equal pitch.
3343 @lilypond[quote,notime,line-width=13.0\cm]
3347 gis1 as <des g,!> <cis g!>
3351 "g sharp " "a flat " "dim fifth " "augm fourth"
3357 No cross-references.
3360 @node equal temperament
3361 @section equal temperament
3363 ES: temperamento igual,
3364 I: temperamento equabile,
3365 F: tempérament égal,
3366 D: gleichschwebende Stimmung,
3367 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3368 DK: ligesvævende temperatur,
3369 S: liksvävande temperatur,
3372 A tuning system that divides the octave into 12 equal semitones (each of
3373 which is precisely equal to 100 cents).
3376 @ref{cent}, @ref{semitone}, @ref{temperament}.
3379 @node expression mark
3380 @section expression mark
3383 I: segno d'espressione,
3384 F: signe d'expression, indication de nuance,
3386 NL: voordrachtsteken,
3387 DK: foredragsbetegnelse,
3388 S: föredragsbeteckning,
3389 FI: nyanssiosoitus, esitysmerkki.
3391 Performance indications concerning:
3395 @item volume, dynamics (for example, @notation{forte},
3396 @notation{crescendo}),
3398 @item tempo (for example, @notation{andante}, @notation{allegro}).
3403 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3407 @section extender line
3409 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3410 I: linea di estensione,
3411 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3418 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3419 extends text (without indicating the musical @emph{function} of that text).
3421 Used in many contexts, for example:
3425 @item In vocal music to indicate the syllable for a melisma. Called
3426 @q{extension} in the
3427 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3431 In figured bass to indicate that:
3435 @item The extended note should be held through a change in harmony, when applied
3436 to one figure --OR--
3437 @item The chord thus represented should be held above a moving bass line, when
3438 applied to more than one figure.
3439 @item These uses were not completely standardized, and some composers used a
3440 single extender line to indicate the latter case.
3445 In string music to indicate that all notes in the passage thus indicated should
3446 be played on the same string. On the violin, for example, a series of notes to
3447 be played on the G string would be indicated @notation{sul G}, another series to be
3448 played on the D string would be indicated @notation{sul D}, and so on.
3451 With an octave mark to indicate that a passage is to be played higher or lower
3452 by the given number of octaves.
3457 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3458 @ref{octave marking}.
3491 The position between the dots of the key symbol is the line of the F
3492 below central@w{ }C. Used on the third, fourth and fifth note line.
3493 A digit@w{ }8 above the clef symbol indicates that the notes must be
3494 played an octave higher (for example, bass recorder) while 8@w{ }below
3495 the clef symbol indicates playing an octave lower (for example, on the
3498 @lilypond[quote,notime,line-width=13.0\cm]
3501 \override Staff.Clef #'full-size-change = ##t
3524 @ref{baritone clef}, @ref{strings}.
3530 ES: caída [de tono],
3533 D: Glissando zu unbestimmter Tonhöhe nach unten,
3539 Indicator for a indeterminately falling pitch bend. Compare with
3540 @emph{glissando}, which has determinate starting and ending pitches.
3543 @ref{doit}, @ref{glissando}.
3546 @node feathered beam
3547 @section feathered beam
3549 ES: barra progresiva,
3551 F: ligature en soufflet, lien de croches en soufflet,
3552 D: gespreizter Balken,
3558 A type of beam used to indicate that a small group of notes should be
3559 played at an increasing or decreasing tempo -- depending on the
3560 direction of @q{feathering} -- but without changing the overall tempo
3564 Internals Reference: @ruser{Manual beams}
3570 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3574 F: point d'orgue, point d'arrêt,
3579 FI: fermaatti, pidäke.
3581 Prolonged note or rest of indefinite duration.
3583 @lilypond[quote,relative=2]
3590 No cross-references.
3610 @section figured bass
3613 I: basso continuo, basso numerato,
3614 F: basse chiffrée, basse continue,
3615 D: Generalbass, bezifferter Bass,
3616 NL: basso continuo, becijferde bas
3619 FI: kenraalibasso, numeroitu basso.
3621 Also called @q{thorough bass}.
3623 A method of indicating an accompaniment part by the bass notes only,
3624 together with figures designating the chief intervals and chords to be
3625 played above the bass notes.
3627 @lilypond[quote,line-width=13.0\cm]
3629 \new Staff = "rh" \with {
3631 \override StaffSymbol #'staff-space = #(magstep -3)
3637 \context Voice = "rha" {
3642 \context Voice = "rhb" {
3644 <bes g>8 as <as f> g <g es> f <d f> es
3649 \new Staff = "lh" \relative c' {
3652 es8 c d bes c as bes16 as g f
3656 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3662 @ref{chord}, @ref{interval}.
3677 Figures to the side or above the note that methodically indicate which
3678 fingers to use while playing a passage.
3681 No cross-references.
3688 I: coda (uncinata), bandiera,
3696 Ornament at the end of the stem of a note used for notes with values less
3697 than a quarter note. The number of flags determines the note value.
3699 @lilypond[quote,notime,relative=2]
3722 An articulation for string players that means the note or passage is to
3723 be played in harmonics.
3729 @item A duct flute similar to the recorder.
3731 @item An organ stop of flute scale at 1' or 2' pitch.
3736 @ref{articulation}, @ref{harmonics}.
3772 FI: forte, voimakkaasti.
3776 Abbreviated @notation{@b{f}}. Variants include:
3779 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3780 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3784 No cross-references.
3803 @node Frenched score
3804 @section Frenched score
3806 ES: partitura a la francesa,
3809 D: Orchesterpartitur ohne leere Systeme,
3813 FI: partituuri ilman tyhjiä nuottiviivastoja.
3815 A @q{condensed} score, produced by omitting staves for instruments that are not
3816 playing at the moment, and by moving up additional systems from following pages
3817 to take up the space thus liberated, which reduces the total number of pages
3818 used to print the work.
3820 The specific rules for @q{frenching} a score differ from publisher to publisher.
3821 If you are producing scores for eventual publication by a commercial publisher,
3822 you may wish to procure a copy of their style manual.
3825 @ref{Frenched staff}.
3828 @node Frenched staff
3829 @section Frenched staff
3831 ES: pentagrama a la francesa,
3834 D: zeitweiliges Notensystem,
3838 FI: karsittu nuotinnus.
3840 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3841 Frenched staff has unneeded measures or sections removed. This is useful
3842 for producing, for example, an @emph{ossia} staff.
3848 @node Frenched staves
3849 @section Frenched staves
3851 Plural of @ref{Frenched staff}.
3870 @node functional harmony
3871 @section functional harmony
3873 ES: armonía funcional,
3874 I: armonia funzionale,
3875 F: étude des functions,
3877 NL: functionele harmonie,
3878 DK: funktionsanalyse, funktionsharmonik,
3880 FI: harmoniajärjestelmä.
3882 A system of harmonic analysis.
3884 It is based on the idea that, in a given key, there are only three
3885 functionally different chords: tonic (T, the chord on the first note of the
3886 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3887 chord on the fifth note). Others are considered to be variants of the base
3890 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3892 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3895 <g e c>1 <a f d> <b g e>
3896 <c a f> <d b g> <e c a> <f d b>
3900 \markup { D \translate #'(-2 . 0) | }
3906 No cross-references.
3933 D: G-Schlüssel, Violinschlüssel,
3939 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3940 second note lines. A digit 8 above the clef symbol indicates that the notes
3941 must be played an octave higher while 8 below the clef symbol indicates
3942 playing or singing an octave lower (used most frequently to notate the tenor
3943 part in modern choral scores).
3945 @lilypond[quote,notime]
3947 \override Staff.Clef #'full-size-change = ##t
3948 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3959 "french violin clef"
3967 No cross-references.
3980 FI: glissando, liukuen.
3982 Letting the pitch slide fluently from one note to the other.
3985 No cross-references.
3989 @section grace notes
3991 ES: notas de adorno,
3993 F: ornement, fioriture,
3994 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4000 Notes printed in small types to indicate that their time values are not
4001 counted in the rhythm of the bar.
4004 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4009 @section grand staff
4011 ES: sistema de piano,
4013 F: système [de portées], accolade,
4014 D: Akkolade, Klaviersystem,
4017 S: ackolad, böjd klammer,
4018 FI: kaksoisnuottiviivasto.
4020 A combination of two staves with a brace. Usually used for piano music.
4036 FI: grave, raskaasti.
4038 [Italian] Slow, solemn.
4041 No cross-references.
4065 Letter name used for @notation{B natural} in German and Scandinavian
4066 usage. In the standard usage of these countries, @notation{B} means
4070 @ref{Pitch names}, @ref{B}.
4076 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4079 @lilypond[quote,relative=2]
4086 @ref{crescendo}, @ref{decrescendo}.
4097 @item D: Halbe, halbe Note,
4098 @item NL: halve noot,
4101 @item FI: puolinuotti.
4112 @item UK: minim rest,
4113 @item ES: silencio de blanca,
4114 @item I: pausa di minima,
4115 @item F: demi-pause,
4116 @item D: halbe Pause,
4117 @item NL: halve, rust,
4118 @item DK: halvnodespause,
4120 @item FI: puolitauko.
