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--2012 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
60 * Non-Western terms A-Z::
65 * GNU Free Documentation License:: License of this document.
72 @c TOC - tex. Not desired for this manual. -gp
76 @node Musical terms A-Z
77 @chapter Musical terms A-Z
79 Languages in this order.
81 @item UK - British English (where it differs from American English)
110 * ancient minor scale::
115 * ascending interval::
117 * augmented interval::
152 * Common Practice Period::
155 * compound interval::
159 * conjunct movement::
174 * descending interval::
177 * diminished interval::
181 * disjunct movement::
183 * dissonant interval::
187 * dominant ninth chord::
188 * dominant seventh chord::
190 * dot (augmentation dot)::
192 * double appoggiatura::
194 * double dotted note::
197 * double time signature::
204 * ecclesiastical mode::
211 * equal temperament::
232 * functional harmony::
253 * inverted interval::
269 * long appoggiatura::
276 * meantone temperament::
283 * mensural notation::
288 * metronomic indication::
301 * multi-measure rest::
331 * polymetric time signature::
337 * Pythagorean comma::
368 * sixty-fourth note::
369 * sixty-fourth rest::
400 * thirty-second note::
401 * thirty-second rest::
408 * transposing instrument::
462 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
463 @notation{a due} indicates that:
467 @item A single part notated on a single staff that normally carries parts
468 for two players (e.g. first and second oboes) is to be played by both
471 @item Or conversely, that two pitches or parts notated on a staff that
472 normally carries a single part (e.g. first violin) are to be played by
473 different players, or groups of players (@q{desks}).
486 F: accelerando, en accélérant,
487 D: accelerando, schneller werden,
491 FI: accelerando, kiihdyttäen.
493 [Italian: @q{speed up, accelerate}]
495 An increase in the tempo, abbreviated @notation{accel.}
511 FI: aksentti, korostus.
513 The stress of one tone over others.
527 @section acciaccatura
529 ES: mordente de una nota,
531 F: acciaccatura, appoggiature brève,
538 A grace note which takes its time from the rest or note preceding the
539 principal note to which it is attached. The acciaccatura is drawn as a
540 small eighth note (quaver) with a line drawn through the flag and stem.
543 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
549 ES: alteración accidental,
550 I: alterazione, accidente,
551 F: altération accidentelle,
552 D: Versetzungszeichen, Akzidenz,
553 NL: toevallig (verplaatsings)teken,
555 S: tillfälligt förtecken,
556 FI: tilapäinen etumerkki.
558 An accidental alters a note by:
562 @item Raising its pitch:
564 @item By two semitones—@notation{double sharp}
565 @item By one semitone—@notation{sharp}
568 @item Lowering its pitch:
570 @item By one semitone—@notation{flat}
571 @item By two semitones—@notation{double flat}
574 @item Or canceling the effects of the key signature or previous accidentals.
577 @lilypond[quote,notime]
581 \set Staff.extraNatural = ##f
582 gisis1 gis g! ges geses
587 \center-column { double sharp }
593 \center-column { double flat }
599 \override SpacingSpanner
600 #'base-shortest-duration = #(ly:make-moment 1 32)
607 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
620 FI: adagio, hitaasti.
622 [Italian: @q{comfortable, easy}]
626 @item Slow tempo, slower -- especially in even meter -- than
627 @notation{andante} and faster than @notation{largo}.
629 @item A movement in slow tempo, especially the second (slow) movement
630 of sonatas, symphonies, etc.
635 @ref{andante}, @ref{largo}, @ref{sonata}.
643 F: al niente, en mourant,
648 FI: häviten olemattomiin.
650 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
651 that the sound should fade away to nothing.
653 @notation{Al niente} is indicated by circling the tip of the hairpin:
655 @lilypond[quote,relative=2]
656 \override Hairpin #'circled-tip = ##t
662 or with the actual phrase @notation{al niente}:
664 @lilypond[quote,relative=2]
666 \override DynamicTextSpanner #'(bound-details right text) =
667 \markup { \italic { al niente } }
673 Since one does not crescendo @emph{to} nothing, it is not correct to use
674 @notation{al niente} with @notation{crescendo}. Instead, one should use
675 @emph{dal niente} (@notation{@b{from} nothing}).
