1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
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 GNU LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rlearning{About the documentation}.
189 @w{@expansion{}@strong{\word\}}@c
192 @expansion{}@ref{\word\, @strong{\word\}}@c
197 * Musical terms A-Z::
198 * Duration names notes and rests::
203 @node Musical terms A-Z
204 @chapter Musical terms A-Z
206 Languages in this order.
208 @item UK - British English (where it differs from American English)
237 * ancient minor scale::
242 * ascending interval::
244 * augmented interval::
281 * compound interval::
285 * conjunct movement::
300 * descending interval::
303 * diminished interval::
307 * disjunct movement::
309 * dissonant interval::
313 * dominant ninth chord::
314 * dominant seventh chord::
316 * dot (augmentation dot)::
318 * double appoggiatura::
320 * double dotted note::
323 * double time signature::
330 * ecclesiastical mode::
337 * equal temperament::
358 * functional harmony::
379 * inverted interval::
394 * long appoggiatura::
401 * meantone temperament::
408 * mensural notation::
413 * metronomic indication::
426 * multi-measure rest::
456 * polymetric time signature::
461 * Pythagorean comma::
492 * sixty-fourth note::
493 * sixty-fourth rest::
524 * thirty-second note::
525 * thirty-second rest::
532 * transposing instrument::
586 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
587 @notation{a due} indicates that:
591 @item A single part notated on a single staff that normally carries parts
592 for two players (e.g. first and second oboes) is to be played by both
595 @item Or conversely, that two pitches or parts notated on a staff that
596 normally carries a single part (e.g. first violin) are to be played by
597 different players, or groups of players (@q{desks}).
610 F: accelerando, en accélérant,
611 D: accelerando, schneller werden,
615 FI: accelerando, kiihdyttäen.
617 [Italian: @q{speed up, accelerate}]
635 FI: aksentti, korostus.
637 The stress of one tone over others.
651 @section acciaccatura
655 F: acciaccatura, appoggiature brève,
662 A grace note which takes its time from the rest or note preceding the
663 principal note to which it is attached. The acciaccatura is drawn as a small
664 eighth note (quaver) with a line drawn through the flag and stem.
667 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
673 ES: alteración accidental,
675 F: altération accidentelle,
676 D: Versetzungszeichen, Akzidenz,
677 NL: toevallig (verplaatsings)teken,
679 S: tillfälligt förtecken,
680 FI: tilapäinen etumerkki.
682 An accidental alters a note by:
686 @item Raising its pitch:
688 @item By two semitones—@notation{double sharp}
689 @item By one semitone—@notation{sharp}
692 @item Lowering its pitch:
694 @item By one semitone—@notation{flat}
695 @item By two semitones—@notation{double flat}
698 @item Or canceling the effects of the key signature or previous accidentals.
701 @lilypond[quote,notime]
705 \set Staff.extraNatural = ##f
706 gisis1 gis g! ges geses
711 \center-column { double sharp }
717 \center-column { double flat }
723 \override SpacingSpanner
724 #'base-shortest-duration = #(ly:make-moment 1 32)
731 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
744 FI: adagio, hitaasti.
746 [Italian: @q{comfortable, easy}]
750 @item Slow tempo, slower -- especially in even meter -- than
751 @notation{andante} and faster than @notation{largo}.
753 @item A movement in slow tempo, especially the second (slow) movement
754 of sonatas, symphonies, etc.
759 @ref{andante}, @ref{largo}, @ref{sonata}.
767 F: al niente, en mourant,
772 FI: häviten olemattomiin.
774 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
775 that the sound should fade away to nothing.
777 @notation{Al niente} is indicated by circling the tip of the hairpin:
779 @lilypond[quote,relative=2]
780 \override Hairpin #'circled-tip = ##t
786 or with the actual phrase @notation{al niente}:
788 @lilypond[quote,relative=2]
790 \override DynamicTextSpanner #'(bound-details right text) =
791 \markup { \italic { al niente } }
797 Since one does not crescendo @emph{to} nothing, it is not correct to use
798 @notation{al niente} with @notation{crescendo}. Instead, one should use
799 @emph{dal niente} (@notation{@b{from} nothing}).
802 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
810 F: alla breve, à la brève,
817 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
819 Also called @notation{in cut-time}. The name derives from mensural
820 notation, where the @notation{tactus} (or beat) is counted on the semibreve
821 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
822 next longest note value, which (in modern usage) effectively halves all note
825 In mensural notation, breves and semibreves can have a ternary relationship,
826 in which case @notation{alla breve} means thrice (not twice) as fast. In
827 practice, this complication may not have mattered, since Gaffurius's system
828 of multiplex proportions makes it easy to explicitly state which proportion
832 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
833 @ref{proportion}, @ref{whole note}.
841 F: allegro, gaiement,
842 D: Allegro, Schnell, Fröhlich, Lustig,
846 FI: allegro, nopeasti.
848 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
849 quick tempo, especially the first and last movements of a sonata.
862 NL: verhoging of verlaging,
867 An alteration is the modification, raising or lowering, of a note's
868 pitch. It is established by an accidental.
870 @c TODO: add second meaning from mensural notation
886 FI: altto, matala naisääni.
888 A female voice of low range (@emph{contralto}). Originally the alto was a
889 high male voice (hence the name), which by castration or the use of falsetto
890 reached the height of the natural female voice. This type of voice is also
891 known as countertenor.
900 ES: clave de do en tercera,
901 I: chiave di contralto,
902 F: clef d'ut troisième ligne,
903 D: Altschlüssel, Bratschenschlüssel,
909 C clef setting middle C on the middle line of the staff.
920 F: ambitus, tessiture,
925 FI: ambitus, ääniala, soitinala.
927 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
928 Denotes a range of pitches for a given voice in a part of music. It may
929 also denote the pitch range that a musical instrument is capable of playing.
930 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
948 An anacrusis (also known as pickup or upbeat) is an incomplete measure
949 of music before a section of music. It also refers to the initial
950 note(s) of a melody occurring in that incomplete measure.
952 @lilypond[quote,relative=1]
963 @ref{measure}, @ref{meter}.
966 @node ancient minor scale
967 @section ancient minor scale
969 ES: escala menor natural,
970 I: scala minore naturale,
971 F: forme du mode mineur ancien, troisème mode, mode hellénique,
972 D: reines Moll, natürliches Moll,
973 NL: authentieke mineurtoonladder,
976 FI: luonnollinen molliasteikko.
978 Also called @q{natural minor scale}.
980 @lilypond[quote,notime,relative=2]
986 @ref{diatonic scale}.
1001 [Italian: present participle of @emph{andare}, @q{to walk}]
1003 Walking tempo/character.
1006 No cross-references.
1010 @section appoggiatura
1014 F: appoggiature, (port de voix),
1015 D: Vorschlag, Vorhalt
1019 FI: appoggiatura, etuhele.
1021 Ornamental note, usually a second, that is melodically connected with
1022 the main note following it. In music before the 19th century
1023 appoggiature were usually performed on the beat, after that mostly
1024 before the beat. While the short appoggiatura is performed as a short
1025 note regardless of the duration of the main note the duration of the
1026 long appoggiatura is proportional to that of the main note.
1028 @lilypond[quote,relative=2]
1031 <d a fis>4_"notation" r
1038 \set Score.measurePosition = #ZERO-MOMENT
1039 <d, a fis>4_"performance" r
1045 An appoggiatura may have more notes preceding the main note.
1047 @lilypond[quote,relative=2]
1050 \grace bes16 as8-"notation" as16 bes as8 g |
1051 \grace { as16[( bes] } <c as>4)
1052 \grace { as16[( bes] } <c as>4) \bar "||"
1054 \grace bes16 as8-"performance" as16 bes as8 g |
1058 as32 bes c8. as32 bes c8.
1062 as16 ~ as8. as16 ~ as8.
1068 No cross-references.
1077 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1078 NL: gebroken akoord,
1079 DK: arpeggio, akkordbrydning,
1081 FI: arpeggio, murtosointu.
1083 [Italian: @q{harp-like, played like a harp}]
1085 @lilypond[quote,line-width=13\cm]
1087 \context Staff = "SA" {
1091 r8 g16 c e g, c e r8 g,16 c e g, c e
1092 r8 a,16 d f a, d f r8 a,16 d f a, d f
1096 \context Staff = "SB" {
1102 r16 e8. ( e4) r16 e8. ( e4)
1103 r16 d8. ( d4) r16 d8. ( d4)
1117 No cross-references.
1121 @section articulation
1130 FI: artikulaatio, ilmaisu.
1132 Articulation refers to notation which indicates how a note or notes
1133 should be played. Slurs, accents, staccato, and legato are all
1134 examples of articulation.
1137 No cross-references.
1140 @node ascending interval
1141 @section ascending interval
1143 ES: intervalo ascendente,
1144 I: intervallo ascendente,
1145 F: intervalle ascendant,
1146 D: steigendes Intervall,
1147 NL: stijgend interval,
1148 DK: stigende interval,
1149 S: stigande intervall,
1150 FI: nouseva intervalli.
1152 A distance between a starting lower note and a higher ending note.
1155 No cross-references.
1158 @node augmented interval
1159 @section augmented interval
1161 ES: intervalo aumentado,
1162 I: intervallo aumentato,
1163 F: intervalle augmenté,
1164 D: übermäßiges Intervall,
1165 NL: overmatig interval,
1166 DK: forstørret interval,
1167 S: överstigande intervall,
1168 FI: ylinouseva intervalli.
1175 @section augmentation
1184 FI: aika-arvojen pidentäminen.
1186 @c TODO: add definition.
1188 This is a placeholder for augmentation (wrt mensural notation).
1191 @ref{diminution}, @ref{mensural notation}.
1199 F: manuscrit, autographe
1200 D: Autograph, Handschrift,
1202 DK: håndskrift, autograf,
1204 FI: käsinkirjoitettu nuotti.
1208 @item A manuscript written in the composer's own hand.
1210 @item Music prepared for photoreproduction by freehand drawing, with
1211 the aid of a straightedge ruler and T-square only, which attempts to
1212 emulate engraving. This required more skill than did engraving.
1217 No cross-references.
1235 @ref{H}, @ref{Pitch names}
1255 ES: barra, línea divisoria,
1256 I: stanghetta, barra (di divisione),
1257 F: barre (de mesure),
1264 A vertical line through the staff (or through multiple staves) that
1265 separates measures. Used very infrequently during the Renaissance (mostly
1266 in secular music, or in sacred music to indicate congruences between parts
1267 in otherwise-unmetered music).
1283 FI: baritoni, keskikorkuinen miesääni.
1285 The male voice intermediate in pitch between the bass and the tenor.
1287 @c F: clef de troisième ligne dropped
1290 @ref{bass}, @ref{tenor}.
1294 @section baritone clef
1296 ES: clave de fa en tercera,
1297 I: chiave di baritono,
1298 F: clef d'ut cinquième ligne, clef de fa troisième,
1299 D: Baritonschlüssel,
1305 C or F clef setting middle C on the upper staff line.
1308 @ref{C clef}, @ref{F clef}.
1321 FI: basso, matala miesääni.
1325 @item The lowest male voice.
1327 @item Sometimes, especially in jazz music, used as an abbreviation for
1339 ES: clave de fa en cuarta,
1341 F: clef de fa quatrième ligne,
1348 A clef setting with middle C on the first top ledger line.
1359 F: ligature, barre (de croches),
1366 Line connecting a series of notes (shorter than a quarter note). The
1367 number of beams determines the note value of the connected notes.
1369 @lilypond[quote,notime,relative=2,line-width=13\cm]
1370 g8-"1/8"[ g g g] s16
1371 g16-"1/16"[ g g g] s
1372 g32-"1/32"[ s g s g s g] s16
1373 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1377 @ref{feathered beam}.
1383 ES: tiempo, parte (de compás)
1386 D: Takt, Taktschlag, Zeit (im Takt),
1392 Note value used for counting, most often half-, fourth-, and eighth notes.
1393 The base counting value and the number of them in each measure is indicated
1394 at the start of the music by the @notation{time signature}.
1396 @lilypond[quote,relative=2]
1399 g4 c b a | g1 \bar "||"
1401 g8 d' c | b c a | g4. \bar "||"
1405 @ref{time signature}.
1409 @section beat repeat
1412 @ref{percent repeat}.
1425 ES: llave, corchete,
1428 D: Klammer, Akkolade,
1429 NL: accolade, teksthaak,
1432 FI: yhdistävä sulkumerkki.
1434 Symbol at the start of a system connecting staves.
1436 Curly braces are used for connecting piano staves, and sometimes for connecting
1437 the staves of like instruments in an orchestral score when written on different
1438 staves (e.g. first and second flutes):
1442 \context Staff = "SA" {
1448 \context Staff = "SB" {
1458 Angular brackets for connecting parts in an orchestral or choral score:
1462 \context Staff = "SA" {
1468 \context Staff = "SB" {
1479 No cross-references.
1504 NL: koper (blazers),
1507 S: brassinstrument, mässingsinstrument,
1510 A family of blown musical instruments made of brass, all using a cup
1511 formed mouth piece. The brass instruments commonly used in a symphony
1512 orchestra are trumpet, trombone, french horn, and tuba.
1515 No cross-references.
1519 @section breath mark
1524 D: Atemzeichen, Trennungszeichen,
1525 NL: repercussieteken,
1526 DK: vejrtrækningstegn,
1530 Indication of where to breathe in vocal and wind instrument parts.
1540 @item US: breve, double-whole note
1541 @item ES: cuadrada, breve
1548 @item FI: brevis, kaksoiskokonuotti
1551 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1553 Mainly used in music from before 1650. In mensural notation, it was a note
1554 of fairly short duration—hence the name, which is Latin for @q{short} or
1555 @q{of short duration}.
