1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
9 @dircategory GNU LilyPond --- the music typesetter
11 * Music Glossary: (music-glossary). For non-English users.
15 This glossary provides definitions and translations of musical
16 terms used in the documentation manuals for LilyPond version
20 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
21 @macro copyrightDeclare
22 Copyright @copyright{} 1999--2012 by the authors
29 @c TODO: multiple omfcreators?
31 @omfcreator Christian Mondrup, Kurt Kroon
32 @omfdescription Glossary of musical terms with translations
34 @omfcategory Applications|Publishing
39 @lilyTitlePage{Music Glossary}
43 @c @everyheading @| @thispage @|
44 @c @evenheading @thispage @| @|
45 @c @oddheading @| @| @thispage @|
50 @w{@expansion{}@strong{\word\}}@c
54 @expansion{}@ref{\word\, @strong{\word\}}@c
63 * Duration names notes and rests::
65 * Non-Western terms A-Z::
70 * GNU Free Documentation License:: License of this document.
77 @c TOC - tex. Not desired for this manual. -gp
81 @node Musical terms A-Z
82 @chapter Musical terms A-Z
84 Languages in this order.
86 @item UK - British English (where it differs from American English)
115 * ancient minor scale::
120 * ascending interval::
122 * augmented interval::
157 * Common Practice Period::
160 * compound interval::
164 * conjunct movement::
179 * descending interval::
182 * diminished interval::
186 * disjunct movement::
188 * dissonant interval::
192 * dominant ninth chord::
193 * dominant seventh chord::
195 * dot (augmentation dot)::
197 * double appoggiatura::
199 * double dotted note::
202 * double time signature::
209 * ecclesiastical mode::
216 * equal temperament::
237 * functional harmony::
256 * incomplete dominant seventh chord::
259 * inverted interval::
275 * long appoggiatura::
282 * meantone temperament::
289 * mensural notation::
294 * metronomic indication::
307 * multi-measure rest::
337 * polymetric time signature::
343 * Pythagorean comma::
374 * sixty-fourth note::
375 * sixty-fourth rest::
406 * thirty-second note::
407 * thirty-second rest::
414 * transposing instrument::
468 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
469 @notation{a due} indicates that:
473 @item A single part notated on a single staff that normally carries parts
474 for two players (e.g. first and second oboes) is to be played by both
477 @item Or conversely, that two pitches or parts notated on a staff that
478 normally carries a single part (e.g. first violin) are to be played by
479 different players, or groups of players (@q{desks}).
492 F: accelerando, en accélérant,
493 D: accelerando, schneller werden,
497 FI: accelerando, kiihdyttäen.
499 [Italian: @q{speed up, accelerate}]
501 An increase in the tempo, abbreviated @notation{accel.}
517 FI: aksentti, korostus.
519 The stress of one tone over others.
533 @section acciaccatura
535 ES: mordente de una nota,
537 F: acciaccatura, appoggiature brève,
544 A grace note which takes its time from the rest or note preceding the
545 principal note to which it is attached. The acciaccatura is drawn as a
546 small eighth note (quaver) with a line drawn through the flag and stem.
549 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
555 ES: alteración accidental,
556 I: alterazione, accidente,
557 F: altération accidentelle,
558 D: Versetzungszeichen, Akzidenz,
559 NL: toevallig (verplaatsings)teken,
561 S: tillfälligt förtecken,
562 FI: tilapäinen etumerkki.
564 An accidental alters a note by:
568 @item Raising its pitch:
570 @item By two semitones—@notation{double sharp}
571 @item By one semitone—@notation{sharp}
574 @item Lowering its pitch:
576 @item By one semitone—@notation{flat}
577 @item By two semitones—@notation{double flat}
580 @item Or canceling the effects of the key signature or previous accidentals.
583 @lilypond[quote,notime]
587 \set Staff.extraNatural = ##f
588 gisis1 gis g! ges geses
593 \center-column { double sharp }
599 \center-column { double flat }
605 \override SpacingSpanner
606 #'base-shortest-duration = #(ly:make-moment 1/32)
613 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
626 FI: adagio, hitaasti.
628 [Italian: @q{comfortable, easy}]
632 @item Slow tempo, slower -- especially in even meter -- than
633 @notation{andante} and faster than @notation{largo}.
635 @item A movement in slow tempo, especially the second (slow) movement
636 of sonatas, symphonies, etc.
641 @ref{andante}, @ref{largo}, @ref{sonata}.
649 F: al niente, en mourant,
654 FI: häviten olemattomiin.
656 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
657 that the sound should fade away to nothing.
659 @notation{Al niente} is indicated by circling the tip of the hairpin:
661 @lilypond[quote,relative=2]
662 \override Hairpin #'circled-tip = ##t
668 or with the actual phrase @notation{al niente}:
670 @lilypond[quote,relative=2]
672 \override DynamicTextSpanner #'(bound-details right text) =
673 \markup { \italic { al niente } }
679 Since one does not crescendo @emph{to} nothing, it is not correct to use
680 @notation{al niente} with @notation{crescendo}. Instead, one should use
681 @emph{dal niente} (@notation{@b{from} nothing}).
684 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
692 F: alla breve, à la brève,
693 D: Allabreve, alla breve
699 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
701 Also called @notation{in cut time}. The name derives from mensural
702 notation, where the @notation{tactus} (or beat) is counted on the semibreve
703 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
704 next longest note value, which (in modern usage) effectively halves all note
707 In mensural notation, breves and semibreves can have a ternary relationship,
708 in which case @notation{alla breve} means thrice (not twice) as fast. In
709 practice, this complication may not have mattered, since Gaffurius's system
710 of multiplex proportions makes it easy to explicitly state which proportion
714 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
715 @ref{proportion}, @ref{whole note}.
723 F: allegro, gaiement,
724 D: Allegro, Schnell, Fröhlich, Lustig,
728 FI: allegro, nopeasti.
730 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
731 quick tempo, especially the first and last movements of a sonata.
744 NL: verhoging of verlaging,
749 An alteration is the modification, raising or lowering, of a note's
750 pitch. It is established by an accidental.
752 @c TODO: add second meaning from mensural notation
768 FI: altto, matala naisääni.
770 A female voice of low range (@emph{contralto}). Originally the alto was a
771 high male voice (hence the name), which by castration or the use of falsetto
772 reached the height of the natural female voice. This type of voice is also
773 known as countertenor.
782 ES: clave de do en tercera,
783 I: chiave di contralto,
784 F: clef d'ut troisième ligne,
785 D: Altschlüssel, Bratschenschlüssel,
791 C clef setting middle C on the middle line of the staff.
802 F: ambitus, tessiture,
807 FI: ambitus, ääniala, soitinala.
809 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
810 Denotes a range of pitches for a given voice in a part of music. It may
811 also denote the pitch range that a musical instrument is capable of playing.
812 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
830 An anacrusis (also known as pickup or upbeat) is an incomplete measure
831 of music before a section of music. It also refers to the initial
832 note(s) of a melody occurring in that incomplete measure.
834 @lilypond[quote,relative=1]
845 @ref{measure}, @ref{meter}.
848 @node ancient minor scale
849 @section ancient minor scale
851 ES: escala menor natural,
852 I: scala minore naturale,
853 F: forme du mode mineur ancien, troisème mode, mode hellénique,
854 D: reines Moll, natürliches Moll,
855 NL: authentieke mineurtoonladder,
858 FI: luonnollinen molliasteikko.
860 Also called @q{natural minor scale}.
862 @lilypond[quote,notime,relative=2]
868 @ref{diatonic scale}.
883 [Italian: present participle of @emph{andare}, @q{to walk}]
885 Walking tempo/character.
892 @section appoggiatura
896 F: appoggiature, (port de voix),
897 D: Vorschlag, Vorhalt
898 NL: (korte) voorslag,
901 FI: appoggiatura, etuhele.
903 Ornamental note, usually a second, that is melodically connected with
904 the main note following it. In music before the 19th century
905 appoggiature were usually performed on the beat, after that mostly
906 before the beat. While the short appoggiatura is performed as a short
907 note regardless of the duration of the main note the duration of the
908 long appoggiatura is proportional to that of the main note.
910 @lilypond[quote,relative=2]
913 <d a fis>4_"notation" r
920 \set Score.measurePosition = #ZERO-MOMENT
921 <d, a fis>4_"performance" r
927 An appoggiatura may have more notes preceding the main note.
929 @lilypond[quote,relative=2]
932 \grace bes16 as8-"notation" as16 bes as8 g |
933 \grace { as16[( bes] } <c as>4)
934 \grace { as16[( bes] } <c as>4) \bar "||"
936 \grace bes16 as8-"performance" as16 bes as8 g |
940 as32 bes c8. as32 bes c8.
944 as16 ~ as8. as16 ~ as8.
959 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
961 DK: arpeggio, akkordbrydning,
963 FI: arpeggio, murtosointu.
965 [Italian: @q{harp-like, played like a harp}]
967 @lilypond[quote,line-width=13\cm]
969 \context Staff = "SA" {
973 r8 g16 c e g, c e r8 g,16 c e g, c e
974 r8 a,16 d f a, d f r8 a,16 d f a, d f
978 \context Staff = "SB" {
984 r16 e8. ( e4) r16 e8. ( e4)
985 r16 d8. ( d4) r16 d8. ( d4)
1003 @section articulation
1012 FI: artikulaatio, ilmaisu.
1014 Articulation refers to notation which indicates how a note or notes
1015 should be played. Slurs, accents, staccato, and legato are all
1016 examples of articulation.
1019 No cross-references.
1022 @node ascending interval
1023 @section ascending interval
1025 ES: intervalo ascendente,
1026 I: intervallo ascendente,
1027 F: intervalle ascendant,
1028 D: steigendes Intervall,
1029 NL: stijgend interval,
1030 DK: stigende interval,
1031 S: stigande intervall,
1032 FI: nouseva intervalli.
1034 A distance between a starting lower note and a higher ending note.
1037 No cross-references.
1041 @section augmentation
1050 FI: aika-arvojen pidentäminen.
1052 @c TODO: add definition.
1054 This is a placeholder for augmentation (wrt mensural notation).
1057 @ref{diminution}, @ref{mensural notation}.
1060 @node augmented interval
1061 @section augmented interval
1063 ES: intervalo aumentado,
1064 I: intervallo aumentato,
1065 F: intervalle augmenté,
1066 D: übermäßiges Intervall,
1067 NL: overmatig interval,
1068 DK: forstørret interval,
1069 S: överstigande intervall,
1070 FI: ylinouseva intervalli.
1081 F: manuscrit, autographe
1082 D: Autograph, Handschrift,
1084 DK: håndskrift, autograf,
1086 FI: käsinkirjoitettu nuotti.
1090 @item A manuscript written in the composer's own hand.
1092 @item Music prepared for photoreproduction by freehand drawing, with
1093 the aid of a straightedge ruler and T-square only, which attempts to
1094 emulate engraving. This required more skill than did engraving.
1099 No cross-references.
1117 @ref{H}, @ref{Pitch names}
1137 ES: barra, línea divisoria,
1138 I: stanghetta, barra (di divisione),
1139 F: barre (de mesure),
1146 A vertical line through the staff (or through multiple staves) that
1147 separates measures. Used very infrequently during the Renaissance (mostly
1148 in secular music, or in sacred music to indicate congruences between parts
1149 in otherwise-unmetered music).
1165 FI: baritoni, keskikorkuinen miesääni.
1167 The male voice intermediate in pitch between the bass and the tenor.
1169 @c F: clef de troisième ligne dropped
1172 @ref{bass}, @ref{tenor}.
1176 @section baritone clef
1178 ES: clave de fa en tercera,
1179 I: chiave di baritono,
1180 F: clef d'ut cinquième ligne, clef de fa troisième,
1181 D: Baritonschlüssel,
1187 C or F clef setting middle C on the upper staff line.
1190 @ref{C clef}, @ref{F clef}.
1203 FI: basso, matala miesääni.
1207 @item The lowest male voice.
1209 @item Sometimes, especially in jazz music, used as an abbreviation for
1221 ES: clave de fa en cuarta,
1223 F: clef de fa quatrième ligne,
1230 A clef setting with middle C on the first top ledger line.
1239 ES: barra (de corcheas),
1241 F: ligature, barre (de croches),
1248 Line connecting a series of notes (shorter than a quarter note). The
1249 number of beams determines the note value of the connected notes.
1251 @lilypond[quote,notime,relative=2,line-width=13\cm]
1252 g8-"1/8"[ g g g] s16
1253 g16-"1/16"[ g g g] s
1254 g32-"1/32"[ s g s g s g] s16
1255 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1259 @ref{feathered beam}.
1265 ES: tiempo, parte (de compás)
1268 D: Takt, Taktschlag, Zeit (im Takt),
1274 Note value used for counting, most often half-, fourth-, and eighth notes.
1275 The base counting value and the number of them in each measure is indicated
1276 at the start of the music by the @notation{time signature}.
1278 @lilypond[quote,relative=2]
1281 g4 c b a | g1 \bar "||"
1283 g8 d' c | b c a | g4. \bar "||"
1287 @ref{time signature}.
1291 @section beat repeat
1294 @ref{percent repeat}.
1307 ES: llave, corchete,
1310 D: Klammer, Akkolade,
1311 NL: accolade, teksthaak,
1314 FI: yhdistävä sulkumerkki.
1316 Symbol at the start of a system connecting staves.
1318 Curly braces are used for connecting piano staves, and sometimes for connecting
1319 the staves of like instruments in an orchestral score when written on different
1320 staves (e.g. first and second flutes):
1324 \context Staff = "SA" {
1330 \context Staff = "SB" {
1340 Angular brackets for connecting parts in an orchestral or choral score:
1344 \context Staff = "SA" {
1350 \context Staff = "SB" {
1361 No cross-references.
1368 I: parentesi quadra,
1386 NL: koper (blazers),
1389 S: brassinstrument, mässingsinstrument,
1392 A family of blown musical instruments made of brass, all using a cup
1393 formed mouth piece. The brass instruments commonly used in a symphony
1394 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1395 sousaphones and contrabass bugles are common.
1398 No cross-references.
1402 @section breath mark
1407 D: Atemzeichen, Trennungszeichen,
1408 NL: repercussieteken,
1409 DK: vejrtrækningstegn,
1413 Indication of where to breathe in vocal and wind instrument parts.
1423 @item US: breve, double-whole note
1424 @item ES: cuadrada, breve
1431 @item FI: brevis, kaksoiskokonuotti
1434 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1436 Mainly used in music from before 1650. In mensural notation, it was a note
1437 of fairly short duration—hence the name, which is Latin for @q{short} or
1438 @q{of short duration}.