4127 @node harmonic cadence
4128 @section harmonic cadence
4130 ES: cadencia (armónica),
4131 I: cadenza (armonica),
4132 F: cadence harmonique,
4134 NL: harmonische cadens,
4135 DK: harmonisk kadence,
4136 S: (harmonisk) kadens,
4137 FI: harmoninen kadenssi.
4139 A sequence of chords that terminates a musical phrase or section.
4143 \context Staff = "SA" \relative c'' {
4146 \partial 4 <c g e>4 |
4147 <c a f> <b g d> <c g e>2
4150 \context Staff = "SB" \relative c {
4152 \partial 4 c4 | f, g c2
4164 @ref{functional harmony}.
4170 ES: armónicos, sonidos aflautados,
4172 F: flageolet, sons harmoniques,
4177 FI: harmoniset äänet, huiluäänet.
4179 The general class of pitches produced by sounding the second or higher
4180 harmonic of a tone producer: string, column of air, and so on.
4182 On stringed instruments, these pitches sound rather flute-like; hence,
4183 their name in languages other than English. They are produced by
4184 lightly touching the string at a node for the desired mode of vibration
4185 while it is being bowed or plucked.
4187 For instruments of the violin family, there are two types of harmonics:
4188 natural harmonics, which are those played on the open string; and
4189 artificial harmonics, which are produced on stopped strings.
4192 No cross-references.
4201 D: Harmonie, Zusammenklang,
4205 FI: harmonia, yhteissointi.
4207 Tones sounding simultaneously. Two note harmonies fall into the
4208 categories @emph{consonances} and @emph{dissonances}.
4212 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4224 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4225 <g a>1_"second " s s
4226 <g f'>_"seventh " s s
4230 For harmony that uses three or more notes, see @ref{chord}.
4240 I: emiolia, (rarely hemiola or emiola),
4246 FI: hemioli, 3/2 -suhde.
4248 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4250 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4251 time normally occupied by two. The resulting rhythm can be expressed in modern
4252 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4253 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4254 as a special effect (or @emph{affect}) at cadences.
4256 For example, this phrase in 6/4 time
4258 @lilypond[quote,relative=1,line-width=13.0\cm]
4261 c2. e | d2 c d | c1. \bar "||"
4264 may be thought of having alternating time signatures
4266 @lilypond[quote,relative=1,line-width=13.0\cm]
4276 and is therefore a polymeter (second definition) of considerable antiquity.
4279 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4292 FI: homofonia, yksiäänisyys.
4294 Music in which one voice leads melodically supported by the other voices in
4295 the same rhythm (more or less). In contrast to @emph{polyphony}.
4318 FI: säkeiden tavumäärät.
4320 A group or list of numbers that indicate the number of syllables in a line
4321 of a hymn's verse. Different hymnals have different ways of noting the hymn
4322 meter: for example, consider a hymn that has four lines in two couplets
4323 alternating regularly between eight and seven syllables. The @emph{English
4324 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4325 or 8@w{ }7@w{ }8@w{ }7.
4327 Some frequently-used hymn meters have traditional names:
4330 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4331 @item 86.86 is called Common Meter (CM or C.M.)
4332 @item 88.88 is called Long Meter (LM or L.M.)
4335 Some hymns and their tunes are doubled versions of a simpler meter: for
4336 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4337 87.87D. The traditional names above also have doubled versions:
4340 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4341 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4342 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4346 No cross-references.
4359 FI: intervalli, kahden sävelen korkeusero.
4361 Difference in pitch between two notes. Intervals may be diminished, minor,
4362 perfect, major, or augmented. The augmented fourth and the diminished fifth
4363 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4364 and are called @emph{tritonus} because they consist of three whole tones.
4365 The addition of such two intervals forms an octave.
4367 @lilypond[quote,notime,line-width=13.0\cm]
4369 \context Voice \relative c'' {
4406 \context Lyrics \lyrics {
4408 "second " "second " "second " "second "
4409 "third " "third " "third " "third "
4410 "fourth " "fourth " "fourth "
4411 "fifth " "fifth " "fifth "
4412 "sixth " "sixth " "sixth " "sixth "
4413 "seventh" "seventh" "seventh" "seventh"
4414 "octave " "octave " "octave "
4420 @ref{enharmonic}, @ref{whole tone}.
4435 When a chord sounds with a bass note that differs from the root of the
4436 chord, it is said to be @emph{inverted}. The number of inversions that a
4437 chord can have is one fewer than the number of constituent notes. For
4438 example, triads (which have three constituent notes) can have three
4439 positions, two of which are inversions:
4443 The root note is in the bass, and above that are the third and the fifth. A
4444 triad built on the first scale degree, for example, is marked @notation{I}.
4446 @item First inversion
4447 The third is in the bass, and above it are the fifth and the root. This
4448 creates an interval of a sixth and a third above the bass note, and so is
4449 marked in figured Roman notation as @notation{6/3}. This is commonly
4450 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4451 characteristic interval of the inversion, and so always implies
4454 @item Second inversion
4455 The fifth is in the bass, and above it are the root and the third. This
4456 creates an interval of a sixth and a fourth above the bass note, and so is
4457 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4458 unstable chord position.
4462 No cross-references.
4465 @node inverted interval
4466 @section inverted interval
4468 ES: intervalo invertido,
4469 I: intervallo rivolto,
4470 F: intervalle renversé,
4471 D: umgekehrtes Intervall,
4472 NL: interval inversie,
4473 DK: omvendingsinterval,
4474 S: intervallets omvändning,
4475 FI: käänteisintervalli.
4477 The difference between an interval and an octave.
4479 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4480 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4481 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4482 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4486 No cross-references.
4489 @node just intonation
4490 @section just intonation
4492 ES: entonación justa,
4493 I: intonazione giusta,
4494 F: intonation juste,
4501 Tuning system in which the notes are obtained by adding and subtracting
4502 natural fifths and thirds.
4520 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4521 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4524 @ref{chromatic scale}, @ref{key signature}.
4528 @section key signature
4530 ES: armadura (de la clave),
4531 I: armatura di chiave,
4532 F: armure, armature [de la clé],
4533 D: Vorzeichen, Tonart,
4534 NL: toon@-soort (voortekens),
4537 FI: sävellajiosoitus.
4539 The sharps or flats appearing at the beginning of each staff indicating the
4546 @node laissez vibrer
4547 @section laissez vibrer
4552 D: Laissez vibrer, schwingen lassen,
4558 [French: @q{Let vibrate}] Most frequently associated with harp
4559 parts. Marked @notation{l.v.} in the score.
4562 No cross-references.
4570 F: largo, large, ample,
4571 D: Largo, Langsam, Breit,
4575 FI: largo, hitaasti, leveästi.
4577 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4578 expressiveness. @emph{Larghetto} is less slow than largo.
4582 @section leading note
4593 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4594 called because of its strong tendency to @q{lead up} (resolve upwards)
4595 to the tonic scale degree.
4598 @ref{scale degree}, @ref{semitone}.
4602 @section ledger line
4604 ES: línea adicional,
4605 I: tagli addizionali,
4606 F: ligne supplémentaire,
4613 A ledger line is an extension of the staff.
4615 @lilypond[quote,notime,relative=2]
4622 No cross-references.
4631 D: legato, gebunden,
4637 To be performed (a) without any perceptible interruption between the
4638 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4639 @notation{portato}, or (d) @notation{staccato}.
4641 @lilypond[quote,notime,line-width=13.0\cm]
4643 \context Staff \relative c'' {
4644 c4-( d e-) \bar "||"
4645 c4-- d-- e-- \bar "||"
4646 c4-.-( d-. e-.-) \bar "||"
4647 c4-. d-. e-. \bar "||"
4663 @section legato curve
4666 @ref{slur}, @ref{legato}.
4688 A ligature is a coherent graphical symbol that represents at least two
4689 distinct notes. Ligatures originally appeared in the manuscripts of
4690 Gregorian chant notation around the 9th century to denote ascending or
4691 descending sequences of notes. In early notation, ligatures were used for
4692 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4693 performance in the sense of articulation. With the invention of the metric
4694 system of the white mensural notation, the need for ligatures to denote such
4695 patterns disappeared.
4698 @ref{mensural notation}.
4705 ES: estanque de nenúfares,
4706 I: stagno del giglio,
4707 F: étang de nénuphars, étang de nymphéas,
4709 NL: le@-lie@-vij@-ver,
4714 A pond with lilies floating in it.
4716 Also, the name of a music typesetting program.
4719 No cross-references.
4728 D: Linie, Notenlinie,
4732 FI: viiva, nuottiviiva.
4748 FI: kirjoitetussa äänenkorkeudessa.
4750 [Italian: @q{place}] Instruction to play the following passage at the
4751 written pitch. Cancels octave mark (q.v.).
4754 @ref{octave mark}, @ref{octave marking}.
4757 @node long appoggiatura
4758 @section long appoggiatura
4760 ES: apoyatura larga,
4761 I: appoggiatura lunga,
4762 F: appoggiature longue,
4767 FI: pitkä appoggiatura, pitkä etuhele.
4777 @item US: long, longa,
4780 @item F: longa, longue,
4788 Note value: twice the length of a @notation{breve}.
4790 @lilypond[quote,notime,relative=2]
4791 \override NoteHead #'style = #'mensural
4796 @ref{breve}, @ref{note value}.
4802 ES: ligadura de letra,
4804 F: ligature de mots,
4809 FI: sidonta sanoituksessa.
4811 @c TODO: add languages
4820 ES: letra (de la canción),
4823 D: Liedtext, Gesangstext,
4832 No cross-references.
4848 @ref{diatonic scale}.
