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 this commit:
18 @c commit: be4e46f61b1a8dec0922e0fd849c626beb6ab9be
19 @c file: Documentation/user/glossary.texi
21 @macro copyrightDeclare
22 Copyright @copyright{} 1999--2015 by the authors
29 @c TODO: multiple omfcreators?
31 @omfcreator Christian Mondrup, Kurt Kroon
32 @omfdescription Glossary of musical terms with translations
34 @omfcategory Applications|Publishing
39 @lilyTitlePage{Music Glossary}
43 @c @everyheading @| @thispage @|
44 @c @evenheading @thispage @| @|
45 @c @oddheading @| @| @thispage @|
50 @w{@expansion{}@strong{\word\}}@c
54 @expansion{}@ref{\word\, @strong{\word\}}@c
63 * Duration names notes and rests::
65 * Non-Western terms A-Z::
70 * GNU Free Documentation License:: License of this document.
77 @c TOC - tex. Not desired for this manual. -gp
81 @node Musical terms A-Z
82 @chapter Musical terms A-Z
84 Languages in this order.
86 @item UK - British English (where it differs from American English)
115 * ancient minor scale::
120 * ascending interval::
122 * augmented interval::
157 * Common Practice Period::
160 * compound interval::
164 * conjunct movement::
179 * descending interval::
182 * diminished interval::
186 * disjunct movement::
188 * dissonant interval::
192 * dominant ninth chord::
193 * dominant seventh chord::
195 * dot (augmentation dot)::
197 * double appoggiatura::
199 * double dotted note::
202 * double time signature::
209 * ecclesiastical mode::
216 * equal temperament::
237 * functional harmony::
257 * incomplete dominant seventh chord::
260 * inverted interval::
276 * long appoggiatura::
283 * meantone temperament::
290 * mensural notation::
295 * metronomic indication::
308 * multi-measure rest::
338 * polymetric time signature::
344 * Pythagorean comma::
375 * sixty-fourth note::
376 * sixty-fourth rest::
407 * thirty-second note::
408 * thirty-second rest::
415 * transposing instrument::
469 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
470 @notation{a due} indicates that:
474 @item A single part notated on a single staff that normally carries parts
475 for two players (e.g. first and second oboes) is to be played by both
478 @item Or conversely, that two pitches or parts notated on a staff that
479 normally carries a single part (e.g. first violin) are to be played by
480 different players, or groups of players (@q{desks}).
493 F: accelerando, en accélérant,
494 D: accelerando, schneller werden,
498 FI: accelerando, kiihdyttäen.
500 [Italian: @q{speed up, accelerate}]
502 An increase in the tempo, abbreviated @notation{accel.}
518 FI: aksentti, korostus.
520 The stress of one tone over others.
534 @section acciaccatura
536 ES: mordente de una nota,
538 F: acciaccatura, appoggiature brève,
545 A grace note which takes its time from the rest or note preceding the
546 principal note to which it is attached. The acciaccatura is drawn as a
547 small eighth note (quaver) with a line drawn through the flag and stem.
550 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
556 ES: alteración accidental,
557 I: alterazione, accidente,
558 F: altération accidentelle,
559 D: Versetzungszeichen, Akzidenz,
560 NL: toevallig (verplaatsings)teken,
562 S: tillfälligt förtecken,
563 FI: tilapäinen etumerkki.
565 An accidental alters a note by:
569 @item Raising its pitch:
571 @item By two semitones—@notation{double sharp}
572 @item By one semitone—@notation{sharp}
575 @item Lowering its pitch:
577 @item By one semitone—@notation{flat}
578 @item By two semitones—@notation{double flat}
581 @item Or canceling the effects of the key signature or previous accidentals.
584 @lilypond[quote,notime]
588 \set Staff.extraNatural = ##f
589 gisis1 gis g! ges geses
594 \center-column { double sharp }
600 \center-column { double flat }
606 \override SpacingSpanner
607 #'base-shortest-duration = #(ly:make-moment 1/32)
614 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
627 FI: adagio, hitaasti.
629 [Italian: @q{comfortable, easy}]
633 @item Slow tempo, slower -- especially in even meter -- than
634 @notation{andante} and faster than @notation{largo}.
636 @item A movement in slow tempo, especially the second (slow) movement
637 of sonatas, symphonies, etc.
642 @ref{andante}, @ref{largo}, @ref{sonata}.
650 F: al niente, en mourant,
655 FI: häviten olemattomiin.
657 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
658 that the sound should fade away to nothing.
660 @notation{Al niente} is indicated by circling the tip of the hairpin:
662 @lilypond[quote,relative=2]
663 \override Hairpin #'circled-tip = ##t
669 or with the actual phrase @notation{al niente}:
671 @lilypond[quote,relative=2]
673 \override DynamicTextSpanner #'(bound-details right text) =
674 \markup { \italic { al niente } }
680 Since one does not crescendo @emph{to} nothing, it is not correct to use
681 @notation{al niente} with @notation{crescendo}. Instead, one should use
682 @emph{dal niente} (@notation{@b{from} nothing}).
685 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
693 F: alla breve, à la brève,
694 D: Allabreve, alla breve
700 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
702 Also called @notation{in cut time}. The name derives from mensural
703 notation, where the @notation{tactus} (or beat) is counted on the semibreve
704 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
705 next longest note value, which (in modern usage) effectively halves all note
708 In mensural notation, breves and semibreves can have a ternary relationship,
709 in which case @notation{alla breve} means thrice (not twice) as fast. In
710 practice, this complication may not have mattered, since Gaffurius's system
711 of multiplex proportions makes it easy to explicitly state which proportion
715 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
716 @ref{proportion}, @ref{whole note}.
724 F: allegro, gaiement,
725 D: Allegro, Schnell, Fröhlich, Lustig,
729 FI: allegro, nopeasti.
731 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
732 quick tempo, especially the first and last movements of a sonata.
745 NL: verhoging of verlaging,
750 An alteration is the modification, raising or lowering, of a note's
751 pitch. It is established by an accidental.
753 @c TODO: add second meaning from mensural notation
769 FI: altto, matala naisääni.
771 A female voice of low range (@emph{contralto}). Originally the alto was a
772 high male voice (hence the name), which by castration or the use of falsetto
773 reached the height of the natural female voice. This type of voice is also
774 known as countertenor.
783 ES: clave de do en tercera,
784 I: chiave di contralto,
785 F: clef d'ut troisième ligne,
786 D: Altschlüssel, Bratschenschlüssel,
792 C clef setting middle C on the middle line of the staff.
803 F: ambitus, tessiture,
808 FI: ambitus, ääniala, soitinala.
810 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
811 Denotes a range of pitches for a given voice in a part of music. It may
812 also denote the pitch range that a musical instrument is capable of playing.
813 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
831 An anacrusis (also known as pickup or upbeat) is an incomplete measure
832 of music before a section of music. It also refers to the initial
833 note(s) of a melody occurring in that incomplete measure.
835 @lilypond[quote,relative=1]
846 @ref{measure}, @ref{meter}.
849 @node ancient minor scale
850 @section ancient minor scale
852 ES: escala menor natural,
853 I: scala minore naturale,
854 F: forme du mode mineur ancien, troisème mode, mode hellénique,
855 D: reines Moll, natürliches Moll,
856 NL: authentieke mineurtoonladder,
859 FI: luonnollinen molliasteikko.
861 Also called @q{natural minor scale}.
863 @lilypond[quote,notime,relative=2]
869 @ref{diatonic scale}.
884 [Italian: present participle of @emph{andare}, @q{to walk}]
886 Walking tempo/character.
893 @section appoggiatura
897 F: appoggiature, (port de voix),
898 D: Vorschlag, Vorhalt
899 NL: (korte) voorslag,
902 FI: appoggiatura, etuhele.
904 Ornamental note, usually a second, that is melodically connected with
905 the main note following it. In music before the 19th century
906 appoggiature were usually performed on the beat, after that mostly
907 before the beat. While the short appoggiatura is performed as a short
908 note regardless of the duration of the main note the duration of the
909 long appoggiatura is proportional to that of the main note.
911 @lilypond[quote,relative=2]
914 <d a fis>4_"notation" r
921 \set Score.measurePosition = #ZERO-MOMENT
922 <d, a fis>4_"performance" r
928 An appoggiatura may have more notes preceding the main note.
930 @lilypond[quote,relative=2]
933 \grace bes16 as8-"notation" as16 bes as8 g |
934 \grace { as16[( bes] } <c as>4)
935 \grace { as16[( bes] } <c as>4) \bar "||"
937 \grace bes16 as8-"performance" as16 bes as8 g |
941 as32 bes c8. as32 bes c8.
945 as16 ~ as8. as16 ~ as8.
960 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
962 DK: arpeggio, akkordbrydning,
964 FI: arpeggio, murtosointu.
966 [Italian: @q{harp-like, played like a harp}]
968 @lilypond[quote,line-width=13\cm]
970 \context Staff = "SA" {
974 r8 g16 c e g, c e r8 g,16 c e g, c e
975 r8 a,16 d f a, d f r8 a,16 d f a, d f
979 \context Staff = "SB" {
985 r16 e8. ( e4) r16 e8. ( e4)
986 r16 d8. ( d4) r16 d8. ( d4)
1000 No cross-references.
1004 @section articulation
1013 FI: artikulaatio, ilmaisu.
1015 Articulation refers to notation which indicates how a note or notes
1016 should be played. Slurs, accents, staccato, and legato are all
1017 examples of articulation.
1020 No cross-references.
1023 @node ascending interval
1024 @section ascending interval
1026 ES: intervalo ascendente,
1027 I: intervallo ascendente,
1028 F: intervalle ascendant,
1029 D: steigendes Intervall,
1030 NL: stijgend interval,
1031 DK: stigende interval,
1032 S: stigande intervall,
1033 FI: nouseva intervalli.
1035 A distance between a starting lower note and a higher ending note.
1038 No cross-references.
1042 @section augmentation
1051 FI: aika-arvojen pidentäminen.
1053 @c TODO: add definition.
1055 This is a placeholder for augmentation (wrt mensural notation).
1058 @ref{diminution}, @ref{mensural notation}.
1061 @node augmented interval
1062 @section augmented interval
1064 ES: intervalo aumentado,
1065 I: intervallo aumentato,
1066 F: intervalle augmenté,
1067 D: übermäßiges Intervall,
1068 NL: overmatig interval,
1069 DK: forstørret interval,
1070 S: överstigande intervall,
1071 FI: ylinouseva intervalli.
1082 F: manuscrit, autographe
1083 D: Autograph, Handschrift,
1085 DK: håndskrift, autograf,
1087 FI: käsinkirjoitettu nuotti.
1091 @item A manuscript written in the composer's own hand.
1093 @item Music prepared for photoreproduction by freehand drawing, with
1094 the aid of a straightedge ruler and T-square only, which attempts to
1095 emulate engraving. This required more skill than did engraving.
1100 No cross-references.
1118 @ref{H}, @ref{Pitch names}
1138 ES: barra, línea divisoria,
1139 I: stanghetta, barra (di divisione),
1140 F: barre (de mesure),
1147 A vertical line through the staff (or through multiple staves) that
1148 separates measures. Used very infrequently during the Renaissance (mostly
1149 in secular music, or in sacred music to indicate congruences between parts
1150 in otherwise-unmetered music).
1166 FI: baritoni, keskikorkuinen miesääni.
1168 The male voice intermediate in pitch between the bass and the tenor.
1170 @c F: clef de troisième ligne dropped
1173 @ref{bass}, @ref{tenor}.
1177 @section baritone clef
1179 ES: clave de fa en tercera,
1180 I: chiave di baritono,
1181 F: clef d'ut cinquième ligne, clef de fa troisième,
1182 D: Baritonschlüssel,
1188 C or F clef setting middle C on the upper staff line.
1191 @ref{C clef}, @ref{F clef}.
1204 FI: basso, matala miesääni.
1208 @item The lowest male voice.
1210 @item Sometimes, especially in jazz music, used as an abbreviation for
1222 ES: clave de fa en cuarta,
1224 F: clef de fa quatrième ligne,
1231 A clef setting with middle C on the first top ledger line.
1235 @ref{high bass clef}.
1241 ES: barra (de corcheas),
1243 F: ligature, barre (de croches),
1250 Line connecting a series of notes (shorter than a quarter note). The
1251 number of beams determines the note value of the connected notes.
1253 @lilypond[quote,notime,relative=2,line-width=13\cm]
1254 g8-"1/8"[ g g g] s16
1255 g16-"1/16"[ g g g] s
1256 g32-"1/32"[ s g s g s g] s16
1257 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1261 @ref{feathered beam}.
1267 ES: tiempo, parte (de compás)
1270 D: Takt, Taktschlag, Zeit (im Takt),
1276 Note value used for counting, most often half-, fourth-, and eighth notes.
1277 The base counting value and the number of them in each measure is indicated
1278 at the start of the music by the @notation{time signature}.
1280 @lilypond[quote,relative=2]
1283 g4 c b a | g1 \bar "||"
1285 g8 d' c | b c a | g4. \bar "||"
1289 @ref{time signature}.
1293 @section beat repeat
1296 @ref{percent repeat}.
1309 ES: llave, corchete,
1312 D: Klammer, Akkolade,
1313 NL: accolade, teksthaak,
1316 FI: yhdistävä sulkumerkki.
1318 Symbol at the start of a system connecting staves.
1320 Curly braces are used for connecting piano staves, and sometimes for connecting
1321 the staves of like instruments in an orchestral score when written on different
1322 staves (e.g. first and second flutes):
1326 \context Staff = "SA" {
1332 \context Staff = "SB" {
1342 Angular brackets for connecting parts in an orchestral or choral score:
1346 \context Staff = "SA" {
1352 \context Staff = "SB" {
1363 No cross-references.
1370 I: parentesi quadra,
1388 NL: koper (blazers),
1391 S: brassinstrument, mässingsinstrument,
1394 A family of blown musical instruments made of brass, all using a cup
1395 formed mouth piece. The brass instruments commonly used in a symphony
1396 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1397 sousaphones and contrabass bugles are common.
1400 No cross-references.
1404 @section breath mark
1409 D: Atemzeichen, Trennungszeichen,
1410 NL: repercussieteken,
1411 DK: vejrtrækningstegn,
1415 Indication of where to breathe in vocal and wind instrument parts.
1425 @item US: breve, double-whole note
1426 @item ES: cuadrada, breve
1433 @item FI: brevis, kaksoiskokonuotti
1436 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1438 Mainly used in music from before 1650. In mensural notation, it was a note
1439 of fairly short duration—hence the name, which is Latin for @q{short} or
1440 @q{of short duration}.
