1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
16 @macro copyrightDeclare
17 Copyright @copyright{} 1999--2010 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
64 * GNU Free Documentation License:: License of this document.
71 @c TOC - tex. Not desired for this manual. -gp
75 @node Musical terms A-Z
76 @chapter Musical terms A-Z
78 Languages in this order.
80 @item UK - British English (where it differs from American English)
109 * ancient minor scale::
114 * ascending interval::
116 * augmented interval::
153 * compound interval::
157 * conjunct movement::
172 * descending interval::
175 * diminished interval::
179 * disjunct movement::
181 * dissonant interval::
185 * dominant ninth chord::
186 * dominant seventh chord::
188 * dot (augmentation dot)::
190 * double appoggiatura::
192 * double dotted note::
195 * double time signature::
202 * ecclesiastical mode::
209 * equal temperament::
230 * functional harmony::
251 * inverted interval::
266 * long appoggiatura::
273 * meantone temperament::
280 * mensural notation::
285 * metronomic indication::
298 * multi-measure rest::
328 * polymetric time signature::
333 * Pythagorean comma::
364 * sixty-fourth note::
365 * sixty-fourth rest::
396 * thirty-second note::
397 * thirty-second rest::
404 * transposing instrument::
458 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
459 @notation{a due} indicates that:
463 @item A single part notated on a single staff that normally carries parts
464 for two players (e.g. first and second oboes) is to be played by both
467 @item Or conversely, that two pitches or parts notated on a staff that
468 normally carries a single part (e.g. first violin) are to be played by
469 different players, or groups of players (@q{desks}).
482 F: accelerando, en accélérant,
483 D: accelerando, schneller werden,
487 FI: accelerando, kiihdyttäen.
489 [Italian: @q{speed up, accelerate}]
491 An increase in the tempo, abbreviated @notation{accel.}
507 FI: aksentti, korostus.
509 The stress of one tone over others.
523 @section acciaccatura
525 ES: mordente de una nota,
527 F: acciaccatura, appoggiature brève,
534 A grace note which takes its time from the rest or note preceding the
535 principal note to which it is attached. The acciaccatura is drawn as a
536 small eighth note (quaver) with a line drawn through the flag and stem.
539 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
545 ES: alteración accidental,
546 I: alterazione, accidente,
547 F: altération accidentelle,
548 D: Versetzungszeichen, Akzidenz,
549 NL: toevallig (verplaatsings)teken,
551 S: tillfälligt förtecken,
552 FI: tilapäinen etumerkki.
554 An accidental alters a note by:
558 @item Raising its pitch:
560 @item By two semitones—@notation{double sharp}
561 @item By one semitone—@notation{sharp}
564 @item Lowering its pitch:
566 @item By one semitone—@notation{flat}
567 @item By two semitones—@notation{double flat}
570 @item Or canceling the effects of the key signature or previous accidentals.
573 @lilypond[quote,notime]
577 \set Staff.extraNatural = ##f
578 gisis1 gis g! ges geses
583 \center-column { double sharp }
589 \center-column { double flat }
595 \override SpacingSpanner
596 #'base-shortest-duration = #(ly:make-moment 1 32)
603 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
616 FI: adagio, hitaasti.
618 [Italian: @q{comfortable, easy}]
622 @item Slow tempo, slower -- especially in even meter -- than
623 @notation{andante} and faster than @notation{largo}.
625 @item A movement in slow tempo, especially the second (slow) movement
626 of sonatas, symphonies, etc.
631 @ref{andante}, @ref{largo}, @ref{sonata}.
639 F: al niente, en mourant,
644 FI: häviten olemattomiin.
646 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
647 that the sound should fade away to nothing.
649 @notation{Al niente} is indicated by circling the tip of the hairpin:
651 @lilypond[quote,relative=2]
652 \override Hairpin #'circled-tip = ##t
658 or with the actual phrase @notation{al niente}:
660 @lilypond[quote,relative=2]
662 \override DynamicTextSpanner #'(bound-details right text) =
663 \markup { \italic { al niente } }
669 Since one does not crescendo @emph{to} nothing, it is not correct to use
670 @notation{al niente} with @notation{crescendo}. Instead, one should use
671 @emph{dal niente} (@notation{@b{from} nothing}).
674 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
682 F: alla breve, à la brève,
689 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
691 Also called @notation{in cut-time}. The name derives from mensural
692 notation, where the @notation{tactus} (or beat) is counted on the semibreve
693 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
694 next longest note value, which (in modern usage) effectively halves all note
697 In mensural notation, breves and semibreves can have a ternary relationship,
698 in which case @notation{alla breve} means thrice (not twice) as fast. In
699 practice, this complication may not have mattered, since Gaffurius's system
700 of multiplex proportions makes it easy to explicitly state which proportion
704 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
705 @ref{proportion}, @ref{whole note}.
713 F: allegro, gaiement,
714 D: Allegro, Schnell, Fröhlich, Lustig,
718 FI: allegro, nopeasti.
720 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
721 quick tempo, especially the first and last movements of a sonata.
734 NL: verhoging of verlaging,
739 An alteration is the modification, raising or lowering, of a note's
740 pitch. It is established by an accidental.
742 @c TODO: add second meaning from mensural notation
758 FI: altto, matala naisääni.
760 A female voice of low range (@emph{contralto}). Originally the alto was a
761 high male voice (hence the name), which by castration or the use of falsetto
762 reached the height of the natural female voice. This type of voice is also
763 known as countertenor.
772 ES: clave de do en tercera,
773 I: chiave di contralto,
774 F: clef d'ut troisième ligne,
775 D: Altschlüssel, Bratschenschlüssel,
781 C clef setting middle C on the middle line of the staff.
792 F: ambitus, tessiture,
797 FI: ambitus, ääniala, soitinala.
799 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
800 Denotes a range of pitches for a given voice in a part of music. It may
801 also denote the pitch range that a musical instrument is capable of playing.
802 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
820 An anacrusis (also known as pickup or upbeat) is an incomplete measure
821 of music before a section of music. It also refers to the initial
822 note(s) of a melody occurring in that incomplete measure.
824 @lilypond[quote,relative=1]
835 @ref{measure}, @ref{meter}.
838 @node ancient minor scale
839 @section ancient minor scale
841 ES: escala menor natural,
842 I: scala minore naturale,
843 F: forme du mode mineur ancien, troisème mode, mode hellénique,
844 D: reines Moll, natürliches Moll,
845 NL: authentieke mineurtoonladder,
848 FI: luonnollinen molliasteikko.
850 Also called @q{natural minor scale}.
852 @lilypond[quote,notime,relative=2]
858 @ref{diatonic scale}.
873 [Italian: present participle of @emph{andare}, @q{to walk}]
875 Walking tempo/character.
882 @section appoggiatura
886 F: appoggiature, (port de voix),
887 D: Vorschlag, Vorhalt
888 NL: (korte) voorslag,
891 FI: appoggiatura, etuhele.
893 Ornamental note, usually a second, that is melodically connected with
894 the main note following it. In music before the 19th century
895 appoggiature were usually performed on the beat, after that mostly
896 before the beat. While the short appoggiatura is performed as a short
897 note regardless of the duration of the main note the duration of the
898 long appoggiatura is proportional to that of the main note.
900 @lilypond[quote,relative=2]
903 <d a fis>4_"notation" r
910 \set Score.measurePosition = #ZERO-MOMENT
911 <d, a fis>4_"performance" r
917 An appoggiatura may have more notes preceding the main note.
919 @lilypond[quote,relative=2]
922 \grace bes16 as8-"notation" as16 bes as8 g |
923 \grace { as16[( bes] } <c as>4)
924 \grace { as16[( bes] } <c as>4) \bar "||"
926 \grace bes16 as8-"performance" as16 bes as8 g |
930 as32 bes c8. as32 bes c8.
934 as16 ~ as8. as16 ~ as8.
949 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
951 DK: arpeggio, akkordbrydning,
953 FI: arpeggio, murtosointu.
955 [Italian: @q{harp-like, played like a harp}]
957 @lilypond[quote,line-width=13\cm]
959 \context Staff = "SA" {
963 r8 g16 c e g, c e r8 g,16 c e g, c e
964 r8 a,16 d f a, d f r8 a,16 d f a, d f
968 \context Staff = "SB" {
974 r16 e8. ( e4) r16 e8. ( e4)
975 r16 d8. ( d4) r16 d8. ( d4)
993 @section articulation
1002 FI: artikulaatio, ilmaisu.
1004 Articulation refers to notation which indicates how a note or notes
1005 should be played. Slurs, accents, staccato, and legato are all
1006 examples of articulation.
1009 No cross-references.
1012 @node ascending interval
1013 @section ascending interval
1015 ES: intervalo ascendente,
1016 I: intervallo ascendente,
1017 F: intervalle ascendant,
1018 D: steigendes Intervall,
1019 NL: stijgend interval,
1020 DK: stigende interval,
1021 S: stigande intervall,
1022 FI: nouseva intervalli.
1024 A distance between a starting lower note and a higher ending note.
1027 No cross-references.
1030 @node augmented interval
1031 @section augmented interval
1033 ES: intervalo aumentado,
1034 I: intervallo aumentato,
1035 F: intervalle augmenté,
1036 D: übermäßiges Intervall,
1037 NL: overmatig interval,
1038 DK: forstørret interval,
1039 S: överstigande intervall,
1040 FI: ylinouseva intervalli.
1047 @section augmentation
1056 FI: aika-arvojen pidentäminen.
1058 @c TODO: add definition.
1060 This is a placeholder for augmentation (wrt mensural notation).
1063 @ref{diminution}, @ref{mensural notation}.
1071 F: manuscrit, autographe
1072 D: Autograph, Handschrift,
1074 DK: håndskrift, autograf,
1076 FI: käsinkirjoitettu nuotti.
1080 @item A manuscript written in the composer's own hand.
1082 @item Music prepared for photoreproduction by freehand drawing, with
1083 the aid of a straightedge ruler and T-square only, which attempts to
1084 emulate engraving. This required more skill than did engraving.
1089 No cross-references.
1107 @ref{H}, @ref{Pitch names}
1127 ES: barra, línea divisoria,
1128 I: stanghetta, barra (di divisione),
1129 F: barre (de mesure),
1136 A vertical line through the staff (or through multiple staves) that
1137 separates measures. Used very infrequently during the Renaissance (mostly
1138 in secular music, or in sacred music to indicate congruences between parts
1139 in otherwise-unmetered music).
1155 FI: baritoni, keskikorkuinen miesääni.
1157 The male voice intermediate in pitch between the bass and the tenor.
1159 @c F: clef de troisième ligne dropped
1162 @ref{bass}, @ref{tenor}.
1166 @section baritone clef
1168 ES: clave de fa en tercera,
1169 I: chiave di baritono,
1170 F: clef d'ut cinquième ligne, clef de fa troisième,
1171 D: Baritonschlüssel,
1177 C or F clef setting middle C on the upper staff line.
1180 @ref{C clef}, @ref{F clef}.
1193 FI: basso, matala miesääni.
1197 @item The lowest male voice.
1199 @item Sometimes, especially in jazz music, used as an abbreviation for
1211 ES: clave de fa en cuarta,
1213 F: clef de fa quatrième ligne,
1220 A clef setting with middle C on the first top ledger line.
1229 ES: barra (de corcheas),
1231 F: ligature, barre (de croches),
1238 Line connecting a series of notes (shorter than a quarter note). The
1239 number of beams determines the note value of the connected notes.
1241 @lilypond[quote,notime,relative=2,line-width=13\cm]
1242 g8-"1/8"[ g g g] s16
1243 g16-"1/16"[ g g g] s
1244 g32-"1/32"[ s g s g s g] s16
1245 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1249 @ref{feathered beam}.
1255 ES: tiempo, parte (de compás)
1258 D: Takt, Taktschlag, Zeit (im Takt),
1264 Note value used for counting, most often half-, fourth-, and eighth notes.
1265 The base counting value and the number of them in each measure is indicated
1266 at the start of the music by the @notation{time signature}.
1268 @lilypond[quote,relative=2]
1271 g4 c b a | g1 \bar "||"
1273 g8 d' c | b c a | g4. \bar "||"
1277 @ref{time signature}.
1281 @section beat repeat
1284 @ref{percent repeat}.
1297 ES: llave, corchete,
1300 D: Klammer, Akkolade,
1301 NL: accolade, teksthaak,
1304 FI: yhdistävä sulkumerkki.
1306 Symbol at the start of a system connecting staves.
1308 Curly braces are used for connecting piano staves, and sometimes for connecting
1309 the staves of like instruments in an orchestral score when written on different
1310 staves (e.g. first and second flutes):
1314 \context Staff = "SA" {
1320 \context Staff = "SB" {
1330 Angular brackets for connecting parts in an orchestral or choral score:
1334 \context Staff = "SA" {
1340 \context Staff = "SB" {
1351 No cross-references.
1358 I: parentesi quadra,
1376 NL: koper (blazers),
1379 S: brassinstrument, mässingsinstrument,
1382 A family of blown musical instruments made of brass, all using a cup
1383 formed mouth piece. The brass instruments commonly used in a symphony
1384 orchestra are trumpet, trombone, french horn, and tuba. In marching bands,
1385 sousaphones and contrabass bugles are common.
1388 No cross-references.
1392 @section breath mark
1397 D: Atemzeichen, Trennungszeichen,
1398 NL: repercussieteken,
1399 DK: vejrtrækningstegn,
1403 Indication of where to breathe in vocal and wind instrument parts.
1413 @item US: breve, double-whole note
1414 @item ES: cuadrada, breve
1421 @item FI: brevis, kaksoiskokonuotti
1424 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1426 Mainly used in music from before 1650. In mensural notation, it was a note
1427 of fairly short duration—hence the name, which is Latin for @q{short} or
1428 @q{of short duration}.
1430 @lilypond[quote,notime,relative=2]
1435 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1468 Clef symbol indicating the position of the middle C. Used on all note
1471 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1473 \override Staff.Clef #'full-size-change = ##t
1475 \clef mezzosoprano c1
1481 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1482 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1487 No cross-references.