4851 @node major interval
4852 @section major interval
4854 ES: intervalo mayor,
4855 I: intervallo maggiore,
4856 F: intervalle majeur,
4857 D: großes Intervall,
4861 FI: suuri intervalli.
4879 Note value: twice the length of a @notation{longa}.
4881 The maxima is the largest duration in use during the 15th and 16th centuries.
4882 Like the longa, the maxima can be either two or three times as long as the
4883 @notation{longa} (called @notation{binary} and @notation{ternary},
4884 respectively). By the late 15th century, most composers used the smaller
4885 proportion by default.
4888 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4891 @node meantone temperament
4892 @section meantone temperament
4894 ES: afinación mesotónica,
4895 I: accordatura mesotonica,
4896 F: tempérament mésotonique,
4897 D: mitteltönige Stimmung,
4898 NL: middenstemming, middentoonstemming,
4899 DK: middeltonetemperatur,
4900 S: medeltonstemperatur,
4901 FI: keskisävelviritys.
4903 Temperament yielding acoustically pure thirds by decreasing the natural
4904 fifth by 16@w{ }cents. Due to the non-circular character of this
4905 temperament only a limited set of keys are playable. Used for tuning
4906 keyboard instruments for performance of pre-1650 music.
4909 @ref{cent}, @ref{temperament}.
4924 A group of beats (units of musical time) the first of which bears an accent.
4925 Such groups in numbers of two or more recur consistently throughout the
4926 composition and are separated from each other by bar lines.
4929 @ref{bar line}, @ref{beat}, @ref{meter}.
4932 @node measure repeat
4933 @section measure repeat
4936 @ref{percent repeat}.
4943 I: mediante, modale,
4953 @item The third @b{scale degree}.
4955 @item A @emph{chord} having its base tone a third from that of another
4956 chord. For example, the tonic chord may be replaced by its lower
4957 mediant (variant tonic).
4962 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4975 FI: melisma, laulettavan tavun sävelkuvio.
4977 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4978 on one syllable, especially as applied to liturgical chant.
4981 No cross-references.
4985 @section melisma line
4987 @c TODO: add languages
4989 ES: línea de melisma,
4990 I: linea del melisma,
4991 F: trait de mélisme, trait de tenue,
4999 @ref{extender line}.
5002 @node melodic cadence
5003 @section melodic cadence
5009 @node mensural notation
5010 @section mensural notation
5012 @c TODO: add languages
5014 ES: notación mensural,
5015 I: notazione mensurale,
5016 F: notation mensurale,
5017 D: Mensuralnotation,
5021 FI: mensuraalinuotinnus.
5023 A system of duration notation whose principles were first established in the
5024 mid-13th century, and that (with various changes) remained in use until about
5025 1600. As such, it is the basis for the notation of rhythms in Western musical
5028 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5029 of the notation's principles, so the notation of this earliest period is called
5030 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5031 and semibreve -- each of which was normally equivalent to three of the next
5034 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5035 added several note values (the minim, semiminim and fusa) and extended Franco's
5036 principles to govern the relationship between these values. They also put the
5037 duple division of note values on an equal footing with the earlier (preferred)
5040 TODO: continue description of French and Italian black notation, and the
5041 relationship betwixt them.
5043 @b{White or void mensural notation}
5045 In the 15th century, hollow (or void) notes began to substitute for the earlier
5046 solid black ones, which were then free to assume the function of red (or
5047 colored) notes in the earlier notation. ...
5049 TODO: add to definition (including summary info on proportional notation)
5052 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5053 @c TODO: more cross-references?
5056 @node mensuration sign
5057 @section mensuration sign
5059 @c TODO: add languages
5061 ES: signo de mensuración,
5063 F: signe de mensuration,
5070 The ancestor of the time signature, mensuration signs were used to indicate the
5071 relationship between two sets of note durations—specifically, the ratio of
5072 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5073 (called @notation{prolatio}).
5075 Each ratio was represented with a single single sign, and was either
5076 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5077 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5078 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5079 represented by a complete circle; applied to the @emph{prolatio}, it was called
5080 @emph{major} and was represented by a dot in the middle of the sign. The binary
5081 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5082 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5083 @emph{minor} and was represented by the lack of an internal dot. There are four
5084 possible combinations, which can be represented in modern time signatures with
5085 and without reduction of note values. (These signs are hard-coded in LilyPond
5089 @item perfect @emph{tempus} with major @emph{prolatio}
5090 Indicated by a complete circle with an internal dot. In modern time signatures,
5093 @item 9/4, with reduction or
5094 @item 9/2, without reduction
5097 @item perfect @emph{tempus} and minor @emph{prolatio}
5098 Indicated by a complete circle without an internal dot. In modern time
5099 signatures, this equals:
5101 @item 3/2, with reduction or
5102 @item 3/1, without reduction
5105 @item imperfect @emph{tempus} and major @emph{prolatio}
5106 Indicated by an incomplete circle with an internal dot. In modern time
5107 signatures, this equals:
5109 @item 6/4, with reduction or
5110 @item 6/2, without reduction
5113 @item imperfect @emph{tempus} and minor @emph{prolatio}
5114 Indicated by an incomplete circle without an internal dot. In modern time
5115 signatures, this equals:
5117 @item 4/4, with reduction or
5118 @item 2/1, without reduction
5122 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5123 with note values reduced from the original semibreve to a modern quarter note.
5124 Being doubly imperfect, this sign represented the (theoretically)
5125 least-preferred mensuration, but it was actually used fairly often.
5127 This system extended to the ratio of longer note values to each other:
5131 @item maxima to longa, called:
5135 @item @notation{modus maximorum},
5136 @item @notation{modus major}, or
5137 @item @notation{maximodus})
5141 @item longa to breve, called:
5145 @item @notation{modus longarum},
5146 @item @notation{modus minor}, or
5147 @item @notation{modus}
5153 In the absence of any other indication, these modes were assumed to be
5154 binary. The mensuration signs only indicated tempus and prolatio, so
5155 composers needed another way to indicate these longer ratios (called modes.
5156 Around the middle of the 15th century started to use groups of rests at the
5157 beginning of the staff, preceding the mensuration sign.
5160 Two mensuration signs have survived to the present day: the C-shaped sign,
5161 which originally designated @notation{tempus imperfectum} and
5162 @notation{prolatio minor} now stands for @notation{common time}; and the
5163 slashed C, which designated the same with @notation{diminution} now stands
5164 for @notation{cut time} (essentially, it has not lost its original meaning).
5167 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5168 @c TODO: more cross-references?
5176 F: indication de mesure, mesure,
5183 The pattern of note values and accents in a composition or a section thereof.
5184 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5185 by grouping beats and by subdividing the primary beat.
5187 @b{By grouping beats}:
5191 @item @b{duple}: groups of two.
5192 @item @b{triple}: groups of three.
5193 @item @b{quadruple}: groups of four. A special case of duple meter.
5194 @item @b{quintuple}: groups of five beats.
5195 @item @b{sextuple} meter: groups of six. A special case of:
5199 @item duple meter, subdivided in three; or
5200 @item triple meter, subdivided in two.
5204 @item @b{septuple} meter: groups of seven.
5209 Other than triple meter and its subdivided variants (see below), meters that
5210 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5211 frequently used prior to the 20th Century.
5213 @b{By subdividing the primary beat}:
5217 @item simple: subdivided in groups of two.
5221 @item duple: 2/2, 2/4, 2/8
5222 @item triple: 3/2, 3/4, 3/8
5223 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5227 @item compound: subdivided in groups of three.
5233 @item quadruple: 12/8
5239 Time signatures are placed at the beginning of a composition (or section) to
5240 indicate the meter. For instance, a piece written in simple triple meter with a
5241 beat on each quarter note is conventionally written with a time signature of
5242 3/4. Here are some combinations of the two classifications above:
5244 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5246 @lilypond[quote,line-width=13.0\cm]
5250 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5253 Simple triple meter:
5255 @lilypond[quote,line-width=13.0\cm]
5259 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5262 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5264 @lilypond[quote,line-width=13.0\cm]
5268 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5271 Simple quintuple meter (B. Marcello, 1686-1739):
5273 @lilypond[quote,line-width=13.0\cm]
5277 r4 cis8 bis ais4 dis c8 ais |
5278 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5281 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5282 the source, with sharps in the accompaniment where the voice has flats and
5285 Compound duple meter (unknown):
5287 @lilypond[quote,line-width=13.0\cm]
5291 f8 f g a bes16 a g f |
5292 g8 g bes a c16 a bes g
5296 Compound triple meter (J.S. Bach, 1685-1750):
5298 @lilypond[quote,line-width=13.0\cm]
5302 r8 g'( a) b( d c) c( e d) |
5303 d( g fis) g( d b) g( a b)
5307 Compound quadruple meter (P. Yon, 1886-1943):
5309 @lilypond[quote,line-width=13.0\cm]
5313 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5314 e4 e8 fis( gis) a b4.~ b4 b8
5319 @b{@q{Monometer} vs Polymeter}
5321 TODO: add information from discussion on lilypond-user related to polymeter.
5325 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5340 Device used to indicate the exact tempo of a piece.
5342 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5343 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5344 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5345 followed acknowledged Winkler as the creator, but by then Mälzel had already
5346 sold many of them, and people had taken to calling it a Mälzel Metronome.
5349 @ref{metronome mark}.
