1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
16 @macro copyrightDeclare
17 Copyright @copyright{} 1999--2014 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
60 * Non-Western terms A-Z::
65 * GNU Free Documentation License:: License of this document.
72 @c TOC - tex. Not desired for this manual. -gp
76 @node Musical terms A-Z
77 @chapter Musical terms A-Z
79 Languages in this order.
81 @item UK - British English (where it differs from American English)
110 * ancient minor scale::
115 * ascending interval::
117 * augmented interval::
152 * Common Practice Period::
155 * compound interval::
159 * conjunct movement::
174 * descending interval::
177 * diminished interval::
181 * disjunct movement::
183 * dissonant interval::
187 * dominant ninth chord::
188 * dominant seventh chord::
190 * dot (augmentation dot)::
192 * double appoggiatura::
194 * double dotted note::
197 * double time signature::
204 * ecclesiastical mode::
211 * equal temperament::
232 * functional harmony::
251 * incomplete dominant seventh chord::
254 * inverted interval::
270 * long appoggiatura::
277 * meantone temperament::
284 * mensural notation::
289 * metronomic indication::
302 * multi-measure rest::
332 * polymetric time signature::
338 * Pythagorean comma::
369 * sixty-fourth note::
370 * sixty-fourth rest::
401 * thirty-second note::
402 * thirty-second rest::
409 * transposing instrument::
463 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
464 @notation{a due} indicates that:
468 @item A single part notated on a single staff that normally carries parts
469 for two players (e.g. first and second oboes) is to be played by both
472 @item Or conversely, that two pitches or parts notated on a staff that
473 normally carries a single part (e.g. first violin) are to be played by
474 different players, or groups of players (@q{desks}).
487 F: accelerando, en accélérant,
488 D: accelerando, schneller werden,
492 FI: accelerando, kiihdyttäen.
494 [Italian: @q{speed up, accelerate}]
496 An increase in the tempo, abbreviated @notation{accel.}
512 FI: aksentti, korostus.
514 The stress of one tone over others.
528 @section acciaccatura
530 ES: mordente de una nota,
532 F: acciaccatura, appoggiature brève,
539 A grace note which takes its time from the rest or note preceding the
540 principal note to which it is attached. The acciaccatura is drawn as a
541 small eighth note (quaver) with a line drawn through the flag and stem.
544 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
550 ES: alteración accidental,
551 I: alterazione, accidente,
552 F: altération accidentelle,
553 D: Versetzungszeichen, Akzidenz,
554 NL: toevallig (verplaatsings)teken,
556 S: tillfälligt förtecken,
557 FI: tilapäinen etumerkki.
559 An accidental alters a note by:
563 @item Raising its pitch:
565 @item By two semitones—@notation{double sharp}
566 @item By one semitone—@notation{sharp}
569 @item Lowering its pitch:
571 @item By one semitone—@notation{flat}
572 @item By two semitones—@notation{double flat}
575 @item Or canceling the effects of the key signature or previous accidentals.
578 @lilypond[quote,notime]
582 \set Staff.extraNatural = ##f
583 gisis1 gis g! ges geses
588 \center-column { double sharp }
594 \center-column { double flat }
600 \override SpacingSpanner
601 #'base-shortest-duration = #(ly:make-moment 1/32)
608 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
621 FI: adagio, hitaasti.
623 [Italian: @q{comfortable, easy}]
627 @item Slow tempo, slower -- especially in even meter -- than
628 @notation{andante} and faster than @notation{largo}.
630 @item A movement in slow tempo, especially the second (slow) movement
631 of sonatas, symphonies, etc.
636 @ref{andante}, @ref{largo}, @ref{sonata}.
644 F: al niente, en mourant,
649 FI: häviten olemattomiin.
651 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
652 that the sound should fade away to nothing.
654 @notation{Al niente} is indicated by circling the tip of the hairpin:
656 @lilypond[quote,relative=2]
657 \override Hairpin #'circled-tip = ##t
663 or with the actual phrase @notation{al niente}:
665 @lilypond[quote,relative=2]
667 \override DynamicTextSpanner #'(bound-details right text) =
668 \markup { \italic { al niente } }
674 Since one does not crescendo @emph{to} nothing, it is not correct to use
675 @notation{al niente} with @notation{crescendo}. Instead, one should use
676 @emph{dal niente} (@notation{@b{from} nothing}).
679 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
687 F: alla breve, à la brève,
688 D: Allabreve, alla breve
694 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
696 Also called @notation{in cut time}. The name derives from mensural
697 notation, where the @notation{tactus} (or beat) is counted on the semibreve
698 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
699 next longest note value, which (in modern usage) effectively halves all note
702 In mensural notation, breves and semibreves can have a ternary relationship,
703 in which case @notation{alla breve} means thrice (not twice) as fast. In
704 practice, this complication may not have mattered, since Gaffurius's system
705 of multiplex proportions makes it easy to explicitly state which proportion
709 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
710 @ref{proportion}, @ref{whole note}.
718 F: allegro, gaiement,
719 D: Allegro, Schnell, Fröhlich, Lustig,
723 FI: allegro, nopeasti.
725 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
726 quick tempo, especially the first and last movements of a sonata.
739 NL: verhoging of verlaging,
744 An alteration is the modification, raising or lowering, of a note's
745 pitch. It is established by an accidental.
747 @c TODO: add second meaning from mensural notation
763 FI: altto, matala naisääni.
765 A female voice of low range (@emph{contralto}). Originally the alto was a
766 high male voice (hence the name), which by castration or the use of falsetto
767 reached the height of the natural female voice. This type of voice is also
768 known as countertenor.
777 ES: clave de do en tercera,
778 I: chiave di contralto,
779 F: clef d'ut troisième ligne,
780 D: Altschlüssel, Bratschenschlüssel,
786 C clef setting middle C on the middle line of the staff.
797 F: ambitus, tessiture,
802 FI: ambitus, ääniala, soitinala.
804 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
805 Denotes a range of pitches for a given voice in a part of music. It may
806 also denote the pitch range that a musical instrument is capable of playing.
807 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
825 An anacrusis (also known as pickup or upbeat) is an incomplete measure
826 of music before a section of music. It also refers to the initial
827 note(s) of a melody occurring in that incomplete measure.
829 @lilypond[quote,relative=1]
840 @ref{measure}, @ref{meter}.
843 @node ancient minor scale
844 @section ancient minor scale
846 ES: escala menor natural,
847 I: scala minore naturale,
848 F: forme du mode mineur ancien, troisème mode, mode hellénique,
849 D: reines Moll, natürliches Moll,
850 NL: authentieke mineurtoonladder,
853 FI: luonnollinen molliasteikko.
855 Also called @q{natural minor scale}.
857 @lilypond[quote,notime,relative=2]
863 @ref{diatonic scale}.
878 [Italian: present participle of @emph{andare}, @q{to walk}]
880 Walking tempo/character.
887 @section appoggiatura
891 F: appoggiature, (port de voix),
892 D: Vorschlag, Vorhalt
893 NL: (korte) voorslag,
896 FI: appoggiatura, etuhele.
898 Ornamental note, usually a second, that is melodically connected with
899 the main note following it. In music before the 19th century
900 appoggiature were usually performed on the beat, after that mostly
901 before the beat. While the short appoggiatura is performed as a short
902 note regardless of the duration of the main note the duration of the
903 long appoggiatura is proportional to that of the main note.
905 @lilypond[quote,relative=2]
908 <d a fis>4_"notation" r
915 \set Score.measurePosition = #ZERO-MOMENT
916 <d, a fis>4_"performance" r
922 An appoggiatura may have more notes preceding the main note.
924 @lilypond[quote,relative=2]
927 \grace bes16 as8-"notation" as16 bes as8 g |
928 \grace { as16[( bes] } <c as>4)
929 \grace { as16[( bes] } <c as>4) \bar "||"
931 \grace bes16 as8-"performance" as16 bes as8 g |
935 as32 bes c8. as32 bes c8.
939 as16 ~ as8. as16 ~ as8.
954 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
956 DK: arpeggio, akkordbrydning,
958 FI: arpeggio, murtosointu.
960 [Italian: @q{harp-like, played like a harp}]
962 @lilypond[quote,line-width=13\cm]
964 \context Staff = "SA" {
968 r8 g16 c e g, c e r8 g,16 c e g, c e
969 r8 a,16 d f a, d f r8 a,16 d f a, d f
973 \context Staff = "SB" {
979 r16 e8. ( e4) r16 e8. ( e4)
980 r16 d8. ( d4) r16 d8. ( d4)
998 @section articulation
1007 FI: artikulaatio, ilmaisu.
1009 Articulation refers to notation which indicates how a note or notes
1010 should be played. Slurs, accents, staccato, and legato are all
1011 examples of articulation.
1014 No cross-references.
1017 @node ascending interval
1018 @section ascending interval
1020 ES: intervalo ascendente,
1021 I: intervallo ascendente,
1022 F: intervalle ascendant,
1023 D: steigendes Intervall,
1024 NL: stijgend interval,
1025 DK: stigende interval,
1026 S: stigande intervall,
1027 FI: nouseva intervalli.
1029 A distance between a starting lower note and a higher ending note.
1032 No cross-references.
1036 @section augmentation
1045 FI: aika-arvojen pidentäminen.
1047 @c TODO: add definition.
1049 This is a placeholder for augmentation (wrt mensural notation).
1052 @ref{diminution}, @ref{mensural notation}.
1055 @node augmented interval
1056 @section augmented interval
1058 ES: intervalo aumentado,
1059 I: intervallo aumentato,
1060 F: intervalle augmenté,
1061 D: übermäßiges Intervall,
1062 NL: overmatig interval,
1063 DK: forstørret interval,
1064 S: överstigande intervall,
1065 FI: ylinouseva intervalli.
1076 F: manuscrit, autographe
1077 D: Autograph, Handschrift,
1079 DK: håndskrift, autograf,
1081 FI: käsinkirjoitettu nuotti.
1085 @item A manuscript written in the composer's own hand.
1087 @item Music prepared for photoreproduction by freehand drawing, with
1088 the aid of a straightedge ruler and T-square only, which attempts to
1089 emulate engraving. This required more skill than did engraving.
1094 No cross-references.
1112 @ref{H}, @ref{Pitch names}
1132 ES: barra, línea divisoria,
1133 I: stanghetta, barra (di divisione),
1134 F: barre (de mesure),
1141 A vertical line through the staff (or through multiple staves) that
1142 separates measures. Used very infrequently during the Renaissance (mostly
1143 in secular music, or in sacred music to indicate congruences between parts
1144 in otherwise-unmetered music).
1160 FI: baritoni, keskikorkuinen miesääni.
1162 The male voice intermediate in pitch between the bass and the tenor.
1164 @c F: clef de troisième ligne dropped
1167 @ref{bass}, @ref{tenor}.
1171 @section baritone clef
1173 ES: clave de fa en tercera,
1174 I: chiave di baritono,
1175 F: clef d'ut cinquième ligne, clef de fa troisième,
1176 D: Baritonschlüssel,
1182 C or F clef setting middle C on the upper staff line.
1185 @ref{C clef}, @ref{F clef}.
1198 FI: basso, matala miesääni.
1202 @item The lowest male voice.
1204 @item Sometimes, especially in jazz music, used as an abbreviation for
1216 ES: clave de fa en cuarta,
1218 F: clef de fa quatrième ligne,
1225 A clef setting with middle C on the first top ledger line.
1234 ES: barra (de corcheas),
1236 F: ligature, barre (de croches),
1243 Line connecting a series of notes (shorter than a quarter note). The
1244 number of beams determines the note value of the connected notes.
1246 @lilypond[quote,notime,relative=2,line-width=13\cm]
1247 g8-"1/8"[ g g g] s16
1248 g16-"1/16"[ g g g] s
1249 g32-"1/32"[ s g s g s g] s16
1250 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1254 @ref{feathered beam}.
1260 ES: tiempo, parte (de compás)
1263 D: Takt, Taktschlag, Zeit (im Takt),
1269 Note value used for counting, most often half-, fourth-, and eighth notes.
1270 The base counting value and the number of them in each measure is indicated
1271 at the start of the music by the @notation{time signature}.
1273 @lilypond[quote,relative=2]
1276 g4 c b a | g1 \bar "||"
1278 g8 d' c | b c a | g4. \bar "||"
1282 @ref{time signature}.
1286 @section beat repeat
1289 @ref{percent repeat}.
1302 ES: llave, corchete,
1305 D: Klammer, Akkolade,
1306 NL: accolade, teksthaak,
1309 FI: yhdistävä sulkumerkki.
1311 Symbol at the start of a system connecting staves.
1313 Curly braces are used for connecting piano staves, and sometimes for connecting
1314 the staves of like instruments in an orchestral score when written on different
1315 staves (e.g. first and second flutes):
1319 \context Staff = "SA" {
1325 \context Staff = "SB" {
1335 Angular brackets for connecting parts in an orchestral or choral score:
1339 \context Staff = "SA" {
1345 \context Staff = "SB" {
1356 No cross-references.
1363 I: parentesi quadra,
1381 NL: koper (blazers),
1384 S: brassinstrument, mässingsinstrument,
1387 A family of blown musical instruments made of brass, all using a cup
1388 formed mouth piece. The brass instruments commonly used in a symphony
1389 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1390 sousaphones and contrabass bugles are common.
1393 No cross-references.
1397 @section breath mark
1402 D: Atemzeichen, Trennungszeichen,
1403 NL: repercussieteken,
1404 DK: vejrtrækningstegn,
1408 Indication of where to breathe in vocal and wind instrument parts.
1418 @item US: breve, double-whole note
1419 @item ES: cuadrada, breve
1426 @item FI: brevis, kaksoiskokonuotti
1429 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1431 Mainly used in music from before 1650. In mensural notation, it was a note
1432 of fairly short duration—hence the name, which is Latin for @q{short} or
1433 @q{of short duration}.
1435 @lilypond[quote,notime,relative=2]
1440 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1473 Clef symbol indicating the position of the middle C. Used on all note
1476 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1478 \override Staff.Clef #'full-size-change = ##t
1480 \clef mezzosoprano c1
1486 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1487 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1492 No cross-references.
1505 FI: kadenssi, lopuke.
1508 @ref{harmonic cadence}, @ref{functional harmony}.
1521 FI: kadenssi, lopuke.
1523 An extended, improvisatory style section inserted near the end of
1524 movement. The purpose of a cadenza is to give singers or players a
1525 chance to exhibit their technical skill and -- not last -- their
1526 ability to improvise. Since the middle of the 19th century, however,
1527 most cadenzas have been written down by the composer.
