1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 @include macros.itexi
116 @w{@expansion{}@strong{\word\}}@c
119 @expansion{}@ref{\word\, @strong{\word\}}@c
124 * Musical terms A-Z::
125 * Duration names notes and rests::
129 @node Musical terms A-Z
130 @chapter Musical terms A-Z
132 Languages in this order.
139 @item UK - British English
158 * ancient minor scale::
163 * ascending interval::
164 * augmented interval::
196 * compound interval::
198 * conjunct movement::
211 * descending interval::
213 * diminished interval::
216 * disjunct movement::
218 * dissonant interval::
219 * dominant ninth chord::
220 * dominant seventh chord::
223 * dot (augmentation dot)::
225 * double appoggiatura::
227 * double dotted note::
237 * ecclesiastical mode::
244 * equal temperament::
260 * functional harmony::
275 * inverted interval::
288 * long appoggiatura::
294 * meantone temperament::
302 * metronomic indication::
313 * multi-measure rest::
341 * Pythagorean comma::
364 * short appoggiatura::
368 * sixty-fourth note::
369 * sixty-fourth rest::
398 * thirty-second note::
399 * thirty-second rest::
454 FI: aksentti, korostus.
456 The stress of one tone over others.
470 ES: alteración accidental,
472 F: altération accidentelle,
473 D: Vorzeichen, Versetzungszeichen, Akzidenz,
474 NL: toevallig (verplaatsings)teken,
476 S: tillfälligt förtecken,
477 FI: tilapäinen etumerkki.
479 An accidental has the effect of an @ref{alteration} of a note. A
480 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
481 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
482 lowers it by a whole tone. A natural cancels the effect of a previous
485 @lilypond[fragment,notime,line-width=13.0\cm]
486 \set Score.automaticBars = ##f
488 \context Staff \relative c'' {
489 \set Staff.extraNatural = ##f
490 gisis1 gis g! ges geses
493 \override Lyrics .LyricText #'self-alignment-X = #-1
494 "db. sharp" sharp natural flat "db. flat"
505 F: accelerando, en accélérant,
506 D: accelerando, schneller werden,
510 FI: accelerando, kiihdyttäen.
525 FI: adagio, hitaasti.
527 It.@: comfortable, easy.
528 1.@tie{}Slow tempo, slower -- especially in even meter -- than
529 @ref{andante} and faster than @ref{largo}.
530 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
531 @ref{sonata}s, symphonies, etc.
540 D: Allegro, Schnell, Fröhlich, Lustig,
544 FI: allegro, nopeasti.
546 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
547 tempo, especially the first and last movements of a @ref{sonata}.
557 NL: verhoging of verlaging,
562 An alteration is the modification, raising or lowering, of a note's
563 pitch. It is established by an @ref{accidental}.
576 FI: altto, matala naisääni.
578 A female voice of low range (@emph{contralto}). Originally the alto was a
579 high male voice (hence the name), which by the use of falsetto reached the
580 height of the female voice. This type of voice is also known as
587 ES: clave de do en tercera,
588 I: chiave di contralto,
589 F: clef d'ut troisième ligne,
590 D: Altschlüssel, Bratschenschlüssel,
596 C clef setting middle C on the middle line of the staff.
613 FI: ambitus, ääniala, soitinala.
615 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
616 of pitches for a given voice in a part of music. It may also denote
617 the pitch range that a musical instrument is capable of playing.
632 An anacrusis (also known as pickup or upbeat) is an incomplete measure
633 of music before a section of music. It also refers to the initial note(s)
634 of a melody occurring in that incomplete measure.
638 @ref{measure}, @ref{meter}.
640 @lilypond[fragment,line-width=13.0\cm]
644 \partial 4 f4 | bes4. a8 bes4 c |
645 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
649 @node ancient minor scale
650 @section ancient minor scale
652 ES: escala menor antigua,
653 I: scala minore naturale,
654 F: forme du mode mineur ancien, troisème mode, mode hellénique
656 NL: authentieke mineurtoonladder,
659 FI: luonnollinen molliasteikko.
663 @ref{diatonic scale}.
665 @lilypond[fragment,notime,line-width=13.0\cm]
666 \set Score.automaticBars = ##f
684 Walking tempo/character.
688 @section appoggiatura
692 F: appoggiature, (port de voix),
697 FI: appoggiatura, etuhele.
699 Ornamental note, usually a second, that is melodically connected with the
700 main note following it. In music before the 19th century appoggiature were
701 usually performed on the beat, after that mostly before the beat. While the
702 short appoggiatura is performed as a short note regardless of the duration of
703 the main note the duration of the long appoggiatura is proportional to that of
706 @lilypond[line-width=13.0\cm]
707 \context Voice \relative c'' {
711 %\override Score.TextScript #'font-style = #'large
712 <d a fis>4_"notation" r
713 { \override Stem #'flag-style = #'()
715 \revert Stem #'flag-style
718 { \override Stem #'flag-style = #'()
720 \revert Stem #'flag-style
723 \cadenzaOn a4 \bar "||" \cadenzaOff
725 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
726 \cadenzaOn a4 \bar "||" \cadenzaOff
730 An appoggiatura may have more notes preceding the main note.
732 @lilypond[line-width=13.0\cm]
736 % \override Score.TextScript #'font-style = #'large
737 \grace { bes16 } as8_"notation" as16 bes as8 g |
738 \grace { as16[( bes] } < c as >4-)
739 \grace { as16[( bes] } < c as >4-) \bar "||"
740 \grace { bes16 } as8_"performance" as16 bes as8 g |
741 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
742 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
754 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
756 DK: arpeggio, akkordbrydning,
758 FI: arpeggio, murtosointu.
760 @lilypond[fragment,line-width=13.0\cm]
761 \context PianoStaff <<
762 \context Staff = SA \relative c'' {
765 r8 g16 c e g, c e r8 g,16 c e g, c e |
766 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
767 \context Staff = SB \relative c' {
769 << \context Voice = va {
771 r16 e8. ( e4) r16 e8. ( e4) |
772 r16 d8. ( d4) r16 d8. ( d4) }
773 \context Voice = vb {
782 @section articulation
793 Articulation refers to notation which indicates how a note or notes should
794 be played. Slurs, accents, staccato, and legato are all examples of
798 @node ascending interval
799 @section ascending interval
801 ES: intervalo ascendente,
802 I: intervallo ascendente,
803 F: intervalle ascendant,
804 D: steigendes Intervall,
805 NL: stijgend interval,
806 DK:@w{ }stigende interval,
807 S: stigande intervall,
808 FI: nouseva intervalli.
810 A distance between a starting lower note and a higher ending note.
813 @node augmented interval
814 @section augmented interval
816 ES: intervalo aumentado,
817 I: intervallo aumentato,
818 F: intervalle augmenté,
819 D: übermäßiges Intervall,
820 NL: overmatig interval,
821 DK: forstørret interval,
822 S: överstigande intervall,
823 FI: ylinouseva intervalli.
835 F: manuscrit, autographe
836 D: Autograph, Handschrift,
838 DK: håndskrift, autograf,
840 FI: käsinkirjoitettu nuotti.
842 1.@tie{}A manuscript in the composer's own hand.
843 2.@tie{}Music prepared for photoreproduction by freehand drawing,
844 with the aid of a straightedge ruler and T-square only,
845 which attempts to emulate engraving.
846 This required more skill than did engraving.
885 ES: barra, línea divisoria,
886 I: stanghetta, barra (di divisione),
887 F: barre (de mesure),
905 FI: baritoni, keskikorkuinen miesääni.
907 The male voice intermediate between the @ref{bass} and the
910 @c F: clef de troisième ligne dropped
914 @section baritone clef
916 ES: clave de fa en tercera,
917 I: chiave di baritono,
918 F: clef d' Ut cinquième ligne, clef de Fa troisième,
925 C or F clef setting middle C on the upper staff line.
929 @ref{C clef}, @ref{F clef}.
935 ES: clave de fa en cuarta,
937 F: clef de fa quatrième ligne,
944 A clef setting with middle C on the first top ledger line.
961 FI: basso, matala miesääni.
963 1.@tie{}The lowest male voice.
964 2.@tie{}Sometimes, especially in jazz music, used as
965 an abbreviation for double bass.
984 Line connecting a series of notes (shorter than a quarter note).
985 The number of beams determines the note value of the connected notes.
987 @lilypond[fragment,notime,line-width=13.0\cm]
988 \set Score.automaticBars = ##f
989 %\override TextScript #'font-style = #'large
992 g16_"1/16"[ g g g] s16
993 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
994 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
999 @ref{feathered beam}.
1005 ES: tiempo, parte (de compás)
1008 D: Takt, Taktschlag, Zeit (im Takt),
1014 Note value used for counting, most often half-, fourth-, and eighth notes.
1015 The base counting value and the number of them per measure is indicated at
1016 the start of the music.
1018 @lilypond[fragment,line-width=13.0\cm]
1021 \relative c'' { g4 c b a | g1 \bar "||"}
1023 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1038 ES: llave, corchete,
1041 D: Klammer, Akkolade,
1042 NL: accolade, teksthaak,
1045 FI: yhdistävä sulkumerkki.
1047 Symbol at the start of a system connecting staves. Curly braces are used
1048 for connecting piano staves, angular brackets for connecting parts in an
1049 orchestral or choral score.
1051 @lilypond[fragment,ragged-right]
1052 \context GrandStaff <<
1053 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1054 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1057 @lilypond[fragment,ragged-right]
1058 \context StaffGroup <<
1059 % \set StaffGroup.minVerticalAlign = #12
1060 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1061 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1071 NL: koper (blazers),
1074 S: brassinstrument, mässingsinstrument,
1077 A family of blown musical instruments made of brass, all using a cup formed
1078 mouth piece. The brass instruments commonly used in a symphony orchestra are
1079 trumpet, trombone, french horn, and tube.