1557 @lilypond[quote,notime,relative=2]
1562 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1595 Clef symbol indicating the position of the middle C. Used on all note
1598 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1600 \override Staff.Clef #'full-size-change = ##t
1602 \clef mezzosoprano c1
1608 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1609 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1614 No cross-references.
1627 FI: kadenssi, lopuke.
1630 @ref{harmonic cadence}, @ref{functional harmony}.
1643 FI: kadenssi, lopuke.
1645 An extended, improvisatory style section inserted near the end of
1646 movement. The purpose of a cadenza is to give singers or players a
1647 chance to exhibit their technical skill and -- not last -- their
1648 ability to improvise. Since the middle of the 19th century, however,
1649 most cadenzas have been written down by the composer.
1652 No cross-references.
1667 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1669 The break between two musical phrases, sometimes (but not always) marked by a
1670 rest or a breath mark.
1686 FI: kaanon, tarkka jäljittely.
1702 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1703 viritysjärjestelmässä.
1705 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1706 an octave (1/100 of an equally tempered semitone).
1709 @ref{equal temperament}, @ref{semitone}.
1731 Three or more tones sounding simultaneously. In traditional European music
1732 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1733 (major + minor third) as well as @emph{minor} (minor + major third) chords
1734 may be extended with more thirds. Four-tone @emph{seventh chords} and
1735 five-tone @emph{ninth} major chords are most often used as dominants
1736 (functional harmony). Chords having no third above the lower notes to
1737 define their mood are a special case called @q{open chords}. The lack of
1738 the middle third means their quality is ambivalent -- neither major nor
1741 @lilypond[quote,notime,line-width=13.0\cm]
1745 \set Staff.extraNatural = ##f
1766 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1770 @node chromatic scale
1771 @section chromatic scale
1773 ES: escala cromática,
1775 F: gamme chromatique,
1776 D: chro@-ma@-ti@-sche Tonleiter,
1777 NL: chromatische toonladder,
1778 DK: kromatisk skala,
1780 FI: kromaattinen asteikko.
1782 A scale consisting of all 12 semitones.
1784 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1785 c1 cis d dis e f fis g gis a ais b c
1793 @section chromaticism
1804 Using tones extraneous to a diatonic scale (minor, major).
1807 @ref{diatonic scale}.
1811 @section church mode
1813 ES: modo eclesiástico,
1814 I: modo ecclesiastico,
1815 F: mode ecclésiastique, mode d'église,
1820 FI: moodi, kirkkosävellaji.
1823 @ref{diatonic scale}.
1832 D: Schlüssel, Notenschlüssel,
1836 FI: avain, nuottiavain.
1838 The clef indicates which lines of the staff correspond to which
1839 pitches. The three clef symbols in common use are:
1844 \line { The Treble or G clef: }
1846 \line { The Bass or F clef: }
1848 \line { The Alto or C clef: }
1852 \musicglyph #"clefs.G"
1854 \musicglyph #"clefs.F"
1856 \musicglyph #"clefs.C"
1861 Imagine a large staff of 11 lines centered on middle C, sometimes
1862 called a @q{grand staff}, with the bottom line representing low G and
1863 the top line high F:
1868 %-- Note names above treble staff --%
1870 \set printOctaveNames = ##t
1872 \once \override NoteName #'color = #red
1876 %-- Treble Staff --%
1878 \override Staff.Clef #'stencil = ##f
1884 %-- Alto Staff reduced to a single line on middle C --%
1886 \override Staff.StaffSymbol #'line-count = #1
1887 \override Staff.StaffSymbol #'color = #red
1888 \override Staff.Clef #'stencil = ##f
1891 \override NoteHead #'color = #red
1897 \override Staff.Clef #'stencil = ##f
1906 \override SpacingSpanner
1907 #'base-shortest-duration = #(ly:make-moment 1 1)
1908 \override NonMusicalPaperColumn
1909 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1910 \override BarLine #'stencil = ##f
1914 \remove "Time_signature_engraver"
1920 Staves of five lines are usually used, and the clef superimposed on
1921 them indicates which five lines have been selected from this
1922 @samp{grand staff}. For example, the treble or G clef indicates that
1923 the top five lines have been selected:
1928 %-- Note names above treble staff --%
1930 \set printOctaveNames = ##t
1932 \once \override NoteName #'color = #red
1937 %-- Treble Staff --%
1939 \once \override Staff.Clef #'stencil = ##f
1942 \override Staff.Clef #'full-size-change = ##t
1943 \set Staff.forceClef = ##t
1947 %-- Alto Staff reduced to a single line on middle C --%
1949 \override Staff.StaffSymbol #'line-count = #1
1950 \override Staff.StaffSymbol #'color = #red
1951 \override Staff.Clef #'stencil = ##f
1954 \override NoteHead #'color = #red
1959 \override Staff.Clef #'stencil = ##f
1967 \override SpacingSpanner
1968 #'base-shortest-duration = #(ly:make-moment 2 1)
1969 \override NonMusicalPaperColumn
1970 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1971 \override BarLine #'stencil = ##f
1975 \remove "Time_signature_engraver"
1981 The @q{curl} of the G clef is centered on the line that represents the
1984 In the same way, the bass or F clef indicates that the bottom five
1985 lines have been selected from the @samp{grand staff}, and the alto or
1986 C clef indicates the middle five lines have been selected. This
1987 relationship is shown below, where the notes show an arpeggio on a C
1993 %-- Treble Staff --%
2001 \override Staff.StaffSymbol #'line-count = #1
2002 \once \override Staff.Clef #'stencil = ##f
2007 \revert Staff.StaffSymbol #'stencil
2008 \override Staff.StaffSymbol #'color = #red
2011 \stopStaff \startStaff
2012 \revert Staff.StaffSymbol #'line-count
2013 \revert Staff.StaffSymbol #'color
2014 \stopStaff \startStaff
2015 \override Staff.Clef #'full-size-change = ##t
2016 \set Staff.forceClef = ##t
2031 \override SpacingSpanner #'base-shortest-duration =
2032 #(ly:make-moment 2 1)
2033 \override NonMusicalPaperColumn
2034 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2035 \override BarLine #'stencil = ##f
2039 \remove "Time_signature_engraver"
2046 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2059 FI: klusteri, cluster.
2061 A @emph{cluster} is a range of simultaneously sounding pitches that
2062 may change over time. The set of available pitches to apply usually
2063 depends on the acoustic source. Thus, in piano music, a cluster
2064 typically consists of a continuous range of the semitones as provided
2065 by the piano's fixed set of a chromatic scale. In choral music, each
2066 singer of the choir typically may sing an arbitrary pitch within the
2067 cluster's range that is not bound to any diatonic, chromatic or other
2068 scale. In electronic music, a cluster (theoretically) may even cover
2069 a continuous range of pitches, thus resulting in colored noise, such
2072 Clusters can be denoted in the context of ordinary staff notation by
2073 engraving simple geometrical shapes that replace ordinary notation of
2074 notes. Ordinary notes as musical events specify starting time and
2075 duration of pitches; however, the duration of a note is expressed by
2076 the shape of the note head rather than by the horizontal graphical
2077 extent of the note symbol. In contrast, the shape of a cluster
2078 geometrically describes the development of a range of pitches
2079 (vertical extent) over time (horizontal extent). Still, the
2080 geometrical shape of a cluster covers the area in which any single
2081 pitch contained in the cluster would be notated as an ordinary note.
2083 @lilypond[quote,relative=2]
2084 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2088 No cross-references.
2101 FI: komma, korvinkuultava ero äänenkorkeudessa.
2103 Difference in pitch between a note derived from pure tuning and the
2104 same note derived from some other tuning method.
2107 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2112 @section common meter
2114 Another name for @ref{common time}.
2117 @ref{common time}, @ref{meter}.
2121 @section common time
2132 4/4 time. The symbol, which resembles a capital letter C, comes from
2136 @ref{mensural notation}, @ref{meter}.
2142 ES: intervalo invertido,
2144 F: intervalle complémentaire,
2145 D: Komplementärintervall,
2146 NL: complementair interval,
2147 DK: komplementærinterval,
2148 S: komplementärintervall (?),
2149 FI: täydentävä intervalli.
2152 @ref{inverted interval}.
2155 @node compound interval
2156 @section compound interval
2158 ES: intervalo compuesto,
2159 I: intervallo composto,
2160 F: intervalle composé,
2161 D: weites Intervall,
2162 NL: samengesteld interval,
2163 DK: sammensat interval,
2164 S: sammansatt intervall,
2165 FI: oktaavia laajempi intervalli.
2167 Intervals larger than an octave.
2173 @node compound meter
2174 @section compound meter
2176 ES: compás compuesto, compás de subdivisión ternaria,
2183 FI: kolmijakoinen tahtilaji.
2185 A meter that includes a triplet subdivision within the beat, such as
2189 @ref{meter}, @ref{simple meter}.
2193 @section compound time
2195 ES: compás compuesto, compás de amalgama (def. 2),
2202 FI: yhdistetty tahtilajiosoitus.
2207 A meter that includes a triplet subdivision within the beat: see
2208 @ref{compound meter}.
2211 A time signature that additively combines two or more unequal meters, e.g.,
2212 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2216 @lilypond[quote,line-width=13.0\cm]
2217 #(define ((compound-time one two three num) grob)
2218 (grob-interpret-markup grob
2220 #:override '(baseline-skip . 0)
2223 #:left-column (one num)
2225 #:left-column (two num)
2227 #:left-column (three num)))))
2231 #(set-time-signature 8 8 '(3 2 3))
2232 \override Staff.TimeSignature #'stencil =
2233 #(compound-time "3" "2" "3" "8")
2234 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2235 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2244 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2248 @section concert pitch
2250 ES: en Do, afinación de concierto,
2252 F: tonalité de concert, en ut,
2257 FI: konserttikorkeus.
2259 The pitch at which the piano and other nontransposing instruments play: such
2260 instruments are said to be @q{in C}. The following list includes some (but not
2261 all) instruments that play in concert pitch:
2263 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2265 @multitable {alto trombone} {tenor trombone} {bass trombone}
2266 @headitem Woodwinds @tab Brass @tab Strings
2279 @item tenor trombone
2293 The trombones are a special case: although they are said to be @q{in F} (alto or
2294 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2295 their parts' transposition. (In fact, the trombones' parts are written at
2296 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2297 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2300 Instruments that play @q{in C} but in a different octave than what is written
2301 are, technically speaking, @emph{transposing instruments}:
2305 @item piccolo (plays an octave higher than written)
2306 @item celesta (plays an octave higher than written)
2307 @item classical guitar (plays an octave lower than written)
2308 @item double bass (plays an octave lower than written)
2313 @ref{transposing instrument}.
2316 @node conjunct movement
2317 @section conjunct movement
2319 ES: movimiento conjunto,
2321 F: mouvement conjoint,
2322 D: schritt@-weise, stufenweise Bewegung,
2323 NL: stapsgewijze, trapsgewijze beweging,
2324 DK: trinvis bevægelse,
2326 FI: asteittainen liike.
2328 Progressing melodically by intervals of a second, as contrasted with
2329 @emph{disjunct movement}.
2331 @lilypond[quote,relative=2,line-width=13.0\cm]
2334 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2338 @ref{disjunct movement}.
2351 FI: konsonanssi, sopusointi.
2374 @section copying music
2376 A music copyist did fast freehand scores and parts on preprinted staff
2377 lines for performance. Some of their conventions (e.g., the placement
2378 of note heads on stems) varied slightly from those of engravers. Some
2379 of their working methods were superior and could well be adopted by
2382 @c Copying music required more skill than engraving. Flagged for NPOV
2385 No cross-references.
2389 @section counterpoint
2398 FI: kontrapunkti, ääni ääntä vastaan.
2400 From Latin @emph{punctus contra punctum}, note against note. The
2401 combination into a single musical fabric of lines or parts which have
2402 distinct melodic significance. A frequently used polyphonic technique
2403 is imitation, in its strictest form found in the canon needing only
2404 one part to be written down while the other parts are performed with a
2405 given displacement. Imitation is also the contrapuntal technique
2406 used in the @emph{fugue} which, since the music of the baroque era,
2407 has been one of the most popular polyphonic composition methods.
2409 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2411 \context Staff = SA \relative c' {
2415 << \context Voice = rha {
2417 r1 | r2 r8 g'8 bes d, |
2418 cis4 d r8 e!16 f g8 f16 e |
2419 f8 g16 a bes8 a16 g a8
2421 \context Voice = rhb {
2427 \context Staff = SB \relative c' {
2430 << \context Voice = lha {
2432 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2433 r8 a16 g f8 g16 a bes8 g e! cis' |
2436 \context Voice = lhb {
2445 No cross-references.
2449 @section countertenor
2454 D: Countertenor, Kontratenor,
2457 S: kontratenor, counter tenor,
2470 D: Crescendo, lauter werden,
2474 FI: cresendo, voimistuen.
2476 Increasing volume. Indicated by a rightwards opening horizontal wedge
2477 (hairpin) or the abbreviation @notation{cresc.}.
2479 @lilypond[quote,relative=2]
2482 g4\< a b c | d1\! \bar "|."
2486 @ref{decrescendo}, @ref{hairpin}.
2494 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2501 Notes belonging to one part printed in another to hint when to start
2502 playing. Usually printed in a smaller type.
2505 Compare: @ref{ossia}.
2514 D: Notenzeiger, Custos,
2520 A custos (plural: custodes) is a staff symbol that appears at the end of a
2521 staff line with monophonic musical contents (i.e., with a single voice). It
2522 anticipates the pitch of the first note of the following line and thus helps
2523 the player or singer to manage line breaks during performance, which
2524 enhances the readability of a score.