5352 @node metronome mark
5353 @section metronome mark
5355 ES: indicación metronómica,
5356 I: indicazione metronomica,
5357 F: indication métronomique,
5359 NL: metronoom aanduiding,
5361 S: metronomangivelse,
5362 FI: metronomiosoitus.
5364 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5365 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5372 @node metronomic indication
5373 @section metronomic indication
5376 @ref{metronome mark}
5389 FI: kohtalaisen, melko.
5391 [Italian: @q{medium}]
5393 Used to qualify other indications, such as:
5399 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5401 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5407 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5414 No cross-references.
5418 @section mezzo-soprano
5429 The female voice between soprano and contralto.
5432 @ref{soprano}, @ref{contralto}.
5441 D: zweigestrichenes@w{ }c,
5443 DK: enstreget@w{ }c,
5444 S: ettstruket@w{ }c,
5447 First C below the 440 Hz A.
5449 @lilypond[quote,notime,relative=1]
5450 \override Staff.Clef #'full-size-change = ##t
5457 No cross-references.
5473 @ref{diatonic scale}.
5476 @node minor interval
5477 @section minor interval
5479 ES: intervalo menor,
5480 I: intervallo minore,
5481 F: intervalle mineur,
5482 D: kleines Intervall,
5486 FI: pieni intervalli.
5492 @node mixolydian mode
5493 @section mixolydian mode
5496 @ref{diatonic scale}.
5505 D: Kirchentonart, Modus,
5509 FI: moodi, kirkkosävelasteikko.
5512 @ref{church mode}, @ref{diatonic scale}.
5525 FI: modulaatio, sävellajin vaihdos.
5527 Moving from one @ref{key} to another. For example, the second subject
5528 of a @ref{sonata form} movement modulates to the dominant key if the
5529 key is major and to the @ref{relative key} if the key is minor.
5532 No cross-references.
5544 FI: mordent, korukuvio.
5567 FI: teema, sävelaihe.
5569 The briefest intelligible and self-contained fragment of a musical
5572 @lilypond[quote,line-width=13.0\cm]
5575 \set Score.implicitTimeSignatureVisibility = #all-invisible
5576 \override Score.TimeSignature #'break-visibility = #all-invisible
5579 \partial 8 g16\startGroup fis |
5580 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5581 g8 g,16 a b8 cis d16 s
5585 \Staff \consists "Horizontal_bracket_engraver"
5591 No cross-references.
5606 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5607 several -- more or less -- independent pieces called movements.
5610 No cross-references.
5613 @node multi-measure rest
5614 @section multi-measure rest
5616 ES: compases de espera, silencio multicompás,
5618 F: pause multiple, mesure à compter,
5620 D: mehrtaktige Pause, Kirchenpause,
5623 FI: usean tahdin mittainen tauko.
5625 Multi-measure rests are conventionally typeset with a combination of
5626 longa, breve and whole rests for shorter and a long horizontal bar for
5627 longer spans of rest, with a number above to indicate the duration (in
5628 measures) of the rest. The former style is called @q{Kirchenpausen} in
5629 German, as a reminiscence of its use in Renaissance vocal polyphony.
5631 @lilypond[quote,relative=2]
5633 \set Score.skipBars = ##t
5636 \set Score.skipBars = ##t
5642 @ref{longa}, @ref{breve}.
5651 D: Auflösungszeichen,
5652 NL: herstellingsteken,
5653 DK: op@-løsningstegn,
5654 S: återställningstecken,
5661 @node neighbor tones
5662 @section neighbor tones
5664 @c TODO: add definition.
5676 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5715 Notes are signs by means of which music is fixed in writing. The term is also
5716 used for the sound indicated by a note, and even for the key of the piano
5717 which produces the sound. However, a clear distinction between the terms tone
5718 and @ref{note} is strongly recommended. Briefly, one sees a note,
5722 No cross-references.
5729 I: testa, testina, capocchia,
5737 A head-like sign which indicates pitch by its position on a @notation{staff}
5738 provided with a @notation{clef}, and duration by a variety of shapes such as
5739 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5740 For percussion instruments (often having no defined pitch) the note head may
5741 indicate the instrument.
5744 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5757 ES: valor, duración,
5759 F: durée, valeur (d'une note),
5764 FI: nuotin aika-arvo.
5766 Note values (durations) are measured as fractions—in modern usage, one-half—of
5767 the next higher note value. The longest duration in current use is the
5768 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5769 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5770 or @notation{maxima} (eight whole notes) may be found.
5772 As used in mensural notation, this fraction was more flexible: it could also
5773 be one-third the higher note value. Composers indicated which proportions
5774 to use with various signs—two of which survive to the present day: the
5775 C-shaped sign for @notation{common time}, and the slashed C for
5776 @notation{alla breve} or @notation{cut time}.
5778 @c TODO -- add maxima to this example, in a way that doesn't break it.
5780 @lilypond[quote,notime,line-width=13.0\cm]
5782 \override NoteHead #'style = #'mensural
5783 a\longa_"longa" a\breve_"breve"
5784 \revert NoteHead #'style
5785 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5786 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5789 @c TODO -- add maxima rest to this example
5791 @lilypond[quote,notime,line-width=13.0\cm]
5793 r\longa_"longa" r\breve_"breve"
5794 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5795 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5798 An augmentation dot after a note increases its duration by half; a second dot
5799 increases it by half of the first addition (that is, by a fourth of the original
5800 duration). More dots can be used to add further halved fractions of the
5801 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5803 @lilypond[quote,line-width=13.0\cm]
5806 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5807 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5810 Alternatively note values may be subdivided by other ratios. Most common is
5811 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5812 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5813 dotted notes are also frequently used.
5815 @lilypond[quote,line-width=13.0\cm]
5818 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5819 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5823 @lilypond[quote,line-width=13.0\cm]
5826 \times 3/2 {g4_"duplets" g} |
5828 \times 6/4 {g8_"quadruplets" g g g} |
5829 g8 g g g g4 \bar "||"
5841 @ref{octave marking}.
5856 The interval of an octave, sometimes abbreviated @notation{8ve}.
5858 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5859 bracket, or @notation{loco} see octave marking.
5862 @ref{interval}, @ref{octave marking}.
5866 @section octave mark
5868 ES: indicación de octava,
5870 F: indication d'octave,
5871 D: Oktavierungszeichen,
5877 The phrase, abbreviation, or other mark used (with or without an extender line
5878 or bracket) to indicate that the music is to be played in a different octave:
5882 @item @notation{15ma}: play two octaves higher
5883 @item @notation{8va}: play one octave higher
5884 @item @notation{8vb}: play one octave lower
5885 @item @notation{8va} (written below the passage): unusual, same as
5887 @item @notation{15vb}: play two octaves lower
5888 @item @notation{15va} (written below the passage): unusual, same as
5893 For longer passages, it may be more practical to mark the octave change at the
5894 beginning with a phrase (see the list below for examples), but without a bracket
5895 or extender line. Then, when the music returns to the written pitch, the octave
5896 change is cancelled with the word @notation{loco} (q.v.).
5898 To parallel the list above:
5902 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5903 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5904 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5905 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5909 In the phrases above, @notation{quindicesima} is sometimes replaced with
5910 @notation{quindecima}, which is Latin.
5912 The music on an entire staff can be marked to be played in a different octave by
5913 putting a small 8 or 15 above or below the clef at the beginning. This octave
5914 mark can be applied to any clef, but it is most frequently used with the G and F
5918 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5921 @node octave marking
5922 @section octave marking
5931 FI: oktaavamerkintä.
5933 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5934 that it is to be played in a different octave. If applied to the clef at the
5935 beginning of the staff, all music on that staff is to played at the indicated
5938 For a list of the specific marks used, see @ref{octave mark}.
5941 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5945 @section octave sign
5955 I: abbellimento, fioriture,
5956 F: agrément, ornement,
5957 D: Verzierung, Ornament,
5963 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5964 with the diatonic @ref{second} above it. In the music from the
5965 middle of the 19th century and onwards the trill is performed with the main
5966 note first while in the music from the preceding baroque and classic periods
5967 the upper note is played first.
5969 @lilypond[quote,line-width=13.0\cm]
5971 \context Staff = sa {
5973 c2._"pre-1850" b4\trill | c1 \bar "||"
5974 c2._"post-1850" b4\trill | c1 \bar "||"
5978 c2. c32 b c b c b c b | c1
5979 c2. b32 c b c \times 4/5 { b c b c b } | c1
5984 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5985 the @emph{prall} (inverted mordent).
5987 @lilypond[quote,line-width=13.0\cm]
5989 \context Staff = sa {
5991 a4_"turn" b\turn c2 \bar "||"
5992 g4_"mordent" a b\mordent a \bar "||"
5993 e'4_"prall" d\prall c2 \bar "||"
5999 e'4 e32[ d e d ~ d8] c2
6005 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6013 F: ossia, alternative,
6018 FI: ossia, vaihtoehtoinen esitystapa.
6020 Ossia (otherwise) marks an alternative. It is an added staff or piano
6021 score, usually only a few measures long, which presents another version
6022 of the music, for example for small hands.
6025 Compare: @ref{cue-notes}.
6031 ES: parte, particella,
6038 FI: stemma, instrumenttiosuus.
6042 @item In instrumental or choral music, the music for a single
6043 instrument or voice.
6045 @item in contrapuntal music, a single melodic line in the contrapuntal
6068 @node percent repeat
6069 @section percent repeat
6071 LilyPond-specific term to indicate the repetition of a musical expression on a
6072 single staff, as opposed to the more usual definition of repeat, which affects
6073 all parts. The musical expression can be anything from a single note or note
6074 pattern to one or more measures. There are other names for this symbol:
6079 @item slash mark, or slash repeat
6081 @item measure (or multi-measure) repeat
6085 @lilypond[quote,relative=2,line-width=13.0\cm]
6087 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6088 \repeat percent 2 { c4 e g b_"Measure repeat" }
6089 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6094 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6095 Vermont Music Dictionary}.