1083 @section breath mark
1088 D: Atemzeichen, Trennungszeichen,
1089 NL: repercussieteken,
1090 DK: vejrtrækningstegn,
1094 Indication of where to breathe in vocal and wind instrument parts.
1099 ES: cuadrada, breve,
1108 @ref{note value}, twice as long as a whole note. Mainly used
1111 @lilypond[fragment,notime,ragged-right]
1112 \set Score.automaticBars = ##f
1113 \relative c'' { g\breve }
1146 Clef symbol indicating the position of the middle C. Used on all note
1149 @lilypond[fragment,notime,line-width=13.0\cm]
1150 \set Score.automaticBars = ##f
1151 \override Score.Clef #'full-size-change = ##t
1153 \context Staff \relative c' {
1155 \clef mezzosoprano c
1160 \context Lyrics \lyrics {
1161 \override Lyrics .LyricText #'self-alignment-X = #-1
1162 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1178 FI: kadenssi, lopuke.
1182 @ref{harmonic cadence}, @ref{functional harmony}.
1195 FI: kadenssi, lopuke.
1197 An extended, improvisatory style section inserted near the end of
1198 movement. The purpose of a cadenza is to give singers or players a chance
1199 to exhibit their technical skill and -- not last -- their ability to
1200 improvise. Since the middle of the 19th century, however, most cadences have
1201 been written down by the composer.
1214 FI: kaanon, tarkka jäljittely.
1231 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1232 viritysjärjestelmässä.
1234 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1235 of an equally tempered @ref{semitone}).
1239 @ref{equal temperament}.
1262 Three or more tones sounding simultaneously. In traditional European music
1264 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1266 minor @ref{third}) as well as @emph{minor} (minor + major third)
1267 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1268 and five-tone @emph{ninth} major chords are most often used as dominants
1269 (@ref{functional harmony}). A special case is chords having no
1270 third above the lower notes to define their quality as major or minor. Such
1271 chords are denoted open chords
1273 @lilypond[fragment,notime,line-width=13.0\cm]
1274 \set Score.automaticBars = ##f
1275 %\override TextScript #'font-style = #'large
1277 \context Staff \relative c'' {
1278 \set Staff.extraNatural = ##f
1298 @node chromatic scale
1299 @section chromatic scale
1301 ES: escala cromática,
1303 F: gamme chromatique,
1304 D: chro@-ma@-ti@-sche Tonleiter,
1305 NL: chromatische toonladder,
1306 DK: kromatisk skala,
1308 FI: kromaattinen asteikko.
1310 A scale consisting of all 12 @ref{semitone}s.
1312 @lilypond[fragment,notime,line-width=13.0\cm]
1313 \set Score.automaticBars = ##f
1314 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1319 @section chromaticism
1330 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1334 @section church mode
1336 ES: modo eclesiástico,
1337 I: modo ecclesiastico,
1338 F: mode ecclésiastique,
1343 FI: moodi, kirkkosävellaji.
1347 @ref{diatonic scale}.
1356 D: Schlüssel, Notenschlüssel,
1360 FI: avain, nuottiavain.
1364 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1366 The clef indicates which lines of the staff correspond to which
1367 pitches. The three clef symbols in common use are:
1369 @lilypond[ragged-right,quote]
1372 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1373 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1374 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1379 Imagine a large staff of 11 lines centered on middle C, sometimes
1380 called a @q{grand staff}, with the bottom line representing low G
1381 and the top line high F:
1383 @lilypond[ragged-right,quote]
1386 %-- Treble Staff --%
1388 % Allow this staff to be placed close to the others
1389 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1390 % Allow the treble clef to overlap the lower staves:
1391 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1392 \override Staff.Clef #'stencil = ##f % No clef required
1394 s1^\markup { "g," \transparent "g" }
1395 s^ \markup { "b," \transparent "g" }
1396 s^ \markup { "d" \transparent "g" }
1397 s^ \markup { "f" \transparent "g" }
1398 s^ \markup { "a" \transparent "g" }
1399 s^ \markup { \with-color #red c' \transparent "g"}
1400 e'^\markup { "e'" \transparent "g" }
1401 g'^\markup { "g'" \transparent "g" }
1402 b'^\markup { "b'" \transparent "g" }
1403 d''^\markup { "d''" \transparent "g" }
1404 f''^\markup { "f ''" \transparent "g" }
1407 %-- Alto Staff reduced to a single line on middle C --%
1409 \override Staff.StaffSymbol #'line-count = 1 % One line only
1410 \override Staff.StaffSymbol #'color = #red % Coloured red
1411 \override Staff.Clef #'stencil = ##f % No clef required
1414 % Allow this staff to be placed close to the others
1415 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1416 % Specify height to give correct spacing between treble and bass staves
1417 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1419 s1 s s s s % Space along to align horizonatally
1420 \override NoteHead #'color = #red
1422 s1 s s s s s % Keep staff (ie the red line) showing
1426 % Allow this staff to be placed close to the others
1427 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1428 \override Staff.Clef #'stencil = ##f % No clef required
1431 s s s s s s s % Keep staff showing
1435 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1436 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1438 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1439 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1441 % Remove all barlines
1442 \context { \Score \override BarLine #'stencil = ##f
1444 % Remove time signature from all staves
1445 \context { \Staff \remove Time_signature_engraver
1451 Staves of five lines are usually used, and the clef superimposed on them
1452 indicates which five lines have been selected from this @samp{grand staff}.
1453 For example, the treble or G clef indicates that the top five
1454 lines have been selected:
1456 @lilypond[ragged-right,quote]
1459 %-- Treble Staff --%
1461 % Allow this staff to be placed close to the others
1462 \override Staff.VerticalAxisGroup
1463 #'minimum-Y-extent = #'(0 . 0)
1464 % Allow the treble clef to overlap the lower staves:
1465 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1466 \override Staff.Clef #'stencil = ##f % No clef required here
1468 s1^\markup { "g," \transparent "g" }
1469 s^ \markup { "b," \transparent "g" }
1470 s^ \markup { "d" \transparent "g" }
1471 s^ \markup { "f" \transparent "g" }
1472 s^ \markup { "a" \transparent "g" }
1473 s^ \markup { \with-color #red c' \transparent "g"}
1474 \stopStaff \startStaff
1475 \clef "C" % Dummy to force next clef to be printed
1476 s % Need at least one note for \clef to take effect
1477 \override Staff.Clef #'stencil = ##t % Clef now required
1478 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1480 e'^\markup { "e'" \transparent "g" }
1481 g'^\markup { "g'" \transparent "g" }
1482 b'^\markup { "b'" \transparent "g" }
1483 d''^\markup { "d''" \transparent "g" }
1484 f''^\markup { "f ''" \transparent "g" }
1486 %-- Alto Staff reduced to a single line on middle C --%
1488 \override Staff.StaffSymbol #'line-count = 1 % One line only
1489 \override Staff.StaffSymbol #'color = #red % Coloured red
1490 \override Staff.Clef #'stencil = ##f % No clef required
1493 % Allow this staff to be placed close to the others
1494 \override Staff.VerticalAxisGroup
1495 #'minimum-Y-extent = #'(0 . 0)
1496 % Specify height to give correct spacing between the staves
1497 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1499 s1 s s s s % Space along to align horizonatally
1500 \override NoteHead #'color = #red
1502 % s1 s s s s % Keep staff (ie the red line) showing
1506 % Allow this staff to be placed close to the others
1507 \override Staff.VerticalAxisGroup
1508 #'minimum-Y-extent = #'(0 . 0)
1509 \override Staff.Clef #'stencil = ##f % No clef required
1512 % s s s s s s % Keep staff showing
1516 % Reduce horizontal spacing so semibreves can be used
1517 % without exceeding 1 line
1518 \context { \Score \override SpacingSpanner
1519 #'base-shortest-duration = #(ly:make-moment 1 1)
1521 % Reduce apparent vertical size of note heads to
1522 % permit them to overlap other grobs vertically
1523 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1525 % Remove all barlines
1526 \context { \Score \override BarLine #'stencil = ##f
1528 % Remove time signature from all staves
1529 \context { \Staff \remove Time_signature_engraver
1535 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1537 In the same way, the bass or F clef indicates that the bottom five lines
1538 have been selected from the @samp{grand staff}, and the alto or C clef
1539 indicates the middle five lines have been selected. This relationship is
1540 shown below, where the notes show an arpeggio on a C major chord.