2526 Custodes were frequently used in music notation until the 16th century.
2527 There were different appearences for different notation styles. Nowadays,
2528 they have survived only in special forms of musical notation such as the
2529 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2531 @lilypond[quote,ragged-right]
2534 \override Staff.Custos #'neutral-direction = #DOWN
2535 \override Staff.Custos #'style = #'hufnagel
2542 \consists "Custos_engraver"
2549 No cross-references.
2582 F: da capo, depuis le commencement,
2583 D: da capo, von Anfang,
2587 FI: da capo, alusta.
2589 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2590 the beginning to the end or to a certain place marked @emph{fine}.
2593 No cross-references.
2606 FI: tyhjästä ilmaantuen.
2608 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2609 that the sound should gradually increase from nothing.
2620 F: dal segno, depuis le signe,
2621 D: dal segno, ab dem Zeichen,
2625 FI: dal segno, lähtien merkistä.
2627 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2628 another place frequently near the beginning marked by a sign
2631 @lilypond[quote,relative=2]
2639 \musicglyph #"scripts.segno"
2645 No cross-references.
2649 @section decrescendo
2653 D: Decrescendo, leiser werden,
2657 FI: decresendo, hiljentyen.
2659 Decreasing tone volume. Indicated by a leftwards opening horizontal
2660 wedge (hairpin) or the abbreviation @notation{decresc.}.
2662 @lilypond[quote,relative=2]
2665 d4\> c b a | g1 \! \bar "|."
2669 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2672 @node descending interval
2673 @section descending interval
2675 ES: intervalo descendente,
2676 I: intervallo discendente,
2677 F: intervalle descendant,
2678 D: fallendes Intervall, absteigendes Intervall,
2679 NL: dalend interval,
2680 DK: faldende interval,
2681 S: fallande intervall,
2682 FI: laskeva intervalli.
2684 A distance between a starting higher note and a lower ending note.
2687 No cross-references.
2690 @node diatonic scale
2691 @section diatonic scale
2693 ES: escala diatónica,
2695 F: gamme diatonique,
2696 D: diatonische Tonleiter,
2697 NL: diatonische toonladder,
2698 DK: diatonisk skala,
2700 FI: diatoninen asteikko.
2702 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2703 played on the white keys of a piano keybord are diatonic. These scales
2704 are sometimes called, somewhat inaccurately, @q{church modes}).
2706 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2707 but also to some extent in newer jazz music.
2709 @lilypond[quote,notime,relative=1]
2713 e^"~~ S" f g a b^"~~ S" c
2721 @lilypond[quote,notime,relative=1]
2725 e^"~~ S" f g a b^"~~ S" c d
2733 @lilypond[quote,notime,relative=1]
2736 e1^"~~ S" f g a b^"~~ S" c d e
2744 @lilypond[quote,notime,relative=1]
2748 b^"~~ S" c d e^"~~ S" f
2756 @lilypond[quote,notime,relative=2]
2760 b^"~~ S" c d e^"~~ S" f g
2768 @lilypond[quote,notime,relative=2]
2772 b^"~~ S" c d e^"~~ S" f g a
2780 @lilypond[quote,notime,relative=2]
2783 b1^"~~ S" c d e^"~~ S" f g a b
2791 From the beginning of the 17th century the scales used in European
2792 compositional music are primarily the major and the minor scales. In
2793 the harmonic minor scale type an augmented second (A) occurs between
2794 the 6th and 7th tone.
2796 @lilypond[quote,notime,relative=1]
2800 e^"~~ S" f g a b^"~~ S" c
2808 @lilypond[quote,notime,relative=2]
2812 b^"~~ S" c d e^"~~ S" f g a
2815 "Ancient (or Natural) minor"
2820 @lilypond[quote,notime,relative=2]
2824 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2832 @lilypond[quote,notime,relative=2]
2836 b^"~~ S" c d e fis gis^"~~ S" a
2839 "Melodic minor ascending"
2844 @lilypond[quote,notime,relative=3]
2848 g! f!^"~~ S" e d c^"~~ S" b a
2851 "Melodic minor descending"
2857 @ref{semitone}, @ref{whole tone}.
2861 @section didymic comma
2864 @ref{syntonic comma}.
2867 @node diminished interval
2868 @section diminished interval
2870 ES: intervalo disminuido,
2871 I: intervallo diminuito,
2872 F: intervalle diminué,
2873 D: vermindertes Intervall,
2874 NL: verminderd interval,
2875 DK: formindsket interval,
2876 S: förminskat intervall,
2877 FI: vähennetty intervalli.
2888 F: diminuendo, en diminuant,
2893 FI: diminuendo, hiljentyen.
2909 FI: aika-arvojen tihennys.
2911 This is a stub for diminution (@emph{wrt} mensural notation).
2914 @ref{augmentation}, @ref{mensural notation}.
2933 @node disjunct movement
2934 @section disjunct movement
2936 ES: movimiento disjunto,
2938 F: mouvement disjoint,
2939 D: sprunghafte Bewegung,
2940 NL: sprongsgewijze beweging,
2941 DK: springende bevægelse,
2942 S: hoppande rörelse,
2943 FI: melodian hyppivä liike.
2945 Progressing melodically by intervals larger than a major second, as contrasted
2946 with conjunct movement.
2948 @lilypond[quote,relative=1]
2952 a4. gis8 b a e cis |
2958 @ref{conjunct movement}.
2964 Another name for @ref{dissonant interval}.
2967 @ref{dissonant interval}, @ref{harmony}.
2970 @node dissonant interval
2971 @section dissonant interval
2973 ES: intervalo disonante, disonancia,
2974 I: intervallo dissonante, dissonanza,
2975 F: intervalle dissonant, dissonance,
2977 NL: dissonant interval, dissonant,
2978 DK: dissonerende interval, dissonans,
2980 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2998 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2999 vertical stroke through part or all of the staff that serves to
3000 structure a chant into phrases and sections. There are four types:
3004 @item @emph{divisio minima}, a short pause
3006 @item @emph{divisio maior}, a medium pause
3008 @item @emph{divisio maxima}, a long pause
3010 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3011 section in a long antiphonal or responsorial chant.
3015 TODO: musical example here?
3018 No cross-references.
3033 Indicator for a indeterminately rising pitch bend. Compare with
3034 @emph{glissando}, which has determinate starting and ending pitches.
3037 @ref{fall}, @ref{glissando}.
3050 FI: dominantti, huippusointu.
3052 The fifth @emph{scale degree} in @emph{functional harmony}.
3055 @ref{functional harmony}, @ref{scale degree}.
3058 @node dominant ninth chord
3059 @section dominant ninth chord
3061 ES: acorde de novena de dominante,
3062 I: accordo di nona di dominante,
3063 F: accord de neuvième de dominante,
3064 D: Domi@-nant@-nonen@-akkord,
3065 NL: dominant noon akkoord,
3066 DK: dominantnoneakkord,
3067 S: dominantnonackord,
3068 FI: dominanttinoonisointu.
3071 @ref{chord}, @ref{functional harmony}.
3074 @node dominant seventh chord
3075 @section dominant seventh chord
3077 ES: acorde de séptima de dominante,
3078 I: accordo di settima di dominante,
3079 F: accord de septième de dominante,
3080 D: Dominantseptakkord,
3081 NL: dominant septiem akkoord,
3082 DK: dominantseptimakkord,
3083 S: dominantseptimackord,
3084 FI: dominanttiseptimisointu.
3087 @ref{chord}, @ref{functional harmony}.
3091 @section dorian mode
3096 D: dorisch, dorischer Kirchenton,
3097 NL: dorische toonladder,
3103 @ref{diatonic scale}.
3106 @node dot (augmentation dot)
3107 @section dot (augmentation dot)
3110 I: punto (di valore),
3112 D: Punkt (Verlängerungspunkt),
3119 @ref{dotted note}, @ref{note value}.
3123 @section dotted note
3125 ES: nota con puntillo,
3129 NL: gepuncteerde noot,
3132 FI: pisteellinen nuotti.
3138 @node double appoggiatura
3139 @section double appoggiatura
3141 ES: apoyatura doble,
3142 I: appoggiatura doppia,
3143 F: appoggiature double,
3144 D: doppelter Vorschlag,
3145 NL: dubbele voorslag,
3146 DK: dobbelt forslag,
3148 FI: kaksoisappogiatura, kaksoisetuhele.
3154 @node double bar line
3155 @section double bar line
3161 NL: dubbele maatstreep,
3164 FI: kaksoistahtiviiva.
3166 Indicates the end of a section within a movement.
3169 No cross-references.
3172 @node double dotted note
3173 @section double dotted note
3175 ES: nota con doble puntillo,
3176 I: nota doppiamente puntata,
3177 F: note doublement pointée,
3178 D: doppelt punktierte Note,
3179 NL: dubbelgepuncteerde noot,
3180 DK: dob@-belt@-punk@-te@-ret node,
3181 S: dub@-bel@-punk@-te@-rad not,
3182 FI: kaksoispisteellinen nuotti.
3189 @section double flat
3198 FI: kaksoisalennusmerkki.
3205 @section double sharp
3207 ES: doble sostenido,
3212 DK: dob@-belt@-kryds,
3214 FI: kaksoisylennysmerkki.
3220 @node double time signature
3221 @section double time signature
3230 FI: kaksois-aika-arvomerkintä.
3233 @ref{polymetric time signature}.
3237 @section double trill
3243 NL: dubbele triller,
3248 A simultaneous trill on two notes, usually in the distance of a third.
3251 No cross-references.
3255 @section duple meter
3259 F: métrique binaire,
3260 D: in zwei, grader Takt,
3261 NL: tweedelige maatsoort,
3296 FI: kesto, aika-arvo.
3305 ES: dinámica, matices,
3308 D: Dynamik, Lautstärke,
3312 FI: äänen voimakkuusvaihtelu, dynamiikka.
3314 The aspect of music relating to degrees of loudness, or changes from
3315 one degree to another. The terms, abbreviations, and symbols used to
3316 indicate this information are called dynamic marks.
3319 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3341 @node ecclesiastical mode
3342 @section ecclesiastical mode
3345 @ref{church mode}, @ref{diatonic scale}.
3349 @section eighth note
3356 @item D: Achtel, Achtelnote
3357 @item NL: achtste noot
3358 @item DK: ottendedelsnode
3359 @item S: åttondelsnot
3360 @item FI: kahdeksasosanuotti
3368 @section eighth rest
3371 @item UK: quaver rest
3372 @item ES: silencio de corchea
3373 @item I: pausa di croma
3374 @item F: demi-soupir
3375 @item D: Achtelpause
3376 @item NL: achtste rust
3377 @item DK: ottendedelspause
3378 @item S: åttonddelspaus
3379 @item FI: kahdeksasosatauko
3389 @c TODO: add languages
3398 FI: tavujen yhdistäminen yhteen ääneen.
3400 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3401 @emph{συναλοιφην} @q{to smear together}].
3403 The singing of several syllables on a single note. Elision may be indicated
3404 by a lyric tie, which looks like (and serves the same function) as a musical
3412 @section embellishment
3424 D: Notenstich, Notendruck
3430 Engraving means incising or etching a metal plate for printing.
3431 Photoengraving means drawing music with ink in a manner similar to
3432 drafting or engineering drawing, using similar tools.
3434 The traditional process of music printing is done through cutting in a
3435 plate of metal. Now also the term for the art of music typesetting.
3438 No cross-references.
3453 Two notes, intervals, or scales are enharmonic if they have different
3454 names but equal pitch.
3456 @lilypond[quote,notime,line-width=13.0\cm]
3460 gis1 as <des g,!> <cis g!>
3464 "g sharp " "a flat " "dim fifth " "augm fourth"
3470 No cross-references.
3473 @node equal temperament
3474 @section equal temperament
3476 ES: temperamento igual,
3477 I: temperamento equabile,
3478 F: tempérament égal,
3479 D: gleichschwebende Stimmung,
3480 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3481 DK: ligesvævende temperatur,
3482 S: liksvävande temperatur,
3485 A tuning system that divides the octave into 12 equal semitones (each of
3486 which is precisely equal to 100 cents).
3489 @ref{cent}, @ref{semitone}, @ref{temperament}.
3492 @node expression mark
3493 @section expression mark
3496 I: segno d'espressione,
3497 F: signe d'expression, indication de nuance,
3499 NL: voordrachtsteken,
3500 DK: foredragsbetegnelse,
3501 S: föredragsbeteckning,
3502 FI: nyanssiosoitus, esitysmerkki.
3504 Performance indications concerning:
3508 @item volume, dynamics (for example, @notation{forte},
3509 @notation{crescendo}),
3511 @item tempo (for example, @notation{andante}, @notation{allegro}).
3516 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3520 @section extender line
3522 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3524 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3531 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3532 extends text (without indicating the musical @emph{function} of that text).
3534 Used in many contexts, for example:
3538 @item In vocal music to indicate the syllable for a melisma. Called
3539 @q{extension} in the
3540 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3544 In figured bass to indicate that:
3548 @item The extended note should be held through a change in harmony, when applied
3549 to one figure --OR--
3550 @item The chord thus represented should be held above a moving bass line, when
3551 applied to more than one figure.
3552 @item These uses were not completely standardized, and some composers used a
3553 single extender line to indicate the latter case.
3558 In string music to indicate that all notes in the passage thus indicated should
3559 be played on the same string. On the violin, for example, a series of notes to
3560 be played on the G string would be indicated @notation{sul G}, another series to be
3561 played on the D string would be indicated @notation{sul D}, and so on.
3564 With an octave mark to indicate that a passage is to be played higher or lower
3565 by the given number of octaves.
3570 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3571 @ref{octave marking}.
3604 The position between the dots of the key symbol is the line of the F
3605 below central@w{ }C. Used on the third, fourth and fifth note line.
3606 A digit@w{ }8 above the clef symbol indicates that the notes must be
3607 played an octave higher (for example, bass recorder) while 8@w{ }below
3608 the clef symbol indicates playing an octave lower (for example, on the
3611 @lilypond[quote,notime,line-width=13.0\cm]
3614 \override Staff.Clef #'full-size-change = ##t
3637 @ref{baritone clef}, @ref{strings}.