6104 D: Schlagzeug, Schlagwerk,
6110 A family of musical instruments which are played on by striking or
6111 shaking. Percussion instruments commonly used in a symphony orchestra are
6112 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6113 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6117 No cross-references.
6120 @node perfect interval
6121 @section perfect interval
6123 ES: intervalo justo,
6124 I: intervallo giusto,
6125 F: intervalle juste,
6126 D: reines Intervall,
6130 FI: puhdas intervalli.
6148 A natural division of the melodic line, comparable to a sentence of speech.
6164 FI: fraseeraus, jäsentäminen.
6166 The clear rendering in musical performance of the @notation{phrases} of the
6167 melody. Phrasing may be indicated by a @notation{slur}.
6170 @ref{phrase}, @ref{slur}.
6185 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6186 @emph{mezzo piano} (@b{mp}) medium soft.
6189 No cross-references.
6197 F: anacrouse, levée,
6222 @item The perceived quality of a sound that is primarily a function of its
6223 fundamental frequency.
6225 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6227 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6228 association of a particular frequency with a particular pitch name, e.g., c' =
6244 NL: pizzicato, getokkeld,
6247 FI: pizzicato, näppäillen.
6249 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6253 No cross-references.
6259 ES: compás polimétrico,
6266 FI: monia tahtiosoituksia sisältävä.
6270 @item The @emph{simultaneous} use of two or more meters, in two or more
6273 @item The @emph{successive} use of different meters in one or more parts.
6278 @ref{polymetric} (adj.)
6291 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6293 Characterized by @emph{polymeter}: using two or more metric frameworks
6294 simultaneously or in alternation.
6297 @ref{polymeter} (noun)
6300 @node polymetric time signature
6301 @section polymetric time signature
6303 ES: indicación de compás polimétrico,
6304 I: tempo polimetrico,
6306 D: zusammengesetzte Taktart,
6310 FI: vaihtelevan tahtiosoitusmerkintä.
6312 A time signature that indicates regularly alternating polymetric time.
6324 D: Polyphonie, Mehrstimmigkeit,
6328 FI: polyfonia, moniäänisyys.
6330 Music written in a combination of several simultaneous voices (parts)
6331 of a more or less pronounced individuality.
6340 [Italian: past participle of @emph{portare}, @q{to carry}]
6342 A stroke in which each of several notes is separated slightly within a slur,
6343 without changing the bow's direction. It is used for passages of a
6344 @notation{cantabile} character.
6350 @section power chord
6352 A chord containing only the root and the fifth (possibly in multiple
6353 octaves). Commonly used in guitar music, particularly with electric
6354 guitar and high distortion.
6362 ES: presto, muy rápido,
6364 F: presto, très rapide, enlevé,
6365 D: Presto, Sehr schnell,
6366 NL: presto, Sehr schnell,
6369 FI: presto, hyvin nopeasti.
6373 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6374 denotes the highest possible degree of speed.
6377 No cross-references.
6392 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6393 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6398 @item A ratio that expresses the relationship between the note values that
6399 follow with those that precede;
6401 @item A ratio between the note values of a passage and the @q{normal}
6402 relationship of note values to the metrical pulse. (A special case of the
6407 The most common proportions are:
6410 @item 2:1 (or simply 2), expressed by a vertical line through the
6411 mensuration sign (the origin of the @notation{alla breve} time signature),
6412 or by turning the sign backwards
6413 @item 3:1 (or simply 3)
6414 @item 3:2 (@emph{sesquialtera})
6417 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6420 @item 1:2 cancels 2:1
6421 @item 1:3 cancels 3:1
6422 @item 2:3 cancels 3:2
6426 Gaffurius enumerates five basic types of major:minor proportions and their
6430 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6431 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6433 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6434 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6435 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6437 @item Superpartiens, if the major number is one less than twice the minor
6438 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6440 @item Multiplexsuperparticular, if the major number is one more than twice the
6441 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6444 @item Multiplexsuperpartiens, if the major number is one less than some other
6445 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6446 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6450 He then continues to subdivide each type in various ways. For the multiplex
6451 proportions, for example, he indicates how many times greater the major number
6456 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6457 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6459 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6462 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6463 Example: 4:1, 8:2, and 12:3
6467 Other proportions were possible, but whether they were frequently used is
6472 @item 33:9, @emph{triplasuperbipartientetertias}
6473 @item 51:15, @emph{triplasuperbipartientequintas}
6477 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6480 @ref{mensural notation}.
6483 @node Pythagorean comma
6484 @section Pythagorean comma
6486 ES: coma pitagórica,
6487 I: comma pitagorico,
6488 F: comma pythagoricien,
6489 D: Pythagoräisches Komma,
6490 NL: komma van Pythagoras,
6491 DK: pythagoræisk komma,
6492 S: pytagoreiskt komma,
6493 FI: pytagorinen komma.
6495 Originally, the interval by which the sum of six whole tones exceeds the octave
6496 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6498 Modern acoustical theory defines it as the interval by which twelve fifths
6499 exceed seven octaves. To put it another way: A sequence of fifths that starts
6500 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6501 than the C obtained by adding 7 octaves. The difference between those two
6502 pitches is the Pythagorean comma.
6505 @ref{cent}, @ref{temperament}.
6527 ES: variante [de acorde o intervalo],
6530 D: Modus (Dur oder Moll),
6536 The quality of a triad is determined by the precise arrangement of its
6537 intervals. Tertian triads can be described as a series of three notes. The
6538 first element is the root note (or simply @q{root}) of the chord, the second
6539 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6540 the chord. These are described below:
6542 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6543 @headitem Chord name
6544 @tab Component intervals
6547 @item major triad @tab major third/perfect fifth
6549 @tab C, CM, Cma, Cmaj, CΔ
6550 @item minor triad @tab minor third/perfect fifth
6552 @tab Cm, Cmi, Cmin, C-
6553 @item augmented triad @tab major third/augmented fifth
6556 @item diminished triad @tab minor third/diminished fifth
6558 @tab Cm(♭5), Cº, Cdim
6561 There are various types of seventh chords depending on the quality of the
6562 original chord and the quality of the seventh added.
6564 Five common types of seventh chords have standard symbols. The chord quality
6565 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6566 and D^m7 are all identical). The last three chords are not commonly used
6574 @section quarter note
6579 @item I: semiminima, nera
6581 @item D: Viertel, Viertelnote
6583 @item DK: fjerdedelsnode
6584 @item S: fjärdedelsnot
6585 @item FI: neljäsosanuotti
6593 @section quarter rest
6596 @item UK: crotchet rest
6597 @item ES: silencio de negra
6598 @item I: pausa di semiminima
6600 @item D: Viertelpause
6602 @item DK: fjerdedelspause
6603 @item S: fjärdedelspaus
6604 @item FI: neljäsosatauko
6612 @section quarter tone
6621 FI: neljännessävelaskel.
6623 An interval equal to half a semitone.
6632 ES: cinquillo, quintillo,
6646 @section rallentando
6650 F: rallentando, en ralentissant,
6651 D: rallentando, langsamer werden,
6655 FI: rallerdando, hidastuen.
6657 [Italian] A performance indication, abbreviated @notation{rall.}
6664 @section relative key
6667 I: tonalità relativa,
6668 F: tonalité relative,
6670 NL: paralleltoonsoort,
6671 DK: paralleltoneart,
6673 FI: rinnakkaissävellaji.
6675 Major and minor keys that have the same key signature.
6677 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6679 es1_"e flat major" f g as bes c d es
6683 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6685 c1_"c minor" d es f g a! b! c
6690 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6698 F: barre de reprise,
6701 DK: gen@-ta@-gel@-se,
6705 @lilypond[quote,relative=2,line-width=13.0\cm]
6717 No cross-references.
6732 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6733 @c specify the rest's value.
6753 @item Metrical rhythm in which every time value is a multiple or
6754 fraction of a fixed unit of time, called @emph{beat}, and in which the
6755 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6756 The basic scheme of time values is called @emph{meter}.
6758 @item Measured rhythm which lacks regularly recurrent accent. In
6759 modern notation such music appears as a free alternation of different
6762 @item Free rhythm, i.e., the use of temporal values having no common
6763 metrical unit (beat).
6768 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6774 ES: ritardando, retardando,
6776 F: ritardando, en ralentissant,
6777 D: ritardando, langsamer werden,
6781 FI: ritardando, hidastuen,
6783 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6787 No cross-references.
6793 ES: ritenuto, reteniendo,
6795 F: ritenuto, en retenant,
6800 FI: ritenuto, hidastaen.
6802 Immediate reduction of speed.
6805 No cross-references.
6818 FI: asteikko, sävelasteikko.
6821 @ref{diatonic scale}.
6825 @section scale degree
6827 ES: grado (de la escala),
6828 I: grado della scala,
6829 F: degré [de la gamme],
6831 NL: trap [van de toonladder],
6834 FI: sävelaste, asteikon sävel.
6836 Names and symbols used in harmonic analysis to denote tones of the
6837 scale as roots of chords. The most important are degrees I = tonic
6838 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6840 @lilypond[quote,notime,line-width=13.0\cm]
6842 \new Staff \relative c' {
6846 << { I II III IV V VI VII I }
6853 @ref{functional harmony}.