1440 @lilypond[quote,notime,relative=2]
1445 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1478 Clef symbol indicating the position of the middle C. Used on all note
1481 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1483 \override Staff.Clef #'full-size-change = ##t
1485 \clef mezzosoprano c1
1491 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1492 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1497 No cross-references.
1510 FI: kadenssi, lopuke.
1513 @ref{harmonic cadence}, @ref{functional harmony}.
1526 FI: kadenssi, lopuke.
1528 An extended, improvisatory style section inserted near the end of
1529 movement. The purpose of a cadenza is to give singers or players a
1530 chance to exhibit their technical skill and -- not last -- their
1531 ability to improvise. Since the middle of the 19th century, however,
1532 most cadenzas have been written down by the composer.
1535 No cross-references.
1550 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1552 The break between two musical phrases, sometimes (but not always) marked by a
1553 rest or a breath mark.
1569 FI: kaanon, tarkka jäljittely.
1585 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1586 viritysjärjestelmässä.
1588 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1589 an octave (1/100 of an equally tempered semitone).
1592 @ref{equal temperament}, @ref{semitone}.
1614 Two or more tones sounding simultaneously. In traditional European music
1615 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1616 (major + minor third) as well as @emph{minor} (minor + major third) chords
1617 may be extended with more thirds. Four-tone @emph{seventh chords} and
1618 five-tone @emph{ninth} major chords are most often used as dominants
1619 (functional harmony). Chords having no third above the lower notes to
1620 define their mood are a special case called @q{open chords}. The lack of
1621 the middle third means their quality is ambivalent -- neither major nor
1624 @lilypond[quote,notime]
1628 \set Staff.extraNatural = ##f
1649 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1653 @node chromatic scale
1654 @section chromatic scale
1656 ES: escala cromática,
1658 F: gamme chromatique,
1659 D: chro@-ma@-ti@-sche Tonleiter,
1660 NL: chromatische toonladder,
1661 DK: kromatisk skala,
1663 FI: kromaattinen asteikko.
1665 A scale consisting of all 12 semitones.
1667 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1668 c1 cis d dis e f fis g gis a ais b c
1676 @section chromaticism
1687 Using tones extraneous to a diatonic scale (minor, major).
1690 @ref{diatonic scale}.
1694 @section church mode
1696 ES: modo eclesiástico,
1697 I: modo ecclesiastico,
1698 F: mode ecclésiastique, mode d'église,
1703 FI: moodi, kirkkosävellaji.
1706 @ref{diatonic scale}.
1715 D: Schlüssel, Notenschlüssel,
1719 FI: avain, nuottiavain.
1721 The clef indicates which lines of the staff correspond to which
1722 pitches. The three clef symbols in common use are:
1727 \line { The Treble or G clef: }
1729 \line { The Bass or F clef: }
1731 \line { The Alto or C clef: }
1735 \musicglyph #"clefs.G"
1737 \musicglyph #"clefs.F"
1739 \musicglyph #"clefs.C"
1744 Imagine a large staff of 11 lines centered on middle C, sometimes
1745 called a @q{grand staff}, with the bottom line representing low G and
1746 the top line high F:
1751 %-- Note names above treble staff --%
1753 \set printOctaveNames = ##t
1755 \once \override NoteName #'color = #red
1759 %-- Treble Staff --%
1761 \override Staff.Clef #'stencil = ##f
1767 %-- Alto Staff reduced to a single line on middle C --%
1769 \override Staff.StaffSymbol #'line-count = #1
1770 \override Staff.StaffSymbol #'color = #red
1771 \override Staff.Clef #'stencil = ##f
1774 \override NoteHead #'color = #red
1780 \override Staff.Clef #'stencil = ##f
1789 \override SpacingSpanner
1790 #'base-shortest-duration = #(ly:make-moment 1/1)
1791 \override NonMusicalPaperColumn
1792 #'line-break-system-details = #'((alignment-distances . (3 3)))
1793 \override BarLine #'stencil = ##f
1797 \remove "Time_signature_engraver"
1803 Staves of five lines are usually used, and the clef superimposed on them
1804 indicates which five lines have been selected from this @notation{grand
1805 staff}. For example, the treble or G clef indicates that the top five lines
1811 %-- Note names above treble staff --%
1813 \set printOctaveNames = ##t
1815 \once \override NoteName #'color = #red
1820 %-- Treble Staff --%
1822 \once \override Staff.Clef #'stencil = ##f
1825 \override Staff.Clef #'full-size-change = ##t
1826 \set Staff.forceClef = ##t
1830 %-- Alto Staff reduced to a single line on middle C --%
1832 \override Staff.StaffSymbol #'line-count = #1
1833 \override Staff.StaffSymbol #'color = #red
1834 \override Staff.Clef #'stencil = ##f
1837 \override NoteHead #'color = #red
1842 \override Staff.Clef #'stencil = ##f
1850 \override SpacingSpanner
1851 #'base-shortest-duration = #(ly:make-moment 2/1)
1852 \override NonMusicalPaperColumn
1853 #'line-break-system-details = #'((alignment-distances . (3 3)))
1854 \override BarLine #'stencil = ##f
1858 \remove "Time_signature_engraver"
1864 The @q{curl} of the G clef is centered on the line that represents the
1867 In the same way, the bass or F clef indicates that the bottom five lines
1868 have been selected from the @notation{grand staff}, and the alto or C clef
1869 indicates the middle five lines have been selected. This relationship is
1870 shown below, where the notes show an arpeggio on a C major chord.
1875 %-- Treble Staff --%
1883 \override Staff.StaffSymbol #'line-count = #1
1884 \once \override Staff.Clef #'stencil = ##f
1889 \revert Staff.StaffSymbol #'stencil
1890 \override Staff.StaffSymbol #'color = #red
1893 \stopStaff \startStaff
1894 \revert Staff.StaffSymbol #'line-count
1895 \revert Staff.StaffSymbol #'color
1896 \stopStaff \startStaff
1897 \override Staff.Clef #'full-size-change = ##t
1898 \set Staff.forceClef = ##t
1913 \override SpacingSpanner #'base-shortest-duration =
1914 #(ly:make-moment 2/1)
1915 \override NonMusicalPaperColumn
1916 #'line-break-system-details = #'((alignment-distances . (3 3)))
1917 \override BarLine #'stencil = ##f
1921 \remove "Time_signature_engraver"
1928 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1941 FI: klusteri, cluster.
1943 A @emph{cluster} is a range of simultaneously sounding pitches that
1944 may change over time. The set of available pitches to apply usually
1945 depends on the acoustic source. Thus, in piano music, a cluster
1946 typically consists of a continuous range of the semitones as provided
1947 by the piano's fixed set of a chromatic scale. In choral music, each
1948 singer of the choir typically may sing an arbitrary pitch within the
1949 cluster's range that is not bound to any diatonic, chromatic or other
1950 scale. In electronic music, a cluster (theoretically) may even cover
1951 a continuous range of pitches, thus resulting in colored noise, such
1954 Clusters can be denoted in the context of ordinary staff notation by
1955 engraving simple geometrical shapes that replace ordinary notation of
1956 notes. Ordinary notes as musical events specify starting time and
1957 duration of pitches; however, the duration of a note is expressed by
1958 the shape of the note head rather than by the horizontal graphical
1959 extent of the note symbol. In contrast, the shape of a cluster
1960 geometrically describes the development of a range of pitches
1961 (vertical extent) over time (horizontal extent). Still, the
1962 geometrical shape of a cluster covers the area in which any single
1963 pitch contained in the cluster would be notated as an ordinary note.
1965 @lilypond[quote,relative=2]
1966 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1970 No cross-references.
1983 FI: komma, korvinkuultava ero äänenkorkeudessa.
1985 Difference in pitch between a note derived from pure tuning and the
1986 same note derived from some other tuning method.
1989 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1994 @section common meter
1996 Another name for @ref{common time}.
1999 @ref{common time}, @ref{meter}.
2002 @node Common Practice Period
2003 @section Common Practice Period
2006 I: Periodo di pratica comune,
2015 This is a stub for Common Practice Period (CPP).
2018 @ruser{Note names in other languages}.
2022 @section common time
2033 4/4 time. The symbol, which resembles a capital letter C, comes from
2037 @ref{mensural notation}, @ref{meter}.
2043 ES: intervalo invertido,
2045 F: intervalle complémentaire,
2046 D: Komplementärintervall,
2047 NL: complementair interval,
2048 DK: komplementærinterval,
2049 S: komplementärintervall (?),
2050 FI: täydentävä intervalli.
2053 @ref{inverted interval}.
2056 @node compound interval
2057 @section compound interval
2059 ES: intervalo compuesto,
2060 I: intervallo composto,
2061 F: intervalle composé,
2062 D: weites Intervall,
2063 NL: samengesteld interval,
2064 DK: sammensat interval,
2065 S: sammansatt intervall,
2066 FI: oktaavia laajempi intervalli.
2068 Intervals larger than an octave.
2074 @node compound meter
2075 @section compound meter
2077 ES: compás compuesto, compás de subdivisión ternaria,
2084 FI: kolmijakoinen tahtilaji.
2086 A meter that includes a triplet subdivision within the beat, such as
2090 @ref{meter}, @ref{simple meter}.
2094 @section compound time
2096 ES: compás compuesto, compás de amalgama (def. 2),
2099 D: zusammengesetzte Taktart,
2103 FI: yhdistetty tahtilajiosoitus.
2108 A meter that includes a triplet subdivision within the beat: see
2109 @ref{compound meter}.
2112 A time signature that additively combines two or more unequal meters,
2113 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2118 @lilypond[quote,verbatim]
2121 \compoundMeter #'((3 8) (2 8) (3 8))
2129 @ref{compound meter},
2131 @ref{polymetric time signature}.
2135 @section concert pitch
2137 ES: en Do, tono de concierto,
2138 I: intonazione reale,
2139 F: tonalité de concert, en ut,
2144 FI: konserttikorkeus.
2146 The pitch at which the piano and other nontransposing instruments play: such
2147 instruments are said to be @q{in C}. The following list includes some (but not
2148 all) instruments that play in concert pitch:
2150 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2152 @multitable {bassoon} {violoncello}
2153 @headitem Woodwinds @tab Strings
2172 @ignore This needs to be reworked.
2173 The trombones are a special case: although they are said to be @q{in F} (alto or
2174 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2175 their parts' transposition. (In fact, the trombones' parts are written at
2176 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2177 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2181 Instruments that play @q{in C} but in a different octave than what is written
2182 are, technically speaking, @emph{transposing instruments}:
2186 @item piccolo (plays an octave higher than written)
2187 @item celesta (plays an octave higher than written)
2188 @item classical guitar (plays an octave lower than written)
2189 @item double bass (plays an octave lower than written)
2194 @ref{transposing instrument}.
2197 @node conjunct movement
2198 @section conjunct movement
2200 ES: movimiento conjunto,
2202 F: mouvement conjoint,
2203 D: schritt@-weise, stufenweise Bewegung,
2204 NL: stapsgewijze, trapsgewijze beweging,
2205 DK: trinvis bevægelse,
2207 FI: asteittainen liike.
2209 Progressing melodically by intervals of a second, as contrasted with
2210 @emph{disjunct movement}.
2212 @lilypond[quote,relative=2,line-width=13.0\cm]
2215 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2219 @ref{disjunct movement}.
2232 FI: konsonanssi, sopusointi.
2255 @section copying music
2257 A music copyist did fast freehand scores and parts on preprinted staff
2258 lines for performance. Some of their conventions (e.g., the placement
2259 of note heads on stems) varied slightly from those of engravers. Some
2260 of their working methods were superior and could well be adopted by
2263 @c Copying music required more skill than engraving. Flagged for NPOV
2266 No cross-references.
2270 @section counterpoint
2279 FI: kontrapunkti, ääni ääntä vastaan.
2281 From Latin @emph{punctus contra punctum}, note against note. The
2282 combination into a single musical fabric of lines or parts which have
2283 distinct melodic significance. A frequently used polyphonic technique
2284 is imitation, in its strictest form found in the canon needing only
2285 one part to be written down while the other parts are performed with a
2286 given displacement. Imitation is also the contrapuntal technique
2287 used in the @emph{fugue} which, since the music of the baroque era,
2288 has been one of the most popular polyphonic composition methods.
2290 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2292 \context Staff = SA \relative c' {
2296 << \context Voice = rha {
2298 r1 | r2 r8 g'8 bes d, |
2299 cis4 d r8 e!16 f g8 f16 e |
2300 f8 g16 a bes8 a16 g a8
2302 \context Voice = rhb {
2308 \context Staff = SB \relative c' {
2311 << \context Voice = lha {
2313 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2314 r8 a16 g f8 g16 a bes8 g e! cis' |
2317 \context Voice = lhb {
2326 No cross-references.
2330 @section countertenor
2335 D: Countertenor, Kontratenor,
2338 S: kontratenor, counter tenor,
2351 D: Crescendo, lauter werden,
2355 FI: cresendo, voimistuen.
2357 Increasing volume. Indicated by a rightwards opening horizontal wedge
2358 (hairpin) or the abbreviation @notation{cresc.}
2360 @lilypond[quote,relative=2]
2363 g4\< a b c | d1\! \bar "|."
2367 @ref{decrescendo}, @ref{hairpin}.
2375 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2382 Notes belonging to one part printed in another to hint when to start
2383 playing. Usually printed in a smaller type.
2386 Compare: @ref{ossia}.
2395 D: Notenzeiger, Custos,
2401 A custos (plural: custodes) is a staff symbol that appears at the end of a
2402 staff line with monophonic musical contents (i.e., with a single voice). It
2403 anticipates the pitch of the first note of the following line and thus helps
2404 the player or singer to manage line breaks during performance, which
2405 enhances the readability of a score.
2407 Custodes were frequently used in music notation until the 16th century.
2408 There were different appearances for different notation styles. Nowadays,
2409 they have survived only in special forms of musical notation such as the
2410 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2412 @lilypond[quote,ragged-right]
2415 \override Staff.Custos #'neutral-direction = #DOWN
2416 \override Staff.Custos #'style = #'hufnagel
2423 \consists "Custos_engraver"
2430 No cross-references.
2463 F: da capo, depuis le commencement,
2464 D: da capo, von Anfang,
2468 FI: da capo, alusta.
2470 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2471 the beginning to the end or to a certain place marked @emph{fine}.
2474 No cross-references.
2480 ES: dal niente, de la nada,
2483 D: aus dem Nichts, dal niente,
2487 FI: tyhjästä ilmaantuen.
2489 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2490 that the sound should gradually increase from nothing.