1442 @lilypond[quote,notime,relative=2]
1447 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1480 Clef symbol indicating the position of the middle C. Used on all note
1483 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1485 \override Staff.Clef #'full-size-change = ##t
1487 \clef mezzosoprano c1
1493 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1494 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1499 No cross-references.
1512 FI: kadenssi, lopuke.
1515 @ref{harmonic cadence}, @ref{functional harmony}.
1528 FI: kadenssi, lopuke.
1530 An extended, improvisatory style section inserted near the end of
1531 movement. The purpose of a cadenza is to give singers or players a
1532 chance to exhibit their technical skill and -- not last -- their
1533 ability to improvise. Since the middle of the 19th century, however,
1534 most cadenzas have been written down by the composer.
1537 No cross-references.
1552 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1554 The break between two musical phrases, sometimes (but not always) marked by a
1555 rest or a breath mark.
1571 FI: kaanon, tarkka jäljittely.
1587 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1588 viritysjärjestelmässä.
1590 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1591 an octave (1/100 of an equally tempered semitone).
1594 @ref{equal temperament}, @ref{semitone}.
1616 Two or more tones sounding simultaneously. In traditional European music
1617 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1618 (major + minor third) as well as @emph{minor} (minor + major third) chords
1619 may be extended with more thirds. Four-tone @emph{seventh chords} and
1620 five-tone @emph{ninth} major chords are most often used as dominants
1621 (functional harmony). Chords having no third above the lower notes to
1622 define their mood are a special case called @q{open chords}. The lack of
1623 the middle third means their quality is ambivalent -- neither major nor
1626 @lilypond[quote,notime]
1630 \set Staff.extraNatural = ##f
1651 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1655 @node chromatic scale
1656 @section chromatic scale
1658 ES: escala cromática,
1660 F: gamme chromatique,
1661 D: chro@-ma@-ti@-sche Tonleiter,
1662 NL: chromatische toonladder,
1663 DK: kromatisk skala,
1665 FI: kromaattinen asteikko.
1667 A scale consisting of all 12 semitones.
1669 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1670 c1 cis d dis e f fis g gis a ais b c
1678 @section chromaticism
1689 Using tones extraneous to a diatonic scale (minor, major).
1692 @ref{diatonic scale}.
1696 @section church mode
1698 ES: modo eclesiástico,
1699 I: modo ecclesiastico,
1700 F: mode ecclésiastique, mode d'église,
1705 FI: moodi, kirkkosävellaji.
1708 @ref{diatonic scale}.
1717 D: Schlüssel, Notenschlüssel,
1721 FI: avain, nuottiavain.
1723 The clef indicates which lines of the staff correspond to which
1724 pitches. The three clef symbols in common use are:
1729 \line { The Treble or G clef: }
1731 \line { The Bass or F clef: }
1733 \line { The Alto or C clef: }
1737 \musicglyph #"clefs.G"
1739 \musicglyph #"clefs.F"
1741 \musicglyph #"clefs.C"
1746 Imagine a large staff of 11 lines centered on middle C, sometimes
1747 called a @q{grand staff}, with the bottom line representing low G and
1748 the top line high F:
1753 %-- Note names above treble staff --%
1755 \set printOctaveNames = ##t
1757 \once \override NoteName #'color = #red
1761 %-- Treble Staff --%
1763 \override Staff.Clef #'stencil = ##f
1769 %-- Alto Staff reduced to a single line on middle C --%
1771 \override Staff.StaffSymbol #'line-count = #1
1772 \override Staff.StaffSymbol #'color = #red
1773 \override Staff.Clef #'stencil = ##f
1776 \override NoteHead #'color = #red
1782 \override Staff.Clef #'stencil = ##f
1791 \override SpacingSpanner
1792 #'base-shortest-duration = #(ly:make-moment 1/1)
1793 \override NonMusicalPaperColumn
1794 #'line-break-system-details = #'((alignment-distances . (3 3)))
1795 \override BarLine #'stencil = ##f
1799 \remove "Time_signature_engraver"
1805 Staves of five lines are usually used, and the clef superimposed on them
1806 indicates which five lines have been selected from this @notation{grand
1807 staff}. For example, the treble or G clef indicates that the top five lines
1813 %-- Note names above treble staff --%
1815 \set printOctaveNames = ##t
1817 \once \override NoteName #'color = #red
1822 %-- Treble Staff --%
1824 \once \override Staff.Clef #'stencil = ##f
1827 \override Staff.Clef #'full-size-change = ##t
1828 \set Staff.forceClef = ##t
1832 %-- Alto Staff reduced to a single line on middle C --%
1834 \override Staff.StaffSymbol #'line-count = #1
1835 \override Staff.StaffSymbol #'color = #red
1836 \override Staff.Clef #'stencil = ##f
1839 \override NoteHead #'color = #red
1844 \override Staff.Clef #'stencil = ##f
1852 \override SpacingSpanner
1853 #'base-shortest-duration = #(ly:make-moment 2/1)
1854 \override NonMusicalPaperColumn
1855 #'line-break-system-details = #'((alignment-distances . (3 3)))
1856 \override BarLine #'stencil = ##f
1860 \remove "Time_signature_engraver"
1866 The @q{curl} of the G clef is centered on the line that represents the
1869 In the same way, the bass or F clef indicates that the bottom five lines
1870 have been selected from the @notation{grand staff}, and the alto or C clef
1871 indicates the middle five lines have been selected. This relationship is
1872 shown below, where the notes show an arpeggio on a C major chord.
1877 %-- Treble Staff --%
1885 \override Staff.StaffSymbol #'line-count = #1
1886 \once \override Staff.Clef #'stencil = ##f
1891 \revert Staff.StaffSymbol #'stencil
1892 \override Staff.StaffSymbol #'color = #red
1895 \stopStaff \startStaff
1896 \revert Staff.StaffSymbol #'line-count
1897 \revert Staff.StaffSymbol #'color
1898 \stopStaff \startStaff
1899 \override Staff.Clef #'full-size-change = ##t
1900 \set Staff.forceClef = ##t
1915 \override SpacingSpanner #'base-shortest-duration =
1916 #(ly:make-moment 2/1)
1917 \override NonMusicalPaperColumn
1918 #'line-break-system-details = #'((alignment-distances . (3 3)))
1919 \override BarLine #'stencil = ##f
1923 \remove "Time_signature_engraver"
1930 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1943 FI: klusteri, cluster.
1945 A @emph{cluster} is a range of simultaneously sounding pitches that
1946 may change over time. The set of available pitches to apply usually
1947 depends on the acoustic source. Thus, in piano music, a cluster
1948 typically consists of a continuous range of the semitones as provided
1949 by the piano's fixed set of a chromatic scale. In choral music, each
1950 singer of the choir typically may sing an arbitrary pitch within the
1951 cluster's range that is not bound to any diatonic, chromatic or other
1952 scale. In electronic music, a cluster (theoretically) may even cover
1953 a continuous range of pitches, thus resulting in colored noise, such
1956 Clusters can be denoted in the context of ordinary staff notation by
1957 engraving simple geometrical shapes that replace ordinary notation of
1958 notes. Ordinary notes as musical events specify starting time and
1959 duration of pitches; however, the duration of a note is expressed by
1960 the shape of the note head rather than by the horizontal graphical
1961 extent of the note symbol. In contrast, the shape of a cluster
1962 geometrically describes the development of a range of pitches
1963 (vertical extent) over time (horizontal extent). Still, the
1964 geometrical shape of a cluster covers the area in which any single
1965 pitch contained in the cluster would be notated as an ordinary note.
1967 @lilypond[quote,relative=2]
1968 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1972 No cross-references.
1985 FI: komma, korvinkuultava ero äänenkorkeudessa.
1987 Difference in pitch between a note derived from pure tuning and the
1988 same note derived from some other tuning method.
1991 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1996 @section common meter
1998 Another name for @ref{common time}.
2001 @ref{common time}, @ref{meter}.
2004 @node Common Practice Period
2005 @section Common Practice Period
2008 I: Periodo di pratica comune,
2017 This is a stub for Common Practice Period (CPP).
2020 @ruser{Note names in other languages}.
2024 @section common time
2035 4/4 time. The symbol, which resembles a capital letter C, comes from
2039 @ref{mensural notation}, @ref{meter}.
2045 ES: intervalo invertido,
2047 F: intervalle complémentaire,
2048 D: Komplementärintervall,
2049 NL: complementair interval,
2050 DK: komplementærinterval,
2051 S: komplementärintervall (?),
2052 FI: täydentävä intervalli.
2055 @ref{inverted interval}.
2058 @node compound interval
2059 @section compound interval
2061 ES: intervalo compuesto,
2062 I: intervallo composto,
2063 F: intervalle composé,
2064 D: weites Intervall,
2065 NL: samengesteld interval,
2066 DK: sammensat interval,
2067 S: sammansatt intervall,
2068 FI: oktaavia laajempi intervalli.
2070 Intervals larger than an octave.
2076 @node compound meter
2077 @section compound meter
2079 ES: compás compuesto, compás de subdivisión ternaria,
2086 FI: kolmijakoinen tahtilaji.
2088 A meter that includes a triplet subdivision within the beat, such as
2092 @ref{meter}, @ref{simple meter}.
2096 @section compound time
2098 ES: compás compuesto, compás de amalgama (def. 2),
2101 D: zusammengesetzte Taktart,
2105 FI: yhdistetty tahtilajiosoitus.
2110 A meter that includes a triplet subdivision within the beat: see
2111 @ref{compound meter}.
2114 A time signature that additively combines two or more unequal meters,
2115 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2120 @lilypond[quote,verbatim]
2123 \compoundMeter #'((3 8) (2 8) (3 8))
2131 @ref{compound meter},
2133 @ref{polymetric time signature}.
2137 @section concert pitch
2139 ES: en Do, tono de concierto,
2140 I: intonazione reale,
2141 F: tonalité de concert, en ut,
2146 FI: konserttikorkeus.
2148 The pitch at which the piano and other nontransposing instruments play: such
2149 instruments are said to be @q{in C}. The following list includes some (but not
2150 all) instruments that play in concert pitch:
2152 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2154 @multitable {bassoon} {violoncello}
2155 @headitem Woodwinds @tab Strings
2174 @ignore This needs to be reworked.
2175 The trombones are a special case: although they are said to be @q{in F} (alto or
2176 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2177 their parts' transposition. (In fact, the trombones' parts are written at
2178 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2179 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2183 Instruments that play @q{in C} but in a different octave than what is written
2184 are, technically speaking, @emph{transposing instruments}:
2188 @item piccolo (plays an octave higher than written)
2189 @item celesta (plays an octave higher than written)
2190 @item classical guitar (plays an octave lower than written)
2191 @item double bass (plays an octave lower than written)
2196 @ref{transposing instrument}.
2199 @node conjunct movement
2200 @section conjunct movement
2202 ES: movimiento conjunto,
2204 F: mouvement conjoint,
2205 D: schritt@-weise, stufenweise Bewegung,
2206 NL: stapsgewijze, trapsgewijze beweging,
2207 DK: trinvis bevægelse,
2209 FI: asteittainen liike.
2211 Progressing melodically by intervals of a second, as contrasted with
2212 @emph{disjunct movement}.
2214 @lilypond[quote,relative=2,line-width=13.0\cm]
2217 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2221 @ref{disjunct movement}.
2234 FI: konsonanssi, sopusointi.
2257 @section copying music
2259 A music copyist did fast freehand scores and parts on preprinted staff
2260 lines for performance. Some of their conventions (e.g., the placement
2261 of note heads on stems) varied slightly from those of engravers. Some
2262 of their working methods were superior and could well be adopted by
2265 @c Copying music required more skill than engraving. Flagged for NPOV
2268 No cross-references.
2272 @section counterpoint
2281 FI: kontrapunkti, ääni ääntä vastaan.
2283 From Latin @emph{punctus contra punctum}, note against note. The
2284 combination into a single musical fabric of lines or parts which have
2285 distinct melodic significance. A frequently used polyphonic technique
2286 is imitation, in its strictest form found in the canon needing only
2287 one part to be written down while the other parts are performed with a
2288 given displacement. Imitation is also the contrapuntal technique
2289 used in the @emph{fugue} which, since the music of the baroque era,
2290 has been one of the most popular polyphonic composition methods.
2292 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2294 \context Staff = SA \relative c' {
2298 << \context Voice = rha {
2300 r1 | r2 r8 g'8 bes d, |
2301 cis4 d r8 e!16 f g8 f16 e |
2302 f8 g16 a bes8 a16 g a8
2304 \context Voice = rhb {
2310 \context Staff = SB \relative c' {
2313 << \context Voice = lha {
2315 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2316 r8 a16 g f8 g16 a bes8 g e! cis' |
2319 \context Voice = lhb {
2328 No cross-references.
2332 @section countertenor
2337 D: Countertenor, Kontratenor,
2340 S: kontratenor, counter tenor,
2353 D: Crescendo, lauter werden,
2357 FI: cresendo, voimistuen.
2359 Increasing volume. Indicated by a rightwards opening horizontal wedge
2360 (hairpin) or the abbreviation @notation{cresc.}
2362 @lilypond[quote,relative=2]
2365 g4\< a b c | d1\! \bar "|."
2369 @ref{decrescendo}, @ref{hairpin}.
2377 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2384 Notes belonging to one part printed in another to hint when to start
2385 playing. Usually printed in a smaller type.
2388 Compare: @ref{ossia}.
2397 D: Notenzeiger, Custos,
2403 A custos (plural: custodes) is a staff symbol that appears at the end of a
2404 staff line with monophonic musical contents (i.e., with a single voice). It
2405 anticipates the pitch of the first note of the following line and thus helps
2406 the player or singer to manage line breaks during performance, which
2407 enhances the readability of a score.
2409 Custodes were frequently used in music notation until the 16th century.
2410 There were different appearances for different notation styles. Nowadays,
2411 they have survived only in special forms of musical notation such as the
2412 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2414 @lilypond[quote,ragged-right]
2417 \override Staff.Custos #'neutral-direction = #DOWN
2418 \override Staff.Custos #'style = #'hufnagel
2425 \consists "Custos_engraver"
2432 No cross-references.
2465 F: da capo, depuis le commencement,
2466 D: da capo, von Anfang,
2470 FI: da capo, alusta.
2472 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2473 the beginning to the end or to a certain place marked @emph{fine}.
2476 No cross-references.
2482 ES: dal niente, de la nada,
2485 D: aus dem Nichts, dal niente,
2489 FI: tyhjästä ilmaantuen.
2491 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2492 that the sound should gradually increase from nothing.
