1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (music-glossary). Glossary of music terms.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author François Pinard @c Original glossary of GNU music project,
22 @author Mats Bengtsson @c Swedish glossary
23 @author David González @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Heikki Junes @c Finnish glossary
27 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
28 @author Adrian Mariano @c Italian glossary
29 @author Han-Wen Nienhuys @c Dutch glossary
30 @author Jan Nieuwenhuizen @c Dutch glossary
32 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
33 @c Updates to the German translation by Till Rettig, 12/07
35 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
36 Copyright @copyright{} 1999--2009 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2009 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rweb{Manuals}.
188 @w{@expansion{}@strong{\word\}}@c
191 @expansion{}@ref{\word\, @strong{\word\}}@c
196 * Musical terms A-Z::
197 * Duration names notes and rests::
202 @node Musical terms A-Z
203 @chapter Musical terms A-Z
205 Languages in this order.
207 @item UK - British English (where it differs from American English)
236 * ancient minor scale::
241 * ascending interval::
243 * augmented interval::
280 * compound interval::
284 * conjunct movement::
299 * descending interval::
302 * diminished interval::
306 * disjunct movement::
308 * dissonant interval::
312 * dominant ninth chord::
313 * dominant seventh chord::
315 * dot (augmentation dot)::
317 * double appoggiatura::
319 * double dotted note::
322 * double time signature::
329 * ecclesiastical mode::
336 * equal temperament::
357 * functional harmony::
378 * inverted interval::
393 * long appoggiatura::
400 * meantone temperament::
407 * mensural notation::
412 * metronomic indication::
425 * multi-measure rest::
455 * polymetric time signature::
460 * Pythagorean comma::
491 * sixty-fourth note::
492 * sixty-fourth rest::
523 * thirty-second note::
524 * thirty-second rest::
531 * transposing instrument::
585 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
586 @notation{a due} indicates that:
590 @item A single part notated on a single staff that normally carries parts
591 for two players (e.g. first and second oboes) is to be played by both
594 @item Or conversely, that two pitches or parts notated on a staff that
595 normally carries a single part (e.g. first violin) are to be played by
596 different players, or groups of players (@q{desks}).
609 F: accelerando, en accélérant,
610 D: accelerando, schneller werden,
614 FI: accelerando, kiihdyttäen.
616 [Italian: @q{speed up, accelerate}]
634 FI: aksentti, korostus.
636 The stress of one tone over others.
650 @section acciaccatura
652 ES: mordente de una nota,
654 F: acciaccatura, appoggiature brève,
661 A grace note which takes its time from the rest or note preceding the
662 principal note to which it is attached. The acciaccatura is drawn as a
663 small eighth note (quaver) with a line drawn through the flag and stem.
666 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
672 ES: alteración accidental,
673 I: alterazione, accidente,
674 F: altération accidentelle,
675 D: Versetzungszeichen, Akzidenz,
676 NL: toevallig (verplaatsings)teken,
678 S: tillfälligt förtecken,
679 FI: tilapäinen etumerkki.
681 An accidental alters a note by:
685 @item Raising its pitch:
687 @item By two semitones—@notation{double sharp}
688 @item By one semitone—@notation{sharp}
691 @item Lowering its pitch:
693 @item By one semitone—@notation{flat}
694 @item By two semitones—@notation{double flat}
697 @item Or canceling the effects of the key signature or previous accidentals.
700 @lilypond[quote,notime]
704 \set Staff.extraNatural = ##f
705 gisis1 gis g! ges geses
710 \center-column { double sharp }
716 \center-column { double flat }
722 \override SpacingSpanner
723 #'base-shortest-duration = #(ly:make-moment 1 32)
730 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
743 FI: adagio, hitaasti.
745 [Italian: @q{comfortable, easy}]
749 @item Slow tempo, slower -- especially in even meter -- than
750 @notation{andante} and faster than @notation{largo}.
752 @item A movement in slow tempo, especially the second (slow) movement
753 of sonatas, symphonies, etc.
758 @ref{andante}, @ref{largo}, @ref{sonata}.
766 F: al niente, en mourant,
771 FI: häviten olemattomiin.
773 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
774 that the sound should fade away to nothing.
776 @notation{Al niente} is indicated by circling the tip of the hairpin:
778 @lilypond[quote,relative=2]
779 \override Hairpin #'circled-tip = ##t
785 or with the actual phrase @notation{al niente}:
787 @lilypond[quote,relative=2]
789 \override DynamicTextSpanner #'(bound-details right text) =
790 \markup { \italic { al niente } }
796 Since one does not crescendo @emph{to} nothing, it is not correct to use
797 @notation{al niente} with @notation{crescendo}. Instead, one should use
798 @emph{dal niente} (@notation{@b{from} nothing}).
801 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
809 F: alla breve, à la brève,
816 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
818 Also called @notation{in cut-time}. The name derives from mensural
819 notation, where the @notation{tactus} (or beat) is counted on the semibreve
820 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
821 next longest note value, which (in modern usage) effectively halves all note
824 In mensural notation, breves and semibreves can have a ternary relationship,
825 in which case @notation{alla breve} means thrice (not twice) as fast. In
826 practice, this complication may not have mattered, since Gaffurius's system
827 of multiplex proportions makes it easy to explicitly state which proportion
831 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
832 @ref{proportion}, @ref{whole note}.
840 F: allegro, gaiement,
841 D: Allegro, Schnell, Fröhlich, Lustig,
845 FI: allegro, nopeasti.
847 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
848 quick tempo, especially the first and last movements of a sonata.
861 NL: verhoging of verlaging,
866 An alteration is the modification, raising or lowering, of a note's
867 pitch. It is established by an accidental.
869 @c TODO: add second meaning from mensural notation
885 FI: altto, matala naisääni.
887 A female voice of low range (@emph{contralto}). Originally the alto was a
888 high male voice (hence the name), which by castration or the use of falsetto
889 reached the height of the natural female voice. This type of voice is also
890 known as countertenor.
899 ES: clave de do en tercera,
900 I: chiave di contralto,
901 F: clef d'ut troisième ligne,
902 D: Altschlüssel, Bratschenschlüssel,
908 C clef setting middle C on the middle line of the staff.
919 F: ambitus, tessiture,
924 FI: ambitus, ääniala, soitinala.
926 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
927 Denotes a range of pitches for a given voice in a part of music. It may
928 also denote the pitch range that a musical instrument is capable of playing.
929 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
947 An anacrusis (also known as pickup or upbeat) is an incomplete measure
948 of music before a section of music. It also refers to the initial
949 note(s) of a melody occurring in that incomplete measure.
951 @lilypond[quote,relative=1]
962 @ref{measure}, @ref{meter}.
965 @node ancient minor scale
966 @section ancient minor scale
968 ES: escala menor natural,
969 I: scala minore naturale,
970 F: forme du mode mineur ancien, troisème mode, mode hellénique,
971 D: reines Moll, natürliches Moll,
972 NL: authentieke mineurtoonladder,
975 FI: luonnollinen molliasteikko.
977 Also called @q{natural minor scale}.
979 @lilypond[quote,notime,relative=2]
985 @ref{diatonic scale}.
1000 [Italian: present participle of @emph{andare}, @q{to walk}]
1002 Walking tempo/character.
1005 No cross-references.
1009 @section appoggiatura
1013 F: appoggiature, (port de voix),
1014 D: Vorschlag, Vorhalt
1018 FI: appoggiatura, etuhele.
1020 Ornamental note, usually a second, that is melodically connected with
1021 the main note following it. In music before the 19th century
1022 appoggiature were usually performed on the beat, after that mostly
1023 before the beat. While the short appoggiatura is performed as a short
1024 note regardless of the duration of the main note the duration of the
1025 long appoggiatura is proportional to that of the main note.
1027 @lilypond[quote,relative=2]
1030 <d a fis>4_"notation" r
1037 \set Score.measurePosition = #ZERO-MOMENT
1038 <d, a fis>4_"performance" r
1044 An appoggiatura may have more notes preceding the main note.
1046 @lilypond[quote,relative=2]
1049 \grace bes16 as8-"notation" as16 bes as8 g |
1050 \grace { as16[( bes] } <c as>4)
1051 \grace { as16[( bes] } <c as>4) \bar "||"
1053 \grace bes16 as8-"performance" as16 bes as8 g |
1057 as32 bes c8. as32 bes c8.
1061 as16 ~ as8. as16 ~ as8.
1067 No cross-references.
1076 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1077 NL: gebroken akoord,
1078 DK: arpeggio, akkordbrydning,
1080 FI: arpeggio, murtosointu.
1082 [Italian: @q{harp-like, played like a harp}]
1084 @lilypond[quote,line-width=13\cm]
1086 \context Staff = "SA" {
1090 r8 g16 c e g, c e r8 g,16 c e g, c e
1091 r8 a,16 d f a, d f r8 a,16 d f a, d f
1095 \context Staff = "SB" {
1101 r16 e8. ( e4) r16 e8. ( e4)
1102 r16 d8. ( d4) r16 d8. ( d4)
1116 No cross-references.
1120 @section articulation
1129 FI: artikulaatio, ilmaisu.
1131 Articulation refers to notation which indicates how a note or notes
1132 should be played. Slurs, accents, staccato, and legato are all
1133 examples of articulation.
1136 No cross-references.
1139 @node ascending interval
1140 @section ascending interval
1142 ES: intervalo ascendente,
1143 I: intervallo ascendente,
1144 F: intervalle ascendant,
1145 D: steigendes Intervall,
1146 NL: stijgend interval,
1147 DK: stigende interval,
1148 S: stigande intervall,
1149 FI: nouseva intervalli.
1151 A distance between a starting lower note and a higher ending note.
1154 No cross-references.
1157 @node augmented interval
1158 @section augmented interval
1160 ES: intervalo aumentado,
1161 I: intervallo aumentato,
1162 F: intervalle augmenté,
1163 D: übermäßiges Intervall,
1164 NL: overmatig interval,
1165 DK: forstørret interval,
1166 S: överstigande intervall,
1167 FI: ylinouseva intervalli.
1174 @section augmentation
1183 FI: aika-arvojen pidentäminen.
1185 @c TODO: add definition.
1187 This is a placeholder for augmentation (wrt mensural notation).
1190 @ref{diminution}, @ref{mensural notation}.
1198 F: manuscrit, autographe
1199 D: Autograph, Handschrift,
1201 DK: håndskrift, autograf,
1203 FI: käsinkirjoitettu nuotti.
1207 @item A manuscript written in the composer's own hand.
1209 @item Music prepared for photoreproduction by freehand drawing, with
1210 the aid of a straightedge ruler and T-square only, which attempts to
1211 emulate engraving. This required more skill than did engraving.
1216 No cross-references.
1234 @ref{H}, @ref{Pitch names}
1254 ES: barra, línea divisoria,
1255 I: stanghetta, barra (di divisione),
1256 F: barre (de mesure),
1263 A vertical line through the staff (or through multiple staves) that
1264 separates measures. Used very infrequently during the Renaissance (mostly
1265 in secular music, or in sacred music to indicate congruences between parts
1266 in otherwise-unmetered music).
1282 FI: baritoni, keskikorkuinen miesääni.
1284 The male voice intermediate in pitch between the bass and the tenor.
1286 @c F: clef de troisième ligne dropped
1289 @ref{bass}, @ref{tenor}.
1293 @section baritone clef
1295 ES: clave de fa en tercera,
1296 I: chiave di baritono,
1297 F: clef d'ut cinquième ligne, clef de fa troisième,
1298 D: Baritonschlüssel,
1304 C or F clef setting middle C on the upper staff line.
1307 @ref{C clef}, @ref{F clef}.
1320 FI: basso, matala miesääni.
1324 @item The lowest male voice.
1326 @item Sometimes, especially in jazz music, used as an abbreviation for
1338 ES: clave de fa en cuarta,
1340 F: clef de fa quatrième ligne,
1347 A clef setting with middle C on the first top ledger line.
1356 ES: barra (de corcheas),
1358 F: ligature, barre (de croches),
1365 Line connecting a series of notes (shorter than a quarter note). The
1366 number of beams determines the note value of the connected notes.
1368 @lilypond[quote,notime,relative=2,line-width=13\cm]
1369 g8-"1/8"[ g g g] s16
1370 g16-"1/16"[ g g g] s
1371 g32-"1/32"[ s g s g s g] s16
1372 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1376 @ref{feathered beam}.
1382 ES: tiempo, parte (de compás)
1385 D: Takt, Taktschlag, Zeit (im Takt),
1391 Note value used for counting, most often half-, fourth-, and eighth notes.
1392 The base counting value and the number of them in each measure is indicated
1393 at the start of the music by the @notation{time signature}.
1395 @lilypond[quote,relative=2]
1398 g4 c b a | g1 \bar "||"
1400 g8 d' c | b c a | g4. \bar "||"
1404 @ref{time signature}.
1408 @section beat repeat
1411 @ref{percent repeat}.
1424 ES: llave, corchete,
1427 D: Klammer, Akkolade,
1428 NL: accolade, teksthaak,
1431 FI: yhdistävä sulkumerkki.
1433 Symbol at the start of a system connecting staves.
1435 Curly braces are used for connecting piano staves, and sometimes for connecting
1436 the staves of like instruments in an orchestral score when written on different
1437 staves (e.g. first and second flutes):
1441 \context Staff = "SA" {
1447 \context Staff = "SB" {
1457 Angular brackets for connecting parts in an orchestral or choral score:
1461 \context Staff = "SA" {
1467 \context Staff = "SB" {
1478 No cross-references.
1485 I: parentesi quadra,
1503 NL: koper (blazers),
1506 S: brassinstrument, mässingsinstrument,
1509 A family of blown musical instruments made of brass, all using a cup
1510 formed mouth piece. The brass instruments commonly used in a symphony
1511 orchestra are trumpet, trombone, french horn, and tuba.