2501 F: dal segno, depuis le signe,
2502 D: dal segno, ab dem Zeichen,
2506 FI: dal segno, lähtien merkistä.
2508 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2509 another place frequently near the beginning marked by a sign
2512 @lilypond[quote,relative=2]
2520 \musicglyph #"scripts.segno"
2526 No cross-references.
2530 @section decrescendo
2534 D: Decrescendo, leiser werden,
2538 FI: decresendo, hiljentyen.
2540 Decreasing tone volume. Indicated by a leftwards opening horizontal
2541 wedge (hairpin) or the abbreviation @notation{decresc.}
2543 @lilypond[quote,relative=2]
2546 d4\> c b a | g1 \! \bar "|."
2550 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2553 @node descending interval
2554 @section descending interval
2556 ES: intervalo descendente,
2557 I: intervallo discendente,
2558 F: intervalle descendant,
2559 D: fallendes Intervall, absteigendes Intervall,
2560 NL: dalend interval,
2561 DK: faldende interval,
2562 S: fallande intervall,
2563 FI: laskeva intervalli.
2565 A distance between a starting higher note and a lower ending note.
2568 No cross-references.
2571 @node diatonic scale
2572 @section diatonic scale
2574 ES: escala diatónica,
2576 F: gamme diatonique,
2577 D: diatonische Tonleiter,
2578 NL: diatonische toonladder,
2579 DK: diatonisk skala,
2581 FI: diatoninen asteikko.
2583 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2584 played on the white keys of a piano keyboard are diatonic. These scales
2585 are sometimes called, somewhat inaccurately, @q{church modes}).
2587 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2588 but also to some extent in newer jazz music.
2590 @lilypond[quote,notime,relative=1]
2594 e^"~~ S" f g a b^"~~ S" c
2602 @lilypond[quote,notime,relative=1]
2606 e^"~~ S" f g a b^"~~ S" c d
2614 @lilypond[quote,notime,relative=1]
2617 e1^"~~ S" f g a b^"~~ S" c d e
2625 @lilypond[quote,notime,relative=1]
2629 b^"~~ S" c d e^"~~ S" f
2637 @lilypond[quote,notime,relative=2]
2641 b^"~~ S" c d e^"~~ S" f g
2649 @lilypond[quote,notime,relative=2]
2653 b^"~~ S" c d e^"~~ S" f g a
2661 @lilypond[quote,notime,relative=2]
2664 b1^"~~ S" c d e^"~~ S" f g a b
2672 From the beginning of the 17th century the scales used in European
2673 compositional music are primarily the major and the minor scales. In
2674 the harmonic minor scale type an augmented second (A) occurs between
2675 the 6th and 7th tone.
2677 @lilypond[quote,notime,relative=1]
2681 e^"~~ S" f g a b^"~~ S" c
2689 @lilypond[quote,notime,relative=2]
2693 b^"~~ S" c d e^"~~ S" f g a
2696 "Ancient (or Natural) minor"
2701 @lilypond[quote,notime,relative=2]
2705 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2713 @lilypond[quote,notime,relative=2]
2717 b^"~~ S" c d e fis gis^"~~ S" a
2720 "Melodic minor ascending"
2725 @lilypond[quote,notime,relative=3]
2729 g! f!^"~~ S" e d c^"~~ S" b a
2732 "Melodic minor descending"
2738 @ref{semitone}, @ref{whole tone}.
2742 @section didymic comma
2745 @ref{syntonic comma}.
2748 @node diminished interval
2749 @section diminished interval
2751 ES: intervalo disminuido,
2752 I: intervallo diminuito,
2753 F: intervalle diminué,
2754 D: vermindertes Intervall,
2755 NL: verminderd interval,
2756 DK: formindsket interval,
2757 S: förminskat intervall,
2758 FI: vähennetty intervalli.
2769 F: diminuendo, en diminuant,
2774 FI: diminuendo, hiljentyen.
2776 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2792 FI: aika-arvojen tihennys.
2794 This is a stub for diminution (@emph{wrt} mensural notation).
2797 @ref{augmentation}, @ref{mensural notation}.
2816 @node disjunct movement
2817 @section disjunct movement
2819 ES: movimiento disjunto,
2821 F: mouvement disjoint,
2822 D: sprunghafte Bewegung,
2823 NL: sprongsgewijze beweging,
2824 DK: springende bevægelse,
2825 S: hoppande rörelse,
2826 FI: melodian hyppivä liike.
2828 Progressing melodically by intervals larger than a major second, as contrasted
2829 with conjunct movement.
2831 @lilypond[quote,relative=1]
2835 a4. gis8 b a e cis |
2841 @ref{conjunct movement}.
2847 Another name for @ref{dissonant interval}.
2850 @ref{dissonant interval}, @ref{harmony}.
2853 @node dissonant interval
2854 @section dissonant interval
2856 ES: intervalo disonante, disonancia,
2857 I: intervallo dissonante, dissonanza,
2858 F: intervalle dissonant, dissonance,
2860 NL: dissonant interval, dissonant,
2861 DK: dissonerende interval, dissonans,
2863 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2881 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2882 vertical stroke through part or all of the staff that serves to
2883 structure a chant into phrases and sections. There are four types:
2887 @item @emph{divisio minima}, a short pause
2889 @item @emph{divisio maior}, a medium pause
2891 @item @emph{divisio maxima}, a long pause
2893 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2894 section in a long antiphonal or responsorial chant.
2898 TODO: musical example here?
2901 No cross-references.
2907 ES: elevación [de tono],
2908 I: portamento indeterminato verso l'alto/l'acuto,
2910 D: Glissando zu unbestimmter Tonhöhe,
2916 Indicator for an indeterminately rising pitch bend. Compare with
2917 @emph{glissando}, which has determinate starting and ending pitches.
2920 @ref{fall}, @ref{glissando}.
2933 FI: dominantti, huippusointu.
2935 The fifth @emph{scale degree} in @emph{functional harmony}.
2938 @ref{functional harmony}, @ref{scale degree}.
2941 @node dominant ninth chord
2942 @section dominant ninth chord
2944 ES: acorde de novena de dominante,
2945 I: accordo di nona di dominante,
2946 F: accord de neuvième de dominante,
2947 D: Domi@-nant@-nonen@-akkord,
2948 NL: dominant noon akkoord,
2949 DK: dominantnoneakkord,
2950 S: dominantnonackord,
2951 FI: dominanttinoonisointu.
2954 @ref{chord}, @ref{functional harmony}.
2957 @node dominant seventh chord
2958 @section dominant seventh chord
2960 ES: acorde de séptima de dominante,
2961 I: accordo di settima di dominante,
2962 F: accord de septième de dominante,
2963 D: Dominantseptakkord,
2964 NL: dominant septiem akkoord,
2965 DK: dominantseptimakkord,
2966 S: dominantseptimackord,
2967 FI: dominanttiseptimisointu.
2970 @ref{chord}, @ref{functional harmony}.
2974 @section dorian mode
2979 D: dorisch, dorischer Kirchenton,
2980 NL: dorische toonladder,
2986 @ref{diatonic scale}.
2989 @node dot (augmentation dot)
2990 @section dot (augmentation dot)
2993 I: punto (di valore),
2995 D: Punkt (Verlängerungspunkt),
3002 @ref{dotted note}, @ref{note value}.
3006 @section dotted note
3008 ES: nota con puntillo,
3012 NL: gepuncteerde noot,
3015 FI: pisteellinen nuotti.
3021 @node double appoggiatura
3022 @section double appoggiatura
3024 ES: apoyatura doble,
3025 I: appoggiatura doppia,
3026 F: appoggiature double,
3027 D: doppelter Vorschlag,
3028 NL: dubbele voorslag,
3029 DK: dobbelt forslag,
3031 FI: kaksoisappogiatura, kaksoisetuhele.
3037 @node double bar line
3038 @section double bar line
3044 NL: dubbele maatstreep,
3047 FI: kaksoistahtiviiva.
3049 Indicates the end of a section within a movement.
3052 No cross-references.
3055 @node double dotted note
3056 @section double dotted note
3058 ES: nota con doble puntillo,
3059 I: nota doppiamente puntata,
3060 F: note doublement pointée,
3061 D: doppelt punktierte Note,
3062 NL: dubbelgepuncteerde noot,
3063 DK: dob@-belt@-punk@-te@-ret node,
3064 S: dub@-bel@-punk@-te@-rad not,
3065 FI: kaksoispisteellinen nuotti.
3072 @section double flat
3081 FI: kaksoisalennusmerkki.
3088 @section double sharp
3090 ES: doble sostenido,
3095 DK: dob@-belt@-kryds,
3097 FI: kaksoisylennysmerkki.
3103 @node double time signature
3104 @section double time signature
3106 ES: compás polimétrico,
3107 I: indicazione di tempo doppia/polimetrica,
3109 D: zusammengesetzte Taktart,
3113 FI: kaksois-aika-arvomerkintä.
3116 @ref{polymetric time signature}.
3120 @section double trill
3126 NL: dubbele triller,
3131 A simultaneous trill on two notes, usually in the distance of a third.
3134 No cross-references.
3138 @section duple meter
3142 F: métrique binaire,
3143 D: in zwei, grader Takt,
3144 NL: tweedelige maatsoort,
3179 FI: kesto, aika-arvo.
3188 ES: dinámica, matices,
3191 D: Dynamik, Lautstärke,
3195 FI: äänen voimakkuusvaihtelu, dynamiikka.
3197 The aspect of music relating to degrees of loudness, or changes from
3198 one degree to another. The terms, abbreviations, and symbols used to
3199 indicate this information are called dynamic marks.
3202 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3224 @node ecclesiastical mode
3225 @section ecclesiastical mode
3228 @ref{church mode}, @ref{diatonic scale}.
3232 @section eighth note
3239 @item D: Achtel, Achtelnote
3240 @item NL: achtste noot
3241 @item DK: ottendedelsnode
3242 @item S: åttondelsnot
3243 @item FI: kahdeksasosanuotti
3251 @section eighth rest
3254 @item UK: quaver rest
3255 @item ES: silencio de corchea
3256 @item I: pausa di croma
3257 @item F: demi-soupir
3258 @item D: Achtelpause
3259 @item NL: achtste rust
3260 @item DK: ottendedelspause
3261 @item S: åttonddelspaus
3262 @item FI: kahdeksasosatauko
3272 @c TODO: add languages
3281 FI: tavujen yhdistäminen yhteen ääneen.
3283 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3284 @emph{συναλοιφην} @q{to smear together}].
3286 The singing of several syllables on a single note. Elision may be indicated
3287 by a lyric tie, which looks like (and serves the same function) as a musical
3295 @section embellishment
3307 D: Notenstich, Notendruck
3313 Engraving means incising or etching a metal plate for printing.
3314 Photoengraving means drawing music with ink in a manner similar to
3315 drafting or engineering drawing, using similar tools.
3317 The traditional process of music printing is done through cutting in a
3318 plate of metal. Now also the term for the art of music typesetting.
3321 No cross-references.
3336 Two notes, intervals, or scales are enharmonic if they have different
3337 names but equal pitch.
3339 @lilypond[quote,notime,line-width=13.0\cm]
3343 gis1 as <des g,!> <cis g!>
3347 "g sharp " "a flat " "dim fifth " "augm fourth"
3353 No cross-references.
3356 @node equal temperament
3357 @section equal temperament
3359 ES: temperamento igual,
3360 I: temperamento equabile,
3361 F: tempérament égal,
3362 D: gleichschwebende Stimmung,
3363 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3364 DK: ligesvævende temperatur,
3365 S: liksvävande temperatur,
3368 A tuning system that divides the octave into 12 equal semitones (each of
3369 which is precisely equal to 100 cents).
3372 @ref{cent}, @ref{semitone}, @ref{temperament}.
3375 @node expression mark
3376 @section expression mark
3379 I: segno d'espressione,
3380 F: signe d'expression, indication de nuance,
3382 NL: voordrachtsteken,
3383 DK: foredragsbetegnelse,
3384 S: föredragsbeteckning,
3385 FI: nyanssiosoitus, esitysmerkki.
3387 Performance indications concerning:
3391 @item volume, dynamics (for example, @notation{forte},
3392 @notation{crescendo}),
3394 @item tempo (for example, @notation{andante}, @notation{allegro}).
3399 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3403 @section extender line
3405 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3406 I: linea di estensione,
3407 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3414 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3415 extends text (without indicating the musical @emph{function} of that text).
3417 Used in many contexts, for example:
3421 @item In vocal music to indicate the syllable for a melisma. Called
3422 @q{extension} in the
3423 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3427 In figured bass to indicate that:
3431 @item The extended note should be held through a change in harmony, when applied
3432 to one figure --OR--
3433 @item The chord thus represented should be held above a moving bass line, when
3434 applied to more than one figure.
3435 @item These uses were not completely standardized, and some composers used a
3436 single extender line to indicate the latter case.
3441 In string music to indicate that all notes in the passage thus indicated should
3442 be played on the same string. On the violin, for example, a series of notes to
3443 be played on the G string would be indicated @notation{sul G}, another series to be
3444 played on the D string would be indicated @notation{sul D}, and so on.
3447 With an octave mark to indicate that a passage is to be played higher or lower
3448 by the given number of octaves.
3453 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3454 @ref{octave marking}.
3487 The position between the dots of the key symbol is the line of the F
3488 below central@w{ }C. Used on the third, fourth and fifth note line.
3489 A digit@w{ }8 above the clef symbol indicates that the notes must be
3490 played an octave higher (for example, bass recorder) while 8@w{ }below
3491 the clef symbol indicates playing an octave lower (for example, on the
3494 @lilypond[quote,notime,line-width=13.0\cm]
3497 \override Staff.Clef #'full-size-change = ##t
3520 @ref{baritone clef}, @ref{strings}.
3526 ES: caída [de tono],
3527 I: portamento indeterminato verso il basso/il grave,
3529 D: Glissando zu unbestimmter Tonhöhe nach unten,
3535 Indicator for an indeterminately falling pitch bend. Compare with
3536 @emph{glissando}, which has determinate starting and ending pitches.
3539 @ref{doit}, @ref{glissando}.