1530 No cross-references.
1545 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1547 The break between two musical phrases, sometimes (but not always) marked by a
1548 rest or a breath mark.
1564 FI: kaanon, tarkka jäljittely.
1580 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1581 viritysjärjestelmässä.
1583 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1584 an octave (1/100 of an equally tempered semitone).
1587 @ref{equal temperament}, @ref{semitone}.
1609 Two or more tones sounding simultaneously. In traditional European music
1610 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1611 (major + minor third) as well as @emph{minor} (minor + major third) chords
1612 may be extended with more thirds. Four-tone @emph{seventh chords} and
1613 five-tone @emph{ninth} major chords are most often used as dominants
1614 (functional harmony). Chords having no third above the lower notes to
1615 define their mood are a special case called @q{open chords}. The lack of
1616 the middle third means their quality is ambivalent -- neither major nor
1619 @lilypond[quote,notime]
1623 \set Staff.extraNatural = ##f
1644 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1648 @node chromatic scale
1649 @section chromatic scale
1651 ES: escala cromática,
1653 F: gamme chromatique,
1654 D: chro@-ma@-ti@-sche Tonleiter,
1655 NL: chromatische toonladder,
1656 DK: kromatisk skala,
1658 FI: kromaattinen asteikko.
1660 A scale consisting of all 12 semitones.
1662 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1663 c1 cis d dis e f fis g gis a ais b c
1671 @section chromaticism
1682 Using tones extraneous to a diatonic scale (minor, major).
1685 @ref{diatonic scale}.
1689 @section church mode
1691 ES: modo eclesiástico,
1692 I: modo ecclesiastico,
1693 F: mode ecclésiastique, mode d'église,
1698 FI: moodi, kirkkosävellaji.
1701 @ref{diatonic scale}.
1710 D: Schlüssel, Notenschlüssel,
1714 FI: avain, nuottiavain.
1716 The clef indicates which lines of the staff correspond to which
1717 pitches. The three clef symbols in common use are:
1722 \line { The Treble or G clef: }
1724 \line { The Bass or F clef: }
1726 \line { The Alto or C clef: }
1730 \musicglyph #"clefs.G"
1732 \musicglyph #"clefs.F"
1734 \musicglyph #"clefs.C"
1739 Imagine a large staff of 11 lines centered on middle C, sometimes
1740 called a @q{grand staff}, with the bottom line representing low G and
1741 the top line high F:
1746 %-- Note names above treble staff --%
1748 \set printOctaveNames = ##t
1750 \once \override NoteName #'color = #red
1754 %-- Treble Staff --%
1756 \override Staff.Clef #'stencil = ##f
1762 %-- Alto Staff reduced to a single line on middle C --%
1764 \override Staff.StaffSymbol #'line-count = #1
1765 \override Staff.StaffSymbol #'color = #red
1766 \override Staff.Clef #'stencil = ##f
1769 \override NoteHead #'color = #red
1775 \override Staff.Clef #'stencil = ##f
1784 \override SpacingSpanner
1785 #'base-shortest-duration = #(ly:make-moment 1/1)
1786 \override NonMusicalPaperColumn
1787 #'line-break-system-details = #'((alignment-distances . (3 3)))
1788 \override BarLine #'stencil = ##f
1792 \remove "Time_signature_engraver"
1798 Staves of five lines are usually used, and the clef superimposed on them
1799 indicates which five lines have been selected from this @notation{grand
1800 staff}. For example, the treble or G clef indicates that the top five lines
1806 %-- Note names above treble staff --%
1808 \set printOctaveNames = ##t
1810 \once \override NoteName #'color = #red
1815 %-- Treble Staff --%
1817 \once \override Staff.Clef #'stencil = ##f
1820 \override Staff.Clef #'full-size-change = ##t
1821 \set Staff.forceClef = ##t
1825 %-- Alto Staff reduced to a single line on middle C --%
1827 \override Staff.StaffSymbol #'line-count = #1
1828 \override Staff.StaffSymbol #'color = #red
1829 \override Staff.Clef #'stencil = ##f
1832 \override NoteHead #'color = #red
1837 \override Staff.Clef #'stencil = ##f
1845 \override SpacingSpanner
1846 #'base-shortest-duration = #(ly:make-moment 2/1)
1847 \override NonMusicalPaperColumn
1848 #'line-break-system-details = #'((alignment-distances . (3 3)))
1849 \override BarLine #'stencil = ##f
1853 \remove "Time_signature_engraver"
1859 The @q{curl} of the G clef is centered on the line that represents the
1862 In the same way, the bass or F clef indicates that the bottom five lines
1863 have been selected from the @notation{grand staff}, and the alto or C clef
1864 indicates the middle five lines have been selected. This relationship is
1865 shown below, where the notes show an arpeggio on a C major chord.
1870 %-- Treble Staff --%
1878 \override Staff.StaffSymbol #'line-count = #1
1879 \once \override Staff.Clef #'stencil = ##f
1884 \revert Staff.StaffSymbol #'stencil
1885 \override Staff.StaffSymbol #'color = #red
1888 \stopStaff \startStaff
1889 \revert Staff.StaffSymbol #'line-count
1890 \revert Staff.StaffSymbol #'color
1891 \stopStaff \startStaff
1892 \override Staff.Clef #'full-size-change = ##t
1893 \set Staff.forceClef = ##t
1908 \override SpacingSpanner #'base-shortest-duration =
1909 #(ly:make-moment 2/1)
1910 \override NonMusicalPaperColumn
1911 #'line-break-system-details = #'((alignment-distances . (3 3)))
1912 \override BarLine #'stencil = ##f
1916 \remove "Time_signature_engraver"
1923 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1936 FI: klusteri, cluster.
1938 A @emph{cluster} is a range of simultaneously sounding pitches that
1939 may change over time. The set of available pitches to apply usually
1940 depends on the acoustic source. Thus, in piano music, a cluster
1941 typically consists of a continuous range of the semitones as provided
1942 by the piano's fixed set of a chromatic scale. In choral music, each
1943 singer of the choir typically may sing an arbitrary pitch within the
1944 cluster's range that is not bound to any diatonic, chromatic or other
1945 scale. In electronic music, a cluster (theoretically) may even cover
1946 a continuous range of pitches, thus resulting in colored noise, such
1949 Clusters can be denoted in the context of ordinary staff notation by
1950 engraving simple geometrical shapes that replace ordinary notation of
1951 notes. Ordinary notes as musical events specify starting time and
1952 duration of pitches; however, the duration of a note is expressed by
1953 the shape of the note head rather than by the horizontal graphical
1954 extent of the note symbol. In contrast, the shape of a cluster
1955 geometrically describes the development of a range of pitches
1956 (vertical extent) over time (horizontal extent). Still, the
1957 geometrical shape of a cluster covers the area in which any single
1958 pitch contained in the cluster would be notated as an ordinary note.
1960 @lilypond[quote,relative=2]
1961 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1965 No cross-references.
1978 FI: komma, korvinkuultava ero äänenkorkeudessa.
1980 Difference in pitch between a note derived from pure tuning and the
1981 same note derived from some other tuning method.
1984 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1989 @section common meter
1991 Another name for @ref{common time}.
1994 @ref{common time}, @ref{meter}.
1997 @node Common Practice Period
1998 @section Common Practice Period
2001 I: Periodo di pratica comune,
2010 This is a stub for Common Practice Period (CPP).
2013 @ruser{Note names in other languages}.
2017 @section common time
2028 4/4 time. The symbol, which resembles a capital letter C, comes from
2032 @ref{mensural notation}, @ref{meter}.
2038 ES: intervalo invertido,
2040 F: intervalle complémentaire,
2041 D: Komplementärintervall,
2042 NL: complementair interval,
2043 DK: komplementærinterval,
2044 S: komplementärintervall (?),
2045 FI: täydentävä intervalli.
2048 @ref{inverted interval}.
2051 @node compound interval
2052 @section compound interval
2054 ES: intervalo compuesto,
2055 I: intervallo composto,
2056 F: intervalle composé,
2057 D: weites Intervall,
2058 NL: samengesteld interval,
2059 DK: sammensat interval,
2060 S: sammansatt intervall,
2061 FI: oktaavia laajempi intervalli.
2063 Intervals larger than an octave.
2069 @node compound meter
2070 @section compound meter
2072 ES: compás compuesto, compás de subdivisión ternaria,
2079 FI: kolmijakoinen tahtilaji.
2081 A meter that includes a triplet subdivision within the beat, such as
2085 @ref{meter}, @ref{simple meter}.
2089 @section compound time
2091 ES: compás compuesto, compás de amalgama (def. 2),
2094 D: zusammengesetzte Taktart,
2098 FI: yhdistetty tahtilajiosoitus.
2103 A meter that includes a triplet subdivision within the beat: see
2104 @ref{compound meter}.
2107 A time signature that additively combines two or more unequal meters,
2108 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2113 @lilypond[quote,verbatim]
2116 \compoundMeter #'((3 8) (2 8) (3 8))
2124 @ref{compound meter},
2126 @ref{polymetric time signature}.
2130 @section concert pitch
2132 ES: en Do, tono de concierto,
2133 I: intonazione reale,
2134 F: tonalité de concert, en ut,
2139 FI: konserttikorkeus.
2141 The pitch at which the piano and other nontransposing instruments play: such
2142 instruments are said to be @q{in C}. The following list includes some (but not
2143 all) instruments that play in concert pitch:
2145 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2147 @multitable {bassoon} {violoncello}
2148 @headitem Woodwinds @tab Strings
2167 @ignore This needs to be reworked.
2168 The trombones are a special case: although they are said to be @q{in F} (alto or
2169 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2170 their parts' transposition. (In fact, the trombones' parts are written at
2171 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2172 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2176 Instruments that play @q{in C} but in a different octave than what is written
2177 are, technically speaking, @emph{transposing instruments}:
2181 @item piccolo (plays an octave higher than written)
2182 @item celesta (plays an octave higher than written)
2183 @item classical guitar (plays an octave lower than written)
2184 @item double bass (plays an octave lower than written)
2189 @ref{transposing instrument}.
2192 @node conjunct movement
2193 @section conjunct movement
2195 ES: movimiento conjunto,
2197 F: mouvement conjoint,
2198 D: schritt@-weise, stufenweise Bewegung,
2199 NL: stapsgewijze, trapsgewijze beweging,
2200 DK: trinvis bevægelse,
2202 FI: asteittainen liike.
2204 Progressing melodically by intervals of a second, as contrasted with
2205 @emph{disjunct movement}.
2207 @lilypond[quote,relative=2,line-width=13.0\cm]
2210 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2214 @ref{disjunct movement}.
2227 FI: konsonanssi, sopusointi.
2250 @section copying music
2252 A music copyist did fast freehand scores and parts on preprinted staff
2253 lines for performance. Some of their conventions (e.g., the placement
2254 of note heads on stems) varied slightly from those of engravers. Some
2255 of their working methods were superior and could well be adopted by
2258 @c Copying music required more skill than engraving. Flagged for NPOV
2261 No cross-references.
2265 @section counterpoint
2274 FI: kontrapunkti, ääni ääntä vastaan.
2276 From Latin @emph{punctus contra punctum}, note against note. The
2277 combination into a single musical fabric of lines or parts which have
2278 distinct melodic significance. A frequently used polyphonic technique
2279 is imitation, in its strictest form found in the canon needing only
2280 one part to be written down while the other parts are performed with a
2281 given displacement. Imitation is also the contrapuntal technique
2282 used in the @emph{fugue} which, since the music of the baroque era,
2283 has been one of the most popular polyphonic composition methods.
2285 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2287 \context Staff = SA \relative c' {
2291 << \context Voice = rha {
2293 r1 | r2 r8 g'8 bes d, |
2294 cis4 d r8 e!16 f g8 f16 e |
2295 f8 g16 a bes8 a16 g a8
2297 \context Voice = rhb {
2303 \context Staff = SB \relative c' {
2306 << \context Voice = lha {
2308 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2309 r8 a16 g f8 g16 a bes8 g e! cis' |
2312 \context Voice = lhb {
2321 No cross-references.
2325 @section countertenor
2330 D: Countertenor, Kontratenor,
2333 S: kontratenor, counter tenor,
2346 D: Crescendo, lauter werden,
2350 FI: cresendo, voimistuen.
2352 Increasing volume. Indicated by a rightwards opening horizontal wedge
2353 (hairpin) or the abbreviation @notation{cresc.}
2355 @lilypond[quote,relative=2]
2358 g4\< a b c | d1\! \bar "|."
2362 @ref{decrescendo}, @ref{hairpin}.
2370 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2377 Notes belonging to one part printed in another to hint when to start
2378 playing. Usually printed in a smaller type.
2381 Compare: @ref{ossia}.
2390 D: Notenzeiger, Custos,
2396 A custos (plural: custodes) is a staff symbol that appears at the end of a
2397 staff line with monophonic musical contents (i.e., with a single voice). It
2398 anticipates the pitch of the first note of the following line and thus helps
2399 the player or singer to manage line breaks during performance, which
2400 enhances the readability of a score.
2402 Custodes were frequently used in music notation until the 16th century.
2403 There were different appearances for different notation styles. Nowadays,
2404 they have survived only in special forms of musical notation such as the
2405 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2407 @lilypond[quote,ragged-right]
2410 \override Staff.Custos #'neutral-direction = #DOWN
2411 \override Staff.Custos #'style = #'hufnagel
2418 \consists "Custos_engraver"
2425 No cross-references.
2458 F: da capo, depuis le commencement,
2459 D: da capo, von Anfang,
2463 FI: da capo, alusta.
2465 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2466 the beginning to the end or to a certain place marked @emph{fine}.
2469 No cross-references.
2475 ES: dal niente, de la nada,
2478 D: aus dem Nichts, dal niente,
2482 FI: tyhjästä ilmaantuen.
2484 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2485 that the sound should gradually increase from nothing.
2496 F: dal segno, depuis le signe,
2497 D: dal segno, ab dem Zeichen,
2501 FI: dal segno, lähtien merkistä.
2503 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2504 another place frequently near the beginning marked by a sign
2507 @lilypond[quote,relative=2]
2515 \musicglyph #"scripts.segno"
2521 No cross-references.
2525 @section decrescendo
2529 D: Decrescendo, leiser werden,
2533 FI: decresendo, hiljentyen.
2535 Decreasing tone volume. Indicated by a leftwards opening horizontal
2536 wedge (hairpin) or the abbreviation @notation{decresc.}
2538 @lilypond[quote,relative=2]
2541 d4\> c b a | g1 \! \bar "|."