1514 No cross-references.
1518 @section breath mark
1523 D: Atemzeichen, Trennungszeichen,
1524 NL: repercussieteken,
1525 DK: vejrtrækningstegn,
1529 Indication of where to breathe in vocal and wind instrument parts.
1539 @item US: breve, double-whole note
1540 @item ES: cuadrada, breve
1547 @item FI: brevis, kaksoiskokonuotti
1550 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1552 Mainly used in music from before 1650. In mensural notation, it was a note
1553 of fairly short duration—hence the name, which is Latin for @q{short} or
1554 @q{of short duration}.
1556 @lilypond[quote,notime,relative=2]
1561 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1594 Clef symbol indicating the position of the middle C. Used on all note
1597 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1599 \override Staff.Clef #'full-size-change = ##t
1601 \clef mezzosoprano c1
1607 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1608 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1613 No cross-references.
1626 FI: kadenssi, lopuke.
1629 @ref{harmonic cadence}, @ref{functional harmony}.
1642 FI: kadenssi, lopuke.
1644 An extended, improvisatory style section inserted near the end of
1645 movement. The purpose of a cadenza is to give singers or players a
1646 chance to exhibit their technical skill and -- not last -- their
1647 ability to improvise. Since the middle of the 19th century, however,
1648 most cadenzas have been written down by the composer.
1651 No cross-references.
1666 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1668 The break between two musical phrases, sometimes (but not always) marked by a
1669 rest or a breath mark.
1685 FI: kaanon, tarkka jäljittely.
1701 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1702 viritysjärjestelmässä.
1704 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1705 an octave (1/100 of an equally tempered semitone).
1708 @ref{equal temperament}, @ref{semitone}.
1730 Three or more tones sounding simultaneously. In traditional European music
1731 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1732 (major + minor third) as well as @emph{minor} (minor + major third) chords
1733 may be extended with more thirds. Four-tone @emph{seventh chords} and
1734 five-tone @emph{ninth} major chords are most often used as dominants
1735 (functional harmony). Chords having no third above the lower notes to
1736 define their mood are a special case called @q{open chords}. The lack of
1737 the middle third means their quality is ambivalent -- neither major nor
1740 @lilypond[quote,notime,line-width=13.0\cm]
1744 \set Staff.extraNatural = ##f
1765 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1769 @node chromatic scale
1770 @section chromatic scale
1772 ES: escala cromática,
1774 F: gamme chromatique,
1775 D: chro@-ma@-ti@-sche Tonleiter,
1776 NL: chromatische toonladder,
1777 DK: kromatisk skala,
1779 FI: kromaattinen asteikko.
1781 A scale consisting of all 12 semitones.
1783 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1784 c1 cis d dis e f fis g gis a ais b c
1792 @section chromaticism
1803 Using tones extraneous to a diatonic scale (minor, major).
1806 @ref{diatonic scale}.
1810 @section church mode
1812 ES: modo eclesiástico,
1813 I: modo ecclesiastico,
1814 F: mode ecclésiastique, mode d'église,
1819 FI: moodi, kirkkosävellaji.
1822 @ref{diatonic scale}.
1831 D: Schlüssel, Notenschlüssel,
1835 FI: avain, nuottiavain.
1837 The clef indicates which lines of the staff correspond to which
1838 pitches. The three clef symbols in common use are:
1843 \line { The Treble or G clef: }
1845 \line { The Bass or F clef: }
1847 \line { The Alto or C clef: }
1851 \musicglyph #"clefs.G"
1853 \musicglyph #"clefs.F"
1855 \musicglyph #"clefs.C"
1860 Imagine a large staff of 11 lines centered on middle C, sometimes
1861 called a @q{grand staff}, with the bottom line representing low G and
1862 the top line high F:
1867 %-- Note names above treble staff --%
1869 \set printOctaveNames = ##t
1871 \once \override NoteName #'color = #red
1875 %-- Treble Staff --%
1877 \override Staff.Clef #'stencil = ##f
1883 %-- Alto Staff reduced to a single line on middle C --%
1885 \override Staff.StaffSymbol #'line-count = #1
1886 \override Staff.StaffSymbol #'color = #red
1887 \override Staff.Clef #'stencil = ##f
1890 \override NoteHead #'color = #red
1896 \override Staff.Clef #'stencil = ##f
1905 \override SpacingSpanner
1906 #'base-shortest-duration = #(ly:make-moment 1 1)
1907 \override NonMusicalPaperColumn
1908 #'line-break-system-details = #'((alignment-distances . (3 3)))
1909 \override BarLine #'stencil = ##f
1913 \remove "Time_signature_engraver"
1919 Staves of five lines are usually used, and the clef superimposed on them
1920 indicates which five lines have been selected from this @notation{grand
1921 staff}. For example, the treble or G clef indicates that the top five lines
1927 %-- Note names above treble staff --%
1929 \set printOctaveNames = ##t
1931 \once \override NoteName #'color = #red
1936 %-- Treble Staff --%
1938 \once \override Staff.Clef #'stencil = ##f
1941 \override Staff.Clef #'full-size-change = ##t
1942 \set Staff.forceClef = ##t
1946 %-- Alto Staff reduced to a single line on middle C --%
1948 \override Staff.StaffSymbol #'line-count = #1
1949 \override Staff.StaffSymbol #'color = #red
1950 \override Staff.Clef #'stencil = ##f
1953 \override NoteHead #'color = #red
1958 \override Staff.Clef #'stencil = ##f
1966 \override SpacingSpanner
1967 #'base-shortest-duration = #(ly:make-moment 2 1)
1968 \override NonMusicalPaperColumn
1969 #'line-break-system-details = #'((alignment-distances . (3 3)))
1970 \override BarLine #'stencil = ##f
1974 \remove "Time_signature_engraver"
1980 The @q{curl} of the G clef is centered on the line that represents the
1983 In the same way, the bass or F clef indicates that the bottom five lines
1984 have been selected from the @notation{grand staff}, and the alto or C clef
1985 indicates the middle five lines have been selected. This relationship is
1986 shown below, where the notes show an arpeggio on a C major chord.
1991 %-- Treble Staff --%
1999 \override Staff.StaffSymbol #'line-count = #1
2000 \once \override Staff.Clef #'stencil = ##f
2005 \revert Staff.StaffSymbol #'stencil
2006 \override Staff.StaffSymbol #'color = #red
2009 \stopStaff \startStaff
2010 \revert Staff.StaffSymbol #'line-count
2011 \revert Staff.StaffSymbol #'color
2012 \stopStaff \startStaff
2013 \override Staff.Clef #'full-size-change = ##t
2014 \set Staff.forceClef = ##t
2029 \override SpacingSpanner #'base-shortest-duration =
2030 #(ly:make-moment 2 1)
2031 \override NonMusicalPaperColumn
2032 #'line-break-system-details = #'((alignment-distances . (3 3)))
2033 \override BarLine #'stencil = ##f
2037 \remove "Time_signature_engraver"
2044 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2057 FI: klusteri, cluster.
2059 A @emph{cluster} is a range of simultaneously sounding pitches that
2060 may change over time. The set of available pitches to apply usually
2061 depends on the acoustic source. Thus, in piano music, a cluster
2062 typically consists of a continuous range of the semitones as provided
2063 by the piano's fixed set of a chromatic scale. In choral music, each
2064 singer of the choir typically may sing an arbitrary pitch within the
2065 cluster's range that is not bound to any diatonic, chromatic or other
2066 scale. In electronic music, a cluster (theoretically) may even cover
2067 a continuous range of pitches, thus resulting in colored noise, such
2070 Clusters can be denoted in the context of ordinary staff notation by
2071 engraving simple geometrical shapes that replace ordinary notation of
2072 notes. Ordinary notes as musical events specify starting time and
2073 duration of pitches; however, the duration of a note is expressed by
2074 the shape of the note head rather than by the horizontal graphical
2075 extent of the note symbol. In contrast, the shape of a cluster
2076 geometrically describes the development of a range of pitches
2077 (vertical extent) over time (horizontal extent). Still, the
2078 geometrical shape of a cluster covers the area in which any single
2079 pitch contained in the cluster would be notated as an ordinary note.
2081 @lilypond[quote,relative=2]
2082 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2086 No cross-references.
2099 FI: komma, korvinkuultava ero äänenkorkeudessa.
2101 Difference in pitch between a note derived from pure tuning and the
2102 same note derived from some other tuning method.
2105 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2110 @section common meter
2112 Another name for @ref{common time}.
2115 @ref{common time}, @ref{meter}.
2119 @section common time
2130 4/4 time. The symbol, which resembles a capital letter C, comes from
2134 @ref{mensural notation}, @ref{meter}.
2140 ES: intervalo invertido,
2142 F: intervalle complémentaire,
2143 D: Komplementärintervall,
2144 NL: complementair interval,
2145 DK: komplementærinterval,
2146 S: komplementärintervall (?),
2147 FI: täydentävä intervalli.
2150 @ref{inverted interval}.
2153 @node compound interval
2154 @section compound interval
2156 ES: intervalo compuesto,
2157 I: intervallo composto,
2158 F: intervalle composé,
2159 D: weites Intervall,
2160 NL: samengesteld interval,
2161 DK: sammensat interval,
2162 S: sammansatt intervall,
2163 FI: oktaavia laajempi intervalli.
2165 Intervals larger than an octave.
2171 @node compound meter
2172 @section compound meter
2174 ES: compás compuesto, compás de subdivisión ternaria,
2181 FI: kolmijakoinen tahtilaji.
2183 A meter that includes a triplet subdivision within the beat, such as
2187 @ref{meter}, @ref{simple meter}.
2191 @section compound time
2193 ES: compás compuesto, compás de amalgama (def. 2),
2200 FI: yhdistetty tahtilajiosoitus.
2205 A meter that includes a triplet subdivision within the beat: see
2206 @ref{compound meter}.
2209 A time signature that additively combines two or more unequal meters, e.g.,
2210 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2214 @lilypond[quote,line-width=13.0\cm]
2215 #(define ((compound-time one two three num) grob)
2216 (grob-interpret-markup grob
2218 #:override '(baseline-skip . 0)
2221 #:left-column (one num)
2223 #:left-column (two num)
2225 #:left-column (three num)))))
2229 #(set-time-signature 8 8 '(3 2 3))
2230 \override Staff.TimeSignature #'stencil =
2231 #(compound-time "3" "2" "3" "8")
2239 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2243 @section concert pitch
2245 ES: en Do, tono de concierto,
2246 I: intonazione reale,
2247 F: tonalité de concert, en ut,
2252 FI: konserttikorkeus.
2254 The pitch at which the piano and other nontransposing instruments play: such
2255 instruments are said to be @q{in C}. The following list includes some (but not
2256 all) instruments that play in concert pitch:
2258 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2260 @multitable {bassoon} {violoncello}
2261 @headitem Woodwinds @tab Strings
2280 @ignore This needs to be reworked.
2281 The trombones are a special case: although they are said to be @q{in F} (alto or
2282 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2283 their parts' transposition. (In fact, the trombones' parts are written at
2284 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2285 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2289 Instruments that play @q{in C} but in a different octave than what is written
2290 are, technically speaking, @emph{transposing instruments}:
2294 @item piccolo (plays an octave higher than written)
2295 @item celesta (plays an octave higher than written)
2296 @item classical guitar (plays an octave lower than written)
2297 @item double bass (plays an octave lower than written)
2302 @ref{transposing instrument}.
2305 @node conjunct movement
2306 @section conjunct movement
2308 ES: movimiento conjunto,
2310 F: mouvement conjoint,
2311 D: schritt@-weise, stufenweise Bewegung,
2312 NL: stapsgewijze, trapsgewijze beweging,
2313 DK: trinvis bevægelse,
2315 FI: asteittainen liike.
2317 Progressing melodically by intervals of a second, as contrasted with
2318 @emph{disjunct movement}.
2320 @lilypond[quote,relative=2,line-width=13.0\cm]
2323 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2327 @ref{disjunct movement}.
2340 FI: konsonanssi, sopusointi.
2363 @section copying music
2365 A music copyist did fast freehand scores and parts on preprinted staff
2366 lines for performance. Some of their conventions (e.g., the placement
2367 of note heads on stems) varied slightly from those of engravers. Some
2368 of their working methods were superior and could well be adopted by
2371 @c Copying music required more skill than engraving. Flagged for NPOV
2374 No cross-references.
2378 @section counterpoint
2387 FI: kontrapunkti, ääni ääntä vastaan.
2389 From Latin @emph{punctus contra punctum}, note against note. The
2390 combination into a single musical fabric of lines or parts which have
2391 distinct melodic significance. A frequently used polyphonic technique
2392 is imitation, in its strictest form found in the canon needing only
2393 one part to be written down while the other parts are performed with a
2394 given displacement. Imitation is also the contrapuntal technique
2395 used in the @emph{fugue} which, since the music of the baroque era,
2396 has been one of the most popular polyphonic composition methods.
2398 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2400 \context Staff = SA \relative c' {
2404 << \context Voice = rha {
2406 r1 | r2 r8 g'8 bes d, |
2407 cis4 d r8 e!16 f g8 f16 e |
2408 f8 g16 a bes8 a16 g a8
2410 \context Voice = rhb {
2416 \context Staff = SB \relative c' {
2419 << \context Voice = lha {
2421 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2422 r8 a16 g f8 g16 a bes8 g e! cis' |
2425 \context Voice = lhb {
2434 No cross-references.
2438 @section countertenor
2443 D: Countertenor, Kontratenor,
2446 S: kontratenor, counter tenor,
2459 D: Crescendo, lauter werden,
2463 FI: cresendo, voimistuen.
2465 Increasing volume. Indicated by a rightwards opening horizontal wedge
2466 (hairpin) or the abbreviation @notation{cresc.}.
2468 @lilypond[quote,relative=2]
2471 g4\< a b c | d1\! \bar "|."
2475 @ref{decrescendo}, @ref{hairpin}.
2483 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2490 Notes belonging to one part printed in another to hint when to start
2491 playing. Usually printed in a smaller type.
2494 Compare: @ref{ossia}.
2503 D: Notenzeiger, Custos,
2509 A custos (plural: custodes) is a staff symbol that appears at the end of a
2510 staff line with monophonic musical contents (i.e., with a single voice). It
2511 anticipates the pitch of the first note of the following line and thus helps
2512 the player or singer to manage line breaks during performance, which
2513 enhances the readability of a score.