2503 F: dal segno, depuis le signe,
2504 D: dal segno, ab dem Zeichen,
2508 FI: dal segno, lähtien merkistä.
2510 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2511 another place frequently near the beginning marked by a sign
2514 @lilypond[quote,relative=2]
2522 \musicglyph #"scripts.segno"
2528 No cross-references.
2532 @section decrescendo
2536 D: Decrescendo, leiser werden,
2540 FI: decresendo, hiljentyen.
2542 Decreasing tone volume. Indicated by a leftwards opening horizontal
2543 wedge (hairpin) or the abbreviation @notation{decresc.}
2545 @lilypond[quote,relative=2]
2548 d4\> c b a | g1 \! \bar "|."
2552 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2555 @node descending interval
2556 @section descending interval
2558 ES: intervalo descendente,
2559 I: intervallo discendente,
2560 F: intervalle descendant,
2561 D: fallendes Intervall, absteigendes Intervall,
2562 NL: dalend interval,
2563 DK: faldende interval,
2564 S: fallande intervall,
2565 FI: laskeva intervalli.
2567 A distance between a starting higher note and a lower ending note.
2570 No cross-references.
2573 @node diatonic scale
2574 @section diatonic scale
2576 ES: escala diatónica,
2578 F: gamme diatonique,
2579 D: diatonische Tonleiter,
2580 NL: diatonische toonladder,
2581 DK: diatonisk skala,
2583 FI: diatoninen asteikko.
2585 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2586 played on the white keys of a piano keyboard are diatonic. These scales
2587 are sometimes called, somewhat inaccurately, @q{church modes}).
2589 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2590 but also to some extent in newer jazz music.
2592 @lilypond[quote,notime,relative=1]
2596 e^"~~ S" f g a b^"~~ S" c
2604 @lilypond[quote,notime,relative=1]
2608 e^"~~ S" f g a b^"~~ S" c d
2616 @lilypond[quote,notime,relative=1]
2619 e1^"~~ S" f g a b^"~~ S" c d e
2627 @lilypond[quote,notime,relative=1]
2631 b^"~~ S" c d e^"~~ S" f
2639 @lilypond[quote,notime,relative=2]
2643 b^"~~ S" c d e^"~~ S" f g
2651 @lilypond[quote,notime,relative=2]
2655 b^"~~ S" c d e^"~~ S" f g a
2663 @lilypond[quote,notime,relative=2]
2666 b1^"~~ S" c d e^"~~ S" f g a b
2674 From the beginning of the 17th century the scales used in European
2675 compositional music are primarily the major and the minor scales. In
2676 the harmonic minor scale type an augmented second (A) occurs between
2677 the 6th and 7th tone.
2679 @lilypond[quote,notime,relative=1]
2683 e^"~~ S" f g a b^"~~ S" c
2691 @lilypond[quote,notime,relative=2]
2695 b^"~~ S" c d e^"~~ S" f g a
2698 "Ancient (or Natural) minor"
2703 @lilypond[quote,notime,relative=2]
2707 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2715 @lilypond[quote,notime,relative=2]
2719 b^"~~ S" c d e fis gis^"~~ S" a
2722 "Melodic minor ascending"
2727 @lilypond[quote,notime,relative=3]
2731 g! f!^"~~ S" e d c^"~~ S" b a
2734 "Melodic minor descending"
2740 @ref{semitone}, @ref{whole tone}.
2744 @section didymic comma
2747 @ref{syntonic comma}.
2750 @node diminished interval
2751 @section diminished interval
2753 ES: intervalo disminuido,
2754 I: intervallo diminuito,
2755 F: intervalle diminué,
2756 D: vermindertes Intervall,
2757 NL: verminderd interval,
2758 DK: formindsket interval,
2759 S: förminskat intervall,
2760 FI: vähennetty intervalli.
2771 F: diminuendo, en diminuant,
2776 FI: diminuendo, hiljentyen.
2778 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2794 FI: aika-arvojen tihennys.
2796 This is a stub for diminution (@emph{wrt} mensural notation).
2799 @ref{augmentation}, @ref{mensural notation}.
2818 @node disjunct movement
2819 @section disjunct movement
2821 ES: movimiento disjunto,
2823 F: mouvement disjoint,
2824 D: sprunghafte Bewegung,
2825 NL: sprongsgewijze beweging,
2826 DK: springende bevægelse,
2827 S: hoppande rörelse,
2828 FI: melodian hyppivä liike.
2830 Progressing melodically by intervals larger than a major second, as contrasted
2831 with conjunct movement.
2833 @lilypond[quote,relative=1]
2837 a4. gis8 b a e cis |
2843 @ref{conjunct movement}.
2849 Another name for @ref{dissonant interval}.
2852 @ref{dissonant interval}, @ref{harmony}.
2855 @node dissonant interval
2856 @section dissonant interval
2858 ES: intervalo disonante, disonancia,
2859 I: intervallo dissonante, dissonanza,
2860 F: intervalle dissonant, dissonance,
2862 NL: dissonant interval, dissonant,
2863 DK: dissonerende interval, dissonans,
2865 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2883 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2884 vertical stroke through part or all of the staff that serves to
2885 structure a chant into phrases and sections. There are four types:
2889 @item @emph{divisio minima}, a short pause
2891 @item @emph{divisio maior}, a medium pause
2893 @item @emph{divisio maxima}, a long pause
2895 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2896 section in a long antiphonal or responsorial chant.
2900 TODO: musical example here?
2903 No cross-references.
2909 ES: elevación [de tono],
2910 I: portamento indeterminato verso l'alto/l'acuto,
2912 D: Glissando zu unbestimmter Tonhöhe,
2918 Indicator for an indeterminately rising pitch bend. Compare with
2919 @emph{glissando}, which has determinate starting and ending pitches.
2922 @ref{fall}, @ref{glissando}.
2935 FI: dominantti, huippusointu.
2937 The fifth @emph{scale degree} in @emph{functional harmony}.
2940 @ref{functional harmony}, @ref{scale degree}.
2943 @node dominant ninth chord
2944 @section dominant ninth chord
2946 ES: acorde de novena de dominante,
2947 I: accordo di nona di dominante,
2948 F: accord de neuvième de dominante,
2949 D: Domi@-nant@-nonen@-akkord,
2950 NL: dominant noon akkoord,
2951 DK: dominantnoneakkord,
2952 S: dominantnonackord,
2953 FI: dominanttinoonisointu.
2956 @ref{chord}, @ref{functional harmony}.
2959 @node dominant seventh chord
2960 @section dominant seventh chord
2962 ES: acorde de séptima de dominante,
2963 I: accordo di settima di dominante,
2964 F: accord de septième de dominante,
2965 D: Dominantseptakkord,
2966 NL: dominant septiem akkoord,
2967 DK: dominantseptimakkord,
2968 S: dominantseptimackord,
2969 FI: dominanttiseptimisointu.
2972 @ref{chord}, @ref{functional harmony}.
2976 @section dorian mode
2981 D: dorisch, dorischer Kirchenton,
2982 NL: dorische toonladder,
2988 @ref{diatonic scale}.
2991 @node dot (augmentation dot)
2992 @section dot (augmentation dot)
2995 I: punto (di valore),
2997 D: Punkt (Verlängerungspunkt),
3004 @ref{dotted note}, @ref{note value}.
3008 @section dotted note
3010 ES: nota con puntillo,
3014 NL: gepuncteerde noot,
3017 FI: pisteellinen nuotti.
3023 @node double appoggiatura
3024 @section double appoggiatura
3026 ES: apoyatura doble,
3027 I: appoggiatura doppia,
3028 F: appoggiature double,
3029 D: doppelter Vorschlag,
3030 NL: dubbele voorslag,
3031 DK: dobbelt forslag,
3033 FI: kaksoisappoggiatura, kaksoisetuhele.
3039 @node double bar line
3040 @section double bar line
3046 NL: dubbele maatstreep,
3049 FI: kaksoistahtiviiva.
3051 Indicates the end of a section within a movement.
3054 No cross-references.
3057 @node double dotted note
3058 @section double dotted note
3060 ES: nota con doble puntillo,
3061 I: nota doppiamente puntata,
3062 F: note doublement pointée,
3063 D: doppelt punktierte Note,
3064 NL: dubbelgepuncteerde noot,
3065 DK: dob@-belt@-punk@-te@-ret node,
3066 S: dub@-bel@-punk@-te@-rad not,
3067 FI: kaksoispisteellinen nuotti.
3074 @section double flat
3083 FI: kaksoisalennusmerkki.
3090 @section double sharp
3092 ES: doble sostenido,
3097 DK: dob@-belt@-kryds,
3099 FI: kaksoisylennysmerkki.
3105 @node double time signature
3106 @section double time signature
3108 ES: compás polimétrico,
3109 I: indicazione di tempo doppia/polimetrica,
3111 D: zusammengesetzte Taktart,
3115 FI: kaksois-aika-arvomerkintä.
3118 @ref{polymetric time signature}.
3122 @section double trill
3128 NL: dubbele triller,
3133 A simultaneous trill on two notes, usually in the distance of a third.
3136 No cross-references.
3140 @section duple meter
3144 F: métrique binaire,
3145 D: in zwei, grader Takt,
3146 NL: tweedelige maatsoort,
3181 FI: kesto, aika-arvo.
3190 ES: dinámica, matices,
3193 D: Dynamik, Lautstärke,
3197 FI: äänen voimakkuusvaihtelu, dynamiikka.
3199 The aspect of music relating to degrees of loudness, or changes from
3200 one degree to another. The terms, abbreviations, and symbols used to
3201 indicate this information are called dynamic marks.
3204 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3226 @node ecclesiastical mode
3227 @section ecclesiastical mode
3230 @ref{church mode}, @ref{diatonic scale}.
3234 @section eighth note
3241 @item D: Achtel, Achtelnote
3242 @item NL: achtste noot
3243 @item DK: ottendedelsnode
3244 @item S: åttondelsnot
3245 @item FI: kahdeksasosanuotti
3253 @section eighth rest
3256 @item UK: quaver rest
3257 @item ES: silencio de corchea
3258 @item I: pausa di croma
3259 @item F: demi-soupir
3260 @item D: Achtelpause
3261 @item NL: achtste rust
3262 @item DK: ottendedelspause
3263 @item S: åttonddelspaus
3264 @item FI: kahdeksasosatauko
3274 @c TODO: add languages
3283 FI: tavujen yhdistäminen yhteen ääneen.
3285 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3286 @emph{συναλοιφην} @q{to smear together}].
3288 The singing of several syllables on a single note. Elision may be indicated
3289 by a lyric tie, which looks like (and serves the same function) as a musical
3297 @section embellishment
3309 D: Notenstich, Notendruck
3315 Engraving means incising or etching a metal plate for printing.
3316 Photoengraving means drawing music with ink in a manner similar to
3317 drafting or engineering drawing, using similar tools.
3319 The traditional process of music printing is done through cutting in a
3320 plate of metal. Now also the term for the art of music typesetting.
3323 No cross-references.
3338 Two notes, intervals, or scales are enharmonic if they have different
3339 names but equal pitch.
3341 @lilypond[quote,notime,line-width=13.0\cm]
3345 gis1 as <des g,!> <cis g!>
3349 "g sharp " "a flat " "dim fifth " "augm fourth"
3355 No cross-references.
3358 @node equal temperament
3359 @section equal temperament
3361 ES: temperamento igual,
3362 I: temperamento equabile,
3363 F: tempérament égal,
3364 D: gleichschwebende Stimmung,
3365 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3366 DK: ligesvævende temperatur,
3367 S: liksvävande temperatur,
3370 A tuning system that divides the octave into 12 equal semitones (each of
3371 which is precisely equal to 100 cents).
3374 @ref{cent}, @ref{semitone}, @ref{temperament}.
3377 @node expression mark
3378 @section expression mark
3381 I: segno d'espressione,
3382 F: signe d'expression, indication de nuance,
3384 NL: voordrachtsteken,
3385 DK: foredragsbetegnelse,
3386 S: föredragsbeteckning,
3387 FI: nyanssiosoitus, esitysmerkki.
3389 Performance indications concerning:
3393 @item volume, dynamics (for example, @notation{forte},
3394 @notation{crescendo}),
3396 @item tempo (for example, @notation{andante}, @notation{allegro}).
3401 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3405 @section extender line
3407 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3408 I: linea di estensione,
3409 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3416 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3417 extends text (without indicating the musical @emph{function} of that text).
3419 Used in many contexts, for example:
3423 @item In vocal music to indicate the syllable for a melisma. Called
3424 @q{extension} in the
3425 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3429 In figured bass to indicate that:
3433 @item The extended note should be held through a change in harmony, when applied
3434 to one figure --OR--
3435 @item The chord thus represented should be held above a moving bass line, when
3436 applied to more than one figure.
3437 @item These uses were not completely standardized, and some composers used a
3438 single extender line to indicate the latter case.
3443 In string music to indicate that all notes in the passage thus indicated should
3444 be played on the same string. On the violin, for example, a series of notes to
3445 be played on the G string would be indicated @notation{sul G}, another series to be
3446 played on the D string would be indicated @notation{sul D}, and so on.
3449 With an octave mark to indicate that a passage is to be played higher or lower
3450 by the given number of octaves.
3455 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3456 @ref{octave marking}.
3489 The position between the dots of the key symbol is the line of the F
3490 below central@w{ }C. Used on the third, fourth and fifth note line.
3491 A digit@w{ }8 above the clef symbol indicates that the notes must be
3492 played an octave higher (for example, bass recorder) while 8@w{ }below
3493 the clef symbol indicates playing an octave lower (for example, on the
3496 @lilypond[quote,notime,line-width=13.0\cm]
3499 \override Staff.Clef #'full-size-change = ##t
3522 @ref{baritone clef}, @ref{strings}.
3528 ES: caída [de tono],
3529 I: portamento indeterminato verso il basso/il grave,
3531 D: Glissando zu unbestimmter Tonhöhe nach unten,
3537 Indicator for an indeterminately falling pitch bend. Compare with
3538 @emph{glissando}, which has determinate starting and ending pitches.
3541 @ref{doit}, @ref{glissando}.
3544 @node feathered beam
3545 @section feathered beam
3547 ES: barra progresiva,
3548 I: travatura convergente/divergente,
3549 F: ligature en soufflet, lien de croches en soufflet,
3550 D: gespreizter Balken,
3556 A type of beam used to indicate that a small group of notes should be
3557 played at an increasing or decreasing tempo -- depending on the
3558 direction of @q{feathering} -- but without changing the overall tempo
3562 Internals Reference: @ruser{Manual beams}
3568 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3572 F: point d'orgue, point d'arrêt,
3577 FI: fermaatti, pidäke.
3579 Prolonged note or rest of indefinite duration.
3581 @lilypond[quote,relative=2]
3588 No cross-references.
3608 @section figured bass
3611 I: basso continuo, basso numerato,
3612 F: basse chiffrée, basse continue,
3613 D: Generalbass, bezifferter Bass,
3614 NL: basso continuo, becijferde bas
3617 FI: kenraalibasso, numeroitu basso.
3619 Also called @q{thorough bass}.
3621 A method of indicating an accompaniment part by the bass notes only,
3622 together with figures designating the chief intervals and chords to be
3623 played above the bass notes.