3542 @node feathered beam
3543 @section feathered beam
3545 ES: barra progresiva,
3546 I: travatura convergente/divergente,
3547 F: ligature en soufflet, lien de croches en soufflet,
3548 D: gespreizter Balken,
3554 A type of beam used to indicate that a small group of notes should be
3555 played at an increasing or decreasing tempo -- depending on the
3556 direction of @q{feathering} -- but without changing the overall tempo
3560 Internals Reference: @ruser{Manual beams}
3566 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3570 F: point d'orgue, point d'arrêt,
3575 FI: fermaatti, pidäke.
3577 Prolonged note or rest of indefinite duration.
3579 @lilypond[quote,relative=2]
3586 No cross-references.
3606 @section figured bass
3609 I: basso continuo, basso numerato,
3610 F: basse chiffrée, basse continue,
3611 D: Generalbass, bezifferter Bass,
3612 NL: basso continuo, becijferde bas
3615 FI: kenraalibasso, numeroitu basso.
3617 Also called @q{thorough bass}.
3619 A method of indicating an accompaniment part by the bass notes only,
3620 together with figures designating the chief intervals and chords to be
3621 played above the bass notes.
3623 @lilypond[quote,line-width=13.0\cm]
3625 \new Staff = "rh" \with {
3627 \override StaffSymbol #'staff-space = #(magstep -3)
3633 \context Voice = "rha" {
3638 \context Voice = "rhb" {
3640 <bes g>8 as <as f> g <g es> f <d f> es
3645 \new Staff = "lh" \relative c' {
3648 es8 c d bes c as bes16 as g f
3652 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3658 @ref{chord}, @ref{interval}.
3673 Figures to the side or above the note that methodically indicate which
3674 fingers to use while playing a passage.
3677 No cross-references.
3684 I: coda (uncinata), bandiera,
3692 Ornament at the end of the stem of a note used for notes with values less
3693 than a quarter note. The number of flags determines the note value.
3695 @lilypond[quote,notime,relative=2]
3718 An articulation for string players that means the note or passage is to
3719 be played in harmonics.
3725 @item A duct flute similar to the recorder.
3727 @item An organ stop of flute scale at 1' or 2' pitch.
3732 @ref{articulation}, @ref{harmonics}.
3768 FI: forte, voimakkaasti.
3772 Abbreviated @notation{@b{f}}. Variants include:
3775 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3776 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3780 No cross-references.
3799 @node Frenched score
3800 @section Frenched score
3802 ES: partitura a la francesa,
3803 I: partitura senza i righi vuoti,
3805 D: Orchesterpartitur ohne leere Systeme,
3809 FI: partituuri ilman tyhjiä nuottiviivastoja.
3811 A @q{condensed} score, produced by omitting staves for instruments that are not
3812 playing at the moment, and by moving up additional systems from following pages
3813 to take up the space thus liberated, which reduces the total number of pages
3814 used to print the work.
3816 The specific rules for @q{frenching} a score differ from publisher to publisher.
3817 If you are producing scores for eventual publication by a commercial publisher,
3818 you may wish to procure a copy of their style manual.
3821 @ref{Frenched staff}.
3824 @node Frenched staff
3825 @section Frenched staff
3827 ES: pentagrama a la francesa,
3830 D: zeitweiliges Notensystem,
3834 FI: karsittu nuotinnus.
3836 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3837 Frenched staff has unneeded measures or sections removed. This is useful
3838 for producing, for example, an @emph{ossia} staff.
3844 @node Frenched staves
3845 @section Frenched staves
3847 Plural of @ref{Frenched staff}.
3866 @node functional harmony
3867 @section functional harmony
3869 ES: armonía funcional,
3870 I: armonia funzionale,
3871 F: étude des functions,
3873 NL: functionele harmonie,
3874 DK: funktionsanalyse, funktionsharmonik,
3876 FI: harmoniajärjestelmä.
3878 A system of harmonic analysis.
3880 It is based on the idea that, in a given key, there are only three
3881 functionally different chords: tonic (T, the chord on the first note of the
3882 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3883 chord on the fifth note). Others are considered to be variants of the base
3885 A few examples among many others are the tonic, subdominant or dominant of
3886 the parallel minor scale, or the incomplete dominant seventh chord.
3888 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3889 #(define-markup-command (diagonal-stroke layout props arg)
3892 #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
3894 ((thick (* (magstep font-size)
3895 (ly:output-def-lookup layout 'line-thickness)))
3896 (underline-thick (* thickness thick))
3897 (markup (interpret-markup layout props arg))
3898 (x1 (car (ly:stencil-extent markup X)))
3899 (x2 (cdr (ly:stencil-extent markup X)))
3900 (y1 (car (ly:stencil-extent markup Y)))
3901 (y2 (cdr (ly:stencil-extent markup Y)))
3902 (dx (* extension (- x2 x1)))
3903 (dy (* extension (- y2 y1)))
3904 (line (make-line-stencil underline-thick
3906 (+ x2 dx) (+ y2 dy))))
3907 (ly:stencil-add markup line)))
3910 <g e c>1 <a f d> <b g e>
3911 <c a f> <d b g> <e c a> <f d b>
3915 \markup { \concat { \diagonal-stroke D \super "7" } }
3921 @ref{dominant}, @ref{incomplete dominant seventh chord},
3922 @ref{subdominant}, @ref{tonic}.
3949 D: G-Schlüssel, Violinschlüssel,
3955 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3956 second note lines. A digit 8 above the clef symbol indicates that the notes
3957 must be played an octave higher while 8 below the clef symbol indicates
3958 playing or singing an octave lower (used most frequently to notate the tenor
3959 part in modern choral scores).
3961 @lilypond[quote,notime]
3963 \override Staff.Clef #'full-size-change = ##t
3964 \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
3975 "french violin clef"
3983 No cross-references.
3996 FI: glissando, liukuen.
3998 Letting the pitch slide fluently from one note to the other.
4001 No cross-references.
4005 @section grace notes
4007 ES: notas de adorno,
4009 F: ornement, fioriture,
4010 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4016 Notes printed in small types to indicate that their time values are not
4017 counted in the rhythm of the bar.
4020 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
4024 @section grand staff
4026 ES: sistema de piano,
4028 F: système [de portées], accolade,
4029 D: Akkolade, Klaviersystem,
4032 S: ackolad, böjd klammer,
4033 FI: kaksoisnuottiviivasto.
4035 A combination of two staves with a brace. Usually used for piano music.
4051 FI: grave, raskaasti.
4053 [Italian] Slow, solemn.
4056 No cross-references.
4080 Letter name used for @notation{B natural} in German and Scandinavian
4081 usage. In the standard usage of these countries, @notation{B} means
4085 @ref{Pitch names}, @ref{B}.
4091 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4094 @lilypond[quote,relative=2]
4101 @ref{crescendo}, @ref{decrescendo}.
4112 @item D: Halbe, halbe Note,
4113 @item NL: halve noot,
4116 @item FI: puolinuotti.
4127 @item UK: minim rest,
4128 @item ES: silencio de blanca,
4129 @item I: pausa di minima,
4130 @item F: demi-pause,
4131 @item D: halbe Pause,
4132 @item NL: halve, rust,
4133 @item DK: halvnodespause,
4135 @item FI: puolitauko.
4142 @node harmonic cadence
4143 @section harmonic cadence
4145 ES: cadencia (armónica),
4146 I: cadenza (armonica),
4147 F: cadence harmonique,
4149 NL: harmonische cadens,
4150 DK: harmonisk kadence,
4151 S: (harmonisk) kadens,
4152 FI: harmoninen kadenssi.
4154 A sequence of chords that terminates a musical phrase or section.
4158 \context Staff = "SA" \relative c'' {
4161 \partial 4 <c g e>4 |
4162 <c a f> <b g d> <c g e>2
4165 \context Staff = "SB" \relative c {
4167 \partial 4 c4 | f, g c2
4179 @ref{functional harmony}.
4185 ES: armónicos, sonidos aflautados,
4187 F: flageolet, sons harmoniques,
4192 FI: harmoniset äänet, huiluäänet.
4194 The general class of pitches produced by sounding the second or higher
4195 harmonic of a tone producer: string, column of air, and so on.
4197 On stringed instruments, these pitches sound rather flute-like; hence,
4198 their name in languages other than English. They are produced by
4199 lightly touching the string at a node for the desired mode of vibration
4200 while it is being bowed or plucked.
4202 For instruments of the violin family, there are two types of harmonics:
4203 natural harmonics, which are those played on the open string; and
4204 artificial harmonics, which are produced on stopped strings.
4207 No cross-references.
4216 D: Harmonie, Zusammenklang,
4220 FI: harmonia, yhteissointi.
4222 Tones sounding simultaneously. Two note harmonies fall into the
4223 categories @emph{consonances} and @emph{dissonances}.
4227 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4239 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4240 <g a>1_"second " s s
4241 <g f'>_"seventh " s s
4245 For harmony that uses three or more notes, see @ref{chord}.
4255 I: emiolia, (rarely hemiola or emiola),
4261 FI: hemioli, 3/2 -suhde.
4263 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4265 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4266 time normally occupied by two. The resulting rhythm can be expressed in modern
4267 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4268 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4269 as a special effect (or @emph{affect}) at cadences.
4271 For example, this phrase in 6/4 time
4273 @lilypond[quote,relative=1,line-width=13.0\cm]
4276 c2. e | d2 c d | c1. \bar "||"
4279 may be thought of having alternating time signatures
4281 @lilypond[quote,relative=1,line-width=13.0\cm]
4291 and is therefore a polymeter (second definition) of considerable antiquity.
4294 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4307 FI: homofonia, yksiäänisyys.
4309 Music in which one voice leads melodically supported by the other voices in
4310 the same rhythm (more or less). In contrast to @emph{polyphony}.
4327 I: metrica dell'inno,
4333 FI: säkeiden tavumäärät.
4335 A group or list of numbers that indicate the number of syllables in a line
4336 of a hymn's verse. Different hymnals have different ways of noting the hymn
4337 meter: for example, consider a hymn that has four lines in two couplets
4338 alternating regularly between eight and seven syllables. The @emph{English
4339 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4340 or 8@w{ }7@w{ }8@w{ }7.
4342 Some frequently-used hymn meters have traditional names:
4345 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4346 @item 86.86 is called Common Meter (CM or C.M.)
4347 @item 88.88 is called Long Meter (LM or L.M.)
4350 Some hymns and their tunes are doubled versions of a simpler meter: for
4351 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4352 87.87D. The traditional names above also have doubled versions:
4355 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4356 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4357 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4361 No cross-references.
4364 @node incomplete dominant seventh chord
4365 @section incomplete dominant seventh chord
4368 I: accordo di settima dominante incompleto,
4370 D: verkürzter Dominantseptakkord,
4376 A dominant seventh chord where the root tone is removed.
4377 The remaining three tones build a diminished triad.
4380 @ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
4393 FI: intervalli, kahden sävelen korkeusero.
4395 Difference in pitch between two notes. Intervals may be diminished, minor,
4396 perfect, major, or augmented. The augmented fourth and the diminished fifth
4397 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4398 and are called @emph{tritonus} because they consist of three whole tones.
4399 The addition of such two intervals forms an octave.
4403 \context Voice \relative c'' {
4440 \context Lyrics \lyrics {
4442 "second " "second " "second " "second "
4443 "third " "third " "third " "third "
4444 "fourth " "fourth " "fourth "
4445 "fifth " "fifth " "fifth "
4446 "sixth " "sixth " "sixth " "sixth "
4447 "seventh" "seventh" "seventh" "seventh"
4448 "octave " "octave " "octave "
4454 @ref{enharmonic}, @ref{whole tone}.
4469 When a chord sounds with a bass note that differs from the root of the
4470 chord, it is said to be @emph{inverted}. The number of inversions that a
4471 chord can have is one fewer than the number of constituent notes. For
4472 example, triads (which have three constituent notes) can have three
4473 positions, two of which are inversions:
4477 The root note is in the bass, and above that are the third and the fifth. A
4478 triad built on the first scale degree, for example, is marked @notation{I}.
4480 @item First inversion
4481 The third is in the bass, and above it are the fifth and the root. This
4482 creates an interval of a sixth and a third above the bass note, and so is
4483 marked in figured Roman notation as @notation{6/3}. This is commonly
4484 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4485 characteristic interval of the inversion, and so always implies
4488 @item Second inversion
4489 The fifth is in the bass, and above it are the root and the third. This
4490 creates an interval of a sixth and a fourth above the bass note, and so is
4491 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4492 unstable chord position.
4496 No cross-references.
4499 @node inverted interval
4500 @section inverted interval
4502 ES: intervalo invertido,
4503 I: intervallo rivolto,
4504 F: intervalle renversé,
4505 D: umgekehrtes Intervall,
4506 NL: interval inversie,
4507 DK: omvendingsinterval,
4508 S: intervallets omvändning,
4509 FI: käänteisintervalli.
4511 The difference between an interval and an octave.
4513 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4514 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4515 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4516 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4520 No cross-references.
4523 @node just intonation
4524 @section just intonation
4526 ES: entonación justa,
4527 I: intonazione giusta,
4528 F: intonation juste,
4535 Tuning system in which the notes are obtained by adding and subtracting
4536 natural fifths and thirds.
4554 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4555 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4558 @ref{chromatic scale}, @ref{key signature}.
4562 @section key signature
4564 ES: armadura (de la clave),
4565 I: armatura di chiave,
4566 F: armure, armature [de la clé],
4567 D: Vorzeichen, Tonart,
4568 NL: toon@-soort (voortekens),
4571 FI: sävellajiosoitus.
4573 The sharps or flats appearing at the beginning of each staff indicating the
4579 @node kievan notation
4580 @section kievan notation
4582 A form of medieval music notation used predominantly in the chantbooks
4583 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4584 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4585 characterized by the square shape of its noteheads.
4588 @node laissez vibrer
4589 @section laissez vibrer
4594 D: Laissez vibrer, schwingen lassen,
4600 [French: @q{Let vibrate}] Most frequently associated with harp
4601 parts. Marked @notation{l.v.} in the score.
4604 No cross-references.
4612 F: largo, large, ample,
4613 D: Largo, Langsam, Breit,
4617 FI: largo, hitaasti, leveästi.
4619 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4620 expressiveness. @emph{Larghetto} is less slow than largo.
4624 @section leading note
4635 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4636 called because of its strong tendency to @q{lead up} (resolve upwards)
4637 to the tonic scale degree.
4640 @ref{scale degree}, @ref{semitone}.
4644 @section ledger line
4646 ES: línea adicional,
4647 I: tagli addizionali,
4648 F: ligne supplémentaire,
4655 A ledger line is an extension of the staff.
4657 @lilypond[quote,notime,relative=2]
4664 No cross-references.
4673 D: legato, gebunden,
4679 To be performed (a) without any perceptible interruption between the
4680 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4681 @notation{portato}, or (d) @notation{staccato}.
4683 @lilypond[quote,notime,line-width=13.0\cm]
4685 \context Staff \relative c'' {
4686 c4-( d e-) \bar "||"
4687 c4-- d-- e-- \bar "||"
4688 c4-.-( d-. e-.-) \bar "||"
4689 c4-. d-. e-. \bar "||"
4705 @section legato curve
4708 @ref{slur}, @ref{legato}.