2515 Custodes were frequently used in music notation until the 16th century.
2516 There were different appearences for different notation styles. Nowadays,
2517 they have survived only in special forms of musical notation such as the
2518 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2520 @lilypond[quote,ragged-right]
2523 \override Staff.Custos #'neutral-direction = #DOWN
2524 \override Staff.Custos #'style = #'hufnagel
2531 \consists "Custos_engraver"
2538 No cross-references.
2571 F: da capo, depuis le commencement,
2572 D: da capo, von Anfang,
2576 FI: da capo, alusta.
2578 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2579 the beginning to the end or to a certain place marked @emph{fine}.
2582 No cross-references.
2588 ES: dal niente, de la nada,
2595 FI: tyhjästä ilmaantuen.
2597 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2598 that the sound should gradually increase from nothing.
2609 F: dal segno, depuis le signe,
2610 D: dal segno, ab dem Zeichen,
2614 FI: dal segno, lähtien merkistä.
2616 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2617 another place frequently near the beginning marked by a sign
2620 @lilypond[quote,relative=2]
2628 \musicglyph #"scripts.segno"
2634 No cross-references.
2638 @section decrescendo
2642 D: Decrescendo, leiser werden,
2646 FI: decresendo, hiljentyen.
2648 Decreasing tone volume. Indicated by a leftwards opening horizontal
2649 wedge (hairpin) or the abbreviation @notation{decresc.}.
2651 @lilypond[quote,relative=2]
2654 d4\> c b a | g1 \! \bar "|."
2658 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2661 @node descending interval
2662 @section descending interval
2664 ES: intervalo descendente,
2665 I: intervallo discendente,
2666 F: intervalle descendant,
2667 D: fallendes Intervall, absteigendes Intervall,
2668 NL: dalend interval,
2669 DK: faldende interval,
2670 S: fallande intervall,
2671 FI: laskeva intervalli.
2673 A distance between a starting higher note and a lower ending note.
2676 No cross-references.
2679 @node diatonic scale
2680 @section diatonic scale
2682 ES: escala diatónica,
2684 F: gamme diatonique,
2685 D: diatonische Tonleiter,
2686 NL: diatonische toonladder,
2687 DK: diatonisk skala,
2689 FI: diatoninen asteikko.
2691 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2692 played on the white keys of a piano keybord are diatonic. These scales
2693 are sometimes called, somewhat inaccurately, @q{church modes}).
2695 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2696 but also to some extent in newer jazz music.
2698 @lilypond[quote,notime,relative=1]
2702 e^"~~ S" f g a b^"~~ S" c
2710 @lilypond[quote,notime,relative=1]
2714 e^"~~ S" f g a b^"~~ S" c d
2722 @lilypond[quote,notime,relative=1]
2725 e1^"~~ S" f g a b^"~~ S" c d e
2733 @lilypond[quote,notime,relative=1]
2737 b^"~~ S" c d e^"~~ S" f
2745 @lilypond[quote,notime,relative=2]
2749 b^"~~ S" c d e^"~~ S" f g
2757 @lilypond[quote,notime,relative=2]
2761 b^"~~ S" c d e^"~~ S" f g a
2769 @lilypond[quote,notime,relative=2]
2772 b1^"~~ S" c d e^"~~ S" f g a b
2780 From the beginning of the 17th century the scales used in European
2781 compositional music are primarily the major and the minor scales. In
2782 the harmonic minor scale type an augmented second (A) occurs between
2783 the 6th and 7th tone.
2785 @lilypond[quote,notime,relative=1]
2789 e^"~~ S" f g a b^"~~ S" c
2797 @lilypond[quote,notime,relative=2]
2801 b^"~~ S" c d e^"~~ S" f g a
2804 "Ancient (or Natural) minor"
2809 @lilypond[quote,notime,relative=2]
2813 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2821 @lilypond[quote,notime,relative=2]
2825 b^"~~ S" c d e fis gis^"~~ S" a
2828 "Melodic minor ascending"
2833 @lilypond[quote,notime,relative=3]
2837 g! f!^"~~ S" e d c^"~~ S" b a
2840 "Melodic minor descending"
2846 @ref{semitone}, @ref{whole tone}.
2850 @section didymic comma
2853 @ref{syntonic comma}.
2856 @node diminished interval
2857 @section diminished interval
2859 ES: intervalo disminuido,
2860 I: intervallo diminuito,
2861 F: intervalle diminué,
2862 D: vermindertes Intervall,
2863 NL: verminderd interval,
2864 DK: formindsket interval,
2865 S: förminskat intervall,
2866 FI: vähennetty intervalli.
2877 F: diminuendo, en diminuant,
2882 FI: diminuendo, hiljentyen.
2898 FI: aika-arvojen tihennys.
2900 This is a stub for diminution (@emph{wrt} mensural notation).
2903 @ref{augmentation}, @ref{mensural notation}.
2922 @node disjunct movement
2923 @section disjunct movement
2925 ES: movimiento disjunto,
2927 F: mouvement disjoint,
2928 D: sprunghafte Bewegung,
2929 NL: sprongsgewijze beweging,
2930 DK: springende bevægelse,
2931 S: hoppande rörelse,
2932 FI: melodian hyppivä liike.
2934 Progressing melodically by intervals larger than a major second, as contrasted
2935 with conjunct movement.
2937 @lilypond[quote,relative=1]
2941 a4. gis8 b a e cis |
2947 @ref{conjunct movement}.
2953 Another name for @ref{dissonant interval}.
2956 @ref{dissonant interval}, @ref{harmony}.
2959 @node dissonant interval
2960 @section dissonant interval
2962 ES: intervalo disonante, disonancia,
2963 I: intervallo dissonante, dissonanza,
2964 F: intervalle dissonant, dissonance,
2966 NL: dissonant interval, dissonant,
2967 DK: dissonerende interval, dissonans,
2969 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2987 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2988 vertical stroke through part or all of the staff that serves to
2989 structure a chant into phrases and sections. There are four types:
2993 @item @emph{divisio minima}, a short pause
2995 @item @emph{divisio maior}, a medium pause
2997 @item @emph{divisio maxima}, a long pause
2999 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3000 section in a long antiphonal or responsorial chant.
3004 TODO: musical example here?
3007 No cross-references.
3013 ES: elevación [de tono],
3022 Indicator for a indeterminately rising pitch bend. Compare with
3023 @emph{glissando}, which has determinate starting and ending pitches.
3026 @ref{fall}, @ref{glissando}.
3039 FI: dominantti, huippusointu.
3041 The fifth @emph{scale degree} in @emph{functional harmony}.
3044 @ref{functional harmony}, @ref{scale degree}.
3047 @node dominant ninth chord
3048 @section dominant ninth chord
3050 ES: acorde de novena de dominante,
3051 I: accordo di nona di dominante,
3052 F: accord de neuvième de dominante,
3053 D: Domi@-nant@-nonen@-akkord,
3054 NL: dominant noon akkoord,
3055 DK: dominantnoneakkord,
3056 S: dominantnonackord,
3057 FI: dominanttinoonisointu.
3060 @ref{chord}, @ref{functional harmony}.
3063 @node dominant seventh chord
3064 @section dominant seventh chord
3066 ES: acorde de séptima de dominante,
3067 I: accordo di settima di dominante,
3068 F: accord de septième de dominante,
3069 D: Dominantseptakkord,
3070 NL: dominant septiem akkoord,
3071 DK: dominantseptimakkord,
3072 S: dominantseptimackord,
3073 FI: dominanttiseptimisointu.
3076 @ref{chord}, @ref{functional harmony}.
3080 @section dorian mode
3085 D: dorisch, dorischer Kirchenton,
3086 NL: dorische toonladder,
3092 @ref{diatonic scale}.
3095 @node dot (augmentation dot)
3096 @section dot (augmentation dot)
3099 I: punto (di valore),
3101 D: Punkt (Verlängerungspunkt),
3108 @ref{dotted note}, @ref{note value}.
3112 @section dotted note
3114 ES: nota con puntillo,
3118 NL: gepuncteerde noot,
3121 FI: pisteellinen nuotti.
3127 @node double appoggiatura
3128 @section double appoggiatura
3130 ES: apoyatura doble,
3131 I: appoggiatura doppia,
3132 F: appoggiature double,
3133 D: doppelter Vorschlag,
3134 NL: dubbele voorslag,
3135 DK: dobbelt forslag,
3137 FI: kaksoisappogiatura, kaksoisetuhele.
3143 @node double bar line
3144 @section double bar line
3150 NL: dubbele maatstreep,
3153 FI: kaksoistahtiviiva.
3155 Indicates the end of a section within a movement.
3158 No cross-references.
3161 @node double dotted note
3162 @section double dotted note
3164 ES: nota con doble puntillo,
3165 I: nota doppiamente puntata,
3166 F: note doublement pointée,
3167 D: doppelt punktierte Note,
3168 NL: dubbelgepuncteerde noot,
3169 DK: dob@-belt@-punk@-te@-ret node,
3170 S: dub@-bel@-punk@-te@-rad not,
3171 FI: kaksoispisteellinen nuotti.
3178 @section double flat
3187 FI: kaksoisalennusmerkki.
3194 @section double sharp
3196 ES: doble sostenido,
3201 DK: dob@-belt@-kryds,
3203 FI: kaksoisylennysmerkki.
3209 @node double time signature
3210 @section double time signature
3212 ES: compás polimétrico,
3219 FI: kaksois-aika-arvomerkintä.
3222 @ref{polymetric time signature}.
3226 @section double trill
3232 NL: dubbele triller,
3237 A simultaneous trill on two notes, usually in the distance of a third.
3240 No cross-references.
3244 @section duple meter
3248 F: métrique binaire,
3249 D: in zwei, grader Takt,
3250 NL: tweedelige maatsoort,
3285 FI: kesto, aika-arvo.
3294 ES: dinámica, matices,
3297 D: Dynamik, Lautstärke,
3301 FI: äänen voimakkuusvaihtelu, dynamiikka.
3303 The aspect of music relating to degrees of loudness, or changes from
3304 one degree to another. The terms, abbreviations, and symbols used to
3305 indicate this information are called dynamic marks.
3308 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3330 @node ecclesiastical mode
3331 @section ecclesiastical mode
3334 @ref{church mode}, @ref{diatonic scale}.
3338 @section eighth note
3345 @item D: Achtel, Achtelnote
3346 @item NL: achtste noot
3347 @item DK: ottendedelsnode
3348 @item S: åttondelsnot
3349 @item FI: kahdeksasosanuotti
3357 @section eighth rest
3360 @item UK: quaver rest
3361 @item ES: silencio de corchea
3362 @item I: pausa di croma
3363 @item F: demi-soupir
3364 @item D: Achtelpause
3365 @item NL: achtste rust
3366 @item DK: ottendedelspause
3367 @item S: åttonddelspaus
3368 @item FI: kahdeksasosatauko
3378 @c TODO: add languages
3387 FI: tavujen yhdistäminen yhteen ääneen.
3389 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3390 @emph{συναλοιφην} @q{to smear together}].
3392 The singing of several syllables on a single note. Elision may be indicated
3393 by a lyric tie, which looks like (and serves the same function) as a musical
3401 @section embellishment
3413 D: Notenstich, Notendruck
3419 Engraving means incising or etching a metal plate for printing.
3420 Photoengraving means drawing music with ink in a manner similar to
3421 drafting or engineering drawing, using similar tools.
3423 The traditional process of music printing is done through cutting in a
3424 plate of metal. Now also the term for the art of music typesetting.
3427 No cross-references.
3442 Two notes, intervals, or scales are enharmonic if they have different
3443 names but equal pitch.
3445 @lilypond[quote,notime,line-width=13.0\cm]
3449 gis1 as <des g,!> <cis g!>
3453 "g sharp " "a flat " "dim fifth " "augm fourth"
3459 No cross-references.
3462 @node equal temperament
3463 @section equal temperament
3465 ES: temperamento igual,
3466 I: temperamento equabile,
3467 F: tempérament égal,
3468 D: gleichschwebende Stimmung,
3469 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3470 DK: ligesvævende temperatur,
3471 S: liksvävande temperatur,
3474 A tuning system that divides the octave into 12 equal semitones (each of
3475 which is precisely equal to 100 cents).
3478 @ref{cent}, @ref{semitone}, @ref{temperament}.
3481 @node expression mark
3482 @section expression mark
3485 I: segno d'espressione,
3486 F: signe d'expression, indication de nuance,
3488 NL: voordrachtsteken,
3489 DK: foredragsbetegnelse,
3490 S: föredragsbeteckning,
3491 FI: nyanssiosoitus, esitysmerkki.
3493 Performance indications concerning:
3497 @item volume, dynamics (for example, @notation{forte},
3498 @notation{crescendo}),
3500 @item tempo (for example, @notation{andante}, @notation{allegro}).
3505 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3509 @section extender line
3511 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3512 I: linea di estensione,
3513 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3520 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3521 extends text (without indicating the musical @emph{function} of that text).
3523 Used in many contexts, for example:
3527 @item In vocal music to indicate the syllable for a melisma. Called
3528 @q{extension} in the
3529 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3533 In figured bass to indicate that:
3537 @item The extended note should be held through a change in harmony, when applied
3538 to one figure --OR--
3539 @item The chord thus represented should be held above a moving bass line, when
3540 applied to more than one figure.
3541 @item These uses were not completely standardized, and some composers used a
3542 single extender line to indicate the latter case.
3547 In string music to indicate that all notes in the passage thus indicated should
3548 be played on the same string. On the violin, for example, a series of notes to
3549 be played on the G string would be indicated @notation{sul G}, another series to be
3550 played on the D string would be indicated @notation{sul D}, and so on.
3553 With an octave mark to indicate that a passage is to be played higher or lower
3554 by the given number of octaves.
3559 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3560 @ref{octave marking}.
3593 The position between the dots of the key symbol is the line of the F
3594 below central@w{ }C. Used on the third, fourth and fifth note line.