1500 FI: kadenssi, lopuke.
1503 @ref{harmonic cadence}, @ref{functional harmony}.
1516 FI: kadenssi, lopuke.
1518 An extended, improvisatory style section inserted near the end of
1519 movement. The purpose of a cadenza is to give singers or players a
1520 chance to exhibit their technical skill and -- not last -- their
1521 ability to improvise. Since the middle of the 19th century, however,
1522 most cadenzas have been written down by the composer.
1525 No cross-references.
1540 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1542 The break between two musical phrases, sometimes (but not always) marked by a
1543 rest or a breath mark.
1559 FI: kaanon, tarkka jäljittely.
1575 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1576 viritysjärjestelmässä.
1578 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1579 an octave (1/100 of an equally tempered semitone).
1582 @ref{equal temperament}, @ref{semitone}.
1604 Three or more tones sounding simultaneously. In traditional European music
1605 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1606 (major + minor third) as well as @emph{minor} (minor + major third) chords
1607 may be extended with more thirds. Four-tone @emph{seventh chords} and
1608 five-tone @emph{ninth} major chords are most often used as dominants
1609 (functional harmony). Chords having no third above the lower notes to
1610 define their mood are a special case called @q{open chords}. The lack of
1611 the middle third means their quality is ambivalent -- neither major nor
1614 @lilypond[quote,notime,line-width=13.0\cm]
1618 \set Staff.extraNatural = ##f
1639 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1643 @node chromatic scale
1644 @section chromatic scale
1646 ES: escala cromática,
1648 F: gamme chromatique,
1649 D: chro@-ma@-ti@-sche Tonleiter,
1650 NL: chromatische toonladder,
1651 DK: kromatisk skala,
1653 FI: kromaattinen asteikko.
1655 A scale consisting of all 12 semitones.
1657 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1658 c1 cis d dis e f fis g gis a ais b c
1666 @section chromaticism
1677 Using tones extraneous to a diatonic scale (minor, major).
1680 @ref{diatonic scale}.
1684 @section church mode
1686 ES: modo eclesiástico,
1687 I: modo ecclesiastico,
1688 F: mode ecclésiastique, mode d'église,
1693 FI: moodi, kirkkosävellaji.
1696 @ref{diatonic scale}.
1705 D: Schlüssel, Notenschlüssel,
1709 FI: avain, nuottiavain.
1711 The clef indicates which lines of the staff correspond to which
1712 pitches. The three clef symbols in common use are:
1717 \line { The Treble or G clef: }
1719 \line { The Bass or F clef: }
1721 \line { The Alto or C clef: }
1725 \musicglyph #"clefs.G"
1727 \musicglyph #"clefs.F"
1729 \musicglyph #"clefs.C"
1734 Imagine a large staff of 11 lines centered on middle C, sometimes
1735 called a @q{grand staff}, with the bottom line representing low G and
1736 the top line high F:
1741 %-- Note names above treble staff --%
1743 \set printOctaveNames = ##t
1745 \once \override NoteName #'color = #red
1749 %-- Treble Staff --%
1751 \override Staff.Clef #'stencil = ##f
1757 %-- Alto Staff reduced to a single line on middle C --%
1759 \override Staff.StaffSymbol #'line-count = #1
1760 \override Staff.StaffSymbol #'color = #red
1761 \override Staff.Clef #'stencil = ##f
1764 \override NoteHead #'color = #red
1770 \override Staff.Clef #'stencil = ##f
1779 \override SpacingSpanner
1780 #'base-shortest-duration = #(ly:make-moment 1 1)
1781 \override NonMusicalPaperColumn
1782 #'line-break-system-details = #'((alignment-distances . (3 3)))
1783 \override BarLine #'stencil = ##f
1787 \remove "Time_signature_engraver"
1793 Staves of five lines are usually used, and the clef superimposed on them
1794 indicates which five lines have been selected from this @notation{grand
1795 staff}. For example, the treble or G clef indicates that the top five lines
1801 %-- Note names above treble staff --%
1803 \set printOctaveNames = ##t
1805 \once \override NoteName #'color = #red
1810 %-- Treble Staff --%
1812 \once \override Staff.Clef #'stencil = ##f
1815 \override Staff.Clef #'full-size-change = ##t
1816 \set Staff.forceClef = ##t
1820 %-- Alto Staff reduced to a single line on middle C --%
1822 \override Staff.StaffSymbol #'line-count = #1
1823 \override Staff.StaffSymbol #'color = #red
1824 \override Staff.Clef #'stencil = ##f
1827 \override NoteHead #'color = #red
1832 \override Staff.Clef #'stencil = ##f
1840 \override SpacingSpanner
1841 #'base-shortest-duration = #(ly:make-moment 2 1)
1842 \override NonMusicalPaperColumn
1843 #'line-break-system-details = #'((alignment-distances . (3 3)))
1844 \override BarLine #'stencil = ##f
1848 \remove "Time_signature_engraver"
1854 The @q{curl} of the G clef is centered on the line that represents the
1857 In the same way, the bass or F clef indicates that the bottom five lines
1858 have been selected from the @notation{grand staff}, and the alto or C clef
1859 indicates the middle five lines have been selected. This relationship is
1860 shown below, where the notes show an arpeggio on a C major chord.
1865 %-- Treble Staff --%
1873 \override Staff.StaffSymbol #'line-count = #1
1874 \once \override Staff.Clef #'stencil = ##f
1879 \revert Staff.StaffSymbol #'stencil
1880 \override Staff.StaffSymbol #'color = #red
1883 \stopStaff \startStaff
1884 \revert Staff.StaffSymbol #'line-count
1885 \revert Staff.StaffSymbol #'color
1886 \stopStaff \startStaff
1887 \override Staff.Clef #'full-size-change = ##t
1888 \set Staff.forceClef = ##t
1903 \override SpacingSpanner #'base-shortest-duration =
1904 #(ly:make-moment 2 1)
1905 \override NonMusicalPaperColumn
1906 #'line-break-system-details = #'((alignment-distances . (3 3)))
1907 \override BarLine #'stencil = ##f
1911 \remove "Time_signature_engraver"
1918 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1931 FI: klusteri, cluster.
1933 A @emph{cluster} is a range of simultaneously sounding pitches that
1934 may change over time. The set of available pitches to apply usually
1935 depends on the acoustic source. Thus, in piano music, a cluster
1936 typically consists of a continuous range of the semitones as provided
1937 by the piano's fixed set of a chromatic scale. In choral music, each
1938 singer of the choir typically may sing an arbitrary pitch within the
1939 cluster's range that is not bound to any diatonic, chromatic or other
1940 scale. In electronic music, a cluster (theoretically) may even cover
1941 a continuous range of pitches, thus resulting in colored noise, such
1944 Clusters can be denoted in the context of ordinary staff notation by
1945 engraving simple geometrical shapes that replace ordinary notation of
1946 notes. Ordinary notes as musical events specify starting time and
1947 duration of pitches; however, the duration of a note is expressed by
1948 the shape of the note head rather than by the horizontal graphical
1949 extent of the note symbol. In contrast, the shape of a cluster
1950 geometrically describes the development of a range of pitches
1951 (vertical extent) over time (horizontal extent). Still, the
1952 geometrical shape of a cluster covers the area in which any single
1953 pitch contained in the cluster would be notated as an ordinary note.
1955 @lilypond[quote,relative=2]
1956 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1960 No cross-references.
1973 FI: komma, korvinkuultava ero äänenkorkeudessa.
1975 Difference in pitch between a note derived from pure tuning and the
1976 same note derived from some other tuning method.
1979 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1984 @section common meter
1986 Another name for @ref{common time}.
1989 @ref{common time}, @ref{meter}.
1993 @section common time
2004 4/4 time. The symbol, which resembles a capital letter C, comes from
2008 @ref{mensural notation}, @ref{meter}.
2014 ES: intervalo invertido,
2016 F: intervalle complémentaire,
2017 D: Komplementärintervall,
2018 NL: complementair interval,
2019 DK: komplementærinterval,
2020 S: komplementärintervall (?),
2021 FI: täydentävä intervalli.
2024 @ref{inverted interval}.
2027 @node compound interval
2028 @section compound interval
2030 ES: intervalo compuesto,
2031 I: intervallo composto,
2032 F: intervalle composé,
2033 D: weites Intervall,
2034 NL: samengesteld interval,
2035 DK: sammensat interval,
2036 S: sammansatt intervall,
2037 FI: oktaavia laajempi intervalli.
2039 Intervals larger than an octave.
2045 @node compound meter
2046 @section compound meter
2048 ES: compás compuesto, compás de subdivisión ternaria,
2055 FI: kolmijakoinen tahtilaji.
2057 A meter that includes a triplet subdivision within the beat, such as
2061 @ref{meter}, @ref{simple meter}.
2065 @section compound time
2067 ES: compás compuesto, compás de amalgama (def. 2),
2074 FI: yhdistetty tahtilajiosoitus.
2079 A meter that includes a triplet subdivision within the beat: see
2080 @ref{compound meter}.
2083 A time signature that additively combines two or more unequal meters, e.g.,
2084 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2088 @lilypond[quote,line-width=13.0\cm]
2089 #(define ((compound-time one two three num) grob)
2090 (grob-interpret-markup grob
2092 #:override '(baseline-skip . 0)
2095 #:left-column (one num)
2097 #:left-column (two num)
2099 #:left-column (three num)))))
2103 #(set-time-signature 8 8 '(3 2 3))
2104 \override Staff.TimeSignature #'stencil =
2105 #(compound-time "3" "2" "3" "8")
2113 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2117 @section concert pitch
2119 ES: en Do, tono de concierto,
2120 I: intonazione reale,
2121 F: tonalité de concert, en ut,
2126 FI: konserttikorkeus.
2128 The pitch at which the piano and other nontransposing instruments play: such
2129 instruments are said to be @q{in C}. The following list includes some (but not
2130 all) instruments that play in concert pitch:
2132 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2134 @multitable {bassoon} {violoncello}
2135 @headitem Woodwinds @tab Strings
2154 @ignore This needs to be reworked.
2155 The trombones are a special case: although they are said to be @q{in F} (alto or
2156 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2157 their parts' transposition. (In fact, the trombones' parts are written at
2158 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2159 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2163 Instruments that play @q{in C} but in a different octave than what is written
2164 are, technically speaking, @emph{transposing instruments}:
2168 @item piccolo (plays an octave higher than written)
2169 @item celesta (plays an octave higher than written)
2170 @item classical guitar (plays an octave lower than written)
2171 @item double bass (plays an octave lower than written)
2176 @ref{transposing instrument}.
2179 @node conjunct movement
2180 @section conjunct movement
2182 ES: movimiento conjunto,
2184 F: mouvement conjoint,
2185 D: schritt@-weise, stufenweise Bewegung,
2186 NL: stapsgewijze, trapsgewijze beweging,
2187 DK: trinvis bevægelse,
2189 FI: asteittainen liike.
2191 Progressing melodically by intervals of a second, as contrasted with
2192 @emph{disjunct movement}.
2194 @lilypond[quote,relative=2,line-width=13.0\cm]
2197 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2201 @ref{disjunct movement}.
2214 FI: konsonanssi, sopusointi.
2237 @section copying music
2239 A music copyist did fast freehand scores and parts on preprinted staff
2240 lines for performance. Some of their conventions (e.g., the placement
2241 of note heads on stems) varied slightly from those of engravers. Some
2242 of their working methods were superior and could well be adopted by
2245 @c Copying music required more skill than engraving. Flagged for NPOV
2248 No cross-references.
2252 @section counterpoint
2261 FI: kontrapunkti, ääni ääntä vastaan.
2263 From Latin @emph{punctus contra punctum}, note against note. The
2264 combination into a single musical fabric of lines or parts which have
2265 distinct melodic significance. A frequently used polyphonic technique
2266 is imitation, in its strictest form found in the canon needing only
2267 one part to be written down while the other parts are performed with a
2268 given displacement. Imitation is also the contrapuntal technique
2269 used in the @emph{fugue} which, since the music of the baroque era,
2270 has been one of the most popular polyphonic composition methods.
2272 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2274 \context Staff = SA \relative c' {
2278 << \context Voice = rha {
2280 r1 | r2 r8 g'8 bes d, |
2281 cis4 d r8 e!16 f g8 f16 e |
2282 f8 g16 a bes8 a16 g a8
2284 \context Voice = rhb {
2290 \context Staff = SB \relative c' {
2293 << \context Voice = lha {
2295 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2296 r8 a16 g f8 g16 a bes8 g e! cis' |
2299 \context Voice = lhb {
2308 No cross-references.
2312 @section countertenor
2317 D: Countertenor, Kontratenor,
2320 S: kontratenor, counter tenor,
2333 D: Crescendo, lauter werden,
2337 FI: cresendo, voimistuen.
2339 Increasing volume. Indicated by a rightwards opening horizontal wedge
2340 (hairpin) or the abbreviation @notation{cresc.}.
2342 @lilypond[quote,relative=2]
2345 g4\< a b c | d1\! \bar "|."
2349 @ref{decrescendo}, @ref{hairpin}.
2357 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2364 Notes belonging to one part printed in another to hint when to start
2365 playing. Usually printed in a smaller type.
2368 Compare: @ref{ossia}.
2377 D: Notenzeiger, Custos,
2383 A custos (plural: custodes) is a staff symbol that appears at the end of a
2384 staff line with monophonic musical contents (i.e., with a single voice). It
2385 anticipates the pitch of the first note of the following line and thus helps
2386 the player or singer to manage line breaks during performance, which
2387 enhances the readability of a score.
2389 Custodes were frequently used in music notation until the 16th century.
2390 There were different appearences for different notation styles. Nowadays,
2391 they have survived only in special forms of musical notation such as the
2392 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2394 @lilypond[quote,ragged-right]
2397 \override Staff.Custos #'neutral-direction = #DOWN
2398 \override Staff.Custos #'style = #'hufnagel
2405 \consists "Custos_engraver"
2412 No cross-references.
2445 F: da capo, depuis le commencement,
2446 D: da capo, von Anfang,
2450 FI: da capo, alusta.
2452 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2453 the beginning to the end or to a certain place marked @emph{fine}.