678 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
686 F: alla breve, à la brève,
687 D: Allabreve, alla breve
693 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
695 Also called @notation{in cut time}. The name derives from mensural
696 notation, where the @notation{tactus} (or beat) is counted on the semibreve
697 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
698 next longest note value, which (in modern usage) effectively halves all note
701 In mensural notation, breves and semibreves can have a ternary relationship,
702 in which case @notation{alla breve} means thrice (not twice) as fast. In
703 practice, this complication may not have mattered, since Gaffurius's system
704 of multiplex proportions makes it easy to explicitly state which proportion
708 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
709 @ref{proportion}, @ref{whole note}.
717 F: allegro, gaiement,
718 D: Allegro, Schnell, Fröhlich, Lustig,
722 FI: allegro, nopeasti.
724 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
725 quick tempo, especially the first and last movements of a sonata.
738 NL: verhoging of verlaging,
743 An alteration is the modification, raising or lowering, of a note's
744 pitch. It is established by an accidental.
746 @c TODO: add second meaning from mensural notation
762 FI: altto, matala naisääni.
764 A female voice of low range (@emph{contralto}). Originally the alto was a
765 high male voice (hence the name), which by castration or the use of falsetto
766 reached the height of the natural female voice. This type of voice is also
767 known as countertenor.
776 ES: clave de do en tercera,
777 I: chiave di contralto,
778 F: clef d'ut troisième ligne,
779 D: Altschlüssel, Bratschenschlüssel,
785 C clef setting middle C on the middle line of the staff.
796 F: ambitus, tessiture,
801 FI: ambitus, ääniala, soitinala.
803 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
804 Denotes a range of pitches for a given voice in a part of music. It may
805 also denote the pitch range that a musical instrument is capable of playing.
806 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
824 An anacrusis (also known as pickup or upbeat) is an incomplete measure
825 of music before a section of music. It also refers to the initial
826 note(s) of a melody occurring in that incomplete measure.
828 @lilypond[quote,relative=1]
839 @ref{measure}, @ref{meter}.
842 @node ancient minor scale
843 @section ancient minor scale
845 ES: escala menor natural,
846 I: scala minore naturale,
847 F: forme du mode mineur ancien, troisème mode, mode hellénique,
848 D: reines Moll, natürliches Moll,
849 NL: authentieke mineurtoonladder,
852 FI: luonnollinen molliasteikko.
854 Also called @q{natural minor scale}.
856 @lilypond[quote,notime,relative=2]
862 @ref{diatonic scale}.
877 [Italian: present participle of @emph{andare}, @q{to walk}]
879 Walking tempo/character.
886 @section appoggiatura
890 F: appoggiature, (port de voix),
891 D: Vorschlag, Vorhalt
892 NL: (korte) voorslag,
895 FI: appoggiatura, etuhele.
897 Ornamental note, usually a second, that is melodically connected with
898 the main note following it. In music before the 19th century
899 appoggiature were usually performed on the beat, after that mostly
900 before the beat. While the short appoggiatura is performed as a short
901 note regardless of the duration of the main note the duration of the
902 long appoggiatura is proportional to that of the main note.
904 @lilypond[quote,relative=2]
907 <d a fis>4_"notation" r
914 \set Score.measurePosition = #ZERO-MOMENT
915 <d, a fis>4_"performance" r
921 An appoggiatura may have more notes preceding the main note.
923 @lilypond[quote,relative=2]
926 \grace bes16 as8-"notation" as16 bes as8 g |
927 \grace { as16[( bes] } <c as>4)
928 \grace { as16[( bes] } <c as>4) \bar "||"
930 \grace bes16 as8-"performance" as16 bes as8 g |
934 as32 bes c8. as32 bes c8.
938 as16 ~ as8. as16 ~ as8.
953 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
955 DK: arpeggio, akkordbrydning,
957 FI: arpeggio, murtosointu.
959 [Italian: @q{harp-like, played like a harp}]
961 @lilypond[quote,line-width=13\cm]
963 \context Staff = "SA" {
967 r8 g16 c e g, c e r8 g,16 c e g, c e
968 r8 a,16 d f a, d f r8 a,16 d f a, d f
972 \context Staff = "SB" {
978 r16 e8. ( e4) r16 e8. ( e4)
979 r16 d8. ( d4) r16 d8. ( d4)
997 @section articulation
1006 FI: artikulaatio, ilmaisu.
1008 Articulation refers to notation which indicates how a note or notes
1009 should be played. Slurs, accents, staccato, and legato are all
1010 examples of articulation.