3595 A digit@w{ }8 above the clef symbol indicates that the notes must be
3596 played an octave higher (for example, bass recorder) while 8@w{ }below
3597 the clef symbol indicates playing an octave lower (for example, on the
3600 @lilypond[quote,notime,line-width=13.0\cm]
3603 \override Staff.Clef #'full-size-change = ##t
3626 @ref{baritone clef}, @ref{strings}.
3632 ES: caída [de tono],
3641 Indicator for a indeterminately falling pitch bend. Compare with
3642 @emph{glissando}, which has determinate starting and ending pitches.
3645 @ref{doit}, @ref{glissando}.
3648 @node feathered beam
3649 @section feathered beam
3651 ES: barra progresiva,
3653 F: ligature en soufflet, lien de croches en soufflet,
3654 D: gespreizter Balken,
3660 A type of beam used to indicate that a small group of notes should be
3661 played at an increasing or decreasing tempo -- depending on the
3662 direction of @q{feathering} -- but without changing the overall tempo
3666 Internals Reference: @ruser{Manual beams}
3672 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3676 F: point d'orgue, point d'arrêt,
3681 FI: fermaatti, pidäke.
3683 Prolonged note or rest of indefinite duration.
3685 @lilypond[quote,relative=2]
3692 No cross-references.
3712 @section figured bass
3715 I: basso continuo, basso numerato,
3716 F: basse chiffrée, basse continue,
3717 D: Generalbass, bezifferter Bass,
3718 NL: basso continuo, becijferde bas
3721 FI: kenraalibasso, numeroitu basso.
3723 Also called @q{thorough bass}.
3725 A method of indicating an accompaniment part by the bass notes only,
3726 together with figures designating the chief intervals and chords to be
3727 played above the bass notes.
3729 @lilypond[quote,line-width=13.0\cm]
3731 \new Staff = "rh" \with {
3733 \override StaffSymbol #'staff-space = #(magstep -3)
3739 \context Voice = "rha" {
3744 \context Voice = "rhb" {
3746 <bes g>8 as <as f> g <g es> f <d f> es
3751 \new Staff = "lh" \relative c' {
3754 es8 c d bes c as bes16 as g f
3758 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3764 @ref{chord}, @ref{interval}.
3779 Figures to the side or above the note that methodically indicate which
3780 fingers to use while playing a passage.
3783 No cross-references.
3790 I: coda (uncinata), bandiera,
3798 Ornament at the end of the stem of a note used for notes with values less
3799 than a quarter note. The number of flags determines the note value.
3801 @lilypond[quote,notime,relative=2]
3824 An articulation for string players that means the note or passage is to
3825 be played in harmonics.
3831 @item A duct flute similar to the recorder.
3833 @item An organ stop of flute scale at 1' or 2' pitch.
3838 @ref{articulation}, @ref{harmonics}.
3874 FI: forte, voimakkaasti.
3878 Abbreviated @notation{@b{f}}. Variants include:
3881 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3882 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3886 No cross-references.
3905 @node Frenched score
3906 @section Frenched score
3908 ES: partitura a la francesa,
3915 FI: partituuri francesan tapaan.
3917 A @q{condensed} score, produced by omitting staves for instruments that are not
3918 playing at the moment, and by moving up additional systems from following pages
3919 to take up the space thus liberated, which reduces the total number of pages
3920 used to print the work.
3922 The specific rules for @q{frenching} a score differ from publisher to publisher.
3923 If you are producing scores for eventual publication by a commercial publisher,
3924 you may wish to procure a copy of their style manual.
3927 @ref{Frenched staff}.
3930 @node Frenched staff
3931 @section Frenched staff
3933 ES: pentagrama a la francesa,
3940 FI: karsittu nuotinnus.
3942 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3943 Frenched staff has unneeded measures or sections removed. This is useful
3944 for producing, for example, an @emph{ossia} staff.
3950 @node Frenched staves
3951 @section Frenched staves
3953 Plural of @ref{Frenched staff}.
3972 @node functional harmony
3973 @section functional harmony
3975 ES: armonía funcional,
3976 I: armonia funzionale,
3977 F: étude des functions,
3979 NL: functionele harmonie,
3980 DK: funktionsanalyse, funktionsharmonik,
3982 FI: harmoniajärjestelmä.
3984 A system of harmonic analysis.
3986 It is based on the idea that, in a given key, there are only three
3987 functionally different chords: tonic (T, the chord on the first note of the
3988 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3989 chord on the fifth note). Others are considered to be variants of the base
3992 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3994 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3997 <g e c>1 <a f d> <b g e>
3998 <c a f> <d b g> <e c a> <f d b>
4002 \markup { D \translate #'(-2 . 0) | }
4008 No cross-references.
4035 D: G-Schlüssel, Violinschlüssel,
4041 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4042 second note lines. A digit 8 above the clef symbol indicates that the notes
4043 must be played an octave higher while 8 below the clef symbol indicates
4044 playing or singing an octave lower (used most frequently to notate the tenor
4045 part in modern choral scores).
4047 @lilypond[quote,notime]
4049 \override Staff.Clef #'full-size-change = ##t
4050 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4061 "french violin clef"
4069 No cross-references.
4082 FI: glissando, liukuen.
4084 Letting the pitch slide fluently from one note to the other.
4087 No cross-references.
4091 @section grace notes
4093 ES: notas de adorno,
4095 F: ornement, fioriture,
4096 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4102 Notes printed in small types to indicate that their time values are not
4103 counted in the rhythm of the bar.
4106 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4111 @section grand staff
4113 ES: sistema de piano,
4115 F: système [de portées], accolade,
4116 D: Akkolade, Klaviersystem,
4119 S: ackolad, böjd klammer,
4120 FI: kaksoisnuottiviivasto.
4122 A combination of two staves with a brace. Usually used for piano music.
4138 FI: grave, raskaasti.
4140 [Italian] Slow, solemn.
4143 No cross-references.
4167 Letter name used for @notation{B natural} in German and Scandinavian
4168 usage. In the standard usage of these countries, @notation{B} means
4172 @ref{Pitch names}, @ref{B}.
4178 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4181 @lilypond[quote,relative=2]
4188 @ref{crescendo}, @ref{decrescendo}.
4199 @item D: Halbe, halbe Note,
4200 @item NL: halve noot,
4203 @item FI: puolinuotti.
4214 @item UK: minim rest,
4215 @item ES: silencio de blanca,
4216 @item I: pausa di minima,
4217 @item F: demi-pause,
4218 @item D: halbe Pause,
4219 @item NL: halve, rust,
4220 @item DK: halvnodespause,
4222 @item FI: puolitauko.
4229 @node harmonic cadence
4230 @section harmonic cadence
4232 ES: cadencia (armónica),
4233 I: cadenza (armonica),
4234 F: cadence harmonique,
4236 NL: harmonische cadens,
4237 DK: harmonisk kadence,
4238 S: (harmonisk) kadens,
4239 FI: harmoninen kadenssi.
4241 A sequence of chords that terminates a musical phrase or section.
4245 \context Staff = "SA" \relative c'' {
4248 \partial 4 <c g e>4 |
4249 <c a f> <b g d> <c g e>2
4252 \context Staff = "SB" \relative c {
4254 \partial 4 c4 | f, g c2
4266 @ref{functional harmony}.
4272 ES: armónicos, sonidos aflautados,
4274 F: flageolet, sons harmoniques,
4279 FI: harmoniset äänet, huiluäänet.
4281 The general class of pitches produced by sounding the second or higher
4282 harmonic of a tone producer: string, column of air, and so on.
4284 On stringed instruments, these pitches sound rather flute-like; hence,
4285 their name in languages other than English. They are produced by
4286 lightly touching the string at a node for the desired mode of vibration
4287 while it is being bowed or plucked.
4289 For instruments of the violin family, there are two types of harmonics:
4290 natural harmonics, which are those played on the open string; and
4291 artificial harmonics, which are produced on stopped strings.
4294 No cross-references.
4303 D: Harmonie, Zusammenklang,
4307 FI: harmonia, yhteissointi.
4309 Tones sounding simultaneously. Two note harmonies fall into the
4310 categories @emph{consonances} and @emph{dissonances}.
4314 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4326 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4327 <g a>1_"second " s s
4328 <g f'>_"seventh " s s
4332 For harmony that uses three or more notes, see @ref{chord}.
4342 I: emiolia, (rarely hemiola or emiola),
4350 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4352 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4353 time normally occupied by two. The resulting rhythm can be expressed in modern
4354 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4355 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4356 as a special effect (or @emph{affect}) at cadences.
4358 For example, this phrase in 6/4 time
4360 @lilypond[quote,relative=1,line-width=13.0\cm]
4363 c2. e | d2 c d | c1. \bar "||"
4366 may be thought of having alternating time signatures
4368 @lilypond[quote,relative=1,line-width=13.0\cm]
4378 and is therefore a polymeter (second definition) of considerable antiquity.
4381 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4394 FI: homofonia, yksiäänisyys.
4396 Music in which one voice leads melodically supported by the other voices in
4397 the same rhythm (more or less). In contrast to @emph{polyphony}.
4420 FI: säkeiden tavumäärät.
4422 A group or list of numbers that indicate the number of syllables in a line
4423 of a hymn's verse. Different hymnals have different ways of noting the hymn
4424 meter: for example, consider a hymn that has four lines in two couplets
4425 alternating regularly between eight and seven syllables. The @emph{English
4426 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4427 or 8@w{ }7@w{ }8@w{ }7.
4429 Some frequently-used hymn meters have traditional names:
4432 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4433 @item 86.86 is called Common Meter (CM or C.M.)
4434 @item 88.88 is called Long Meter (LM or L.M.)
4437 Some hymns and their tunes are doubled versions of a simpler meter: for
4438 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4439 87.87D. The traditional names above also have doubled versions:
4442 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4443 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4444 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4448 No cross-references.
4461 FI: intervalli, kahden sävelen korkeusero.
4463 Difference in pitch between two notes. Intervals may be diminished, minor,
4464 perfect, major, or augmented. The augmented fourth and the diminished fifth
4465 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4466 and are called @emph{tritonus} because they consist of three whole tones.
4467 The addition of such two intervals forms an octave.
4469 @lilypond[quote,notime,line-width=13.0\cm]
4471 \context Voice \relative c'' {
4508 \context Lyrics \lyrics {
4510 "second " "second " "second " "second "
4511 "third " "third " "third " "third "
4512 "fourth " "fourth " "fourth "
4513 "fifth " "fifth " "fifth "
4514 "sixth " "sixth " "sixth " "sixth "
4515 "seventh" "seventh" "seventh" "seventh"
4516 "octave " "octave " "octave "
4522 @ref{enharmonic}, @ref{whole tone}.
4537 When a chord sounds with a bass note that differs from the root of the
4538 chord, it is said to be @emph{inverted}. The number of inversions that a
4539 chord can have is one fewer than the number of constituent notes. For
4540 example, triads (which have three constituent notes) can have three
4541 positions, two of which are inversions:
4545 The root note is in the bass, and above that are the third and the fifth. A
4546 triad built on the first scale degree, for example, is marked @notation{I}.
4548 @item First inversion
4549 The third is in the bass, and above it are the fifth and the root. This
4550 creates an interval of a sixth and a third above the bass note, and so is
4551 marked in figured Roman notation as @notation{6/3}. This is commonly
4552 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4553 characteristic interval of the inversion, and so always implies
4556 @item Second inversion
4557 The fifth is in the bass, and above it are the root and the third. This
4558 creates an interval of a sixth and a fourth above the bass note, and so is
4559 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4560 unstable chord position.
4564 No cross-references.
4567 @node inverted interval
4568 @section inverted interval
4570 ES: intervalo invertido,
4571 I: intervallo rivolto,
4572 F: intervalle renversé,
4573 D: umgekehrtes Intervall,
4574 NL: interval inversie,
4575 DK: omvendingsinterval,
4576 S: intervallets omvändning,
4577 FI: käänteisintervalli.
4579 The difference between an interval and an octave.
4581 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4582 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4583 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4584 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4588 No cross-references.
4591 @node just intonation
4592 @section just intonation
4594 ES: entonación justa,
4595 I: intonazione giusta,
4596 F: intonation juste,
4603 Tuning system in which the notes are obtained by adding and subtracting
4604 natural fifths and thirds.
4622 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4623 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4626 @ref{chromatic scale}, @ref{key signature}.
4630 @section key signature
4632 ES: armadura (de la clave),
4633 I: armatura di chiave,
4634 F: armure, armature [de la clé],
4635 D: Vorzeichen, Tonart,
4636 NL: toon@-soort (voortekens),
4639 FI: sävellajiosoitus.
4641 The sharps or flats appearing at the beginning of each staff indicating the
4648 @node laissez vibrer
4649 @section laissez vibrer
4660 [French: @q{Let vibrate}] Most frequently associated with harp
4661 parts. Marked @notation{l.v.} in the score.
4664 No cross-references.
4672 F: largo, large, ample,
4673 D: Largo, Langsam, Breit,
4677 FI: largo, hitaasti, leveästi.
4679 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4680 expressiveness. @emph{Larghetto} is less slow than largo.
4684 @section leading note
4695 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4696 called because of its strong tendency to @q{lead up} (resolve upwards)
4697 to the tonic scale degree.
4700 @ref{scale degree}, @ref{semitone}.
4704 @section ledger line
4706 ES: línea adicional,
4707 I: tagli addizionali,
4708 F: ligne supplémentaire,
4715 A ledger line is an extension of the staff.
4717 @lilypond[quote,notime,relative=2]
4724 No cross-references.
4733 D: legato, gebunden,
4739 To be performed (a) without any perceptible interruption between the
4740 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4741 @notation{portato}, or (d) @notation{staccato}.
4743 @lilypond[quote,notime,line-width=13.0\cm]
4745 \context Staff \relative c'' {
4746 c4-( d e-) \bar "||"
4747 c4-- d-- e-- \bar "||"
4748 c4-.-( d-. e-.-) \bar "||"
4749 c4-. d-. e-. \bar "||"
4765 @section legato curve
4768 @ref{slur}, @ref{legato}.