2456 No cross-references.
2462 ES: dal niente, de la nada,
2469 FI: tyhjästä ilmaantuen.
2471 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2472 that the sound should gradually increase from nothing.
2483 F: dal segno, depuis le signe,
2484 D: dal segno, ab dem Zeichen,
2488 FI: dal segno, lähtien merkistä.
2490 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2491 another place frequently near the beginning marked by a sign
2494 @lilypond[quote,relative=2]
2502 \musicglyph #"scripts.segno"
2508 No cross-references.
2512 @section decrescendo
2516 D: Decrescendo, leiser werden,
2520 FI: decresendo, hiljentyen.
2522 Decreasing tone volume. Indicated by a leftwards opening horizontal
2523 wedge (hairpin) or the abbreviation @notation{decresc.}.
2525 @lilypond[quote,relative=2]
2528 d4\> c b a | g1 \! \bar "|."
2532 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2535 @node descending interval
2536 @section descending interval
2538 ES: intervalo descendente,
2539 I: intervallo discendente,
2540 F: intervalle descendant,
2541 D: fallendes Intervall, absteigendes Intervall,
2542 NL: dalend interval,
2543 DK: faldende interval,
2544 S: fallande intervall,
2545 FI: laskeva intervalli.
2547 A distance between a starting higher note and a lower ending note.
2550 No cross-references.
2553 @node diatonic scale
2554 @section diatonic scale
2556 ES: escala diatónica,
2558 F: gamme diatonique,
2559 D: diatonische Tonleiter,
2560 NL: diatonische toonladder,
2561 DK: diatonisk skala,
2563 FI: diatoninen asteikko.
2565 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2566 played on the white keys of a piano keybord are diatonic. These scales
2567 are sometimes called, somewhat inaccurately, @q{church modes}).
2569 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2570 but also to some extent in newer jazz music.
2572 @lilypond[quote,notime,relative=1]
2576 e^"~~ S" f g a b^"~~ S" c
2584 @lilypond[quote,notime,relative=1]
2588 e^"~~ S" f g a b^"~~ S" c d
2596 @lilypond[quote,notime,relative=1]
2599 e1^"~~ S" f g a b^"~~ S" c d e
2607 @lilypond[quote,notime,relative=1]
2611 b^"~~ S" c d e^"~~ S" f
2619 @lilypond[quote,notime,relative=2]
2623 b^"~~ S" c d e^"~~ S" f g
2631 @lilypond[quote,notime,relative=2]
2635 b^"~~ S" c d e^"~~ S" f g a
2643 @lilypond[quote,notime,relative=2]
2646 b1^"~~ S" c d e^"~~ S" f g a b
2654 From the beginning of the 17th century the scales used in European
2655 compositional music are primarily the major and the minor scales. In
2656 the harmonic minor scale type an augmented second (A) occurs between
2657 the 6th and 7th tone.
2659 @lilypond[quote,notime,relative=1]
2663 e^"~~ S" f g a b^"~~ S" c
2671 @lilypond[quote,notime,relative=2]
2675 b^"~~ S" c d e^"~~ S" f g a
2678 "Ancient (or Natural) minor"
2683 @lilypond[quote,notime,relative=2]
2687 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2695 @lilypond[quote,notime,relative=2]
2699 b^"~~ S" c d e fis gis^"~~ S" a
2702 "Melodic minor ascending"
2707 @lilypond[quote,notime,relative=3]
2711 g! f!^"~~ S" e d c^"~~ S" b a
2714 "Melodic minor descending"
2720 @ref{semitone}, @ref{whole tone}.
2724 @section didymic comma
2727 @ref{syntonic comma}.
2730 @node diminished interval
2731 @section diminished interval
2733 ES: intervalo disminuido,
2734 I: intervallo diminuito,
2735 F: intervalle diminué,
2736 D: vermindertes Intervall,
2737 NL: verminderd interval,
2738 DK: formindsket interval,
2739 S: förminskat intervall,
2740 FI: vähennetty intervalli.
2751 F: diminuendo, en diminuant,
2756 FI: diminuendo, hiljentyen.
2772 FI: aika-arvojen tihennys.
2774 This is a stub for diminution (@emph{wrt} mensural notation).
2777 @ref{augmentation}, @ref{mensural notation}.
2796 @node disjunct movement
2797 @section disjunct movement
2799 ES: movimiento disjunto,
2801 F: mouvement disjoint,
2802 D: sprunghafte Bewegung,
2803 NL: sprongsgewijze beweging,
2804 DK: springende bevægelse,
2805 S: hoppande rörelse,
2806 FI: melodian hyppivä liike.
2808 Progressing melodically by intervals larger than a major second, as contrasted
2809 with conjunct movement.
2811 @lilypond[quote,relative=1]
2815 a4. gis8 b a e cis |
2821 @ref{conjunct movement}.
2827 Another name for @ref{dissonant interval}.
2830 @ref{dissonant interval}, @ref{harmony}.
2833 @node dissonant interval
2834 @section dissonant interval
2836 ES: intervalo disonante, disonancia,
2837 I: intervallo dissonante, dissonanza,
2838 F: intervalle dissonant, dissonance,
2840 NL: dissonant interval, dissonant,
2841 DK: dissonerende interval, dissonans,
2843 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2861 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2862 vertical stroke through part or all of the staff that serves to
2863 structure a chant into phrases and sections. There are four types:
2867 @item @emph{divisio minima}, a short pause
2869 @item @emph{divisio maior}, a medium pause
2871 @item @emph{divisio maxima}, a long pause
2873 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2874 section in a long antiphonal or responsorial chant.
2878 TODO: musical example here?
2881 No cross-references.
2887 ES: elevación [de tono],
2896 Indicator for a indeterminately rising pitch bend. Compare with
2897 @emph{glissando}, which has determinate starting and ending pitches.
2900 @ref{fall}, @ref{glissando}.
2913 FI: dominantti, huippusointu.
2915 The fifth @emph{scale degree} in @emph{functional harmony}.
2918 @ref{functional harmony}, @ref{scale degree}.
2921 @node dominant ninth chord
2922 @section dominant ninth chord
2924 ES: acorde de novena de dominante,
2925 I: accordo di nona di dominante,
2926 F: accord de neuvième de dominante,
2927 D: Domi@-nant@-nonen@-akkord,
2928 NL: dominant noon akkoord,
2929 DK: dominantnoneakkord,
2930 S: dominantnonackord,
2931 FI: dominanttinoonisointu.
2934 @ref{chord}, @ref{functional harmony}.
2937 @node dominant seventh chord
2938 @section dominant seventh chord
2940 ES: acorde de séptima de dominante,
2941 I: accordo di settima di dominante,
2942 F: accord de septième de dominante,
2943 D: Dominantseptakkord,
2944 NL: dominant septiem akkoord,
2945 DK: dominantseptimakkord,
2946 S: dominantseptimackord,
2947 FI: dominanttiseptimisointu.
2950 @ref{chord}, @ref{functional harmony}.
2954 @section dorian mode
2959 D: dorisch, dorischer Kirchenton,
2960 NL: dorische toonladder,
2966 @ref{diatonic scale}.
2969 @node dot (augmentation dot)
2970 @section dot (augmentation dot)
2973 I: punto (di valore),
2975 D: Punkt (Verlängerungspunkt),
2982 @ref{dotted note}, @ref{note value}.
2986 @section dotted note
2988 ES: nota con puntillo,
2992 NL: gepuncteerde noot,
2995 FI: pisteellinen nuotti.
3001 @node double appoggiatura
3002 @section double appoggiatura
3004 ES: apoyatura doble,
3005 I: appoggiatura doppia,
3006 F: appoggiature double,
3007 D: doppelter Vorschlag,
3008 NL: dubbele voorslag,
3009 DK: dobbelt forslag,
3011 FI: kaksoisappogiatura, kaksoisetuhele.
3017 @node double bar line
3018 @section double bar line
3024 NL: dubbele maatstreep,
3027 FI: kaksoistahtiviiva.
3029 Indicates the end of a section within a movement.
3032 No cross-references.
3035 @node double dotted note
3036 @section double dotted note
3038 ES: nota con doble puntillo,
3039 I: nota doppiamente puntata,
3040 F: note doublement pointée,
3041 D: doppelt punktierte Note,
3042 NL: dubbelgepuncteerde noot,
3043 DK: dob@-belt@-punk@-te@-ret node,
3044 S: dub@-bel@-punk@-te@-rad not,
3045 FI: kaksoispisteellinen nuotti.
3052 @section double flat
3061 FI: kaksoisalennusmerkki.
3068 @section double sharp
3070 ES: doble sostenido,
3075 DK: dob@-belt@-kryds,
3077 FI: kaksoisylennysmerkki.
3083 @node double time signature
3084 @section double time signature
3086 ES: compás polimétrico,
3093 FI: kaksois-aika-arvomerkintä.
3096 @ref{polymetric time signature}.
3100 @section double trill
3106 NL: dubbele triller,
3111 A simultaneous trill on two notes, usually in the distance of a third.
3114 No cross-references.
3118 @section duple meter
3122 F: métrique binaire,
3123 D: in zwei, grader Takt,
3124 NL: tweedelige maatsoort,
3159 FI: kesto, aika-arvo.
3168 ES: dinámica, matices,
3171 D: Dynamik, Lautstärke,
3175 FI: äänen voimakkuusvaihtelu, dynamiikka.
3177 The aspect of music relating to degrees of loudness, or changes from
3178 one degree to another. The terms, abbreviations, and symbols used to
3179 indicate this information are called dynamic marks.
3182 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3204 @node ecclesiastical mode
3205 @section ecclesiastical mode
3208 @ref{church mode}, @ref{diatonic scale}.
3212 @section eighth note
3219 @item D: Achtel, Achtelnote
3220 @item NL: achtste noot
3221 @item DK: ottendedelsnode
3222 @item S: åttondelsnot
3223 @item FI: kahdeksasosanuotti
3231 @section eighth rest
3234 @item UK: quaver rest
3235 @item ES: silencio de corchea
3236 @item I: pausa di croma
3237 @item F: demi-soupir
3238 @item D: Achtelpause
3239 @item NL: achtste rust
3240 @item DK: ottendedelspause
3241 @item S: åttonddelspaus
3242 @item FI: kahdeksasosatauko
3252 @c TODO: add languages
3261 FI: tavujen yhdistäminen yhteen ääneen.
3263 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3264 @emph{συναλοιφην} @q{to smear together}].
3266 The singing of several syllables on a single note. Elision may be indicated
3267 by a lyric tie, which looks like (and serves the same function) as a musical
3275 @section embellishment
3287 D: Notenstich, Notendruck
3293 Engraving means incising or etching a metal plate for printing.
3294 Photoengraving means drawing music with ink in a manner similar to
3295 drafting or engineering drawing, using similar tools.
3297 The traditional process of music printing is done through cutting in a
3298 plate of metal. Now also the term for the art of music typesetting.
3301 No cross-references.
3316 Two notes, intervals, or scales are enharmonic if they have different
3317 names but equal pitch.
3319 @lilypond[quote,notime,line-width=13.0\cm]
3323 gis1 as <des g,!> <cis g!>
3327 "g sharp " "a flat " "dim fifth " "augm fourth"
3333 No cross-references.
3336 @node equal temperament
3337 @section equal temperament
3339 ES: temperamento igual,
3340 I: temperamento equabile,
3341 F: tempérament égal,
3342 D: gleichschwebende Stimmung,
3343 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3344 DK: ligesvævende temperatur,
3345 S: liksvävande temperatur,
3348 A tuning system that divides the octave into 12 equal semitones (each of
3349 which is precisely equal to 100 cents).
3352 @ref{cent}, @ref{semitone}, @ref{temperament}.
3355 @node expression mark
3356 @section expression mark
3359 I: segno d'espressione,
3360 F: signe d'expression, indication de nuance,
3362 NL: voordrachtsteken,
3363 DK: foredragsbetegnelse,
3364 S: föredragsbeteckning,
3365 FI: nyanssiosoitus, esitysmerkki.
3367 Performance indications concerning:
3371 @item volume, dynamics (for example, @notation{forte},
3372 @notation{crescendo}),
3374 @item tempo (for example, @notation{andante}, @notation{allegro}).
3379 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3383 @section extender line
3385 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3386 I: linea di estensione,
3387 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3394 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3395 extends text (without indicating the musical @emph{function} of that text).
3397 Used in many contexts, for example:
3401 @item In vocal music to indicate the syllable for a melisma. Called
3402 @q{extension} in the
3403 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3407 In figured bass to indicate that:
3411 @item The extended note should be held through a change in harmony, when applied
3412 to one figure --OR--
3413 @item The chord thus represented should be held above a moving bass line, when
3414 applied to more than one figure.
3415 @item These uses were not completely standardized, and some composers used a
3416 single extender line to indicate the latter case.
3421 In string music to indicate that all notes in the passage thus indicated should
3422 be played on the same string. On the violin, for example, a series of notes to
3423 be played on the G string would be indicated @notation{sul G}, another series to be
3424 played on the D string would be indicated @notation{sul D}, and so on.
3427 With an octave mark to indicate that a passage is to be played higher or lower
3428 by the given number of octaves.
3433 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3434 @ref{octave marking}.
3467 The position between the dots of the key symbol is the line of the F
3468 below central@w{ }C. Used on the third, fourth and fifth note line.
3469 A digit@w{ }8 above the clef symbol indicates that the notes must be
3470 played an octave higher (for example, bass recorder) while 8@w{ }below
3471 the clef symbol indicates playing an octave lower (for example, on the
3474 @lilypond[quote,notime,line-width=13.0\cm]
3477 \override Staff.Clef #'full-size-change = ##t
3500 @ref{baritone clef}, @ref{strings}.
3506 ES: caída [de tono],
3515 Indicator for a indeterminately falling pitch bend. Compare with
3516 @emph{glissando}, which has determinate starting and ending pitches.