1542 @lilypond[ragged-right,quote]
1545 %-- Treble Staff --%
1546 \new Staff = "G" \with {
1547 \remove Time_signature_engraver
1550 % The following two overrides are required to make the two middle C's overlap
1551 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1552 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1554 \override Staff.Clef #'Y-extent = #'(0 . 0)
1556 s1 s s s s e' g' c''
1559 \new Staff = "C" \with {
1560 \remove Time_signature_engraver
1563 \override Staff.StaffSymbol #'line-count = 1
1564 \override Staff.StaffSymbol #'stencil = ##f
1565 \once \override Staff.Clef #'stencil = ##f
1566 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1567 \override Score.BarLine #'stencil = ##f
1569 % The following two overrides are required to align the C staff to the G and F staves
1570 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1571 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1574 \stopStaff \startStaff
1575 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1576 \revert Staff.StaffSymbol #'stencil
1577 \override Staff.StaffSymbol #'color = #red
1578 b'1 % A frig. This really shows as a middle C in the score
1580 \stopStaff \startStaff
1581 \override Staff.StaffSymbol #'line-count = 5
1582 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1583 \override Staff.Clef #'Y-extent = #'(0 . 0)
1584 \revert Staff.StaffSymbol #'color
1585 \stopStaff \startStaff
1587 s1 s s c e g c' e' g' c''
1590 \new Staff = "F" \with {
1591 \remove Time_signature_engraver
1594 \override Staff.Clef #'Y-extent = #'(0 . 0)
1595 % The following two overrides are required to make the two middle C's overlap
1596 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1597 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1605 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1608 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1611 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1624 A @emph{cluster} is a range of simultaneously sounding pitches that
1625 may change over time. The set of available pitches to apply usually
1626 depends on the acoustic source. Thus, in piano music, a cluster
1627 typically consists of a continuous range of the semitones as provided
1628 by the piano's fixed set of a chromatic scale. In choral music, each
1629 singer of the choir typically may sing an arbitrary pitch within the
1630 cluster's range that is not bound to any diatonic, chromatic or other
1631 scale. In electronic music, a cluster (theoretically) may even cover
1632 a continuous range of pitches, thus resulting in colored noise, such
1635 Clusters can be denoted in the context of ordinary staff notation by
1636 engraving simple geometrical shapes that replace ordinary notation of
1637 notes. Ordinary notes as musical events specify starting time and
1638 duration of pitches; however, the duration of a note is expressed by
1639 the shape of the note head rather than by the horizontal graphical
1640 extent of the note symbol. In contrast, the shape of a cluster
1641 geometrically describes the development of a range of pitches
1642 (vertical extent) over time (horizontal extent). Still, the
1643 geometrical shape of a cluster covers the area in which any single
1644 pitch contained in the cluster would be notated as an ordinary note.
1646 @lilypond[fragment,relative=2,ragged-right]
1647 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1661 FI: komma, korvinkuultava ero äänenkorkeudessa.
1663 Difference in pitch between a note derived from pure tuning and the same note
1664 derived from some other tuning method.
1672 @section common meter
1679 @node compound interval
1680 @section compound interval
1682 ES: intervalo compuesto,
1683 I: intervallo composto,
1684 F: intervalle composé,
1685 D: weites Intervall,
1686 NL: samengesteld interval,
1687 DK: sammensat interval,
1688 S: sammansatt intervall,
1689 FI: oktaavia laajempi intervalli.
1691 Intervals larger than an octave.
1701 ES: intervalo invertido,
1703 F: intervalle complémentaire,
1704 D: Komplementärintervall,
1705 NL: complementair interval,
1706 DK: komplementærinterval,
1707 S: komplementärintervall (?),
1708 FI: täydentävä intervalli.
1712 @ref{inverted interval}.
1715 @node conjunct movement
1716 @section conjunct movement
1718 ES: movimiento conjunto,
1720 F: mouvement conjoint,
1721 D: schritt@-weise, stufenweise Bewegung,
1722 NL: stapsgewijze, trapsgewijze beweging,
1723 DK: trinvis bevægelse,
1725 FI: asteittainen liike.
1727 Progressing melodically by intervals of a second. The opposite of a
1728 @ref{disjunct movement}.
1730 @lilypond[fragment,line-width=13.0\cm]
1731 \key g \major \time 4/4
1732 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1746 FI: konsonanssi, sopusointi.
1771 @section counterpoint
1780 FI: kontrapunkti, ääni ääntä vastaan.
1782 From latin @emph{punctus contra punctum}, note against note. The combination
1783 into a single musical fabric of lines or parts which have distinct melodic
1784 significance. A frequently used polyphonic technique is imitation, in its
1785 strictest form found in the canon needing only one part to be written down
1786 while the other parts are performed with a given displacement. Imitation is
1787 also the contrapunctal technique used in the @emph{fugue} which, since the
1788 music of the baroque era, has been one of the most popular polyphonic
1789 composition methods.
1791 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1792 \set Score.implicitTimeSignatureVisibility = #all-invisible
1793 \override Score.TimeSignature #'break-visibility = #all-invisible
1794 \context PianoStaff <<
1795 \context Staff = SA \relative c' {
1799 << \context Voice = rha {
1801 r1 | r2 r8 g'8 bes d, |
1802 cis4 d r8 e!16 f g8 f16 e |
1803 f8 g16 a bes8 a16 g a8
1805 \context Voice = rhb {
1811 \context Staff = SB \relative c' {
1814 << \context Voice = lha {
1816 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1817 r8 a16 g f8 g16 a bes8 g e! cis' |
1820 \context Voice = lhb {
1830 @section counter tenor
1835 D: Countertenor, Kontratenor,
1838 S: kontratenor, counter tenor,
1847 @section copying music
1849 A music copyist did fast freehand scores and parts on preprinted staff lines
1850 for performance. Some of their conventions (e.g., the placement of note heads
1851 on stems) varied slightly from those of engravers. Some of their working
1852 methods were superior and could well be adopted by music typesetters. This
1853 required more skill than engraving.
1862 D: Crescendo, lauter werden,
1866 FI: cresendo, voimistuen.
1868 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1869 abbreviation @samp{cresc.}.
1871 @lilypond[fragment,ragged-right]
1872 \key g \major \time 4/4
1873 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1882 F: petites notes précédent l'entrée d'un instrument, réplique,
1889 In a separate part notes belonging to another part with the purpose of hinting
1890 when to start playing. Usually printed in a smaller type.
1899 A custos is a staff symbol that appears at the end of a staff line
1900 with monophonic musical contents (i.e., with a single voice). It
1901 anticipates the pitch of the first note of the following line and thus
1902 helps the player or singer to manage line breaks during performance,
1903 thus enhancing readability of a score.
1905 Custodes were frequently used in music notation until the 16th
1906 century. There were different appearences for different notation
1907 styles. Nowadays, they have survived only in special forms of musical
1908 notation such as via the editio vaticana dating back to the beginning
1914 % \override Staff.Custos #'neutral-position = #4
1915 \override Staff.Custos #'neutral-direction = #down
1916 \override Staff.Custos #'style = #'hufnagel
1924 \consists Custos_engraver
1954 F: da capo, depuis le commencement,
1955 D: da capo, von Anfang,
1959 FI: da capo, alusta.
1961 The term indicates repetition of the piece from the beginning to the end or
1962 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1970 F: dal segno, depuis le signe,
1971 D: dal segno, ab dem Zeichen,
1975 FI: dal segno, lähtien merkistä.
1977 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1978 another place frequently near the beginning marked by a sign:
1980 @lilypond[fragment,ragged-right]
1981 %\override TextScript #'font-style = #'large
1982 \override TextScript #'font-shape = #'italic
1983 \key g \major \time 4/4
1988 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1995 @section decrescendo
1999 D: Decrescendo, leiser werden,
2003 FI: decresendo, hiljentyen.
2005 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2006 or the abbreviation @samp{decresc.}.
2008 @lilypond[fragment,ragged-right]
2010 \key g \major \time 4/4
2011 d4 \> c b a | g1 \! \bar "|."
2016 @node descending interval
2017 @section descending interval
2019 ES: intervalo descendente,
2020 I: intervallo discendente,
2021 F: intervalle descendant,
2022 D: fallendes Intervall, absteigendes Intervall,
2023 NL: dalend interval,
2024 DK: faldende interval,
2025 S: fallande intervall,
2026 FI: laskeva intervalli.
2028 A distance between a starting higher note and a lower ending note.
2031 @node diatonic scale
2032 @section diatonic scale
2034 ES: escala diatónica,
2036 F: gamme diatonique,
2037 D: diatonische Tonleiter,
2038 NL: diatonische toonladder,
2039 DK: diatonisk skala,
2041 FI: diatoninen asteikko.
2043 A scale consisting of 5@w{ }@ref{whole tone}s and
2044 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2045 of a piano keybord are diatonic.
2047 The church modes are used in gregorial chant and in pre-baroque early
2048 music but also to some extent in newer jazz music.
2050 @lilypond[fragment,notime,ragged-right]
2051 \set Score.automaticBars = ##f
2052 %\override Score.LyricText #'font-style = #'large
2053 %\override Score.TextScript #'font-style = #'large
2055 \context Staff \relative c' {
2057 \override TextScript #'padding = #-4
2058 e^"~~ S" f g a b^"~~ S" c
2060 \context Lyrics \lyrics {
2066 @lilypond[fragment,notime,ragged-right]
2067 \set Score.automaticBars = ##f
2069 \context Staff \relative c' {
2071 \override TextScript #'padding = #-4
2072 e^"~~ S" f g a b^"~~ S" c d
2080 @lilypond[fragment,notime,ragged-right]
2081 \set Score.automaticBars = ##f
2084 \override TextScript #'padding = #-4
2085 e1^"~~ S" f g a b^"~~ S" c d e
2093 @lilypond[fragment,notime,ragged-right]
2094 \set Score.automaticBars = ##f
2098 \override TextScript #'padding = #-4
2099 b^"~~ S" c d e^"~~ S" f
2107 @lilypond[fragment,notime,ragged-right]
2108 \set Score.automaticBars = ##f
2112 \override TextScript #'padding = #-4
2113 b^"~~ S" c d e^"~~ S" f g }
2120 @lilypond[fragment,notime,ragged-right]
2121 \set Score.automaticBars = ##f
2122 %\override Score.LyricText #'font-style = #'large
2123 %\override Score.TextScript #'font-style = #'large
2127 \override TextScript #'padding = #-4
2128 b^"~~ S" c d e^"~~ S" f g a
2136 From the beginning of the 17th century the scales used in European
2137 compositional music are primarily the major and the minor scales. In the
2138 harmonic minor scale type an augmented second (A) occurs between the 6th and
2141 @lilypond[fragment,notime,ragged-right]
2142 \set Score.automaticBars = ##f
2146 \override TextScript #'padding = #-4
2147 e^"~~ S" f g a b^"~~ S" c
2155 @lilypond[fragment,notime,ragged-right]
2156 \set Score.automaticBars = ##f
2160 \override TextScript #'padding = #-4
2161 b^"~~ S" c d e^"~~ S" f g a
2169 @lilypond[fragment,notime,ragged-right]
2170 \set Score.automaticBars = ##f
2174 \override TextScript #'padding = #-4
2175 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2177 \context Lyrics \lyrics {
2183 @lilypond[fragment,notime,line-width=13.0\cm]
2184 \set Score.automaticBars = ##f
2185 %\override Score.LyricText #'font-style = #'large
2186 %\override Score.TextScript #'font-style = #'large
2190 \override TextScript #'padding = #-4
2191 b^"~~ S" c d e fis gis^"~~ S"