2545 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2548 @node descending interval
2549 @section descending interval
2551 ES: intervalo descendente,
2552 I: intervallo discendente,
2553 F: intervalle descendant,
2554 D: fallendes Intervall, absteigendes Intervall,
2555 NL: dalend interval,
2556 DK: faldende interval,
2557 S: fallande intervall,
2558 FI: laskeva intervalli.
2560 A distance between a starting higher note and a lower ending note.
2563 No cross-references.
2566 @node diatonic scale
2567 @section diatonic scale
2569 ES: escala diatónica,
2571 F: gamme diatonique,
2572 D: diatonische Tonleiter,
2573 NL: diatonische toonladder,
2574 DK: diatonisk skala,
2576 FI: diatoninen asteikko.
2578 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2579 played on the white keys of a piano keyboard are diatonic. These scales
2580 are sometimes called, somewhat inaccurately, @q{church modes}).
2582 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2583 but also to some extent in newer jazz music.
2585 @lilypond[quote,notime,relative=1]
2589 e^"~~ S" f g a b^"~~ S" c
2597 @lilypond[quote,notime,relative=1]
2601 e^"~~ S" f g a b^"~~ S" c d
2609 @lilypond[quote,notime,relative=1]
2612 e1^"~~ S" f g a b^"~~ S" c d e
2620 @lilypond[quote,notime,relative=1]
2624 b^"~~ S" c d e^"~~ S" f
2632 @lilypond[quote,notime,relative=2]
2636 b^"~~ S" c d e^"~~ S" f g
2644 @lilypond[quote,notime,relative=2]
2648 b^"~~ S" c d e^"~~ S" f g a
2656 @lilypond[quote,notime,relative=2]
2659 b1^"~~ S" c d e^"~~ S" f g a b
2667 From the beginning of the 17th century the scales used in European
2668 compositional music are primarily the major and the minor scales. In
2669 the harmonic minor scale type an augmented second (A) occurs between
2670 the 6th and 7th tone.
2672 @lilypond[quote,notime,relative=1]
2676 e^"~~ S" f g a b^"~~ S" c
2684 @lilypond[quote,notime,relative=2]
2688 b^"~~ S" c d e^"~~ S" f g a
2691 "Ancient (or Natural) minor"
2696 @lilypond[quote,notime,relative=2]
2700 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2708 @lilypond[quote,notime,relative=2]
2712 b^"~~ S" c d e fis gis^"~~ S" a
2715 "Melodic minor ascending"
2720 @lilypond[quote,notime,relative=3]
2724 g! f!^"~~ S" e d c^"~~ S" b a
2727 "Melodic minor descending"
2733 @ref{semitone}, @ref{whole tone}.
2737 @section didymic comma
2740 @ref{syntonic comma}.
2743 @node diminished interval
2744 @section diminished interval
2746 ES: intervalo disminuido,
2747 I: intervallo diminuito,
2748 F: intervalle diminué,
2749 D: vermindertes Intervall,
2750 NL: verminderd interval,
2751 DK: formindsket interval,
2752 S: förminskat intervall,
2753 FI: vähennetty intervalli.
2764 F: diminuendo, en diminuant,
2769 FI: diminuendo, hiljentyen.
2771 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2787 FI: aika-arvojen tihennys.
2789 This is a stub for diminution (@emph{wrt} mensural notation).
2792 @ref{augmentation}, @ref{mensural notation}.
2811 @node disjunct movement
2812 @section disjunct movement
2814 ES: movimiento disjunto,
2816 F: mouvement disjoint,
2817 D: sprunghafte Bewegung,
2818 NL: sprongsgewijze beweging,
2819 DK: springende bevægelse,
2820 S: hoppande rörelse,
2821 FI: melodian hyppivä liike.
2823 Progressing melodically by intervals larger than a major second, as contrasted
2824 with conjunct movement.
2826 @lilypond[quote,relative=1]
2830 a4. gis8 b a e cis |
2836 @ref{conjunct movement}.
2842 Another name for @ref{dissonant interval}.
2845 @ref{dissonant interval}, @ref{harmony}.
2848 @node dissonant interval
2849 @section dissonant interval
2851 ES: intervalo disonante, disonancia,
2852 I: intervallo dissonante, dissonanza,
2853 F: intervalle dissonant, dissonance,
2855 NL: dissonant interval, dissonant,
2856 DK: dissonerende interval, dissonans,
2858 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2876 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2877 vertical stroke through part or all of the staff that serves to
2878 structure a chant into phrases and sections. There are four types:
2882 @item @emph{divisio minima}, a short pause
2884 @item @emph{divisio maior}, a medium pause
2886 @item @emph{divisio maxima}, a long pause
2888 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2889 section in a long antiphonal or responsorial chant.
2893 TODO: musical example here?
2896 No cross-references.
2902 ES: elevación [de tono],
2903 I: portamento indeterminato verso l'alto/l'acuto,
2905 D: Glissando zu unbestimmter Tonhöhe,
2911 Indicator for an indeterminately rising pitch bend. Compare with
2912 @emph{glissando}, which has determinate starting and ending pitches.
2915 @ref{fall}, @ref{glissando}.
2928 FI: dominantti, huippusointu.
2930 The fifth @emph{scale degree} in @emph{functional harmony}.
2933 @ref{functional harmony}, @ref{scale degree}.
2936 @node dominant ninth chord
2937 @section dominant ninth chord
2939 ES: acorde de novena de dominante,
2940 I: accordo di nona di dominante,
2941 F: accord de neuvième de dominante,
2942 D: Domi@-nant@-nonen@-akkord,
2943 NL: dominant noon akkoord,
2944 DK: dominantnoneakkord,
2945 S: dominantnonackord,
2946 FI: dominanttinoonisointu.
2949 @ref{chord}, @ref{functional harmony}.
2952 @node dominant seventh chord
2953 @section dominant seventh chord
2955 ES: acorde de séptima de dominante,
2956 I: accordo di settima di dominante,
2957 F: accord de septième de dominante,
2958 D: Dominantseptakkord,
2959 NL: dominant septiem akkoord,
2960 DK: dominantseptimakkord,
2961 S: dominantseptimackord,
2962 FI: dominanttiseptimisointu.
2965 @ref{chord}, @ref{functional harmony}.
2969 @section dorian mode
2974 D: dorisch, dorischer Kirchenton,
2975 NL: dorische toonladder,
2981 @ref{diatonic scale}.
2984 @node dot (augmentation dot)
2985 @section dot (augmentation dot)
2988 I: punto (di valore),
2990 D: Punkt (Verlängerungspunkt),
2997 @ref{dotted note}, @ref{note value}.
3001 @section dotted note
3003 ES: nota con puntillo,
3007 NL: gepuncteerde noot,
3010 FI: pisteellinen nuotti.
3016 @node double appoggiatura
3017 @section double appoggiatura
3019 ES: apoyatura doble,
3020 I: appoggiatura doppia,
3021 F: appoggiature double,
3022 D: doppelter Vorschlag,
3023 NL: dubbele voorslag,
3024 DK: dobbelt forslag,
3026 FI: kaksoisappogiatura, kaksoisetuhele.
3032 @node double bar line
3033 @section double bar line
3039 NL: dubbele maatstreep,
3042 FI: kaksoistahtiviiva.
3044 Indicates the end of a section within a movement.
3047 No cross-references.
3050 @node double dotted note
3051 @section double dotted note
3053 ES: nota con doble puntillo,
3054 I: nota doppiamente puntata,
3055 F: note doublement pointée,
3056 D: doppelt punktierte Note,
3057 NL: dubbelgepuncteerde noot,
3058 DK: dob@-belt@-punk@-te@-ret node,
3059 S: dub@-bel@-punk@-te@-rad not,
3060 FI: kaksoispisteellinen nuotti.
3067 @section double flat
3076 FI: kaksoisalennusmerkki.
3083 @section double sharp
3085 ES: doble sostenido,
3090 DK: dob@-belt@-kryds,
3092 FI: kaksoisylennysmerkki.
3098 @node double time signature
3099 @section double time signature
3101 ES: compás polimétrico,
3102 I: indicazione di tempo doppia/polimetrica,
3104 D: zusammengesetzte Taktart,
3108 FI: kaksois-aika-arvomerkintä.
3111 @ref{polymetric time signature}.
3115 @section double trill
3121 NL: dubbele triller,
3126 A simultaneous trill on two notes, usually in the distance of a third.
3129 No cross-references.
3133 @section duple meter
3137 F: métrique binaire,
3138 D: in zwei, grader Takt,
3139 NL: tweedelige maatsoort,
3174 FI: kesto, aika-arvo.
3183 ES: dinámica, matices,
3186 D: Dynamik, Lautstärke,
3190 FI: äänen voimakkuusvaihtelu, dynamiikka.
3192 The aspect of music relating to degrees of loudness, or changes from
3193 one degree to another. The terms, abbreviations, and symbols used to
3194 indicate this information are called dynamic marks.
3197 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3219 @node ecclesiastical mode
3220 @section ecclesiastical mode
3223 @ref{church mode}, @ref{diatonic scale}.
3227 @section eighth note
3234 @item D: Achtel, Achtelnote
3235 @item NL: achtste noot
3236 @item DK: ottendedelsnode
3237 @item S: åttondelsnot
3238 @item FI: kahdeksasosanuotti
3246 @section eighth rest
3249 @item UK: quaver rest
3250 @item ES: silencio de corchea
3251 @item I: pausa di croma
3252 @item F: demi-soupir
3253 @item D: Achtelpause
3254 @item NL: achtste rust
3255 @item DK: ottendedelspause
3256 @item S: åttonddelspaus
3257 @item FI: kahdeksasosatauko
3267 @c TODO: add languages
3276 FI: tavujen yhdistäminen yhteen ääneen.
3278 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3279 @emph{συναλοιφην} @q{to smear together}].
3281 The singing of several syllables on a single note. Elision may be indicated
3282 by a lyric tie, which looks like (and serves the same function) as a musical
3290 @section embellishment
3302 D: Notenstich, Notendruck
3308 Engraving means incising or etching a metal plate for printing.
3309 Photoengraving means drawing music with ink in a manner similar to
3310 drafting or engineering drawing, using similar tools.
3312 The traditional process of music printing is done through cutting in a
3313 plate of metal. Now also the term for the art of music typesetting.
3316 No cross-references.
3331 Two notes, intervals, or scales are enharmonic if they have different
3332 names but equal pitch.
3334 @lilypond[quote,notime,line-width=13.0\cm]
3338 gis1 as <des g,!> <cis g!>
3342 "g sharp " "a flat " "dim fifth " "augm fourth"
3348 No cross-references.
3351 @node equal temperament
3352 @section equal temperament
3354 ES: temperamento igual,
3355 I: temperamento equabile,
3356 F: tempérament égal,
3357 D: gleichschwebende Stimmung,
3358 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3359 DK: ligesvævende temperatur,
3360 S: liksvävande temperatur,
3363 A tuning system that divides the octave into 12 equal semitones (each of
3364 which is precisely equal to 100 cents).
3367 @ref{cent}, @ref{semitone}, @ref{temperament}.
3370 @node expression mark
3371 @section expression mark
3374 I: segno d'espressione,
3375 F: signe d'expression, indication de nuance,
3377 NL: voordrachtsteken,
3378 DK: foredragsbetegnelse,
3379 S: föredragsbeteckning,
3380 FI: nyanssiosoitus, esitysmerkki.
3382 Performance indications concerning:
3386 @item volume, dynamics (for example, @notation{forte},
3387 @notation{crescendo}),
3389 @item tempo (for example, @notation{andante}, @notation{allegro}).
3394 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3398 @section extender line
3400 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3401 I: linea di estensione,
3402 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3409 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3410 extends text (without indicating the musical @emph{function} of that text).
3412 Used in many contexts, for example:
3416 @item In vocal music to indicate the syllable for a melisma. Called
3417 @q{extension} in the
3418 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3422 In figured bass to indicate that:
3426 @item The extended note should be held through a change in harmony, when applied
3427 to one figure --OR--
3428 @item The chord thus represented should be held above a moving bass line, when
3429 applied to more than one figure.
3430 @item These uses were not completely standardized, and some composers used a
3431 single extender line to indicate the latter case.
3436 In string music to indicate that all notes in the passage thus indicated should
3437 be played on the same string. On the violin, for example, a series of notes to
3438 be played on the G string would be indicated @notation{sul G}, another series to be
3439 played on the D string would be indicated @notation{sul D}, and so on.
3442 With an octave mark to indicate that a passage is to be played higher or lower
3443 by the given number of octaves.
3448 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3449 @ref{octave marking}.
3482 The position between the dots of the key symbol is the line of the F
3483 below central@w{ }C. Used on the third, fourth and fifth note line.
3484 A digit@w{ }8 above the clef symbol indicates that the notes must be
3485 played an octave higher (for example, bass recorder) while 8@w{ }below
3486 the clef symbol indicates playing an octave lower (for example, on the
3489 @lilypond[quote,notime,line-width=13.0\cm]
3492 \override Staff.Clef #'full-size-change = ##t
3515 @ref{baritone clef}, @ref{strings}.
3521 ES: caída [de tono],
3522 I: portamento indeterminato verso il basso/il grave,
3524 D: Glissando zu unbestimmter Tonhöhe nach unten,
3530 Indicator for an indeterminately falling pitch bend. Compare with
3531 @emph{glissando}, which has determinate starting and ending pitches.
3534 @ref{doit}, @ref{glissando}.
3537 @node feathered beam
3538 @section feathered beam
3540 ES: barra progresiva,
3541 I: travatura convergente/divergente,
3542 F: ligature en soufflet, lien de croches en soufflet,
3543 D: gespreizter Balken,
3549 A type of beam used to indicate that a small group of notes should be
3550 played at an increasing or decreasing tempo -- depending on the
3551 direction of @q{feathering} -- but without changing the overall tempo
3555 Internals Reference: @ruser{Manual beams}
3561 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3565 F: point d'orgue, point d'arrêt,
3570 FI: fermaatti, pidäke.
3572 Prolonged note or rest of indefinite duration.
3574 @lilypond[quote,relative=2]
3581 No cross-references.
3601 @section figured bass
3604 I: basso continuo, basso numerato,
3605 F: basse chiffrée, basse continue,
3606 D: Generalbass, bezifferter Bass,
3607 NL: basso continuo, becijferde bas
3610 FI: kenraalibasso, numeroitu basso.
3612 Also called @q{thorough bass}.
3614 A method of indicating an accompaniment part by the bass notes only,
3615 together with figures designating the chief intervals and chords to be
3616 played above the bass notes.