3625 @lilypond[quote,line-width=13.0\cm]
3627 \new Staff = "rh" \with {
3634 \context Voice = "rha" {
3639 \context Voice = "rhb" {
3641 <bes g>8 as <as f> g <g es> f <d f> es
3646 \new Staff = "lh" \relative c' {
3649 es8 c d bes c as bes16 as g f
3653 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3659 @ref{chord}, @ref{interval}.
3674 Figures to the side or above the note that methodically indicate which
3675 fingers to use while playing a passage.
3678 No cross-references.
3685 I: coda (uncinata), bandiera,
3693 Ornament at the end of the stem of a note used for notes with values less
3694 than a quarter note. The number of flags determines the note value.
3696 @lilypond[quote,notime,relative=2]
3719 An articulation for string players that means the note or passage is to
3720 be played in harmonics.
3726 @item A duct flute similar to the recorder.
3728 @item An organ stop of flute scale at 1' or 2' pitch.
3733 @ref{articulation}, @ref{harmonics}.
3769 FI: forte, voimakkaasti.
3773 Abbreviated @notation{@b{f}}. Variants include:
3776 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3777 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3781 No cross-references.
3800 @node Frenched score
3801 @section Frenched score
3803 ES: partitura a la francesa,
3804 I: partitura senza i righi vuoti,
3806 D: Orchesterpartitur ohne leere Systeme,
3810 FI: partituuri ilman tyhjiä nuottiviivastoja.
3812 A @q{condensed} score, produced by omitting staves for instruments that are not
3813 playing at the moment, and by moving up additional systems from following pages
3814 to take up the space thus liberated, which reduces the total number of pages
3815 used to print the work.
3817 The specific rules for @q{frenching} a score differ from publisher to publisher.
3818 If you are producing scores for eventual publication by a commercial publisher,
3819 you may wish to procure a copy of their style manual.
3822 @ref{Frenched staff}.
3825 @node Frenched staff
3826 @section Frenched staff
3828 ES: pentagrama a la francesa,
3831 D: zeitweiliges Notensystem,
3835 FI: karsittu nuotinnus.
3837 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3838 Frenched staff has unneeded measures or sections removed. This is useful
3839 for producing, for example, an @emph{ossia} staff.
3845 @node Frenched staves
3846 @section Frenched staves
3848 Plural of @ref{Frenched staff}.
3867 @node functional harmony
3868 @section functional harmony
3870 ES: armonía funcional,
3871 I: armonia funzionale,
3872 F: étude des functions,
3874 NL: functionele harmonie,
3875 DK: funktionsanalyse, funktionsharmonik,
3877 FI: harmoniajärjestelmä.
3879 A system of harmonic analysis.
3881 It is based on the idea that, in a given key, there are only three
3882 functionally different chords: tonic (T, the chord on the first note of the
3883 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3884 chord on the fifth note). Others are considered to be variants of the base
3886 A few examples among many others are the tonic, subdominant or dominant of
3887 the parallel minor scale, or the incomplete dominant seventh chord.
3889 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3890 #(define-markup-command (diagonal-stroke layout props arg)
3893 #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
3895 ((thick (* (magstep font-size)
3896 (ly:output-def-lookup layout 'line-thickness)))
3897 (underline-thick (* thickness thick))
3898 (m (interpret-markup layout props arg))
3899 (x1 (car (ly:stencil-extent m X)))
3900 (x2 (cdr (ly:stencil-extent m X)))
3901 (y1 (car (ly:stencil-extent m Y)))
3902 (y2 (cdr (ly:stencil-extent m Y)))
3903 (dx (* extension (- x2 x1)))
3904 (dy (* extension (- y2 y1)))
3905 (line (make-line-stencil underline-thick
3907 (+ x2 dx) (+ y2 dy))))
3908 (ly:stencil-add m line)))
3911 <g e c>1 <a f d> <b g e>
3912 <c a f> <d b g> <e c a> <f d b>
3916 \markup { \concat { \diagonal-stroke D \super "7" } }
3922 @ref{dominant}, @ref{incomplete dominant seventh chord},
3923 @ref{subdominant}, @ref{tonic}.
3950 D: G-Schlüssel, Violinschlüssel,
3956 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3957 second note lines. A digit 8 above the clef symbol indicates that the notes
3958 must be played an octave higher while 8 below the clef symbol indicates
3959 playing or singing an octave lower (used most frequently to notate the tenor
3960 part in modern choral scores).
3962 @lilypond[quote,notime]
3964 \override Staff.Clef #'full-size-change = ##t
3965 \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
3976 "french violin clef"
3984 No cross-references.
3997 FI: glissando, liukuen.
3999 Letting the pitch slide fluently from one note to the other.
4002 No cross-references.
4006 @section grace notes
4008 ES: notas de adorno,
4010 F: ornement, fioriture,
4011 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4017 Notes printed in small types to indicate that their time values are not
4018 counted in the rhythm of the bar.
4021 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
4025 @section grand staff
4027 ES: sistema de piano,
4029 F: système [de portées], accolade,
4030 D: Akkolade, Klaviersystem,
4033 S: ackolad, böjd klammer,
4034 FI: kaksoisnuottiviivasto.
4036 A combination of two staves with a brace. Usually used for piano music.
4052 FI: grave, raskaasti.
4054 [Italian] Slow, solemn.
4057 No cross-references.
4081 Letter name used for @notation{B natural} in German and Scandinavian
4082 usage. In the standard usage of these countries, @notation{B} means
4086 @ref{Pitch names}, @ref{B}.
4092 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4095 @lilypond[quote,relative=2]
4102 @ref{crescendo}, @ref{decrescendo}.
4113 @item D: Halbe, halbe Note,
4114 @item NL: halve noot,
4117 @item FI: puolinuotti.
4128 @item UK: minim rest,
4129 @item ES: silencio de blanca,
4130 @item I: pausa di minima,
4131 @item F: demi-pause,
4132 @item D: halbe Pause,
4133 @item NL: halve, rust,
4134 @item DK: halvnodespause,
4136 @item FI: puolitauko.
4143 @node harmonic cadence
4144 @section harmonic cadence
4146 ES: cadencia (armónica),
4147 I: cadenza (armonica),
4148 F: cadence harmonique,
4150 NL: harmonische cadens,
4151 DK: harmonisk kadence,
4152 S: (harmonisk) kadens,
4153 FI: harmoninen kadenssi.
4155 A sequence of chords that terminates a musical phrase or section.
4159 \context Staff = "SA" \relative c'' {
4162 \partial 4 <c g e>4 |
4163 <c a f> <b g d> <c g e>2
4166 \context Staff = "SB" \relative c {
4168 \partial 4 c4 | f, g c2
4180 @ref{functional harmony}.
4186 ES: armónicos, sonidos aflautados,
4188 F: flageolet, sons harmoniques,
4193 FI: harmoniset äänet, huiluäänet.
4195 The general class of pitches produced by sounding the second or higher
4196 harmonic of a tone producer: string, column of air, and so on.
4198 On stringed instruments, these pitches sound rather flute-like; hence,
4199 their name in languages other than English. They are produced by
4200 lightly touching the string at a node for the desired mode of vibration
4201 while it is being bowed or plucked.
4203 For instruments of the violin family, there are two types of harmonics:
4204 natural harmonics, which are those played on the open string; and
4205 artificial harmonics, which are produced on stopped strings.
4208 No cross-references.
4217 D: Harmonie, Zusammenklang,
4221 FI: harmonia, yhteissointi.
4223 Tones sounding simultaneously. Two note harmonies fall into the
4224 categories @emph{consonances} and @emph{dissonances}.
4228 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4240 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4241 <g a>1_"second " s s
4242 <g f'>_"seventh " s s
4246 For harmony that uses three or more notes, see @ref{chord}.
4256 I: emiolia, (rarely hemiola or emiola),
4262 FI: hemioli, 3/2 -suhde.
4264 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4266 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4267 time normally occupied by two. The resulting rhythm can be expressed in modern
4268 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4269 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4270 as a special effect (or @emph{affect}) at cadences.
4272 For example, this phrase in 6/4 time
4274 @lilypond[quote,relative=1,line-width=13.0\cm]
4277 c2. e | d2 c d | c1. \bar "||"
4280 may be thought of having alternating time signatures
4282 @lilypond[quote,relative=1,line-width=13.0\cm]
4292 and is therefore a polymeter (second definition) of considerable antiquity.
4295 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4297 @node high bass clef
4298 @section high bass clef
4303 D: hoher Bassschlüssel,
4309 Beginning in 18th century the high bass clef used in French Horn parts
4310 for the lowest pitches. This usage of the F clef was then passed down
4311 from the French Horn to the Basset Horn and then to the Bass Clarinet.
4312 It looks identical to the standard bass clef, but is pitched an octave
4313 higher -- octavation indicators on clefs appeared at the beginning of
4316 In LilyPond, the most straightforward way to make a high bass clef is to
4317 print the modern version @code{\clef "baas^8"} but without the @code{8};
4319 @lilypond[quote,verbatim,relative=1]
4322 \clef treble { g4 b d' g' }
4324 \new Staff \with { \omit ClefModifier }
4325 { \clef "bass^8" { g4 b d' g' } }
4331 @ref{F clef}, @ref{bass clef}.
4344 FI: homofonia, yksiäänisyys.
4346 Music in which one voice leads melodically supported by the other voices in
4347 the same rhythm (more or less). In contrast to @emph{polyphony}.
4364 I: metrica dell'inno,
4370 FI: säkeiden tavumäärät.
4372 A group or list of numbers that indicate the number of syllables in a line
4373 of a hymn's verse. Different hymnals have different ways of noting the hymn
4374 meter: for example, consider a hymn that has four lines in two couplets
4375 alternating regularly between eight and seven syllables. The @emph{English
4376 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4377 or 8@w{ }7@w{ }8@w{ }7.
4379 Some frequently-used hymn meters have traditional names:
4382 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4383 @item 86.86 is called Common Meter (CM or C.M.)
4384 @item 88.88 is called Long Meter (LM or L.M.)
4387 Some hymns and their tunes are doubled versions of a simpler meter: for
4388 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4389 87.87D. The traditional names above also have doubled versions:
4392 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4393 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4394 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4398 No cross-references.
4401 @node incomplete dominant seventh chord
4402 @section incomplete dominant seventh chord
4405 I: accordo di settima dominante incompleto,
4407 D: verkürzter Dominantseptakkord,
4413 A dominant seventh chord where the root tone is removed.
4414 The remaining three tones build a diminished triad.
4417 @ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
4430 FI: intervalli, kahden sävelen korkeusero.
4432 Difference in pitch between two notes. Intervals may be diminished, minor,
4433 perfect, major, or augmented. The augmented fourth and the diminished fifth
4434 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4435 and are called @emph{tritonus} because they consist of three whole tones.
4436 The addition of such two intervals forms an octave.
4440 \context Voice \relative c'' {
4477 \context Lyrics \lyrics {
4479 "second " "second " "second " "second "
4480 "third " "third " "third " "third "
4481 "fourth " "fourth " "fourth "
4482 "fifth " "fifth " "fifth "
4483 "sixth " "sixth " "sixth " "sixth "
4484 "seventh" "seventh" "seventh" "seventh"
4485 "octave " "octave " "octave "
4491 @ref{enharmonic}, @ref{whole tone}.
4506 When a chord sounds with a bass note that differs from the root of the
4507 chord, it is said to be @emph{inverted}. The number of inversions that a
4508 chord can have is one fewer than the number of constituent notes. For
4509 example, triads (which have three constituent notes) can have three
4510 positions, two of which are inversions:
4514 The root note is in the bass, and above that are the third and the fifth. A
4515 triad built on the first scale degree, for example, is marked @notation{I}.
4517 @item First inversion
4518 The third is in the bass, and above it are the fifth and the root. This
4519 creates an interval of a sixth and a third above the bass note, and so is
4520 marked in figured Roman notation as @notation{6/3}. This is commonly
4521 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4522 characteristic interval of the inversion, and so always implies
4525 @item Second inversion
4526 The fifth is in the bass, and above it are the root and the third. This
4527 creates an interval of a sixth and a fourth above the bass note, and so is
4528 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4529 unstable chord position.
4533 No cross-references.
4536 @node inverted interval
4537 @section inverted interval
4539 ES: intervalo invertido,
4540 I: intervallo rivolto,
4541 F: intervalle renversé,
4542 D: umgekehrtes Intervall,
4543 NL: interval inversie,
4544 DK: omvendingsinterval,
4545 S: intervallets omvändning,
4546 FI: käänteisintervalli.
4548 The difference between an interval and an octave.
4550 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4551 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4552 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4553 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4557 No cross-references.
4560 @node just intonation
4561 @section just intonation
4563 ES: entonación justa,
4564 I: intonazione giusta,
4565 F: intonation juste,
4572 Tuning system in which the notes are obtained by adding and subtracting
4573 natural fifths and thirds.
4591 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4592 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4595 @ref{chromatic scale}, @ref{key signature}.
4599 @section key signature
4601 ES: armadura (de la clave),
4602 I: armatura di chiave,
4603 F: armure, armature [de la clé],
4604 D: Vorzeichen, Tonart,
4605 NL: toon@-soort (voortekens),
4608 FI: sävellajiosoitus.
4610 The sharps or flats appearing at the beginning of each staff indicating the
4616 @node kievan notation
4617 @section kievan notation
4619 A form of medieval music notation used predominantly in the chantbooks
4620 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4621 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4622 characterized by the square shape of its noteheads.
4625 @node laissez vibrer
4626 @section laissez vibrer
4631 D: Laissez vibrer, schwingen lassen,
4637 [French: @q{Let vibrate}] Most frequently associated with harp
4638 parts. Marked @notation{l.v.} in the score.
4641 No cross-references.
4649 F: largo, large, ample,
4650 D: Largo, Langsam, Breit,
4654 FI: largo, hitaasti, leveästi.
4656 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4657 expressiveness. @emph{Larghetto} is less slow than largo.
4661 @section leading note
4672 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4673 called because of its strong tendency to @q{lead up} (resolve upwards)
4674 to the tonic scale degree.
4677 @ref{scale degree}, @ref{semitone}.
4681 @section ledger line
4683 ES: línea adicional,
4684 I: tagli addizionali,
4685 F: ligne supplémentaire,
4692 A ledger line is an extension of the staff.
4694 @lilypond[quote,notime,relative=2]
4701 No cross-references.
4710 D: legato, gebunden,
4716 To be performed (a) without any perceptible interruption between the
4717 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4718 @notation{portato}, or (d) @notation{staccato}.