3519 @ref{doit}, @ref{glissando}.
3522 @node feathered beam
3523 @section feathered beam
3525 ES: barra progresiva,
3527 F: ligature en soufflet, lien de croches en soufflet,
3528 D: gespreizter Balken,
3534 A type of beam used to indicate that a small group of notes should be
3535 played at an increasing or decreasing tempo -- depending on the
3536 direction of @q{feathering} -- but without changing the overall tempo
3540 Internals Reference: @ruser{Manual beams}
3546 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3550 F: point d'orgue, point d'arrêt,
3555 FI: fermaatti, pidäke.
3557 Prolonged note or rest of indefinite duration.
3559 @lilypond[quote,relative=2]
3566 No cross-references.
3586 @section figured bass
3589 I: basso continuo, basso numerato,
3590 F: basse chiffrée, basse continue,
3591 D: Generalbass, bezifferter Bass,
3592 NL: basso continuo, becijferde bas
3595 FI: kenraalibasso, numeroitu basso.
3597 Also called @q{thorough bass}.
3599 A method of indicating an accompaniment part by the bass notes only,
3600 together with figures designating the chief intervals and chords to be
3601 played above the bass notes.
3603 @lilypond[quote,line-width=13.0\cm]
3605 \new Staff = "rh" \with {
3607 \override StaffSymbol #'staff-space = #(magstep -3)
3613 \context Voice = "rha" {
3618 \context Voice = "rhb" {
3620 <bes g>8 as <as f> g <g es> f <d f> es
3625 \new Staff = "lh" \relative c' {
3628 es8 c d bes c as bes16 as g f
3632 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3638 @ref{chord}, @ref{interval}.
3653 Figures to the side or above the note that methodically indicate which
3654 fingers to use while playing a passage.
3657 No cross-references.
3664 I: coda (uncinata), bandiera,
3672 Ornament at the end of the stem of a note used for notes with values less
3673 than a quarter note. The number of flags determines the note value.
3675 @lilypond[quote,notime,relative=2]
3698 An articulation for string players that means the note or passage is to
3699 be played in harmonics.
3705 @item A duct flute similar to the recorder.
3707 @item An organ stop of flute scale at 1' or 2' pitch.
3712 @ref{articulation}, @ref{harmonics}.
3748 FI: forte, voimakkaasti.
3752 Abbreviated @notation{@b{f}}. Variants include:
3755 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3756 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3760 No cross-references.
3779 @node Frenched score
3780 @section Frenched score
3782 ES: partitura a la francesa,
3789 FI: partituuri francesan tapaan.
3791 A @q{condensed} score, produced by omitting staves for instruments that are not
3792 playing at the moment, and by moving up additional systems from following pages
3793 to take up the space thus liberated, which reduces the total number of pages
3794 used to print the work.
3796 The specific rules for @q{frenching} a score differ from publisher to publisher.
3797 If you are producing scores for eventual publication by a commercial publisher,
3798 you may wish to procure a copy of their style manual.
3801 @ref{Frenched staff}.
3804 @node Frenched staff
3805 @section Frenched staff
3807 ES: pentagrama a la francesa,
3814 FI: karsittu nuotinnus.
3816 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3817 Frenched staff has unneeded measures or sections removed. This is useful
3818 for producing, for example, an @emph{ossia} staff.
3824 @node Frenched staves
3825 @section Frenched staves
3827 Plural of @ref{Frenched staff}.
3846 @node functional harmony
3847 @section functional harmony
3849 ES: armonía funcional,
3850 I: armonia funzionale,
3851 F: étude des functions,
3853 NL: functionele harmonie,
3854 DK: funktionsanalyse, funktionsharmonik,
3856 FI: harmoniajärjestelmä.
3858 A system of harmonic analysis.
3860 It is based on the idea that, in a given key, there are only three
3861 functionally different chords: tonic (T, the chord on the first note of the
3862 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3863 chord on the fifth note). Others are considered to be variants of the base
3866 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3868 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3871 <g e c>1 <a f d> <b g e>
3872 <c a f> <d b g> <e c a> <f d b>
3876 \markup { D \translate #'(-2 . 0) | }
3882 No cross-references.
3909 D: G-Schlüssel, Violinschlüssel,
3915 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3916 second note lines. A digit 8 above the clef symbol indicates that the notes
3917 must be played an octave higher while 8 below the clef symbol indicates
3918 playing or singing an octave lower (used most frequently to notate the tenor
3919 part in modern choral scores).
3921 @lilypond[quote,notime]
3923 \override Staff.Clef #'full-size-change = ##t
3924 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3935 "french violin clef"
3943 No cross-references.
3956 FI: glissando, liukuen.
3958 Letting the pitch slide fluently from one note to the other.
3961 No cross-references.
3965 @section grace notes
3967 ES: notas de adorno,
3969 F: ornement, fioriture,
3970 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3976 Notes printed in small types to indicate that their time values are not
3977 counted in the rhythm of the bar.
3980 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3985 @section grand staff
3987 ES: sistema de piano,
3989 F: système [de portées], accolade,
3990 D: Akkolade, Klaviersystem,
3993 S: ackolad, böjd klammer,
3994 FI: kaksoisnuottiviivasto.
3996 A combination of two staves with a brace. Usually used for piano music.
4012 FI: grave, raskaasti.
4014 [Italian] Slow, solemn.
4017 No cross-references.
4041 Letter name used for @notation{B natural} in German and Scandinavian
4042 usage. In the standard usage of these countries, @notation{B} means
4046 @ref{Pitch names}, @ref{B}.
4052 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4055 @lilypond[quote,relative=2]
4062 @ref{crescendo}, @ref{decrescendo}.
4073 @item D: Halbe, halbe Note,
4074 @item NL: halve noot,
4077 @item FI: puolinuotti.
4088 @item UK: minim rest,
4089 @item ES: silencio de blanca,
4090 @item I: pausa di minima,
4091 @item F: demi-pause,
4092 @item D: halbe Pause,
4093 @item NL: halve, rust,
4094 @item DK: halvnodespause,
4096 @item FI: puolitauko.
4103 @node harmonic cadence
4104 @section harmonic cadence
4106 ES: cadencia (armónica),
4107 I: cadenza (armonica),
4108 F: cadence harmonique,
4110 NL: harmonische cadens,
4111 DK: harmonisk kadence,
4112 S: (harmonisk) kadens,
4113 FI: harmoninen kadenssi.
4115 A sequence of chords that terminates a musical phrase or section.
4119 \context Staff = "SA" \relative c'' {
4122 \partial 4 <c g e>4 |
4123 <c a f> <b g d> <c g e>2
4126 \context Staff = "SB" \relative c {
4128 \partial 4 c4 | f, g c2
4140 @ref{functional harmony}.
4146 ES: armónicos, sonidos aflautados,
4148 F: flageolet, sons harmoniques,
4153 FI: harmoniset äänet, huiluäänet.
4155 The general class of pitches produced by sounding the second or higher
4156 harmonic of a tone producer: string, column of air, and so on.
4158 On stringed instruments, these pitches sound rather flute-like; hence,
4159 their name in languages other than English. They are produced by
4160 lightly touching the string at a node for the desired mode of vibration
4161 while it is being bowed or plucked.
4163 For instruments of the violin family, there are two types of harmonics:
4164 natural harmonics, which are those played on the open string; and
4165 artificial harmonics, which are produced on stopped strings.
4168 No cross-references.
4177 D: Harmonie, Zusammenklang,
4181 FI: harmonia, yhteissointi.
4183 Tones sounding simultaneously. Two note harmonies fall into the
4184 categories @emph{consonances} and @emph{dissonances}.
4188 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4200 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4201 <g a>1_"second " s s
4202 <g f'>_"seventh " s s
4206 For harmony that uses three or more notes, see @ref{chord}.
4216 I: emiolia, (rarely hemiola or emiola),
4224 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4226 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4227 time normally occupied by two. The resulting rhythm can be expressed in modern
4228 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4229 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4230 as a special effect (or @emph{affect}) at cadences.
4232 For example, this phrase in 6/4 time
4234 @lilypond[quote,relative=1,line-width=13.0\cm]
4237 c2. e | d2 c d | c1. \bar "||"
4240 may be thought of having alternating time signatures
4242 @lilypond[quote,relative=1,line-width=13.0\cm]
4252 and is therefore a polymeter (second definition) of considerable antiquity.
4255 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4268 FI: homofonia, yksiäänisyys.
4270 Music in which one voice leads melodically supported by the other voices in
4271 the same rhythm (more or less). In contrast to @emph{polyphony}.
4294 FI: säkeiden tavumäärät.
4296 A group or list of numbers that indicate the number of syllables in a line
4297 of a hymn's verse. Different hymnals have different ways of noting the hymn
4298 meter: for example, consider a hymn that has four lines in two couplets
4299 alternating regularly between eight and seven syllables. The @emph{English
4300 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4301 or 8@w{ }7@w{ }8@w{ }7.
4303 Some frequently-used hymn meters have traditional names:
4306 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4307 @item 86.86 is called Common Meter (CM or C.M.)
4308 @item 88.88 is called Long Meter (LM or L.M.)
4311 Some hymns and their tunes are doubled versions of a simpler meter: for
4312 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4313 87.87D. The traditional names above also have doubled versions:
4316 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4317 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4318 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4322 No cross-references.
4335 FI: intervalli, kahden sävelen korkeusero.
4337 Difference in pitch between two notes. Intervals may be diminished, minor,
4338 perfect, major, or augmented. The augmented fourth and the diminished fifth
4339 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4340 and are called @emph{tritonus} because they consist of three whole tones.
4341 The addition of such two intervals forms an octave.
4343 @lilypond[quote,notime,line-width=13.0\cm]
4345 \context Voice \relative c'' {
4382 \context Lyrics \lyrics {
4384 "second " "second " "second " "second "
4385 "third " "third " "third " "third "
4386 "fourth " "fourth " "fourth "
4387 "fifth " "fifth " "fifth "
4388 "sixth " "sixth " "sixth " "sixth "
4389 "seventh" "seventh" "seventh" "seventh"
4390 "octave " "octave " "octave "
4396 @ref{enharmonic}, @ref{whole tone}.
4411 When a chord sounds with a bass note that differs from the root of the
4412 chord, it is said to be @emph{inverted}. The number of inversions that a
4413 chord can have is one fewer than the number of constituent notes. For
4414 example, triads (which have three constituent notes) can have three
4415 positions, two of which are inversions:
4419 The root note is in the bass, and above that are the third and the fifth. A
4420 triad built on the first scale degree, for example, is marked @notation{I}.
4422 @item First inversion
4423 The third is in the bass, and above it are the fifth and the root. This
4424 creates an interval of a sixth and a third above the bass note, and so is
4425 marked in figured Roman notation as @notation{6/3}. This is commonly
4426 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4427 characteristic interval of the inversion, and so always implies
4430 @item Second inversion
4431 The fifth is in the bass, and above it are the root and the third. This
4432 creates an interval of a sixth and a fourth above the bass note, and so is
4433 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4434 unstable chord position.
4438 No cross-references.
4441 @node inverted interval
4442 @section inverted interval
4444 ES: intervalo invertido,
4445 I: intervallo rivolto,
4446 F: intervalle renversé,
4447 D: umgekehrtes Intervall,
4448 NL: interval inversie,
4449 DK: omvendingsinterval,
4450 S: intervallets omvändning,
4451 FI: käänteisintervalli.
4453 The difference between an interval and an octave.
4455 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4456 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4457 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4458 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4462 No cross-references.
4465 @node just intonation
4466 @section just intonation
4468 ES: entonación justa,
4469 I: intonazione giusta,
4470 F: intonation juste,
4477 Tuning system in which the notes are obtained by adding and subtracting
4478 natural fifths and thirds.
4496 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4497 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4500 @ref{chromatic scale}, @ref{key signature}.
4504 @section key signature
4506 ES: armadura (de la clave),
4507 I: armatura di chiave,
4508 F: armure, armature [de la clé],
4509 D: Vorzeichen, Tonart,
4510 NL: toon@-soort (voortekens),
4513 FI: sävellajiosoitus.
4515 The sharps or flats appearing at the beginning of each staff indicating the
4522 @node laissez vibrer
4523 @section laissez vibrer
4534 [French: @q{Let vibrate}] Most frequently associated with harp
4535 parts. Marked @notation{l.v.} in the score.
4538 No cross-references.
4546 F: largo, large, ample,
4547 D: Largo, Langsam, Breit,
4551 FI: largo, hitaasti, leveästi.
4553 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4554 expressiveness. @emph{Larghetto} is less slow than largo.
4558 @section leading note
4569 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4570 called because of its strong tendency to @q{lead up} (resolve upwards)
4571 to the tonic scale degree.
4574 @ref{scale degree}, @ref{semitone}.
4578 @section ledger line
4580 ES: línea adicional,
4581 I: tagli addizionali,
4582 F: ligne supplémentaire,
4589 A ledger line is an extension of the staff.
4591 @lilypond[quote,notime,relative=2]
4598 No cross-references.
4607 D: legato, gebunden,
4613 To be performed (a) without any perceptible interruption between the
4614 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4615 @notation{portato}, or (d) @notation{staccato}.
4617 @lilypond[quote,notime,line-width=13.0\cm]
4619 \context Staff \relative c'' {
4620 c4-( d e-) \bar "||"
4621 c4-- d-- e-- \bar "||"
4622 c4-.-( d-. e-.-) \bar "||"
4623 c4-. d-. e-. \bar "||"
4639 @section legato curve
4642 @ref{slur}, @ref{legato}.
4664 A ligature is a coherent graphical symbol that represents at least two
4665 distinct notes. Ligatures originally appeared in the manuscripts of
4666 Gregorian chant notation around the 9th century to denote ascending or
4667 descending sequences of notes. In early notation, ligatures were used for
4668 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4669 performance in the sense of articulation. With the invention of the metric
4670 system of the white mensural notation, the need for ligatures to denote such
4671 patterns disappeared.
4674 @ref{mensural notation}.