3652 Indicator for a indeterminately falling pitch bend. Compare with
3653 @emph{glissando}, which has determinate starting and ending pitches.
3656 @ref{doit}, @ref{glissando}.
3659 @node feathered beam
3660 @section feathered beam
3664 F: ligature en soufflet, lien de croches en soufflet,
3665 D: gespreizter Balken,
3671 A type of beam used to indicate that a small group of notes should be
3672 played at an increasing or decreasing tempo -- depending on the
3673 direction of @q{feathering} -- but without changing the overall tempo
3677 Internals Reference: @ruser{Manual beams}
3683 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3687 F: point d'orgue, point d'arrêt,
3692 FI: fermaatti, pidäke.
3694 Prolonged note or rest of indefinite duration.
3696 @lilypond[quote,relative=2]
3703 No cross-references.
3723 @section figured bass
3726 I: basso continuo, basso numerato,
3727 F: basse chiffrée, basse continue,
3728 D: Generalbass, bezifferter Bass,
3729 NL: basso continuo, becijferde bas
3732 FI: kenraalibasso, numeroitu basso.
3734 Also called @q{thorough bass}.
3736 A method of indicating an accompaniment part by the bass notes only,
3737 together with figures designating the chief intervals and chords to be
3738 played above the bass notes.
3740 @lilypond[quote,line-width=13.0\cm]
3742 \new Staff = "rh" \with {
3744 \override StaffSymbol #'staff-space = #(magstep -3)
3750 \context Voice = "rha" {
3755 \context Voice = "rhb" {
3757 <bes g>8 as <as f> g <g es> f <d f> es
3762 \new Staff = "lh" \relative c' {
3765 es8 c d bes c as bes16 as g f
3769 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3775 @ref{chord}, @ref{interval}.
3790 Figures to the side or above the note that methodically indicate which
3791 fingers to use while playing a passage.
3794 No cross-references.
3801 I: coda (uncinata), bandiera,
3809 Ornament at the end of the stem of a note used for notes with values less
3810 than a quarter note. The number of flags determines the note value.
3812 @lilypond[quote,notime,relative=2]
3835 An articulation for string players that means the note or passage is to
3836 be played in harmonics.
3842 @item A duct flute similar to the recorder.
3844 @item An organ stop of flute scale at 1' or 2' pitch.
3849 @ref{articulation}, @ref{harmonics}.
3885 FI: forte, voimakkaasti.
3889 Abbreviated @notation{@b{f}}. Variants include:
3892 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3893 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3897 No cross-references.
3916 @node Frenched score
3917 @section Frenched score
3919 ES: partitura a la francesa,
3926 FI: partituuri francesan tapaan.
3928 A @q{condensed} score, produced by omitting staves for instruments that are not
3929 playing at the moment, and by moving up additional systems from following pages
3930 to take up the space thus liberated, which reduces the total number of pages
3931 used to print the work.
3933 The specific rules for @q{frenching} a score differ from publisher to publisher.
3934 If you are producing scores for eventual publication by a commercial publisher,
3935 you may wish to procure a copy of their style manual.
3938 @ref{Frenched staff}.
3941 @node Frenched staff
3942 @section Frenched staff
3944 ES: pentagrama a la francesa,
3951 FI: karsittu nuotinnus.
3953 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3954 Frenched staff has unneeded measures or sections removed. This is useful
3955 for producing, for example, an @emph{ossia} staff.
3961 @node Frenched staves
3962 @section Frenched staves
3964 Plural of @ref{Frenched staff}.
3983 @node functional harmony
3984 @section functional harmony
3986 ES: armonía funcional,
3987 I: armonia funzionale,
3988 F: étude des functions,
3990 NL: functionele harmonie,
3991 DK: funktionsanalyse, funktionsharmonik,
3993 FI: harmoniajärjestelmä.
3995 A system of harmonic analysis.
3997 It is based on the idea that, in a given key, there are only three
3998 functionally different chords: tonic (T, the chord on the first note of the
3999 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4000 chord on the fifth note). Others are considered to be variants of the base
4003 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4005 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4008 <g e c>1 <a f d> <b g e>
4009 <c a f> <d b g> <e c a> <f d b>
4013 \markup { D \translate #'(-2 . 0) | }
4019 No cross-references.
4046 D: G-Schlüssel, Violinschlüssel,
4052 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4053 second note lines. A digit 8 above the clef symbol indicates that the notes
4054 must be played an octave higher while 8 below the clef symbol indicates
4055 playing or singing an octave lower (used most frequently to notate the tenor
4056 part in modern choral scores).
4058 @lilypond[quote,notime]
4060 \override Staff.Clef #'full-size-change = ##t
4061 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4072 "french violin clef"
4080 No cross-references.
4093 FI: glissando, liukuen.
4095 Letting the pitch slide fluently from one note to the other.
4098 No cross-references.
4102 @section grace notes
4104 ES: notas de adorno,
4106 F: ornement, fioriture,
4107 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4113 Notes printed in small types to indicate that their time values are not
4114 counted in the rhythm of the bar.
4117 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4122 @section grand staff
4124 ES: sistema de piano,
4126 F: système [de portées], accolade,
4127 D: Akkolade, Klaviersystem,
4130 S: ackolad, böjd klammer,
4131 FI: kaksoisnuottiviivasto.
4133 A combination of two staves with a brace. Usually used for piano music.
4149 FI: grave, raskaasti.
4151 [Italian] Slow, solemn.
4154 No cross-references.
4178 Letter name used for @notation{B natural} in German and Scandinavian
4179 usage. In the standard usage of these countries, @notation{B} means
4183 @ref{Pitch names}, @ref{B}.
4189 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4192 @lilypond[quote,relative=2]
4199 @ref{crescendo}, @ref{decrescendo}.
4210 @item D: Halbe, halbe Note,
4211 @item NL: halve noot,
4214 @item FI: puolinuotti.
4225 @item UK: minim rest,
4226 @item ES: silencio de blanca,
4227 @item I: pausa di minima,
4228 @item F: demi-pause,
4229 @item D: halbe Pause,
4230 @item NL: halve, rust,
4231 @item DK: halvnodespause,
4233 @item FI: puolitauko.
4240 @node harmonic cadence
4241 @section harmonic cadence
4243 ES: cadencia (armónica),
4244 I: cadenza (armonica),
4245 F: cadence harmonique,
4247 NL: harmonische cadens,
4248 DK: harmonisk kadence,
4249 S: (harmonisk) kadens,
4250 FI: harmoninen kadenssi.
4252 A sequence of chords that terminates a musical phrase or section.
4256 \context Staff = "SA" \relative c'' {
4259 \partial 4 <c g e>4 |
4260 <c a f> <b g d> <c g e>2
4263 \context Staff = "SB" \relative c {
4265 \partial 4 c4 | f, g c2
4277 @ref{functional harmony}.
4283 ES: sonidos del flautín,
4285 F: flageolet, sons harmoniques,
4290 FI: harmoniset äänet, huiluäänet.
4292 The general class of pitches produced by sounding the second or higher
4293 harmonic of a tone producer: string, column of air, and so on.
4295 On stringed instruments, these pitches sound rather flute-like; hence,
4296 their name in languages other than English. They are produced by
4297 lightly touching the string at a node for the desired mode of vibration
4298 while it is being bowed or plucked.
4300 For instruments of the violin family, there are two types of harmonics:
4301 natural harmonics, which are those played on the open string; and
4302 artificial harmonics, which are produced on stopped strings.
4305 No cross-references.
4314 D: Harmonie, Zusammenklang,
4318 FI: harmonia, yhteissointi.
4320 Tones sounding simultaneously. Two note harmonies fall into the
4321 categories @emph{consonances} and @emph{dissonances}.
4325 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4337 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4338 <g a>1_"second " s s
4339 <g f'>_"seventh " s s
4343 For harmony that uses three or more notes, see @ref{chord}.
4361 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4363 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4364 time normally occupied by two. The resulting rhythm can be expressed in modern
4365 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4366 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4367 as a special effect (or @emph{affect}) at cadences.
4369 For example, this phrase in 6/4 time
4371 @lilypond[quote,relative=1,line-width=13.0\cm]
4374 c2. e | d2 c d | c1. \bar "||"
4377 may be thought of having alternating time signatures
4379 @lilypond[quote,relative=1,line-width=13.0\cm]
4389 and is therefore a polymeter (second definition) of considerable antiquity.
4392 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4405 FI: homofonia, yksiäänisyys.
4407 Music in which one voice leads melodically supported by the other voices in
4408 the same rhythm (more or less). In contrast to @emph{polyphony}.
4431 FI: säkeiden tavumäärät.
4433 A group or list of numbers that indicate the number of syllables in a line
4434 of a hymn's verse. Different hymnals have different ways of noting the hymn
4435 meter: for example, consider a hymn that has four lines in two couplets
4436 alternating regularly between eight and seven syllables. The @emph{English
4437 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4438 or 8@w{ }7@w{ }8@w{ }7.
4440 Some frequently-used hymn meters have traditional names:
4443 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4444 @item 86.86 is called Common Meter (CM or C.M.)
4445 @item 88.88 is called Long Meter (LM or L.M.)
4448 Some hymns and their tunes are doubled versions of a simpler meter: for
4449 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4450 87.87D. The traditional names above also have doubled versions:
4453 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4454 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4455 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4459 No cross-references.
4472 FI: intervalli, kahden sävelen korkeusero.
4474 Difference in pitch between two notes. Intervals may be diminished, minor,
4475 perfect, major, or augmented. The augmented fourth and the diminished fifth
4476 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4477 and are called @emph{tritonus} because they consist of three whole tones.
4478 The addition of such two intervals forms an octave.
4480 @lilypond[quote,notime,line-width=13.0\cm]
4482 \context Voice \relative c'' {
4519 \context Lyrics \lyrics {
4521 "second " "second " "second " "second "
4522 "third " "third " "third " "third "
4523 "fourth " "fourth " "fourth "
4524 "fifth " "fifth " "fifth "
4525 "sixth " "sixth " "sixth " "sixth "
4526 "seventh" "seventh" "seventh" "seventh"
4527 "octave " "octave " "octave "
4533 @ref{enharmonic}, @ref{whole tone}.
4548 When a chord sounds with a bass note that differs from the root of the
4549 chord, it is said to be @emph{inverted}. The number of inversions that a
4550 chord can have is one fewer than the number of constituent notes. For
4551 example, triads (which have three constituent notes) can have three
4552 positions, two of which are inversions:
4556 The root note is in the bass, and above that are the third and the fifth. A
4557 triad built on the first scale degree, for example, is marked @notation{I}.
4559 @item First inversion
4560 The third is in the bass, and above it are the fifth and the root. This
4561 creates an interval of a sixth and a third above the bass note, and so is
4562 marked in figured Roman notation as @notation{6/3}. This is commonly
4563 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4564 characteristic interval of the inversion, and so always implies
4567 @item Second inversion
4568 The fifth is in the bass, and above it are the root and the third. This
4569 creates an interval of a sixth and a fourth above the bass note, and so is
4570 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4571 unstable chord position.
4575 No cross-references.
4578 @node inverted interval
4579 @section inverted interval
4581 ES: intervalo invertido,
4582 I: intervallo rivolto,
4583 F: intervalle renversé,
4584 D: umgekehrtes Intervall,
4585 NL: interval inversie,
4586 DK: omvendingsinterval,
4587 S: intervallets omvändning,
4588 FI: käänteisintervalli.
4590 The difference between an interval and an octave.
4592 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4593 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4594 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4595 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4599 No cross-references.
4602 @node just intonation
4603 @section just intonation
4605 ES: entonación justa,
4606 I: intonazione giusta,
4607 F: intonation juste,
4614 Tuning system in which the notes are obtained by adding and subtracting
4615 natural fifths and thirds.
4633 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4634 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4637 @ref{chromatic scale}, @ref{key signature}.
4641 @section key signature
4643 ES: armadura (de la clave),
4644 I: armatura di chiave,
4645 F: armure, armature [de la clé],
4646 D: Vorzeichen, Tonart,
4647 NL: toon@-soort (voortekens),
4650 FI: sävellajiosoitus.
4652 The sharps or flats appearing at the beginning of each staff indicating the
4659 @node laissez vibrer
4660 @section laissez vibrer
4671 [French: @q{Let vibrate}] Most frequently associated with harp
4672 parts. Marked @notation{l.v.} in the score.
4675 No cross-references.
4683 F: largo, large, ample,
4684 D: Largo, Langsam, Breit,
4688 FI: largo, hitaasti, leveästi.
4690 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4691 expressiveness. @emph{Larghetto} is less slow than largo.
4695 @section leading note
4706 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4707 called because of its strong tendency to @q{lead up} (resolve upwards)
4708 to the tonic scale degree.
4711 @ref{scale degree}, @ref{semitone}.
4715 @section ledger line
4717 ES: línea adicional,
4718 I: tagli addizionali,
4719 F: ligne supplémentaire,
4726 A ledger line is an extension of the staff.
4728 @lilypond[quote,notime,relative=2]
4735 No cross-references.
4744 D: legato, gebunden,
4750 To be performed (a) without any perceptible interruption between the
4751 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4752 @notation{portato}, or (d) @notation{staccato}.
4754 @lilypond[quote,notime,line-width=13.0\cm]
4756 \context Staff \relative c'' {
4757 c4-( d e-) \bar "||"
4758 c4-- d-- e-- \bar "||"
4759 c4-.-( d-. e-.-) \bar "||"
4760 c4-. d-. e-. \bar "||"
4776 @section legato curve
4779 @ref{slur}, @ref{legato}.
4801 A ligature is a coherent graphical symbol that represents at least two
4802 distinct notes. Ligatures originally appeared in the manuscripts of
4803 Gregorian chant notation around the 9th century to denote ascending or
4804 descending sequences of notes. In early notation, ligatures were used for
4805 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4806 performance in the sense of articulation. With the invention of the metric
4807 system of the white mensural notation, the need for ligatures to denote such
4808 patterns disappeared.