4720 @lilypond[quote,notime,line-width=13.0\cm]
4722 \context Staff \relative c'' {
4723 c4-( d e-) \bar "||"
4724 c4-- d-- e-- \bar "||"
4725 c4-.-( d-. e-.-) \bar "||"
4726 c4-. d-. e-. \bar "||"
4742 @section legato curve
4745 @ref{slur}, @ref{legato}.
4767 A ligature is a coherent graphical symbol that represents at least two
4768 distinct notes. Ligatures originally appeared in the manuscripts of
4769 Gregorian chant notation around the 9th century to denote ascending or
4770 descending sequences of notes. In early notation, ligatures were used for
4771 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4772 performance in the sense of articulation. With the invention of the metric
4773 system of the white mensural notation, the need for ligatures to denote such
4774 patterns disappeared.
4777 @ref{mensural notation}.
4784 ES: estanque de nenúfares,
4785 I: stagno del giglio,
4786 F: étang de nénuphars, étang de nymphéas,
4788 NL: le@-lie@-vij@-ver,
4793 A pond with lilies floating in it.
4795 Also, the name of a music typesetting program.
4798 No cross-references.
4807 D: Linie, Notenlinie,
4811 FI: viiva, nuottiviiva.
4827 FI: kirjoitetussa äänenkorkeudessa.
4829 [Italian: @q{place}] Instruction to play the following passage at the
4830 written pitch. Cancels octave mark (q.v.).
4833 @ref{octave mark}, @ref{octave marking}.
4836 @node long appoggiatura
4837 @section long appoggiatura
4839 ES: apoyatura larga,
4840 I: appoggiatura lunga,
4841 F: appoggiature longue,
4846 FI: pitkä appoggiatura, pitkä etuhele.
4856 @item US: long, longa,
4859 @item F: longa, longue,
4867 Note value: twice the length of a @notation{breve}.
4869 @lilypond[quote,notime,relative=2]
4870 \override NoteHead #'style = #'mensural
4875 @ref{breve}, @ref{note value}.
4881 ES: ligadura de letra,
4882 I: legatura del testo,
4883 F: ligature de mots,
4888 FI: sidonta sanoituksessa.
4890 @c TODO: add languages
4899 ES: letra (de la canción),
4902 D: Liedtext, Gesangstext,
4911 No cross-references.
4927 @ref{diatonic scale}.
4930 @node major interval
4931 @section major interval
4933 ES: intervalo mayor,
4934 I: intervallo maggiore,
4935 F: intervalle majeur,
4936 D: großes Intervall,
4940 FI: suuri intervalli.
4958 Note value: twice the length of a @notation{longa}.
4960 The maxima is the largest duration in use during the 15th and 16th centuries.
4961 Like the longa, the maxima can be either two or three times as long as the
4962 @notation{longa} (called @notation{binary} and @notation{ternary},
4963 respectively). By the late 15th century, most composers used the smaller
4964 proportion by default.
4967 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4970 @node meantone temperament
4971 @section meantone temperament
4973 ES: afinación mesotónica,
4974 I: accordatura mesotonica,
4975 F: tempérament mésotonique,
4976 D: mitteltönige Stimmung,
4977 NL: middenstemming, middentoonstemming,
4978 DK: middeltonetemperatur,
4979 S: medeltonstemperatur,
4980 FI: keskisävelviritys.
4982 Temperament yielding acoustically pure thirds by decreasing the natural
4983 fifth by 16@w{ }cents. Due to the non-circular character of this
4984 temperament only a limited set of keys are playable. Used for tuning
4985 keyboard instruments for performance of pre-1650 music.
4988 @ref{cent}, @ref{temperament}.
5003 A group of beats (units of musical time) the first of which bears an accent.
5004 Such groups in numbers of two or more recur consistently throughout the
5005 composition and are separated from each other by bar lines.
5008 @ref{bar line}, @ref{beat}, @ref{meter}.
5011 @node measure repeat
5012 @section measure repeat
5015 @ref{percent repeat}.
5022 I: mediante, modale,
5032 @item The third @b{scale degree}.
5034 @item A @emph{chord} having its base tone a third from that of another
5035 chord. For example, the tonic chord may be replaced by its lower
5036 mediant (variant tonic).
5041 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5054 FI: melisma, laulettavan tavun sävelkuvio.
5056 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5057 on one syllable, especially as applied to liturgical chant.
5060 No cross-references.
5064 @section melisma line
5066 @c TODO: add languages
5068 ES: línea de melisma,
5069 I: linea del melisma,
5070 F: trait de mélisme, trait de tenue,
5078 @ref{extender line}.
5081 @node melodic cadence
5082 @section melodic cadence
5088 @node mensural notation
5089 @section mensural notation
5091 @c TODO: add languages
5093 ES: notación mensural,
5094 I: notazione mensurale,
5095 F: notation mensurale,
5096 D: Mensuralnotation,
5100 FI: mensuraalinuotinnus.
5102 A system of duration notation whose principles were first established in the
5103 mid-13th century, and that (with various changes) remained in use until about
5104 1600. As such, it is the basis for the notation of rhythms in Western musical
5107 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5108 of the notation's principles, so the notation of this earliest period is called
5109 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5110 and semibreve -- each of which was normally equivalent to three of the next
5113 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5114 added several note values (the minim, semiminim and fusa) and extended Franco's
5115 principles to govern the relationship between these values. They also put the
5116 duple division of note values on an equal footing with the earlier (preferred)
5119 TODO: continue description of French and Italian black notation, and the
5120 relationship betwixt them.
5122 @b{White or void mensural notation}
5124 In the 15th century, hollow (or void) notes began to substitute for the earlier
5125 solid black ones, which were then free to assume the function of red (or
5126 colored) notes in the earlier notation. ...
5128 TODO: add to definition (including summary info on proportional notation)
5131 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5132 @c TODO: more cross-references?
5135 @node mensuration sign
5136 @section mensuration sign
5138 @c TODO: add languages
5140 ES: signo de mensuración,
5141 I: indicazione mensurale,
5142 F: signe de mensuration,
5149 The ancestor of the time signature, mensuration signs were used to indicate the
5150 relationship between two sets of note durations—specifically, the ratio of
5151 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5152 (called @notation{prolatio}).
5154 Each ratio was represented with a single single sign, and was either
5155 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5156 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5157 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5158 represented by a complete circle; applied to the @emph{prolatio}, it was called
5159 @emph{major} and was represented by a dot in the middle of the sign. The binary
5160 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5161 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5162 @emph{minor} and was represented by the lack of an internal dot. There are four
5163 possible combinations, which can be represented in modern time signatures with
5164 and without reduction of note values. (These signs are hard-coded in LilyPond
5168 @item perfect @emph{tempus} with major @emph{prolatio}
5169 Indicated by a complete circle with an internal dot. In modern time signatures,
5172 @item 9/4, with reduction or
5173 @item 9/2, without reduction
5176 @item perfect @emph{tempus} and minor @emph{prolatio}
5177 Indicated by a complete circle without an internal dot. In modern time
5178 signatures, this equals:
5180 @item 3/2, with reduction or
5181 @item 3/1, without reduction
5184 @item imperfect @emph{tempus} and major @emph{prolatio}
5185 Indicated by an incomplete circle with an internal dot. In modern time
5186 signatures, this equals:
5188 @item 6/4, with reduction or
5189 @item 6/2, without reduction
5192 @item imperfect @emph{tempus} and minor @emph{prolatio}
5193 Indicated by an incomplete circle without an internal dot. In modern time
5194 signatures, this equals:
5196 @item 4/4, with reduction or
5197 @item 2/1, without reduction
5201 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5202 with note values reduced from the original semibreve to a modern quarter note.
5203 Being doubly imperfect, this sign represented the (theoretically)
5204 least-preferred mensuration, but it was actually used fairly often.
5206 This system extended to the ratio of longer note values to each other:
5210 @item maxima to longa, called:
5214 @item @notation{modus maximorum},
5215 @item @notation{modus major}, or
5216 @item @notation{maximodus})
5220 @item longa to breve, called:
5224 @item @notation{modus longarum},
5225 @item @notation{modus minor}, or
5226 @item @notation{modus}
5232 In the absence of any other indication, these modes were assumed to be
5233 binary. The mensuration signs only indicated tempus and prolatio, so
5234 composers needed another way to indicate these longer ratios (called modes.
5235 Around the middle of the 15th century started to use groups of rests at the
5236 beginning of the staff, preceding the mensuration sign.
5239 Two mensuration signs have survived to the present day: the C-shaped sign,
5240 which originally designated @notation{tempus imperfectum} and
5241 @notation{prolatio minor} now stands for @notation{common time}; and the
5242 slashed C, which designated the same with @notation{diminution} now stands
5243 for @notation{cut time} (essentially, it has not lost its original meaning).
5246 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5247 @c TODO: more cross-references?
5255 F: indication de mesure, mesure,
5262 The pattern of note values and accents in a composition or a section thereof.
5263 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5264 by grouping beats and by subdividing the primary beat.
5266 @b{By grouping beats}:
5270 @item @b{duple}: groups of two.
5271 @item @b{triple}: groups of three.
5272 @item @b{quadruple}: groups of four. A special case of duple meter.
5273 @item @b{quintuple}: groups of five beats.
5274 @item @b{sextuple} meter: groups of six. A special case of:
5278 @item duple meter, subdivided in three; or
5279 @item triple meter, subdivided in two.
5283 @item @b{septuple} meter: groups of seven.
5288 Other than triple meter and its subdivided variants (see below), meters that
5289 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5290 frequently used prior to the 20th Century.
5292 @b{By subdividing the primary beat}:
5296 @item simple: subdivided in groups of two.
5300 @item duple: 2/2, 2/4, 2/8
5301 @item triple: 3/2, 3/4, 3/8
5302 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5306 @item compound: subdivided in groups of three.
5312 @item quadruple: 12/8
5318 Time signatures are placed at the beginning of a composition (or section) to
5319 indicate the meter. For instance, a piece written in simple triple meter with a
5320 beat on each quarter note is conventionally written with a time signature of
5321 3/4. Here are some combinations of the two classifications above:
5323 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5325 @lilypond[quote,line-width=13.0\cm]
5329 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5332 Simple triple meter:
5334 @lilypond[quote,line-width=13.0\cm]
5338 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5341 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5343 @lilypond[quote,line-width=13.0\cm]
5347 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5350 Simple quintuple meter (B. Marcello, 1686-1739):
5352 @lilypond[quote,line-width=13.0\cm]
5356 r4 cis8 bis ais4 dis c8 ais |
5357 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5360 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5361 the source, with sharps in the accompaniment where the voice has flats and
5364 Compound duple meter (unknown):
5366 @lilypond[quote,line-width=13.0\cm]
5370 f8 f g a bes16 a g f |
5371 g8 g bes a c16 a bes g
5375 Compound triple meter (J.S. Bach, 1685-1750):
5377 @lilypond[quote,line-width=13.0\cm]
5381 r8 g'( a) b( d c) c( e d) |
5382 d( g fis) g( d b) g( a b)
5386 Compound quadruple meter (P. Yon, 1886-1943):
5388 @lilypond[quote,line-width=13.0\cm]
5392 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5393 e4 e8 fis( gis) a b4.~ b4 b8
5398 @b{@q{Monometer} vs Polymeter}
5400 TODO: add information from discussion on lilypond-user related to polymeter.
5404 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5419 Device used to indicate the exact tempo of a piece.
5421 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5422 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5423 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5424 followed acknowledged Winkler as the creator, but by then Mälzel had already
5425 sold many of them, and people had taken to calling it a Mälzel Metronome.
5428 @ref{metronome mark}.
5431 @node metronome mark
5432 @section metronome mark
5434 ES: indicación metronómica,
5435 I: indicazione metronomica,
5436 F: indication métronomique,
5438 NL: metronoom aanduiding,
5440 S: metronomangivelse,
5441 FI: metronomiosoitus.
5443 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5444 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5451 @node metronomic indication
5452 @section metronomic indication
5455 @ref{metronome mark}
5468 FI: kohtalaisen, melko.
5470 [Italian: @q{medium}]
5472 Used to qualify other indications, such as:
5478 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5480 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5486 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5493 No cross-references.
5497 @section mezzo-soprano
5508 The female voice between soprano and contralto.
5511 @ref{soprano}, @ref{contralto}.
5520 D: eingestrichenes@w{ }c,
5522 DK: enstreget@w{ }c,
5523 S: ettstruket@w{ }c,
5526 First C below the 440 Hz A.
5528 @lilypond[quote,notime,relative=1]
5529 \override Staff.Clef #'full-size-change = ##t
5536 No cross-references.
5552 @ref{diatonic scale}.
5555 @node minor interval
5556 @section minor interval
5558 ES: intervalo menor,
5559 I: intervallo minore,
5560 F: intervalle mineur,
5561 D: kleines Intervall,
5565 FI: pieni intervalli.
5571 @node mixolydian mode
5572 @section mixolydian mode
5575 @ref{diatonic scale}.
5584 D: Kirchentonart, Modus,
5588 FI: moodi, kirkkosävelasteikko.
5591 @ref{church mode}, @ref{diatonic scale}.
5604 FI: modulaatio, sävellajin vaihdos.
5606 Moving from one @ref{key} to another. For example, the second subject
5607 of a @ref{sonata form} movement modulates to the dominant key if the
5608 key is major and to the @ref{relative key} if the key is minor.
5611 No cross-references.
5623 FI: mordent, korukuvio.
5626 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5647 FI: teema, sävelaihe.
5649 The briefest intelligible and self-contained fragment of a musical
5652 @lilypond[quote,line-width=13.0\cm]
5655 \set Score.initialTimeSignatureVisibility = #all-invisible
5656 \override Score.TimeSignature #'break-visibility = #all-invisible
5659 \partial 8 g16\startGroup fis |
5660 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5661 g8 g,16 a b8 cis d16 s
5665 \Staff \consists "Horizontal_bracket_engraver"
5671 No cross-references.
5686 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5687 several -- more or less -- independent pieces called movements.
5690 No cross-references.
5693 @node multi-measure rest
5694 @section multi-measure rest
5696 ES: compases de espera, silencio multicompás,
5698 F: pause multiple, mesure à compter,
5700 D: mehrtaktige Pause, Kirchenpause,
5703 FI: usean tahdin mittainen tauko.
5705 Multi-measure rests are conventionally typeset with a combination of
5706 longa, breve and whole rests for shorter and a long horizontal bar for
5707 longer spans of rest, with a number above to indicate the duration (in
5708 measures) of the rest. The former style is called @q{Kirchenpausen} in
5709 German, as a reminiscence of its use in Renaissance vocal polyphony.
5711 @lilypond[quote,relative=2]
5713 \set Score.skipBars = ##t
5716 \set Score.skipBars = ##t
5722 @ref{longa}, @ref{breve}.