1013 No cross-references.
1016 @node ascending interval
1017 @section ascending interval
1019 ES: intervalo ascendente,
1020 I: intervallo ascendente,
1021 F: intervalle ascendant,
1022 D: steigendes Intervall,
1023 NL: stijgend interval,
1024 DK: stigende interval,
1025 S: stigande intervall,
1026 FI: nouseva intervalli.
1028 A distance between a starting lower note and a higher ending note.
1031 No cross-references.
1035 @section augmentation
1044 FI: aika-arvojen pidentäminen.
1046 @c TODO: add definition.
1048 This is a placeholder for augmentation (wrt mensural notation).
1051 @ref{diminution}, @ref{mensural notation}.
1054 @node augmented interval
1055 @section augmented interval
1057 ES: intervalo aumentado,
1058 I: intervallo aumentato,
1059 F: intervalle augmenté,
1060 D: übermäßiges Intervall,
1061 NL: overmatig interval,
1062 DK: forstørret interval,
1063 S: överstigande intervall,
1064 FI: ylinouseva intervalli.
1075 F: manuscrit, autographe
1076 D: Autograph, Handschrift,
1078 DK: håndskrift, autograf,
1080 FI: käsinkirjoitettu nuotti.
1084 @item A manuscript written in the composer's own hand.
1086 @item Music prepared for photoreproduction by freehand drawing, with
1087 the aid of a straightedge ruler and T-square only, which attempts to
1088 emulate engraving. This required more skill than did engraving.
1093 No cross-references.
1111 @ref{H}, @ref{Pitch names}
1131 ES: barra, línea divisoria,
1132 I: stanghetta, barra (di divisione),
1133 F: barre (de mesure),
1140 A vertical line through the staff (or through multiple staves) that
1141 separates measures. Used very infrequently during the Renaissance (mostly
1142 in secular music, or in sacred music to indicate congruences between parts
1143 in otherwise-unmetered music).
1159 FI: baritoni, keskikorkuinen miesääni.
1161 The male voice intermediate in pitch between the bass and the tenor.
1163 @c F: clef de troisième ligne dropped
1166 @ref{bass}, @ref{tenor}.
1170 @section baritone clef
1172 ES: clave de fa en tercera,
1173 I: chiave di baritono,
1174 F: clef d'ut cinquième ligne, clef de fa troisième,
1175 D: Baritonschlüssel,
1181 C or F clef setting middle C on the upper staff line.
1184 @ref{C clef}, @ref{F clef}.
1197 FI: basso, matala miesääni.
1201 @item The lowest male voice.
1203 @item Sometimes, especially in jazz music, used as an abbreviation for
1215 ES: clave de fa en cuarta,
1217 F: clef de fa quatrième ligne,
1224 A clef setting with middle C on the first top ledger line.
1233 ES: barra (de corcheas),
1235 F: ligature, barre (de croches),
1242 Line connecting a series of notes (shorter than a quarter note). The
1243 number of beams determines the note value of the connected notes.
1245 @lilypond[quote,notime,relative=2,line-width=13\cm]
1246 g8-"1/8"[ g g g] s16
1247 g16-"1/16"[ g g g] s
1248 g32-"1/32"[ s g s g s g] s16
1249 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1253 @ref{feathered beam}.
1259 ES: tiempo, parte (de compás)
1262 D: Takt, Taktschlag, Zeit (im Takt),
1268 Note value used for counting, most often half-, fourth-, and eighth notes.
1269 The base counting value and the number of them in each measure is indicated
1270 at the start of the music by the @notation{time signature}.
1272 @lilypond[quote,relative=2]
1275 g4 c b a | g1 \bar "||"
1277 g8 d' c | b c a | g4. \bar "||"
1281 @ref{time signature}.
1285 @section beat repeat
1288 @ref{percent repeat}.