4790 A ligature is a coherent graphical symbol that represents at least two
4791 distinct notes. Ligatures originally appeared in the manuscripts of
4792 Gregorian chant notation around the 9th century to denote ascending or
4793 descending sequences of notes. In early notation, ligatures were used for
4794 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4795 performance in the sense of articulation. With the invention of the metric
4796 system of the white mensural notation, the need for ligatures to denote such
4797 patterns disappeared.
4800 @ref{mensural notation}.
4807 ES: estanque de nenúfares,
4808 I: stagno del giglio,
4809 F: étang de nénuphars, étang de nymphéas,
4811 NL: le@-lie@-vij@-ver,
4816 A pond with lilies floating in it.
4818 Also, the name of a music typesetting program.
4821 No cross-references.
4830 D: Linie, Notenlinie,
4834 FI: viiva, nuottiviiva.
4850 FI: kirjoitetussa äänenkorkeudessa.
4852 [Italian: @q{place}] Instruction to play the following passage at the
4853 written pitch. Cancels octave mark (q.v.).
4856 @ref{octave mark}, @ref{octave marking}.
4859 @node long appoggiatura
4860 @section long appoggiatura
4862 ES: apoyatura larga,
4863 I: appoggiatura lunga,
4864 F: appoggiature longue,
4869 FI: pitkä appoggiatura, pitkä etuhele.
4879 @item US: long, longa,
4882 @item F: longa, longue,
4890 Note value: twice the length of a @notation{breve}.
4892 @lilypond[quote,notime,relative=2]
4893 \override NoteHead #'style = #'mensural
4898 @ref{breve}, @ref{note value}.
4904 ES: ligadura de letra,
4906 F: ligature de mots,
4911 FI: sidonta sanoituksessa.
4913 @c TODO: add languages
4922 ES: letra (de la canción),
4925 D: Liedtext, Gesangtext,
4934 No cross-references.
4950 @ref{diatonic scale}.
4953 @node major interval
4954 @section major interval
4956 ES: intervalo mayor,
4957 I: intervallo maggiore,
4958 F: intervalle majeur,
4959 D: großes Intervall,
4963 FI: suuri intervalli.
4981 Note value: twice the length of a @notation{longa}.
4983 The maxima is the largest duration in use during the 15th and 16th centuries.
4984 Like the longa, the maxima can be either two or three times as long as the
4985 @notation{longa} (called @notation{binary} and @notation{ternary},
4986 respectively). By the late 15th century, most composers used the smaller
4987 proportion by default.
4990 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4993 @node meantone temperament
4994 @section meantone temperament
4996 ES: afinación mesotónica,
4997 I: accordatura mesotonica,
4998 F: tempérament mésotonique,
4999 D: mitteltönige Stimmung,
5000 NL: middenstemming, middentoonstemming,
5001 DK: middeltonetemperatur,
5002 S: medeltonstemperatur,
5003 FI: keskisävelviritys.
5005 Temperament yielding acoustically pure thirds by decreasing the natural
5006 fifth by 16@w{ }cents. Due to the non-circular character of this
5007 temperament only a limited set of keys are playable. Used for tuning
5008 keyboard instruments for performance of pre-1650 music.
5011 @ref{cent}, @ref{temperament}.
5026 A group of beats (units of musical time) the first of which bears an accent.
5027 Such groups in numbers of two or more recur consistently throughout the
5028 composition and are separated from each other by bar lines.
5031 @ref{bar line}, @ref{beat}, @ref{meter}.
5034 @node measure repeat
5035 @section measure repeat
5038 @ref{percent repeat}.
5045 I: mediante, modale,
5055 @item The third @b{scale degree}.
5057 @item A @emph{chord} having its base tone a third from that of another
5058 chord. For example, the tonic chord may be replaced by its lower
5059 mediant (variant tonic).
5064 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5077 FI: melisma, laulettavan tavun sävelkuvio.
5079 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5080 on one syllable, especially as applied to liturgical chant.
5083 No cross-references.
5087 @section melisma line
5089 @c TODO: add languages
5091 ES: línea de melisma,
5092 I: linea del melisma,
5093 F: trait de mélisme, trait de tenue,
5101 @ref{extender line}.
5104 @node melodic cadence
5105 @section melodic cadence
5111 @node mensural notation
5112 @section mensural notation
5114 @c TODO: add languages
5116 ES: notación mensural,
5117 I: notazione mensurale,
5118 F: notation mensurale,
5123 FI: mensuraalinuotinnus.
5125 A system of duration notation whose principles were first established in the
5126 mid-13th century, and that (with various changes) remained in use until about
5127 1600. As such, it is the basis for the notation of rhythms in Western musical
5130 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5131 of the notation's principles, so the notation of this earliest period is called
5132 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5133 and semibreve -- each of which was normally equivalent to three of the next
5136 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5137 added several note values (the minim, semiminim and fusa) and extended Franco's
5138 principles to govern the relationship between these values. They also put the
5139 duple division of note values on an equal footing with the earlier (preferred)
5142 TODO: continue description of French and Italian black notation, and the
5143 relationship betwixt them.
5145 @b{White or void mensural notation}
5147 In the 15th century, hollow (or void) notes began to substitute for the earlier
5148 solid black ones, which were then free to assume the function of red (or
5149 colored) notes in the earlier notation. ...
5151 TODO: add to definition (including summary info on proportional notation)
5154 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5155 @c TODO: more cross-references?
5158 @node mensuration sign
5159 @section mensuration sign
5161 @c TODO: add languages
5163 ES: signo de mensuración,
5165 F: signe de mensuration,
5172 The ancestor of the time signature, mensuration signs were used to indicate the
5173 relationship between two sets of note durations—specifically, the ratio of
5174 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5175 (called @notation{prolatio}).
5177 Each ratio was represented with a single single sign, and was either
5178 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5179 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5180 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5181 represented by a complete circle; applied to the @emph{prolatio}, it was called
5182 @emph{major} and was represented by a dot in the middle of the sign. The binary
5183 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5184 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5185 @emph{minor} and was represented by the lack of an internal dot. There are four
5186 possible combinations, which can be represented in modern time signatures with
5187 and without reduction of note values. (These signs are hard-coded in LilyPond
5191 @item perfect @emph{tempus} with major @emph{prolatio}
5192 Indicated by a complete circle with an internal dot. In modern time signatures,
5195 @item 9/4, with reduction or
5196 @item 9/2, without reduction
5199 @item perfect @emph{tempus} and minor @emph{prolatio}
5200 Indicated by a complete circle without an internal dot. In modern time
5201 signatures, this equals:
5203 @item 3/2, with reduction or
5204 @item 3/1, without reduction
5207 @item imperfect @emph{tempus} and major @emph{prolatio}
5208 Indicated by an incomplete circle with an internal dot. In modern time
5209 signatures, this equals:
5211 @item 6/4, with reduction or
5212 @item 6/2, without reduction
5215 @item imperfect @emph{tempus} and minor @emph{prolatio}
5216 Indicated by an incomplete circle without an internal dot. In modern time
5217 signatures, this equals:
5219 @item 4/4, with reduction or
5220 @item 2/1, without reduction
5224 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5225 with note values reduced from the original semibreve to a modern quarter note.
5226 Being doubly imperfect, this sign represented the (theoretically)
5227 least-preferred mensuration, but it was actually used fairly often.
5229 This system extended to the ratio of longer note values to each other:
5233 @item maxima to longa, called:
5237 @item @notation{modus maximorum},
5238 @item @notation{modus major}, or
5239 @item @notation{maximodus})
5243 @item longa to breve, called:
5247 @item @notation{modus longarum},
5248 @item @notation{modus minor}, or
5249 @item @notation{modus}
5255 In the absence of any other indication, these modes were assumed to be
5256 binary. The mensuration signs only indicated tempus and prolatio, so
5257 composers needed another way to indicate these longer ratios (called modes.
5258 Around the middle of the 15th century started to use groups of rests at the
5259 beginning of the staff, preceding the mensuration sign.
5262 Two mensuration signs have survived to the present day: the C-shaped sign,
5263 which originally designated @notation{tempus imperfectum} and
5264 @notation{prolatio minor} now stands for @notation{common time}; and the
5265 slashed C, which designated the same with @notation{diminution} now stands
5266 for @notation{cut-time} (essentially, it has not lost its original meaning).
5269 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5270 @c TODO: more cross-references?
5278 F: indication de mesure, mesure,
5285 The pattern of note values and accents in a composition or a section thereof.
5286 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5287 by grouping beats and by subdividing the primary beat.
5289 @b{By grouping beats}:
5293 @item @b{duple}: groups of two.
5294 @item @b{triple}: groups of three.
5295 @item @b{quadruple}: groups of four. A special case of duple meter.
5296 @item @b{quintuple}: groups of five beats.
5297 @item @b{sextuple} meter: groups of six. A special case of:
5301 @item duple meter, subdivided in three; or
5302 @item triple meter, subdivided in two.
5306 @item @b{septuple} meter: groups of seven.
5311 Other than triple meter and its subdivided variants (see below), meters that
5312 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5313 frequently used prior to the 20th Century.
5315 @b{By subdividing the primary beat}:
5319 @item simple: subdivided in groups of two.
5323 @item duple: 2/2, 2/4, 2/8
5324 @item triple: 3/2, 3/4, 3/8
5325 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5329 @item compound: subdivided in groups of three.
5335 @item quadruple: 12/8
5341 Time signatures are placed at the beginning of a composition (or section) to
5342 indicate the meter. For instance, a piece written in simple triple meter with a
5343 beat on each quarter note is conventionally written with a time signature of
5344 3/4. Here are some combinations of the two classifications above:
5346 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5348 @lilypond[quote,line-width=13.0\cm]
5352 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5355 Simple triple meter:
5357 @lilypond[quote,line-width=13.0\cm]
5361 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5364 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5366 @lilypond[quote,line-width=13.0\cm]
5370 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5373 Simple quintuple meter (B. Marcello, 1686-1739):
5375 @lilypond[quote,line-width=13.0\cm]
5379 r4 cis8 bis ais4 dis c8 ais |
5380 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5383 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5384 the source, with sharps in the accompaniment where the voice has flats and
5387 Compound duple meter (unknown):
5389 @lilypond[quote,line-width=13.0\cm]
5393 f8 f g a bes16 a g f |
5394 g8 g bes a c16 a bes g
5398 Compound triple meter (J.S. Bach, 1685-1750):
5400 @lilypond[quote,line-width=13.0\cm]
5404 r8 g'( a) b( d c) c( e d) |
5405 d( g fis) g( d b) g( a b)
5409 Compound quadruple meter (P. Yon, 1886-1943):
5411 @lilypond[quote,line-width=13.0\cm]
5415 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5416 e4 e8 fis( gis) a b4.~ b4 b8
5421 @b{@q{Monometer} vs Polymeter}
5423 TODO: add information from discussion on lilypond-user related to polymeter.
5427 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5442 Device used to indicate the exact tempo of a piece.
5444 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5445 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5446 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5447 followed acknowledged Winkler as the creator, but by then Mälzel had already
5448 sold many of them, and people had taken to calling it a Mälzel Metronome.
5451 @ref{metronome mark}.
5454 @node metronome mark
5455 @section metronome mark
5457 ES: indicación metronómica,
5458 I: indicazione metronomica,
5459 F: indication métronomique,
5461 NL: metronoom aanduiding,
5463 S: metronomangivelse,
5464 FI: metronomiosoitus.
5466 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5467 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5474 @node metronomic indication
5475 @section metronomic indication
5478 @ref{metronome mark}
5491 FI: kohtalaisen, melko.
5493 [Italian: @q{medium}]
5495 Used to qualify other indications, such as:
5501 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5503 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5509 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5516 No cross-references.
5520 @section mezzo-soprano
5531 The female voice between soprano and contralto.
5534 @ref{soprano}, @ref{contralto}.
5543 D: eingestrichenes@w{ }c,
5545 DK: enstreget@w{ }c,
5546 S: ettstruket@w{ }c,
5549 First C below the 440 Hz A.
5551 @lilypond[quote,notime,relative=1]
5552 \override Staff.Clef #'full-size-change = ##t
5559 No cross-references.
5575 @ref{diatonic scale}.
5578 @node minor interval
5579 @section minor interval
5581 ES: intervalo menor,
5582 I: intervallo minore,
5583 F: intervalle mineur,
5584 D: kleines Intervall,
5588 FI: pieni intervalli.
5594 @node mixolydian mode
5595 @section mixolydian mode
5598 @ref{diatonic scale}.
5607 D: Kirchentonart, Modus,
5611 FI: moodi, kirkkosävelasteikko.
5614 @ref{church mode}, @ref{diatonic scale}.
5627 FI: modulaatio, sävellajin vaihdos.
5629 Moving from one @ref{key} to another. For example, the second subject
5630 of a @ref{sonata form} movement modulates to the dominant key if the
5631 key is major and to the @ref{relative key} if the key is minor.
5634 No cross-references.
5646 FI: mordent, korukuvio.
5669 FI: teema, sävelaihe.
5671 The briefest intelligible and self-contained fragment of a musical
5674 @lilypond[quote,line-width=13.0\cm]
5677 \set Score.implicitTimeSignatureVisibility = #all-invisible
5678 \override Score.TimeSignature #'break-visibility = #all-invisible
5681 \partial 8 g16\startGroup fis |
5682 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5683 g8 g,16 a b8 cis d16 s
5687 \Staff \consists "Horizontal_bracket_engraver"
5693 No cross-references.
5708 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5709 several -- more or less -- independent pieces called movements.
5712 No cross-references.
5715 @node multi-measure rest
5716 @section multi-measure rest
5718 ES: compases de espera, silencio multicompás,
5720 F: pause multiple, mesure à compter,
5722 D: mehrtaktige Pause, Kirchenpause,
5725 FI: usean tahdin mittainen tauko.
5727 Multi-measure rests are conventionally typeset with a combination of
5728 longa, breve and whole rests for shorter and a long horizontal bar for
5729 longer spans of rest, with a number above to indicate the duration (in
5730 measures) of the rest. The former style is called @q{Kirchenpausen} in
5731 German, as a reminiscence of its use in Renaissance vocal polyphony.
5733 @lilypond[quote,relative=2]
5735 \set Score.skipBars = ##t
5738 \set Score.skipBars = ##t
5744 @ref{longa}, @ref{breve}.