3618 @lilypond[quote,line-width=13.0\cm]
3620 \new Staff = "rh" \with {
3627 \context Voice = "rha" {
3632 \context Voice = "rhb" {
3634 <bes g>8 as <as f> g <g es> f <d f> es
3639 \new Staff = "lh" \relative c' {
3642 es8 c d bes c as bes16 as g f
3646 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3652 @ref{chord}, @ref{interval}.
3667 Figures to the side or above the note that methodically indicate which
3668 fingers to use while playing a passage.
3671 No cross-references.
3678 I: coda (uncinata), bandiera,
3686 Ornament at the end of the stem of a note used for notes with values less
3687 than a quarter note. The number of flags determines the note value.
3689 @lilypond[quote,notime,relative=2]
3712 An articulation for string players that means the note or passage is to
3713 be played in harmonics.
3719 @item A duct flute similar to the recorder.
3721 @item An organ stop of flute scale at 1' or 2' pitch.
3726 @ref{articulation}, @ref{harmonics}.
3762 FI: forte, voimakkaasti.
3766 Abbreviated @notation{@b{f}}. Variants include:
3769 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3770 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3774 No cross-references.
3793 @node Frenched score
3794 @section Frenched score
3796 ES: partitura a la francesa,
3797 I: partitura senza i righi vuoti,
3799 D: Orchesterpartitur ohne leere Systeme,
3803 FI: partituuri ilman tyhjiä nuottiviivastoja.
3805 A @q{condensed} score, produced by omitting staves for instruments that are not
3806 playing at the moment, and by moving up additional systems from following pages
3807 to take up the space thus liberated, which reduces the total number of pages
3808 used to print the work.
3810 The specific rules for @q{frenching} a score differ from publisher to publisher.
3811 If you are producing scores for eventual publication by a commercial publisher,
3812 you may wish to procure a copy of their style manual.
3815 @ref{Frenched staff}.
3818 @node Frenched staff
3819 @section Frenched staff
3821 ES: pentagrama a la francesa,
3824 D: zeitweiliges Notensystem,
3828 FI: karsittu nuotinnus.
3830 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3831 Frenched staff has unneeded measures or sections removed. This is useful
3832 for producing, for example, an @emph{ossia} staff.
3838 @node Frenched staves
3839 @section Frenched staves
3841 Plural of @ref{Frenched staff}.
3860 @node functional harmony
3861 @section functional harmony
3863 ES: armonía funcional,
3864 I: armonia funzionale,
3865 F: étude des functions,
3867 NL: functionele harmonie,
3868 DK: funktionsanalyse, funktionsharmonik,
3870 FI: harmoniajärjestelmä.
3872 A system of harmonic analysis.
3874 It is based on the idea that, in a given key, there are only three
3875 functionally different chords: tonic (T, the chord on the first note of the
3876 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3877 chord on the fifth note). Others are considered to be variants of the base
3879 A few examples among many others are the tonic, subdominant or dominant of
3880 the parallel minor scale, or the incomplete dominant seventh chord.
3882 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3883 #(define-markup-command (diagonal-stroke layout props arg)
3886 #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
3888 ((thick (* (magstep font-size)
3889 (ly:output-def-lookup layout 'line-thickness)))
3890 (underline-thick (* thickness thick))
3891 (markup (interpret-markup layout props arg))
3892 (x1 (car (ly:stencil-extent markup X)))
3893 (x2 (cdr (ly:stencil-extent markup X)))
3894 (y1 (car (ly:stencil-extent markup Y)))
3895 (y2 (cdr (ly:stencil-extent markup Y)))
3896 (dx (* extension (- x2 x1)))
3897 (dy (* extension (- y2 y1)))
3898 (line (make-line-stencil underline-thick
3900 (+ x2 dx) (+ y2 dy))))
3901 (ly:stencil-add markup line)))
3904 <g e c>1 <a f d> <b g e>
3905 <c a f> <d b g> <e c a> <f d b>
3909 \markup { \concat { \diagonal-stroke D \super "7" } }
3915 @ref{dominant}, @ref{incomplete dominant seventh chord},
3916 @ref{subdominant}, @ref{tonic}.
3943 D: G-Schlüssel, Violinschlüssel,
3949 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3950 second note lines. A digit 8 above the clef symbol indicates that the notes
3951 must be played an octave higher while 8 below the clef symbol indicates
3952 playing or singing an octave lower (used most frequently to notate the tenor
3953 part in modern choral scores).
3955 @lilypond[quote,notime]
3957 \override Staff.Clef #'full-size-change = ##t
3958 \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
3969 "french violin clef"
3977 No cross-references.
3990 FI: glissando, liukuen.
3992 Letting the pitch slide fluently from one note to the other.
3995 No cross-references.
3999 @section grace notes
4001 ES: notas de adorno,
4003 F: ornement, fioriture,
4004 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4010 Notes printed in small types to indicate that their time values are not
4011 counted in the rhythm of the bar.
4014 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
4018 @section grand staff
4020 ES: sistema de piano,
4022 F: système [de portées], accolade,
4023 D: Akkolade, Klaviersystem,
4026 S: ackolad, böjd klammer,
4027 FI: kaksoisnuottiviivasto.
4029 A combination of two staves with a brace. Usually used for piano music.
4045 FI: grave, raskaasti.
4047 [Italian] Slow, solemn.
4050 No cross-references.
4074 Letter name used for @notation{B natural} in German and Scandinavian
4075 usage. In the standard usage of these countries, @notation{B} means
4079 @ref{Pitch names}, @ref{B}.
4085 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4088 @lilypond[quote,relative=2]
4095 @ref{crescendo}, @ref{decrescendo}.
4106 @item D: Halbe, halbe Note,
4107 @item NL: halve noot,
4110 @item FI: puolinuotti.
4121 @item UK: minim rest,
4122 @item ES: silencio de blanca,
4123 @item I: pausa di minima,
4124 @item F: demi-pause,
4125 @item D: halbe Pause,
4126 @item NL: halve, rust,
4127 @item DK: halvnodespause,
4129 @item FI: puolitauko.
4136 @node harmonic cadence
4137 @section harmonic cadence
4139 ES: cadencia (armónica),
4140 I: cadenza (armonica),
4141 F: cadence harmonique,
4143 NL: harmonische cadens,
4144 DK: harmonisk kadence,
4145 S: (harmonisk) kadens,
4146 FI: harmoninen kadenssi.
4148 A sequence of chords that terminates a musical phrase or section.
4152 \context Staff = "SA" \relative c'' {
4155 \partial 4 <c g e>4 |
4156 <c a f> <b g d> <c g e>2
4159 \context Staff = "SB" \relative c {
4161 \partial 4 c4 | f, g c2
4173 @ref{functional harmony}.
4179 ES: armónicos, sonidos aflautados,
4181 F: flageolet, sons harmoniques,
4186 FI: harmoniset äänet, huiluäänet.
4188 The general class of pitches produced by sounding the second or higher
4189 harmonic of a tone producer: string, column of air, and so on.
4191 On stringed instruments, these pitches sound rather flute-like; hence,
4192 their name in languages other than English. They are produced by
4193 lightly touching the string at a node for the desired mode of vibration
4194 while it is being bowed or plucked.
4196 For instruments of the violin family, there are two types of harmonics:
4197 natural harmonics, which are those played on the open string; and
4198 artificial harmonics, which are produced on stopped strings.
4201 No cross-references.
4210 D: Harmonie, Zusammenklang,
4214 FI: harmonia, yhteissointi.
4216 Tones sounding simultaneously. Two note harmonies fall into the
4217 categories @emph{consonances} and @emph{dissonances}.
4221 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4233 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4234 <g a>1_"second " s s
4235 <g f'>_"seventh " s s
4239 For harmony that uses three or more notes, see @ref{chord}.
4249 I: emiolia, (rarely hemiola or emiola),
4255 FI: hemioli, 3/2 -suhde.
4257 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4259 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4260 time normally occupied by two. The resulting rhythm can be expressed in modern
4261 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4262 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4263 as a special effect (or @emph{affect}) at cadences.
4265 For example, this phrase in 6/4 time
4267 @lilypond[quote,relative=1,line-width=13.0\cm]
4270 c2. e | d2 c d | c1. \bar "||"
4273 may be thought of having alternating time signatures
4275 @lilypond[quote,relative=1,line-width=13.0\cm]
4285 and is therefore a polymeter (second definition) of considerable antiquity.
4288 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4301 FI: homofonia, yksiäänisyys.
4303 Music in which one voice leads melodically supported by the other voices in
4304 the same rhythm (more or less). In contrast to @emph{polyphony}.
4321 I: metrica dell'inno,
4327 FI: säkeiden tavumäärät.
4329 A group or list of numbers that indicate the number of syllables in a line
4330 of a hymn's verse. Different hymnals have different ways of noting the hymn
4331 meter: for example, consider a hymn that has four lines in two couplets
4332 alternating regularly between eight and seven syllables. The @emph{English
4333 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4334 or 8@w{ }7@w{ }8@w{ }7.
4336 Some frequently-used hymn meters have traditional names:
4339 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4340 @item 86.86 is called Common Meter (CM or C.M.)
4341 @item 88.88 is called Long Meter (LM or L.M.)
4344 Some hymns and their tunes are doubled versions of a simpler meter: for
4345 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4346 87.87D. The traditional names above also have doubled versions:
4349 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4350 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4351 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4355 No cross-references.
4358 @node incomplete dominant seventh chord
4359 @section incomplete dominant seventh chord
4362 I: accordo di settima dominante incompleto,
4364 D: verkürzter Dominantseptakkord,
4370 A dominant seventh chord where the root tone is removed.
4371 The remaining three tones build a diminished triad.
4374 @ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
4387 FI: intervalli, kahden sävelen korkeusero.
4389 Difference in pitch between two notes. Intervals may be diminished, minor,
4390 perfect, major, or augmented. The augmented fourth and the diminished fifth
4391 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4392 and are called @emph{tritonus} because they consist of three whole tones.
4393 The addition of such two intervals forms an octave.
4397 \context Voice \relative c'' {
4434 \context Lyrics \lyrics {
4436 "second " "second " "second " "second "
4437 "third " "third " "third " "third "
4438 "fourth " "fourth " "fourth "
4439 "fifth " "fifth " "fifth "
4440 "sixth " "sixth " "sixth " "sixth "
4441 "seventh" "seventh" "seventh" "seventh"
4442 "octave " "octave " "octave "
4448 @ref{enharmonic}, @ref{whole tone}.
4463 When a chord sounds with a bass note that differs from the root of the
4464 chord, it is said to be @emph{inverted}. The number of inversions that a
4465 chord can have is one fewer than the number of constituent notes. For
4466 example, triads (which have three constituent notes) can have three
4467 positions, two of which are inversions:
4471 The root note is in the bass, and above that are the third and the fifth. A
4472 triad built on the first scale degree, for example, is marked @notation{I}.
4474 @item First inversion
4475 The third is in the bass, and above it are the fifth and the root. This
4476 creates an interval of a sixth and a third above the bass note, and so is
4477 marked in figured Roman notation as @notation{6/3}. This is commonly
4478 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4479 characteristic interval of the inversion, and so always implies
4482 @item Second inversion
4483 The fifth is in the bass, and above it are the root and the third. This
4484 creates an interval of a sixth and a fourth above the bass note, and so is
4485 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4486 unstable chord position.
4490 No cross-references.
4493 @node inverted interval
4494 @section inverted interval
4496 ES: intervalo invertido,
4497 I: intervallo rivolto,
4498 F: intervalle renversé,
4499 D: umgekehrtes Intervall,
4500 NL: interval inversie,
4501 DK: omvendingsinterval,
4502 S: intervallets omvändning,
4503 FI: käänteisintervalli.
4505 The difference between an interval and an octave.
4507 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4508 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4509 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4510 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4514 No cross-references.
4517 @node just intonation
4518 @section just intonation
4520 ES: entonación justa,
4521 I: intonazione giusta,
4522 F: intonation juste,
4529 Tuning system in which the notes are obtained by adding and subtracting
4530 natural fifths and thirds.
4548 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4549 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4552 @ref{chromatic scale}, @ref{key signature}.
4556 @section key signature
4558 ES: armadura (de la clave),
4559 I: armatura di chiave,
4560 F: armure, armature [de la clé],
4561 D: Vorzeichen, Tonart,
4562 NL: toon@-soort (voortekens),
4565 FI: sävellajiosoitus.
4567 The sharps or flats appearing at the beginning of each staff indicating the
4573 @node kievan notation
4574 @section kievan notation
4576 A form of medieval music notation used predominantly in the chantbooks
4577 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4578 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4579 characterized by the square shape of its noteheads.
4582 @node laissez vibrer
4583 @section laissez vibrer
4588 D: Laissez vibrer, schwingen lassen,
4594 [French: @q{Let vibrate}] Most frequently associated with harp
4595 parts. Marked @notation{l.v.} in the score.
4598 No cross-references.
4606 F: largo, large, ample,
4607 D: Largo, Langsam, Breit,
4611 FI: largo, hitaasti, leveästi.
4613 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4614 expressiveness. @emph{Larghetto} is less slow than largo.
4618 @section leading note
4629 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4630 called because of its strong tendency to @q{lead up} (resolve upwards)
4631 to the tonic scale degree.
4634 @ref{scale degree}, @ref{semitone}.
4638 @section ledger line
4640 ES: línea adicional,
4641 I: tagli addizionali,
4642 F: ligne supplémentaire,
4649 A ledger line is an extension of the staff.
4651 @lilypond[quote,notime,relative=2]
4658 No cross-references.
4667 D: legato, gebunden,
4673 To be performed (a) without any perceptible interruption between the
4674 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4675 @notation{portato}, or (d) @notation{staccato}.
4677 @lilypond[quote,notime,line-width=13.0\cm]
4679 \context Staff \relative c'' {
4680 c4-( d e-) \bar "||"
4681 c4-- d-- e-- \bar "||"
4682 c4-.-( d-. e-.-) \bar "||"
4683 c4-. d-. e-. \bar "||"
4699 @section legato curve
4702 @ref{slur}, @ref{legato}.
4724 A ligature is a coherent graphical symbol that represents at least two
4725 distinct notes. Ligatures originally appeared in the manuscripts of
4726 Gregorian chant notation around the 9th century to denote ascending or
4727 descending sequences of notes. In early notation, ligatures were used for
4728 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4729 performance in the sense of articulation. With the invention of the metric
4730 system of the white mensural notation, the need for ligatures to denote such
4731 patterns disappeared.