2192 a g! f!^"~~ S" e d c^"~~ S" b a
2201 @node diminished interval
2202 @section diminished interval
2204 ES: intervalo disminuido,
2205 I: intervallo diminuito,
2206 F: intervalle diminué,
2207 D: vermindertes Intervall,
2208 NL: verminderd interval,
2209 DK: formindsket interval,
2210 S: förminskat intervall,
2211 FI: vähennetty intervalli.
2228 FI: diminuendo, hiljentyen.
2252 @node disjunct movement
2253 @section disjunct movement
2255 ES: movimiento disjunto,
2257 F: mouvement disjoint,
2258 D: sprunghafte Bewegung,
2259 NL: sprongsgewijze beweging,
2260 DK: springende bevægelse,
2261 S: hoppande rörelse,
2262 FI: melodian hyppivä liike.
2264 Progressing melodically by intervals larger than a major second.
2265 Opposite of @ref{conjunct movement}.
2267 @lilypond[fragment,ragged-right]
2272 a4. gis8 b a e cis |
2273 fis2 d4. \bar "||" }
2280 @ref{dissonant interval}.
2283 @node dissonant interval
2284 @section dissonant interval
2286 ES: intervalo disonante, disonancia,
2287 I: intervallo dissonante, dissonanza,
2290 NL: dissonant interval; dissonant,
2291 DK: dissonerende interval, dissonans,
2293 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2300 @node dominant ninth chord
2301 @section dominant ninth chord
2303 ES: acorde de novena de dominante,
2304 I: accordo di nona di dominante,
2305 F: accord de neuvième dominante,
2306 D: Domi@-nant@-nonen@-akkord,
2307 NL: dominant noon akkoord,
2308 DK: dominantnoneakkord,
2309 S: dominantnonackord,
2310 FI: dominanttinoonisointu.
2314 @ref{chord}, @ref{functional harmony}.
2317 @node dominant seventh chord
2318 @section dominant seventh chord
2320 ES: acorde de séptima de dominante,
2321 I: accordo di settima di dominante,
2322 F: accord de septième dominante,
2323 D: Dominantseptakkord,
2324 NL: dominant septiem akkoord,
2325 DK: dominantseptimakkord,
2326 S: dominantseptimackord,
2327 FI: dominanttiseptimisointu.
2331 @ref{chord}, @ref{functional harmony}.
2344 FI: dominantti, huippusointu.
2346 The fifth @ref{scale degree} in @ref{functional harmony}.
2350 @section dorian mode
2355 D: dorisch, dorischer Kirchenton,
2356 NL: dorische toonladder,
2363 @ref{diatonic scale}.
2366 @node dot (augmentation dot)
2367 @section dot (augmentation dot)
2370 I: punto (di valore),
2372 D: Punkt (Verlängerungspunkt),
2378 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2386 @section dotted note
2388 ES: nota con puntillo,
2392 NL: gepuncteerde noot,
2395 FI: pisteellinen nuotti.
2402 @node double appoggiatura
2403 @section double appoggiatura
2405 ES: apoyatura doble,
2406 I: appoggiatura doppia,
2407 F: appoggiature double,
2408 D: doppelter Vorschlag,
2409 NL: dubbele voorslag,
2410 DK: dobbelt forslag,
2412 FI: kaksoisappogiatura, kaksoisetuhele.
2419 @node double bar line
2420 @section double bar line
2426 NL: dubbele maatstreep,
2429 FI: kaksoistahtiviiva.
2431 Indicates the end of a section within a movement.
2434 @node double dotted note
2435 @section double dotted note
2437 ES: nota con doble puntillo,
2438 I: nota doppiamente puntata,
2439 F: note doublement pointée,
2440 D: doppelt punktierte Note,
2441 NL: dubbelgepuncteerde noot,
2442 DK: dob@-belt@-punk@-te@-ret node,
2443 S: dub@-bel@-punk@-te@-rad not,
2444 FI: kaksoispisteellinen nuotti.
2452 @section double flat
2461 FI: kaksoisalennusmerkki.
2469 @section double sharp
2471 ES: doble sostenido,
2476 DK: dob@-belt@-kryds,
2478 FI: kaksoisylennysmerkki.
2486 @section double trill
2492 NL: dubbele triller,
2497 A simultaneous trill on two notes, usually in the distance of a third.
2501 @section duple meter
2507 NL: tweedelige maatsoort,
2544 FI: kesto, aika-arvo.
2552 @section dydimic comma
2556 @ref{syntonic comma}.
2571 The aspect of music relating to degrees of loudness, or changes from one
2572 degree to another. The terms, abbreviations, and symbols used to indicate
2573 this information are called dynamic marks.
2577 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2597 @node ecclesiastical mode
2598 @section ecclesiastical mode
2606 @section eighth note
2612 D: Achtel, Achtelnote,
2614 DK: ottendedelsnode,
2616 FI: kahdeksasosanuotti.
2624 @section eighth rest
2626 ES: silencio de corchea,
2632 DK: ottendedelspause,
2634 FI: kahdeksasosatauko.
2644 FIXME: languages, definition
2648 @section embellishment
2661 D: Notenstechen, Notendruck
2667 Engraving means incising or etching a metal plate for
2668 printing. Photoengraving means drawing music with ink in a manner
2669 similar to drafting or engineering drawing, using similar tools.
2671 The traditional process of music printing is done through cutting in a
2672 plate of metal. Now also the term for the art of music typesetting.
2687 Two notes, intervals, or scales are enharmonic if they have different names
2690 @lilypond[fragment,notime,line-width=13.0\cm]
2691 \set Score.automaticBars = ##f
2693 \context Staff \relative c'' {
2694 gis1 as <des g,!> <cis g!>
2696 \context Lyrics \lyrics {
2697 \override Lyrics .LyricText #'self-alignment-X = #-1
2698 "g sharp " "a flat " "dim fifth " "augm fourth"
2704 @node equal temperament
2705 @section equal temperament
2707 ES: temperamento igual,
2708 I: temperamento equabile,
2709 F: tempérament égal,
2710 D: gleichschwebende Stimmung,
2711 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2712 DK: ligesvævende temperatur,
2713 S: liksvävande temperatur,
2716 Tuning system dividing the octave into 12 equal @ref{semitone}s
2717 (precisely 100 @ref{cent}s).
2724 @node expression mark
2725 @section expression mark
2728 I: segno d'espressione,
2729 F: signe d'expression, indication de nuance,
2731 NL: voordrachtsteken,
2732 DK: foredragsbetegnelse,
2733 S: föredragsbeteckning,
2734 FI: nyanssiosoitus, esitysmerkki.
2736 Performance indications concerning 1. volume, dynamics (for example
2737 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2738 @ref{andante}, @ref{allegro}).
2742 @section extender line
2744 FIXME: add languages
2746 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2748 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2755 The generic term for a line (or dash) of arbitrary length that
2756 extends text (without indicating the musical @emph{function} of
2759 Used in many contexts, for example:
2763 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2765 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2768 In figured (or thorough) bass to indicate that:
2772 @item The extended note should be held through a change in
2773 harmony, when applied to one figure --OR--
2775 @item The chord thus represented should be held above a moving
2776 bass line, when applied to more than one figure.
2778 @item These uses were not completely standardized, and some
2779 composers used a single extender line to indicate the
2785 In string music to indicate that all notes in the passage thus indicated
2786 should be played on the same string. On the violin, for example, a series
2787 of notes to be played on the G string would be indicated @samp{sul G},
2788 another series to be played on the D string would be indicated @samp{sul D},
2795 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2827 The position between the dots of the key symbol is the line of the F below
2828 central@w{ }C. Used on the third, fourth and fifth note line. A
2829 digit@w{ }8 above the clef symbol indicates that the notes must be played
2830 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2831 symbol indicates playing an octave lower (for example, on double bass
2834 @lilypond[fragment,notime,line-width=13.0\cm]
2835 \set Score.automaticBars = ##f
2836 \override Staff.Clef #'full-size-change = ##t
2864 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2867 @node feathered beam
2868 @section feathered beam
2879 A type of beam used to indicate that a small group of notes should be
2880 played at an increasing or decreasing tempo -- depending on the
2881 direction of @q{feathering} -- but without changing the overall tempo
2886 Internals Reference: @ruser{Manual beams}
2894 F: point d'orgue, point d'arrêt,
2899 FI: fermaatti, pidäke.
2901 Prolonged note or rest of indefinite duration.
2903 @lilypond[fragment,ragged-right]
2906 a4 b c2^\fermata \bar "|."
2929 @section figured bass
2933 @ref{thorough bass}.