5753 D: Auflösungszeichen,
5754 NL: herstellingsteken,
5755 DK: op@-løsningstegn,
5756 S: återställningstecken,
5763 @node neighbor tones
5764 @section neighbor tones
5766 @c TODO: add definition.
5778 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5817 Notes are signs by means of which music is fixed in writing. The term is also
5818 used for the sound indicated by a note, and even for the key of the piano
5819 which produces the sound. However, a clear distinction between the terms tone
5820 and @ref{note} is strongly recommended. Briefly, one sees a note,
5824 No cross-references.
5831 I: testa, testina, capocchia,
5839 A head-like sign which indicates pitch by its position on a @notation{staff}
5840 provided with a @notation{clef}, and duration by a variety of shapes such as
5841 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5842 For percussion instruments (often having no defined pitch) the note head may
5843 indicate the instrument.
5846 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5859 ES: valor, duración,
5861 F: durée, valeur (d'une note),
5866 FI: nuotin aika-arvo.
5868 Note values (durations) are measured as fractions—in modern usage, one-half—of
5869 the next higher note value. The longest duration in current use is the
5870 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5871 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5872 or @notation{maxima} (eight whole notes) may be found.
5874 As used in mensural notation, this fraction was more flexible: it could also
5875 be one-third the higher note value. Composers indicated which proportions
5876 to use with various signs—two of which survive to the present day: the
5877 C-shaped sign for @notation{common time}, and the slashed C for
5878 @notation{alla breve} or @notation{cut-time}.
5880 @c TODO -- add maxima to this example, in a way that doesn't break it.
5882 @lilypond[quote,notime,line-width=13.0\cm]
5884 \override NoteHead #'style = #'mensural
5885 a\longa_"longa" a\breve_"breve"
5886 \revert NoteHead #'style
5887 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5888 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5891 @c TODO -- add maxima rest to this example
5893 @lilypond[quote,notime,line-width=13.0\cm]
5895 r\longa_"longa" r\breve_"breve"
5896 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5897 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5900 An augmentation dot after a note increases its duration by half; a second dot
5901 increases it by half of the first addition (that is, by a fourth of the original
5902 duration). More dots can be used to add further halved fractions of the
5903 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5905 @lilypond[quote,line-width=13.0\cm]
5908 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5909 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5912 Alternatively note values may be subdivided by other ratios. Most common is
5913 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5914 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5915 dotted notes are also frequently used.
5917 @lilypond[quote,line-width=13.0\cm]
5920 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5921 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5925 @lilypond[quote,line-width=13.0\cm]
5928 \times 3/2 {g4_"duplets" g} |
5930 \times 6/4 {g8_"quadruplets" g g g} |
5931 g8 g g g g4 \bar "||"
5943 @ref{octave marking}.
5958 The interval of an octave, sometimes abbreviated @notation{8ve}.
5960 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5961 bracket, or @notation{loco} see octave marking.
5964 @ref{interval}, @ref{octave marking}.
5968 @section octave mark
5970 ES: indicación de octava,
5972 F: indication d'octave,
5979 The phrase, abbreviation, or other mark used (with or without an extender line
5980 or bracket) to indicate that the music is to be played in a different octave:
5984 @item @notation{15ma}: play two octaves higher
5985 @item @notation{8va}: play one octave higher
5986 @item @notation{8vb}: play one octave lower
5987 @item @notation{8va} (written below the passage): unusual, same as
5989 @item @notation{15vb}: play two octaves lower
5990 @item @notation{15va} (written below the passage): unusual, same as
5995 For longer passages, it may be more practical to mark the octave change at the
5996 beginning with a phrase (see the list below for examples), but without a bracket
5997 or extender line. Then, when the music returns to the written pitch, the octave
5998 change is cancelled with the word @notation{loco} (q.v.).
6000 To parallel the list above:
6004 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6005 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6006 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6007 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6011 In the phrases above, @notation{quindicesima} is sometimes replaced with
6012 @notation{quindecima}, which is Latin.
6014 The music on an entire staff can be marked to be played in a different octave by
6015 putting a small 8 or 15 above or below the clef at the beginning. This octave
6016 mark can be applied to any clef, but it is most frequently used with the G and F
6020 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6023 @node octave marking
6024 @section octave marking
6033 FI: oktaavamerkintä.
6035 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6036 that it is to be played in a different octave. If applied to the clef at the
6037 beginning of the staff, all music on that staff is to played at the indicated
6040 For a list of the specific marks used, see @ref{octave mark}.
6043 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6047 @section octave sign
6057 I: abbellimento, fioriture,
6058 F: agrément, ornement,
6059 D: Verzierung, Ornament,
6065 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6066 with the diatonic @ref{second} above it. In the music from the
6067 middle of the 19th century and onwards the trill is performed with the main
6068 note first while in the music from the preceding baroque and classic periods
6069 the upper note is played first.
6071 @lilypond[quote,line-width=13.0\cm]
6073 \context Staff = sa {
6075 c2._"pre-1850" b4\trill | c1 \bar "||"
6076 c2._"post-1850" b4\trill | c1 \bar "||"
6080 c2. c32 b c b c b c b | c1
6081 c2. b32 c b c \times 4/5 { b c b c b } | c1
6086 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6087 the @emph{prall} (inverted mordent).
6089 @lilypond[quote,line-width=13.0\cm]
6091 \context Staff = sa {
6093 a4_"turn" b\turn c2 \bar "||"
6094 g4_"mordent" a b\mordent a \bar "||"
6095 e'4_"prall" d\prall c2 \bar "||"
6101 e'4 e32[ d e d ~ d8] c2
6107 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6115 F: ossia, alternative,
6120 FI: ossia, vaihtoehtoinen esitystapa.
6122 Ossia (otherwise) marks an alternative. It is an added staff or piano
6123 score, usually only a few measures long, which presents another version
6124 of the music, for example for small hands.
6127 Compare: @ref{cue-notes}.
6133 ES: parte, particella,
6140 FI: stemma, instrumenttiosuus.
6144 @item In instrumental or choral music, the music for a single
6145 instrument or voice.
6147 @item in contrapuntal music, a single melodic line in the contrapuntal
6170 @node percent repeat
6171 @section percent repeat
6173 LilyPond-specific term to indicate the repetition of a musical expression on a
6174 single staff, as opposed to the more usual definition of repeat, which affects
6175 all parts. The musical expression can be anything from a single note or note
6176 pattern to one or more measures. There are other names for this symbol:
6181 @item slash mark, or slash repeat
6183 @item measure (or multi-measure) repeat
6187 @lilypond[quote,relative=2,line-width=13.0\cm]
6189 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6190 \repeat percent 2 { c4 e g b_"Measure repeat" }
6191 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6196 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6197 Vermont Music Dictionary}.
6206 D: Schlagzeug, Schlagwerk,
6212 A family of musical instruments which are played on by striking or
6213 shaking. Percussion instruments commonly used in a symphony orchestra are
6214 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6215 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6219 No cross-references.
6222 @node perfect interval
6223 @section perfect interval
6225 ES: intervalo justo,
6226 I: intervallo giusto,
6227 F: intervalle juste,
6228 D: reines Intervall,
6232 FI: puhdas intervalli.
6250 A natural division of the melodic line, comparable to a sentence of speech.
6266 FI: fraseeraus, jäsentäminen.
6268 The clear rendering in musical performance of the @notation{phrases} of the
6269 melody. Phrasing may be indicated by a @notation{slur}.
6272 @ref{phrase}, @ref{slur}.
6287 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6288 @emph{mezzo piano} (@b{mp}) medium soft.
6291 No cross-references.
6299 F: anacrouse, levée,
6324 @item The perceived quality of a sound that is primarily a function of its
6325 fundamental frequency.
6327 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6329 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6330 association of a particular frequency with a particular pitch name, e.g., c' =
6346 NL: pizzicato, getokkeld,
6349 FI: pizzicato, näppäillen.
6351 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6355 No cross-references.
6361 ES: compás polimétrico,
6368 FI: monia tahtiosoituksia sisältävä.
6372 @item The @emph{simultaneous} use of two or more meters, in two or more
6375 @item The @emph{successive} use of different meters in one or more parts.
6380 @ref{polymetric} (adj.)
6393 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6395 Characterized by @emph{polymeter}: using two or more metric frameworks
6396 simultaneously or in alternation.
6399 @ref{polymeter} (noun)
6402 @node polymetric time signature
6403 @section polymetric time signature
6405 ES: indicación de compás polimétrico,
6406 I: tempo polimetrico,
6412 FI: vaihtelevan tahtiosoitusmerkintä.
6414 A time signature that indicates regularly alternating polymetric time.
6426 D: Polyphonie, Mehrstimmigkeit,
6430 FI: polyfonia, moniäänisyys.
6432 Music written in a combination of several simultaneous voices (parts)
6433 of a more or less pronounced individuality.
6442 [Italian: past participle of @emph{portare}, @q{to carry}]
6444 A stroke in which each of several notes is separated slightly within a slur,
6445 without changing the bow's direction. It is used for passages of a
6446 @notation{cantabile} character.
6455 ES: presto, muy rápido,
6457 F: presto, très rapide, enlevé,
6458 D: Presto, Sehr schnell,
6459 NL: presto, Sehr schnell,
6462 FI: presto, hyvin nopeasti.
6466 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6467 denotes the highest possible degree of speed.
6470 No cross-references.
6485 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6486 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6491 @item A ratio that expresses the relationship between the note values that
6492 follow with those that precede;
6494 @item A ratio between the note values of a passage and the @q{normal}
6495 relationship of note values to the metrical pulse. (A special case of the
6500 The most common proportions are:
6503 @item 2:1 (or simply 2), expressed by a vertical line through the
6504 mensuration sign (the origin of the @notation{alla breve} time signature),
6505 or by turning the sign backwards
6506 @item 3:1 (or simply 3)
6507 @item 3:2 (@emph{sesquialtera})
6510 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6513 @item 1:2 cancels 2:1
6514 @item 1:3 cancels 3:1
6515 @item 2:3 cancels 3:2
6519 Gaffurius enumerates five basic types of major:minor proportions and their
6523 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6524 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6526 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6527 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6528 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6530 @item Superpartiens, if the major number is one less than twice the minor
6531 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6533 @item Multiplexsuperparticular, if the major number is one more than twice the
6534 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6537 @item Multiplexsuperpartiens, if the major number is one less than some other
6538 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6539 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6543 He then continues to subdivide each type in various ways. For the multiplex
6544 proportions, for example, he indicates how many times greater the major number
6549 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6550 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6552 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6555 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6556 Example: 4:1, 8:2, and 12:3
6560 Other proportions were possible, but whether they were frequently used is
6565 @item 33:9, @emph{triplasuperbipartientetertias}
6566 @item 51:15, @emph{triplasuperbipartientequintas}
6570 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6573 @ref{mensural notation}.
6576 @node Pythagorean comma
6577 @section Pythagorean comma
6579 ES: coma pitagórica,
6580 I: comma pitagorico,
6581 F: comma pythagoricien,
6582 D: Pythagoräisches Komma,
6583 NL: komma van Pythagoras,
6584 DK: pythagoræisk komma,
6585 S: pytagoreiskt komma,
6586 FI: pytagorinen komma.
6588 Originally, the interval by which the sum of six whole tones exceeds the octave
6589 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6591 Modern acoustical theory defines it as the interval by which twelve fifths
6592 exceed seven octaves. To put it another way: A sequence of fifths that starts
6593 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6594 than the C obtained by adding 7 octaves. The difference between those two
6595 pitches is the Pythagorean comma.
6598 @ref{cent}, @ref{temperament}.
6620 ES: variante [de acorde o intervalo],
6629 The quality of a triad is determined by the precise arrangement of its
6630 intervals. Tertian triads can be described as a series of three notes. The
6631 first element is the root note (or simply @q{root}) of the chord, the second
6632 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6633 the chord. These are described below:
6635 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6636 @headitem Chord name
6637 @tab Component intervals
6640 @item major triad @tab major third/perfect fifth
6642 @tab C, CM, Cma, Cmaj, CΔ
6643 @item minor triad @tab minor third/perfect fifth
6645 @tab Cm, Cmi, Cmin, C-
6646 @item augmented triad @tab major third/augmented fifth
6649 @item diminished triad @tab minor third/diminished fifth
6651 @tab Cm(♭5), Cº, Cdim
6654 There are various types of seventh chords depending on the quality of the
6655 original chord and the quality of the seventh added.
6657 Five common types of seventh chords have standard symbols. The chord quality
6658 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6659 and D^m7 are all identical). The last three chords are not commonly used
6667 @section quarter note
6672 @item I: semiminima, nera
6674 @item D: Viertel, Viertelnote
6676 @item DK: fjerdedelsnode
6677 @item S: fjärdedelsnot
6678 @item FI: neljäsosanuotti
6686 @section quarter rest
6689 @item UK: crotchet rest
6690 @item ES: silencio de negra
6691 @item I: pausa di semiminima
6693 @item D: Viertelpause
6695 @item DK: fjerdedelspause
6696 @item S: fjärdedelspaus
6697 @item FI: neljäsosatauko
6705 @section quarter tone
6714 FI: neljännessävelaskel.
6716 An interval equal to half a semitone.
6725 ES: cinquillo, quintillo,
6739 @section rallentando
6743 F: rallentando, en ralentissant,
6744 D: rallentando, langsamer werden,
6748 FI: rallerdando, hidastuen.
6750 [Italian] A performance indication, abbreviated @notation{rall.}.
6757 @section relative key
6760 I: tonalità relativa,
6761 F: tonalité relative,
6763 NL: paralleltoonsoort,
6764 DK: paralleltoneart,
6766 FI: rinnakkaissävellaji.
6768 Major and minor keys that have the same key signature.
6770 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6772 es1_"e flat major" f g as bes c d es
6776 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6778 c1_"c minor" d es f g a! b! c
6783 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6791 F: barre de reprise,
6794 DK: gen@-ta@-gel@-se,
6798 @lilypond[quote,relative=2,line-width=13.0\cm]
6810 No cross-references.
6825 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6826 @c specify the rest's value.