4811 @ref{mensural notation}.
4818 ES: estanque de nenúfares,
4819 I: stagno del giglio,
4820 F: étang de nénuphars, étang de nymphéas,
4822 NL: le@-lie@-vij@-ver,
4827 A pond with lilies floating in it.
4829 Also, the name of a music typesetting program.
4832 No cross-references.
4841 D: Linie, Notenlinie,
4845 FI: viiva, nuottiviiva.
4861 FI: kirjoitetussa äänenkorkeudessa.
4863 [Italian: @q{place}] Instruction to play the following passage at the
4864 written pitch. Cancels octave mark (q.v.).
4867 @ref{octave mark}, @ref{octave marking}.
4870 @node long appoggiatura
4871 @section long appoggiatura
4873 ES: apoyatura larga,
4874 I: appoggiatura lunga,
4875 F: appoggiature longue,
4880 FI: pitkä appoggiatura, pitkä etuhele.
4890 @item US: long, longa,
4893 @item F: longa, longue,
4901 Note value: twice the length of a @notation{breve}.
4903 @lilypond[quote,notime,relative=2]
4904 \override NoteHead #'style = #'mensural
4909 @ref{breve}, @ref{note value}.
4915 ES: ligadura de letra,
4917 F: ligature de mots,
4922 FI: sidonta sanoituksessa.
4924 @c TODO: add languages
4933 ES: letra (de la canción),
4936 D: Liedtext, Gesangtext,
4945 No cross-references.
4961 @ref{diatonic scale}.
4964 @node major interval
4965 @section major interval
4967 ES: intervalo mayor,
4968 I: intervallo maggiore,
4969 F: intervalle majeur,
4970 D: großes Intervall,
4974 FI: suuri intervalli.
4992 Note value: twice the length of a @notation{longa}.
4994 The maxima is the largest duration in use during the 15th and 16th centuries.
4995 Like the longa, the maxima can be either two or three times as long as the
4996 @notation{longa} (called @notation{binary} and @notation{ternary},
4997 respectively). By the late 15th century, most composers used the smaller
4998 proportion by default.
5001 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
5004 @node meantone temperament
5005 @section meantone temperament
5007 ES: afinación mesotónica,
5008 I: accordatura mesotonica,
5009 F: tempérament mésotonique,
5010 D: mitteltönige Stimmung,
5011 NL: middenstemming, middentoonstemming,
5012 DK: middeltonetemperatur,
5013 S: medeltonstemperatur,
5014 FI: keskisävelviritys.
5016 Temperament yielding acoustically pure thirds by decreasing the natural
5017 fifth by 16@w{ }cents. Due to the non-circular character of this
5018 temperament only a limited set of keys are playable. Used for tuning
5019 keyboard instruments for performance of pre-1650 music.
5022 @ref{cent}, @ref{temperament}.
5037 A group of beats (units of musical time) the first of which bears an accent.
5038 Such groups in numbers of two or more recur consistently throughout the
5039 composition and are separated from each other by bar lines.
5042 @ref{bar line}, @ref{beat}, @ref{meter}.
5045 @node measure repeat
5046 @section measure repeat
5049 @ref{percent repeat}.
5056 I: mediante, modale,
5066 @item The third @b{scale degree}.
5068 @item A @emph{chord} having its base tone a third from that of another
5069 chord. For example, the tonic chord may be replaced by its lower
5070 mediant (variant tonic).
5075 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5088 FI: melisma, laulettavan tavun sävelkuvio.
5090 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5091 on one syllable, especially as applied to liturgical chant.
5094 No cross-references.
5098 @section melisma line
5100 @c TODO: add languages
5102 ES: línea de melisma,
5104 F: trait de mélisme, trait de tenue,
5112 @ref{extender line}.
5115 @node melodic cadence
5116 @section melodic cadence
5122 @node mensural notation
5123 @section mensural notation
5125 @c TODO: add languages
5127 ES: notación mensural,
5129 F: notation mensurale,
5134 FI: mensuraalinuotinnus.
5136 A system of duration notation whose principles were first established in the
5137 mid-13th century, and that (with various changes) remained in use until about
5138 1600. As such, it is the basis for the notation of rhythms in Western musical
5141 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5142 of the notation's principles, so the notation of this earliest period is called
5143 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5144 and semibreve -- each of which was normally equivalent to three of the next
5147 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5148 added several note values (the minim, semiminim and fusa) and extended Franco's
5149 principles to govern the relationship between these values. They also put the
5150 duple division of note values on an equal footing with the earlier (preferred)
5153 TODO: continue description of French and Italian black notation, and the
5154 relationship betwixt them.
5156 @b{White or void mensural notation}
5158 In the 15th century, hollow (or void) notes began to substitute for the earlier
5159 solid black ones, which were then free to assume the function of red (or
5160 colored) notes in the earlier notation. ...
5162 TODO: add to definition (including summary info on proportional notation)
5165 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5166 @c TODO: more cross-references?
5169 @node mensuration sign
5170 @section mensuration sign
5172 @c TODO: add languages
5176 F: signe de mensuration,
5183 The ancestor of the time signature, mensuration signs were used to indicate the
5184 relationship between two sets of note durations—specifically, the ratio of
5185 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5186 (called @notation{prolatio}).
5188 Each ratio was represented with a single single sign, and was either
5189 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5190 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5191 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5192 represented by a complete circle; applied to the @emph{prolatio}, it was called
5193 @emph{major} and was represented by a dot in the middle of the sign. The binary
5194 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5195 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5196 @emph{minor} and was represented by the lack of an internal dot. There are four
5197 possible combinations, which can be represented in modern time signatures with
5198 and without reduction of note values. (These signs are hard-coded in LilyPond
5202 @item perfect @emph{tempus} with major @emph{prolatio}
5203 Indicated by a complete circle with an internal dot. In modern time signatures,
5206 @item 9/4, with reduction or
5207 @item 9/2, without reduction
5210 @item perfect @emph{tempus} and minor @emph{prolatio}
5211 Indicated by a complete circle without an internal dot. In modern time
5212 signatures, this equals:
5214 @item 3/2, with reduction or
5215 @item 3/1, without reduction
5218 @item imperfect @emph{tempus} and major @emph{prolatio}
5219 Indicated by an incomplete circle with an internal dot. In modern time
5220 signatures, this equals:
5222 @item 6/4, with reduction or
5223 @item 6/2, without reduction
5226 @item imperfect @emph{tempus} and minor @emph{prolatio}
5227 Indicated by an incomplete circle without an internal dot. In modern time
5228 signatures, this equals:
5230 @item 4/4, with reduction or
5231 @item 2/1, without reduction
5235 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5236 with note values reduced from the original semibreve to a modern quarter note.
5237 Being doubly imperfect, this sign represented the (theoretically)
5238 least-preferred mensuration, but it was actually used fairly often.
5240 This system extended to the ratio of longer note values to each other:
5244 @item maxima to longa, called:
5248 @item @notation{modus maximorum},
5249 @item @notation{modus major}, or
5250 @item @notation{maximodus})
5254 @item longa to breve, called:
5258 @item @notation{modus longarum},
5259 @item @notation{modus minor}, or
5260 @item @notation{modus}
5266 In the absence of any other indication, these modes were assumed to be
5267 binary. The mensuration signs only indicated tempus and prolatio, so
5268 composers needed another way to indicate these longer ratios (called modes.
5269 Around the middle of the 15th century started to use groups of rests at the
5270 beginning of the staff, preceding the mensuration sign.
5273 Two mensuration signs have survived to the present day: the C-shaped sign,
5274 which originally designated @notation{tempus imperfectum} and
5275 @notation{prolatio minor} now stands for @notation{common time}; and the
5276 slashed C, which designated the same with @notation{diminution} now stands
5277 for @notation{cut-time} (essentially, it has not lost its original meaning).
5280 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5281 @c TODO: more cross-references?
5289 F: indication de mesure, mesure,
5296 The pattern of note values and accents in a composition or a section thereof.
5297 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5298 by grouping beats and by subdividing the primary beat.
5300 @b{By grouping beats}:
5304 @item @b{duple}: groups of two.
5305 @item @b{triple}: groups of three.
5306 @item @b{quadruple}: groups of four. A special case of duple meter.
5307 @item @b{quintuple}: groups of five beats.
5308 @item @b{sextuple} meter: groups of six. A special case of:
5312 @item duple meter, subdivided in three; or
5313 @item triple meter, subdivided in two.
5317 @item @b{septuple} meter: groups of seven.
5322 Other than triple meter and its subdivided variants (see below), meters that
5323 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5324 frequently used prior to the 20th Century.
5326 @b{By subdividing the primary beat}:
5330 @item simple: subdivided in groups of two.
5334 @item duple: 2/2, 2/4, 2/8
5335 @item triple: 3/2, 3/4, 3/8
5336 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5340 @item compound: subdivided in groups of three.
5346 @item quadruple: 12/8
5352 Time signatures are placed at the beginning of a composition (or section) to
5353 indicate the meter. For instance, a piece written in simple triple meter with a
5354 beat on each quarter note is conventionally written with a time signature of
5355 3/4. Here are some combinations of the two classifications above:
5357 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5359 @lilypond[quote,line-width=13.0\cm]
5363 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5366 Simple triple meter:
5368 @lilypond[quote,line-width=13.0\cm]
5372 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5375 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5377 @lilypond[quote,line-width=13.0\cm]
5381 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5384 Simple quintuple meter (B. Marcello, 1686-1739):
5386 @lilypond[quote,line-width=13.0\cm]
5390 r4 cis8 bis ais4 dis c8 ais |
5391 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5394 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5395 the source, with sharps in the accompaniment where the voice has flats and
5398 Compound duple meter (unknown):
5400 @lilypond[quote,line-width=13.0\cm]
5404 f8 f g a bes16 a g f |
5405 g8 g bes a c16 a bes g
5409 Compound triple meter (J.S. Bach, 1685-1750):
5411 @lilypond[quote,line-width=13.0\cm]
5415 r8 g'( a) b( d c) c( e d) |
5416 d( g fis) g( d b) g( a b)
5420 Compound quadruple meter (P. Yon, 1886-1943):
5422 @lilypond[quote,line-width=13.0\cm]
5426 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5427 e4 e8 fis( gis) a b4.~ b4 b8
5432 @b{@q{Monometer} vs Polymeter}
5434 TODO: add information from discussion on lilypond-user related to polymeter.
5438 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5453 Device used to indicate the exact tempo of a piece.
5455 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5456 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5457 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5458 followed acknowledged Winkler as the creator, but by then Mälzel had already
5459 sold many of them, and people had taken to calling it a Mälzel Metronome.
5462 @ref{metronome mark}.
5465 @node metronome mark
5466 @section metronome mark
5468 ES: indicación metronómica,
5469 I: indicazione metronomica,
5470 F: indication métronomique,
5472 NL: metronoom aanduiding,
5474 S: metronomangivelse,
5475 FI: metronomiosoitus.
5477 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5478 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5485 @node metronomic indication
5486 @section metronomic indication
5489 @ref{metronome mark}
5502 FI: kohtalaisen, melko.
5504 [Italian: @q{medium}]
5506 Used to qualify other indications, such as:
5512 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5514 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5520 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5527 No cross-references.
5531 @section mezzo-soprano
5542 The female voice between soprano and contralto.
5545 @ref{soprano}, @ref{contralto}.
5554 D: eingestrichenes@w{ }c,
5556 DK: enstreget@w{ }c,
5557 S: ettstruket@w{ }c,
5560 First C below the 440 Hz A.
5562 @lilypond[quote,notime,relative=1]
5563 \override Staff.Clef #'full-size-change = ##t
5570 No cross-references.
5586 @ref{diatonic scale}.
5589 @node minor interval
5590 @section minor interval
5592 ES: intervalo menor,
5593 I: intervallo minore,
5594 F: intervalle mineur,
5595 D: kleines Intervall,
5599 FI: pieni intervalli.
5605 @node mixolydian mode
5606 @section mixolydian mode
5609 @ref{diatonic scale}.
5618 D: Kirchentonart, Modus,
5622 FI: moodi, kirkkosävelasteikko.
5625 @ref{church mode}, @ref{diatonic scale}.
5638 FI: modulaatio, sävellajin vaihdos.
5640 Moving from one @ref{key} to another. For example, the second subject
5641 of a @ref{sonata form} movement modulates to the dominant key if the
5642 key is major and to the @ref{relative key} if the key is minor.
5645 No cross-references.
5657 FI: mordent, korukuvio.
5680 FI: teema, sävelaihe.
5682 The briefest intelligible and self-contained fragment of a musical
5685 @lilypond[quote,line-width=13.0\cm]
5688 \set Score.implicitTimeSignatureVisibility = #all-invisible
5689 \override Score.TimeSignature #'break-visibility = #all-invisible
5692 \partial 8 g16\startGroup fis |
5693 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5694 g8 g,16 a b8 cis d16 s
5698 \Staff \consists "Horizontal_bracket_engraver"
5704 No cross-references.
5719 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5720 several -- more or less -- independent pieces called movements.
5723 No cross-references.
5726 @node multi-measure rest
5727 @section multi-measure rest
5729 ES: compases de espera,
5731 F: pause multiple, mesure à compter,
5733 D: mehrtaktige Pause, Kirchenpause,
5736 FI: usean tahdin mittainen tauko.
5738 Multi-measure rests are conventionally typeset with a combination of
5739 longa, breve and whole rests for shorter and a long horizontal bar for
5740 longer spans of rest, with a number above to indicate the duration (in
5741 measures) of the rest. The former style is called @q{Kirchenpausen} in
5742 German, as a reminiscence of its use in Renaissance vocal polyphony.
5744 @lilypond[quote,relative=2]
5746 \set Score.skipBars = ##t
5749 \set Score.skipBars = ##t
5755 @ref{longa}, @ref{breve}.