4681 ES: estanque de nenúfares,
4682 I: stagno del giglio,
4683 F: étang de nénuphars, étang de nymphéas,
4685 NL: le@-lie@-vij@-ver,
4690 A pond with lilies floating in it.
4692 Also, the name of a music typesetting program.
4695 No cross-references.
4704 D: Linie, Notenlinie,
4708 FI: viiva, nuottiviiva.
4724 FI: kirjoitetussa äänenkorkeudessa.
4726 [Italian: @q{place}] Instruction to play the following passage at the
4727 written pitch. Cancels octave mark (q.v.).
4730 @ref{octave mark}, @ref{octave marking}.
4733 @node long appoggiatura
4734 @section long appoggiatura
4736 ES: apoyatura larga,
4737 I: appoggiatura lunga,
4738 F: appoggiature longue,
4743 FI: pitkä appoggiatura, pitkä etuhele.
4753 @item US: long, longa,
4756 @item F: longa, longue,
4764 Note value: twice the length of a @notation{breve}.
4766 @lilypond[quote,notime,relative=2]
4767 \override NoteHead #'style = #'mensural
4772 @ref{breve}, @ref{note value}.
4778 ES: ligadura de letra,
4780 F: ligature de mots,
4785 FI: sidonta sanoituksessa.
4787 @c TODO: add languages
4796 ES: letra (de la canción),
4799 D: Liedtext, Gesangtext,
4808 No cross-references.
4824 @ref{diatonic scale}.
4827 @node major interval
4828 @section major interval
4830 ES: intervalo mayor,
4831 I: intervallo maggiore,
4832 F: intervalle majeur,
4833 D: großes Intervall,
4837 FI: suuri intervalli.
4855 Note value: twice the length of a @notation{longa}.
4857 The maxima is the largest duration in use during the 15th and 16th centuries.
4858 Like the longa, the maxima can be either two or three times as long as the
4859 @notation{longa} (called @notation{binary} and @notation{ternary},
4860 respectively). By the late 15th century, most composers used the smaller
4861 proportion by default.
4864 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4867 @node meantone temperament
4868 @section meantone temperament
4870 ES: afinación mesotónica,
4871 I: accordatura mesotonica,
4872 F: tempérament mésotonique,
4873 D: mitteltönige Stimmung,
4874 NL: middenstemming, middentoonstemming,
4875 DK: middeltonetemperatur,
4876 S: medeltonstemperatur,
4877 FI: keskisävelviritys.
4879 Temperament yielding acoustically pure thirds by decreasing the natural
4880 fifth by 16@w{ }cents. Due to the non-circular character of this
4881 temperament only a limited set of keys are playable. Used for tuning
4882 keyboard instruments for performance of pre-1650 music.
4885 @ref{cent}, @ref{temperament}.
4900 A group of beats (units of musical time) the first of which bears an accent.
4901 Such groups in numbers of two or more recur consistently throughout the
4902 composition and are separated from each other by bar lines.
4905 @ref{bar line}, @ref{beat}, @ref{meter}.
4908 @node measure repeat
4909 @section measure repeat
4912 @ref{percent repeat}.
4919 I: mediante, modale,
4929 @item The third @b{scale degree}.
4931 @item A @emph{chord} having its base tone a third from that of another
4932 chord. For example, the tonic chord may be replaced by its lower
4933 mediant (variant tonic).
4938 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4951 FI: melisma, laulettavan tavun sävelkuvio.
4953 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4954 on one syllable, especially as applied to liturgical chant.
4957 No cross-references.
4961 @section melisma line
4963 @c TODO: add languages
4965 ES: línea de melisma,
4966 I: linea del melisma,
4967 F: trait de mélisme, trait de tenue,
4975 @ref{extender line}.
4978 @node melodic cadence
4979 @section melodic cadence
4985 @node mensural notation
4986 @section mensural notation
4988 @c TODO: add languages
4990 ES: notación mensural,
4991 I: notazione mensurale,
4992 F: notation mensurale,
4997 FI: mensuraalinuotinnus.
4999 A system of duration notation whose principles were first established in the
5000 mid-13th century, and that (with various changes) remained in use until about
5001 1600. As such, it is the basis for the notation of rhythms in Western musical
5004 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5005 of the notation's principles, so the notation of this earliest period is called
5006 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5007 and semibreve -- each of which was normally equivalent to three of the next
5010 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5011 added several note values (the minim, semiminim and fusa) and extended Franco's
5012 principles to govern the relationship between these values. They also put the
5013 duple division of note values on an equal footing with the earlier (preferred)
5016 TODO: continue description of French and Italian black notation, and the
5017 relationship betwixt them.
5019 @b{White or void mensural notation}
5021 In the 15th century, hollow (or void) notes began to substitute for the earlier
5022 solid black ones, which were then free to assume the function of red (or
5023 colored) notes in the earlier notation. ...
5025 TODO: add to definition (including summary info on proportional notation)
5028 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5029 @c TODO: more cross-references?
5032 @node mensuration sign
5033 @section mensuration sign
5035 @c TODO: add languages
5037 ES: signo de mensuración,
5039 F: signe de mensuration,
5046 The ancestor of the time signature, mensuration signs were used to indicate the
5047 relationship between two sets of note durations—specifically, the ratio of
5048 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5049 (called @notation{prolatio}).
5051 Each ratio was represented with a single single sign, and was either
5052 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5053 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5054 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5055 represented by a complete circle; applied to the @emph{prolatio}, it was called
5056 @emph{major} and was represented by a dot in the middle of the sign. The binary
5057 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5058 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5059 @emph{minor} and was represented by the lack of an internal dot. There are four
5060 possible combinations, which can be represented in modern time signatures with
5061 and without reduction of note values. (These signs are hard-coded in LilyPond
5065 @item perfect @emph{tempus} with major @emph{prolatio}
5066 Indicated by a complete circle with an internal dot. In modern time signatures,
5069 @item 9/4, with reduction or
5070 @item 9/2, without reduction
5073 @item perfect @emph{tempus} and minor @emph{prolatio}
5074 Indicated by a complete circle without an internal dot. In modern time
5075 signatures, this equals:
5077 @item 3/2, with reduction or
5078 @item 3/1, without reduction
5081 @item imperfect @emph{tempus} and major @emph{prolatio}
5082 Indicated by an incomplete circle with an internal dot. In modern time
5083 signatures, this equals:
5085 @item 6/4, with reduction or
5086 @item 6/2, without reduction
5089 @item imperfect @emph{tempus} and minor @emph{prolatio}
5090 Indicated by an incomplete circle without an internal dot. In modern time
5091 signatures, this equals:
5093 @item 4/4, with reduction or
5094 @item 2/1, without reduction
5098 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5099 with note values reduced from the original semibreve to a modern quarter note.
5100 Being doubly imperfect, this sign represented the (theoretically)
5101 least-preferred mensuration, but it was actually used fairly often.
5103 This system extended to the ratio of longer note values to each other:
5107 @item maxima to longa, called:
5111 @item @notation{modus maximorum},
5112 @item @notation{modus major}, or
5113 @item @notation{maximodus})
5117 @item longa to breve, called:
5121 @item @notation{modus longarum},
5122 @item @notation{modus minor}, or
5123 @item @notation{modus}
5129 In the absence of any other indication, these modes were assumed to be
5130 binary. The mensuration signs only indicated tempus and prolatio, so
5131 composers needed another way to indicate these longer ratios (called modes.
5132 Around the middle of the 15th century started to use groups of rests at the
5133 beginning of the staff, preceding the mensuration sign.
5136 Two mensuration signs have survived to the present day: the C-shaped sign,
5137 which originally designated @notation{tempus imperfectum} and
5138 @notation{prolatio minor} now stands for @notation{common time}; and the
5139 slashed C, which designated the same with @notation{diminution} now stands
5140 for @notation{cut-time} (essentially, it has not lost its original meaning).
5143 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5144 @c TODO: more cross-references?
5152 F: indication de mesure, mesure,
5159 The pattern of note values and accents in a composition or a section thereof.
5160 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5161 by grouping beats and by subdividing the primary beat.
5163 @b{By grouping beats}:
5167 @item @b{duple}: groups of two.
5168 @item @b{triple}: groups of three.
5169 @item @b{quadruple}: groups of four. A special case of duple meter.
5170 @item @b{quintuple}: groups of five beats.
5171 @item @b{sextuple} meter: groups of six. A special case of:
5175 @item duple meter, subdivided in three; or
5176 @item triple meter, subdivided in two.
5180 @item @b{septuple} meter: groups of seven.
5185 Other than triple meter and its subdivided variants (see below), meters that
5186 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5187 frequently used prior to the 20th Century.
5189 @b{By subdividing the primary beat}:
5193 @item simple: subdivided in groups of two.
5197 @item duple: 2/2, 2/4, 2/8
5198 @item triple: 3/2, 3/4, 3/8
5199 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5203 @item compound: subdivided in groups of three.
5209 @item quadruple: 12/8
5215 Time signatures are placed at the beginning of a composition (or section) to
5216 indicate the meter. For instance, a piece written in simple triple meter with a
5217 beat on each quarter note is conventionally written with a time signature of
5218 3/4. Here are some combinations of the two classifications above:
5220 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5222 @lilypond[quote,line-width=13.0\cm]
5226 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5229 Simple triple meter:
5231 @lilypond[quote,line-width=13.0\cm]
5235 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5238 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5240 @lilypond[quote,line-width=13.0\cm]
5244 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5247 Simple quintuple meter (B. Marcello, 1686-1739):
5249 @lilypond[quote,line-width=13.0\cm]
5253 r4 cis8 bis ais4 dis c8 ais |
5254 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5257 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5258 the source, with sharps in the accompaniment where the voice has flats and
5261 Compound duple meter (unknown):
5263 @lilypond[quote,line-width=13.0\cm]
5267 f8 f g a bes16 a g f |
5268 g8 g bes a c16 a bes g
5272 Compound triple meter (J.S. Bach, 1685-1750):
5274 @lilypond[quote,line-width=13.0\cm]
5278 r8 g'( a) b( d c) c( e d) |
5279 d( g fis) g( d b) g( a b)
5283 Compound quadruple meter (P. Yon, 1886-1943):
5285 @lilypond[quote,line-width=13.0\cm]
5289 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5290 e4 e8 fis( gis) a b4.~ b4 b8
5295 @b{@q{Monometer} vs Polymeter}
5297 TODO: add information from discussion on lilypond-user related to polymeter.
5301 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5316 Device used to indicate the exact tempo of a piece.
5318 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5319 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5320 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5321 followed acknowledged Winkler as the creator, but by then Mälzel had already
5322 sold many of them, and people had taken to calling it a Mälzel Metronome.
5325 @ref{metronome mark}.
5328 @node metronome mark
5329 @section metronome mark
5331 ES: indicación metronómica,
5332 I: indicazione metronomica,
5333 F: indication métronomique,
5335 NL: metronoom aanduiding,
5337 S: metronomangivelse,
5338 FI: metronomiosoitus.
5340 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5341 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5348 @node metronomic indication
5349 @section metronomic indication
5352 @ref{metronome mark}
5365 FI: kohtalaisen, melko.
5367 [Italian: @q{medium}]
5369 Used to qualify other indications, such as:
5375 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5377 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5383 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5390 No cross-references.
5394 @section mezzo-soprano
5405 The female voice between soprano and contralto.
5408 @ref{soprano}, @ref{contralto}.
5417 D: eingestrichenes@w{ }c,
5419 DK: enstreget@w{ }c,
5420 S: ettstruket@w{ }c,
5423 First C below the 440 Hz A.
5425 @lilypond[quote,notime,relative=1]
5426 \override Staff.Clef #'full-size-change = ##t
5433 No cross-references.
5449 @ref{diatonic scale}.
5452 @node minor interval
5453 @section minor interval
5455 ES: intervalo menor,
5456 I: intervallo minore,
5457 F: intervalle mineur,
5458 D: kleines Intervall,
5462 FI: pieni intervalli.
5468 @node mixolydian mode
5469 @section mixolydian mode
5472 @ref{diatonic scale}.
5481 D: Kirchentonart, Modus,
5485 FI: moodi, kirkkosävelasteikko.
5488 @ref{church mode}, @ref{diatonic scale}.
5501 FI: modulaatio, sävellajin vaihdos.
5503 Moving from one @ref{key} to another. For example, the second subject
5504 of a @ref{sonata form} movement modulates to the dominant key if the
5505 key is major and to the @ref{relative key} if the key is minor.
5508 No cross-references.
5520 FI: mordent, korukuvio.
5543 FI: teema, sävelaihe.
5545 The briefest intelligible and self-contained fragment of a musical
5548 @lilypond[quote,line-width=13.0\cm]
5551 \set Score.implicitTimeSignatureVisibility = #all-invisible
5552 \override Score.TimeSignature #'break-visibility = #all-invisible
5555 \partial 8 g16\startGroup fis |
5556 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5557 g8 g,16 a b8 cis d16 s
5561 \Staff \consists "Horizontal_bracket_engraver"
5567 No cross-references.
5582 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5583 several -- more or less -- independent pieces called movements.
5586 No cross-references.
5589 @node multi-measure rest
5590 @section multi-measure rest
5592 ES: compases de espera, silencio multicompás,
5594 F: pause multiple, mesure à compter,
5596 D: mehrtaktige Pause, Kirchenpause,
5599 FI: usean tahdin mittainen tauko.
5601 Multi-measure rests are conventionally typeset with a combination of
5602 longa, breve and whole rests for shorter and a long horizontal bar for
5603 longer spans of rest, with a number above to indicate the duration (in
5604 measures) of the rest. The former style is called @q{Kirchenpausen} in
5605 German, as a reminiscence of its use in Renaissance vocal polyphony.
5607 @lilypond[quote,relative=2]
5609 \set Score.skipBars = ##t
5612 \set Score.skipBars = ##t
5618 @ref{longa}, @ref{breve}.
5627 D: Auflösungszeichen,
5628 NL: herstellingsteken,
5629 DK: op@-løsningstegn,
5630 S: återställningstecken,
5637 @node neighbor tones
5638 @section neighbor tones
5640 @c TODO: add definition.