4734 @ref{mensural notation}.
4741 ES: estanque de nenúfares,
4742 I: stagno del giglio,
4743 F: étang de nénuphars, étang de nymphéas,
4745 NL: le@-lie@-vij@-ver,
4750 A pond with lilies floating in it.
4752 Also, the name of a music typesetting program.
4755 No cross-references.
4764 D: Linie, Notenlinie,
4768 FI: viiva, nuottiviiva.
4784 FI: kirjoitetussa äänenkorkeudessa.
4786 [Italian: @q{place}] Instruction to play the following passage at the
4787 written pitch. Cancels octave mark (q.v.).
4790 @ref{octave mark}, @ref{octave marking}.
4793 @node long appoggiatura
4794 @section long appoggiatura
4796 ES: apoyatura larga,
4797 I: appoggiatura lunga,
4798 F: appoggiature longue,
4803 FI: pitkä appoggiatura, pitkä etuhele.
4813 @item US: long, longa,
4816 @item F: longa, longue,
4824 Note value: twice the length of a @notation{breve}.
4826 @lilypond[quote,notime,relative=2]
4827 \override NoteHead #'style = #'mensural
4832 @ref{breve}, @ref{note value}.
4838 ES: ligadura de letra,
4839 I: legatura del testo,
4840 F: ligature de mots,
4845 FI: sidonta sanoituksessa.
4847 @c TODO: add languages
4856 ES: letra (de la canción),
4859 D: Liedtext, Gesangstext,
4868 No cross-references.
4884 @ref{diatonic scale}.
4887 @node major interval
4888 @section major interval
4890 ES: intervalo mayor,
4891 I: intervallo maggiore,
4892 F: intervalle majeur,
4893 D: großes Intervall,
4897 FI: suuri intervalli.
4915 Note value: twice the length of a @notation{longa}.
4917 The maxima is the largest duration in use during the 15th and 16th centuries.
4918 Like the longa, the maxima can be either two or three times as long as the
4919 @notation{longa} (called @notation{binary} and @notation{ternary},
4920 respectively). By the late 15th century, most composers used the smaller
4921 proportion by default.
4924 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4927 @node meantone temperament
4928 @section meantone temperament
4930 ES: afinación mesotónica,
4931 I: accordatura mesotonica,
4932 F: tempérament mésotonique,
4933 D: mitteltönige Stimmung,
4934 NL: middenstemming, middentoonstemming,
4935 DK: middeltonetemperatur,
4936 S: medeltonstemperatur,
4937 FI: keskisävelviritys.
4939 Temperament yielding acoustically pure thirds by decreasing the natural
4940 fifth by 16@w{ }cents. Due to the non-circular character of this
4941 temperament only a limited set of keys are playable. Used for tuning
4942 keyboard instruments for performance of pre-1650 music.
4945 @ref{cent}, @ref{temperament}.
4960 A group of beats (units of musical time) the first of which bears an accent.
4961 Such groups in numbers of two or more recur consistently throughout the
4962 composition and are separated from each other by bar lines.
4965 @ref{bar line}, @ref{beat}, @ref{meter}.
4968 @node measure repeat
4969 @section measure repeat
4972 @ref{percent repeat}.
4979 I: mediante, modale,
4989 @item The third @b{scale degree}.
4991 @item A @emph{chord} having its base tone a third from that of another
4992 chord. For example, the tonic chord may be replaced by its lower
4993 mediant (variant tonic).
4998 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5011 FI: melisma, laulettavan tavun sävelkuvio.
5013 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5014 on one syllable, especially as applied to liturgical chant.
5017 No cross-references.
5021 @section melisma line
5023 @c TODO: add languages
5025 ES: línea de melisma,
5026 I: linea del melisma,
5027 F: trait de mélisme, trait de tenue,
5035 @ref{extender line}.
5038 @node melodic cadence
5039 @section melodic cadence
5045 @node mensural notation
5046 @section mensural notation
5048 @c TODO: add languages
5050 ES: notación mensural,
5051 I: notazione mensurale,
5052 F: notation mensurale,
5053 D: Mensuralnotation,
5057 FI: mensuraalinuotinnus.
5059 A system of duration notation whose principles were first established in the
5060 mid-13th century, and that (with various changes) remained in use until about
5061 1600. As such, it is the basis for the notation of rhythms in Western musical
5064 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5065 of the notation's principles, so the notation of this earliest period is called
5066 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5067 and semibreve -- each of which was normally equivalent to three of the next
5070 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5071 added several note values (the minim, semiminim and fusa) and extended Franco's
5072 principles to govern the relationship between these values. They also put the
5073 duple division of note values on an equal footing with the earlier (preferred)
5076 TODO: continue description of French and Italian black notation, and the
5077 relationship betwixt them.
5079 @b{White or void mensural notation}
5081 In the 15th century, hollow (or void) notes began to substitute for the earlier
5082 solid black ones, which were then free to assume the function of red (or
5083 colored) notes in the earlier notation. ...
5085 TODO: add to definition (including summary info on proportional notation)
5088 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5089 @c TODO: more cross-references?
5092 @node mensuration sign
5093 @section mensuration sign
5095 @c TODO: add languages
5097 ES: signo de mensuración,
5098 I: indicazione mensurale,
5099 F: signe de mensuration,
5106 The ancestor of the time signature, mensuration signs were used to indicate the
5107 relationship between two sets of note durations—specifically, the ratio of
5108 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5109 (called @notation{prolatio}).
5111 Each ratio was represented with a single single sign, and was either
5112 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5113 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5114 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5115 represented by a complete circle; applied to the @emph{prolatio}, it was called
5116 @emph{major} and was represented by a dot in the middle of the sign. The binary
5117 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5118 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5119 @emph{minor} and was represented by the lack of an internal dot. There are four
5120 possible combinations, which can be represented in modern time signatures with
5121 and without reduction of note values. (These signs are hard-coded in LilyPond
5125 @item perfect @emph{tempus} with major @emph{prolatio}
5126 Indicated by a complete circle with an internal dot. In modern time signatures,
5129 @item 9/4, with reduction or
5130 @item 9/2, without reduction
5133 @item perfect @emph{tempus} and minor @emph{prolatio}
5134 Indicated by a complete circle without an internal dot. In modern time
5135 signatures, this equals:
5137 @item 3/2, with reduction or
5138 @item 3/1, without reduction
5141 @item imperfect @emph{tempus} and major @emph{prolatio}
5142 Indicated by an incomplete circle with an internal dot. In modern time
5143 signatures, this equals:
5145 @item 6/4, with reduction or
5146 @item 6/2, without reduction
5149 @item imperfect @emph{tempus} and minor @emph{prolatio}
5150 Indicated by an incomplete circle without an internal dot. In modern time
5151 signatures, this equals:
5153 @item 4/4, with reduction or
5154 @item 2/1, without reduction
5158 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5159 with note values reduced from the original semibreve to a modern quarter note.
5160 Being doubly imperfect, this sign represented the (theoretically)
5161 least-preferred mensuration, but it was actually used fairly often.
5163 This system extended to the ratio of longer note values to each other:
5167 @item maxima to longa, called:
5171 @item @notation{modus maximorum},
5172 @item @notation{modus major}, or
5173 @item @notation{maximodus})
5177 @item longa to breve, called:
5181 @item @notation{modus longarum},
5182 @item @notation{modus minor}, or
5183 @item @notation{modus}
5189 In the absence of any other indication, these modes were assumed to be
5190 binary. The mensuration signs only indicated tempus and prolatio, so
5191 composers needed another way to indicate these longer ratios (called modes.
5192 Around the middle of the 15th century started to use groups of rests at the
5193 beginning of the staff, preceding the mensuration sign.
5196 Two mensuration signs have survived to the present day: the C-shaped sign,
5197 which originally designated @notation{tempus imperfectum} and
5198 @notation{prolatio minor} now stands for @notation{common time}; and the
5199 slashed C, which designated the same with @notation{diminution} now stands
5200 for @notation{cut time} (essentially, it has not lost its original meaning).
5203 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5204 @c TODO: more cross-references?
5212 F: indication de mesure, mesure,
5219 The pattern of note values and accents in a composition or a section thereof.
5220 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5221 by grouping beats and by subdividing the primary beat.
5223 @b{By grouping beats}:
5227 @item @b{duple}: groups of two.
5228 @item @b{triple}: groups of three.
5229 @item @b{quadruple}: groups of four. A special case of duple meter.
5230 @item @b{quintuple}: groups of five beats.
5231 @item @b{sextuple} meter: groups of six. A special case of:
5235 @item duple meter, subdivided in three; or
5236 @item triple meter, subdivided in two.
5240 @item @b{septuple} meter: groups of seven.
5245 Other than triple meter and its subdivided variants (see below), meters that
5246 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5247 frequently used prior to the 20th Century.
5249 @b{By subdividing the primary beat}:
5253 @item simple: subdivided in groups of two.
5257 @item duple: 2/2, 2/4, 2/8
5258 @item triple: 3/2, 3/4, 3/8
5259 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5263 @item compound: subdivided in groups of three.
5269 @item quadruple: 12/8
5275 Time signatures are placed at the beginning of a composition (or section) to
5276 indicate the meter. For instance, a piece written in simple triple meter with a
5277 beat on each quarter note is conventionally written with a time signature of
5278 3/4. Here are some combinations of the two classifications above:
5280 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5282 @lilypond[quote,line-width=13.0\cm]
5286 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5289 Simple triple meter:
5291 @lilypond[quote,line-width=13.0\cm]
5295 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5298 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5300 @lilypond[quote,line-width=13.0\cm]
5304 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5307 Simple quintuple meter (B. Marcello, 1686-1739):
5309 @lilypond[quote,line-width=13.0\cm]
5313 r4 cis8 bis ais4 dis c8 ais |
5314 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5317 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5318 the source, with sharps in the accompaniment where the voice has flats and
5321 Compound duple meter (unknown):
5323 @lilypond[quote,line-width=13.0\cm]
5327 f8 f g a bes16 a g f |
5328 g8 g bes a c16 a bes g
5332 Compound triple meter (J.S. Bach, 1685-1750):
5334 @lilypond[quote,line-width=13.0\cm]
5338 r8 g'( a) b( d c) c( e d) |
5339 d( g fis) g( d b) g( a b)
5343 Compound quadruple meter (P. Yon, 1886-1943):
5345 @lilypond[quote,line-width=13.0\cm]
5349 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5350 e4 e8 fis( gis) a b4.~ b4 b8
5355 @b{@q{Monometer} vs Polymeter}
5357 TODO: add information from discussion on lilypond-user related to polymeter.
5361 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5376 Device used to indicate the exact tempo of a piece.
5378 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5379 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5380 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5381 followed acknowledged Winkler as the creator, but by then Mälzel had already
5382 sold many of them, and people had taken to calling it a Mälzel Metronome.
5385 @ref{metronome mark}.
5388 @node metronome mark
5389 @section metronome mark
5391 ES: indicación metronómica,
5392 I: indicazione metronomica,
5393 F: indication métronomique,
5395 NL: metronoom aanduiding,
5397 S: metronomangivelse,
5398 FI: metronomiosoitus.
5400 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5401 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5408 @node metronomic indication
5409 @section metronomic indication
5412 @ref{metronome mark}
5425 FI: kohtalaisen, melko.
5427 [Italian: @q{medium}]
5429 Used to qualify other indications, such as:
5435 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5437 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5443 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5450 No cross-references.
5454 @section mezzo-soprano
5465 The female voice between soprano and contralto.
5468 @ref{soprano}, @ref{contralto}.
5477 D: zweigestrichenes@w{ }c,
5479 DK: enstreget@w{ }c,
5480 S: ettstruket@w{ }c,
5483 First C below the 440 Hz A.
5485 @lilypond[quote,notime,relative=1]
5486 \override Staff.Clef #'full-size-change = ##t
5493 No cross-references.
5509 @ref{diatonic scale}.
5512 @node minor interval
5513 @section minor interval
5515 ES: intervalo menor,
5516 I: intervallo minore,
5517 F: intervalle mineur,
5518 D: kleines Intervall,
5522 FI: pieni intervalli.
5528 @node mixolydian mode
5529 @section mixolydian mode
5532 @ref{diatonic scale}.
5541 D: Kirchentonart, Modus,
5545 FI: moodi, kirkkosävelasteikko.
5548 @ref{church mode}, @ref{diatonic scale}.
5561 FI: modulaatio, sävellajin vaihdos.
5563 Moving from one @ref{key} to another. For example, the second subject
5564 of a @ref{sonata form} movement modulates to the dominant key if the
5565 key is major and to the @ref{relative key} if the key is minor.
5568 No cross-references.
5580 FI: mordent, korukuvio.
5583 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5604 FI: teema, sävelaihe.
5606 The briefest intelligible and self-contained fragment of a musical
5609 @lilypond[quote,line-width=13.0\cm]
5612 \set Score.implicitTimeSignatureVisibility = #all-invisible
5613 \override Score.TimeSignature #'break-visibility = #all-invisible
5616 \partial 8 g16\startGroup fis |
5617 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5618 g8 g,16 a b8 cis d16 s
5622 \Staff \consists "Horizontal_bracket_engraver"
5628 No cross-references.
5643 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5644 several -- more or less -- independent pieces called movements.
5647 No cross-references.
5650 @node multi-measure rest
5651 @section multi-measure rest
5653 ES: compases de espera, silencio multicompás,
5655 F: pause multiple, mesure à compter,
5657 D: mehrtaktige Pause, Kirchenpause,
5660 FI: usean tahdin mittainen tauko.
5662 Multi-measure rests are conventionally typeset with a combination of
5663 longa, breve and whole rests for shorter and a long horizontal bar for
5664 longer spans of rest, with a number above to indicate the duration (in
5665 measures) of the rest. The former style is called @q{Kirchenpausen} in
5666 German, as a reminiscence of its use in Renaissance vocal polyphony.
5668 @lilypond[quote,relative=2]
5670 \set Score.skipBars = ##t
5673 \set Score.skipBars = ##t
5679 @ref{longa}, @ref{breve}.
5688 D: Auflösungszeichen,
5689 NL: herstellingsteken,
5690 DK: op@-løsningstegn,
5691 S: återställningstecken,
5698 @node neighbor tones
5699 @section neighbor tones
5701 @c TODO: add definition.
5713 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5714 @ref{mordent}, @ref{ornament}.