5731 D: Auflösungszeichen,
5732 NL: herstellingsteken,
5733 DK: op@-løsningstegn,
5734 S: återställningstecken,
5741 @node neighbor tones
5742 @section neighbor tones
5744 @c TODO: add definition.
5756 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5757 @ref{mordent}, @ref{ornament}.
5795 Notes are signs by means of which music is fixed in writing. The term is also
5796 used for the sound indicated by a note, and even for the key of the piano
5797 which produces the sound. However, a clear distinction between the terms tone
5798 and @ref{note} is strongly recommended. Briefly, one sees a note,
5802 No cross-references.
5809 I: testa, testina, capocchia,
5817 A head-like sign which indicates pitch by its position on a @notation{staff}
5818 provided with a @notation{clef}, and duration by a variety of shapes such as
5819 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5820 For percussion instruments (often having no defined pitch) the note head may
5821 indicate the instrument.
5824 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5837 ES: valor, duración,
5839 F: durée, valeur (d'une note),
5844 FI: nuotin aika-arvo.
5846 Note values (durations) are measured as fractions—in modern usage, one-half—of
5847 the next higher note value. The longest duration in current use is the
5848 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5849 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5850 or @notation{maxima} (eight whole notes) may be found.
5852 As used in mensural notation, this fraction was more flexible: it could also
5853 be one-third the higher note value. Composers indicated which proportions
5854 to use with various signs—two of which survive to the present day: the
5855 C-shaped sign for @notation{common time}, and the slashed C for
5856 @notation{alla breve} or @notation{cut time}.
5858 @c TODO -- add maxima to this example, in a way that doesn't break it.
5860 @lilypond[quote,notime,line-width=13.0\cm]
5862 \override NoteHead #'style = #'mensural
5863 a\longa_"longa" a\breve_"breve"
5864 \revert NoteHead #'style
5865 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5866 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5869 @c TODO -- add maxima rest to this example
5871 @lilypond[quote,notime,line-width=13.0\cm]
5873 r\longa_"longa" r\breve_"breve"
5874 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5875 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5878 An augmentation dot after a note increases its duration by half; a second dot
5879 increases it by half of the first addition (that is, by a fourth of the original
5880 duration). More dots can be used to add further halved fractions of the
5881 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5883 @lilypond[quote,line-width=13.0\cm]
5886 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5887 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5890 Alternatively note values may be subdivided by other ratios. Most common is
5891 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5892 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5893 dotted notes are also frequently used.
5895 @lilypond[quote,line-width=13.0\cm]
5898 \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5899 \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5903 @lilypond[quote,line-width=13.0\cm]
5906 \tuplet 2/3 {g4_"duplets" g} |
5908 \tuplet 4/6 {g8_"quadruplets" g g g} |
5909 g8 g g g g4 \bar "||"
5921 @ref{octave marking}.
5936 The interval of an octave, sometimes abbreviated @notation{8ve}.
5938 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5939 bracket, or @notation{loco} see octave marking.
5942 @ref{interval}, @ref{octave marking}.
5946 @section octave mark
5948 ES: indicación de octava,
5950 F: indication d'octave,
5951 D: Oktavierungszeichen,
5957 The phrase, abbreviation, or other mark used (with or without an extender line
5958 or bracket) to indicate that the music is to be played in a different octave:
5962 @item @notation{15ma}: play two octaves higher
5963 @item @notation{8va}: play one octave higher
5964 @item @notation{8vb}: play one octave lower
5965 @item @notation{8va} (written below the passage): unusual, same as
5967 @item @notation{15vb}: play two octaves lower
5968 @item @notation{15va} (written below the passage): unusual, same as
5973 For longer passages, it may be more practical to mark the octave change at the
5974 beginning with a phrase (see the list below for examples), but without a bracket
5975 or extender line. Then, when the music returns to the written pitch, the octave
5976 change is canceled with the word @notation{loco} (q.v.).
5978 To parallel the list above:
5982 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5983 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5984 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5985 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5989 In the phrases above, @notation{quindicesima} is sometimes replaced with
5990 @notation{quindecima}, which is Latin.
5992 The music on an entire staff can be marked to be played in a different octave by
5993 putting a small 8 or 15 above or below the clef at the beginning. This octave
5994 mark can be applied to any clef, but it is most frequently used with the G and F
5998 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6001 @node octave marking
6002 @section octave marking
6011 FI: oktaavamerkintä.
6013 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6014 that it is to be played in a different octave. If applied to the clef at the
6015 beginning of the staff, all music on that staff is to played at the indicated
6018 For a list of the specific marks used, see @ref{octave mark}.
6021 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6025 @section octave sign
6035 I: abbellimento, fioriture,
6036 F: agrément, ornement,
6037 D: Verzierung, Ornament,
6043 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6044 with the diatonic @ref{second} above it. In the music from the
6045 middle of the 19th century and onwards the trill is performed with the main
6046 note first while in the music from the preceding baroque and classic periods
6047 the upper note is played first.
6049 @lilypond[quote,line-width=13.0\cm]
6051 \context Staff = sa {
6053 c2._"pre-1850" b4\trill | c1 \bar "||"
6054 c2._"post-1850" b4\trill | c1 \bar "||"
6058 c2. c32 b c b c b c b | c1
6059 c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
6064 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6065 the @emph{prall} (inverted mordent).
6067 @lilypond[quote,line-width=13.0\cm]
6069 \context Staff = sa {
6071 a4_"turn" b\turn c2 \bar "||"
6072 g4_"mordent" a b\mordent a \bar "||"
6073 e'4_"prall" d\prall c2 \bar "||"
6079 e'4 e32[ d e d ~ d8] c2
6085 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6094 F: ossia, alternative,
6099 FI: ossia, vaihtoehtoinen esitystapa.
6101 Ossia (otherwise) marks an alternative. It is an added staff or piano
6102 score, usually only a few measures long, which presents another version
6103 of the music, for example for small hands.
6106 Compare: @ref{cue-notes}.
6112 ES: parte, particella,
6119 FI: stemma, instrumenttiosuus.
6123 @item In instrumental or choral music, the music for a single
6124 instrument or voice.
6126 @item in contrapuntal music, a single melodic line in the contrapuntal
6149 @node percent repeat
6150 @section percent repeat
6152 LilyPond-specific term to indicate the repetition of a musical expression on a
6153 single staff, as opposed to the more usual definition of repeat, which affects
6154 all parts. The musical expression can be anything from a single note or note
6155 pattern to one or more measures. There are other names for this symbol:
6160 @item slash mark, or slash repeat
6162 @item measure (or multi-measure) repeat
6166 @lilypond[quote,relative=2,line-width=13.0\cm]
6168 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6169 \repeat percent 2 { c4 e g b_"Measure repeat" }
6170 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6175 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6176 Vermont Music Dictionary}.
6185 D: Schlagzeug, Schlagwerk,
6191 A family of musical instruments which are played on by striking or
6192 shaking. Percussion instruments commonly used in a symphony orchestra are
6193 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6194 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6198 No cross-references.
6201 @node perfect interval
6202 @section perfect interval
6204 ES: intervalo justo,
6205 I: intervallo giusto,
6206 F: intervalle juste,
6207 D: reines Intervall,
6211 FI: puhdas intervalli.
6229 A natural division of the melodic line, comparable to a sentence of speech.
6245 FI: fraseeraus, jäsentäminen.
6247 The clear rendering in musical performance of the @notation{phrases} of the
6248 melody. Phrasing may be indicated by a @notation{slur}.
6251 @ref{phrase}, @ref{slur}.
6266 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6267 @emph{mezzo piano} (@b{mp}) medium soft.
6270 No cross-references.
6278 F: anacrouse, levée,
6303 @item The perceived quality of a sound that is primarily a function of its
6304 fundamental frequency.
6306 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6308 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6309 association of a particular frequency with a particular pitch name, e.g., c' =
6325 NL: pizzicato, getokkeld,
6328 FI: pizzicato, näppäillen.
6330 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6334 No cross-references.
6340 ES: compás polimétrico,
6347 FI: monia tahtiosoituksia sisältävä.
6351 @item The @emph{simultaneous} use of two or more meters, in two or more
6354 @item The @emph{successive} use of different meters in one or more parts.
6359 @ref{polymetric} (adj.)
6372 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6374 Characterized by @emph{polymeter}: using two or more metric frameworks
6375 simultaneously or in alternation.
6378 @ref{polymeter} (noun)
6381 @node polymetric time signature
6382 @section polymetric time signature
6384 ES: indicación de compás polimétrico,
6385 I: tempo polimetrico,
6387 D: zusammengesetzte Taktart,
6391 FI: vaihtelevan tahtiosoitusmerkintä.
6393 A time signature that indicates regularly alternating polymetric time.
6405 D: Polyphonie, Mehrstimmigkeit,
6409 FI: polyfonia, moniäänisyys.
6411 Music written in a combination of several simultaneous voices (parts)
6412 of a more or less pronounced individuality.
6421 [Italian: past participle of @emph{portare}, @q{to carry}]
6423 A stroke in which each of several notes is separated slightly within a slur,
6424 without changing the bow's direction. It is used for passages of a
6425 @notation{cantabile} character.
6431 @section power chord
6433 A chord containing only the root and the fifth (possibly in multiple
6434 octaves). Commonly used in guitar music, particularly with electric
6435 guitar and high distortion.
6443 ES: presto, muy rápido,
6445 F: presto, très rapide, enlevé,
6446 D: Presto, Sehr schnell,
6447 NL: presto, Sehr schnell,
6450 FI: presto, hyvin nopeasti.
6454 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6455 denotes the highest possible degree of speed.
6458 No cross-references.
6473 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6474 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6479 @item A ratio that expresses the relationship between the note values that
6480 follow with those that precede;
6482 @item A ratio between the note values of a passage and the @q{normal}
6483 relationship of note values to the metrical pulse. (A special case of the
6488 The most common proportions are:
6491 @item 2:1 (or simply 2), expressed by a vertical line through the
6492 mensuration sign (the origin of the @notation{alla breve} time signature),
6493 or by turning the sign backwards
6494 @item 3:1 (or simply 3)
6495 @item 3:2 (@emph{sesquialtera})
6498 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6501 @item 1:2 cancels 2:1
6502 @item 1:3 cancels 3:1
6503 @item 2:3 cancels 3:2
6507 Gaffurius enumerates five basic types of major:minor proportions and their
6511 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6512 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6514 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6515 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6516 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6518 @item Superpartiens, if the major number is one less than twice the minor
6519 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6521 @item Multiplexsuperparticular, if the major number is one more than twice the
6522 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6525 @item Multiplexsuperpartiens, if the major number is one less than some other
6526 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6527 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6531 He then continues to subdivide each type in various ways. For the multiplex
6532 proportions, for example, he indicates how many times greater the major number
6537 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6538 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6540 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6543 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6544 Example: 4:1, 8:2, and 12:3
6548 Other proportions were possible, but whether they were frequently used is
6553 @item 33:9, @emph{triplasuperbipartientetertias}
6554 @item 51:15, @emph{triplasuperbipartientequintas}
6558 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6561 @ref{mensural notation}.
6564 @node Pythagorean comma
6565 @section Pythagorean comma
6567 ES: coma pitagórica,
6568 I: comma pitagorico,
6569 F: comma pythagoricien,
6570 D: Pythagoräisches Komma,
6571 NL: komma van Pythagoras,
6572 DK: pythagoræisk komma,
6573 S: pytagoreiskt komma,
6574 FI: pytagorinen komma.
6576 Originally, the interval by which the sum of six whole tones exceeds the octave
6577 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6579 Modern acoustical theory defines it as the interval by which twelve fifths
6580 exceed seven octaves. To put it another way: A sequence of fifths that starts
6581 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6582 than the C obtained by adding 7 octaves. The difference between those two
6583 pitches is the Pythagorean comma.
6586 @ref{cent}, @ref{temperament}.
6608 ES: variante [de acorde o intervalo],
6611 D: Modus (Dur oder Moll),
6617 The quality of a triad is determined by the precise arrangement of its
6618 intervals. Tertian triads can be described as a series of three notes. The
6619 first element is the root note (or simply @q{root}) of the chord, the second
6620 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6621 the chord. These are described below:
6623 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6624 @headitem Chord name
6625 @tab Component intervals
6628 @item major triad @tab major third/perfect fifth
6630 @tab C, CM, Cma, Cmaj, CΔ
6631 @item minor triad @tab minor third/perfect fifth
6633 @tab Cm, Cmi, Cmin, C-
6634 @item augmented triad @tab major third/augmented fifth
6637 @item diminished triad @tab minor third/diminished fifth
6639 @tab Cm(♭5), Cº, Cdim
6642 There are various types of seventh chords depending on the quality of the
6643 original chord and the quality of the seventh added.
6645 Five common types of seventh chords have standard symbols. The chord quality
6646 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6647 and D^m7 are all identical). The last three chords are not commonly used
6655 @section quarter note
6660 @item I: semiminima, nera
6662 @item D: Viertel, Viertelnote
6664 @item DK: fjerdedelsnode
6665 @item S: fjärdedelsnot
6666 @item FI: neljäsosanuotti
6674 @section quarter rest
6677 @item UK: crotchet rest
6678 @item ES: silencio de negra
6679 @item I: pausa di semiminima
6681 @item D: Viertelpause
6683 @item DK: fjerdedelspause
6684 @item S: fjärdedelspaus
6685 @item FI: neljäsosatauko
6693 @section quarter tone
6702 FI: neljännessävelaskel.
6704 An interval equal to half a semitone.
6713 ES: cinquillo, quintillo,
6727 @section rallentando
6731 F: rallentando, en ralentissant,
6732 D: rallentando, langsamer werden,
6736 FI: rallerdando, hidastuen.
6738 [Italian: @q{slowing down}]
6740 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6748 @section relative key
6751 I: tonalità relativa,
6752 F: tonalité relative,
6754 NL: paralleltoonsoort,
6755 DK: paralleltoneart,
6757 FI: rinnakkaissävellaji.
6759 Major and minor keys that have the same key signature.
6761 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6763 es1_"e flat major" f g as bes c d es
6767 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6769 c1_"c minor" d es f g a! b! c
6774 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6782 F: barre de reprise,
6785 DK: gen@-ta@-gel@-se,
6789 @lilypond[quote,relative=2,line-width=13.0\cm]
6801 No cross-references.
6816 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6817 @c specify the rest's value.
6837 @item Metrical rhythm in which every time value is a multiple or
6838 fraction of a fixed unit of time, called @emph{beat}, and in which the
6839 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6840 The basic scheme of time values is called @emph{meter}.