5764 D: Auflösungszeichen,
5765 NL: herstellingsteken,
5766 DK: op@-løsningstegn,
5767 S: återställningstecken,
5774 @node neighbor tones
5775 @section neighbor tones
5777 @c TODO: add definition.
5789 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5828 Notes are signs by means of which music is fixed in writing. The term is also
5829 used for the sound indicated by a note, and even for the key of the piano
5830 which produces the sound. However, a clear distinction between the terms tone
5831 and @ref{note} is strongly recommended. Briefly, one sees a note,
5835 No cross-references.
5842 I: testa, testina, capocchia,
5850 A head-like sign which indicates pitch by its position on a @notation{staff}
5851 provided with a @notation{clef}, and duration by a variety of shapes such as
5852 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5853 For percussion instruments (often having no defined pitch) the note head may
5854 indicate the instrument.
5857 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5870 ES: valor (duración),
5872 F: durée, valeur (d'une note),
5877 FI: nuotin aika-arvo.
5879 Note values (durations) are measured as fractions—in modern usage, one-half—of
5880 the next higher note value. The longest duration in current use is the
5881 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5882 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5883 or @notation{maxima} (eight whole notes) may be found.
5885 As used in mensural notation, this fraction was more flexible: it could also
5886 be one-third the higher note value. Composers indicated which proportions
5887 to use with various signs—two of which survive to the present day: the
5888 C-shaped sign for @notation{common time}, and the slashed C for
5889 @notation{alla breve} or @notation{cut-time}.
5891 @c TODO -- add maxima to this example, in a way that doesn't break it.
5893 @lilypond[quote,notime,line-width=13.0\cm]
5895 \override NoteHead #'style = #'mensural
5896 a\longa_"longa" a\breve_"breve"
5897 \revert NoteHead #'style
5898 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5899 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5902 @c TODO -- add maxima rest to this example
5904 @lilypond[quote,notime,line-width=13.0\cm]
5906 r\longa_"longa" r\breve_"breve"
5907 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5908 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5911 An augmentation dot after a note increases its duration by half; a second dot
5912 increases it by half of the first addition (that is, by a fourth of the original
5913 duration). More dots can be used to add further halved fractions of the
5914 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5916 @lilypond[quote,line-width=13.0\cm]
5919 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5920 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5923 Alternatively note values may be subdivided by other ratios. Most common is
5924 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5925 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5926 dotted notes are also frequently used.
5928 @lilypond[quote,line-width=13.0\cm]
5931 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5932 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5936 @lilypond[quote,line-width=13.0\cm]
5939 \times 3/2 {g4_"duplets" g} |
5941 \times 6/4 {g8_"quadruplets" g g g} |
5942 g8 g g g g4 \bar "||"
5954 @ref{octave marking}.
5969 The interval of an octave, sometimes abbreviated @notation{8ve}.
5971 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5972 bracket, or @notation{loco} see octave marking.
5975 @ref{interval}, @ref{octave marking}.
5979 @section octave mark
5981 ES: indicación de octava,
5983 F: indication d'octave,
5990 The phrase, abbreviation, or other mark used (with or without an extender line
5991 or bracket) to indicate that the music is to be played in a different octave:
5995 @item @notation{15ma}: play two octaves higher
5996 @item @notation{8va}: play one octave higher
5997 @item @notation{8vb}: play one octave lower
5998 @item @notation{8va} (written below the passage): unusual, same as
6000 @item @notation{15vb}: play two octaves lower
6001 @item @notation{15va} (written below the passage): unusual, same as
6006 For longer passages, it may be more practical to mark the octave change at the
6007 beginning with a phrase (see the list below for examples), but without a bracket
6008 or extender line. Then, when the music returns to the written pitch, the octave
6009 change is cancelled with the word @notation{loco} (q.v.).
6011 To parallel the list above:
6015 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6016 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6017 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6018 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6022 In the phrases above, @notation{quindicesima} is sometimes replaced with
6023 @notation{quindecima}, which is Latin.
6025 The music on an entire staff can be marked to be played in a different octave by
6026 putting a small 8 or 15 above or below the clef at the beginning. This octave
6027 mark can be applied to any clef, but it is most frequently used with the G and F
6031 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6034 @node octave marking
6035 @section octave marking
6044 FI: oktaavamerkintä.
6046 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6047 that it is to be played in a different octave. If applied to the clef at the
6048 beginning of the staff, all music on that staff is to played at the indicated
6051 For a list of the specific marks used, see @ref{octave mark}.
6054 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6058 @section octave sign
6068 I: abbellimento, fioriture,
6069 F: agrément, ornement,
6070 D: Verzierung, Ornament,
6076 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6077 with the diatonic @ref{second} above it. In the music from the
6078 middle of the 19th century and onwards the trill is performed with the main
6079 note first while in the music from the preceding baroque and classic periods
6080 the upper note is played first.
6082 @lilypond[quote,line-width=13.0\cm]
6084 \context Staff = sa {
6086 c2._"pre-1850" b4\trill | c1 \bar "||"
6087 c2._"post-1850" b4\trill | c1 \bar "||"
6091 c2. c32 b c b c b c b | c1
6092 c2. b32 c b c \times 4/5 { b c b c b } | c1
6097 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6098 the @emph{prall} (inverted mordent).
6100 @lilypond[quote,line-width=13.0\cm]
6102 \context Staff = sa {
6104 a4_"turn" b\turn c2 \bar "||"
6105 g4_"mordent" a b\mordent a \bar "||"
6106 e'4_"prall" d\prall c2 \bar "||"
6112 e'4 e32[ d e d ~ d8] c2
6118 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6126 F: ossia, alternative,
6131 FI: ossia, vaihtoehtoinen esitystapa.
6133 Ossia (otherwise) marks an alternative. It is an added staff or piano
6134 score, usually only a few measures long, which presents another version
6135 of the music, for example for small hands.
6138 Compare: @ref{cue-notes}.
6151 FI: stemma, instrumenttiosuus.
6155 @item In instrumental or choral music, the music for a single
6156 instrument or voice.
6158 @item in contrapuntal music, a single melodic line in the contrapuntal
6181 @node percent repeat
6182 @section percent repeat
6184 LilyPond-specific term to indicate the repetition of a musical expression on a
6185 single staff, as opposed to the more usual definition of repeat, which affects
6186 all parts. The musical expression can be anything from a single note or note
6187 pattern to one or more measures. There are other names for this symbol:
6192 @item slash mark, or slash repeat
6194 @item measure (or multi-measure) repeat
6198 @lilypond[quote,relative=2,line-width=13.0\cm]
6200 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6201 \repeat percent 2 { c4 e g b_"Measure repeat" }
6202 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6207 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6208 Vermont Music Dictionary}.
6217 D: Schlagzeug, Schlagwerk,
6223 A family of musical instruments which are played on by striking or
6224 shaking. Percussion instruments commonly used in a symphony orchestra are
6225 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6226 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6230 No cross-references.
6233 @node perfect interval
6234 @section perfect interval
6236 ES: intervalo justo,
6237 I: intervallo giusto,
6238 F: intervalle juste,
6239 D: reines Intervall,
6243 FI: puhdas intervalli.
6261 A natural division of the melodic line, comparable to a sentence of speech.
6277 FI: fraseeraus, jäsentäminen.
6279 The clear rendering in musical performance of the @notation{phrases} of the
6280 melody. Phrasing may be indicated by a @notation{slur}.
6283 @ref{phrase}, @ref{slur}.
6298 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6299 @emph{mezzo piano} (@b{mp}) medium soft.
6302 No cross-references.
6310 F: anacrouse, levée,
6335 @item The perceived quality of a sound that is primarily a function of its
6336 fundamental frequency.
6338 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6340 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6341 association of a particular frequency with a particular pitch name, e.g., c' =
6357 NL: pizzicato, getokkeld,
6360 FI: pizzicato, näppäillen.
6362 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6366 No cross-references.
6372 ES: compás polimétrico,
6379 FI: monia tahtiosoituksia sisältävä.
6383 @item The @emph{simultaneous} use of two or more meters, in two or more
6386 @item The @emph{successive} use of different meters in one or more parts.
6391 @ref{polymetric} (adj.)
6404 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6406 Characterized by @emph{polymeter}: using two or more metric frameworks
6407 simultaneously or in alternation.
6410 @ref{polymeter} (noun)
6413 @node polymetric time signature
6414 @section polymetric time signature
6416 ES: compás polimétrico,
6423 FI: vaihtelevan tahtiosoitusmerkintä.
6425 A time signature that indicates regularly alternating polymetric time.
6437 D: Polyphonie, Mehrstimmigkeit,
6441 FI: polyfonia, moniäänisyys.
6443 Music written in a combination of several simultaneous voices (parts)
6444 of a more or less pronounced individuality.
6453 [Italian: past participle of @emph{portare}, @q{to carry}]
6455 A stroke in which each of several notes is separated slightly within a slur,
6456 without changing the bow's direction. It is used for passages of a
6457 @notation{cantabile} character.
6468 F: presto, très rapide, enlevé,
6469 D: Presto, Sehr schnell,
6470 NL: presto, Sehr schnell,
6473 FI: presto, hyvin nopeasti.
6477 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6478 denotes the highest possible degree of speed.
6481 No cross-references.
6496 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6497 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6502 @item A ratio that expresses the relationship between the note values that
6503 follow with those that precede;
6505 @item A ratio between the note values of a passage and the @q{normal}
6506 relationship of note values to the metrical pulse. (A special case of the
6511 The most common proportions are:
6514 @item 2:1 (or simply 2), expressed by a vertical line through the
6515 mensuration sign (the origin of the @notation{alla breve} time signature),
6516 or by turning the sign backwards
6517 @item 3:1 (or simply 3)
6518 @item 3:2 (@emph{sesquialtera})
6521 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6524 @item 1:2 cancels 2:1
6525 @item 1:3 cancels 3:1
6526 @item 2:3 cancels 3:2
6530 Gaffurius enumerates five basic types of major:minor proportions and their
6534 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6535 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6537 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6538 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6539 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6541 @item Superpartiens, if the major number is one less than twice the minor
6542 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6544 @item Multiplexsuperparticular, if the major number is one more than twice the
6545 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6548 @item Multiplexsuperpartiens, if the major number is one less than some other
6549 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6550 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6554 He then continues to subdivide each type in various ways. For the multiplex
6555 proportions, for example, he indicates how many times greater the major number
6560 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6561 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6563 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6566 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6567 Example: 4:1, 8:2, and 12:3
6571 Other proportions were possible, but whether they were frequently used is
6576 @item 33:9, @emph{triplasuperbipartientetertias}
6577 @item 51:15, @emph{triplasuperbipartientequintas}
6581 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6584 @ref{mensural notation}.
6587 @node Pythagorean comma
6588 @section Pythagorean comma
6590 ES: coma pitagórica,
6591 I: comma pitagorico,
6592 F: comma pythagoricien,
6593 D: Pythagoräisches Komma,
6594 NL: komma van Pythagoras,
6595 DK: pythagoræisk komma,
6596 S: pytagoreiskt komma,
6597 FI: pytagorinen komma.
6599 Originally, the interval by which the sum of six whole tones exceeds the octave
6600 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6602 Modern acoustical theory defines it as the interval by which twelve fifths
6603 exceed seven octaves. To put it another way: A sequence of fifths that starts
6604 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6605 than the C obtained by adding 7 octaves. The difference between those two
6606 pitches is the Pythagorean comma.
6609 @ref{cent}, @ref{temperament}.
6640 The quality of a triad is determined by the precise arrangement of its
6641 intervals. Tertian triads can be described as a series of three notes. The
6642 first element is the root note (or simply @q{root}) of the chord, the second
6643 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6644 the chord. These are described below:
6646 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6647 @headitem Chord name
6648 @tab Component intervals
6651 @item major triad @tab major third/perfect fifth
6653 @tab C, CM, Cma, Cmaj, CΔ
6654 @item minor triad @tab minor third/perfect fifth
6656 @tab Cm, Cmi, Cmin, C-
6657 @item augmented triad @tab major third/augmented fifth
6660 @item diminished triad @tab minor third/diminished fifth
6662 @tab Cm(♭5), Cº, Cdim
6665 There are various types of seventh chords depending on the quality of the
6666 original chord and the quality of the seventh added.
6668 Five common types of seventh chords have standard symbols. The chord quality
6669 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6670 and D^m7 are all identical). The last three chords are not commonly used
6678 @section quarter note
6683 @item I: semiminima, nera
6685 @item D: Viertel, Viertelnote
6687 @item DK: fjerdedelsnode
6688 @item S: fjärdedelsnot
6689 @item FI: neljäsosanuotti
6697 @section quarter rest
6700 @item UK: crotchet rest
6701 @item ES: silencio de negra
6702 @item I: pausa di semiminima
6704 @item D: Viertelpause
6706 @item DK: fjerdedelspause
6707 @item S: fjärdedelspaus
6708 @item FI: neljäsosatauko
6716 @section quarter tone
6718 ES: cuarto de tonno,
6725 FI: neljännessävelaskel.
6727 An interval equal to half a semitone.
6736 ES: cinquillo, quintillo.
6750 @section rallentando
6754 F: rallentando, en ralentissant,
6755 D: rallentando, langsamer werden,
6759 FI: rallerdando, hidastuen.
6761 [Italian] A performance indication, abbreviated @notation{rall.}.
6768 @section relative key
6771 I: tonalità relativa,
6772 F: tonalité relative,
6774 NL: paralleltoonsoort,
6775 DK: paralleltoneart,
6777 FI: rinnakkaissävellaji.
6779 Major and minor keys that have the same key signature.
6781 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6783 es1_"e flat major" f g as bes c d es
6787 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6789 c1_"c minor" d es f g a! b! c
6794 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6802 F: barre de reprise,
6805 DK: gen@-ta@-gel@-se,
6809 @lilypond[quote,relative=2,line-width=13.0\cm]
6821 No cross-references.
6836 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6837 @c specify the rest's value.