6846 @item Metrical rhythm in which every time value is a multiple or
6847 fraction of a fixed unit of time, called @emph{beat}, and in which the
6848 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6849 The basic scheme of time values is called @emph{meter}.
6851 @item Measured rhythm which lacks regularly recurrent accent. In
6852 modern notation such music appears as a free alternation of different
6855 @item Free rhythm, i.e., the use of temporal values having no common
6856 metrical unit (beat).
6861 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6867 ES: ritardando, retardando,
6869 F: ritardando, en ralentissant,
6870 D: ritardando, langsamer werden,
6874 FI: ritardando, hidastuen,
6876 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6880 No cross-references.
6886 ES: ritenuto, reteniendo,
6888 F: ritenuto, en retenant,
6893 FI: ritenuto, hidastaen.
6895 Immediate reduction of speed.
6898 No cross-references.
6911 FI: asteikko, sävelasteikko.
6914 @ref{diatonic scale}.
6918 @section scale degree
6920 ES: grado (de la escala),
6921 I: grado della scala,
6922 F: degré [de la gamme],
6924 NL: trap [van de toonladder],
6927 FI: sävelaste, asteikon sävel.
6929 Names and symbols used in harmonic analysis to denote tones of the
6930 scale as roots of chords. The most important are degrees I = tonic
6931 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6933 @lilypond[quote,notime,line-width=13.0\cm]
6935 \new Staff \relative c' {
6939 << { I II III IV V VI VII I }
6946 @ref{functional harmony}.
6954 F: à cordes ravallées,
6959 FI: epätavallinen viritys.
6961 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6962 tuning of stringed instruments, particularly lutes or violins. Used
6967 @item facilitate pitch combinations that would otherwise be difficult
6970 @item alter the characteristic timbre of the instrument, for example,
6971 to increase brilliance
6973 @item reinforce certain sonorities or tonalities by making them
6974 available on open strings
6976 @item imitate other instruments
6982 Tunings that could be called @var{scordatura} first appeared early in
6983 the 16th Century and became commonplace in the 17th.
6986 No cross-references.
6994 F: partition, conducteur (full score),
6995 D: Partitur (full score), Klavierauszug (vocal score),
7001 A copy of orchestral, choral, or chamber music showing what each
7002 instrument is to play, each voice to sing, having each part arranged
7003 one underneath the other on different staves @ref{staff}.
7006 No cross-references.
7021 The interval between two neighboring tones of a scale. A diatonic scale
7022 consists of alternating semitones and whole tones, hence the size of a
7023 second depends on the scale degrees in question.
7026 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7033 @item US: whole note,
7037 @item D: Ganze, ganze Note,
7038 @item NL: hele noot,
7041 @item FI: kokonuotti.
7044 Note value: called @notation{whole note} in the US.
7046 The semibreve is the basis for the @notation{tactus} in mensural notation
7047 (i.e. music written before ca. 1600).
7050 @ref{mensural notation}, @ref{note value}.
7065 The interval of a minor second. The (usually) smallest interval in European
7066 composed music. The interval between two neighboring tones on the piano
7067 keyboard -- including black and white keys -- is a semitone. An octave may
7068 be divided into 12@w{ }semitones.
7070 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7071 g1 gis s a bes s b! c
7075 @ref{interval}, @ref{chromatic scale}.
7098 @ref{sextuplet}, @ref{note value}.
7143 ES: simile, similar,
7152 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7153 is to be played in the same manner (i.e. with the same articulations, dynamics,
7154 etc.) as the music that precedes it.
7157 TODO: Where else could I refer the reader?
7161 @section simple meter
7163 ES: compás simple, compás de subdivisión binaria,
7170 FI: kaksijakoinen tahtiosoitus.
7172 A meter in which the basic beat is subdivided in two: that is, a meter
7173 that does not include triplet subdivision of the beat.
7176 @ref{compound meter}, @ref{meter}.
7179 @node sixteenth note
7180 @section sixteenth note
7183 @item UK: semiquaver
7184 @item ES: semicorchea
7186 @item F: double croche
7187 @item D: Sechzehntel, Sechzehntelnote
7188 @item NL: zestiende noot
7189 @item DK: sekstendedelsnode
7190 @item S: sextondelsnot
7191 @item FI: kuudestoistaosanuotti
7198 @node sixteenth rest
7199 @section sixteenth rest
7202 @item UK: semiquaver rest
7203 @item ES: silencio de semicorchea
7204 @item I: pausa di semicroma
7205 @item F: quart de soupir
7206 @item D: Sechzehntelpause
7207 @item NL: zestiende rust
7208 @item DK: sekstendedelspause
7209 @item S: sextondelspaus
7210 @item FI: kuudestoistaosatauko
7233 @node sixty-fourth note
7234 @section sixty-fourth note
7237 @item UK: hemidemisemiquaver
7239 @item I: semibiscroma
7240 @item F: quadruple croche
7241 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7242 @item NL: vierenzestigste noot
7243 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7244 @item S: sextiofjärdedelsnot
7245 @item FI: kuudeskymmenesneljäsosanuotti
7252 @node sixty-fourth rest
7253 @section sixty-fourth rest
7256 @item UK: hemidemisemiquaver rest
7257 @item ES: silencio de semifusa
7258 @item I: pausa di semibiscroma
7259 @item F: seizième de soupir
7260 @item D: Vierundsechzigstelpause
7261 @item NL: vierenzestigste rust
7262 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7263 @item S: sextiofjärdedelspaus
7264 @item FI: kuudeskymmenesneljäsosatauko
7272 @section slash repeat
7275 @ref{percent repeat}.
7281 ES: ligadura de expresión,
7282 I: legatura (di portamento o espressiva),
7284 D: Bogen (Legatobogen, Phrasierungsbogen),
7285 NL: fraseringsboog, legatoboog, streekboog,
7286 DK: legatobue, fraseringsbue,
7290 A slur above or below a group of notes indicates that they are to be
7291 played @ref{legato}, e.g., with one stroke of the violin bow or with
7292 one breath in singing.
7295 No cross-references.
7299 @section solmization
7308 FI: suhteelliset laulunimet.
7310 General term for systems of designating the degrees of the
7311 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7312 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7316 @ref{scale}, @ref{scale degree}.
7331 In its present-day meaning a sonata denotes an instrumental
7332 composition for piano or for some other instrument with piano
7333 accompaniment, which consists of three or four independant pieces,
7337 No cross-references.
7341 @section sonata form
7345 F: [en] forme de sonate,
7347 NL: hoofdvorm, sonatevorm,
7352 A form used frequently for single movements of the @emph{sonata},
7353 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7354 three sections called @notation{exposition}, @notation{development} and
7355 @notation{recapitulation}. In the exposition the composer introduces some
7356 musical ideas, consisting of a number of themes; in the development section the
7357 composer @emph{develops} this material, and in the recapitulation the composer
7358 repeats the exposition, with certain modifications. The exposition contains a
7359 number of themes that fall into two groups, often called first and second
7360 subject. Other melodies occurring in each group are considered as continuations
7361 of these two. The second theme is in another key, normally in the key of the
7362 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7363 @notation{relative key} if the tonic is @notation{minor}.
7366 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7367 @ref{symphony}, @ref{tonic}.
7387 FI: sopraano, korkea naisääni.
7389 The highest female voice.
7392 No cross-references.
7400 F: staccato, piqué, détaché,
7405 FI: staccato, lyhyesti, terävästi.
7407 Playing the note(s) short. Staccato is indicated by a dot above or
7408 below the note head.
7410 @lilypond[quote,relative=2]
7414 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7420 No cross-references.
7427 ES: pentagrama, pauta,
7428 I: pentagramma, rigo (musicale),
7430 D: Notensystem, Notenzeile,
7431 NL: (noten)balk, partij,
7436 A staff (plural: staves) is a series of (normally five) horizontal
7437 lines upon and between which the musical notes are written, thus
7438 indicating (in connection with a @ref{clef}) their pitch. Staves for
7439 @ref{percussion} instruments may have fewer lines.
7442 No cross-references.
7458 D: Hals, Notenhals, Stiel,
7464 Vertical line above or below a @ref{note head} shorter than a
7467 @lilypond[quote,notime,relative=2]
7468 \set Score.autoBeaming = ##f
7482 ES: stringendo, acelerando,
7484 F: stringendo, en accélérant,
7489 FI: kiihdyttäen, nopeuttaen.
7491 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7510 A family of stringed musical instruments played with a bow. Strings
7511 commonly used in a symphony orchestra are violin, viola, violoncello,
7515 No cross-references.
7519 @section strong beat
7524 D: betonter Taktteil oder Taktschlag,
7526 D: betonet taktslag,
7527 S: betonat taktslag,
7528 FI: tahdin vahva isku.
7531 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7535 @section subdominant
7544 FI: subdominantti, alidominantti.
7546 The fourth @notation{scale degree}.
7549 @ref{functional harmony}, @ref{scale degree}.
7564 The sixth @notation{scale degree}.
7567 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7580 FI: subtoonika, alitoonika.
7582 The seventh @ref{scale degree}.
7585 @ref{functional harmony}, @ref{scale degree}.
7591 ES: sobre la cuerda de Sol,
7594 D: auf G, auf der G-Saite,
7600 Indicates that the indicated passage (or note) should be played on the
7604 No cross-references.
7608 @section superdominant
7619 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7622 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7637 The second @ref{scale degree}.
7640 @ref{functional harmony}, @ref{scale degree}.
7649 D: Sinfonie, Symphonie,
7655 A symphony may be defined as a @emph{sonata} for orchestra.
7662 @section syncopation
7673 Any deliberate upsetting of the normal pulse of @ref{meter},
7674 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7675 rhythm rests upon the grouping of equal beats into groups of two or
7676 three, with a regularly recurrent accent on the first beat of each
7677 group. Any deviation from this scheme is felt as a disturbance or
7678 contradiction between the underlaying (normal) pulse and the actual
7681 @lilypond[quote,relative=1]
7684 e16 c'8 e,16 c'8 e,16 c' ~
7689 No cross-references.
7692 @node syntonic comma
7693 @section syntonic comma
7695 ES: coma sintónica, coma de Dídimo,
7696 I: comma sintonico (o didimico),
7697 F: comma syntonique,
7698 D: syntonisches Komma,
7699 NL: syntonische komma,
7700 DK: syntonisk komma,
7701 S: syntoniskt komma,
7702 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7703 Pytagorisessa viritysjärjestelmässä.
7705 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7706 by which the ditone exceeds the pure major third obtained by Pythagorean
7707 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7709 Modern acoustical theory defines it as the interval by which four fifths exceed
7710 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7712 This comma is also known as the comma of Didymus, or didymic comma.
7715 @ref{Pythagorean comma}
7724 D: Notensystem, Partitur,
7728 FI: nuottijärjestelmä.
7730 The collection of staves (@notation{staff}), two or more, as used for writing
7731 down of keyboard, chamber, choral, or orchestral music.
7738 @section temperament
7743 D: Stimmung, Tem@-pe@-ra@-tur,
7744 NL: stemming, temperatuur,
7747 FI: viritysjärjestelmä.
7749 Systems of tuning in which the intervals deviate from the acoustically
7753 @ref{meantone temperament}, @ref{equal temperament}.
7756 @node tempo indication
7757 @section tempo indication
7759 ES: indicación de tempo,
7760 I: indicazione di tempo,
7761 F: indication de tempo,
7762 D: Zeitmaß, Tempobezeichnung,
7763 NL: tempo aanduiding,
7768 The rate of speed of a composition or a section thereof, ranging from the
7769 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7770 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7774 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7788 FI: tenori, korkea miesääni.
7790 The highest @q{natural} male voice (apart from @notation{countertenor}).
7815 ES: subrayado (tenuto),
7824 An indication that a particular note should be held for the whole
7825 length, although this can vary depending on the composer and era.
7828 No cross-references.
7847 @node thirty-second note
7848 @section thirty-second note
7851 @item UK: demisemiquaver
7854 @item F: triple croche
7855 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7856 @item NL: twee@-endertig@-ste (32e) noot
7857 @item DK: toogtredivtedelsnode
7858 @item S: trettiotvåondelsnot
7859 @item FI: kolmaskymmeneskahdesosanuotti
7866 @node thirty-second rest
7867 @section thirty-second rest
7870 @item UK: demisemiquaver rest
7871 @item ES: silencio de fusa
7872 @item I: pausa di biscroma
7873 @item F: huitième de soupir
7874 @item D: Zweiunddreissigstel@-pause
7875 @item NL: twee@-endertig@-ste (32e) rust
7876 @item DK: toogtredivtedelspause
7877 @item S: trettiotvåondelspaus
7878 @item FI: kolmaskymmeneskahdesosatauko
7886 @section thorough bass
7895 ES: ligadura de unión (o de prolongación),
7896 I: legatura (di valore),
7897 F: liaison (de tenue),
7898 D: Haltebogen, Bindebogen,
7899 NL: overbinding, bindingsboog,
7901 S: bindebåge, överbindning,
7904 A curved line, identical in appearance with the @ref{slur}, which
7905 connects two succesive notes of the same pitch, and which has the
7906 function of uniting them into a single sound (tone) equal to the
7909 @lilypond[quote,notime,relative=2]
7921 @node time signature
7922 @section time signature
7924 ES: indicación de compás,
7926 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7927 D: Taktangabe, Angabe der Taktart,
7930 S: taktartssignatur,
7933 The sign placed at the beginning of a composition to indicate its
7934 meter. It most often takes the form of a fraction, but a few signs
7935 derived from mensural notation and proportions are also employed.
7938 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7953 A sound of definite pitch and duration, as distinct from @emph{noise}.
7954 Tone is a primary building material of music.
7956 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7959 No cross-references.
7974 The first @notation{scale degree}.
7977 @ref{functional harmony}, @ref{scale degree}.
7980 @node transposing instrument
7981 @section transposing instrument
7983 ES: instrumento transpositor,
7984 I: strumento traspositore,
7985 F: instrument transpositeur,
7990 FI: transponoitava soitin.
7992 Instruments whose notated pitch is different from their sounded pitch. Except
7993 for those whose notated and sounding pitches differ by one or more octaves (to
7994 reduce the number of ledger lines needed), most such instruments are identified
7995 by the letter name of the pitch class of their fundamental. The pitch class is
7996 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7997 the instrument plays a notated C.