2948 The methodical use of fingers in the playing of instruments.
2955 I: coda (uncinata), bandiera,
2963 Ornament at the end of the stem of a note used for notes with values
2964 less than a quarter note. The number of flags determines the
2967 @lilypond[fragment,notime,ragged-right]
2968 \set Score.automaticBars = ##f
2969 %\override Score.TextScript #'font-style = #'large
3014 FI: forte, voimakkaasti.
3016 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3017 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3054 @node functional harmony
3055 @section functional harmony
3057 ES: armonía funcional,
3058 I: armonia funzionale,
3059 F: étude des functions,
3061 NL: functionele harmonie,
3062 DK: funktionsanalyse, funktionsharmonik,
3064 FI: harmoniajärjestelmä.
3066 A system of harmonic analysis. It is based on the idea that, in a given key,
3067 there are only three functionally different chords: tonic (T, the chord on the
3068 first note of the scale), subdominant (S, the chord on the fourth note), and
3069 dominant (D, the chord on the fifth note). Others are considered to be
3070 variants of the base chords.
3072 @lilypond[fragment,notime,line-width=13.0\cm]
3073 \set Score.automaticBars = ##f
3075 \context Voice \relative c'' {
3076 <g e c >1 < a f d > < b g e >
3077 <c a f > < d b g > < e c a > < f d b > }
3078 \context Lyrics \lyrics {
3079 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3107 D: G-Schlüssel, Violinschlüssel,
3113 A clef symbol indicating the G above central@w{ }C. Used on the first
3114 and second note lines. A digit 8 above the clef symbol indicates that
3115 the notes must be played an octave higher while 8 below the clef symbol
3116 indicates playing or singing an octave lower (most tenor parts in choral
3117 scores are notated like that).
3119 @lilypond[fragment,notime,ragged-right]
3121 \set Score.automaticBars = ##f
3122 \override Staff.Clef #'full-size-change = ##t
3125 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3135 \context Lyrics \lyrics {
3136 \override Lyrics . LyricText #'X-offset = #-5
3137 "french violin clef"
3156 FI: glissando, liukuen.
3158 Letting the pitch slide fluently from one note to the other.
3162 @section grace notes
3164 ES: notas de adorno,
3167 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3173 Notes printed in small types to indicate that their time values are not
3174 counted in the rhythm of the bar.
3180 @section grand staff
3182 ES: sistema de piano,
3188 S: ackolad, böjd klammer,
3189 FI: kaksoisnuottiviivasto.
3191 A combination of two staves with a brace. Usually used for piano music.
3208 FI: grave, raskaasti.
3233 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3234 standard usage of these countries, @samp{B} means @samp{B flat}.
3238 @ref{Pitch names}, @ref{B}
3248 D: Halbe, halbe Note,
3262 ES: silencio de blanca,
3277 @node harmonic cadence
3278 @section harmonic cadence
3280 ES: cadencia (armónica),
3281 I: cadenza (armonica),
3282 F: cadence harmonique,
3284 NL: harmonische cadens,
3285 DK: harmonisk kadence,
3286 S: (harmonisk) kadens,
3287 FI: harmoninen kadenssi.
3289 A sequence of chords that terminates a musical phrase or
3292 @ref{functional harmony}.
3294 @lilypond[fragment,ragged-right]
3295 \context PianoStaff <<
3296 \context Staff = SA \relative c'' {
3300 \partial 4 < c g e >4 |
3301 < c a f > < b g d > < c g e >2
3304 \context Staff = SB \relative c {
3306 \partial 4 c4 | f, g c2
3324 D: Harmonie, Zusammenklang,
3328 FI: harmonia, yhteissointi.
3330 Tones sounding simultaneously. Two note harmonies fall into the categories
3331 @emph{consonances} and @emph{dissonances}.
3335 @lilypond[fragment,notime,line-width=13.0\cm]
3336 \set Score.automaticBars = ##f
3337 %\override Score.TextScript #'font-style = #'large
3338 \context Voice \relative c'' {
3351 @lilypond[fragment,notime,line-width=13.0\cm]
3352 \set Score.automaticBars = ##f
3353 %\override Score.TextScript #'font-style = #'large
3354 \context Voice \relative c'' {
3355 <g a>1_"second " s s
3356 <g f'>_"seventh " s s
3361 Three note harmony @ref{chord}.
3374 FI: homofonia, yksiäänisyys.
3376 Music in which one voice leads melodically followed by the other voices more
3377 or less in the same rhythm. In contrast to @ref{polyphony}.
3390 FI: intervalli, kahden sävelen korkeusero.
3392 Difference in pitch between two notes. Intervals may be perfect, minor,
3393 major, diminished, or augmented. The augmented fourth and the diminished fifth
3394 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3395 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3398 @lilypond[fragment,notime,line-width=13.0\cm]
3399 \set Score.automaticBars = ##f
3401 \context Voice \relative c'' {
3411 \context Lyrics \lyrics {
3412 "unison " "second " "second " "second "
3413 "third " "third " "third " "third"
3418 @lilypond[fragment,notime,line-width=13.0\cm]
3419 \set Score.automaticBars = ##f
3421 \context Staff \relative c'' {
3432 "fourth " "fourth " "fifth " "fifth "
3433 "sixth " "sixth " "sixth " "sixth"
3438 @lilypond[fragment,notime,line-width=13.0\cm]
3439 \set Score.automaticBars = ##f
3441 \context Staff \relative c'' {
3442 < gis f'! >1^"dimin"
3451 \context Lyrics \lyrics {
3452 "seventh " "seventh " "seventh " "octave "
3453 "ninth " "ninth " "tenth " "tenth"
3459 @node inverted interval
3460 @section inverted interval
3462 ES: intervalo invertido,
3463 I: intervallo rivolto,
3464 F: intervalle reversé,
3465 D: umgekehrtes Intervall,
3466 NL: interval inversie,
3467 DK: omvendingsinterval,
3468 S: intervallets omvändning,
3469 FI: käänteisintervalli.
3471 The difference between an interval and an octave.
3473 @lilypond[fragment,notime,line-width=13.0\cm]
3474 \set Score.automaticBars = ##f
3475 %\override Score.TextScript #'font-style = #'large
3476 \context Staff \relative c'' {
3477 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3478 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3479 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3484 @node just intonation
3485 @section just intonation
3487 ES: entonación justa,
3488 I: intonazione giusta,
3489 F: intonation juste,
3496 Tuning system in which the notes are obtained by adding and subtracting
3497 natural fifths and thirds.
3514 According to the 12@w{ }tones of the @ref{chromatic scale}
3515 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3519 @ref{key signature}.
3523 @section key signature
3525 ES: armadura (de la clave),
3526 I: armatura di chiave,
3527 F: armure, armature [de la clé],
3528 D: Vorzeichen, Tonart,
3529 NL: toon@-soort (voortekens),
3532 FI: sävellajiosoitus.
3534 The sharps or flats appearing at the beginning of each staff indicating the
3546 D: Largo, Langsam, Breit,
3550 FI: largo, hitaasti, leveästi.
3552 Very slow in tempo, usually combined with great
3553 expressiveness. @emph{Larghetto} is less slow than largo.
3557 @section leading note
3568 The seventh @ref{scale degree}, a @ref{semitone} below
3569 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3570 upwards) to the tonic scale degree.
3574 @section ledger line
3576 ES: línea adicional,
3577 I: tagli addizionali,
3578 F: ligne supplémentaire,
3585 A ledger line is an extension of the staff.
3587 @lilypond[fragment,notime,ragged-right]
3588 \set Score.automaticBars = ##f
3589 \relative c'' { a,1 s c'' }
3605 To be performed (a) without any perceptible interruption between the notes,
3606 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3609 @lilypond[fragment,notime,line-width=13.0\cm]
3610 \set Score.automaticBars = ##f
3612 \context Staff \relative c'' {
3613 c4-( d e-) \bar "||"
3614 c4-- d-- e-- \bar "||"
3615 c4-.-( d-. e-.-) \bar "||"
3616 c4-. d-. e-. \bar "||"
3629 @section legato curve
3633 @ref{slur}, @ref{legato}.
3647 ES: estanque de nenúfares,
3648 I: stagno del giglio,
3652 NL: le@-lie@-vij@-ver,
3657 A pond with lilies floating in it, also the name of a music typesetter.
3665 A ligature is a coherent graphical symbol that represents at least two
3666 distinct notes. Ligatures originally appeared in the manuscripts of
3667 Gregorian chant notation roughly since the 9th century to denote
3668 ascending or descending sequences of notes. In early notation,
3669 ligatures were used for monophonic tunes (Gregorian chant) and very
3670 soon denoted also the way of performance in the sense of articulation.
3671 With the invention of the metric system of the white mensural
3672 notation, the need for ligatures to denote such patterns disappeared.
3681 D: Linie, Notenlinie,
3685 FI: viiva, nuottiviiva.
3692 @node long appoggiatura
3693 @section long appoggiatura
3695 ES: apoyatura larga,
3696 I: appoggiatura lunga,
3697 F: appoggiature longue,
3698 D: langer Vorschlag,
3702 FI: pitkä appoggiatura, pitkä etuhele.
3721 Note value: double length of @ref{breve}.
3723 @lilypond[fragment,notime,ragged-right]
3724 \set Score.automaticBars = ##f
3726 \override NoteHead #'style = #'mensural
3739 ES: letra (de la canción),
3752 FIXME: add languages
3759 @node major interval
3760 @section major interval
3762 ES: intervalo mayor,
3763 I: intervallo maggiore,
3764 F: intervalle majeur,
3765 D: großes Intervall,
3769 FI: suuri intervalli.
3790 @ref{diatonic scale}.
3793 @node meantone temperament
3794 @section meantone temperament
3796 ES: afinación mesotónica,
3797 I: accordatura mesotonica,
3798 F: tempérament mésotonique,
3799 D: mitteltönige Stimmung,
3800 NL: middenstemming, middentoonstemming,
3801 DK: middeltonetemperatur,
3802 S: medeltonstemperatur,
3803 FI: keskisävelviritys.
3805 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3806 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3807 @ref{temperament} only a limited set of keys are playable.