6857 @item Metrical rhythm in which every time value is a multiple or
6858 fraction of a fixed unit of time, called @emph{beat}, and in which the
6859 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6860 The basic scheme of time values is called @emph{meter}.
6862 @item Measured rhythm which lacks regularly recurrent accent. In
6863 modern notation such music appears as a free alternation of different
6866 @item Free rhythm, i.e., the use of temporal values having no common
6867 metrical unit (beat).
6872 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6879 F: ritardando, en ralentissant,
6880 D: ritardando, langsamer werden,
6884 FI: ritardando, hidastuen,
6886 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6889 No cross-references.
6897 F: ritenuto, en retenant,
6902 FI: ritenuto, hidastaen.
6904 Immediate reduction of speed.
6907 No cross-references.
6920 FI: asteikko, sävelasteikko.
6923 @ref{diatonic scale}.
6927 @section scale degree
6929 ES: grado (de la escala),
6930 I: grado della scala,
6931 F: degré [de la gamme],
6933 NL: trap [van de toonladder],
6936 FI: sävelaste, asteikon sävel.
6938 Names and symbols used in harmonic analysis to denote tones of the
6939 scale as roots of chords. The most important are degrees I = tonic
6940 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6942 @lilypond[quote,notime,line-width=13.0\cm]
6944 \new Staff \relative c' {
6948 << { I II III IV V VI VII I }
6955 @ref{functional harmony}.
6963 F: à cordes ravallées,
6968 FI: epätavallinen viritys.
6970 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6971 tuning of stringed instruments, particularly lutes or violins. Used
6976 @item facilitate pitch combinations that would otherwise be difficult
6979 @item alter the characteristic timbre of the instrument, for example,
6980 to increase brilliance
6982 @item reinforce certain sonorities or tonalities by making them
6983 available on open strings
6985 @item imitate other instruments
6991 Tunings that could be called @var{scordatura} first appeared early in
6992 the 16th Century and became commonplace in the 17th.
6995 No cross-references.
7003 F: partition, conducteur (full score),
7004 D: Partitur (full score), Klavierauszug (vocal score),
7010 A copy of orchestral, choral, or chamber music showing what each
7011 instrument is to play, each voice to sing, having each part arranged
7012 one underneath the other on different staves @ref{staff}.
7015 No cross-references.
7030 The interval between two neighboring tones of a scale. A diatonic scale
7031 consists of alternating semitones and whole tones, hence the size of a
7032 second depends on the scale degrees in question.
7035 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7042 @item US: whole note,
7046 @item D: Ganze, ganze Note,
7047 @item NL: hele noot,
7050 @item FI: kokonuotti.
7053 Note value: called @notation{whole note} in the US.
7055 The semibreve is the basis for the @notation{tactus} in mensural notation
7056 (i.e. music written before ca. 1600).
7059 @ref{mensural notation}, @ref{note value}.
7074 The interval of a minor second. The (usually) smallest interval in European
7075 composed music. The interval between two neighboring tones on the piano
7076 keyboard -- including black and white keys -- is a semitone. An octave may
7077 be divided into 12@w{ }semitones.
7079 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7080 g1 gis s a bes s b! c
7084 @ref{interval}, @ref{chromatic scale}.
7107 @ref{sextuplet}, @ref{note value}.
7161 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7162 is to be played in the same manner (i.e. with the same articulations, dynamics,
7163 etc.) as the music that precedes it.
7166 TODO: Where else could I refer the reader?
7170 @section simple meter
7172 ES: compás simple, compás de subdivisión binaria,
7179 FI: kaksijakoinen tahtiosoitus.
7181 A meter in which the basic beat is subdivided in two: that is, a meter
7182 that does not include triplet subdivision of the beat.
7185 @ref{compound meter}, @ref{meter}.
7188 @node sixteenth note
7189 @section sixteenth note
7192 @item UK: semiquaver
7193 @item ES: semicorchea
7195 @item F: double croche
7196 @item D: Sechzehntel, Sechzehntelnote
7197 @item NL: zestiende noot
7198 @item DK: sekstendedelsnode
7199 @item S: sextondelsnot
7200 @item FI: kuudestoistaosanuotti
7207 @node sixteenth rest
7208 @section sixteenth rest
7211 @item UK: semiquaver rest
7212 @item ES: silencio de semicorchea
7213 @item I: pausa di semicroma
7214 @item F: quart de soupir
7215 @item D: Sechzehntelpause
7216 @item NL: zestiende rust
7217 @item DK: sekstendedelspause
7218 @item S: sextondelspaus
7219 @item FI: kuudestoistaosatauko
7242 @node sixty-fourth note
7243 @section sixty-fourth note
7246 @item UK: hemidemisemiquaver
7248 @item I: semibiscroma
7249 @item F: quadruple croche
7250 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7251 @item NL: vierenzestigste noot
7252 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7253 @item S: sextiofjärdedelsnot
7254 @item FI: kuudeskymmenesneljäsosanuotti
7261 @node sixty-fourth rest
7262 @section sixty-fourth rest
7265 @item UK: hemidemisemiquaver rest
7266 @item ES: silencio de semifusa
7267 @item I: pausa di semibiscroma
7268 @item F: seizième de soupir
7269 @item D: Vierundsechzigstelpause
7270 @item NL: vierenzestigste rust
7271 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7272 @item S: sextiofjärdedelspaus
7273 @item FI: kuudeskymmenesneljäsosatauko
7281 @section slash repeat
7284 @ref{percent repeat}.
7290 ES: ligadura (de expresión),
7291 I: legatura (di portamento or espressiva),
7293 D: Bogen (Legatobogen, Phrasierungsbogen),
7294 NL: fraseringsboog, legatoboog, streekboog,
7295 DK: legatobue, fraseringsbue,
7299 A slur above or below a group of notes indicates that they are to be
7300 played @ref{legato}, e.g., with one stroke of the violin bow or with
7301 one breath in singing.
7304 No cross-references.
7308 @section solmization
7317 FI: suhteelliset laulunimet.
7319 General term for systems of designating the degrees of the
7320 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7321 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7325 @ref{scale}, @ref{scale degree}.
7340 In its present-day meaning a sonata denotes an instrumental
7341 composition for piano or for some other instrument with piano
7342 accompaniment, which consists of three or four independant pieces,
7346 No cross-references.
7350 @section sonata form
7354 F: [en] forme de sonate,
7356 NL: hoofdvorm, sonatevorm,
7361 A form used frequently for single movements of the @emph{sonata},
7362 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7363 three sections called @notation{exposition}, @notation{development} and
7364 @notation{recapitulation}. In the exposition the composer introduces some
7365 musical ideas, consisting of a number of themes; in the development section the
7366 composer @emph{develops} this material, and in the recapitulation the composer
7367 repeats the exposition, with certain modifications. The exposition contains a
7368 number of themes that fall into two groups, often called first and second
7369 subject. Other melodies occurring in each group are considered as continuations
7370 of these two. The second theme is in another key, normally in the key of the
7371 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7372 @notation{relative key} if the tonic is @notation{minor}.
7375 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7376 @ref{symphony}, @ref{tonic}.
7396 FI: sopraano, korkea naisääni.
7398 The highest female voice.
7401 No cross-references.
7409 F: staccato, piqué, détaché,
7414 FI: staccato, lyhyesti, terävästi.
7416 Playing the note(s) short. Staccato is indicated by a dot above or
7417 below the note head.
7419 @lilypond[quote,relative=2]
7423 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7429 No cross-references.
7437 I: pentagramma, rigo (musicale),
7439 D: Notensystem, Notenzeile,
7440 NL: (noten)balk, partij,
7445 A staff (plural: staves) is a series of (normally five) horizontal
7446 lines upon and between which the musical notes are written, thus
7447 indicating (in connection with a @ref{clef}) their pitch. Staves for
7448 @ref{percussion} instruments may have fewer lines.
7451 No cross-references.
7467 D: Hals, Notenhals, Stiel,
7473 Vertical line above or below a @ref{note head} shorter than a
7476 @lilypond[quote,notime,relative=2]
7477 \set Score.autoBeaming = ##f
7493 F: stringendo, en accélérant,
7498 FI: kiihdyttäen, nopeuttaen.
7500 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7519 A family of stringed musical instruments played with a bow. Strings
7520 commonly used in a symphony orchestra are violin, viola, violoncello,
7524 No cross-references.
7528 @section strong beat
7533 D: betonter Taktteil oder Taktschlag,
7535 D: betonet taktslag,
7536 S: betonat taktslag,
7537 FI: tahdin vahva isku.
7540 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7544 @section subdominant
7553 FI: subdominantti, alidominantti.
7555 The fourth @notation{scale degree}.
7558 @ref{functional harmony}, @ref{scale degree}.
7573 The sixth @notation{scale degree}.
7576 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7589 FI: subtoonika, alitoonika.
7591 The seventh @ref{scale degree}.
7594 @ref{functional harmony}, @ref{scale degree}.
7600 ES: sobre la cuerda de Sol,
7603 D: auf G, auf der G-Saite,
7609 Indicates that the indicated passage (or note) should be played on the
7613 No cross-references.
7617 @section superdominant
7628 The sixth @ref{scale degree}.
7631 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7646 The second @ref{scale degree}.
7649 @ref{functional harmony}, @ref{scale degree}.
7658 D: Sinfonie, Symphonie,
7664 A symphony may be defined as a @emph{sonata} for orchestra.
7671 @section syncopation
7682 Any deliberate upsetting of the normal pulse of @ref{meter},
7683 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7684 rhythm rests upon the grouping of equal beats into groups of two or
7685 three, with a regularly recurrent accent on the first beat of each
7686 group. Any deviation from this scheme is felt as a disturbance or
7687 contradiction between the underlaying (normal) pulse and the actual
7690 @lilypond[quote,relative=1]
7693 e16 c'8 e,16 c'8 e,16 c' ~
7698 No cross-references.
7701 @node syntonic comma
7702 @section syntonic comma
7704 ES: coma sintónica, coma de Dídimo,
7705 I: comma sintonico (o didimico),
7706 F: comma syntonique,
7707 D: syntonisches Komma,
7708 NL: syntonische komma,
7709 DK: syntonisk komma,
7710 S: syntoniskt komma,
7711 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7712 Pytagorisessa viritysjärjestelmässä.
7714 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7715 by which the ditone exceeds the pure major third obtained by Pythagorean
7716 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7718 Modern acoustical theory defines it as the interval by which four fifths exceed
7719 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7721 This comma is also known as the comma of Didymus, or didymic comma.
7724 @ref{Pythagorean comma}
7733 D: Notensystem, Partitur,
7737 FI: nuottijärjestelmä.
7739 The collection of staves (@notation{staff}), two or more, as used for writing
7740 down of keyboard, chamber, choral, or orchestral music.
7747 @section temperament
7752 D: Stimmung, Tem@-pe@-ra@-tur,
7753 NL: stemming, temperatuur,
7756 FI: viritysjärjestelmä.
7758 Systems of tuning in which the intervals deviate from the acoustically
7762 @ref{meantone temperament}, @ref{equal temperament}.
7765 @node tempo indication
7766 @section tempo indication
7768 ES: indicación de tempo,
7769 I: indicazione di tempo,
7770 F: indication de tempo,
7771 D: Zeitmaß, Tempobezeichnung,
7772 NL: tempo aanduiding,
7777 The rate of speed of a composition or a section thereof, ranging from the
7778 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7779 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7783 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7797 FI: tenori, korkea miesääni.
7799 The highest @q{natural} male voice (apart from @notation{countertenor}).
7824 ES: subrayado (tenuto),
7833 An indication that a particular note should be held for the whole
7834 length, although this can vary depending on the composer and era.
7837 No cross-references.
7856 @node thirty-second note
7857 @section thirty-second note
7860 @item UK: demisemiquaver
7863 @item F: triple croche
7864 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7865 @item NL: twee@-endertig@-ste (32e) noot
7866 @item DK: toogtredivtedelsnode
7867 @item S: trettiotvåondelsnot
7868 @item FI: kolmaskymmeneskahdesosanuotti
7875 @node thirty-second rest
7876 @section thirty-second rest
7879 @item UK: demisemiquaver rest
7880 @item ES: silencio de fusa
7881 @item I: pausa di biscroma
7882 @item F: huitième de soupir
7883 @item D: Zweiunddreissigstel@-pause
7884 @item NL: twee@-endertig@-ste (32e) rust
7885 @item DK: toogtredivtedelspause
7886 @item S: trettiotvåondelspaus
7887 @item FI: kolmaskymmeneskahdesosatauko
7895 @section thorough bass
7904 ES: ligadura de prolongación, ligadura de unión,
7905 I: legatura (di valore),
7906 F: liaison (de tenue),
7907 D: Haltebogen, Bindebogen,
7908 NL: overbinding, bindingsboog,
7910 S: bindebåge, överbindning,
7913 A curved line, identical in appearance with the @ref{slur}, which
7914 connects two succesive notes of the same pitch, and which has the
7915 function of uniting them into a single sound (tone) equal to the
7918 @lilypond[quote,notime,relative=2]
7930 @node time signature
7931 @section time signature
7933 ES: indicación de compás,
7935 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7936 D: Taktangabe, Angabe der Taktart,
7939 S: taktartssignatur,
7942 The sign placed at the beginning of a composition to indicate its
7943 meter. It most often takes the form of a fraction, but a few signs
7944 derived from mensural notation and proportions are also employed.
7947 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7962 A sound of definite pitch and duration, as distinct from @emph{noise}.
7963 Tone is a primary building material of music.
7965 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7968 No cross-references.
7983 The first @notation{scale degree}.
7986 @ref{functional harmony}, @ref{scale degree}.