4730 A ligature is a coherent graphical symbol that represents at least two
4731 distinct notes. Ligatures originally appeared in the manuscripts of
4732 Gregorian chant notation around the 9th century to denote ascending or
4733 descending sequences of notes. In early notation, ligatures were used for
4734 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4735 performance in the sense of articulation. With the invention of the metric
4736 system of the white mensural notation, the need for ligatures to denote such
4737 patterns disappeared.
4740 @ref{mensural notation}.
4747 ES: estanque de nenúfares,
4748 I: stagno del giglio,
4749 F: étang de nénuphars, étang de nymphéas,
4751 NL: le@-lie@-vij@-ver,
4756 A pond with lilies floating in it.
4758 Also, the name of a music typesetting program.
4761 No cross-references.
4770 D: Linie, Notenlinie,
4774 FI: viiva, nuottiviiva.
4790 FI: kirjoitetussa äänenkorkeudessa.
4792 [Italian: @q{place}] Instruction to play the following passage at the
4793 written pitch. Cancels octave mark (q.v.).
4796 @ref{octave mark}, @ref{octave marking}.
4799 @node long appoggiatura
4800 @section long appoggiatura
4802 ES: apoyatura larga,
4803 I: appoggiatura lunga,
4804 F: appoggiature longue,
4809 FI: pitkä appoggiatura, pitkä etuhele.
4819 @item US: long, longa,
4822 @item F: longa, longue,
4830 Note value: twice the length of a @notation{breve}.
4832 @lilypond[quote,notime,relative=2]
4833 \override NoteHead #'style = #'mensural
4838 @ref{breve}, @ref{note value}.
4844 ES: ligadura de letra,
4845 I: legatura del testo,
4846 F: ligature de mots,
4851 FI: sidonta sanoituksessa.
4853 @c TODO: add languages
4862 ES: letra (de la canción),
4865 D: Liedtext, Gesangstext,
4874 No cross-references.
4890 @ref{diatonic scale}.
4893 @node major interval
4894 @section major interval
4896 ES: intervalo mayor,
4897 I: intervallo maggiore,
4898 F: intervalle majeur,
4899 D: großes Intervall,
4903 FI: suuri intervalli.
4921 Note value: twice the length of a @notation{longa}.
4923 The maxima is the largest duration in use during the 15th and 16th centuries.
4924 Like the longa, the maxima can be either two or three times as long as the
4925 @notation{longa} (called @notation{binary} and @notation{ternary},
4926 respectively). By the late 15th century, most composers used the smaller
4927 proportion by default.
4930 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4933 @node meantone temperament
4934 @section meantone temperament
4936 ES: afinación mesotónica,
4937 I: accordatura mesotonica,
4938 F: tempérament mésotonique,
4939 D: mitteltönige Stimmung,
4940 NL: middenstemming, middentoonstemming,
4941 DK: middeltonetemperatur,
4942 S: medeltonstemperatur,
4943 FI: keskisävelviritys.
4945 Temperament yielding acoustically pure thirds by decreasing the natural
4946 fifth by 16@w{ }cents. Due to the non-circular character of this
4947 temperament only a limited set of keys are playable. Used for tuning
4948 keyboard instruments for performance of pre-1650 music.
4951 @ref{cent}, @ref{temperament}.
4966 A group of beats (units of musical time) the first of which bears an accent.
4967 Such groups in numbers of two or more recur consistently throughout the
4968 composition and are separated from each other by bar lines.
4971 @ref{bar line}, @ref{beat}, @ref{meter}.
4974 @node measure repeat
4975 @section measure repeat
4978 @ref{percent repeat}.
4985 I: mediante, modale,
4995 @item The third @b{scale degree}.
4997 @item A @emph{chord} having its base tone a third from that of another
4998 chord. For example, the tonic chord may be replaced by its lower
4999 mediant (variant tonic).
5004 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5017 FI: melisma, laulettavan tavun sävelkuvio.
5019 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5020 on one syllable, especially as applied to liturgical chant.
5023 No cross-references.
5027 @section melisma line
5029 @c TODO: add languages
5031 ES: línea de melisma,
5032 I: linea del melisma,
5033 F: trait de mélisme, trait de tenue,
5041 @ref{extender line}.
5044 @node melodic cadence
5045 @section melodic cadence
5051 @node mensural notation
5052 @section mensural notation
5054 @c TODO: add languages
5056 ES: notación mensural,
5057 I: notazione mensurale,
5058 F: notation mensurale,
5059 D: Mensuralnotation,
5063 FI: mensuraalinuotinnus.
5065 A system of duration notation whose principles were first established in the
5066 mid-13th century, and that (with various changes) remained in use until about
5067 1600. As such, it is the basis for the notation of rhythms in Western musical
5070 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5071 of the notation's principles, so the notation of this earliest period is called
5072 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5073 and semibreve -- each of which was normally equivalent to three of the next
5076 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5077 added several note values (the minim, semiminim and fusa) and extended Franco's
5078 principles to govern the relationship between these values. They also put the
5079 duple division of note values on an equal footing with the earlier (preferred)
5082 TODO: continue description of French and Italian black notation, and the
5083 relationship betwixt them.
5085 @b{White or void mensural notation}
5087 In the 15th century, hollow (or void) notes began to substitute for the earlier
5088 solid black ones, which were then free to assume the function of red (or
5089 colored) notes in the earlier notation. ...
5091 TODO: add to definition (including summary info on proportional notation)
5094 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5095 @c TODO: more cross-references?
5098 @node mensuration sign
5099 @section mensuration sign
5101 @c TODO: add languages
5103 ES: signo de mensuración,
5104 I: indicazione mensurale,
5105 F: signe de mensuration,
5112 The ancestor of the time signature, mensuration signs were used to indicate the
5113 relationship between two sets of note durations—specifically, the ratio of
5114 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5115 (called @notation{prolatio}).
5117 Each ratio was represented with a single single sign, and was either
5118 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5119 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5120 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5121 represented by a complete circle; applied to the @emph{prolatio}, it was called
5122 @emph{major} and was represented by a dot in the middle of the sign. The binary
5123 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5124 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5125 @emph{minor} and was represented by the lack of an internal dot. There are four
5126 possible combinations, which can be represented in modern time signatures with
5127 and without reduction of note values. (These signs are hard-coded in LilyPond
5131 @item perfect @emph{tempus} with major @emph{prolatio}
5132 Indicated by a complete circle with an internal dot. In modern time signatures,
5135 @item 9/4, with reduction or
5136 @item 9/2, without reduction
5139 @item perfect @emph{tempus} and minor @emph{prolatio}
5140 Indicated by a complete circle without an internal dot. In modern time
5141 signatures, this equals:
5143 @item 3/2, with reduction or
5144 @item 3/1, without reduction
5147 @item imperfect @emph{tempus} and major @emph{prolatio}
5148 Indicated by an incomplete circle with an internal dot. In modern time
5149 signatures, this equals:
5151 @item 6/4, with reduction or
5152 @item 6/2, without reduction
5155 @item imperfect @emph{tempus} and minor @emph{prolatio}
5156 Indicated by an incomplete circle without an internal dot. In modern time
5157 signatures, this equals:
5159 @item 4/4, with reduction or
5160 @item 2/1, without reduction
5164 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5165 with note values reduced from the original semibreve to a modern quarter note.
5166 Being doubly imperfect, this sign represented the (theoretically)
5167 least-preferred mensuration, but it was actually used fairly often.
5169 This system extended to the ratio of longer note values to each other:
5173 @item maxima to longa, called:
5177 @item @notation{modus maximorum},
5178 @item @notation{modus major}, or
5179 @item @notation{maximodus})
5183 @item longa to breve, called:
5187 @item @notation{modus longarum},
5188 @item @notation{modus minor}, or
5189 @item @notation{modus}
5195 In the absence of any other indication, these modes were assumed to be
5196 binary. The mensuration signs only indicated tempus and prolatio, so
5197 composers needed another way to indicate these longer ratios (called modes.
5198 Around the middle of the 15th century started to use groups of rests at the
5199 beginning of the staff, preceding the mensuration sign.
5202 Two mensuration signs have survived to the present day: the C-shaped sign,
5203 which originally designated @notation{tempus imperfectum} and
5204 @notation{prolatio minor} now stands for @notation{common time}; and the
5205 slashed C, which designated the same with @notation{diminution} now stands
5206 for @notation{cut time} (essentially, it has not lost its original meaning).
5209 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5210 @c TODO: more cross-references?
5218 F: indication de mesure, mesure,
5225 The pattern of note values and accents in a composition or a section thereof.
5226 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5227 by grouping beats and by subdividing the primary beat.
5229 @b{By grouping beats}:
5233 @item @b{duple}: groups of two.
5234 @item @b{triple}: groups of three.
5235 @item @b{quadruple}: groups of four. A special case of duple meter.
5236 @item @b{quintuple}: groups of five beats.
5237 @item @b{sextuple} meter: groups of six. A special case of:
5241 @item duple meter, subdivided in three; or
5242 @item triple meter, subdivided in two.
5246 @item @b{septuple} meter: groups of seven.
5251 Other than triple meter and its subdivided variants (see below), meters that
5252 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5253 frequently used prior to the 20th Century.
5255 @b{By subdividing the primary beat}:
5259 @item simple: subdivided in groups of two.
5263 @item duple: 2/2, 2/4, 2/8
5264 @item triple: 3/2, 3/4, 3/8
5265 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5269 @item compound: subdivided in groups of three.
5275 @item quadruple: 12/8
5281 Time signatures are placed at the beginning of a composition (or section) to
5282 indicate the meter. For instance, a piece written in simple triple meter with a
5283 beat on each quarter note is conventionally written with a time signature of
5284 3/4. Here are some combinations of the two classifications above:
5286 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5288 @lilypond[quote,line-width=13.0\cm]
5292 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5295 Simple triple meter:
5297 @lilypond[quote,line-width=13.0\cm]
5301 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5304 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5306 @lilypond[quote,line-width=13.0\cm]
5310 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5313 Simple quintuple meter (B. Marcello, 1686-1739):
5315 @lilypond[quote,line-width=13.0\cm]
5319 r4 cis8 bis ais4 dis c8 ais |
5320 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5323 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5324 the source, with sharps in the accompaniment where the voice has flats and
5327 Compound duple meter (unknown):
5329 @lilypond[quote,line-width=13.0\cm]
5333 f8 f g a bes16 a g f |
5334 g8 g bes a c16 a bes g
5338 Compound triple meter (J.S. Bach, 1685-1750):
5340 @lilypond[quote,line-width=13.0\cm]
5344 r8 g'( a) b( d c) c( e d) |
5345 d( g fis) g( d b) g( a b)
5349 Compound quadruple meter (P. Yon, 1886-1943):
5351 @lilypond[quote,line-width=13.0\cm]
5355 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5356 e4 e8 fis( gis) a b4.~ b4 b8
5361 @b{@q{Monometer} vs Polymeter}
5363 TODO: add information from discussion on lilypond-user related to polymeter.
5367 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5382 Device used to indicate the exact tempo of a piece.
5384 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5385 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5386 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5387 followed acknowledged Winkler as the creator, but by then Mälzel had already
5388 sold many of them, and people had taken to calling it a Mälzel Metronome.
5391 @ref{metronome mark}.
5394 @node metronome mark
5395 @section metronome mark
5397 ES: indicación metronómica,
5398 I: indicazione metronomica,
5399 F: indication métronomique,
5401 NL: metronoom aanduiding,
5403 S: metronomangivelse,
5404 FI: metronomiosoitus.
5406 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5407 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5414 @node metronomic indication
5415 @section metronomic indication
5418 @ref{metronome mark}
5431 FI: kohtalaisen, melko.
5433 [Italian: @q{medium}]
5435 Used to qualify other indications, such as:
5441 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5443 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5449 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5456 No cross-references.
5460 @section mezzo-soprano
5471 The female voice between soprano and contralto.
5474 @ref{soprano}, @ref{contralto}.
5483 D: zweigestrichenes@w{ }c,
5485 DK: enstreget@w{ }c,
5486 S: ettstruket@w{ }c,
5489 First C below the 440 Hz A.
5491 @lilypond[quote,notime,relative=1]
5492 \override Staff.Clef #'full-size-change = ##t
5499 No cross-references.
5515 @ref{diatonic scale}.
5518 @node minor interval
5519 @section minor interval
5521 ES: intervalo menor,
5522 I: intervallo minore,
5523 F: intervalle mineur,
5524 D: kleines Intervall,
5528 FI: pieni intervalli.
5534 @node mixolydian mode
5535 @section mixolydian mode
5538 @ref{diatonic scale}.
5547 D: Kirchentonart, Modus,
5551 FI: moodi, kirkkosävelasteikko.
5554 @ref{church mode}, @ref{diatonic scale}.
5567 FI: modulaatio, sävellajin vaihdos.
5569 Moving from one @ref{key} to another. For example, the second subject
5570 of a @ref{sonata form} movement modulates to the dominant key if the
5571 key is major and to the @ref{relative key} if the key is minor.
5574 No cross-references.
5586 FI: mordent, korukuvio.
5589 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5610 FI: teema, sävelaihe.
5612 The briefest intelligible and self-contained fragment of a musical
5615 @lilypond[quote,line-width=13.0\cm]
5618 \set Score.implicitTimeSignatureVisibility = #all-invisible
5619 \override Score.TimeSignature #'break-visibility = #all-invisible
5622 \partial 8 g16\startGroup fis |
5623 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5624 g8 g,16 a b8 cis d16 s
5628 \Staff \consists "Horizontal_bracket_engraver"
5634 No cross-references.
5649 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5650 several -- more or less -- independent pieces called movements.
5653 No cross-references.
5656 @node multi-measure rest
5657 @section multi-measure rest
5659 ES: compases de espera, silencio multicompás,
5661 F: pause multiple, mesure à compter,
5663 D: mehrtaktige Pause, Kirchenpause,
5666 FI: usean tahdin mittainen tauko.
5668 Multi-measure rests are conventionally typeset with a combination of
5669 longa, breve and whole rests for shorter and a long horizontal bar for
5670 longer spans of rest, with a number above to indicate the duration (in
5671 measures) of the rest. The former style is called @q{Kirchenpausen} in
5672 German, as a reminiscence of its use in Renaissance vocal polyphony.
5674 @lilypond[quote,relative=2]
5676 \set Score.skipBars = ##t
5679 \set Score.skipBars = ##t
5685 @ref{longa}, @ref{breve}.