5652 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5691 Notes are signs by means of which music is fixed in writing. The term is also
5692 used for the sound indicated by a note, and even for the key of the piano
5693 which produces the sound. However, a clear distinction between the terms tone
5694 and @ref{note} is strongly recommended. Briefly, one sees a note,
5698 No cross-references.
5705 I: testa, testina, capocchia,
5713 A head-like sign which indicates pitch by its position on a @notation{staff}
5714 provided with a @notation{clef}, and duration by a variety of shapes such as
5715 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5716 For percussion instruments (often having no defined pitch) the note head may
5717 indicate the instrument.
5720 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5733 ES: valor, duración,
5735 F: durée, valeur (d'une note),
5740 FI: nuotin aika-arvo.
5742 Note values (durations) are measured as fractions—in modern usage, one-half—of
5743 the next higher note value. The longest duration in current use is the
5744 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5745 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5746 or @notation{maxima} (eight whole notes) may be found.
5748 As used in mensural notation, this fraction was more flexible: it could also
5749 be one-third the higher note value. Composers indicated which proportions
5750 to use with various signs—two of which survive to the present day: the
5751 C-shaped sign for @notation{common time}, and the slashed C for
5752 @notation{alla breve} or @notation{cut-time}.
5754 @c TODO -- add maxima to this example, in a way that doesn't break it.
5756 @lilypond[quote,notime,line-width=13.0\cm]
5758 \override NoteHead #'style = #'mensural
5759 a\longa_"longa" a\breve_"breve"
5760 \revert NoteHead #'style
5761 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5762 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5765 @c TODO -- add maxima rest to this example
5767 @lilypond[quote,notime,line-width=13.0\cm]
5769 r\longa_"longa" r\breve_"breve"
5770 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5771 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5774 An augmentation dot after a note increases its duration by half; a second dot
5775 increases it by half of the first addition (that is, by a fourth of the original
5776 duration). More dots can be used to add further halved fractions of the
5777 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5779 @lilypond[quote,line-width=13.0\cm]
5782 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5783 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5786 Alternatively note values may be subdivided by other ratios. Most common is
5787 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5788 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5789 dotted notes are also frequently used.
5791 @lilypond[quote,line-width=13.0\cm]
5794 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5795 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5799 @lilypond[quote,line-width=13.0\cm]
5802 \times 3/2 {g4_"duplets" g} |
5804 \times 6/4 {g8_"quadruplets" g g g} |
5805 g8 g g g g4 \bar "||"
5817 @ref{octave marking}.
5832 The interval of an octave, sometimes abbreviated @notation{8ve}.
5834 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5835 bracket, or @notation{loco} see octave marking.
5838 @ref{interval}, @ref{octave marking}.
5842 @section octave mark
5844 ES: indicación de octava,
5846 F: indication d'octave,
5853 The phrase, abbreviation, or other mark used (with or without an extender line
5854 or bracket) to indicate that the music is to be played in a different octave:
5858 @item @notation{15ma}: play two octaves higher
5859 @item @notation{8va}: play one octave higher
5860 @item @notation{8vb}: play one octave lower
5861 @item @notation{8va} (written below the passage): unusual, same as
5863 @item @notation{15vb}: play two octaves lower
5864 @item @notation{15va} (written below the passage): unusual, same as
5869 For longer passages, it may be more practical to mark the octave change at the
5870 beginning with a phrase (see the list below for examples), but without a bracket
5871 or extender line. Then, when the music returns to the written pitch, the octave
5872 change is cancelled with the word @notation{loco} (q.v.).
5874 To parallel the list above:
5878 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5879 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5880 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5881 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5885 In the phrases above, @notation{quindicesima} is sometimes replaced with
5886 @notation{quindecima}, which is Latin.
5888 The music on an entire staff can be marked to be played in a different octave by
5889 putting a small 8 or 15 above or below the clef at the beginning. This octave
5890 mark can be applied to any clef, but it is most frequently used with the G and F
5894 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5897 @node octave marking
5898 @section octave marking
5907 FI: oktaavamerkintä.
5909 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5910 that it is to be played in a different octave. If applied to the clef at the
5911 beginning of the staff, all music on that staff is to played at the indicated
5914 For a list of the specific marks used, see @ref{octave mark}.
5917 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5921 @section octave sign
5931 I: abbellimento, fioriture,
5932 F: agrément, ornement,
5933 D: Verzierung, Ornament,
5939 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5940 with the diatonic @ref{second} above it. In the music from the
5941 middle of the 19th century and onwards the trill is performed with the main
5942 note first while in the music from the preceding baroque and classic periods
5943 the upper note is played first.
5945 @lilypond[quote,line-width=13.0\cm]
5947 \context Staff = sa {
5949 c2._"pre-1850" b4\trill | c1 \bar "||"
5950 c2._"post-1850" b4\trill | c1 \bar "||"
5954 c2. c32 b c b c b c b | c1
5955 c2. b32 c b c \times 4/5 { b c b c b } | c1
5960 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5961 the @emph{prall} (inverted mordent).
5963 @lilypond[quote,line-width=13.0\cm]
5965 \context Staff = sa {
5967 a4_"turn" b\turn c2 \bar "||"
5968 g4_"mordent" a b\mordent a \bar "||"
5969 e'4_"prall" d\prall c2 \bar "||"
5975 e'4 e32[ d e d ~ d8] c2
5981 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5989 F: ossia, alternative,
5994 FI: ossia, vaihtoehtoinen esitystapa.
5996 Ossia (otherwise) marks an alternative. It is an added staff or piano
5997 score, usually only a few measures long, which presents another version
5998 of the music, for example for small hands.
6001 Compare: @ref{cue-notes}.
6007 ES: parte, particella,
6014 FI: stemma, instrumenttiosuus.
6018 @item In instrumental or choral music, the music for a single
6019 instrument or voice.
6021 @item in contrapuntal music, a single melodic line in the contrapuntal
6044 @node percent repeat
6045 @section percent repeat
6047 LilyPond-specific term to indicate the repetition of a musical expression on a
6048 single staff, as opposed to the more usual definition of repeat, which affects
6049 all parts. The musical expression can be anything from a single note or note
6050 pattern to one or more measures. There are other names for this symbol:
6055 @item slash mark, or slash repeat
6057 @item measure (or multi-measure) repeat
6061 @lilypond[quote,relative=2,line-width=13.0\cm]
6063 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6064 \repeat percent 2 { c4 e g b_"Measure repeat" }
6065 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6070 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6071 Vermont Music Dictionary}.
6080 D: Schlagzeug, Schlagwerk,
6086 A family of musical instruments which are played on by striking or
6087 shaking. Percussion instruments commonly used in a symphony orchestra are
6088 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6089 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6093 No cross-references.
6096 @node perfect interval
6097 @section perfect interval
6099 ES: intervalo justo,
6100 I: intervallo giusto,
6101 F: intervalle juste,
6102 D: reines Intervall,
6106 FI: puhdas intervalli.
6124 A natural division of the melodic line, comparable to a sentence of speech.
6140 FI: fraseeraus, jäsentäminen.
6142 The clear rendering in musical performance of the @notation{phrases} of the
6143 melody. Phrasing may be indicated by a @notation{slur}.
6146 @ref{phrase}, @ref{slur}.
6161 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6162 @emph{mezzo piano} (@b{mp}) medium soft.
6165 No cross-references.
6173 F: anacrouse, levée,
6198 @item The perceived quality of a sound that is primarily a function of its
6199 fundamental frequency.
6201 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6203 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6204 association of a particular frequency with a particular pitch name, e.g., c' =
6220 NL: pizzicato, getokkeld,
6223 FI: pizzicato, näppäillen.
6225 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6229 No cross-references.
6235 ES: compás polimétrico,
6242 FI: monia tahtiosoituksia sisältävä.
6246 @item The @emph{simultaneous} use of two or more meters, in two or more
6249 @item The @emph{successive} use of different meters in one or more parts.
6254 @ref{polymetric} (adj.)
6267 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6269 Characterized by @emph{polymeter}: using two or more metric frameworks
6270 simultaneously or in alternation.
6273 @ref{polymeter} (noun)
6276 @node polymetric time signature
6277 @section polymetric time signature
6279 ES: indicación de compás polimétrico,
6280 I: tempo polimetrico,
6286 FI: vaihtelevan tahtiosoitusmerkintä.
6288 A time signature that indicates regularly alternating polymetric time.
6300 D: Polyphonie, Mehrstimmigkeit,
6304 FI: polyfonia, moniäänisyys.
6306 Music written in a combination of several simultaneous voices (parts)
6307 of a more or less pronounced individuality.
6316 [Italian: past participle of @emph{portare}, @q{to carry}]
6318 A stroke in which each of several notes is separated slightly within a slur,
6319 without changing the bow's direction. It is used for passages of a
6320 @notation{cantabile} character.
6329 ES: presto, muy rápido,
6331 F: presto, très rapide, enlevé,
6332 D: Presto, Sehr schnell,
6333 NL: presto, Sehr schnell,
6336 FI: presto, hyvin nopeasti.
6340 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6341 denotes the highest possible degree of speed.
6344 No cross-references.
6359 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6360 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6365 @item A ratio that expresses the relationship between the note values that
6366 follow with those that precede;
6368 @item A ratio between the note values of a passage and the @q{normal}
6369 relationship of note values to the metrical pulse. (A special case of the
6374 The most common proportions are:
6377 @item 2:1 (or simply 2), expressed by a vertical line through the
6378 mensuration sign (the origin of the @notation{alla breve} time signature),
6379 or by turning the sign backwards
6380 @item 3:1 (or simply 3)
6381 @item 3:2 (@emph{sesquialtera})
6384 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6387 @item 1:2 cancels 2:1
6388 @item 1:3 cancels 3:1
6389 @item 2:3 cancels 3:2
6393 Gaffurius enumerates five basic types of major:minor proportions and their
6397 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6398 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6400 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6401 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6402 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6404 @item Superpartiens, if the major number is one less than twice the minor
6405 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6407 @item Multiplexsuperparticular, if the major number is one more than twice the
6408 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6411 @item Multiplexsuperpartiens, if the major number is one less than some other
6412 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6413 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6417 He then continues to subdivide each type in various ways. For the multiplex
6418 proportions, for example, he indicates how many times greater the major number
6423 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6424 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6426 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6429 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6430 Example: 4:1, 8:2, and 12:3
6434 Other proportions were possible, but whether they were frequently used is
6439 @item 33:9, @emph{triplasuperbipartientetertias}
6440 @item 51:15, @emph{triplasuperbipartientequintas}
6444 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6447 @ref{mensural notation}.
6450 @node Pythagorean comma
6451 @section Pythagorean comma
6453 ES: coma pitagórica,
6454 I: comma pitagorico,
6455 F: comma pythagoricien,
6456 D: Pythagoräisches Komma,
6457 NL: komma van Pythagoras,
6458 DK: pythagoræisk komma,
6459 S: pytagoreiskt komma,
6460 FI: pytagorinen komma.
6462 Originally, the interval by which the sum of six whole tones exceeds the octave
6463 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6465 Modern acoustical theory defines it as the interval by which twelve fifths
6466 exceed seven octaves. To put it another way: A sequence of fifths that starts
6467 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6468 than the C obtained by adding 7 octaves. The difference between those two
6469 pitches is the Pythagorean comma.
6472 @ref{cent}, @ref{temperament}.
6494 ES: variante [de acorde o intervalo],
6503 The quality of a triad is determined by the precise arrangement of its
6504 intervals. Tertian triads can be described as a series of three notes. The
6505 first element is the root note (or simply @q{root}) of the chord, the second
6506 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6507 the chord. These are described below:
6509 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6510 @headitem Chord name
6511 @tab Component intervals
6514 @item major triad @tab major third/perfect fifth
6516 @tab C, CM, Cma, Cmaj, CΔ
6517 @item minor triad @tab minor third/perfect fifth
6519 @tab Cm, Cmi, Cmin, C-
6520 @item augmented triad @tab major third/augmented fifth
6523 @item diminished triad @tab minor third/diminished fifth
6525 @tab Cm(♭5), Cº, Cdim
6528 There are various types of seventh chords depending on the quality of the
6529 original chord and the quality of the seventh added.
6531 Five common types of seventh chords have standard symbols. The chord quality
6532 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6533 and D^m7 are all identical). The last three chords are not commonly used
6541 @section quarter note
6546 @item I: semiminima, nera
6548 @item D: Viertel, Viertelnote
6550 @item DK: fjerdedelsnode
6551 @item S: fjärdedelsnot
6552 @item FI: neljäsosanuotti
6560 @section quarter rest
6563 @item UK: crotchet rest
6564 @item ES: silencio de negra
6565 @item I: pausa di semiminima
6567 @item D: Viertelpause
6569 @item DK: fjerdedelspause
6570 @item S: fjärdedelspaus
6571 @item FI: neljäsosatauko
6579 @section quarter tone
6588 FI: neljännessävelaskel.
6590 An interval equal to half a semitone.
6599 ES: cinquillo, quintillo,
6613 @section rallentando
6617 F: rallentando, en ralentissant,
6618 D: rallentando, langsamer werden,
6622 FI: rallerdando, hidastuen.
6624 [Italian] A performance indication, abbreviated @notation{rall.}
6631 @section relative key
6634 I: tonalità relativa,
6635 F: tonalité relative,
6637 NL: paralleltoonsoort,
6638 DK: paralleltoneart,
6640 FI: rinnakkaissävellaji.
6642 Major and minor keys that have the same key signature.
6644 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6646 es1_"e flat major" f g as bes c d es
6650 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6652 c1_"c minor" d es f g a! b! c
6657 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6665 F: barre de reprise,
6668 DK: gen@-ta@-gel@-se,
6672 @lilypond[quote,relative=2,line-width=13.0\cm]
6684 No cross-references.
6699 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6700 @c specify the rest's value.
6720 @item Metrical rhythm in which every time value is a multiple or
6721 fraction of a fixed unit of time, called @emph{beat}, and in which the
6722 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6723 The basic scheme of time values is called @emph{meter}.