7989 @node transposing instrument
7990 @section transposing instrument
7992 ES: instrumento transpositor,
7994 F: instrument transpositeur,
7999 FI: transponoitava soitin.
8001 Instruments whose notated pitch is different from their sounded pitch. Except
8002 for those whose notated and sounding pitches differ by one or more octaves (to
8003 reduce the number of ledger lines needed), most such instruments are identified
8004 by the letter name of the pitch class of their fundamental. The pitch class is
8005 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8006 the instrument plays a notated C.
8008 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8009 the B-flat one tone lower. If played on the A clarinet, the same written
8010 note sounds the A (one and half tones -- a minor third -- lower).
8012 Not all transposing instruments include the pitch class in their name:
8016 @item English horn (in F)
8018 @item Alto flute (in G)
8023 @ref{concert pitch}.
8027 @section transposition
8038 Shifting a melody up or down in pitch, while keeping the same
8041 @lilypond[quote,line-width=13.0\cm]
8046 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8051 @lilypond[quote,line-width=13.0\cm]
8054 \transpose c bes \relative c'' {
8056 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8062 No cross-references.
8066 @section treble clef
8069 I: chiave di violino,
8071 D: Violinschlüssel, Sopranschlüssel,
8093 On stringed instruments:
8097 @item The quick reiteration of the same tone, produced by a rapid
8098 up-and-down movement of the bow.
8100 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8101 in the distance of a third (@ref{interval}).
8105 @lilypond[quote,notime,relative=1]
8107 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8108 \repeat tremolo 8 { e32_"b" g }
8120 F: triade, accord parfait, accord de trois sons,
8136 F: trille, tremblement, battement (cadence),
8148 @section triple meter
8150 ES: compás ternario,
8153 D: in drei, ungerader Takt,
8154 NL: driedelige maatsoort,
8196 @section tuning fork
8198 ES: diapasón, horquilla de afinación,
8199 I: diapason, corista,
8207 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8208 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8209 standard. Tuning forks for other pitches are available.
8218 A non-standard subdivision of a beat or part of a beat, usually
8219 indicated with a bracket and a number indicating the number of
8223 @ref{triplet}, @ref{note value}.
8229 ES: grupeto (circular),
8252 FI: unisono, yksiäänisesti.
8254 Playing of the same notes or the same melody by various instruments
8255 (voices) or by the whole orchestra (choir), either at exactly the same
8256 pitch or in a different octave.
8259 No cross-references.
8267 F: anacrouse, levée,
8288 FI: ääni, lauluääni.
8296 @item @ref{mezzo-soprano}
8297 @item @ref{contralto}
8299 @item @ref{baritone}
8303 @item A melodic layer or part of a polyphonic composition.
8308 No cross-references.
8314 ES: vez, primera y segunda vez,
8321 FI: yksi kertauksen maaleista.
8323 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8324 or second ending. LilyPond extends this idea to any number, and allows any text
8325 (not just a number) -- to serve as the @notation{volta} text.
8328 No cross-references.
8335 I: tempo debole, arsi,
8337 D: unbetonter Taktteil oder Taktschlag,
8339 DK: ubetonet taktslag,
8340 S: obetonat taktslag,
8341 FI: tahdin heikko isku.
8344 @ref{beat}, @ref{measure}, @ref{rhythm}.
8355 @item D: Ganze, ganze Note
8359 @item FI: kokonuotti
8370 @item UK: semibreve rest
8371 @item ES: silencio de redonda
8372 @item I: pausa di semibreve
8374 @item D: ganze Pause, ganztaktige Pause
8376 @item DK: helnodespause
8397 The interval of a major second. The interval between two tones
8398 on the piano keyboard with exactly one key between them -- including
8399 black and white keys -- is a whole tone.
8417 A family of blown wooden musical instruments. Today some of these
8418 instruments are actually made from metal. The woodwind instruments
8419 commonly used in a symphony orchestra are flute, oboe, clarinet,
8420 saxophone, and bassoon.
8423 No cross-references.
8426 @node Duration names notes and rests
8427 @chapter Duration names notes and rests
8429 @multitable @columnfractions .12 .22 .22 .22 .22
8431 @headitem Lang. @tab note name
8435 @item @strong{US} @tab long
8439 @item @strong{UK} @tab longa
8443 @item @strong{ES} @tab longa
8444 @tab silencio de longa
8446 @tab silencio de cuadrada
8447 @item @strong{IT} @tab longa
8451 @item @strong{FR} @tab longa
8452 @tab quadruple-pause
8455 @item @strong{DE} @tab Longa
8459 @item @strong{NL} @tab longa
8463 @item @strong{DK} @tab longa
8464 @tab longanodespause
8466 @tab brevis(nodes)pause
8467 @item @strong{SE} @tab longa
8471 @item @strong{FI} @tab longa-nuotti
8473 @tab brevis-nuotti, kaksoiskoko@-nuotti
8474 @tab brevis-tauko, kaksoiskoko@-tauko
8478 @multitable @columnfractions .12 .22 .22 .22 .22
8480 @headitem Lang. @tab note name
8484 @item @strong{US} @tab whole note
8488 @item @strong{UK} @tab semibreve
8492 @item @strong{ES} @tab redonda
8493 @tab silencio de redonda
8495 @tab silencio de blanca
8496 @item @strong{IT} @tab semibreve
8497 @tab pause di semibreve
8499 @tab pausa di minima
8500 @item @strong{FR} @tab ronde
8504 @item @strong{DE} @tab ganze Note
8508 @item @strong{NL} @tab hele noot
8512 @item @strong{DK} @tab helnode
8516 @item @strong{SE} @tab helnot
8520 @item @strong{FI} @tab kokonuotti
8527 @multitable @columnfractions .12 .22 .22 .22 .22
8529 @headitem Lang. @tab note name
8533 @item @strong{US} @tab quarter note
8537 @item @strong{UK} @tab crotchet
8541 @item @strong{ES} @tab negra
8542 @tab silencio de negra
8544 @tab silencio de corchea
8545 @item @strong{IT} @tab semiminima, nera
8546 @tab pausa di semiminima, pausa di nera
8549 @item @strong{FR} @tab noire
8553 @item @strong{DE} @tab Viertelnote
8557 @item @strong{NL} @tab kwartnoot
8561 @item @strong{DK} @tab fjerdedelsnode
8562 @tab fjerdedelspause
8563 @tab ottendedelsnode
8564 @tab ottendedelspause
8565 @item @strong{SE} @tab fjärdedelsnot
8569 @item @strong{FI} @tab neljäsosa@-nuotti
8570 @tab neljäsosa@-tauko
8571 @tab kahdeksasosa@-nuotti
8572 @tab kahdeksasosa@-tauko
8576 * About the French naming system: @notation{croche} refers to the note's
8577 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8578 @q{doubled hook}, @q{trebled hook}, and so on.
8580 The rest names are based on the @notation{soupir}, or quarter rest.
8581 Subsequent rests are expressed as fractions thereof: half a
8582 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8584 Each of the following tables contains one type of note and its matching rest,
8585 with abbreviations that apply to both notes and rests. Just switch the part
8586 that means @q{note} with the part that means @q{rest}, for example:
8590 @item English: 16th @strong{note}, 16th @strong{rest}
8591 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8592 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8596 Editor's note: I put a dash @q{-} when I could not find a language-specific
8597 abbreviation for a duration name. If you know of one that I missed, please
8598 send it to me, care of the lilypond-user discussion list.
8600 @multitable @columnfractions .10 .35 .35 .20
8602 @headitem Lang. @tab Note name
8605 @item @strong{US} @tab sixteenth note
8608 @item @strong{UK} @tab semiquaver
8609 @tab semiquaver rest
8611 @item @strong{ES} @tab semicorchea
8612 @tab silencio de semicorchea
8614 @item @strong{IT} @tab semicroma
8615 @tab pausa di semicroma
8617 @item @strong{FR} @tab double croche
8618 @tab quart de soupir
8620 @item @strong{DE} @tab Sechzehntelnote
8621 @tab Sechzehntelpause
8623 @item @strong{NL} @tab zes@-ti@-ende noot
8624 @tab zes@-ti@-ende rust
8626 @item @strong{DK} @tab sekstendedelsnode
8627 @tab sekstendedelspause
8629 @item @strong{SE} @tab sextondelsnot
8632 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8633 @tab kuudes@-toistaosa@-tauko
8638 @multitable @columnfractions .10 .35 .35 .20
8640 @headitem Lang. @tab Note name
8643 @item @strong{US} @tab thirty-second note
8644 @tab thirty-second rest
8646 @item @strong{UK} @tab demisemiquaver
8647 @tab demisemiquaver rest
8649 @item @strong{ES} @tab fusa
8650 @tab silencio de fusa
8652 @item @strong{IT} @tab biscroma
8653 @tab pausa di biscroma
8655 @item @strong{FR} @tab triple croche
8656 @tab huitième de soupir
8658 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8659 @tab Zweiunddreißig@-stelpause
8661 @item @strong{NL} @tab twee@-endertigste noot
8662 @tab twee@-endertigste rust
8664 @item @strong{DK} @tab toogtredivtedelsnode
8665 @tab toogtredivtedelspause
8667 @item @strong{SE} @tab trettio@-tvåondelsnot
8668 @tab trettio@-tvåondelspaus
8670 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8671 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8676 @multitable @columnfractions .10 .35 .35 .20
8678 @headitem Lang. @tab Note name
8681 @item @strong{US} @tab sixty-fourth note
8682 @tab sixty-fourth rest
8684 @item @strong{UK} @tab hemidemisemiquaver
8685 @tab hemidemisemiquaver rest
8687 @item @strong{ES} @tab semifusa
8688 @tab silencio de semifusa
8690 @item @strong{IT} @tab semibiscroma
8691 @tab pausa di semibiscroma
8693 @item @strong{FR} @tab quadruple croche
8694 @tab seizième de soupir
8696 @item @strong{DE} @tab Vierundsechzigstelnote
8697 @tab Vierundsechzigstelpause
8699 @item @strong{NL} @tab vierenzestigste noot
8700 @tab vierenzestigste rust
8702 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8703 @tab fireog@-tredsindstyven@-dedelspause
8705 @item @strong{SE} @tab sextiofjärdedelsnot
8706 @tab sextiofjärdedelspaus
8708 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8709 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8714 @multitable @columnfractions .10 .35 .35 .20
8716 @headitem Lang. @tab Note name
8719 @item @strong{US} @tab one-hundred-twenty-eighth note
8720 @tab one-hundred-twenty-eighth rest
8722 @item @strong{UK} @tab semihemidemisemiquaver
8723 @tab semihemidemisemiquaver rest
8725 @item @strong{ES} @tab garrapatea
8726 @tab silencio de garrapatea
8728 @item @strong{IT} @tab fusa
8731 @item @strong{FR} @tab quintuple croche
8732 @tab trente-deuxième de soupir @tab -
8733 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8734 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8735 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8736 @tab honderd@-acht@-en@-twintigste rust
8738 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8739 @tab hundrede@-otte@-og@-tyvendedels@-pause
8741 @item @strong{SE} @tab hundratjugoåttondelsnot
8742 @tab hundratjugoåttondelspaus
8744 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8745 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8750 @multitable @columnfractions .10 .35 .35 .20
8752 @headitem Lang. @tab Note name
8755 @item @strong{US} @tab two-hundred-fifty-sixth note
8756 @tab two-hundred-fifty-sixth rest
8758 @item @strong{UK} @tab demisemihemidemisemiquaver
8759 @tab demisemihemidemisemiquaver rest
8761 @item @strong{ES} @tab semigarrapatea
8762 @tab silencio de semigarrapatea @tab -
8763 @item @strong{IT} @tab semifusa
8764 @tab pausa di semifusa
8766 @item @strong{FR} @tab sextuple croche
8767 @tab soixante-quatrième de soupir @tab -
8768 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8769 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8770 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8771 @tab tweehonderd@-zesenvijftigste rust
8773 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8774 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8776 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8777 @tab tvåhundra@-femtiosjättedelspaus
8779 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8780 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8786 @ref{mensural notation}
8790 @chapter Pitch names
8793 -is/-es endings for Danish per Rune Zedeler, pace,
8794 and for Finnish per Risto Vääräniemi;
8795 -iss/-ess endings for Swedish per Mats Bengtsson
8796 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8798 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8799 multiple lines -- as texinfo needs it to allow enough space for the
8800 table entries. (For the curious, it's a list of the widest items in
8801 each column of the table. Romance pitch names are two characters,
8802 except for g (sol) ... so there you go.)
8805 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8806 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8807 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8808 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8809 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8810 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8811 @tab des @tab des @tab dess @tab des
8812 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8813 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8814 @tab dis @tab dis @tab diss @tab dis
8815 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8816 @tab es @tab es @tab ess @tab es
8817 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8818 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8819 @tab Fes @tab fes @tab fes @tab fess @tab fes
8820 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8821 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8822 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8823 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8824 @tab fis @tab fis @tab fiss @tab fis
8825 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8826 @tab ges @tab ges @tab gess @tab ges
8827 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8828 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8829 @tab Gis @tab gis @tab gis @tab giss @tab gis
8830 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8831 @tab as @tab as @tab ass @tab as
8832 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8833 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8834 @tab ais @tab ais @tab aiss @tab ais
8835 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8836 @tab bes @tab b @tab b @tab b
8837 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8838 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8839 @tab ces @tab ces @tab cess @tab ces
8840 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8841 @tab His @tab bis @tab his @tab hiss @tab his
8849 @node Literature used
8850 @unnumberedsec Literature used
8853 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8854 Cambridge: Belknap Press (Harvard University Press), 1944.
8856 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8859 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8860 Terminologie}. Kassel, 1980.
8862 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8863 Current English}, 3rd ed. London: Oxford University Press, 1974.
8865 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8866 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8868 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8869 Cambridge: Belknap Press (Harvard University Press), 1986.
8871 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.