5752 Notes are signs by means of which music is fixed in writing. The term is also
5753 used for the sound indicated by a note, and even for the key of the piano
5754 which produces the sound. However, a clear distinction between the terms tone
5755 and @ref{note} is strongly recommended. Briefly, one sees a note,
5759 No cross-references.
5766 I: testa, testina, capocchia,
5774 A head-like sign which indicates pitch by its position on a @notation{staff}
5775 provided with a @notation{clef}, and duration by a variety of shapes such as
5776 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5777 For percussion instruments (often having no defined pitch) the note head may
5778 indicate the instrument.
5781 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5794 ES: valor, duración,
5796 F: durée, valeur (d'une note),
5801 FI: nuotin aika-arvo.
5803 Note values (durations) are measured as fractions—in modern usage, one-half—of
5804 the next higher note value. The longest duration in current use is the
5805 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5806 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5807 or @notation{maxima} (eight whole notes) may be found.
5809 As used in mensural notation, this fraction was more flexible: it could also
5810 be one-third the higher note value. Composers indicated which proportions
5811 to use with various signs—two of which survive to the present day: the
5812 C-shaped sign for @notation{common time}, and the slashed C for
5813 @notation{alla breve} or @notation{cut time}.
5815 @c TODO -- add maxima to this example, in a way that doesn't break it.
5817 @lilypond[quote,notime,line-width=13.0\cm]
5819 \override NoteHead #'style = #'mensural
5820 a\longa_"longa" a\breve_"breve"
5821 \revert NoteHead #'style
5822 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5823 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5826 @c TODO -- add maxima rest to this example
5828 @lilypond[quote,notime,line-width=13.0\cm]
5830 r\longa_"longa" r\breve_"breve"
5831 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5832 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5835 An augmentation dot after a note increases its duration by half; a second dot
5836 increases it by half of the first addition (that is, by a fourth of the original
5837 duration). More dots can be used to add further halved fractions of the
5838 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5840 @lilypond[quote,line-width=13.0\cm]
5843 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5844 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5847 Alternatively note values may be subdivided by other ratios. Most common is
5848 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5849 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5850 dotted notes are also frequently used.
5852 @lilypond[quote,line-width=13.0\cm]
5855 \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5856 \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5860 @lilypond[quote,line-width=13.0\cm]
5863 \tuplet 2/3 {g4_"duplets" g} |
5865 \tuplet 4/6 {g8_"quadruplets" g g g} |
5866 g8 g g g g4 \bar "||"
5878 @ref{octave marking}.
5893 The interval of an octave, sometimes abbreviated @notation{8ve}.
5895 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5896 bracket, or @notation{loco} see octave marking.
5899 @ref{interval}, @ref{octave marking}.
5903 @section octave mark
5905 ES: indicación de octava,
5907 F: indication d'octave,
5908 D: Oktavierungszeichen,
5914 The phrase, abbreviation, or other mark used (with or without an extender line
5915 or bracket) to indicate that the music is to be played in a different octave:
5919 @item @notation{15ma}: play two octaves higher
5920 @item @notation{8va}: play one octave higher
5921 @item @notation{8vb}: play one octave lower
5922 @item @notation{8va} (written below the passage): unusual, same as
5924 @item @notation{15vb}: play two octaves lower
5925 @item @notation{15va} (written below the passage): unusual, same as
5930 For longer passages, it may be more practical to mark the octave change at the
5931 beginning with a phrase (see the list below for examples), but without a bracket
5932 or extender line. Then, when the music returns to the written pitch, the octave
5933 change is canceled with the word @notation{loco} (q.v.).
5935 To parallel the list above:
5939 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5940 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5941 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5942 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5946 In the phrases above, @notation{quindicesima} is sometimes replaced with
5947 @notation{quindecima}, which is Latin.
5949 The music on an entire staff can be marked to be played in a different octave by
5950 putting a small 8 or 15 above or below the clef at the beginning. This octave
5951 mark can be applied to any clef, but it is most frequently used with the G and F
5955 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5958 @node octave marking
5959 @section octave marking
5968 FI: oktaavamerkintä.
5970 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5971 that it is to be played in a different octave. If applied to the clef at the
5972 beginning of the staff, all music on that staff is to played at the indicated
5975 For a list of the specific marks used, see @ref{octave mark}.
5978 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5982 @section octave sign
5992 I: abbellimento, fioriture,
5993 F: agrément, ornement,
5994 D: Verzierung, Ornament,
6000 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6001 with the diatonic @ref{second} above it. In the music from the
6002 middle of the 19th century and onwards the trill is performed with the main
6003 note first while in the music from the preceding baroque and classic periods
6004 the upper note is played first.
6006 @lilypond[quote,line-width=13.0\cm]
6008 \context Staff = sa {
6010 c2._"pre-1850" b4\trill | c1 \bar "||"
6011 c2._"post-1850" b4\trill | c1 \bar "||"
6015 c2. c32 b c b c b c b | c1
6016 c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
6021 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6022 the @emph{prall} (inverted mordent).
6024 @lilypond[quote,line-width=13.0\cm]
6026 \context Staff = sa {
6028 a4_"turn" b\turn c2 \bar "||"
6029 g4_"mordent" a b\mordent a \bar "||"
6030 e'4_"prall" d\prall c2 \bar "||"
6036 e'4 e32[ d e d ~ d8] c2
6042 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6051 F: ossia, alternative,
6056 FI: ossia, vaihtoehtoinen esitystapa.
6058 Ossia (otherwise) marks an alternative. It is an added staff or piano
6059 score, usually only a few measures long, which presents another version
6060 of the music, for example for small hands.
6063 Compare: @ref{cue-notes}.
6069 ES: parte, particella,
6076 FI: stemma, instrumenttiosuus.
6080 @item In instrumental or choral music, the music for a single
6081 instrument or voice.
6083 @item in contrapuntal music, a single melodic line in the contrapuntal
6106 @node percent repeat
6107 @section percent repeat
6109 LilyPond-specific term to indicate the repetition of a musical expression on a
6110 single staff, as opposed to the more usual definition of repeat, which affects
6111 all parts. The musical expression can be anything from a single note or note
6112 pattern to one or more measures. There are other names for this symbol:
6117 @item slash mark, or slash repeat
6119 @item measure (or multi-measure) repeat
6123 @lilypond[quote,relative=2,line-width=13.0\cm]
6125 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6126 \repeat percent 2 { c4 e g b_"Measure repeat" }
6127 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6132 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6133 Vermont Music Dictionary}.
6142 D: Schlagzeug, Schlagwerk,
6148 A family of musical instruments which are played on by striking or
6149 shaking. Percussion instruments commonly used in a symphony orchestra are
6150 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6151 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6155 No cross-references.
6158 @node perfect interval
6159 @section perfect interval
6161 ES: intervalo justo,
6162 I: intervallo giusto,
6163 F: intervalle juste,
6164 D: reines Intervall,
6168 FI: puhdas intervalli.
6186 A natural division of the melodic line, comparable to a sentence of speech.
6202 FI: fraseeraus, jäsentäminen.
6204 The clear rendering in musical performance of the @notation{phrases} of the
6205 melody. Phrasing may be indicated by a @notation{slur}.
6208 @ref{phrase}, @ref{slur}.
6223 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6224 @emph{mezzo piano} (@b{mp}) medium soft.
6227 No cross-references.
6235 F: anacrouse, levée,
6260 @item The perceived quality of a sound that is primarily a function of its
6261 fundamental frequency.
6263 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6265 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6266 association of a particular frequency with a particular pitch name, e.g., c' =
6282 NL: pizzicato, getokkeld,
6285 FI: pizzicato, näppäillen.
6287 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6291 No cross-references.
6297 ES: compás polimétrico,
6304 FI: monia tahtiosoituksia sisältävä.
6308 @item The @emph{simultaneous} use of two or more meters, in two or more
6311 @item The @emph{successive} use of different meters in one or more parts.
6316 @ref{polymetric} (adj.)
6329 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6331 Characterized by @emph{polymeter}: using two or more metric frameworks
6332 simultaneously or in alternation.
6335 @ref{polymeter} (noun)
6338 @node polymetric time signature
6339 @section polymetric time signature
6341 ES: indicación de compás polimétrico,
6342 I: tempo polimetrico,
6344 D: zusammengesetzte Taktart,
6348 FI: vaihtelevan tahtiosoitusmerkintä.
6350 A time signature that indicates regularly alternating polymetric time.
6362 D: Polyphonie, Mehrstimmigkeit,
6366 FI: polyfonia, moniäänisyys.
6368 Music written in a combination of several simultaneous voices (parts)
6369 of a more or less pronounced individuality.
6378 [Italian: past participle of @emph{portare}, @q{to carry}]
6380 A stroke in which each of several notes is separated slightly within a slur,
6381 without changing the bow's direction. It is used for passages of a
6382 @notation{cantabile} character.
6388 @section power chord
6390 A chord containing only the root and the fifth (possibly in multiple
6391 octaves). Commonly used in guitar music, particularly with electric
6392 guitar and high distortion.
6400 ES: presto, muy rápido,
6402 F: presto, très rapide, enlevé,
6403 D: Presto, Sehr schnell,
6404 NL: presto, Sehr schnell,
6407 FI: presto, hyvin nopeasti.
6411 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6412 denotes the highest possible degree of speed.
6415 No cross-references.
6430 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6431 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6436 @item A ratio that expresses the relationship between the note values that
6437 follow with those that precede;
6439 @item A ratio between the note values of a passage and the @q{normal}
6440 relationship of note values to the metrical pulse. (A special case of the
6445 The most common proportions are:
6448 @item 2:1 (or simply 2), expressed by a vertical line through the
6449 mensuration sign (the origin of the @notation{alla breve} time signature),
6450 or by turning the sign backwards
6451 @item 3:1 (or simply 3)
6452 @item 3:2 (@emph{sesquialtera})
6455 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6458 @item 1:2 cancels 2:1
6459 @item 1:3 cancels 3:1
6460 @item 2:3 cancels 3:2
6464 Gaffurius enumerates five basic types of major:minor proportions and their
6468 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6469 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6471 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6472 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6473 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6475 @item Superpartiens, if the major number is one less than twice the minor
6476 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6478 @item Multiplexsuperparticular, if the major number is one more than twice the
6479 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6482 @item Multiplexsuperpartiens, if the major number is one less than some other
6483 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6484 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6488 He then continues to subdivide each type in various ways. For the multiplex
6489 proportions, for example, he indicates how many times greater the major number
6494 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6495 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6497 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6500 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6501 Example: 4:1, 8:2, and 12:3
6505 Other proportions were possible, but whether they were frequently used is
6510 @item 33:9, @emph{triplasuperbipartientetertias}
6511 @item 51:15, @emph{triplasuperbipartientequintas}
6515 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6518 @ref{mensural notation}.
6521 @node Pythagorean comma
6522 @section Pythagorean comma
6524 ES: coma pitagórica,
6525 I: comma pitagorico,
6526 F: comma pythagoricien,
6527 D: Pythagoräisches Komma,
6528 NL: komma van Pythagoras,
6529 DK: pythagoræisk komma,
6530 S: pytagoreiskt komma,
6531 FI: pytagorinen komma.
6533 Originally, the interval by which the sum of six whole tones exceeds the octave
6534 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6536 Modern acoustical theory defines it as the interval by which twelve fifths
6537 exceed seven octaves. To put it another way: A sequence of fifths that starts
6538 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6539 than the C obtained by adding 7 octaves. The difference between those two
6540 pitches is the Pythagorean comma.
6543 @ref{cent}, @ref{temperament}.
6565 ES: variante [de acorde o intervalo],
6568 D: Modus (Dur oder Moll),
6574 The quality of a triad is determined by the precise arrangement of its
6575 intervals. Tertian triads can be described as a series of three notes. The
6576 first element is the root note (or simply @q{root}) of the chord, the second
6577 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6578 the chord. These are described below:
6580 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6581 @headitem Chord name
6582 @tab Component intervals
6585 @item major triad @tab major third/perfect fifth
6587 @tab C, CM, Cma, Cmaj, CΔ
6588 @item minor triad @tab minor third/perfect fifth
6590 @tab Cm, Cmi, Cmin, C-
6591 @item augmented triad @tab major third/augmented fifth
6594 @item diminished triad @tab minor third/diminished fifth
6596 @tab Cm(♭5), Cº, Cdim
6599 There are various types of seventh chords depending on the quality of the
6600 original chord and the quality of the seventh added.
6602 Five common types of seventh chords have standard symbols. The chord quality
6603 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6604 and D^m7 are all identical). The last three chords are not commonly used
6612 @section quarter note
6617 @item I: semiminima, nera
6619 @item D: Viertel, Viertelnote
6621 @item DK: fjerdedelsnode
6622 @item S: fjärdedelsnot
6623 @item FI: neljäsosanuotti
6631 @section quarter rest
6634 @item UK: crotchet rest
6635 @item ES: silencio de negra
6636 @item I: pausa di semiminima
6638 @item D: Viertelpause
6640 @item DK: fjerdedelspause
6641 @item S: fjärdedelspaus
6642 @item FI: neljäsosatauko
6650 @section quarter tone
6659 FI: neljännessävelaskel.
6661 An interval equal to half a semitone.
6670 ES: cinquillo, quintillo,
6684 @section rallentando
6688 F: rallentando, en ralentissant,
6689 D: rallentando, langsamer werden,
6693 FI: rallerdando, hidastuen.
6695 [Italian: @q{slowing down}]
6697 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6705 @section relative key
6708 I: tonalità relativa,
6709 F: tonalité relative,
6711 NL: paralleltoonsoort,
6712 DK: paralleltoneart,
6714 FI: rinnakkaissävellaji.
6716 Major and minor keys that have the same key signature.
6718 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6720 es1_"e flat major" f g as bes c d es
6724 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6726 c1_"c minor" d es f g a! b! c
6731 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6739 F: barre de reprise,
6742 DK: gen@-ta@-gel@-se,
6746 @lilypond[quote,relative=2,line-width=13.0\cm]
6758 No cross-references.
6773 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6774 @c specify the rest's value.
6794 @item Metrical rhythm in which every time value is a multiple or
6795 fraction of a fixed unit of time, called @emph{beat}, and in which the
6796 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6797 The basic scheme of time values is called @emph{meter}.
6799 @item Measured rhythm which lacks regularly recurrent accent. In
6800 modern notation such music appears as a free alternation of different
6803 @item Free rhythm, i.e., the use of temporal values having no common
6804 metrical unit (beat).
6809 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6815 ES: ritardando, retardando,
6817 F: ritardando, en ralentissant,
6818 D: ritardando, langsamer werden,
6822 FI: ritardando, hidastuen,
6824 [Italian: @q{lagging}]
6826 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6827 abbreviated to @notation{rit.} or @notation{ritard}.