6861 F: à cordes ravallées,
6866 FI: epätavallinen viritys.
6868 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6869 tuning of stringed instruments, particularly lutes or violins. Used
6874 @item facilitate pitch combinations that would otherwise be difficult
6877 @item alter the characteristic timbre of the instrument, for example,
6878 to increase brilliance
6880 @item reinforce certain sonorities or tonalities by making them
6881 available on open strings
6883 @item imitate other instruments
6889 Tunings that could be called @var{scordatura} first appeared early in
6890 the 16th Century and became commonplace in the 17th.
6893 No cross-references.
6901 F: partition, conducteur (full score),
6902 D: Partitur (full score), Klavierauszug (vocal score),
6908 A copy of orchestral, choral, or chamber music showing what each
6909 instrument is to play, each voice to sing, having each part arranged
6910 one underneath the other on different staves @ref{staff}.
6913 No cross-references.
6928 The interval between two neighboring tones of a scale. A diatonic scale
6929 consists of alternating semitones and whole tones, hence the size of a
6930 second depends on the scale degrees in question.
6933 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6940 @item US: whole note,
6944 @item D: Ganze, ganze Note, Semibrevis,
6945 @item NL: hele noot,
6948 @item FI: kokonuotti.
6951 Note value: called @notation{whole note} in the US.
6953 The semibreve is the basis for the @notation{tactus} in mensural notation
6954 (i.e. music written before ca. 1600).
6957 @ref{mensural notation}, @ref{note value}.
6972 The interval of a minor second. The (usually) smallest interval in European
6973 composed music. The interval between two neighboring tones on the piano
6974 keyboard -- including black and white keys -- is a semitone. An octave may
6975 be divided into 12@w{ }semitones.
6977 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6978 g1 gis s a bes s b! c
6982 @ref{interval}, @ref{chromatic scale}.
7005 @ref{sextuplet}, @ref{note value}.
7050 ES: simile, similar,
7053 D: simile, gleichartig,
7059 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7060 is to be played in the same manner (i.e. with the same articulations, dynamics,
7061 etc.) as the music that precedes it.
7064 TODO: Where else could I refer the reader?
7068 @section simple meter
7070 ES: compás simple, compás de subdivisión binaria,
7077 FI: kaksijakoinen tahtiosoitus.
7079 A meter in which the basic beat is subdivided in two: that is, a meter
7080 that does not include triplet subdivision of the beat.
7083 @ref{compound meter}, @ref{meter}.
7086 @node sixteenth note
7087 @section sixteenth note
7090 @item UK: semiquaver
7091 @item ES: semicorchea
7093 @item F: double croche
7094 @item D: Sechzehntel, Sechzehntelnote
7095 @item NL: zestiende noot
7096 @item DK: sekstendedelsnode
7097 @item S: sextondelsnot
7098 @item FI: kuudestoistaosanuotti
7105 @node sixteenth rest
7106 @section sixteenth rest
7109 @item UK: semiquaver rest
7110 @item ES: silencio de semicorchea
7111 @item I: pausa di semicroma
7112 @item F: quart de soupir
7113 @item D: Sechzehntelpause
7114 @item NL: zestiende rust
7115 @item DK: sekstendedelspause
7116 @item S: sextondelspaus
7117 @item FI: kuudestoistaosatauko
7140 @node sixty-fourth note
7141 @section sixty-fourth note
7144 @item UK: hemidemisemiquaver
7146 @item I: semibiscroma
7147 @item F: quadruple croche
7148 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7149 @item NL: vierenzestigste noot
7150 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7151 @item S: sextiofjärdedelsnot
7152 @item FI: kuudeskymmenesneljäsosanuotti
7159 @node sixty-fourth rest
7160 @section sixty-fourth rest
7163 @item UK: hemidemisemiquaver rest
7164 @item ES: silencio de semifusa
7165 @item I: pausa di semibiscroma
7166 @item F: seizième de soupir
7167 @item D: Vierundsechzigstelpause
7168 @item NL: vierenzestigste rust
7169 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7170 @item S: sextiofjärdedelspaus
7171 @item FI: kuudeskymmenesneljäsosatauko
7179 @section slash repeat
7182 @ref{percent repeat}.
7188 ES: ligadura de expresión,
7189 I: legatura (di portamento o espressiva),
7191 D: Bogen (Legatobogen, Phrasierungsbogen),
7192 NL: fraseringsboog, legatoboog, streekboog,
7193 DK: legatobue, fraseringsbue,
7197 A slur above or below a group of notes indicates that they are to be
7198 played @ref{legato}, e.g., with one stroke of the violin bow or with
7199 one breath in singing.
7202 No cross-references.
7206 @section solmization
7215 FI: suhteelliset laulunimet.
7217 General term for systems of designating the degrees of the
7218 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7219 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7223 @ref{scale}, @ref{scale degree}.
7238 In its present-day meaning a sonata denotes an instrumental
7239 composition for piano or for some other instrument with piano
7240 accompaniment, which consists of three or four independent pieces,
7244 No cross-references.
7248 @section sonata form
7252 F: [en] forme de sonate,
7254 NL: hoofdvorm, sonatevorm,
7259 A form used frequently for single movements of the @emph{sonata},
7260 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7261 three sections called @notation{exposition}, @notation{development} and
7262 @notation{recapitulation}. In the exposition the composer introduces some
7263 musical ideas, consisting of a number of themes; in the development section the
7264 composer @emph{develops} this material, and in the recapitulation the composer
7265 repeats the exposition, with certain modifications. The exposition contains a
7266 number of themes that fall into two groups, often called first and second
7267 subject. Other melodies occurring in each group are considered as continuations
7268 of these two. The second theme is in another key, normally in the key of the
7269 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7270 @notation{relative key} if the tonic is @notation{minor}.
7273 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7274 @ref{symphony}, @ref{tonic}.
7294 FI: sopraano, korkea naisääni.
7296 The highest female voice.
7299 No cross-references.
7307 F: staccato, piqué, détaché,
7312 FI: staccato, lyhyesti, terävästi.
7314 Playing the note(s) short. Staccato is indicated by a dot above or
7315 below the note head.
7317 @lilypond[quote,relative=2]
7321 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7327 No cross-references.
7334 ES: pentagrama, pauta,
7335 I: pentagramma, rigo (musicale),
7337 D: Notensystem, Notenzeile,
7338 NL: (noten)balk, partij,
7343 A staff (plural: staves) is a series of (normally five) horizontal
7344 lines upon and between which the musical notes are written, thus
7345 indicating (in connection with a @ref{clef}) their pitch. Staves for
7346 @ref{percussion} instruments may have fewer lines.
7348 @lilypond[quote,relative=1]
7369 D: Hals, Notenhals, Stiel,
7375 Vertical line above or below a @ref{note head} shorter than a
7378 @lilypond[quote,notime,relative=2]
7379 \set Score.autoBeaming = ##f
7393 ES: stringendo, acelerando,
7395 F: stringendo, en accélérant,
7400 FI: kiihdyttäen, nopeuttaen.
7402 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7421 A family of stringed musical instruments played with a bow. Strings
7422 commonly used in a symphony orchestra are violin, viola, violoncello,
7426 No cross-references.
7430 @section strong beat
7435 D: betonter Taktteil oder Taktschlag,
7437 D: betonet taktslag,
7438 S: betonat taktslag,
7439 FI: tahdin vahva isku.
7442 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7446 @section subdominant
7455 FI: subdominantti, alidominantti.
7457 The fourth @notation{scale degree}.
7460 @ref{functional harmony}, @ref{scale degree}.
7475 The sixth @notation{scale degree}.
7478 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7491 FI: subtoonika, alitoonika.
7493 The seventh @ref{scale degree}.
7496 @ref{functional harmony}, @ref{scale degree}.
7502 ES: sobre la cuerda de Sol,
7505 D: auf G, auf der G-Saite,
7511 Indicates that the indicated passage (or note) should be played on the
7515 No cross-references.
7519 @section superdominant
7530 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7533 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7548 The second @ref{scale degree}.
7551 @ref{functional harmony}, @ref{scale degree}.
7560 D: Sinfonie, Symphonie,
7566 A symphony may be defined as a @emph{sonata} for orchestra.
7573 @section syncopation
7584 Any deliberate upsetting of the normal pulse of @ref{meter},
7585 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7586 rhythm rests upon the grouping of equal beats into groups of two or
7587 three, with a regularly recurrent accent on the first beat of each
7588 group. Any deviation from this scheme is felt as a disturbance or
7589 contradiction between the underlaying (normal) pulse and the actual
7592 @lilypond[quote,relative=1]
7595 e16 c'8 e,16 c'8 e,16 c' ~
7600 No cross-references.
7603 @node syntonic comma
7604 @section syntonic comma
7606 ES: coma sintónica, coma de Dídimo,
7607 I: comma sintonico (o didimico),
7608 F: comma syntonique,
7609 D: syntonisches Komma,
7610 NL: syntonische komma,
7611 DK: syntonisk komma,
7612 S: syntoniskt komma,
7613 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7614 Pytagorisessa viritysjärjestelmässä.
7616 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7617 by which the ditone exceeds the pure major third obtained by Pythagorean
7618 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7620 Modern acoustical theory defines it as the interval by which four fifths exceed
7621 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7623 This comma is also known as the comma of Didymus, or didymic comma.