6725 @item Measured rhythm which lacks regularly recurrent accent. In
6726 modern notation such music appears as a free alternation of different
6729 @item Free rhythm, i.e., the use of temporal values having no common
6730 metrical unit (beat).
6735 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6741 ES: ritardando, retardando,
6743 F: ritardando, en ralentissant,
6744 D: ritardando, langsamer werden,
6748 FI: ritardando, hidastuen,
6750 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6754 No cross-references.
6760 ES: ritenuto, reteniendo,
6762 F: ritenuto, en retenant,
6767 FI: ritenuto, hidastaen.
6769 Immediate reduction of speed.
6772 No cross-references.
6785 FI: asteikko, sävelasteikko.
6788 @ref{diatonic scale}.
6792 @section scale degree
6794 ES: grado (de la escala),
6795 I: grado della scala,
6796 F: degré [de la gamme],
6798 NL: trap [van de toonladder],
6801 FI: sävelaste, asteikon sävel.
6803 Names and symbols used in harmonic analysis to denote tones of the
6804 scale as roots of chords. The most important are degrees I = tonic
6805 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6807 @lilypond[quote,notime,line-width=13.0\cm]
6809 \new Staff \relative c' {
6813 << { I II III IV V VI VII I }
6820 @ref{functional harmony}.
6828 F: à cordes ravallées,
6833 FI: epätavallinen viritys.
6835 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6836 tuning of stringed instruments, particularly lutes or violins. Used
6841 @item facilitate pitch combinations that would otherwise be difficult
6844 @item alter the characteristic timbre of the instrument, for example,
6845 to increase brilliance
6847 @item reinforce certain sonorities or tonalities by making them
6848 available on open strings
6850 @item imitate other instruments
6856 Tunings that could be called @var{scordatura} first appeared early in
6857 the 16th Century and became commonplace in the 17th.
6860 No cross-references.
6868 F: partition, conducteur (full score),
6869 D: Partitur (full score), Klavierauszug (vocal score),
6875 A copy of orchestral, choral, or chamber music showing what each
6876 instrument is to play, each voice to sing, having each part arranged
6877 one underneath the other on different staves @ref{staff}.
6880 No cross-references.
6895 The interval between two neighboring tones of a scale. A diatonic scale
6896 consists of alternating semitones and whole tones, hence the size of a
6897 second depends on the scale degrees in question.
6900 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6907 @item US: whole note,
6911 @item D: Ganze, ganze Note,
6912 @item NL: hele noot,
6915 @item FI: kokonuotti.
6918 Note value: called @notation{whole note} in the US.
6920 The semibreve is the basis for the @notation{tactus} in mensural notation
6921 (i.e. music written before ca. 1600).
6924 @ref{mensural notation}, @ref{note value}.
6939 The interval of a minor second. The (usually) smallest interval in European
6940 composed music. The interval between two neighboring tones on the piano
6941 keyboard -- including black and white keys -- is a semitone. An octave may
6942 be divided into 12@w{ }semitones.
6944 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6945 g1 gis s a bes s b! c
6949 @ref{interval}, @ref{chromatic scale}.
6972 @ref{sextuplet}, @ref{note value}.
7017 ES: simile, similar,
7026 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7027 is to be played in the same manner (i.e. with the same articulations, dynamics,
7028 etc.) as the music that precedes it.
7031 TODO: Where else could I refer the reader?
7035 @section simple meter
7037 ES: compás simple, compás de subdivisión binaria,
7044 FI: kaksijakoinen tahtiosoitus.
7046 A meter in which the basic beat is subdivided in two: that is, a meter
7047 that does not include triplet subdivision of the beat.
7050 @ref{compound meter}, @ref{meter}.
7053 @node sixteenth note
7054 @section sixteenth note
7057 @item UK: semiquaver
7058 @item ES: semicorchea
7060 @item F: double croche
7061 @item D: Sechzehntel, Sechzehntelnote
7062 @item NL: zestiende noot
7063 @item DK: sekstendedelsnode
7064 @item S: sextondelsnot
7065 @item FI: kuudestoistaosanuotti
7072 @node sixteenth rest
7073 @section sixteenth rest
7076 @item UK: semiquaver rest
7077 @item ES: silencio de semicorchea
7078 @item I: pausa di semicroma
7079 @item F: quart de soupir
7080 @item D: Sechzehntelpause
7081 @item NL: zestiende rust
7082 @item DK: sekstendedelspause
7083 @item S: sextondelspaus
7084 @item FI: kuudestoistaosatauko
7107 @node sixty-fourth note
7108 @section sixty-fourth note
7111 @item UK: hemidemisemiquaver
7113 @item I: semibiscroma
7114 @item F: quadruple croche
7115 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7116 @item NL: vierenzestigste noot
7117 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7118 @item S: sextiofjärdedelsnot
7119 @item FI: kuudeskymmenesneljäsosanuotti
7126 @node sixty-fourth rest
7127 @section sixty-fourth rest
7130 @item UK: hemidemisemiquaver rest
7131 @item ES: silencio de semifusa
7132 @item I: pausa di semibiscroma
7133 @item F: seizième de soupir
7134 @item D: Vierundsechzigstelpause
7135 @item NL: vierenzestigste rust
7136 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7137 @item S: sextiofjärdedelspaus
7138 @item FI: kuudeskymmenesneljäsosatauko
7146 @section slash repeat
7149 @ref{percent repeat}.
7155 ES: ligadura de expresión,
7156 I: legatura (di portamento o espressiva),
7158 D: Bogen (Legatobogen, Phrasierungsbogen),
7159 NL: fraseringsboog, legatoboog, streekboog,
7160 DK: legatobue, fraseringsbue,
7164 A slur above or below a group of notes indicates that they are to be
7165 played @ref{legato}, e.g., with one stroke of the violin bow or with
7166 one breath in singing.
7169 No cross-references.
7173 @section solmization
7182 FI: suhteelliset laulunimet.
7184 General term for systems of designating the degrees of the
7185 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7186 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7190 @ref{scale}, @ref{scale degree}.
7205 In its present-day meaning a sonata denotes an instrumental
7206 composition for piano or for some other instrument with piano
7207 accompaniment, which consists of three or four independant pieces,
7211 No cross-references.
7215 @section sonata form
7219 F: [en] forme de sonate,
7221 NL: hoofdvorm, sonatevorm,
7226 A form used frequently for single movements of the @emph{sonata},
7227 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7228 three sections called @notation{exposition}, @notation{development} and
7229 @notation{recapitulation}. In the exposition the composer introduces some
7230 musical ideas, consisting of a number of themes; in the development section the
7231 composer @emph{develops} this material, and in the recapitulation the composer
7232 repeats the exposition, with certain modifications. The exposition contains a
7233 number of themes that fall into two groups, often called first and second
7234 subject. Other melodies occurring in each group are considered as continuations
7235 of these two. The second theme is in another key, normally in the key of the
7236 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7237 @notation{relative key} if the tonic is @notation{minor}.
7240 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7241 @ref{symphony}, @ref{tonic}.
7261 FI: sopraano, korkea naisääni.
7263 The highest female voice.
7266 No cross-references.
7274 F: staccato, piqué, détaché,
7279 FI: staccato, lyhyesti, terävästi.
7281 Playing the note(s) short. Staccato is indicated by a dot above or
7282 below the note head.
7284 @lilypond[quote,relative=2]
7288 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7294 No cross-references.
7301 ES: pentagrama, pauta,
7302 I: pentagramma, rigo (musicale),
7304 D: Notensystem, Notenzeile,
7305 NL: (noten)balk, partij,
7310 A staff (plural: staves) is a series of (normally five) horizontal
7311 lines upon and between which the musical notes are written, thus
7312 indicating (in connection with a @ref{clef}) their pitch. Staves for
7313 @ref{percussion} instruments may have fewer lines.
7316 No cross-references.
7332 D: Hals, Notenhals, Stiel,
7338 Vertical line above or below a @ref{note head} shorter than a
7341 @lilypond[quote,notime,relative=2]
7342 \set Score.autoBeaming = ##f
7356 ES: stringendo, acelerando,
7358 F: stringendo, en accélérant,
7363 FI: kiihdyttäen, nopeuttaen.
7365 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7384 A family of stringed musical instruments played with a bow. Strings
7385 commonly used in a symphony orchestra are violin, viola, violoncello,
7389 No cross-references.
7393 @section strong beat
7398 D: betonter Taktteil oder Taktschlag,
7400 D: betonet taktslag,
7401 S: betonat taktslag,
7402 FI: tahdin vahva isku.
7405 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7409 @section subdominant
7418 FI: subdominantti, alidominantti.
7420 The fourth @notation{scale degree}.
7423 @ref{functional harmony}, @ref{scale degree}.
7438 The sixth @notation{scale degree}.
7441 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7454 FI: subtoonika, alitoonika.
7456 The seventh @ref{scale degree}.
7459 @ref{functional harmony}, @ref{scale degree}.
7465 ES: sobre la cuerda de Sol,
7468 D: auf G, auf der G-Saite,
7474 Indicates that the indicated passage (or note) should be played on the
7478 No cross-references.
7482 @section superdominant
7493 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7496 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7511 The second @ref{scale degree}.
7514 @ref{functional harmony}, @ref{scale degree}.
7523 D: Sinfonie, Symphonie,
7529 A symphony may be defined as a @emph{sonata} for orchestra.
7536 @section syncopation
7547 Any deliberate upsetting of the normal pulse of @ref{meter},
7548 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7549 rhythm rests upon the grouping of equal beats into groups of two or
7550 three, with a regularly recurrent accent on the first beat of each
7551 group. Any deviation from this scheme is felt as a disturbance or
7552 contradiction between the underlaying (normal) pulse and the actual
7555 @lilypond[quote,relative=1]
7558 e16 c'8 e,16 c'8 e,16 c' ~
7563 No cross-references.
7566 @node syntonic comma
7567 @section syntonic comma
7569 ES: coma sintónica, coma de Dídimo,
7570 I: comma sintonico (o didimico),
7571 F: comma syntonique,
7572 D: syntonisches Komma,
7573 NL: syntonische komma,
7574 DK: syntonisk komma,
7575 S: syntoniskt komma,
7576 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7577 Pytagorisessa viritysjärjestelmässä.
7579 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7580 by which the ditone exceeds the pure major third obtained by Pythagorean
7581 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7583 Modern acoustical theory defines it as the interval by which four fifths exceed
7584 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7586 This comma is also known as the comma of Didymus, or didymic comma.
7589 @ref{Pythagorean comma}
7598 D: Notensystem, Partitur,
7602 FI: nuottijärjestelmä.
7604 The collection of staves (@notation{staff}), two or more, as used for writing
7605 down of keyboard, chamber, choral, or orchestral music.
7612 @section temperament
7617 D: Stimmung, Tem@-pe@-ra@-tur,
7618 NL: stemming, temperatuur,
7621 FI: viritysjärjestelmä.
7623 Systems of tuning in which the intervals deviate from the acoustically
7627 @ref{meantone temperament}, @ref{equal temperament}.
7630 @node tempo indication
7631 @section tempo indication
7633 ES: indicación de tempo,
7634 I: indicazione di tempo,
7635 F: indication de tempo,
7636 D: Zeitmaß, Tempobezeichnung,
7637 NL: tempo aanduiding,
7642 The rate of speed of a composition or a section thereof, ranging from the
7643 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7644 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7648 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7662 FI: tenori, korkea miesääni.
7664 The highest @q{natural} male voice (apart from @notation{countertenor}).
7689 ES: subrayado (tenuto),
7698 An indication that a particular note should be held for the whole
7699 length, although this can vary depending on the composer and era.
7702 No cross-references.
7721 @node thirty-second note
7722 @section thirty-second note
7725 @item UK: demisemiquaver
7728 @item F: triple croche
7729 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7730 @item NL: twee@-endertig@-ste (32e) noot
7731 @item DK: toogtredivtedelsnode
7732 @item S: trettiotvåondelsnot
7733 @item FI: kolmaskymmeneskahdesosanuotti
7740 @node thirty-second rest
7741 @section thirty-second rest
7744 @item UK: demisemiquaver rest
7745 @item ES: silencio de fusa
7746 @item I: pausa di biscroma
7747 @item F: huitième de soupir
7748 @item D: Zweiunddreissigstel@-pause
7749 @item NL: twee@-endertig@-ste (32e) rust
7750 @item DK: toogtredivtedelspause
7751 @item S: trettiotvåondelspaus
7752 @item FI: kolmaskymmeneskahdesosatauko
7760 @section thorough bass
7769 ES: ligadura de unión (o de prolongación),
7770 I: legatura (di valore),
7771 F: liaison (de tenue),
7772 D: Haltebogen, Bindebogen,
7773 NL: overbinding, bindingsboog,
7775 S: bindebåge, överbindning,
7778 A curved line, identical in appearance with the @ref{slur}, which
7779 connects two succesive notes of the same pitch, and which has the
7780 function of uniting them into a single sound (tone) equal to the
7783 @lilypond[quote,notime,relative=2]
7795 @node time signature
7796 @section time signature
7798 ES: indicación de compás,
7800 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7801 D: Taktangabe, Angabe der Taktart,
7804 S: taktartssignatur,
7807 The sign placed at the beginning of a composition to indicate its
7808 meter. It most often takes the form of a fraction, but a few signs
7809 derived from mensural notation and proportions are also employed.
7812 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7827 A sound of definite pitch and duration, as distinct from @emph{noise}.
7828 Tone is a primary building material of music.
7830 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7833 No cross-references.
7848 The first @notation{scale degree}.
7851 @ref{functional harmony}, @ref{scale degree}.
7854 @node transposing instrument
7855 @section transposing instrument
7857 ES: instrumento transpositor,
7858 I: strumento traspositore,
7859 F: instrument transpositeur,
7864 FI: transponoitava soitin.
7866 Instruments whose notated pitch is different from their sounded pitch. Except
7867 for those whose notated and sounding pitches differ by one or more octaves (to
7868 reduce the number of ledger lines needed), most such instruments are identified
7869 by the letter name of the pitch class of their fundamental. The pitch class is
7870 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7871 the instrument plays a notated C.