3808 Used for tuning keyboard instruments for performance of pre-1650 music.
3823 A group of @ref{beat}s (units of musical time) the first of which
3824 bears an accent. Such groups in numbers of two or more recur consistently
3825 throughout the composition and are marked from each other by
3835 I: mediante, modale,
3843 1.@tie{}The third @b{scale degree}.
3844 2.@tie{}A @ref{chord} having its base tone
3845 a third from that of another chord. For example, the tonic chord may be
3846 replaced by its lower mediant (variant tonic).
3849 harmony}, @ref{relative key}.
3858 FI: melisma, laulettavan tavun sävelkuvio.
3860 A melisma (plural: melismata) is a group of notes or tones sung on one
3861 syllable in plainsong
3865 @section melisma line
3867 FIXME: add languages
3871 @ref{extender line}.
3874 @node melodic cadence
3875 @section melodic cadence
3887 F: indication de mesure, mesure,
3894 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3895 unaltered throughout a composition or a section of it. For instance,
3896 3/4 meter means that the basic @ref{note value}s are quarter notes and
3897 that a @ref{measure} consists of three of those. According to whether
3898 there are two, three, or four units to the measure, one speaks of
3899 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3900 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3903 @lilypond[fragment,line-width=13.0\cm]
3907 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3910 @lilypond[fragment,line-width=13.0\cm]
3914 f8 f f f a16 g a f |
3915 c'8 c c c e16 d e c \bar "||"}
3918 @lilypond[fragment,line-width=13.0\cm]
3922 d4 b8 g b d d c a4 |
3923 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3939 Device indicating the exact tempo of a piece.
3945 @node metronomic indication
3946 @section metronomic indication
3948 ES: indicación metronómica,
3949 I: indicazione metronomica,
3950 F: indication métronomique,
3952 NL: metronoom aanduiding,
3954 S: metronomangivelse,
3955 FI: metronomiosoitus.
3957 Exact tempo indication (in beats per minute). Also denoted by
3958 M.M.@: (Mälzels Metronom).
3962 @section mezzo-soprano
3973 The female voice between @ref{soprano} and @ref{contralto}.
3982 D: eingestrichenes@w{ }c,
3984 DK: enstreget@w{ }c,
3985 S: ettstruket@w{ }c,
3988 First C below the 440 Hz A.
3990 @lilypond[fragment,notime,ragged-right]
3991 \set Score.automaticBars = ##f
3992 \override Staff.Clef #'full-size-change = ##t
4015 @ref{diatonic scale}.
4018 @node minor interval
4019 @section minor interval
4021 ES: intervalo menor,
4022 I: intervallo minore,
4023 F: intervalle mineur,
4024 D: kleines Intervall,
4028 FI: pieni intervalli.
4045 FI: moodi, kirkkosävelasteikko.
4049 @ref{church mode}, @ref{diatonic scale}.
4062 FI: modulaatio, sävellajin vaihdos.
4064 Moving from one @ref{key} to another. For example, the second
4065 subject of a @ref{sonata form} movement modulates to the dominant
4066 key if the key is major and to the @ref{relative key} if the key
4079 FI: mordent, korukuvio.
4104 FI: teema, sävelaihe.
4106 The briefest intelligible and self-contained fragment of a musical theme or
4109 @lilypond[line-width=13.0\cm]
4112 \set Score.implicitTimeSignatureVisibility = #all-invisible
4113 \override Score.TimeSignature #'break-visibility = #all-invisible
4116 \partial 8 g16\startGroup fis |
4117 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4118 g8 g,16 a b8 cis d16 s
4122 \Staff \consists "Horizontal_bracket_engraver"
4140 Greater musical works like @ref{symphony} and
4141 @ref{sonata} most often consist of several -- more or less --
4142 independant pieces called movements.
4145 @node multi-measure rest
4146 @section multi-measure rest
4148 ES: compases de espera,
4152 D: mehrtaktige Pause, Kirchenpause,
4155 FI: usean tahdin mittainen tauko.
4157 Multi-measure rests are conventionally typeset with a combination of longa,
4158 breve and whole rests for shorter and a long horizontal bar for longer
4159 spans of rest, with a number above to indicate the duration (in measures)
4160 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4161 reminiscence of its use in Renaissance vocal polyphony.
4163 @lilypond[fragment,ragged-right]
4166 \set Score.skipBars = ##t R1*3
4168 \set Score.skipBars = ##t R1*122
4175 @node mixolydian mode
4176 @section mixolydian mode
4180 @ref{diatonic scale}.
4184 @section natural sign
4189 D: Auflösungszeichen,
4190 NL: herstellingsteken,
4191 DK: op@-løsningstegn,
4192 S: återställningstecken,
4200 @node neighbour tones
4201 @section neighbour tones
4245 Notes are signs by means of which music is fixed in writing. The term is also
4246 used for the sound indicated by a note, and even for the key of the piano
4247 which produces the sound. However, a clear distinction between the terms tone
4248 and @ref{note} is strongly recommended. Briefly, one sees a note,
4256 I: testa, testina, capocchia,
4264 A head-like sign which indicates pitch by its position on a
4265 @ref{staff} provided with a @ref{clef}, and duration
4266 by a variety of shapes such as hollow or black heads with or without
4267 @ref{stem}s, @ref{flag}s, etc. For percussion
4268 instruments (often having no defined pitch) the note head may indicate the
4275 ES: valor (duración),
4277 F: durée, valeur (d'une note),
4282 FI: nuotin aika-arvo.
4284 Note values (durations) are measured as fractions, normally 1/2, of
4285 the next higher note value. The longest duration normally used is
4286 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4287 double-length note value @emph{longa} or the quadruple-length note
4288 value @emph{maxima} are used.
4290 @c TODO -- add maxima to this example
4292 @lilypond[fragment,notime,line-width=13.0\cm]
4293 %\override Score.TextScript #'font-style = #'large
4294 \set Score.automaticBars = ##f
4296 \override NoteHead #'style = #'mensural
4297 a\longa_"longa" a\breve_"breve"
4298 \revert NoteHead #'style
4299 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4300 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4303 @c TODO -- add maxima rest to this example
4305 @lilypond[fragment,notime,line-width=13.0\cm]
4306 %\override Score.TextScript #'font-style = #'large
4307 \set Score.automaticBars = ##f
4309 r\longa_"longa" r\breve_"breve"
4310 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4311 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4314 An augmentation dot after a note multiplies the duration by one and a
4315 half. Another dot adds yet a fourth of the duration.
4317 @lilypond[fragment,line-width=13.0\cm]
4318 %\override Score.TextScript #'font-style = #'large
4321 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4322 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4325 Alternatively note values may be subdivided by other ratios. Most common is
4326 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4327 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4328 dotted notes are also frequently used.
4330 @lilypond[fragment,line-width=13.0\cm]
4331 %\override Score.TextScript #'font-style = #'large
4334 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4335 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4339 @lilypond[fragment,line-width=13.0\cm]
4342 \times 3/2 {g4_"duplets" g} |
4344 \times 6/4 {g8_"quadruplets" g g g} |
4345 g8 g g g g4 \bar "||"
4351 @section octave sign
4355 @ref{G clef}, @ref{F clef}.
4379 I: abbellimento, fioriture,
4380 F: agrément, ornement,
4381 D: Verzierung, Ornament,
4387 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4388 with the diatonic @ref{second} above it. In the music from the
4389 middle of the 19th century and onwards the trill is performed with the main
4390 note first while in the music from the preceding baroque and classic periods
4391 the upper note is played first.
4393 @lilypond[fragment,line-width=13.0\cm]
4395 \context Staff = sa {
4396 % \override Score.TextScript #'font-style = #'large
4398 c2._"pre-1850" b4\trill | c1 \bar "||"
4399 c2._"post-1850" b4\trill | c1 \bar "||"
4403 c2. c32 b c b c b c b | c1
4404 c2. b32 c b c \times 4/5 { b c b c b } | c1
4409 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4411 @emph{prall} (inverted mordent).
4413 @lilypond[fragment,line-width=13.0\cm]
4415 \context Staff = sa {
4416 % \override Score.TextScript #'font-style = #'large
4418 a4_"turn" b\turn c2 \bar "||"
4419 g4_"mordent" a b\mordent a \bar "||"
4420 e'4_"prall" d\prall c2 \bar "||"
4426 e'4 e32[ d e d ~ d8] c2
4446 FI: ossia, vaihtoehtoinen esitystapa.
4448 Ossia (otherwise) marks an alternative. It is an added staff or piano
4449 score, usually only a few measures long, which presents another version
4450 of the music, for example for small hands.
4469 FI: stemma, instrumenttiosuus.
4471 1.@tie{}In instrumental or choral music the music for the single instrument
4472 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4473 melodic line of the contrapunctal web.
4498 D: Schlagzeug, Schlagwerk,
4504 A family of musical instruments which are played on by striking or
4505 shaking. Percussion instruments commonly used in a symphony orchestra are
4506 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4507 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4511 @node perfect interval
4512 @section perfect interval
4514 ES: intervalo justo,
4515 I: intervallo giusto,
4516 F: intervalle juste,
4517 D: reines Intervall,
4521 FI: puhdas intervalli.
4540 A natural division of the melodic line, comparable to a sentence of speech.
4553 FI: fraseeraus, jäsentäminen.
4555 The clear rendering in musical performance of the @ref{phrase}s of
4556 the melody. Phrasing may be indicated by a @ref{slur}.