7626 @ref{Pythagorean comma}
7635 D: Notensystem, Partitur,
7641 The collection of staves (@notation{staff}), two or more, as used
7642 for writing down keyboard, chamber, choral, or orchestral music;
7643 a section of the score spanning the width of a single page.
7650 @section temperament
7655 D: Stimmung, Tem@-pe@-ra@-tur,
7656 NL: stemming, temperatuur,
7659 FI: viritysjärjestelmä.
7661 Systems of tuning in which the intervals deviate from the acoustically
7665 @ref{meantone temperament}, @ref{equal temperament}.
7668 @node tempo indication
7669 @section tempo indication
7671 ES: indicación de tempo,
7672 I: indicazione di tempo,
7673 F: indication de tempo,
7674 D: Zeitmaß, Tempobezeichnung,
7675 NL: tempo aanduiding,
7680 The rate of speed of a composition or a section thereof, ranging from the
7681 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7682 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7686 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7700 FI: tenori, korkea miesääni.
7702 The highest @q{natural} male voice (apart from @notation{countertenor}).
7727 ES: subrayado (tenuto),
7736 An indication that a particular note should be held for the whole
7737 length, although this can vary depending on the composer and era.
7740 No cross-references.
7759 @node thirty-second note
7760 @section thirty-second note
7763 @item UK: demisemiquaver
7766 @item F: triple croche
7767 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7768 @item NL: twee@-endertig@-ste (32e) noot
7769 @item DK: toogtredivtedelsnode
7770 @item S: trettiotvåondelsnot
7771 @item FI: kolmaskymmeneskahdesosanuotti
7778 @node thirty-second rest
7779 @section thirty-second rest
7782 @item UK: demisemiquaver rest
7783 @item ES: silencio de fusa
7784 @item I: pausa di biscroma
7785 @item F: huitième de soupir
7786 @item D: Zweiunddreissigstel@-pause
7787 @item NL: twee@-endertig@-ste (32e) rust
7788 @item DK: toogtredivtedelspause
7789 @item S: trettiotvåondelspaus
7790 @item FI: kolmaskymmeneskahdesosatauko
7798 @section thorough bass
7807 ES: ligadura de unión (o de prolongación),
7808 I: legatura (di valore),
7809 F: liaison (de tenue),
7810 D: Haltebogen, Bindebogen,
7811 NL: overbinding, bindingsboog,
7813 S: bindebåge, överbindning,
7816 A curved line, identical in appearance with the @ref{slur}, which
7817 connects two succesive notes of the same pitch, and which has the
7818 function of uniting them into a single sound (tone) equal to the
7821 @lilypond[quote,notime,relative=2]
7833 @node time signature
7834 @section time signature
7836 ES: indicación de compás,
7838 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7839 D: Taktangabe, Angabe der Taktart,
7842 S: taktartssignatur,
7845 The sign placed at the beginning of a composition to indicate its
7846 meter. It most often takes the form of a fraction, but a few signs
7847 derived from mensural notation and proportions are also employed.
7850 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7865 A sound of definite pitch and duration, as distinct from @emph{noise}.
7866 Tone is a primary building material of music.
7868 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7871 No cross-references.
7886 The first @notation{scale degree}.
7889 @ref{functional harmony}, @ref{scale degree}.
7892 @node transposing instrument
7893 @section transposing instrument
7895 ES: instrumento transpositor,
7896 I: strumento traspositore,
7897 F: instrument transpositeur,
7898 D: transponierende Instrumente,
7902 FI: transponoitava soitin.
7904 Instruments whose notated pitch is different from their sounded pitch. Except
7905 for those whose notated and sounding pitches differ by one or more octaves (to
7906 reduce the number of ledger lines needed), most such instruments are identified
7907 by the letter name of the pitch class of their fundamental. The pitch class is
7908 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7909 the instrument plays a notated C.
7911 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7912 the B-flat one tone lower. If played on the A clarinet, the same written
7913 note sounds the A (one and half tones -- a minor third -- lower).
7915 Not all transposing instruments include the pitch class in their name:
7918 @item Alto flute (in G)
7919 @item English horn (in F)
7920 @item Saxophones (in B-flat or E-flat)
7923 @ignore Can we do better?
7925 To make matters more complex, some instruments are transposing instruments,
7926 but their players play from parts written at concert pitch. This is the
7927 case for orchestral trombone and tuba players—whereas trombone players in
7928 brass bands treat their parts as if written for a true transposing
7929 instrument in B-flat.
7934 @ref{concert pitch}.
7938 @section transposition
7940 ES: transporte, transposición,
7949 Shifting a melody up or down in pitch, while keeping the same
7952 @lilypond[quote,line-width=13.0\cm]
7957 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7962 @lilypond[quote,line-width=13.0\cm]
7965 \transpose c bes \relative c'' {
7967 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7973 No cross-references.
7977 @section treble clef
7979 ES: clave de sol en segunda,
7980 I: chiave di violino,
7982 D: Violinschlüssel, Sopranschlüssel,
8004 On stringed instruments:
8008 @item The quick reiteration of the same tone, produced by a rapid
8009 up-and-down movement of the bow.
8011 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8012 in the distance of a third (@ref{interval}).
8016 @lilypond[quote,notime,relative=1]
8018 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8019 \repeat tremolo 8 { e32_"b" g }
8031 F: triade, accord parfait, accord de trois sons,
8047 F: trille, tremblement, battement (cadence),
8059 @section triple meter
8061 ES: compás ternario,
8064 D: Dreiertakt, ungerader Takt,
8065 NL: driedelige maatsoort,
8107 @section tuning fork
8109 ES: diapasón [de horquilla],
8110 I: diapason, corista,
8116 FI: viritysavain, äänirauta.
8118 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8119 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8120 standard. Tuning forks for other pitches are available.
8129 ES: grupo de valoración especial,
8130 I: gruppi irregolari,
8133 NL: Antimetrische figuur,
8138 A non-standard subdivision of a beat or part of a beat, usually
8139 indicated with a bracket and a number indicating the number of
8143 @ref{triplet}, @ref{note value}.
8149 ES: grupeto (circular),
8172 FI: unisono, yksiäänisesti.
8174 Playing of the same notes or the same melody by various instruments
8175 (voices) or by the whole orchestra (choir), either at exactly the same
8176 pitch or in a different octave.
8179 No cross-references.
8187 F: anacrouse, levée,
8208 FI: ääni, lauluääni.
8216 @item @ref{mezzo-soprano}
8217 @item @ref{contralto}
8219 @item @ref{baritone}
8223 @item A melodic layer or part of a polyphonic composition.
8228 No cross-references.
8234 ES: vez, primera y segunda vez,
8237 D: volta-Klammer, Wiederholungsklammer,
8241 FI: yksi kertauksen maaleista.
8243 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8244 or second ending. LilyPond extends this idea to any number, and allows any text
8245 (not just a number) -- to serve as the @notation{volta} text.
8248 No cross-references.
8255 I: tempo debole, arsi,
8257 D: unbetonter Taktteil oder Taktschlag,
8259 DK: ubetonet taktslag,
8260 S: obetonat taktslag,
8261 FI: tahdin heikko isku.
8264 @ref{beat}, @ref{measure}, @ref{rhythm}.
8275 @item D: Ganze, ganze Note
8279 @item FI: kokonuotti
8290 @item UK: semibreve rest
8291 @item ES: silencio de redonda
8292 @item I: pausa di semibreve
8294 @item D: ganze Pause, ganztaktige Pause
8296 @item DK: helnodespause
8317 The interval of a major second. The interval between two tones
8318 on the piano keyboard with exactly one key between them -- including
8319 black and white keys -- is a whole tone.
8337 A family of blown wooden musical instruments. Today some of these
8338 instruments are actually made from metal. The woodwind instruments
8339 commonly used in a symphony orchestra are flute, oboe, clarinet,
8340 saxophone, and bassoon.
8343 No cross-references.
8346 @node Duration names notes and rests
8347 @chapter Duration names notes and rests
8349 @multitable @columnfractions .12 .22 .22 .22 .22
8351 @headitem Lang. @tab note name
8355 @item @strong{US} @tab long
8359 @item @strong{UK} @tab longa
8363 @item @strong{ES} @tab longa
8364 @tab silencio de longa
8366 @tab silencio de cuadrada
8367 @item @strong{IT} @tab longa
8371 @item @strong{FR} @tab longa
8372 @tab quadruple-pause
8375 @item @strong{DE} @tab Longa
8379 @item @strong{NL} @tab longa
8383 @item @strong{DK} @tab longa
8384 @tab longanodespause
8386 @tab brevis(nodes)pause
8387 @item @strong{SE} @tab longa
8391 @item @strong{FI} @tab longa-nuotti
8393 @tab brevis-nuotti, kaksoiskoko@-nuotti
8394 @tab brevis-tauko, kaksoiskoko@-tauko
8398 @multitable @columnfractions .12 .22 .22 .22 .22
8400 @headitem Lang. @tab note name
8404 @item @strong{US} @tab whole note
8408 @item @strong{UK} @tab semibreve
8412 @item @strong{ES} @tab redonda
8413 @tab silencio de redonda
8415 @tab silencio de blanca
8416 @item @strong{IT} @tab semibreve
8417 @tab pause di semibreve
8419 @tab pausa di minima
8420 @item @strong{FR} @tab ronde
8424 @item @strong{DE} @tab ganze Note
8428 @item @strong{NL} @tab hele noot
8432 @item @strong{DK} @tab helnode
8436 @item @strong{SE} @tab helnot
8440 @item @strong{FI} @tab kokonuotti
8447 @multitable @columnfractions .12 .22 .22 .22 .22
8449 @headitem Lang. @tab note name
8453 @item @strong{US} @tab quarter note
8457 @item @strong{UK} @tab crotchet
8461 @item @strong{ES} @tab negra
8462 @tab silencio de negra
8464 @tab silencio de corchea
8465 @item @strong{IT} @tab semiminima, nera
8466 @tab pausa di semiminima, pausa di nera
8469 @item @strong{FR} @tab noire
8473 @item @strong{DE} @tab Viertelnote
8477 @item @strong{NL} @tab kwartnoot
8481 @item @strong{DK} @tab fjerdedelsnode
8482 @tab fjerdedelspause
8483 @tab ottendedelsnode
8484 @tab ottendedelspause
8485 @item @strong{SE} @tab fjärdedelsnot
8489 @item @strong{FI} @tab neljäsosa@-nuotti
8490 @tab neljäsosa@-tauko
8491 @tab kahdeksasosa@-nuotti
8492 @tab kahdeksasosa@-tauko
8496 * About the French naming system: @notation{croche} refers to the note's
8497 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8498 @q{doubled hook}, @q{trebled hook}, and so on.