1301 ES: llave, corchete,
1304 D: Klammer, Akkolade,
1305 NL: accolade, teksthaak,
1308 FI: yhdistävä sulkumerkki.
1310 Symbol at the start of a system connecting staves.
1312 Curly braces are used for connecting piano staves, and sometimes for connecting
1313 the staves of like instruments in an orchestral score when written on different
1314 staves (e.g. first and second flutes):
1318 \context Staff = "SA" {
1324 \context Staff = "SB" {
1334 Angular brackets for connecting parts in an orchestral or choral score:
1338 \context Staff = "SA" {
1344 \context Staff = "SB" {
1355 No cross-references.
1362 I: parentesi quadra,
1380 NL: koper (blazers),
1383 S: brassinstrument, mässingsinstrument,
1386 A family of blown musical instruments made of brass, all using a cup
1387 formed mouth piece. The brass instruments commonly used in a symphony
1388 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1389 sousaphones and contrabass bugles are common.
1392 No cross-references.
1396 @section breath mark
1401 D: Atemzeichen, Trennungszeichen,
1402 NL: repercussieteken,
1403 DK: vejrtrækningstegn,
1407 Indication of where to breathe in vocal and wind instrument parts.
1417 @item US: breve, double-whole note
1418 @item ES: cuadrada, breve
1425 @item FI: brevis, kaksoiskokonuotti
1428 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1430 Mainly used in music from before 1650. In mensural notation, it was a note
1431 of fairly short duration—hence the name, which is Latin for @q{short} or
1432 @q{of short duration}.
1434 @lilypond[quote,notime,relative=2]
1439 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1472 Clef symbol indicating the position of the middle C. Used on all note
1475 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1477 \override Staff.Clef #'full-size-change = ##t
1479 \clef mezzosoprano c1
1485 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1486 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1491 No cross-references.
1504 FI: kadenssi, lopuke.
1507 @ref{harmonic cadence}, @ref{functional harmony}.
1520 FI: kadenssi, lopuke.
1522 An extended, improvisatory style section inserted near the end of
1523 movement. The purpose of a cadenza is to give singers or players a
1524 chance to exhibit their technical skill and -- not last -- their
1525 ability to improvise. Since the middle of the 19th century, however,
1526 most cadenzas have been written down by the composer.
1529 No cross-references.
1544 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1546 The break between two musical phrases, sometimes (but not always) marked by a
1547 rest or a breath mark.
1563 FI: kaanon, tarkka jäljittely.
1579 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1580 viritysjärjestelmässä.
1582 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1583 an octave (1/100 of an equally tempered semitone).
1586 @ref{equal temperament}, @ref{semitone}.
1608 Three or more tones sounding simultaneously. In traditional European music
1609 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1610 (major + minor third) as well as @emph{minor} (minor + major third) chords
1611 may be extended with more thirds. Four-tone @emph{seventh chords} and
1612 five-tone @emph{ninth} major chords are most often used as dominants
1613 (functional harmony). Chords having no third above the lower notes to
1614 define their mood are a special case called @q{open chords}. The lack of
1615 the middle third means their quality is ambivalent -- neither major nor
1618 @lilypond[quote,notime,line-width=13.0\cm]
1622 \set Staff.extraNatural = ##f
1643 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1647 @node chromatic scale
1648 @section chromatic scale
1650 ES: escala cromática,
1652 F: gamme chromatique,
1653 D: chro@-ma@-ti@-sche Tonleiter,
1654 NL: chromatische toonladder,
1655 DK: kromatisk skala,
1657 FI: kromaattinen asteikko.
1659 A scale consisting of all 12 semitones.
1661 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1662 c1 cis d dis e f fis g gis a ais b c
1670 @section chromaticism
1681 Using tones extraneous to a diatonic scale (minor, major).
1684 @ref{diatonic scale}.
1688 @section church mode
1690 ES: modo eclesiástico,
1691 I: modo ecclesiastico,
1692 F: mode ecclésiastique, mode d'église,
1697 FI: moodi, kirkkosävellaji.
1700 @ref{diatonic scale}.