5694 D: Auflösungszeichen,
5695 NL: herstellingsteken,
5696 DK: op@-løsningstegn,
5697 S: återställningstecken,
5704 @node neighbor tones
5705 @section neighbor tones
5707 @c TODO: add definition.
5719 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5720 @ref{mordent}, @ref{ornament}.
5758 Notes are signs by means of which music is fixed in writing. The term is also
5759 used for the sound indicated by a note, and even for the key of the piano
5760 which produces the sound. However, a clear distinction between the terms tone
5761 and @ref{note} is strongly recommended. Briefly, one sees a note,
5765 No cross-references.
5772 I: testa, testina, capocchia,
5780 A head-like sign which indicates pitch by its position on a @notation{staff}
5781 provided with a @notation{clef}, and duration by a variety of shapes such as
5782 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5783 For percussion instruments (often having no defined pitch) the note head may
5784 indicate the instrument.
5787 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5800 ES: valor, duración,
5802 F: durée, valeur (d'une note),
5807 FI: nuotin aika-arvo.
5809 Note values (durations) are measured as fractions—in modern usage, one-half—of
5810 the next higher note value. The longest duration in current use is the
5811 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5812 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5813 or @notation{maxima} (eight whole notes) may be found.
5815 As used in mensural notation, this fraction was more flexible: it could also
5816 be one-third the higher note value. Composers indicated which proportions
5817 to use with various signs—two of which survive to the present day: the
5818 C-shaped sign for @notation{common time}, and the slashed C for
5819 @notation{alla breve} or @notation{cut time}.
5821 @c TODO -- add maxima to this example, in a way that doesn't break it.
5823 @lilypond[quote,notime,line-width=13.0\cm]
5825 \override NoteHead #'style = #'mensural
5826 a\longa_"longa" a\breve_"breve"
5827 \revert NoteHead #'style
5828 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5829 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5832 @c TODO -- add maxima rest to this example
5834 @lilypond[quote,notime,line-width=13.0\cm]
5836 r\longa_"longa" r\breve_"breve"
5837 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5838 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5841 An augmentation dot after a note increases its duration by half; a second dot
5842 increases it by half of the first addition (that is, by a fourth of the original
5843 duration). More dots can be used to add further halved fractions of the
5844 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5846 @lilypond[quote,line-width=13.0\cm]
5849 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5850 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5853 Alternatively note values may be subdivided by other ratios. Most common is
5854 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5855 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5856 dotted notes are also frequently used.
5858 @lilypond[quote,line-width=13.0\cm]
5861 \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5862 \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5866 @lilypond[quote,line-width=13.0\cm]
5869 \tuplet 2/3 {g4_"duplets" g} |
5871 \tuplet 4/6 {g8_"quadruplets" g g g} |
5872 g8 g g g g4 \bar "||"
5884 @ref{octave marking}.
5899 The interval of an octave, sometimes abbreviated @notation{8ve}.
5901 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5902 bracket, or @notation{loco} see octave marking.
5905 @ref{interval}, @ref{octave marking}.
5909 @section octave mark
5911 ES: indicación de octava,
5913 F: indication d'octave,
5914 D: Oktavierungszeichen,
5920 The phrase, abbreviation, or other mark used (with or without an extender line
5921 or bracket) to indicate that the music is to be played in a different octave:
5925 @item @notation{15ma}: play two octaves higher
5926 @item @notation{8va}: play one octave higher
5927 @item @notation{8vb}: play one octave lower
5928 @item @notation{8va} (written below the passage): unusual, same as
5930 @item @notation{15vb}: play two octaves lower
5931 @item @notation{15va} (written below the passage): unusual, same as
5936 For longer passages, it may be more practical to mark the octave change at the
5937 beginning with a phrase (see the list below for examples), but without a bracket
5938 or extender line. Then, when the music returns to the written pitch, the octave
5939 change is canceled with the word @notation{loco} (q.v.).
5941 To parallel the list above:
5945 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5946 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5947 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5948 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5952 In the phrases above, @notation{quindicesima} is sometimes replaced with
5953 @notation{quindecima}, which is Latin.
5955 The music on an entire staff can be marked to be played in a different octave by
5956 putting a small 8 or 15 above or below the clef at the beginning. This octave
5957 mark can be applied to any clef, but it is most frequently used with the G and F
5961 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5964 @node octave marking
5965 @section octave marking
5974 FI: oktaavamerkintä.
5976 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5977 that it is to be played in a different octave. If applied to the clef at the
5978 beginning of the staff, all music on that staff is to played at the indicated
5981 For a list of the specific marks used, see @ref{octave mark}.
5984 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5988 @section octave sign
5998 I: abbellimento, fioriture,
5999 F: agrément, ornement,
6000 D: Verzierung, Ornament,
6006 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6007 with the diatonic @ref{second} above it. In the music from the
6008 middle of the 19th century and onwards the trill is performed with the main
6009 note first while in the music from the preceding baroque and classic periods
6010 the upper note is played first.
6012 @lilypond[quote,line-width=13.0\cm]
6014 \context Staff = sa {
6016 c2._"pre-1850" b4\trill | c1 \bar "||"
6017 c2._"post-1850" b4\trill | c1 \bar "||"
6021 c2. c32 b c b c b c b | c1
6022 c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
6027 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6028 the @emph{prall} (inverted mordent).
6030 @lilypond[quote,line-width=13.0\cm]
6032 \context Staff = sa {
6034 a4_"turn" b\turn c2 \bar "||"
6035 g4_"mordent" a b\mordent a \bar "||"
6036 e'4_"prall" d\prall c2 \bar "||"
6042 e'4 e32[ d e d ~ d8] c2
6048 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6057 F: ossia, alternative,
6062 FI: ossia, vaihtoehtoinen esitystapa.
6064 Ossia (otherwise) marks an alternative. It is an added staff or piano
6065 score, usually only a few measures long, which presents another version
6066 of the music, for example for small hands.
6069 Compare: @ref{cue-notes}.
6075 ES: parte, particella,
6082 FI: stemma, instrumenttiosuus.
6086 @item In instrumental or choral music, the music for a single
6087 instrument or voice.
6089 @item in contrapuntal music, a single melodic line in the contrapuntal
6112 @node percent repeat
6113 @section percent repeat
6115 LilyPond-specific term to indicate the repetition of a musical expression on a
6116 single staff, as opposed to the more usual definition of repeat, which affects
6117 all parts. The musical expression can be anything from a single note or note
6118 pattern to one or more measures. There are other names for this symbol:
6123 @item slash mark, or slash repeat
6125 @item measure (or multi-measure) repeat
6129 @lilypond[quote,relative=2,line-width=13.0\cm]
6131 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6132 \repeat percent 2 { c4 e g b_"Measure repeat" }
6133 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6138 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6139 Vermont Music Dictionary}.
6148 D: Schlagzeug, Schlagwerk,
6154 A family of musical instruments which are played on by striking or
6155 shaking. Percussion instruments commonly used in a symphony orchestra are
6156 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6157 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6161 No cross-references.
6164 @node perfect interval
6165 @section perfect interval
6167 ES: intervalo justo,
6168 I: intervallo giusto,
6169 F: intervalle juste,
6170 D: reines Intervall,
6174 FI: puhdas intervalli.
6192 A natural division of the melodic line, comparable to a sentence of speech.
6208 FI: fraseeraus, jäsentäminen.
6210 The clear rendering in musical performance of the @notation{phrases} of the
6211 melody. Phrasing may be indicated by a @notation{slur}.
6214 @ref{phrase}, @ref{slur}.
6229 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6230 @emph{mezzo piano} (@b{mp}) medium soft.
6233 No cross-references.
6241 F: anacrouse, levée,
6266 @item The perceived quality of a sound that is primarily a function of its
6267 fundamental frequency.
6269 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6271 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6272 association of a particular frequency with a particular pitch name, e.g., c' =
6288 NL: pizzicato, getokkeld,
6291 FI: pizzicato, näppäillen.
6293 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6297 No cross-references.
6303 ES: compás polimétrico,
6310 FI: monia tahtiosoituksia sisältävä.
6314 @item The @emph{simultaneous} use of two or more meters, in two or more
6317 @item The @emph{successive} use of different meters in one or more parts.
6322 @ref{polymetric} (adj.)
6335 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6337 Characterized by @emph{polymeter}: using two or more metric frameworks
6338 simultaneously or in alternation.
6341 @ref{polymeter} (noun)
6344 @node polymetric time signature
6345 @section polymetric time signature
6347 ES: indicación de compás polimétrico,
6348 I: tempo polimetrico,
6350 D: zusammengesetzte Taktart,
6354 FI: vaihtelevan tahtiosoitusmerkintä.
6356 A time signature that indicates regularly alternating polymetric time.
6368 D: Polyphonie, Mehrstimmigkeit,
6372 FI: polyfonia, moniäänisyys.
6374 Music written in a combination of several simultaneous voices (parts)
6375 of a more or less pronounced individuality.
6384 [Italian: past participle of @emph{portare}, @q{to carry}]
6386 A stroke in which each of several notes is separated slightly within a slur,
6387 without changing the bow's direction. It is used for passages of a
6388 @notation{cantabile} character.
6394 @section power chord
6396 A chord containing only the root and the fifth (possibly in multiple
6397 octaves). Commonly used in guitar music, particularly with electric
6398 guitar and high distortion.
6406 ES: presto, muy rápido,
6408 F: presto, très rapide, enlevé,
6409 D: Presto, Sehr schnell,
6410 NL: presto, Sehr schnell,
6413 FI: presto, hyvin nopeasti.
6417 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6418 denotes the highest possible degree of speed.
6421 No cross-references.
6436 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6437 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6442 @item A ratio that expresses the relationship between the note values that
6443 follow with those that precede;
6445 @item A ratio between the note values of a passage and the @q{normal}
6446 relationship of note values to the metrical pulse. (A special case of the
6451 The most common proportions are:
6454 @item 2:1 (or simply 2), expressed by a vertical line through the
6455 mensuration sign (the origin of the @notation{alla breve} time signature),
6456 or by turning the sign backwards
6457 @item 3:1 (or simply 3)
6458 @item 3:2 (@emph{sesquialtera})
6461 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6464 @item 1:2 cancels 2:1
6465 @item 1:3 cancels 3:1
6466 @item 2:3 cancels 3:2
6470 Gaffurius enumerates five basic types of major:minor proportions and their
6474 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6475 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6477 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6478 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6479 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6481 @item Superpartiens, if the major number is one less than twice the minor
6482 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6484 @item Multiplexsuperparticular, if the major number is one more than twice the
6485 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6488 @item Multiplexsuperpartiens, if the major number is one less than some other
6489 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6490 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6494 He then continues to subdivide each type in various ways. For the multiplex
6495 proportions, for example, he indicates how many times greater the major number
6500 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6501 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6503 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6506 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6507 Example: 4:1, 8:2, and 12:3
6511 Other proportions were possible, but whether they were frequently used is
6516 @item 33:9, @emph{triplasuperbipartientetertias}
6517 @item 51:15, @emph{triplasuperbipartientequintas}
6521 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6524 @ref{mensural notation}.
6527 @node Pythagorean comma
6528 @section Pythagorean comma
6530 ES: coma pitagórica,
6531 I: comma pitagorico,
6532 F: comma pythagoricien,
6533 D: Pythagoräisches Komma,
6534 NL: komma van Pythagoras,
6535 DK: pythagoræisk komma,
6536 S: pytagoreiskt komma,
6537 FI: pytagorinen komma.
6539 Originally, the interval by which the sum of six whole tones exceeds the octave
6540 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6542 Modern acoustical theory defines it as the interval by which twelve fifths
6543 exceed seven octaves. To put it another way: A sequence of fifths that starts
6544 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6545 than the C obtained by adding 7 octaves. The difference between those two
6546 pitches is the Pythagorean comma.
6549 @ref{cent}, @ref{temperament}.
6571 ES: variante [de acorde o intervalo],
6574 D: Modus (Dur oder Moll),
6580 The quality of a triad is determined by the precise arrangement of its
6581 intervals. Tertian triads can be described as a series of three notes. The
6582 first element is the root note (or simply @q{root}) of the chord, the second
6583 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6584 the chord. These are described below:
6586 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6587 @headitem Chord name
6588 @tab Component intervals
6591 @item major triad @tab major third/perfect fifth
6593 @tab C, CM, Cma, Cmaj, CΔ
6594 @item minor triad @tab minor third/perfect fifth
6596 @tab Cm, Cmi, Cmin, C-
6597 @item augmented triad @tab major third/augmented fifth
6600 @item diminished triad @tab minor third/diminished fifth
6602 @tab Cm(♭5), Cº, Cdim
6605 There are various types of seventh chords depending on the quality of the
6606 original chord and the quality of the seventh added.
6608 Five common types of seventh chords have standard symbols. The chord quality
6609 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6610 and D^m7 are all identical). The last three chords are not commonly used
6618 @section quarter note
6623 @item I: semiminima, nera
6625 @item D: Viertel, Viertelnote
6627 @item DK: fjerdedelsnode
6628 @item S: fjärdedelsnot
6629 @item FI: neljäsosanuotti
6637 @section quarter rest
6640 @item UK: crotchet rest
6641 @item ES: silencio de negra
6642 @item I: pausa di semiminima
6644 @item D: Viertelpause
6646 @item DK: fjerdedelspause
6647 @item S: fjärdedelspaus
6648 @item FI: neljäsosatauko
6656 @section quarter tone
6665 FI: neljännessävelaskel.
6667 An interval equal to half a semitone.
6676 ES: cinquillo, quintillo,
6690 @section rallentando
6694 F: rallentando, en ralentissant,
6695 D: rallentando, langsamer werden,
6699 FI: rallerdando, hidastuen.
6701 [Italian: @q{slowing down}]
6703 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6711 @section relative key
6714 I: tonalità relativa,
6715 F: tonalité relative,
6717 NL: paralleltoonsoort,
6718 DK: paralleltoneart,
6720 FI: rinnakkaissävellaji.
6722 Major and minor keys that have the same key signature.
6724 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6726 es1_"e flat major" f g as bes c d es
6730 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6732 c1_"c minor" d es f g a! b! c
6737 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6745 F: barre de reprise,
6748 DK: gen@-ta@-gel@-se,
6752 @lilypond[quote,relative=2,line-width=13.0\cm]
6764 No cross-references.
6779 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6780 @c specify the rest's value.
6800 @item Metrical rhythm in which every time value is a multiple or
6801 fraction of a fixed unit of time, called @emph{beat}, and in which the
6802 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6803 The basic scheme of time values is called @emph{meter}.
6805 @item Measured rhythm which lacks regularly recurrent accent. In
6806 modern notation such music appears as a free alternation of different
6809 @item Free rhythm, i.e., the use of temporal values having no common
6810 metrical unit (beat).