7999 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8000 the B-flat one tone lower. If played on the A clarinet, the same written
8001 note sounds the A (one and half tones -- a minor third -- lower).
8003 Not all transposing instruments include the pitch class in their name:
8006 @item Alto flute (in G)
8007 @item English horn (in F)
8008 @item Saxophones (in B-flat or E-flat)
8011 @ignore Can we do better?
8013 To make matters more complex, some instruments are transposing instruments,
8014 but their players play from parts written at concert pitch. This is the
8015 case for orchestral trombone and tuba players—whereas trombone players in
8016 brass bands treat their parts as if written for a true transposing
8017 instrument in B-flat.
8022 @ref{concert pitch}.
8026 @section transposition
8028 ES: transporte, transposición,
8037 Shifting a melody up or down in pitch, while keeping the same
8040 @lilypond[quote,line-width=13.0\cm]
8045 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8050 @lilypond[quote,line-width=13.0\cm]
8053 \transpose c bes \relative c'' {
8055 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8061 No cross-references.
8065 @section treble clef
8067 ES: clave de sol en segunda,
8068 I: chiave di violino,
8070 D: Violinschlüssel, Sopranschlüssel,
8092 On stringed instruments:
8096 @item The quick reiteration of the same tone, produced by a rapid
8097 up-and-down movement of the bow.
8099 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8100 in the distance of a third (@ref{interval}).
8104 @lilypond[quote,notime,relative=1]
8106 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8107 \repeat tremolo 8 { e32_"b" g }
8119 F: triade, accord parfait, accord de trois sons,
8135 F: trille, tremblement, battement (cadence),
8147 @section triple meter
8149 ES: compás ternario,
8152 D: in drei, ungerader Takt,
8153 NL: driedelige maatsoort,
8195 @section tuning fork
8197 ES: diapasón [de horquilla],
8198 I: diapason, corista,
8206 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8207 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8208 standard. Tuning forks for other pitches are available.
8217 ES: grupo de valoración especial,
8218 I: gruppi irregolari,
8226 A non-standard subdivision of a beat or part of a beat, usually
8227 indicated with a bracket and a number indicating the number of
8231 @ref{triplet}, @ref{note value}.
8237 ES: grupeto (circular),
8260 FI: unisono, yksiäänisesti.
8262 Playing of the same notes or the same melody by various instruments
8263 (voices) or by the whole orchestra (choir), either at exactly the same
8264 pitch or in a different octave.
8267 No cross-references.
8275 F: anacrouse, levée,
8296 FI: ääni, lauluääni.
8304 @item @ref{mezzo-soprano}
8305 @item @ref{contralto}
8307 @item @ref{baritone}
8311 @item A melodic layer or part of a polyphonic composition.
8316 No cross-references.
8322 ES: vez, primera y segunda vez,
8329 FI: yksi kertauksen maaleista.
8331 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8332 or second ending. LilyPond extends this idea to any number, and allows any text
8333 (not just a number) -- to serve as the @notation{volta} text.
8336 No cross-references.
8343 I: tempo debole, arsi,
8345 D: unbetonter Taktteil oder Taktschlag,
8347 DK: ubetonet taktslag,
8348 S: obetonat taktslag,
8349 FI: tahdin heikko isku.
8352 @ref{beat}, @ref{measure}, @ref{rhythm}.
8363 @item D: Ganze, ganze Note
8367 @item FI: kokonuotti
8378 @item UK: semibreve rest
8379 @item ES: silencio de redonda
8380 @item I: pausa di semibreve
8382 @item D: ganze Pause, ganztaktige Pause
8384 @item DK: helnodespause
8405 The interval of a major second. The interval between two tones
8406 on the piano keyboard with exactly one key between them -- including
8407 black and white keys -- is a whole tone.
8425 A family of blown wooden musical instruments. Today some of these
8426 instruments are actually made from metal. The woodwind instruments
8427 commonly used in a symphony orchestra are flute, oboe, clarinet,
8428 saxophone, and bassoon.
8431 No cross-references.
8434 @node Duration names notes and rests
8435 @chapter Duration names notes and rests
8437 @multitable @columnfractions .12 .22 .22 .22 .22
8439 @headitem Lang. @tab note name
8443 @item @strong{US} @tab long
8447 @item @strong{UK} @tab longa
8451 @item @strong{ES} @tab longa
8452 @tab silencio de longa
8454 @tab silencio de cuadrada
8455 @item @strong{IT} @tab longa
8459 @item @strong{FR} @tab longa
8460 @tab quadruple-pause
8463 @item @strong{DE} @tab Longa
8467 @item @strong{NL} @tab longa
8471 @item @strong{DK} @tab longa
8472 @tab longanodespause
8474 @tab brevis(nodes)pause
8475 @item @strong{SE} @tab longa
8479 @item @strong{FI} @tab longa-nuotti
8481 @tab brevis-nuotti, kaksoiskoko@-nuotti
8482 @tab brevis-tauko, kaksoiskoko@-tauko
8486 @multitable @columnfractions .12 .22 .22 .22 .22
8488 @headitem Lang. @tab note name
8492 @item @strong{US} @tab whole note
8496 @item @strong{UK} @tab semibreve
8500 @item @strong{ES} @tab redonda
8501 @tab silencio de redonda
8503 @tab silencio de blanca
8504 @item @strong{IT} @tab semibreve
8505 @tab pause di semibreve
8507 @tab pausa di minima
8508 @item @strong{FR} @tab ronde
8512 @item @strong{DE} @tab ganze Note
8516 @item @strong{NL} @tab hele noot
8520 @item @strong{DK} @tab helnode
8524 @item @strong{SE} @tab helnot
8528 @item @strong{FI} @tab kokonuotti
8535 @multitable @columnfractions .12 .22 .22 .22 .22
8537 @headitem Lang. @tab note name
8541 @item @strong{US} @tab quarter note
8545 @item @strong{UK} @tab crotchet
8549 @item @strong{ES} @tab negra
8550 @tab silencio de negra
8552 @tab silencio de corchea
8553 @item @strong{IT} @tab semiminima, nera
8554 @tab pausa di semiminima, pausa di nera
8557 @item @strong{FR} @tab noire
8561 @item @strong{DE} @tab Viertelnote
8565 @item @strong{NL} @tab kwartnoot
8569 @item @strong{DK} @tab fjerdedelsnode
8570 @tab fjerdedelspause
8571 @tab ottendedelsnode
8572 @tab ottendedelspause
8573 @item @strong{SE} @tab fjärdedelsnot
8577 @item @strong{FI} @tab neljäsosa@-nuotti
8578 @tab neljäsosa@-tauko
8579 @tab kahdeksasosa@-nuotti
8580 @tab kahdeksasosa@-tauko
8584 * About the French naming system: @notation{croche} refers to the note's
8585 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8586 @q{doubled hook}, @q{trebled hook}, and so on.
8588 The rest names are based on the @notation{soupir}, or quarter rest.
8589 Subsequent rests are expressed as fractions thereof: half a
8590 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8592 Each of the following tables contains one type of note and its matching rest,
8593 with abbreviations that apply to both notes and rests. Just switch the part
8594 that means @q{note} with the part that means @q{rest}, for example:
8598 @item English: 16th @strong{note}, 16th @strong{rest}
8599 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8600 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8604 Editor's note: I put a dash @q{-} when I could not find a language-specific
8605 abbreviation for a duration name. If you know of one that I missed, please
8606 send it to me, care of the lilypond-user discussion list.
8608 @multitable @columnfractions .10 .35 .35 .20
8610 @headitem Lang. @tab Note name
8613 @item @strong{US} @tab sixteenth note
8616 @item @strong{UK} @tab semiquaver
8617 @tab semiquaver rest
8619 @item @strong{ES} @tab semicorchea
8620 @tab silencio de semicorchea
8622 @item @strong{IT} @tab semicroma
8623 @tab pausa di semicroma
8625 @item @strong{FR} @tab double croche
8626 @tab quart de soupir
8628 @item @strong{DE} @tab Sechzehntelnote
8629 @tab Sechzehntelpause
8631 @item @strong{NL} @tab zes@-ti@-ende noot
8632 @tab zes@-ti@-ende rust
8634 @item @strong{DK} @tab sekstendedelsnode
8635 @tab sekstendedelspause
8637 @item @strong{SE} @tab sextondelsnot
8640 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8641 @tab kuudes@-toistaosa@-tauko
8646 @multitable @columnfractions .10 .35 .35 .20
8648 @headitem Lang. @tab Note name
8651 @item @strong{US} @tab thirty-second note
8652 @tab thirty-second rest
8654 @item @strong{UK} @tab demisemiquaver
8655 @tab demisemiquaver rest
8657 @item @strong{ES} @tab fusa
8658 @tab silencio de fusa
8660 @item @strong{IT} @tab biscroma
8661 @tab pausa di biscroma
8663 @item @strong{FR} @tab triple croche
8664 @tab huitième de soupir
8666 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8667 @tab Zweiunddreißig@-stelpause
8669 @item @strong{NL} @tab twee@-endertigste noot
8670 @tab twee@-endertigste rust
8672 @item @strong{DK} @tab toogtredivtedelsnode
8673 @tab toogtredivtedelspause
8675 @item @strong{SE} @tab trettio@-tvåondelsnot
8676 @tab trettio@-tvåondelspaus
8678 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8679 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8684 @multitable @columnfractions .10 .35 .35 .20
8686 @headitem Lang. @tab Note name
8689 @item @strong{US} @tab sixty-fourth note
8690 @tab sixty-fourth rest
8692 @item @strong{UK} @tab hemidemisemiquaver
8693 @tab hemidemisemiquaver rest
8695 @item @strong{ES} @tab semifusa
8696 @tab silencio de semifusa
8698 @item @strong{IT} @tab semibiscroma
8699 @tab pausa di semibiscroma
8701 @item @strong{FR} @tab quadruple croche
8702 @tab seizième de soupir
8704 @item @strong{DE} @tab Vierundsechzigstelnote
8705 @tab Vierundsechzigstelpause
8707 @item @strong{NL} @tab vierenzestigste noot
8708 @tab vierenzestigste rust
8710 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8711 @tab fireog@-tredsindstyven@-dedelspause
8713 @item @strong{SE} @tab sextiofjärdedelsnot
8714 @tab sextiofjärdedelspaus
8716 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8717 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8722 @multitable @columnfractions .10 .35 .35 .20
8724 @headitem Lang. @tab Note name
8727 @item @strong{US} @tab one-hundred-twenty-eighth note
8728 @tab one-hundred-twenty-eighth rest
8730 @item @strong{UK} @tab semihemidemisemiquaver
8731 @tab semihemidemisemiquaver rest
8733 @item @strong{ES} @tab garrapatea
8734 @tab silencio de garrapatea
8736 @item @strong{IT} @tab fusa
8739 @item @strong{FR} @tab quintuple croche
8740 @tab trente-deuxième de soupir @tab -
8741 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8742 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8743 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8744 @tab honderd@-acht@-en@-twintigste rust
8746 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8747 @tab hundrede@-otte@-og@-tyvendedels@-pause
8749 @item @strong{SE} @tab hundratjugoåttondelsnot
8750 @tab hundratjugoåttondelspaus
8752 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8753 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8758 @multitable @columnfractions .10 .35 .35 .20
8760 @headitem Lang. @tab Note name
8763 @item @strong{US} @tab two-hundred-fifty-sixth note
8764 @tab two-hundred-fifty-sixth rest
8766 @item @strong{UK} @tab demisemihemidemisemiquaver
8767 @tab demisemihemidemisemiquaver rest
8769 @item @strong{ES} @tab semigarrapatea
8770 @tab silencio de semigarrapatea @tab -
8771 @item @strong{IT} @tab semifusa
8772 @tab pausa di semifusa
8774 @item @strong{FR} @tab sextuple croche
8775 @tab soixante-quatrième de soupir @tab -
8776 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8777 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8778 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8779 @tab tweehonderd@-zesenvijftigste rust
8781 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8782 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8784 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8785 @tab tvåhundra@-femtiosjättedelspaus
8787 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8788 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8794 @ref{mensural notation}
8798 @chapter Pitch names
8801 -is/-es endings for Danish per Rune Zedeler, pace,
8802 and for Finnish per Risto Vääräniemi;
8803 -iss/-ess endings for Swedish per Mats Bengtsson
8804 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8806 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8807 multiple lines -- as texinfo needs it to allow enough space for the
8808 table entries. (For the curious, it's a list of the widest items in
8809 each column of the table. Romance pitch names are two characters,
8810 except for g (sol) ... so there you go.)
8813 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8814 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8815 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8816 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8817 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8818 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8819 @tab des @tab des @tab dess @tab des
8820 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8821 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8822 @tab dis @tab dis @tab diss @tab dis
8823 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8824 @tab es @tab es @tab ess @tab es
8825 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8826 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8827 @tab Fes @tab fes @tab fes @tab fess @tab fes
8828 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8829 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8830 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8831 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8832 @tab fis @tab fis @tab fiss @tab fis
8833 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8834 @tab ges @tab ges @tab gess @tab ges
8835 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8836 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8837 @tab Gis @tab gis @tab gis @tab giss @tab gis
8838 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8839 @tab as @tab as @tab ass @tab as
8840 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8841 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8842 @tab ais @tab ais @tab aiss @tab ais
8843 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8844 @tab bes @tab b @tab b @tab b
8845 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8846 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8847 @tab ces @tab ces @tab cess @tab ces
8848 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8849 @tab His @tab bis @tab his @tab hiss @tab his
8857 @node Literature used
8858 @unnumberedsec Literature used
8861 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8862 Cambridge: Belknap Press (Harvard University Press), 1944.
8864 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8867 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8868 Terminologie}. Kassel, 1980.
8870 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8871 Current English}, 3rd ed. London: Oxford University Press, 1974.
8873 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8874 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8876 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8877 Cambridge: Belknap Press (Harvard University Press), 1986.
8879 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.