4564 F: anacrouse, levée,
4588 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4589 @emph{mezzo piano} (@b{mp}) medium soft.
4612 NL: pizzicato, getokkeld,
4615 FI: pizzicato, näppäillen.
4617 Play by plucking the strings.
4626 D: Polyphonie, Mehrstimmigkeit,
4630 FI: polyfonia, moniäänisyys.
4632 Music written in a combination of several simultaneous voices (parts) of a
4633 more or less pronounced individuality.
4652 D: Presto, Sehr schnell,
4653 NL: presto, Sehr schnell,
4656 FI: presto, hyvin nopeasti.
4658 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4659 denotes the highest possible degree of speed.
4662 @node Pythagorean comma
4663 @section Pythagorean comma
4665 ES: coma pitagórica,
4666 I: comma pitagorico,
4667 F: comma pythagoricien,
4668 D: Pythagoräisches Komma,
4669 NL: komma van Pythagoras,
4670 DK: pythagoræisk komma,
4671 S: pytagoreiskt komma,
4672 FI: pytagorinen komma.
4674 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4675 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4676 24 @ref{cent}s higher than the@w{ }C obtained by adding
4677 7@w{ }octaves. The difference between those two pitches is called the
4699 @section quarter note
4702 I: semiminima, nera,
4705 D: Viertel, Viertelnote,
4709 FI: neljännesosanuotti.
4717 @section quarter rest
4719 ES: silencio de negra,
4720 I: pausa di semiminima,
4725 DK:@w{ }fjerdedelspause,
4727 FI: neljännesosatauko.
4737 ES: cinquillo, quintillo.
4752 @section rallentando
4757 D: rallentando, langsamer werden,
4761 FI: rallerdando, hidastuen.
4763 Abbreviation "rall.".
4769 @section relative key
4772 I: tonalità relativa,
4773 F: tonalité relative,
4775 NL: paralleltoonsoort,
4776 DK: paralleltoneart,
4778 FI: rinnakkaissävellaji.
4780 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4782 @lilypond[fragment,notime,line-width=13.0\cm]
4783 \set Score.automaticBars = ##f
4784 %\override Score.TextScript #'font-style = #'large
4787 es1_"e flat major" f g as bes c d es
4792 @lilypond[fragment,notime,line-width=13.0\cm]
4793 \set Score.automaticBars = ##f
4794 %\override Score.TextScript #'font-style = #'large
4797 c1_"c minor" d es f g a! b! c \bar "||"
4807 F: barre de reprise,
4810 DK: gen@-ta@-gel@-se,
4814 @lilypond[fragment,line-width=13.0\cm]
4818 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4822 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4823 @c specify the rest's value.
4857 @item Metrical rhythm in which every time value is a multiple or
4858 fraction of a fixed unit of time, called @ref{beat}, and in which the
4859 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4860 The basic scheme of time values is called @ref{meter}.
4862 @item Measured rhythm which lacks regularly recurrent accent. In
4863 modern notation such music appears as a free alternation of different
4866 @item Free rhythm, i.e., the use of temporal values having no common
4867 metrical unit (beat).
4879 D: Ritardando, langsamer werden,
4883 FI: ritardando, hidastuen,
4885 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4898 FI: ritenuto, hidastaen.
4900 Immediate reduction of speed.
4913 FI: asteikko, sävelasteikko.
4917 @ref{diatonic scale}.
4921 @section scale degree
4923 ES: grado (de la escala),
4924 I: grado della scala,
4925 F: degré [de la gamme],
4927 NL: trap [van de toonladder],
4930 FI: sävelaste, asteikon sävel.
4932 Names and symbols used in harmonic analysis to denote tones of the
4933 scale as roots of chords. The most important are degrees I = tonic
4934 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4936 @lilypond[fragment,notime,line-width=13.0\cm]
4937 \set Score.automaticBars = ##f
4939 \context Staff \relative c' {
4943 << { I II III IV V VI VII I }
4951 @ref{functional harmony}.
4959 F: à cordes ravallées,
4966 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4967 tuning of stringed instruments, particularly lutes or violins. Used
4972 @item facilitate pitch combinations that would otherwise be difficult
4975 @item alter the characteristic timbre of the instrument, for example,
4976 to increase brilliance)
4978 @item reinforce certain sonorities or tonalities by making them
4979 available on open strings
4981 @item imitate other instruments
4987 Tunings that could be called @var{scordatura} first appeared early in
4988 the 16th Century and became commonplace in the 17th.
4997 D: Partitur (full score), Klavierauszug (vocal score),
5003 A copy of orchestral, choral, or chamber music showing what each
5004 instrument is to play, each voice to sing, having each part arranged
5005 one underneath the other on different staves @ref{staff}.
5020 The @ref{interval} between two neigbouring tones of a scale. A
5021 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5022 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5023 degrees in question.
5038 The @ref{interval} of a minor second. The (usually) smallest interval
5039 in European composed music. The interval between two neighbouring
5040 tones on the piano keyboard -- including black and white keys -- is a
5041 semitone. An octave may be divided into 12@w{ }semitones.
5042 @ref{interval}, @ref{chromatic scale}.
5044 @lilypond[fragment,notime,line-width=13.0\cm]
5045 \set Score.automaticBars = ##f
5046 \relative c'' { g1 gis s a bes s b! c }
5117 @node short appoggiatura
5118 @section short appoggiatura
5125 @node sixteenth note
5126 @section sixteenth note
5132 D: Sechzehntel, Sechzehntelnote,
5133 NL: zes@-ti@-ende noot,
5134 DK: sekstendedelsnode,
5136 FI: kuudestoistaosanuotti.
5143 @node sixteenth rest
5144 @section sixteenth rest
5146 ES: silencio de semicorchea,
5147 I: pausa di semicroma,
5149 UK: semiquaver rest,
5150 D: Sechzehntelpause,
5152 DK: sekstendedelspause,
5178 @node sixty-fourth note
5179 @section sixty-fourth note
5183 F: quadruple croche,
5184 UK: hemidemisemiquaver,
5185 D: Vierundsechzigstel, Vierundsechzigstelnote,
5186 NL: vierenzestigste noot,
5187 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5188 S: sextiofjärdedelsnot,
5189 FI: kuudeskymmenesneljäsosanuotti.
5196 @node sixty-fourth rest
5197 @section sixty-fourth rest
5199 ES: silencio de semifusa,
5200 I: pausa di semibiscroma,
5201 F: seizième de soupir,
5202 UK: hemidemisemiquaver rest,
5203 D: Vierundsechzigstelpause,
5204 NL: vierenzestigste rust,
5205 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5206 S: sextiofjärdedelspaus,
5207 FI: kuudeskymmenesneljäsosatauko.
5218 ES: ligadura (de expresión),
5219 I: legatura (di portamento or espressiva),
5221 D: Bogen, Legatobogen, Phrasierungsbogen,
5222 NL: fraseringsboog, legatoboog, streekboog,
5223 DK: legatobue, fraseringsbue,
5227 A slur above or below a group of notes indicates that they are to be
5228 played @ref{legato}, e.g., with one stroke of the violin bow or with
5229 one breath in singing.
5234 @section solmization
5243 FI: suhteelliset laulunimet.
5245 General term for systems of designating the degrees of the
5246 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5247 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5266 In its present-day meaning a sonata denotes an instrumental
5267 composition for piano or for some other instrument with piano
5268 accompaniment, which consists of three or four independant pieces,
5273 @section sonata form
5277 F: [en] forme de sonate,
5279 NL: hoofdvorm, sonatevorm,
5284 A form used frequently for single movements of the @ref{sonata},
5285 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5286 into three sections called @emph{exposition}, @emph{development} and
5287 @emph{recapitulation}. In the exposition the composer introduces some
5288 musical ideas, consisting of a number of themes; in the development
5289 section the composer @q{develops} this material, and in the
5290 recapitulation the composer repeats the exposition, with certain
5291 modifications. The exposition contains a number of themes that fall
5292 into two groups, often called first and second subject. Other
5293 melodies occurring in each group are considered as continuations of
5294 these two. The second theme is in another key, normally in the key of
5295 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5296 @ref{relative key} if the tonic is @ref{minor}.
5317 FI: sopraano, korkea naisääni.
5319 The highest female voice.
5327 F: staccato, piqué, détaché,
5332 FI: staccato, lyhyesti, terävästi.
5334 Playing the note(s) short. Staccato is indicated by a dot above or
5335 below the note head.
5337 @lilypond[fragment,ragged-right]
5342 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5352 I: pentagramma, rigo (musicale),
5355 NL: (noten)balk, partij,
5360 A staff (pl. staves) is a series of (normally five) horizontal lines
5361 upon and between which the musical notes are written, thus indicating
5362 (in connection with a @ref{clef}) their pitch. Staves for
5363 @ref{percussion} instruments may have fewer lines.
5380 D: Hals, Notenhals, Stiel,
5386 Vertical line above or below a @ref{note head} shorter than a
5391 @lilypond[fragment,notime,line-width=13.0\cm]
5392 \set Score.autoBeaming = ##f
5393 \set Score.automaticBars = ##f
5394 %\override Score.TextScript #'font-style = #'large
5416 A family of stringed musical instruments played with a bow. Strings
5417 commonly used in a symphony orchestra are violin, viola, violoncello,
5422 @section strong beat
5427 D: betonter Taktteil oder Taktschlag,
5429 D: betonet taktslag,
5430 S: betonat taktslag,
5431 FI: tahdin vahva isku.
5435 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5439 @section subdominant
5448 FI: subdominantti, alidominantti.
5450 The fourth @ref{scale degree}.
5452 @ref{functional harmony}.