6815 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6821 ES: ritardando, retardando,
6823 F: ritardando, en ralentissant,
6824 D: ritardando, langsamer werden,
6828 FI: ritardando, hidastuen,
6830 [Italian: @q{lagging}]
6832 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6833 abbreviated to @notation{rit.} or @notation{ritard}.
6842 ES: ritenuto, reteniendo,
6844 F: ritenuto, en retenant,
6849 FI: ritenuto, hidastaen.
6851 Immediate reduction of speed.
6854 No cross-references.
6867 FI: asteikko, sävelasteikko.
6870 @ref{diatonic scale}.
6874 @section scale degree
6876 ES: grado (de la escala),
6877 I: grado della scala,
6878 F: degré [de la gamme],
6880 NL: trap [van de toonladder],
6883 FI: sävelaste, asteikon sävel.
6885 Names and symbols used in harmonic analysis to denote tones of the
6886 scale as roots of chords. The most important are degrees I = tonic
6887 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6889 @lilypond[quote,notime,line-width=13.0\cm]
6891 \new Staff \relative c' {
6894 \lyrics { I II III IV V VI VII I }
6895 \lyrics { T "" "" S D }
6900 @ref{functional harmony}.
6908 F: à cordes ravallées,
6913 FI: epätavallinen viritys.
6915 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6916 tuning of stringed instruments, particularly lutes or violins. Used
6921 @item facilitate pitch combinations that would otherwise be difficult
6924 @item alter the characteristic timbre of the instrument, for example,
6925 to increase brilliance
6927 @item reinforce certain sonorities or tonalities by making them
6928 available on open strings
6930 @item imitate other instruments
6936 Tunings that could be called @var{scordatura} first appeared early in
6937 the 16th Century and became commonplace in the 17th.
6940 No cross-references.
6948 F: partition, conducteur (full score),
6949 D: Partitur (full score), Klavierauszug (vocal score),
6955 A copy of orchestral, choral, or chamber music showing what each
6956 instrument is to play, each voice to sing, having each part arranged
6957 one underneath the other on different staves @ref{staff}.
6960 No cross-references.
6975 The interval between two neighboring tones of a scale. A diatonic scale
6976 consists of alternating semitones and whole tones, hence the size of a
6977 second depends on the scale degrees in question.
6980 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6987 @item US: whole note,
6991 @item D: Ganze, ganze Note, Semibrevis,
6992 @item NL: hele noot,
6995 @item FI: kokonuotti.
6998 Note value: called @notation{whole note} in the US.
7000 The semibreve is the basis for the @notation{tactus} in mensural notation
7001 (i.e. music written before ca. 1600).
7004 @ref{mensural notation}, @ref{note value}.
7019 The interval of a minor second. The (usually) smallest interval in European
7020 composed music. The interval between two neighboring tones on the piano
7021 keyboard -- including black and white keys -- is a semitone. An octave may
7022 be divided into 12@w{ }semitones.
7024 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7025 g1 gis s a bes s b! c
7029 @ref{interval}, @ref{chromatic scale}.
7052 @ref{sextuplet}, @ref{note value}.
7097 ES: simile, similar,
7100 D: simile, gleichartig,
7106 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7107 is to be played in the same manner (i.e. with the same articulations, dynamics,
7108 etc.) as the music that precedes it.
7111 TODO: Where else could I refer the reader?
7115 @section simple meter
7117 ES: compás simple, compás de subdivisión binaria,
7124 FI: kaksijakoinen tahtiosoitus.
7126 A meter in which the basic beat is subdivided in two: that is, a meter
7127 that does not include triplet subdivision of the beat.
7130 @ref{compound meter}, @ref{meter}.
7133 @node sixteenth note
7134 @section sixteenth note
7137 @item UK: semiquaver
7138 @item ES: semicorchea
7140 @item F: double croche
7141 @item D: Sechzehntel, Sechzehntelnote
7142 @item NL: zestiende noot
7143 @item DK: sekstendedelsnode
7144 @item S: sextondelsnot
7145 @item FI: kuudestoistaosanuotti
7152 @node sixteenth rest
7153 @section sixteenth rest
7156 @item UK: semiquaver rest
7157 @item ES: silencio de semicorchea
7158 @item I: pausa di semicroma
7159 @item F: quart de soupir
7160 @item D: Sechzehntelpause
7161 @item NL: zestiende rust
7162 @item DK: sekstendedelspause
7163 @item S: sextondelspaus
7164 @item FI: kuudestoistaosatauko
7187 @node sixty-fourth note
7188 @section sixty-fourth note
7191 @item UK: hemidemisemiquaver
7193 @item I: semibiscroma
7194 @item F: quadruple croche
7195 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7196 @item NL: vierenzestigste noot
7197 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7198 @item S: sextiofjärdedelsnot
7199 @item FI: kuudeskymmenesneljäsosanuotti
7206 @node sixty-fourth rest
7207 @section sixty-fourth rest
7210 @item UK: hemidemisemiquaver rest
7211 @item ES: silencio de semifusa
7212 @item I: pausa di semibiscroma
7213 @item F: seizième de soupir
7214 @item D: Vierundsechzigstelpause
7215 @item NL: vierenzestigste rust
7216 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7217 @item S: sextiofjärdedelspaus
7218 @item FI: kuudeskymmenesneljäsosatauko
7226 @section slash repeat
7229 @ref{percent repeat}.
7235 ES: ligadura de expresión,
7236 I: legatura (di portamento o espressiva),
7238 D: Bogen (Legatobogen, Phrasierungsbogen),
7239 NL: fraseringsboog, legatoboog, streekboog,
7240 DK: legatobue, fraseringsbue,
7244 A slur above or below a group of notes indicates that they are to be
7245 played @ref{legato}, e.g., with one stroke of the violin bow or with
7246 one breath in singing.
7249 No cross-references.
7253 @section solmization
7262 FI: suhteelliset laulunimet.
7264 General term for systems of designating the degrees of the
7265 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7266 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7270 @ref{scale}, @ref{scale degree}.
7285 In its present-day meaning a sonata denotes an instrumental
7286 composition for piano or for some other instrument with piano
7287 accompaniment, which consists of three or four independent pieces,
7291 No cross-references.
7295 @section sonata form
7299 F: [en] forme de sonate,
7301 NL: hoofdvorm, sonatevorm,
7306 A form used frequently for single movements of the @emph{sonata},
7307 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7308 three sections called @notation{exposition}, @notation{development} and
7309 @notation{recapitulation}. In the exposition the composer introduces some
7310 musical ideas, consisting of a number of themes; in the development section the
7311 composer @emph{develops} this material, and in the recapitulation the composer
7312 repeats the exposition, with certain modifications. The exposition contains a
7313 number of themes that fall into two groups, often called first and second
7314 subject. Other melodies occurring in each group are considered as continuations
7315 of these two. The second theme is in another key, normally in the key of the
7316 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7317 @notation{relative key} if the tonic is @notation{minor}.
7320 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7321 @ref{symphony}, @ref{tonic}.
7341 FI: sopraano, korkea naisääni.
7343 The highest female voice.
7346 No cross-references.
7354 F: staccato, piqué, détaché,
7359 FI: staccato, lyhyesti, terävästi.
7361 Playing the note(s) short. Staccato is indicated by a dot above or
7362 below the note head.
7364 @lilypond[quote,relative=2]
7368 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7374 No cross-references.
7381 ES: pentagrama, pauta,
7382 I: pentagramma, rigo (musicale),
7384 D: Notensystem, Notenzeile,
7385 NL: (noten)balk, partij,
7390 A staff (plural: staves) is a series of (normally five) horizontal
7391 lines upon and between which the musical notes are written, thus
7392 indicating (in connection with a @ref{clef}) their pitch. Staves for
7393 @ref{percussion} instruments may have fewer lines.
7395 @lilypond[quote,relative=1]
7416 D: Hals, Notenhals, Stiel,
7422 Vertical line above or below a @ref{note head} shorter than a
7425 @lilypond[quote,notime,relative=2]
7426 \set Score.autoBeaming = ##f
7440 ES: stringendo, acelerando,
7442 F: stringendo, en accélérant,
7447 FI: kiihdyttäen, nopeuttaen.
7449 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7468 A family of stringed musical instruments played with a bow. Strings
7469 commonly used in a symphony orchestra are violin, viola, violoncello,
7473 No cross-references.
7477 @section strong beat
7482 D: betonter Taktteil oder Taktschlag,
7484 D: betonet taktslag,
7485 S: betonat taktslag,
7486 FI: tahdin vahva isku.
7489 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7493 @section subdominant
7502 FI: subdominantti, alidominantti.
7504 The fourth @notation{scale degree}.
7507 @ref{functional harmony}, @ref{scale degree}.
7522 The sixth @notation{scale degree}.
7525 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7538 FI: subtoonika, alitoonika.
7540 The seventh @ref{scale degree}.
7543 @ref{functional harmony}, @ref{scale degree}.
7549 ES: sobre la cuerda de Sol,
7552 D: auf G, auf der G-Saite,
7558 Indicates that the indicated passage (or note) should be played on the
7562 No cross-references.
7566 @section superdominant
7577 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7580 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7595 The second @ref{scale degree}.
7598 @ref{functional harmony}, @ref{scale degree}.
7607 D: Sinfonie, Symphonie,
7613 A symphony may be defined as a @emph{sonata} for orchestra.
7620 @section syncopation
7631 Any deliberate upsetting of the normal pulse of @ref{meter},
7632 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7633 rhythm rests upon the grouping of equal beats into groups of two or
7634 three, with a regularly recurrent accent on the first beat of each
7635 group. Any deviation from this scheme is felt as a disturbance or
7636 contradiction between the underlaying (normal) pulse and the actual
7639 @lilypond[quote,relative=1]
7642 e16 c'8 e,16 c'8 e,16 c' ~
7647 No cross-references.
7650 @node syntonic comma
7651 @section syntonic comma
7653 ES: coma sintónica, coma de Dídimo,
7654 I: comma sintonico (o didimico),
7655 F: comma syntonique,
7656 D: syntonisches Komma,
7657 NL: syntonische komma,
7658 DK: syntonisk komma,
7659 S: syntoniskt komma,
7660 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7661 Pytagorisessa viritysjärjestelmässä.
7663 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7664 by which the ditone exceeds the pure major third obtained by Pythagorean
7665 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7667 Modern acoustical theory defines it as the interval by which four fifths exceed
7668 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7670 This comma is also known as the comma of Didymus, or didymic comma.
7673 @ref{Pythagorean comma}
7682 D: Notensystem, Partitur,
7688 The collection of staves (@notation{staff}), two or more, as used
7689 for writing down keyboard, chamber, choral, or orchestral music;
7690 a section of the score spanning the width of a single page.
7697 @section temperament
7702 D: Stimmung, Tem@-pe@-ra@-tur,
7703 NL: stemming, temperatuur,
7706 FI: viritysjärjestelmä.
7708 Systems of tuning in which the intervals deviate from the acoustically
7712 @ref{meantone temperament}, @ref{equal temperament}.
7715 @node tempo indication
7716 @section tempo indication
7718 ES: indicación de tempo,
7719 I: indicazione di tempo,
7720 F: indication de tempo,
7721 D: Zeitmaß, Tempobezeichnung,
7722 NL: tempo aanduiding,
7727 The rate of speed of a composition or a section thereof, ranging from the
7728 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7729 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7733 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7747 FI: tenori, korkea miesääni.
7749 The highest @q{natural} male voice (apart from @notation{countertenor}).
7774 ES: subrayado (tenuto),
7783 An indication that a particular note should be held for the whole
7784 length, although this can vary depending on the composer and era.
7787 No cross-references.
7806 @node thirty-second note
7807 @section thirty-second note
7810 @item UK: demisemiquaver
7813 @item F: triple croche
7814 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7815 @item NL: twee@-endertig@-ste (32e) noot
7816 @item DK: toogtredivtedelsnode
7817 @item S: trettiotvåondelsnot
7818 @item FI: kolmaskymmeneskahdesosanuotti
7825 @node thirty-second rest
7826 @section thirty-second rest
7829 @item UK: demisemiquaver rest
7830 @item ES: silencio de fusa
7831 @item I: pausa di biscroma
7832 @item F: huitième de soupir
7833 @item D: Zweiunddreissigstel@-pause
7834 @item NL: twee@-endertig@-ste (32e) rust
7835 @item DK: toogtredivtedelspause
7836 @item S: trettiotvåondelspaus
7837 @item FI: kolmaskymmeneskahdesosatauko
7845 @section thorough bass
7854 ES: ligadura de unión (o de prolongación),
7855 I: legatura (di valore),
7856 F: liaison (de tenue),
7857 D: Haltebogen, Bindebogen,
7858 NL: overbinding, bindingsboog,
7860 S: bindebåge, överbindning,
7863 A curved line, identical in appearance with the @ref{slur}, which
7864 connects two succesive notes of the same pitch, and which has the
7865 function of uniting them into a single sound (tone) equal to the
7868 @lilypond[quote,notime,relative=2]
7880 @node time signature
7881 @section time signature
7883 ES: indicación de compás,
7885 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7886 D: Taktangabe, Angabe der Taktart,
7889 S: taktartssignatur,
7892 The sign placed at the beginning of a composition to indicate its
7893 meter. It most often takes the form of a fraction, but a few signs
7894 derived from mensural notation and proportions are also employed.
7897 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7912 A sound of definite pitch and duration, as distinct from @emph{noise}.
7913 Tone is a primary building material of music.
7915 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7918 No cross-references.
7933 The first @notation{scale degree}.
7936 @ref{functional harmony}, @ref{scale degree}.
7939 @node transposing instrument
7940 @section transposing instrument
7942 ES: instrumento transpositor,
7943 I: strumento traspositore,
7944 F: instrument transpositeur,
7945 D: transponierende Instrumente,
7949 FI: transponoitava soitin.
7951 Instruments whose notated pitch is different from their sounded pitch. Except
7952 for those whose notated and sounding pitches differ by one or more octaves (to
7953 reduce the number of ledger lines needed), most such instruments are identified
7954 by the letter name of the pitch class of their fundamental. The pitch class is
7955 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7956 the instrument plays a notated C.
7958 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7959 the B-flat one tone lower. If played on the A clarinet, the same written
7960 note sounds the A (one and half tones -- a minor third -- lower).
7962 Not all transposing instruments include the pitch class in their name:
7965 @item Alto flute (in G)
7966 @item English horn (in F)
7967 @item Saxophones (in B-flat or E-flat)
7970 @ignore Can we do better?