7873 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7874 the B-flat one tone lower. If played on the A clarinet, the same written
7875 note sounds the A (one and half tones -- a minor third -- lower).
7877 Not all transposing instruments include the pitch class in their name:
7880 @item Alto flute (in G)
7881 @item English horn (in F)
7882 @item Saxophones (in B-flat or E-flat)
7885 @ignore Can we do better?
7887 To make matters more complex, some instruments are transposing instruments,
7888 but their players play from parts written at concert pitch. This is the
7889 case for orchestral trombone and tuba players—whereas trombone players in
7890 brass bands treat their parts as if written for a true transposing
7891 instrument in B-flat.
7896 @ref{concert pitch}.
7900 @section transposition
7902 ES: transporte, transposición,
7911 Shifting a melody up or down in pitch, while keeping the same
7914 @lilypond[quote,line-width=13.0\cm]
7919 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7924 @lilypond[quote,line-width=13.0\cm]
7927 \transpose c bes \relative c'' {
7929 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7935 No cross-references.
7939 @section treble clef
7941 ES: clave de sol en segunda,
7942 I: chiave di violino,
7944 D: Violinschlüssel, Sopranschlüssel,
7966 On stringed instruments:
7970 @item The quick reiteration of the same tone, produced by a rapid
7971 up-and-down movement of the bow.
7973 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7974 in the distance of a third (@ref{interval}).
7978 @lilypond[quote,notime,relative=1]
7980 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7981 \repeat tremolo 8 { e32_"b" g }
7993 F: triade, accord parfait, accord de trois sons,
8009 F: trille, tremblement, battement (cadence),
8021 @section triple meter
8023 ES: compás ternario,
8026 D: in drei, ungerader Takt,
8027 NL: driedelige maatsoort,
8069 @section tuning fork
8071 ES: diapasón [de horquilla],
8072 I: diapason, corista,
8080 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8081 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8082 standard. Tuning forks for other pitches are available.
8091 ES: grupo de valoración especial,
8092 I: gruppi irregolari,
8095 NL: Antimetrische figuur,
8100 A non-standard subdivision of a beat or part of a beat, usually
8101 indicated with a bracket and a number indicating the number of
8105 @ref{triplet}, @ref{note value}.
8111 ES: grupeto (circular),
8134 FI: unisono, yksiäänisesti.
8136 Playing of the same notes or the same melody by various instruments
8137 (voices) or by the whole orchestra (choir), either at exactly the same
8138 pitch or in a different octave.
8141 No cross-references.
8149 F: anacrouse, levée,
8170 FI: ääni, lauluääni.
8178 @item @ref{mezzo-soprano}
8179 @item @ref{contralto}
8181 @item @ref{baritone}
8185 @item A melodic layer or part of a polyphonic composition.
8190 No cross-references.
8196 ES: vez, primera y segunda vez,
8203 FI: yksi kertauksen maaleista.
8205 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8206 or second ending. LilyPond extends this idea to any number, and allows any text
8207 (not just a number) -- to serve as the @notation{volta} text.
8210 No cross-references.
8217 I: tempo debole, arsi,
8219 D: unbetonter Taktteil oder Taktschlag,
8221 DK: ubetonet taktslag,
8222 S: obetonat taktslag,
8223 FI: tahdin heikko isku.
8226 @ref{beat}, @ref{measure}, @ref{rhythm}.
8237 @item D: Ganze, ganze Note
8241 @item FI: kokonuotti
8252 @item UK: semibreve rest
8253 @item ES: silencio de redonda
8254 @item I: pausa di semibreve
8256 @item D: ganze Pause, ganztaktige Pause
8258 @item DK: helnodespause
8279 The interval of a major second. The interval between two tones
8280 on the piano keyboard with exactly one key between them -- including
8281 black and white keys -- is a whole tone.
8299 A family of blown wooden musical instruments. Today some of these
8300 instruments are actually made from metal. The woodwind instruments
8301 commonly used in a symphony orchestra are flute, oboe, clarinet,
8302 saxophone, and bassoon.
8305 No cross-references.
8308 @node Duration names notes and rests
8309 @chapter Duration names notes and rests
8311 @multitable @columnfractions .12 .22 .22 .22 .22
8313 @headitem Lang. @tab note name
8317 @item @strong{US} @tab long
8321 @item @strong{UK} @tab longa
8325 @item @strong{ES} @tab longa
8326 @tab silencio de longa
8328 @tab silencio de cuadrada
8329 @item @strong{IT} @tab longa
8333 @item @strong{FR} @tab longa
8334 @tab quadruple-pause
8337 @item @strong{DE} @tab Longa
8341 @item @strong{NL} @tab longa
8345 @item @strong{DK} @tab longa
8346 @tab longanodespause
8348 @tab brevis(nodes)pause
8349 @item @strong{SE} @tab longa
8353 @item @strong{FI} @tab longa-nuotti
8355 @tab brevis-nuotti, kaksoiskoko@-nuotti
8356 @tab brevis-tauko, kaksoiskoko@-tauko
8360 @multitable @columnfractions .12 .22 .22 .22 .22
8362 @headitem Lang. @tab note name
8366 @item @strong{US} @tab whole note
8370 @item @strong{UK} @tab semibreve
8374 @item @strong{ES} @tab redonda
8375 @tab silencio de redonda
8377 @tab silencio de blanca
8378 @item @strong{IT} @tab semibreve
8379 @tab pause di semibreve
8381 @tab pausa di minima
8382 @item @strong{FR} @tab ronde
8386 @item @strong{DE} @tab ganze Note
8390 @item @strong{NL} @tab hele noot
8394 @item @strong{DK} @tab helnode
8398 @item @strong{SE} @tab helnot
8402 @item @strong{FI} @tab kokonuotti
8409 @multitable @columnfractions .12 .22 .22 .22 .22
8411 @headitem Lang. @tab note name
8415 @item @strong{US} @tab quarter note
8419 @item @strong{UK} @tab crotchet
8423 @item @strong{ES} @tab negra
8424 @tab silencio de negra
8426 @tab silencio de corchea
8427 @item @strong{IT} @tab semiminima, nera
8428 @tab pausa di semiminima, pausa di nera
8431 @item @strong{FR} @tab noire
8435 @item @strong{DE} @tab Viertelnote
8439 @item @strong{NL} @tab kwartnoot
8443 @item @strong{DK} @tab fjerdedelsnode
8444 @tab fjerdedelspause
8445 @tab ottendedelsnode
8446 @tab ottendedelspause
8447 @item @strong{SE} @tab fjärdedelsnot
8451 @item @strong{FI} @tab neljäsosa@-nuotti
8452 @tab neljäsosa@-tauko
8453 @tab kahdeksasosa@-nuotti
8454 @tab kahdeksasosa@-tauko
8458 * About the French naming system: @notation{croche} refers to the note's
8459 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8460 @q{doubled hook}, @q{trebled hook}, and so on.
8462 The rest names are based on the @notation{soupir}, or quarter rest.
8463 Subsequent rests are expressed as fractions thereof: half a
8464 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8466 Each of the following tables contains one type of note and its matching rest,
8467 with abbreviations that apply to both notes and rests. Just switch the part
8468 that means @q{note} with the part that means @q{rest}, for example:
8472 @item English: 16th @strong{note}, 16th @strong{rest}
8473 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8474 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8478 Editor's note: I put a dash @q{-} when I could not find a language-specific
8479 abbreviation for a duration name. If you know of one that I missed, please
8480 send it to me, care of the lilypond-user discussion list.
8482 @multitable @columnfractions .10 .35 .35 .20
8484 @headitem Lang. @tab Note name
8487 @item @strong{US} @tab sixteenth note
8490 @item @strong{UK} @tab semiquaver
8491 @tab semiquaver rest
8493 @item @strong{ES} @tab semicorchea
8494 @tab silencio de semicorchea
8496 @item @strong{IT} @tab semicroma
8497 @tab pausa di semicroma
8499 @item @strong{FR} @tab double croche
8500 @tab quart de soupir
8502 @item @strong{DE} @tab Sechzehntelnote
8503 @tab Sechzehntelpause
8505 @item @strong{NL} @tab zes@-ti@-ende noot
8506 @tab zes@-ti@-ende rust
8508 @item @strong{DK} @tab sekstendedelsnode
8509 @tab sekstendedelspause
8511 @item @strong{SE} @tab sextondelsnot
8514 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8515 @tab kuudes@-toistaosa@-tauko
8520 @multitable @columnfractions .10 .35 .35 .20
8522 @headitem Lang. @tab Note name
8525 @item @strong{US} @tab thirty-second note
8526 @tab thirty-second rest
8528 @item @strong{UK} @tab demisemiquaver
8529 @tab demisemiquaver rest
8531 @item @strong{ES} @tab fusa
8532 @tab silencio de fusa
8534 @item @strong{IT} @tab biscroma
8535 @tab pausa di biscroma
8537 @item @strong{FR} @tab triple croche
8538 @tab huitième de soupir
8540 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8541 @tab Zweiunddreißig@-stelpause
8543 @item @strong{NL} @tab twee@-endertigste noot
8544 @tab twee@-endertigste rust
8546 @item @strong{DK} @tab toogtredivtedelsnode
8547 @tab toogtredivtedelspause
8549 @item @strong{SE} @tab trettio@-tvåondelsnot
8550 @tab trettio@-tvåondelspaus
8552 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8553 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8558 @multitable @columnfractions .10 .35 .35 .20
8560 @headitem Lang. @tab Note name
8563 @item @strong{US} @tab sixty-fourth note
8564 @tab sixty-fourth rest
8566 @item @strong{UK} @tab hemidemisemiquaver
8567 @tab hemidemisemiquaver rest
8569 @item @strong{ES} @tab semifusa
8570 @tab silencio de semifusa
8572 @item @strong{IT} @tab semibiscroma
8573 @tab pausa di semibiscroma
8575 @item @strong{FR} @tab quadruple croche
8576 @tab seizième de soupir
8578 @item @strong{DE} @tab Vierundsechzigstelnote
8579 @tab Vierundsechzigstelpause
8581 @item @strong{NL} @tab vierenzestigste noot
8582 @tab vierenzestigste rust
8584 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8585 @tab fireog@-tredsindstyven@-dedelspause
8587 @item @strong{SE} @tab sextiofjärdedelsnot
8588 @tab sextiofjärdedelspaus
8590 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8591 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8596 @multitable @columnfractions .10 .35 .35 .20
8598 @headitem Lang. @tab Note name
8601 @item @strong{US} @tab one-hundred-twenty-eighth note
8602 @tab one-hundred-twenty-eighth rest
8604 @item @strong{UK} @tab semihemidemisemiquaver
8605 @tab semihemidemisemiquaver rest
8607 @item @strong{ES} @tab garrapatea
8608 @tab silencio de garrapatea
8610 @item @strong{IT} @tab fusa
8613 @item @strong{FR} @tab quintuple croche
8614 @tab trente-deuxième de soupir @tab -
8615 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8616 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8617 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8618 @tab honderd@-acht@-en@-twintigste rust
8620 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8621 @tab hundrede@-otte@-og@-tyvendedels@-pause
8623 @item @strong{SE} @tab hundratjugoåttondelsnot
8624 @tab hundratjugoåttondelspaus
8626 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8627 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8632 @multitable @columnfractions .10 .35 .35 .20
8634 @headitem Lang. @tab Note name
8637 @item @strong{US} @tab two-hundred-fifty-sixth note
8638 @tab two-hundred-fifty-sixth rest
8640 @item @strong{UK} @tab demisemihemidemisemiquaver
8641 @tab demisemihemidemisemiquaver rest
8643 @item @strong{ES} @tab semigarrapatea
8644 @tab silencio de semigarrapatea @tab -
8645 @item @strong{IT} @tab semifusa
8646 @tab pausa di semifusa
8648 @item @strong{FR} @tab sextuple croche
8649 @tab soixante-quatrième de soupir @tab -
8650 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8651 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8652 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8653 @tab tweehonderd@-zesenvijftigste rust
8655 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8656 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8658 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8659 @tab tvåhundra@-femtiosjättedelspaus
8661 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8662 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8668 @ref{mensural notation}
8672 @chapter Pitch names
8675 -is/-es endings for Danish per Rune Zedeler, pace,
8676 and for Finnish per Risto Vääräniemi;
8677 -iss/-ess endings for Swedish per Mats Bengtsson
8678 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8680 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8681 multiple lines -- as texinfo needs it to allow enough space for the
8682 table entries. (For the curious, it's a list of the widest items in
8683 each column of the table. Romance pitch names are two characters,
8684 except for g (sol) ... so there you go.)
8687 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8688 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8689 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8690 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8691 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8692 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8693 @tab des @tab des @tab dess @tab des
8694 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8695 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8696 @tab dis @tab dis @tab diss @tab dis
8697 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8698 @tab es @tab es @tab ess @tab es
8699 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8700 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8701 @tab Fes @tab fes @tab fes @tab fess @tab fes
8702 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8703 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8704 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8705 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8706 @tab fis @tab fis @tab fiss @tab fis
8707 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8708 @tab ges @tab ges @tab gess @tab ges
8709 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8710 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8711 @tab Gis @tab gis @tab gis @tab giss @tab gis
8712 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8713 @tab as @tab as @tab ass @tab as
8714 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8715 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8716 @tab ais @tab ais @tab aiss @tab ais
8717 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8718 @tab bes @tab b @tab b @tab b
8719 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8720 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8721 @tab ces @tab ces @tab cess @tab ces
8722 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8723 @tab His @tab bis @tab his @tab hiss @tab his
8727 @node Literature used
8728 @appendix Literature used
8731 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8732 Cambridge: Belknap Press (Harvard University Press), 1944.
8734 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8737 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8738 Terminologie}. Kassel, 1980.
8740 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8741 Current English}, 3rd ed. London: Oxford University Press, 1974.
8743 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8744 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8746 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8747 Cambridge: Belknap Press (Harvard University Press), 1986.
8749 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.