5467 The sixth @ref{scale degree}.
5480 FI: subtoonika, alitoonika.
5482 The seventh @ref{scale degree}.
5497 Indicates that the indicated passage (or note) should be played on the
5502 @section superdominant
5513 The sixth @ref{scale degree}.
5528 The second @ref{scale degree}.
5537 D: Sinfonie, Symphonie,
5543 A symphony may be defined as a @ref{sonata} for orchestra.
5547 @section syncopation
5558 Any deliberate upsetting of the normal pulse of @ref{meter},
5559 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5560 rhythm rests upon the grouping of equal beats into groups of two or
5561 three, with a regularly recurrent accent on the first beat of each
5562 group. Any deviation from this scheme is felt as a disturbance or
5563 contradiction between the underlaying (normal) pulse and the actual
5566 @lilypond[fragment,ragged-right]
5571 e c'4 e,8 c'4 e,8 c' ( | c2)
5577 @node syntonic comma
5578 @section syntonic comma
5581 I: comma sintonico (o didimico),
5582 F: comma syntonique,
5583 D: syntonisches Komma,
5584 NL: syntonische komma,
5585 DK: syntonisk komma,
5586 S: syntoniskt komma,
5587 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5588 Pytagorisessa viritysjärjestelmässä.
5590 Difference between the natural third and the third obtained by
5591 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5605 FI: nuottijärjestelmä.
5607 The collection of staves (@ref{staff}), two or more, as used for writing
5608 down of keyboard, chamber, choral, or orchestral music.
5613 @section temperament
5618 D: Stimmung, Tem@-pe@-ra@-tur,
5619 NL: stemming, temperatuur,
5622 FI: viritysjärjestelmä.
5624 Systems of tuning in which the intervals deviate from the acoustically
5627 @ref{meantone temperament}, @ref{equal temperament}.
5630 @node tempo indication
5631 @section tempo indication
5633 ES: indicación de tempo,
5634 I: indicazione di tempo,
5635 F: indication de tempo,
5636 D: Zeitmaß, Tempobezeichnung,
5637 NL: tempo aanduiding,
5642 The rate of speed of a composition or a section thereof, ranging from
5643 the slowest to the quickest, as is indicated by tempo marks as
5644 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5658 FI: tenori, korkea miesääni.
5660 The highest male voice (apart from @ref{counter tenor}).
5683 ES: subrayado (tenuto),
5692 An indication that a particular note should be held for the whole
5693 length, although this can vary depending on the composer and era.
5713 @node thirty-second note
5714 @section thirty-second note
5720 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5721 NL: twee-endertig@-ste noot,
5722 DK: toogtredivtedelsnode,
5723 S: trettiotvåondelsnot,
5724 FI: kolmanneskymmeneskahdesosanuotti.
5731 @node thirty-second rest
5732 @section thirty-second rest
5734 ES: silencio de fusa,
5735 I: pausa di biscroma,
5736 F: huitième de soupir,
5737 UK: demisemiquaver rest,
5738 D: Zweiunddreissigstel@-pause,
5740 DK: toogtredivtedelspause,
5741 S: trettiotvåondelspaus,
5742 FI: kolmanneskymmeneskahdesosatauko.
5750 @section thorough bass
5753 I: basso continuo, basso numerato,
5754 F: basse chiffrée, basse continue,
5755 D: Generalbass, bezifferter Bass,
5756 NL: basso continuo, becijferde bas
5759 FI: kenraalibasso, numeroitu basso.
5761 A method of indicating an accompaniment part by the bass notes only,
5762 together with figures designating the chief @ref{interval}s and
5763 @ref{chord}s to be played above the bass notes.
5765 @lilypond[fragment,line-width=13.0\cm]
5766 \context GrandStaff <<
5767 \context Staff = lh \relative c'' {
5771 << \context Voice = rha {
5774 \context Voice = rhb {
5776 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5780 \context Staff = rh \relative c' {
5783 es8 c d bes c as bes16 as g f | es4
5785 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5794 ES: ligadura de prolongación,
5795 I: legatura (di valore),
5798 NL: overbinding, bindingsboog,
5800 S: bindebåge, överbindning,
5803 A curved line, identical in appearance with the @ref{slur}, which
5804 connects two succesive notes of the same pitch, and which has the
5805 function of uniting them into a single sound (tone) equal to the
5808 @lilypond[fragment,notime,ragged-right]
5809 \set Score.automaticBars = ##f
5810 \relative c'' { g2 ~ g4. }
5822 @node time signature
5823 @section time signature
5825 ES: indicación de compás,
5827 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5828 D: Taktangabe, Angabe der Taktart,
5831 S: taktartssignatur,
5851 A sound of definite pitch and duration, as distinct from @emph{noise}.
5852 Tone is a primary building material of music.
5854 Music from the 20th century may be based on atonal sounds.
5869 The first @ref{scale degree}.
5873 @ref{functional harmony}.
5877 @section transposition
5888 Shifting a melody up or down in pitch, while keeping the same
5891 @lilypond[fragment,line-width=13.0\cm]
5896 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5901 @lilypond[fragment,line-width=13.0\cm]
5904 \transpose c bes \relative c'' {
5906 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5913 @section treble clef
5916 I: chiave di violino,
5918 D: Violinschlüssel, Sopranschlüssel,
5920 DK:@w{ }diskantnøgle,
5941 On stringed instruments (@ref{strings}) the quick reiteration of the
5942 same tone, produced by a rapid up-and-down movement of the bow (a).
5943 The term is also used for the rapid alternation (b) between two notes
5944 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5946 @lilypond[fragment,notime,ragged-right]
5947 \set Score.automaticBars = ##f
5948 %\override Score.TextScript #'font-style = #'large
5951 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5952 \repeat tremolo 8 { e32_"b" g }
5962 F: triade, accord parfait, accord de trois sons,
5979 F: trille, tremblement, battement (cadence),
5992 @section triple meter
5994 ES: compás ternario,
5998 NL: driedelige maatsoort,
6043 @section tuning fork
6046 I: diapason, corista,
6054 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6055 forks give the international pitch for the tone @emph{a} (440
6056 vibrations per second).
6086 FI: unisono, yksiäänisesti.
6088 Playing of the same notes or the same melody by various instruments
6089 (voices) or by the whole orchestra (choir), either at exactly the same
6090 pitch or in a different octave.
6098 F: anacrouse, levée,
6120 FI: ääni, lauluääni.
6122 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6123 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6124 2.@tie{}A melodic layer or part of a polyphonic composition.
6131 I: tempo debole, arsi,
6133 D: unbetonter Taktteil oder Taktschlag,
6135 DK: ubetonet taktslag,
6136 S: obetonat taktslag,
6137 FI: tahdin heikko isku.
6141 @ref{beat}, @ref{measure}, @ref{rhythm}.
6151 D: Ganze, ganze Note,
6165 ES: silencio de redonda,
6166 I: pausa di semibreve,
6169 D: ganze Pause, ganztaktige Pause,
6193 The @ref{interval} of a major second. The interval between two tones
6194 on the piano keyboard with exactly one key between them -- including
6195 black and white keys -- is a whole tone.
6212 A family of blown wooden musical instruments. Today some of these
6213 instruments are actually made from metal. The woodwind instruments
6214 commonly used in a symphony orchestra are flute, oboe, clarinet,
6215 saxophone, and bassoon.
6220 @node Duration names notes and rests
6221 @chapter Duration names, notes and rests
6224 @item DURATION NAMES, NOTES AND RESTS
6227 @multitable @columnfractions .15 .26 .33 .26
6232 @tab @strong{F (note name / rest name)}
6242 @c extra @items make this table harder to read, so I removed them.
6244 @item @strong{longa}
6257 @item @strong{breve}
6260 @tab brève / double-pause
6270 @item @strong{whole}
6280 @tab koko@-nuotti/@w{-tauko}
6286 @tab blanche / demi-pause
6293 @tab puoli@-nuotti/@w{-tauko}
6296 @item @strong{quarter}
6306 @tab neljännesosa@-nuotti/@w{-tauko}
6309 @item @strong{eighth}
6312 @tab croche / demi-soupir
6319 @tab kahdeksasosa@-nuotti/@w{-tauko}
6322 @item @strong{sixteenth}
6325 @tab double croche / quart de soupir
6332 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6335 @item @strong{thirty-second}
6338 @tab triple croche / huitième de soupir
6340 @tab Zweiunddreissigstel
6341 @tab tweeendertigste
6342 @tab toogtredivtedel
6344 @tab trettiotvåondel
6345 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6348 @item @strong{sixty-fourth}
6349 @tab hemidemisemiquaver
6351 @tab quadruple croche / seizième de soupir
6353 @tab Vierundsechzigstel
6354 @tab vierenzestigste
6355 @tab fireogtred@-sindstyvendedel
6357 @tab sextiofjärdedel
6358 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6367 @chapter Pitch names
6373 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6374 @c the extra @item's between each row makes the table hard to read ... so I removed them
6376 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6378 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6380 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6381 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6383 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6386 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6387 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6389 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6390 @tab Des @tab des @tab des @tab des @tab des
6392 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6395 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6396 @tab Es @tab es @tab es @tab es @tab es
6398 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6401 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6404 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6407 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6408 @tab As @tab as @tab as @tab as @tab as
6410 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6413 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6414 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6416 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6417 @tab B @tab bes @tab b @tab b @tab b
6419 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6432 @node Literature used
6433 @unnumberedsec Literature used
6436 @item The Harvard Dictionary of Music, London 1944. Many
6437 more or less literal quotes from its articles have been included into
6438 the item explanation texts.
6440 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6442 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6445 @item Oxford Advanced Learner's Dictionary of Current English, Third
6448 @item Webster's Revised Unabridged Dictionary, Springfield 1913.