7972 To make matters more complex, some instruments are transposing instruments,
7973 but their players play from parts written at concert pitch. This is the
7974 case for orchestral trombone and tuba players—whereas trombone players in
7975 brass bands treat their parts as if written for a true transposing
7976 instrument in B-flat.
7981 @ref{concert pitch}.
7985 @section transposition
7987 ES: transporte, transposición,
7996 Shifting a melody up or down in pitch, while keeping the same
7999 @lilypond[quote,line-width=13.0\cm]
8004 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8009 @lilypond[quote,line-width=13.0\cm]
8012 \transpose c bes \relative c'' {
8014 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8020 No cross-references.
8024 @section treble clef
8026 ES: clave de sol en segunda,
8027 I: chiave di violino,
8029 D: Violinschlüssel, Sopranschlüssel,
8051 On stringed instruments:
8055 @item The quick reiteration of the same tone, produced by a rapid
8056 up-and-down movement of the bow.
8058 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8059 in the distance of a third (@ref{interval}).
8063 @lilypond[quote,notime,relative=1]
8065 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8066 \repeat tremolo 8 { e32_"b" g }
8078 F: triade, accord parfait, accord de trois sons,
8094 F: trille, tremblement, battement (cadence),
8106 @section triple meter
8108 ES: compás ternario,
8111 D: Dreiertakt, ungerader Takt,
8112 NL: driedelige maatsoort,
8154 @section tuning fork
8156 ES: diapasón [de horquilla],
8157 I: diapason, corista,
8163 FI: viritysavain, äänirauta.
8165 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8166 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8167 standard. Tuning forks for other pitches are available.
8176 ES: grupo de valoración especial,
8177 I: gruppi irregolari,
8180 NL: Antimetrische figuur,
8185 A non-standard subdivision of a beat or part of a beat, usually
8186 indicated with a bracket and a number indicating the number of
8190 @ref{triplet}, @ref{note value}.
8196 ES: grupeto (circular),
8219 FI: unisono, yksiäänisesti.
8221 Playing of the same notes or the same melody by various instruments
8222 (voices) or by the whole orchestra (choir), either at exactly the same
8223 pitch or in a different octave.
8226 No cross-references.
8234 F: anacrouse, levée,
8255 FI: ääni, lauluääni.
8263 @item @ref{mezzo-soprano}
8264 @item @ref{contralto}
8266 @item @ref{baritone}
8270 @item A melodic layer or part of a polyphonic composition.
8275 No cross-references.
8281 ES: vez, primera y segunda vez,
8284 D: volta-Klammer, Wiederholungsklammer,
8288 FI: yksi kertauksen maaleista.
8290 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8291 or second ending. LilyPond extends this idea to any number, and allows any text
8292 (not just a number) -- to serve as the @notation{volta} text.
8295 No cross-references.
8302 I: tempo debole, arsi,
8304 D: unbetonter Taktteil oder Taktschlag,
8306 DK: ubetonet taktslag,
8307 S: obetonat taktslag,
8308 FI: tahdin heikko isku.
8311 @ref{beat}, @ref{measure}, @ref{rhythm}.
8322 @item D: Ganze, ganze Note
8326 @item FI: kokonuotti
8337 @item UK: semibreve rest
8338 @item ES: silencio de redonda
8339 @item I: pausa di semibreve
8341 @item D: ganze Pause, ganztaktige Pause
8343 @item DK: helnodespause
8364 The interval of a major second. The interval between two tones
8365 on the piano keyboard with exactly one key between them -- including
8366 black and white keys -- is a whole tone.
8384 A family of blown wooden musical instruments. Today some of these
8385 instruments are actually made from metal. The woodwind instruments
8386 commonly used in a symphony orchestra are flute, oboe, clarinet,
8387 saxophone, and bassoon.
8390 No cross-references.
8393 @node Duration names notes and rests
8394 @chapter Duration names notes and rests
8396 @multitable @columnfractions .12 .22 .22 .22 .22
8398 @headitem Lang. @tab note name
8402 @item @strong{US} @tab long
8406 @item @strong{UK} @tab longa
8410 @item @strong{ES} @tab longa
8411 @tab silencio de longa
8413 @tab silencio de cuadrada
8414 @item @strong{IT} @tab longa
8418 @item @strong{FR} @tab longa
8419 @tab quadruple-pause
8422 @item @strong{DE} @tab Longa
8426 @item @strong{NL} @tab longa
8430 @item @strong{DK} @tab longa
8431 @tab longanodespause
8433 @tab brevis(nodes)pause
8434 @item @strong{SE} @tab longa
8438 @item @strong{FI} @tab longa-nuotti
8440 @tab brevis-nuotti, kaksoiskoko@-nuotti
8441 @tab brevis-tauko, kaksoiskoko@-tauko
8445 @multitable @columnfractions .12 .22 .22 .22 .22
8447 @headitem Lang. @tab note name
8451 @item @strong{US} @tab whole note
8455 @item @strong{UK} @tab semibreve
8459 @item @strong{ES} @tab redonda
8460 @tab silencio de redonda
8462 @tab silencio de blanca
8463 @item @strong{IT} @tab semibreve
8464 @tab pause di semibreve
8466 @tab pausa di minima
8467 @item @strong{FR} @tab ronde
8471 @item @strong{DE} @tab ganze Note
8475 @item @strong{NL} @tab hele noot
8479 @item @strong{DK} @tab helnode
8483 @item @strong{SE} @tab helnot
8487 @item @strong{FI} @tab kokonuotti
8494 @multitable @columnfractions .12 .22 .22 .22 .22
8496 @headitem Lang. @tab note name
8500 @item @strong{US} @tab quarter note
8504 @item @strong{UK} @tab crotchet
8508 @item @strong{ES} @tab negra
8509 @tab silencio de negra
8511 @tab silencio de corchea
8512 @item @strong{IT} @tab semiminima, nera
8513 @tab pausa di semiminima, pausa di nera
8516 @item @strong{FR} @tab noire
8520 @item @strong{DE} @tab Viertelnote
8524 @item @strong{NL} @tab kwartnoot
8528 @item @strong{DK} @tab fjerdedelsnode
8529 @tab fjerdedelspause
8530 @tab ottendedelsnode
8531 @tab ottendedelspause
8532 @item @strong{SE} @tab fjärdedelsnot
8536 @item @strong{FI} @tab neljäsosa@-nuotti
8537 @tab neljäsosa@-tauko
8538 @tab kahdeksasosa@-nuotti
8539 @tab kahdeksasosa@-tauko
8543 * About the French naming system: @notation{croche} refers to the note's
8544 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8545 @q{doubled hook}, @q{trebled hook}, and so on.
8547 The rest names are based on the @notation{soupir}, or quarter rest.
8548 Subsequent rests are expressed as fractions thereof: half a
8549 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8551 Each of the following tables contains one type of note and its matching rest,
8552 with abbreviations that apply to both notes and rests. Just switch the part
8553 that means @q{note} with the part that means @q{rest}, for example:
8557 @item English: 16th @strong{note}, 16th @strong{rest}
8558 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8559 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8563 Editor's note: I put a dash @q{-} when I could not find a language-specific
8564 abbreviation for a duration name. If you know of one that I missed, please
8565 send it to me, care of the lilypond-user discussion list.
8567 @multitable @columnfractions .10 .35 .35 .20
8569 @headitem Lang. @tab Note name
8572 @item @strong{US} @tab sixteenth note
8575 @item @strong{UK} @tab semiquaver
8576 @tab semiquaver rest
8578 @item @strong{ES} @tab semicorchea
8579 @tab silencio de semicorchea
8581 @item @strong{IT} @tab semicroma
8582 @tab pausa di semicroma
8584 @item @strong{FR} @tab double croche
8585 @tab quart de soupir
8587 @item @strong{DE} @tab Sechzehntelnote
8588 @tab Sechzehntelpause
8590 @item @strong{NL} @tab zes@-ti@-ende noot
8591 @tab zes@-ti@-ende rust
8593 @item @strong{DK} @tab sekstendedelsnode
8594 @tab sekstendedelspause
8596 @item @strong{SE} @tab sextondelsnot
8599 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8600 @tab kuudes@-toistaosa@-tauko
8605 @multitable @columnfractions .10 .35 .35 .20
8607 @headitem Lang. @tab Note name
8610 @item @strong{US} @tab thirty-second note
8611 @tab thirty-second rest
8613 @item @strong{UK} @tab demisemiquaver
8614 @tab demisemiquaver rest
8616 @item @strong{ES} @tab fusa
8617 @tab silencio de fusa
8619 @item @strong{IT} @tab biscroma
8620 @tab pausa di biscroma
8622 @item @strong{FR} @tab triple croche
8623 @tab huitième de soupir
8625 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8626 @tab Zweiunddreißig@-stelpause
8628 @item @strong{NL} @tab twee@-endertigste noot
8629 @tab twee@-endertigste rust
8631 @item @strong{DK} @tab toogtredivtedelsnode
8632 @tab toogtredivtedelspause
8634 @item @strong{SE} @tab trettio@-tvåondelsnot
8635 @tab trettio@-tvåondelspaus
8637 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8638 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8643 @multitable @columnfractions .10 .35 .35 .20
8645 @headitem Lang. @tab Note name
8648 @item @strong{US} @tab sixty-fourth note
8649 @tab sixty-fourth rest
8651 @item @strong{UK} @tab hemidemisemiquaver
8652 @tab hemidemisemiquaver rest
8654 @item @strong{ES} @tab semifusa
8655 @tab silencio de semifusa
8657 @item @strong{IT} @tab semibiscroma
8658 @tab pausa di semibiscroma
8660 @item @strong{FR} @tab quadruple croche
8661 @tab seizième de soupir
8663 @item @strong{DE} @tab Vierundsechzigstelnote
8664 @tab Vierundsechzigstelpause
8666 @item @strong{NL} @tab vierenzestigste noot
8667 @tab vierenzestigste rust
8669 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8670 @tab fireog@-tredsindstyven@-dedelspause
8672 @item @strong{SE} @tab sextiofjärdedelsnot
8673 @tab sextiofjärdedelspaus
8675 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8676 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8681 @multitable @columnfractions .10 .35 .35 .20
8683 @headitem Lang. @tab Note name
8686 @item @strong{US} @tab one-hundred-twenty-eighth note
8687 @tab one-hundred-twenty-eighth rest
8689 @item @strong{UK} @tab semihemidemisemiquaver
8690 @tab semihemidemisemiquaver rest
8692 @item @strong{ES} @tab garrapatea
8693 @tab silencio de garrapatea
8695 @item @strong{IT} @tab fusa
8698 @item @strong{FR} @tab quintuple croche
8699 @tab trente-deuxième de soupir @tab -
8700 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8701 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8702 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8703 @tab honderd@-acht@-en@-twintigste rust
8705 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8706 @tab hundrede@-otte@-og@-tyvendedels@-pause
8708 @item @strong{SE} @tab hundratjugoåttondelsnot
8709 @tab hundratjugoåttondelspaus
8711 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8712 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8717 @multitable @columnfractions .10 .35 .35 .20
8719 @headitem Lang. @tab Note name
8722 @item @strong{US} @tab two-hundred-fifty-sixth note
8723 @tab two-hundred-fifty-sixth rest
8725 @item @strong{UK} @tab demisemihemidemisemiquaver
8726 @tab demisemihemidemisemiquaver rest
8728 @item @strong{ES} @tab semigarrapatea
8729 @tab silencio de semigarrapatea @tab -
8730 @item @strong{IT} @tab semifusa
8731 @tab pausa di semifusa
8733 @item @strong{FR} @tab sextuple croche
8734 @tab soixante-quatrième de soupir @tab -
8735 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8736 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8737 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8738 @tab tweehonderd@-zesenvijftigste rust
8740 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8741 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8743 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8744 @tab tvåhundra@-femtiosjättedelspaus
8746 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8747 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8753 @ref{mensural notation}
8757 @chapter Pitch names
8760 -is/-es endings for Danish per Rune Zedeler, pace,
8761 and for Finnish per Risto Vääräniemi;
8762 -iss/-ess endings for Swedish per Mats Bengtsson
8763 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8765 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8766 multiple lines -- as texinfo needs it to allow enough space for the
8767 table entries. (For the curious, it's a list of the widest items in
8768 each column of the table. Romance pitch names are two characters,
8769 except for g (sol) ... so there you go.)
8772 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8773 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8774 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8775 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8776 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8777 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8778 @tab des @tab des @tab dess @tab des
8779 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8780 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8781 @tab dis @tab dis @tab diss @tab dis
8782 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8783 @tab es @tab es @tab ess @tab es
8784 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8785 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8786 @tab Fes @tab fes @tab fes @tab fess @tab fes
8787 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8788 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8789 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8790 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8791 @tab fis @tab fis @tab fiss @tab fis
8792 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8793 @tab ges @tab ges @tab gess @tab ges
8794 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8795 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8796 @tab Gis @tab gis @tab gis @tab giss @tab gis
8797 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8798 @tab as @tab as @tab ass @tab as
8799 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8800 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8801 @tab ais @tab ais @tab aiss @tab ais
8802 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8803 @tab bes @tab b @tab b @tab b
8804 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8805 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8806 @tab ces @tab ces @tab cess @tab ces
8807 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8808 @tab His @tab bis @tab his @tab hiss @tab his
8812 @node Non-Western terms A-Z
8813 @chapter Non-Western terms A-Z
8833 This is a stub for @code{bayati}.
8837 @ruser{Arabic key signatures}.
8844 This is a stub for @code{iraq}.
8848 @ruser{Arabic key signatures}.
8855 This is a stub for @code{kurd}.
8859 @ruser{Arabic key signatures}.
8866 This is a stub for @code{makam}.
8870 @ruser{Turkish classical music}.
8877 This is a stub for @code{makamlar}.
8881 @ruser{Turkish classical music}.
8888 This is a stub for @code{maqam}.
8892 @ruser{Arabic music},
8893 @ruser{Arabic key signatures}.
8900 This is a stub for @code{rast}.
8904 @ruser{Arabic key signatures}.
8911 This is a stub for @code{semai}.
8915 @ruser{Arabic key signatures}.
8922 This is a stub for @code{sikah}.
8926 @ruser{Arabic key signatures}.
8933 This is a stub for @code{taqasim}.
8937 @ruser{Arabic key signatures}.
8940 @node Literature used
8941 @appendix Literature used
8944 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8945 Cambridge: Belknap Press (Harvard University Press), 1944.
8947 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8950 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8951 Terminologie}. Kassel, 1980.
8953 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8954 Current English}, 3rd ed. London: Oxford University Press, 1974.
8956 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8957 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8959 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8960 Cambridge: Belknap Press (Harvard University Press), 1986.
8962 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.