8500 The rest names are based on the @notation{soupir}, or quarter rest.
8501 Subsequent rests are expressed as fractions thereof: half a
8502 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8504 Each of the following tables contains one type of note and its matching rest,
8505 with abbreviations that apply to both notes and rests. Just switch the part
8506 that means @q{note} with the part that means @q{rest}, for example:
8510 @item English: 16th @strong{note}, 16th @strong{rest}
8511 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8512 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8516 Editor's note: I put a dash @q{-} when I could not find a language-specific
8517 abbreviation for a duration name. If you know of one that I missed, please
8518 send it to me, care of the lilypond-user discussion list.
8520 @multitable @columnfractions .10 .35 .35 .20
8522 @headitem Lang. @tab Note name
8525 @item @strong{US} @tab sixteenth note
8528 @item @strong{UK} @tab semiquaver
8529 @tab semiquaver rest
8531 @item @strong{ES} @tab semicorchea
8532 @tab silencio de semicorchea
8534 @item @strong{IT} @tab semicroma
8535 @tab pausa di semicroma
8537 @item @strong{FR} @tab double croche
8538 @tab quart de soupir
8540 @item @strong{DE} @tab Sechzehntelnote
8541 @tab Sechzehntelpause
8543 @item @strong{NL} @tab zes@-ti@-ende noot
8544 @tab zes@-ti@-ende rust
8546 @item @strong{DK} @tab sekstendedelsnode
8547 @tab sekstendedelspause
8549 @item @strong{SE} @tab sextondelsnot
8552 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8553 @tab kuudes@-toistaosa@-tauko
8558 @multitable @columnfractions .10 .35 .35 .20
8560 @headitem Lang. @tab Note name
8563 @item @strong{US} @tab thirty-second note
8564 @tab thirty-second rest
8566 @item @strong{UK} @tab demisemiquaver
8567 @tab demisemiquaver rest
8569 @item @strong{ES} @tab fusa
8570 @tab silencio de fusa
8572 @item @strong{IT} @tab biscroma
8573 @tab pausa di biscroma
8575 @item @strong{FR} @tab triple croche
8576 @tab huitième de soupir
8578 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8579 @tab Zweiunddreißig@-stelpause
8581 @item @strong{NL} @tab twee@-endertigste noot
8582 @tab twee@-endertigste rust
8584 @item @strong{DK} @tab toogtredivtedelsnode
8585 @tab toogtredivtedelspause
8587 @item @strong{SE} @tab trettio@-tvåondelsnot
8588 @tab trettio@-tvåondelspaus
8590 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8591 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8596 @multitable @columnfractions .10 .35 .35 .20
8598 @headitem Lang. @tab Note name
8601 @item @strong{US} @tab sixty-fourth note
8602 @tab sixty-fourth rest
8604 @item @strong{UK} @tab hemidemisemiquaver
8605 @tab hemidemisemiquaver rest
8607 @item @strong{ES} @tab semifusa
8608 @tab silencio de semifusa
8610 @item @strong{IT} @tab semibiscroma
8611 @tab pausa di semibiscroma
8613 @item @strong{FR} @tab quadruple croche
8614 @tab seizième de soupir
8616 @item @strong{DE} @tab Vierundsechzigstelnote
8617 @tab Vierundsechzigstelpause
8619 @item @strong{NL} @tab vierenzestigste noot
8620 @tab vierenzestigste rust
8622 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8623 @tab fireog@-tredsindstyven@-dedelspause
8625 @item @strong{SE} @tab sextiofjärdedelsnot
8626 @tab sextiofjärdedelspaus
8628 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8629 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8634 @multitable @columnfractions .10 .35 .35 .20
8636 @headitem Lang. @tab Note name
8639 @item @strong{US} @tab one-hundred-twenty-eighth note
8640 @tab one-hundred-twenty-eighth rest
8642 @item @strong{UK} @tab semihemidemisemiquaver
8643 @tab semihemidemisemiquaver rest
8645 @item @strong{ES} @tab garrapatea
8646 @tab silencio de garrapatea
8648 @item @strong{IT} @tab fusa
8651 @item @strong{FR} @tab quintuple croche
8652 @tab trente-deuxième de soupir @tab -
8653 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8654 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8655 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8656 @tab honderd@-acht@-en@-twintigste rust
8658 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8659 @tab hundrede@-otte@-og@-tyvendedels@-pause
8661 @item @strong{SE} @tab hundratjugoåttondelsnot
8662 @tab hundratjugoåttondelspaus
8664 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8665 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8670 @multitable @columnfractions .10 .35 .35 .20
8672 @headitem Lang. @tab Note name
8675 @item @strong{US} @tab two-hundred-fifty-sixth note
8676 @tab two-hundred-fifty-sixth rest
8678 @item @strong{UK} @tab demisemihemidemisemiquaver
8679 @tab demisemihemidemisemiquaver rest
8681 @item @strong{ES} @tab semigarrapatea
8682 @tab silencio de semigarrapatea @tab -
8683 @item @strong{IT} @tab semifusa
8684 @tab pausa di semifusa
8686 @item @strong{FR} @tab sextuple croche
8687 @tab soixante-quatrième de soupir @tab -
8688 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8689 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8690 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8691 @tab tweehonderd@-zesenvijftigste rust
8693 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8694 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8696 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8697 @tab tvåhundra@-femtiosjättedelspaus
8699 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8700 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8706 @ref{mensural notation}
8710 @chapter Pitch names
8713 -is/-es endings for Danish per Rune Zedeler, pace,
8714 and for Finnish per Risto Vääräniemi;
8715 -iss/-ess endings for Swedish per Mats Bengtsson
8716 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8718 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8719 multiple lines -- as texinfo needs it to allow enough space for the
8720 table entries. (For the curious, it's a list of the widest items in
8721 each column of the table. Romance pitch names are two characters,
8722 except for g (sol) ... so there you go.)
8725 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8726 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8727 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8728 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8729 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8730 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8731 @tab des @tab des @tab dess @tab des
8732 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8733 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8734 @tab dis @tab dis @tab diss @tab dis
8735 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8736 @tab es @tab es @tab ess @tab es
8737 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8738 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8739 @tab Fes @tab fes @tab fes @tab fess @tab fes
8740 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8741 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8742 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8743 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8744 @tab fis @tab fis @tab fiss @tab fis
8745 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8746 @tab ges @tab ges @tab gess @tab ges
8747 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8748 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8749 @tab Gis @tab gis @tab gis @tab giss @tab gis
8750 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8751 @tab as @tab as @tab ass @tab as
8752 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8753 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8754 @tab ais @tab ais @tab aiss @tab ais
8755 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8756 @tab bes @tab b @tab b @tab b
8757 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8758 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8759 @tab ces @tab ces @tab cess @tab ces
8760 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8761 @tab His @tab bis @tab his @tab hiss @tab his
8765 @node Non-Western terms A-Z
8766 @chapter Non-Western terms A-Z
8786 This is a stub for @code{bayati}.
8790 @ruser{Arabic key signatures}.
8797 This is a stub for @code{iraq}.
8801 @ruser{Arabic key signatures}.
8808 This is a stub for @code{kurd}.
8812 @ruser{Arabic key signatures}.
8819 This is a stub for @code{makam}.
8823 @ruser{Turkish classical music}.
8830 This is a stub for @code{makamlar}.
8834 @ruser{Turkish classical music}.
8841 This is a stub for @code{maqam}.
8845 @ruser{Arabic music},
8846 @ruser{Arabic key signatures}.
8853 This is a stub for @code{rast}.
8857 @ruser{Arabic key signatures}.
8864 This is a stub for @code{semai}.
8868 @ruser{Arabic key signatures}.
8875 This is a stub for @code{sikah}.
8879 @ruser{Arabic key signatures}.
8886 This is a stub for @code{taqasim}.
8890 @ruser{Arabic key signatures}.
8893 @node Literature used
8894 @appendix Literature used
8897 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8898 Cambridge: Belknap Press (Harvard University Press), 1944.
8900 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8903 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8904 Terminologie}. Kassel, 1980.
8906 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8907 Current English}, 3rd ed. London: Oxford University Press, 1974.
8909 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8910 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8912 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8913 Cambridge: Belknap Press (Harvard University Press), 1986.
8915 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
projects / lilypond.git / blob