6842 @item Measured rhythm which lacks regularly recurrent accent. In
6843 modern notation such music appears as a free alternation of different
6846 @item Free rhythm, i.e., the use of temporal values having no common
6847 metrical unit (beat).
6852 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6858 ES: ritardando, retardando,
6860 F: ritardando, en ralentissant,
6861 D: ritardando, langsamer werden,
6865 FI: ritardando, hidastuen,
6867 [Italian: @q{lagging}]
6869 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6870 abbreviated to @notation{rit.} or @notation{ritard}.
6879 ES: ritenuto, reteniendo,
6881 F: ritenuto, en retenant,
6886 FI: ritenuto, hidastaen.
6888 Immediate reduction of speed.
6891 No cross-references.
6904 FI: asteikko, sävelasteikko.
6907 @ref{diatonic scale}.
6911 @section scale degree
6913 ES: grado (de la escala),
6914 I: grado della scala,
6915 F: degré [de la gamme],
6917 NL: trap [van de toonladder],
6920 FI: sävelaste, asteikon sävel.
6922 Names and symbols used in harmonic analysis to denote tones of the
6923 scale as roots of chords. The most important are degrees I = tonic
6924 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6926 @lilypond[quote,notime,line-width=13.0\cm]
6928 \new Staff \relative c' {
6931 \lyrics { I II III IV V VI VII I }
6932 \lyrics { T "" "" S D }
6937 @ref{functional harmony}.
6945 F: à cordes ravallées,
6950 FI: epätavallinen viritys.
6952 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6953 tuning of stringed instruments, particularly lutes or violins. Used
6958 @item facilitate pitch combinations that would otherwise be difficult
6961 @item alter the characteristic timbre of the instrument, for example,
6962 to increase brilliance
6964 @item reinforce certain sonorities or tonalities by making them
6965 available on open strings
6967 @item imitate other instruments
6973 Tunings that could be called @var{scordatura} first appeared early in
6974 the 16th Century and became commonplace in the 17th.
6977 No cross-references.
6985 F: partition, conducteur (full score),
6986 D: Partitur (full score), Klavierauszug (vocal score),
6992 A copy of orchestral, choral, or chamber music showing what each
6993 instrument is to play, each voice to sing, having each part arranged
6994 one underneath the other on different staves @ref{staff}.
6997 No cross-references.
7012 The interval between two neighboring tones of a scale. A diatonic scale
7013 consists of alternating semitones and whole tones, hence the size of a
7014 second depends on the scale degrees in question.
7017 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7024 @item US: whole note,
7028 @item D: Ganze, ganze Note, Semibrevis,
7029 @item NL: hele noot,
7032 @item FI: kokonuotti.
7035 Note value: called @notation{whole note} in the US.
7037 The semibreve is the basis for the @notation{tactus} in mensural notation
7038 (i.e. music written before ca. 1600).
7041 @ref{mensural notation}, @ref{note value}.
7056 The interval of a minor second. The (usually) smallest interval in European
7057 composed music. The interval between two neighboring tones on the piano
7058 keyboard -- including black and white keys -- is a semitone. An octave may
7059 be divided into 12@w{ }semitones.
7061 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7062 g1 gis s a bes s b! c
7066 @ref{interval}, @ref{chromatic scale}.
7089 @ref{sextuplet}, @ref{note value}.
7134 ES: simile, similar,
7137 D: simile, gleichartig,
7143 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7144 is to be played in the same manner (i.e. with the same articulations, dynamics,
7145 etc.) as the music that precedes it.
7148 TODO: Where else could I refer the reader?
7152 @section simple meter
7154 ES: compás simple, compás de subdivisión binaria,
7161 FI: kaksijakoinen tahtiosoitus.
7163 A meter in which the basic beat is subdivided in two: that is, a meter
7164 that does not include triplet subdivision of the beat.
7167 @ref{compound meter}, @ref{meter}.
7170 @node sixteenth note
7171 @section sixteenth note
7174 @item UK: semiquaver
7175 @item ES: semicorchea
7177 @item F: double croche
7178 @item D: Sechzehntel, Sechzehntelnote
7179 @item NL: zestiende noot
7180 @item DK: sekstendedelsnode
7181 @item S: sextondelsnot
7182 @item FI: kuudestoistaosanuotti
7189 @node sixteenth rest
7190 @section sixteenth rest
7193 @item UK: semiquaver rest
7194 @item ES: silencio de semicorchea
7195 @item I: pausa di semicroma
7196 @item F: quart de soupir
7197 @item D: Sechzehntelpause
7198 @item NL: zestiende rust
7199 @item DK: sekstendedelspause
7200 @item S: sextondelspaus
7201 @item FI: kuudestoistaosatauko
7224 @node sixty-fourth note
7225 @section sixty-fourth note
7228 @item UK: hemidemisemiquaver
7230 @item I: semibiscroma
7231 @item F: quadruple croche
7232 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7233 @item NL: vierenzestigste noot
7234 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7235 @item S: sextiofjärdedelsnot
7236 @item FI: kuudeskymmenesneljäsosanuotti
7243 @node sixty-fourth rest
7244 @section sixty-fourth rest
7247 @item UK: hemidemisemiquaver rest
7248 @item ES: silencio de semifusa
7249 @item I: pausa di semibiscroma
7250 @item F: seizième de soupir
7251 @item D: Vierundsechzigstelpause
7252 @item NL: vierenzestigste rust
7253 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7254 @item S: sextiofjärdedelspaus
7255 @item FI: kuudeskymmenesneljäsosatauko
7263 @section slash repeat
7266 @ref{percent repeat}.
7272 ES: ligadura de expresión,
7273 I: legatura (di portamento o espressiva),
7275 D: Bogen (Legatobogen, Phrasierungsbogen),
7276 NL: fraseringsboog, legatoboog, streekboog,
7277 DK: legatobue, fraseringsbue,
7281 A slur above or below a group of notes indicates that they are to be
7282 played @ref{legato}, e.g., with one stroke of the violin bow or with
7283 one breath in singing.
7286 No cross-references.
7290 @section solmization
7299 FI: suhteelliset laulunimet.
7301 General term for systems of designating the degrees of the
7302 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7303 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7307 @ref{scale}, @ref{scale degree}.
7322 In its present-day meaning a sonata denotes an instrumental
7323 composition for piano or for some other instrument with piano
7324 accompaniment, which consists of three or four independent pieces,
7328 No cross-references.
7332 @section sonata form
7336 F: [en] forme de sonate,
7338 NL: hoofdvorm, sonatevorm,
7343 A form used frequently for single movements of the @emph{sonata},
7344 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7345 three sections called @notation{exposition}, @notation{development} and
7346 @notation{recapitulation}. In the exposition the composer introduces some
7347 musical ideas, consisting of a number of themes; in the development section the
7348 composer @emph{develops} this material, and in the recapitulation the composer
7349 repeats the exposition, with certain modifications. The exposition contains a
7350 number of themes that fall into two groups, often called first and second
7351 subject. Other melodies occurring in each group are considered as continuations
7352 of these two. The second theme is in another key, normally in the key of the
7353 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7354 @notation{relative key} if the tonic is @notation{minor}.
7357 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7358 @ref{symphony}, @ref{tonic}.
7378 FI: sopraano, korkea naisääni.
7380 The highest female voice.
7383 No cross-references.
7391 F: staccato, piqué, détaché,
7396 FI: staccato, lyhyesti, terävästi.
7398 Playing the note(s) short. Staccato is indicated by a dot above or
7399 below the note head.
7401 @lilypond[quote,relative=2]
7405 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7411 No cross-references.
7418 ES: pentagrama, pauta,
7419 I: pentagramma, rigo (musicale),
7421 D: Notensystem, Notenzeile,
7422 NL: (noten)balk, partij,
7427 A staff (plural: staves) is a series of (normally five) horizontal
7428 lines upon and between which the musical notes are written, thus
7429 indicating (in connection with a @ref{clef}) their pitch. Staves for
7430 @ref{percussion} instruments may have fewer lines.
7432 @lilypond[quote,relative=1]
7453 D: Hals, Notenhals, Stiel,
7459 Vertical line above or below a @ref{note head} shorter than a
7462 @lilypond[quote,notime,relative=2]
7463 \set Score.autoBeaming = ##f
7477 ES: stringendo, acelerando,
7479 F: stringendo, en accélérant,
7484 FI: kiihdyttäen, nopeuttaen.
7486 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7505 A family of stringed musical instruments played with a bow. Strings
7506 commonly used in a symphony orchestra are violin, viola, violoncello,
7510 No cross-references.
7514 @section strong beat
7519 D: betonter Taktteil oder Taktschlag,
7521 D: betonet taktslag,
7522 S: betonat taktslag,
7523 FI: tahdin vahva isku.
7526 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7530 @section subdominant
7539 FI: subdominantti, alidominantti.
7541 The fourth @notation{scale degree}.
7544 @ref{functional harmony}, @ref{scale degree}.
7559 The sixth @notation{scale degree}.
7562 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7575 FI: subtoonika, alitoonika.
7577 The seventh @ref{scale degree}.
7580 @ref{functional harmony}, @ref{scale degree}.
7586 ES: sobre la cuerda de Sol,
7589 D: auf G, auf der G-Saite,
7595 Indicates that the indicated passage (or note) should be played on the
7599 No cross-references.
7603 @section superdominant
7614 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7617 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7632 The second @ref{scale degree}.
7635 @ref{functional harmony}, @ref{scale degree}.
7644 D: Sinfonie, Symphonie,
7650 A symphony may be defined as a @emph{sonata} for orchestra.
7657 @section syncopation
7668 Any deliberate upsetting of the normal pulse of @ref{meter},
7669 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7670 rhythm rests upon the grouping of equal beats into groups of two or
7671 three, with a regularly recurrent accent on the first beat of each
7672 group. Any deviation from this scheme is felt as a disturbance or
7673 contradiction between the underlaying (normal) pulse and the actual
7676 @lilypond[quote,relative=1]
7679 e16 c'8 e,16 c'8 e,16 c' ~
7684 No cross-references.
7687 @node syntonic comma
7688 @section syntonic comma
7690 ES: coma sintónica, coma de Dídimo,
7691 I: comma sintonico (o didimico),
7692 F: comma syntonique,
7693 D: syntonisches Komma,
7694 NL: syntonische komma,
7695 DK: syntonisk komma,
7696 S: syntoniskt komma,
7697 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7698 Pytagorisessa viritysjärjestelmässä.
7700 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7701 by which the ditone exceeds the pure major third obtained by Pythagorean
7702 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7704 Modern acoustical theory defines it as the interval by which four fifths exceed
7705 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7707 This comma is also known as the comma of Didymus, or didymic comma.
7710 @ref{Pythagorean comma}
7719 D: Notensystem, Partitur,
7725 The collection of staves (@notation{staff}), two or more, as used
7726 for writing down keyboard, chamber, choral, or orchestral music;
7727 a section of the score spanning the width of a single page.
7734 @section temperament
7739 D: Stimmung, Tem@-pe@-ra@-tur,
7740 NL: stemming, temperatuur,
7743 FI: viritysjärjestelmä.
7745 Systems of tuning in which the intervals deviate from the acoustically
7749 @ref{meantone temperament}, @ref{equal temperament}.
7752 @node tempo indication
7753 @section tempo indication
7755 ES: indicación de tempo,
7756 I: indicazione di tempo,
7757 F: indication de tempo,
7758 D: Zeitmaß, Tempobezeichnung,
7759 NL: tempo aanduiding,
7764 The rate of speed of a composition or a section thereof, ranging from the
7765 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7766 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7770 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7784 FI: tenori, korkea miesääni.
7786 The highest @q{natural} male voice (apart from @notation{countertenor}).
7811 ES: subrayado (tenuto),
7820 An indication that a particular note should be held for the whole
7821 length, although this can vary depending on the composer and era.
7824 No cross-references.
7843 @node thirty-second note
7844 @section thirty-second note
7847 @item UK: demisemiquaver
7850 @item F: triple croche
7851 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7852 @item NL: twee@-endertig@-ste (32e) noot
7853 @item DK: toogtredivtedelsnode
7854 @item S: trettiotvåondelsnot
7855 @item FI: kolmaskymmeneskahdesosanuotti
7862 @node thirty-second rest
7863 @section thirty-second rest
7866 @item UK: demisemiquaver rest
7867 @item ES: silencio de fusa
7868 @item I: pausa di biscroma
7869 @item F: huitième de soupir
7870 @item D: Zweiunddreissigstel@-pause
7871 @item NL: twee@-endertig@-ste (32e) rust
7872 @item DK: toogtredivtedelspause
7873 @item S: trettiotvåondelspaus
7874 @item FI: kolmaskymmeneskahdesosatauko
7882 @section thorough bass
7891 ES: ligadura de unión (o de prolongación),
7892 I: legatura (di valore),
7893 F: liaison (de tenue),
7894 D: Haltebogen, Bindebogen,
7895 NL: overbinding, bindingsboog,
7897 S: bindebåge, överbindning,
7900 A curved line, identical in appearance with the @ref{slur}, which
7901 connects two succesive notes of the same pitch, and which has the
7902 function of uniting them into a single sound (tone) equal to the
7905 @lilypond[quote,notime,relative=2]
7917 @node time signature
7918 @section time signature
7920 ES: indicación de compás,
7922 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7923 D: Taktangabe, Angabe der Taktart,
7926 S: taktartssignatur,
7929 The sign placed at the beginning of a composition to indicate its
7930 meter. It most often takes the form of a fraction, but a few signs
7931 derived from mensural notation and proportions are also employed.
7934 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7949 A sound of definite pitch and duration, as distinct from @emph{noise}.
7950 Tone is a primary building material of music.
7952 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7955 No cross-references.
7970 The first @notation{scale degree}.
7973 @ref{functional harmony}, @ref{scale degree}.
7976 @node transposing instrument
7977 @section transposing instrument
7979 ES: instrumento transpositor,
7980 I: strumento traspositore,
7981 F: instrument transpositeur,
7982 D: transponierende Instrumente,
7986 FI: transponoitava soitin.
7988 Instruments whose notated pitch is different from their sounded pitch. Except
7989 for those whose notated and sounding pitches differ by one or more octaves (to
7990 reduce the number of ledger lines needed), most such instruments are identified
7991 by the letter name of the pitch class of their fundamental. The pitch class is
7992 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7993 the instrument plays a notated C.
7995 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7996 the B-flat one tone lower. If played on the A clarinet, the same written
7997 note sounds the A (one and half tones -- a minor third -- lower).
7999 Not all transposing instruments include the pitch class in their name:
8002 @item Alto flute (in G)
8003 @item English horn (in F)
8004 @item Saxophones (in B-flat or E-flat)
8007 @ignore Can we do better?