6836 ES: ritenuto, reteniendo,
6838 F: ritenuto, en retenant,
6843 FI: ritenuto, hidastaen.
6845 Immediate reduction of speed.
6848 No cross-references.
6861 FI: asteikko, sävelasteikko.
6864 @ref{diatonic scale}.
6868 @section scale degree
6870 ES: grado (de la escala),
6871 I: grado della scala,
6872 F: degré [de la gamme],
6874 NL: trap [van de toonladder],
6877 FI: sävelaste, asteikon sävel.
6879 Names and symbols used in harmonic analysis to denote tones of the
6880 scale as roots of chords. The most important are degrees I = tonic
6881 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6883 @lilypond[quote,notime,line-width=13.0\cm]
6885 \new Staff \relative c' {
6888 \lyrics { I II III IV V VI VII I }
6889 \lyrics { T "" "" S D }
6894 @ref{functional harmony}.
6902 F: à cordes ravallées,
6907 FI: epätavallinen viritys.
6909 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6910 tuning of stringed instruments, particularly lutes or violins. Used
6915 @item facilitate pitch combinations that would otherwise be difficult
6918 @item alter the characteristic timbre of the instrument, for example,
6919 to increase brilliance
6921 @item reinforce certain sonorities or tonalities by making them
6922 available on open strings
6924 @item imitate other instruments
6930 Tunings that could be called @var{scordatura} first appeared early in
6931 the 16th Century and became commonplace in the 17th.
6934 No cross-references.
6942 F: partition, conducteur (full score),
6943 D: Partitur (full score), Klavierauszug (vocal score),
6949 A copy of orchestral, choral, or chamber music showing what each
6950 instrument is to play, each voice to sing, having each part arranged
6951 one underneath the other on different staves @ref{staff}.
6954 No cross-references.
6969 The interval between two neighboring tones of a scale. A diatonic scale
6970 consists of alternating semitones and whole tones, hence the size of a
6971 second depends on the scale degrees in question.
6974 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6981 @item US: whole note,
6985 @item D: Ganze, ganze Note, Semibrevis,
6986 @item NL: hele noot,
6989 @item FI: kokonuotti.
6992 Note value: called @notation{whole note} in the US.
6994 The semibreve is the basis for the @notation{tactus} in mensural notation
6995 (i.e. music written before ca. 1600).
6998 @ref{mensural notation}, @ref{note value}.
7013 The interval of a minor second. The (usually) smallest interval in European
7014 composed music. The interval between two neighboring tones on the piano
7015 keyboard -- including black and white keys -- is a semitone. An octave may
7016 be divided into 12@w{ }semitones.
7018 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7019 g1 gis s a bes s b! c
7023 @ref{interval}, @ref{chromatic scale}.
7046 @ref{sextuplet}, @ref{note value}.
7091 ES: simile, similar,
7094 D: simile, gleichartig,
7100 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7101 is to be played in the same manner (i.e. with the same articulations, dynamics,
7102 etc.) as the music that precedes it.
7105 TODO: Where else could I refer the reader?
7109 @section simple meter
7111 ES: compás simple, compás de subdivisión binaria,
7118 FI: kaksijakoinen tahtiosoitus.
7120 A meter in which the basic beat is subdivided in two: that is, a meter
7121 that does not include triplet subdivision of the beat.
7124 @ref{compound meter}, @ref{meter}.
7127 @node sixteenth note
7128 @section sixteenth note
7131 @item UK: semiquaver
7132 @item ES: semicorchea
7134 @item F: double croche
7135 @item D: Sechzehntel, Sechzehntelnote
7136 @item NL: zestiende noot
7137 @item DK: sekstendedelsnode
7138 @item S: sextondelsnot
7139 @item FI: kuudestoistaosanuotti
7146 @node sixteenth rest
7147 @section sixteenth rest
7150 @item UK: semiquaver rest
7151 @item ES: silencio de semicorchea
7152 @item I: pausa di semicroma
7153 @item F: quart de soupir
7154 @item D: Sechzehntelpause
7155 @item NL: zestiende rust
7156 @item DK: sekstendedelspause
7157 @item S: sextondelspaus
7158 @item FI: kuudestoistaosatauko
7181 @node sixty-fourth note
7182 @section sixty-fourth note
7185 @item UK: hemidemisemiquaver
7187 @item I: semibiscroma
7188 @item F: quadruple croche
7189 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7190 @item NL: vierenzestigste noot
7191 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7192 @item S: sextiofjärdedelsnot
7193 @item FI: kuudeskymmenesneljäsosanuotti
7200 @node sixty-fourth rest
7201 @section sixty-fourth rest
7204 @item UK: hemidemisemiquaver rest
7205 @item ES: silencio de semifusa
7206 @item I: pausa di semibiscroma
7207 @item F: seizième de soupir
7208 @item D: Vierundsechzigstelpause
7209 @item NL: vierenzestigste rust
7210 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7211 @item S: sextiofjärdedelspaus
7212 @item FI: kuudeskymmenesneljäsosatauko
7220 @section slash repeat
7223 @ref{percent repeat}.
7229 ES: ligadura de expresión,
7230 I: legatura (di portamento o espressiva),
7232 D: Bogen (Legatobogen, Phrasierungsbogen),
7233 NL: fraseringsboog, legatoboog, streekboog,
7234 DK: legatobue, fraseringsbue,
7238 A slur above or below a group of notes indicates that they are to be
7239 played @ref{legato}, e.g., with one stroke of the violin bow or with
7240 one breath in singing.
7243 No cross-references.
7247 @section solmization
7256 FI: suhteelliset laulunimet.
7258 General term for systems of designating the degrees of the
7259 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7260 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7264 @ref{scale}, @ref{scale degree}.
7279 In its present-day meaning a sonata denotes an instrumental
7280 composition for piano or for some other instrument with piano
7281 accompaniment, which consists of three or four independent pieces,
7285 No cross-references.
7289 @section sonata form
7293 F: [en] forme de sonate,
7295 NL: hoofdvorm, sonatevorm,
7300 A form used frequently for single movements of the @emph{sonata},
7301 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7302 three sections called @notation{exposition}, @notation{development} and
7303 @notation{recapitulation}. In the exposition the composer introduces some
7304 musical ideas, consisting of a number of themes; in the development section the
7305 composer @emph{develops} this material, and in the recapitulation the composer
7306 repeats the exposition, with certain modifications. The exposition contains a
7307 number of themes that fall into two groups, often called first and second
7308 subject. Other melodies occurring in each group are considered as continuations
7309 of these two. The second theme is in another key, normally in the key of the
7310 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7311 @notation{relative key} if the tonic is @notation{minor}.
7314 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7315 @ref{symphony}, @ref{tonic}.
7335 FI: sopraano, korkea naisääni.
7337 The highest female voice.
7340 No cross-references.
7348 F: staccato, piqué, détaché,
7353 FI: staccato, lyhyesti, terävästi.
7355 Playing the note(s) short. Staccato is indicated by a dot above or
7356 below the note head.
7358 @lilypond[quote,relative=2]
7362 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7368 No cross-references.
7375 ES: pentagrama, pauta,
7376 I: pentagramma, rigo (musicale),
7378 D: Notensystem, Notenzeile,
7379 NL: (noten)balk, partij,
7384 A staff (plural: staves) is a series of (normally five) horizontal
7385 lines upon and between which the musical notes are written, thus
7386 indicating (in connection with a @ref{clef}) their pitch. Staves for
7387 @ref{percussion} instruments may have fewer lines.
7389 @lilypond[quote,relative=1]
7410 D: Hals, Notenhals, Stiel,
7416 Vertical line above or below a @ref{note head} shorter than a
7419 @lilypond[quote,notime,relative=2]
7420 \set Score.autoBeaming = ##f
7434 ES: stringendo, acelerando,
7436 F: stringendo, en accélérant,
7441 FI: kiihdyttäen, nopeuttaen.
7443 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7462 A family of stringed musical instruments played with a bow. Strings
7463 commonly used in a symphony orchestra are violin, viola, violoncello,
7467 No cross-references.
7471 @section strong beat
7476 D: betonter Taktteil oder Taktschlag,
7478 D: betonet taktslag,
7479 S: betonat taktslag,
7480 FI: tahdin vahva isku.
7483 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7487 @section subdominant
7496 FI: subdominantti, alidominantti.
7498 The fourth @notation{scale degree}.
7501 @ref{functional harmony}, @ref{scale degree}.
7516 The sixth @notation{scale degree}.
7519 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7532 FI: subtoonika, alitoonika.
7534 The seventh @ref{scale degree}.
7537 @ref{functional harmony}, @ref{scale degree}.
7543 ES: sobre la cuerda de Sol,
7546 D: auf G, auf der G-Saite,
7552 Indicates that the indicated passage (or note) should be played on the
7556 No cross-references.
7560 @section superdominant
7571 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7574 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7589 The second @ref{scale degree}.
7592 @ref{functional harmony}, @ref{scale degree}.
7601 D: Sinfonie, Symphonie,
7607 A symphony may be defined as a @emph{sonata} for orchestra.
7614 @section syncopation
7625 Any deliberate upsetting of the normal pulse of @ref{meter},
7626 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7627 rhythm rests upon the grouping of equal beats into groups of two or
7628 three, with a regularly recurrent accent on the first beat of each
7629 group. Any deviation from this scheme is felt as a disturbance or
7630 contradiction between the underlaying (normal) pulse and the actual
7633 @lilypond[quote,relative=1]
7636 e16 c'8 e,16 c'8 e,16 c' ~
7641 No cross-references.
7644 @node syntonic comma
7645 @section syntonic comma
7647 ES: coma sintónica, coma de Dídimo,
7648 I: comma sintonico (o didimico),
7649 F: comma syntonique,
7650 D: syntonisches Komma,
7651 NL: syntonische komma,
7652 DK: syntonisk komma,
7653 S: syntoniskt komma,
7654 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7655 Pytagorisessa viritysjärjestelmässä.
7657 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7658 by which the ditone exceeds the pure major third obtained by Pythagorean
7659 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7661 Modern acoustical theory defines it as the interval by which four fifths exceed
7662 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7664 This comma is also known as the comma of Didymus, or didymic comma.
7667 @ref{Pythagorean comma}
7676 D: Notensystem, Partitur,
7682 The collection of staves (@notation{staff}), two or more, as used
7683 for writing down keyboard, chamber, choral, or orchestral music;
7684 a section of the score spanning the width of a single page.
7691 @section temperament
7696 D: Stimmung, Tem@-pe@-ra@-tur,
7697 NL: stemming, temperatuur,
7700 FI: viritysjärjestelmä.
7702 Systems of tuning in which the intervals deviate from the acoustically
7706 @ref{meantone temperament}, @ref{equal temperament}.
7709 @node tempo indication
7710 @section tempo indication
7712 ES: indicación de tempo,
7713 I: indicazione di tempo,
7714 F: indication de tempo,
7715 D: Zeitmaß, Tempobezeichnung,
7716 NL: tempo aanduiding,
7721 The rate of speed of a composition or a section thereof, ranging from the
7722 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7723 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7727 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7741 FI: tenori, korkea miesääni.
7743 The highest @q{natural} male voice (apart from @notation{countertenor}).
7768 ES: subrayado (tenuto),
7777 An indication that a particular note should be held for the whole
7778 length, although this can vary depending on the composer and era.
7781 No cross-references.
7800 @node thirty-second note
7801 @section thirty-second note
7804 @item UK: demisemiquaver
7807 @item F: triple croche
7808 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7809 @item NL: twee@-endertig@-ste (32e) noot
7810 @item DK: toogtredivtedelsnode
7811 @item S: trettiotvåondelsnot
7812 @item FI: kolmaskymmeneskahdesosanuotti
7819 @node thirty-second rest
7820 @section thirty-second rest
7823 @item UK: demisemiquaver rest
7824 @item ES: silencio de fusa
7825 @item I: pausa di biscroma
7826 @item F: huitième de soupir
7827 @item D: Zweiunddreissigstel@-pause
7828 @item NL: twee@-endertig@-ste (32e) rust
7829 @item DK: toogtredivtedelspause
7830 @item S: trettiotvåondelspaus
7831 @item FI: kolmaskymmeneskahdesosatauko
7839 @section thorough bass
7848 ES: ligadura de unión (o de prolongación),
7849 I: legatura (di valore),
7850 F: liaison (de tenue),
7851 D: Haltebogen, Bindebogen,
7852 NL: overbinding, bindingsboog,
7854 S: bindebåge, överbindning,
7857 A curved line, identical in appearance with the @ref{slur}, which
7858 connects two succesive notes of the same pitch, and which has the
7859 function of uniting them into a single sound (tone) equal to the
7862 @lilypond[quote,notime,relative=2]
7874 @node time signature
7875 @section time signature
7877 ES: indicación de compás,
7879 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7880 D: Taktangabe, Angabe der Taktart,
7883 S: taktartssignatur,
7886 The sign placed at the beginning of a composition to indicate its
7887 meter. It most often takes the form of a fraction, but a few signs
7888 derived from mensural notation and proportions are also employed.
7891 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7906 A sound of definite pitch and duration, as distinct from @emph{noise}.
7907 Tone is a primary building material of music.
7909 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7912 No cross-references.
7927 The first @notation{scale degree}.
7930 @ref{functional harmony}, @ref{scale degree}.
7933 @node transposing instrument
7934 @section transposing instrument
7936 ES: instrumento transpositor,
7937 I: strumento traspositore,
7938 F: instrument transpositeur,
7939 D: transponierende Instrumente,
7943 FI: transponoitava soitin.
7945 Instruments whose notated pitch is different from their sounded pitch. Except
7946 for those whose notated and sounding pitches differ by one or more octaves (to
7947 reduce the number of ledger lines needed), most such instruments are identified
7948 by the letter name of the pitch class of their fundamental. The pitch class is
7949 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7950 the instrument plays a notated C.
7952 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7953 the B-flat one tone lower. If played on the A clarinet, the same written
7954 note sounds the A (one and half tones -- a minor third -- lower).
7956 Not all transposing instruments include the pitch class in their name:
7959 @item Alto flute (in G)
7960 @item English horn (in F)
7961 @item Saxophones (in B-flat or E-flat)
7964 @ignore Can we do better?
7966 To make matters more complex, some instruments are transposing instruments,
7967 but their players play from parts written at concert pitch. This is the
7968 case for orchestral trombone and tuba players—whereas trombone players in
7969 brass bands treat their parts as if written for a true transposing
7970 instrument in B-flat.