8009 To make matters more complex, some instruments are transposing instruments,
8010 but their players play from parts written at concert pitch. This is the
8011 case for orchestral trombone and tuba players—whereas trombone players in
8012 brass bands treat their parts as if written for a true transposing
8013 instrument in B-flat.
8018 @ref{concert pitch}.
8022 @section transposition
8024 ES: transporte, transposición,
8033 Shifting a melody up or down in pitch, while keeping the same
8036 @lilypond[quote,line-width=13.0\cm]
8041 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8046 @lilypond[quote,line-width=13.0\cm]
8049 \transpose c bes \relative c'' {
8051 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8057 No cross-references.
8061 @section treble clef
8063 ES: clave de sol en segunda,
8064 I: chiave di violino,
8066 D: Violinschlüssel, Sopranschlüssel,
8088 On stringed instruments:
8092 @item The quick reiteration of the same tone, produced by a rapid
8093 up-and-down movement of the bow.
8095 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8096 in the distance of a third (@ref{interval}).
8100 @lilypond[quote,notime,relative=1]
8102 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8103 \repeat tremolo 8 { e32_"b" g }
8115 F: triade, accord parfait, accord de trois sons,
8131 F: trille, tremblement, battement (cadence),
8143 @section triple meter
8145 ES: compás ternario,
8148 D: Dreiertakt, ungerader Takt,
8149 NL: driedelige maatsoort,
8191 @section tuning fork
8193 ES: diapasón [de horquilla],
8194 I: diapason, corista,
8200 FI: viritysavain, äänirauta.
8202 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8203 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8204 standard. Tuning forks for other pitches are available.
8213 ES: grupo de valoración especial,
8214 I: gruppi irregolari,
8217 NL: Antimetrische figuur,
8222 A non-standard subdivision of a beat or part of a beat, usually
8223 indicated with a bracket and a number indicating the number of
8227 @ref{triplet}, @ref{note value}.
8233 ES: grupeto (circular),
8256 FI: unisono, yksiäänisesti.
8258 Playing of the same notes or the same melody by various instruments
8259 (voices) or by the whole orchestra (choir), either at exactly the same
8260 pitch or in a different octave.
8263 No cross-references.
8271 F: anacrouse, levée,
8292 FI: ääni, lauluääni.
8300 @item @ref{mezzo-soprano}
8301 @item @ref{contralto}
8303 @item @ref{baritone}
8307 @item A melodic layer or part of a polyphonic composition.
8312 No cross-references.
8318 ES: vez, primera y segunda vez,
8321 D: volta-Klammer, Wiederholungsklammer,
8325 FI: yksi kertauksen maaleista.
8327 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8328 or second ending. LilyPond extends this idea to any number, and allows any text
8329 (not just a number) -- to serve as the @notation{volta} text.
8332 No cross-references.
8339 I: tempo debole, arsi,
8341 D: unbetonter Taktteil oder Taktschlag,
8343 DK: ubetonet taktslag,
8344 S: obetonat taktslag,
8345 FI: tahdin heikko isku.
8348 @ref{beat}, @ref{measure}, @ref{rhythm}.
8359 @item D: Ganze, ganze Note
8363 @item FI: kokonuotti
8374 @item UK: semibreve rest
8375 @item ES: silencio de redonda
8376 @item I: pausa di semibreve
8378 @item D: ganze Pause, ganztaktige Pause
8380 @item DK: helnodespause
8401 The interval of a major second. The interval between two tones
8402 on the piano keyboard with exactly one key between them -- including
8403 black and white keys -- is a whole tone.
8421 A family of blown wooden musical instruments. Today some of these
8422 instruments are actually made from metal. The woodwind instruments
8423 commonly used in a symphony orchestra are flute, oboe, clarinet,
8424 saxophone, and bassoon.
8427 No cross-references.
8430 @node Duration names notes and rests
8431 @chapter Duration names notes and rests
8433 @multitable @columnfractions .12 .22 .22 .22 .22
8435 @headitem Lang. @tab note name
8439 @item @strong{US} @tab long
8443 @item @strong{UK} @tab longa
8447 @item @strong{ES} @tab longa
8448 @tab silencio de longa
8450 @tab silencio de cuadrada
8451 @item @strong{IT} @tab longa
8455 @item @strong{FR} @tab longa
8456 @tab quadruple-pause
8459 @item @strong{DE} @tab Longa
8463 @item @strong{NL} @tab longa
8467 @item @strong{DK} @tab longa
8468 @tab longanodespause
8470 @tab brevis(nodes)pause
8471 @item @strong{SE} @tab longa
8475 @item @strong{FI} @tab longa-nuotti
8477 @tab brevis-nuotti, kaksoiskoko@-nuotti
8478 @tab brevis-tauko, kaksoiskoko@-tauko
8482 @multitable @columnfractions .12 .22 .22 .22 .22
8484 @headitem Lang. @tab note name
8488 @item @strong{US} @tab whole note
8492 @item @strong{UK} @tab semibreve
8496 @item @strong{ES} @tab redonda
8497 @tab silencio de redonda
8499 @tab silencio de blanca
8500 @item @strong{IT} @tab semibreve
8501 @tab pause di semibreve
8503 @tab pausa di minima
8504 @item @strong{FR} @tab ronde
8508 @item @strong{DE} @tab ganze Note
8512 @item @strong{NL} @tab hele noot
8516 @item @strong{DK} @tab helnode
8520 @item @strong{SE} @tab helnot
8524 @item @strong{FI} @tab kokonuotti
8531 @multitable @columnfractions .12 .22 .22 .22 .22
8533 @headitem Lang. @tab note name
8537 @item @strong{US} @tab quarter note
8541 @item @strong{UK} @tab crotchet
8545 @item @strong{ES} @tab negra
8546 @tab silencio de negra
8548 @tab silencio de corchea
8549 @item @strong{IT} @tab semiminima, nera
8550 @tab pausa di semiminima, pausa di nera
8553 @item @strong{FR} @tab noire
8557 @item @strong{DE} @tab Viertelnote
8561 @item @strong{NL} @tab kwartnoot
8565 @item @strong{DK} @tab fjerdedelsnode
8566 @tab fjerdedelspause
8567 @tab ottendedelsnode
8568 @tab ottendedelspause
8569 @item @strong{SE} @tab fjärdedelsnot
8573 @item @strong{FI} @tab neljäsosa@-nuotti
8574 @tab neljäsosa@-tauko
8575 @tab kahdeksasosa@-nuotti
8576 @tab kahdeksasosa@-tauko
8580 * About the French naming system: @notation{croche} refers to the note's
8581 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8582 @q{doubled hook}, @q{trebled hook}, and so on.
8584 The rest names are based on the @notation{soupir}, or quarter rest.
8585 Subsequent rests are expressed as fractions thereof: half a
8586 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8588 Each of the following tables contains one type of note and its matching rest,
8589 with abbreviations that apply to both notes and rests. Just switch the part
8590 that means @q{note} with the part that means @q{rest}, for example:
8594 @item English: 16th @strong{note}, 16th @strong{rest}
8595 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8596 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8600 Editor's note: I put a dash @q{-} when I could not find a language-specific
8601 abbreviation for a duration name. If you know of one that I missed, please
8602 send it to me, care of the lilypond-user discussion list.
8604 @multitable @columnfractions .10 .35 .35 .20
8606 @headitem Lang. @tab Note name
8609 @item @strong{US} @tab sixteenth note
8612 @item @strong{UK} @tab semiquaver
8613 @tab semiquaver rest
8615 @item @strong{ES} @tab semicorchea
8616 @tab silencio de semicorchea
8618 @item @strong{IT} @tab semicroma
8619 @tab pausa di semicroma
8621 @item @strong{FR} @tab double croche
8622 @tab quart de soupir
8624 @item @strong{DE} @tab Sechzehntelnote
8625 @tab Sechzehntelpause
8627 @item @strong{NL} @tab zes@-ti@-ende noot
8628 @tab zes@-ti@-ende rust
8630 @item @strong{DK} @tab sekstendedelsnode
8631 @tab sekstendedelspause
8633 @item @strong{SE} @tab sextondelsnot
8636 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8637 @tab kuudes@-toistaosa@-tauko
8642 @multitable @columnfractions .10 .35 .35 .20
8644 @headitem Lang. @tab Note name
8647 @item @strong{US} @tab thirty-second note
8648 @tab thirty-second rest
8650 @item @strong{UK} @tab demisemiquaver
8651 @tab demisemiquaver rest
8653 @item @strong{ES} @tab fusa
8654 @tab silencio de fusa
8656 @item @strong{IT} @tab biscroma
8657 @tab pausa di biscroma
8659 @item @strong{FR} @tab triple croche
8660 @tab huitième de soupir
8662 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8663 @tab Zweiunddreißig@-stelpause
8665 @item @strong{NL} @tab twee@-endertigste noot
8666 @tab twee@-endertigste rust
8668 @item @strong{DK} @tab toogtredivtedelsnode
8669 @tab toogtredivtedelspause
8671 @item @strong{SE} @tab trettio@-tvåondelsnot
8672 @tab trettio@-tvåondelspaus
8674 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8675 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8680 @multitable @columnfractions .10 .35 .35 .20
8682 @headitem Lang. @tab Note name
8685 @item @strong{US} @tab sixty-fourth note
8686 @tab sixty-fourth rest
8688 @item @strong{UK} @tab hemidemisemiquaver
8689 @tab hemidemisemiquaver rest
8691 @item @strong{ES} @tab semifusa
8692 @tab silencio de semifusa
8694 @item @strong{IT} @tab semibiscroma
8695 @tab pausa di semibiscroma
8697 @item @strong{FR} @tab quadruple croche
8698 @tab seizième de soupir
8700 @item @strong{DE} @tab Vierundsechzigstelnote
8701 @tab Vierundsechzigstelpause
8703 @item @strong{NL} @tab vierenzestigste noot
8704 @tab vierenzestigste rust
8706 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8707 @tab fireog@-tredsindstyven@-dedelspause
8709 @item @strong{SE} @tab sextiofjärdedelsnot
8710 @tab sextiofjärdedelspaus
8712 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8713 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8718 @multitable @columnfractions .10 .35 .35 .20
8720 @headitem Lang. @tab Note name
8723 @item @strong{US} @tab one-hundred-twenty-eighth note
8724 @tab one-hundred-twenty-eighth rest
8726 @item @strong{UK} @tab semihemidemisemiquaver
8727 @tab semihemidemisemiquaver rest
8729 @item @strong{ES} @tab garrapatea
8730 @tab silencio de garrapatea
8732 @item @strong{IT} @tab fusa
8735 @item @strong{FR} @tab quintuple croche
8736 @tab trente-deuxième de soupir @tab -
8737 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8738 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8739 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8740 @tab honderd@-acht@-en@-twintigste rust
8742 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8743 @tab hundrede@-otte@-og@-tyvendedels@-pause
8745 @item @strong{SE} @tab hundratjugoåttondelsnot
8746 @tab hundratjugoåttondelspaus
8748 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8749 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8754 @multitable @columnfractions .10 .35 .35 .20
8756 @headitem Lang. @tab Note name
8759 @item @strong{US} @tab two-hundred-fifty-sixth note
8760 @tab two-hundred-fifty-sixth rest
8762 @item @strong{UK} @tab demisemihemidemisemiquaver
8763 @tab demisemihemidemisemiquaver rest
8765 @item @strong{ES} @tab semigarrapatea
8766 @tab silencio de semigarrapatea @tab -
8767 @item @strong{IT} @tab semifusa
8768 @tab pausa di semifusa
8770 @item @strong{FR} @tab sextuple croche
8771 @tab soixante-quatrième de soupir @tab -
8772 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8773 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8774 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8775 @tab tweehonderd@-zesenvijftigste rust
8777 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8778 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8780 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8781 @tab tvåhundra@-femtiosjättedelspaus
8783 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8784 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8790 @ref{mensural notation}
8794 @chapter Pitch names
8797 -is/-es endings for Danish per Rune Zedeler, pace,
8798 and for Finnish per Risto Vääräniemi;
8799 -iss/-ess endings for Swedish per Mats Bengtsson
8800 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8802 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8803 multiple lines -- as texinfo needs it to allow enough space for the
8804 table entries. (For the curious, it's a list of the widest items in
8805 each column of the table. Romance pitch names are two characters,
8806 except for g (sol) ... so there you go.)
8809 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8810 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8811 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8812 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8813 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8814 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8815 @tab des @tab des @tab dess @tab des
8816 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8817 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8818 @tab dis @tab dis @tab diss @tab dis
8819 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8820 @tab es @tab es @tab ess @tab es
8821 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8822 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8823 @tab Fes @tab fes @tab fes @tab fess @tab fes
8824 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8825 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8826 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8827 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8828 @tab fis @tab fis @tab fiss @tab fis
8829 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8830 @tab ges @tab ges @tab gess @tab ges
8831 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8832 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8833 @tab Gis @tab gis @tab gis @tab giss @tab gis
8834 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8835 @tab as @tab as @tab ass @tab as
8836 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8837 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8838 @tab ais @tab ais @tab aiss @tab ais
8839 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8840 @tab bes @tab b @tab b @tab b
8841 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8842 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8843 @tab ces @tab ces @tab cess @tab ces
8844 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8845 @tab His @tab bis @tab his @tab hiss @tab his
8849 @node Non-Western terms A-Z
8850 @chapter Non-Western terms A-Z
8870 This is a stub for @code{bayati}.
8874 @ruser{Arabic key signatures}.
8881 This is a stub for @code{iraq}.
8885 @ruser{Arabic key signatures}.
8892 This is a stub for @code{kurd}.
8896 @ruser{Arabic key signatures}.
8903 This is a stub for @code{makam}.
8907 @ruser{Turkish classical music}.
8914 This is a stub for @code{makamlar}.
8918 @ruser{Turkish classical music}.
8925 This is a stub for @code{maqam}.
8929 @ruser{Arabic music},
8930 @ruser{Arabic key signatures}.
8937 This is a stub for @code{rast}.
8941 @ruser{Arabic key signatures}.
8948 This is a stub for @code{semai}.
8952 @ruser{Arabic key signatures}.
8959 This is a stub for @code{sikah}.
8963 @ruser{Arabic key signatures}.
8970 This is a stub for @code{taqasim}.
8974 @ruser{Arabic key signatures}.
8977 @node Literature used
8978 @appendix Literature used
8981 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8982 Cambridge: Belknap Press (Harvard University Press), 1944.
8984 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8987 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8988 Terminologie}. Kassel, 1980.
8990 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8991 Current English}, 3rd ed. London: Oxford University Press, 1974.
8993 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8994 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8996 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8997 Cambridge: Belknap Press (Harvard University Press), 1986.
8999 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.