7975 @ref{concert pitch}.
7979 @section transposition
7981 ES: transporte, transposición,
7990 Shifting a melody up or down in pitch, while keeping the same
7993 @lilypond[quote,line-width=13.0\cm]
7998 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8003 @lilypond[quote,line-width=13.0\cm]
8006 \transpose c bes \relative c'' {
8008 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8014 No cross-references.
8018 @section treble clef
8020 ES: clave de sol en segunda,
8021 I: chiave di violino,
8023 D: Violinschlüssel, Sopranschlüssel,
8045 On stringed instruments:
8049 @item The quick reiteration of the same tone, produced by a rapid
8050 up-and-down movement of the bow.
8052 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8053 in the distance of a third (@ref{interval}).
8057 @lilypond[quote,notime,relative=1]
8059 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8060 \repeat tremolo 8 { e32_"b" g }
8072 F: triade, accord parfait, accord de trois sons,
8088 F: trille, tremblement, battement (cadence),
8100 @section triple meter
8102 ES: compás ternario,
8105 D: Dreiertakt, ungerader Takt,
8106 NL: driedelige maatsoort,
8148 @section tuning fork
8150 ES: diapasón [de horquilla],
8151 I: diapason, corista,
8157 FI: viritysavain, äänirauta.
8159 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8160 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8161 standard. Tuning forks for other pitches are available.
8170 ES: grupo de valoración especial,
8171 I: gruppi irregolari,
8174 NL: Antimetrische figuur,
8179 A non-standard subdivision of a beat or part of a beat, usually
8180 indicated with a bracket and a number indicating the number of
8184 @ref{triplet}, @ref{note value}.
8190 ES: grupeto (circular),
8213 FI: unisono, yksiäänisesti.
8215 Playing of the same notes or the same melody by various instruments
8216 (voices) or by the whole orchestra (choir), either at exactly the same
8217 pitch or in a different octave.
8220 No cross-references.
8228 F: anacrouse, levée,
8249 FI: ääni, lauluääni.
8257 @item @ref{mezzo-soprano}
8258 @item @ref{contralto}
8260 @item @ref{baritone}
8264 @item A melodic layer or part of a polyphonic composition.
8269 No cross-references.
8275 ES: vez, primera y segunda vez,
8278 D: volta-Klammer, Wiederholungsklammer,
8282 FI: yksi kertauksen maaleista.
8284 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8285 or second ending. LilyPond extends this idea to any number, and allows any text
8286 (not just a number) -- to serve as the @notation{volta} text.
8289 No cross-references.
8296 I: tempo debole, arsi,
8298 D: unbetonter Taktteil oder Taktschlag,
8300 DK: ubetonet taktslag,
8301 S: obetonat taktslag,
8302 FI: tahdin heikko isku.
8305 @ref{beat}, @ref{measure}, @ref{rhythm}.
8316 @item D: Ganze, ganze Note
8320 @item FI: kokonuotti
8331 @item UK: semibreve rest
8332 @item ES: silencio de redonda
8333 @item I: pausa di semibreve
8335 @item D: ganze Pause, ganztaktige Pause
8337 @item DK: helnodespause
8358 The interval of a major second. The interval between two tones
8359 on the piano keyboard with exactly one key between them -- including
8360 black and white keys -- is a whole tone.
8378 A family of blown wooden musical instruments. Today some of these
8379 instruments are actually made from metal. The woodwind instruments
8380 commonly used in a symphony orchestra are flute, oboe, clarinet,
8381 saxophone, and bassoon.
8384 No cross-references.
8387 @node Duration names notes and rests
8388 @chapter Duration names notes and rests
8390 @multitable @columnfractions .12 .22 .22 .22 .22
8392 @headitem Lang. @tab note name
8396 @item @strong{US} @tab long
8400 @item @strong{UK} @tab longa
8404 @item @strong{ES} @tab longa
8405 @tab silencio de longa
8407 @tab silencio de cuadrada
8408 @item @strong{IT} @tab longa
8412 @item @strong{FR} @tab longa
8413 @tab quadruple-pause
8416 @item @strong{DE} @tab Longa
8420 @item @strong{NL} @tab longa
8424 @item @strong{DK} @tab longa
8425 @tab longanodespause
8427 @tab brevis(nodes)pause
8428 @item @strong{SE} @tab longa
8432 @item @strong{FI} @tab longa-nuotti
8434 @tab brevis-nuotti, kaksoiskoko@-nuotti
8435 @tab brevis-tauko, kaksoiskoko@-tauko
8439 @multitable @columnfractions .12 .22 .22 .22 .22
8441 @headitem Lang. @tab note name
8445 @item @strong{US} @tab whole note
8449 @item @strong{UK} @tab semibreve
8453 @item @strong{ES} @tab redonda
8454 @tab silencio de redonda
8456 @tab silencio de blanca
8457 @item @strong{IT} @tab semibreve
8458 @tab pause di semibreve
8460 @tab pausa di minima
8461 @item @strong{FR} @tab ronde
8465 @item @strong{DE} @tab ganze Note
8469 @item @strong{NL} @tab hele noot
8473 @item @strong{DK} @tab helnode
8477 @item @strong{SE} @tab helnot
8481 @item @strong{FI} @tab kokonuotti
8488 @multitable @columnfractions .12 .22 .22 .22 .22
8490 @headitem Lang. @tab note name
8494 @item @strong{US} @tab quarter note
8498 @item @strong{UK} @tab crotchet
8502 @item @strong{ES} @tab negra
8503 @tab silencio de negra
8505 @tab silencio de corchea
8506 @item @strong{IT} @tab semiminima, nera
8507 @tab pausa di semiminima, pausa di nera
8510 @item @strong{FR} @tab noire
8514 @item @strong{DE} @tab Viertelnote
8518 @item @strong{NL} @tab kwartnoot
8522 @item @strong{DK} @tab fjerdedelsnode
8523 @tab fjerdedelspause
8524 @tab ottendedelsnode
8525 @tab ottendedelspause
8526 @item @strong{SE} @tab fjärdedelsnot
8530 @item @strong{FI} @tab neljäsosa@-nuotti
8531 @tab neljäsosa@-tauko
8532 @tab kahdeksasosa@-nuotti
8533 @tab kahdeksasosa@-tauko
8537 * About the French naming system: @notation{croche} refers to the note's
8538 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8539 @q{doubled hook}, @q{trebled hook}, and so on.
8541 The rest names are based on the @notation{soupir}, or quarter rest.
8542 Subsequent rests are expressed as fractions thereof: half a
8543 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8545 Each of the following tables contains one type of note and its matching rest,
8546 with abbreviations that apply to both notes and rests. Just switch the part
8547 that means @q{note} with the part that means @q{rest}, for example:
8551 @item English: 16th @strong{note}, 16th @strong{rest}
8552 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8553 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8557 Editor's note: I put a dash @q{-} when I could not find a language-specific
8558 abbreviation for a duration name. If you know of one that I missed, please
8559 send it to me, care of the lilypond-user discussion list.
8561 @multitable @columnfractions .10 .35 .35 .20
8563 @headitem Lang. @tab Note name
8566 @item @strong{US} @tab sixteenth note
8569 @item @strong{UK} @tab semiquaver
8570 @tab semiquaver rest
8572 @item @strong{ES} @tab semicorchea
8573 @tab silencio de semicorchea
8575 @item @strong{IT} @tab semicroma
8576 @tab pausa di semicroma
8578 @item @strong{FR} @tab double croche
8579 @tab quart de soupir
8581 @item @strong{DE} @tab Sechzehntelnote
8582 @tab Sechzehntelpause
8584 @item @strong{NL} @tab zes@-ti@-ende noot
8585 @tab zes@-ti@-ende rust
8587 @item @strong{DK} @tab sekstendedelsnode
8588 @tab sekstendedelspause
8590 @item @strong{SE} @tab sextondelsnot
8593 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8594 @tab kuudes@-toistaosa@-tauko
8599 @multitable @columnfractions .10 .35 .35 .20
8601 @headitem Lang. @tab Note name
8604 @item @strong{US} @tab thirty-second note
8605 @tab thirty-second rest
8607 @item @strong{UK} @tab demisemiquaver
8608 @tab demisemiquaver rest
8610 @item @strong{ES} @tab fusa
8611 @tab silencio de fusa
8613 @item @strong{IT} @tab biscroma
8614 @tab pausa di biscroma
8616 @item @strong{FR} @tab triple croche
8617 @tab huitième de soupir
8619 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8620 @tab Zweiunddreißig@-stelpause
8622 @item @strong{NL} @tab twee@-endertigste noot
8623 @tab twee@-endertigste rust
8625 @item @strong{DK} @tab toogtredivtedelsnode
8626 @tab toogtredivtedelspause
8628 @item @strong{SE} @tab trettio@-tvåondelsnot
8629 @tab trettio@-tvåondelspaus
8631 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8632 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8637 @multitable @columnfractions .10 .35 .35 .20
8639 @headitem Lang. @tab Note name
8642 @item @strong{US} @tab sixty-fourth note
8643 @tab sixty-fourth rest
8645 @item @strong{UK} @tab hemidemisemiquaver
8646 @tab hemidemisemiquaver rest
8648 @item @strong{ES} @tab semifusa
8649 @tab silencio de semifusa
8651 @item @strong{IT} @tab semibiscroma
8652 @tab pausa di semibiscroma
8654 @item @strong{FR} @tab quadruple croche
8655 @tab seizième de soupir
8657 @item @strong{DE} @tab Vierundsechzigstelnote
8658 @tab Vierundsechzigstelpause
8660 @item @strong{NL} @tab vierenzestigste noot
8661 @tab vierenzestigste rust
8663 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8664 @tab fireog@-tredsindstyven@-dedelspause
8666 @item @strong{SE} @tab sextiofjärdedelsnot
8667 @tab sextiofjärdedelspaus
8669 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8670 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8675 @multitable @columnfractions .10 .35 .35 .20
8677 @headitem Lang. @tab Note name
8680 @item @strong{US} @tab one-hundred-twenty-eighth note
8681 @tab one-hundred-twenty-eighth rest
8683 @item @strong{UK} @tab semihemidemisemiquaver
8684 @tab semihemidemisemiquaver rest
8686 @item @strong{ES} @tab garrapatea
8687 @tab silencio de garrapatea
8689 @item @strong{IT} @tab fusa
8692 @item @strong{FR} @tab quintuple croche
8693 @tab trente-deuxième de soupir @tab -
8694 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8695 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8696 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8697 @tab honderd@-acht@-en@-twintigste rust
8699 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8700 @tab hundrede@-otte@-og@-tyvendedels@-pause
8702 @item @strong{SE} @tab hundratjugoåttondelsnot
8703 @tab hundratjugoåttondelspaus
8705 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8706 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8711 @multitable @columnfractions .10 .35 .35 .20
8713 @headitem Lang. @tab Note name
8716 @item @strong{US} @tab two-hundred-fifty-sixth note
8717 @tab two-hundred-fifty-sixth rest
8719 @item @strong{UK} @tab demisemihemidemisemiquaver
8720 @tab demisemihemidemisemiquaver rest
8722 @item @strong{ES} @tab semigarrapatea
8723 @tab silencio de semigarrapatea @tab -
8724 @item @strong{IT} @tab semifusa
8725 @tab pausa di semifusa
8727 @item @strong{FR} @tab sextuple croche
8728 @tab soixante-quatrième de soupir @tab -
8729 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8730 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8731 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8732 @tab tweehonderd@-zesenvijftigste rust
8734 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8735 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8737 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8738 @tab tvåhundra@-femtiosjättedelspaus
8740 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8741 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8747 @ref{mensural notation}
8751 @chapter Pitch names
8754 -is/-es endings for Danish per Rune Zedeler, pace,
8755 and for Finnish per Risto Vääräniemi;
8756 -iss/-ess endings for Swedish per Mats Bengtsson
8757 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8759 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8760 multiple lines -- as texinfo needs it to allow enough space for the
8761 table entries. (For the curious, it's a list of the widest items in
8762 each column of the table. Romance pitch names are two characters,
8763 except for g (sol) ... so there you go.)
8766 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8767 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8768 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8769 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8770 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8771 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8772 @tab des @tab des @tab dess @tab des
8773 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8774 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8775 @tab dis @tab dis @tab diss @tab dis
8776 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8777 @tab es @tab es @tab ess @tab es
8778 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8779 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8780 @tab Fes @tab fes @tab fes @tab fess @tab fes
8781 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8782 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8783 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8784 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8785 @tab fis @tab fis @tab fiss @tab fis
8786 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8787 @tab ges @tab ges @tab gess @tab ges
8788 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8789 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8790 @tab Gis @tab gis @tab gis @tab giss @tab gis
8791 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8792 @tab as @tab as @tab ass @tab as
8793 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8794 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8795 @tab ais @tab ais @tab aiss @tab ais
8796 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8797 @tab bes @tab b @tab b @tab b
8798 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8799 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8800 @tab ces @tab ces @tab cess @tab ces
8801 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8802 @tab His @tab bis @tab his @tab hiss @tab his
8806 @node Non-Western terms A-Z
8807 @chapter Non-Western terms A-Z
8827 This is a stub for @code{bayati}.
8831 @ruser{Arabic key signatures}.
8838 This is a stub for @code{iraq}.
8842 @ruser{Arabic key signatures}.
8849 This is a stub for @code{kurd}.
8853 @ruser{Arabic key signatures}.
8860 This is a stub for @code{makam}.
8864 @ruser{Turkish classical music}.
8871 This is a stub for @code{makamlar}.
8875 @ruser{Turkish classical music}.
8882 This is a stub for @code{maqam}.
8886 @ruser{Arabic music},
8887 @ruser{Arabic key signatures}.
8894 This is a stub for @code{rast}.
8898 @ruser{Arabic key signatures}.
8905 This is a stub for @code{semai}.
8909 @ruser{Arabic key signatures}.
8916 This is a stub for @code{sikah}.
8920 @ruser{Arabic key signatures}.
8927 This is a stub for @code{taqasim}.
8931 @ruser{Arabic key signatures}.
8934 @node Literature used
8935 @appendix Literature used
8938 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8939 Cambridge: Belknap Press (Harvard University Press), 1944.
8941 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8944 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8945 Terminologie}. Kassel, 1980.
8947 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8948 Current English}, 3rd ed. London: Oxford University Press, 1974.
8950 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8951 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8953 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8954 Cambridge: Belknap Press (Harvard University Press), 1986.
8956 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.