1709 D: Schlüssel, Notenschlüssel,
1713 FI: avain, nuottiavain.
1715 The clef indicates which lines of the staff correspond to which
1716 pitches. The three clef symbols in common use are:
1721 \line { The Treble or G clef: }
1723 \line { The Bass or F clef: }
1725 \line { The Alto or C clef: }
1729 \musicglyph #"clefs.G"
1731 \musicglyph #"clefs.F"
1733 \musicglyph #"clefs.C"
1738 Imagine a large staff of 11 lines centered on middle C, sometimes
1739 called a @q{grand staff}, with the bottom line representing low G and
1740 the top line high F:
1745 %-- Note names above treble staff --%
1747 \set printOctaveNames = ##t
1749 \once \override NoteName #'color = #red
1753 %-- Treble Staff --%
1755 \override Staff.Clef #'stencil = ##f
1761 %-- Alto Staff reduced to a single line on middle C --%
1763 \override Staff.StaffSymbol #'line-count = #1
1764 \override Staff.StaffSymbol #'color = #red
1765 \override Staff.Clef #'stencil = ##f
1768 \override NoteHead #'color = #red
1774 \override Staff.Clef #'stencil = ##f
1783 \override SpacingSpanner
1784 #'base-shortest-duration = #(ly:make-moment 1 1)
1785 \override NonMusicalPaperColumn
1786 #'line-break-system-details = #'((alignment-distances . (3 3)))
1787 \override BarLine #'stencil = ##f
1791 \remove "Time_signature_engraver"
1797 Staves of five lines are usually used, and the clef superimposed on them
1798 indicates which five lines have been selected from this @notation{grand
1799 staff}. For example, the treble or G clef indicates that the top five lines
1805 %-- Note names above treble staff --%
1807 \set printOctaveNames = ##t
1809 \once \override NoteName #'color = #red
1814 %-- Treble Staff --%
1816 \once \override Staff.Clef #'stencil = ##f
1819 \override Staff.Clef #'full-size-change = ##t
1820 \set Staff.forceClef = ##t
1824 %-- Alto Staff reduced to a single line on middle C --%
1826 \override Staff.StaffSymbol #'line-count = #1
1827 \override Staff.StaffSymbol #'color = #red
1828 \override Staff.Clef #'stencil = ##f
1831 \override NoteHead #'color = #red
1836 \override Staff.Clef #'stencil = ##f
1844 \override SpacingSpanner
1845 #'base-shortest-duration = #(ly:make-moment 2 1)
1846 \override NonMusicalPaperColumn
1847 #'line-break-system-details = #'((alignment-distances . (3 3)))
1848 \override BarLine #'stencil = ##f
1852 \remove "Time_signature_engraver"
1858 The @q{curl} of the G clef is centered on the line that represents the
1861 In the same way, the bass or F clef indicates that the bottom five lines
1862 have been selected from the @notation{grand staff}, and the alto or C clef
1863 indicates the middle five lines have been selected. This relationship is
1864 shown below, where the notes show an arpeggio on a C major chord.
1869 %-- Treble Staff --%
1877 \override Staff.StaffSymbol #'line-count = #1
1878 \once \override Staff.Clef #'stencil = ##f
1883 \revert Staff.StaffSymbol #'stencil
1884 \override Staff.StaffSymbol #'color = #red
1887 \stopStaff \startStaff
1888 \revert Staff.StaffSymbol #'line-count
1889 \revert Staff.StaffSymbol #'color
1890 \stopStaff \startStaff
1891 \override Staff.Clef #'full-size-change = ##t
1892 \set Staff.forceClef = ##t
1907 \override SpacingSpanner #'base-shortest-duration =
1908 #(ly:make-moment 2 1)
1909 \override NonMusicalPaperColumn
1910 #'line-break-system-details = #'((alignment-distances . (3 3)))
1911 \override BarLine #'stencil = ##f
1915 \remove "Time_signature_engraver"
1922 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1935 FI: klusteri, cluster.
1937 A @emph{cluster} is a range of simultaneously sounding pitches that
1938 may change over time. The set of available pitches to apply usually
1939 depends on the acoustic source. Thus, in piano music, a cluster
1940 typically consists of a continuous range of the semitones as provided
1941 by the piano's fixed set of a chromatic scale. In choral music, each
1942 singer of the choir typically may sing an arbitrary pitch within the
1943 cluster's range that is not bound to any diatonic, chromatic or other
1944 scale. In electronic music, a cluster (theoretically) may even cover
1945 a continuous range of pitches, thus resulting in colored noise, such
1948 Clusters can be denoted in the context of ordinary staff notation by
1949 engraving simple geometrical shapes that replace ordinary notation of
1950 notes. Ordinary notes as musical events specify starting time and
1951 duration of pitches; however, the duration of a note is expressed by
1952 the shape of the note head rather than by the horizontal graphical
1953 extent of the note symbol. In contrast, the shape of a cluster
1954 geometrically describes the development of a range of pitches
1955 (vertical extent) over time (horizontal extent). Still, the
1956 geometrical shape of a cluster covers the area in which any single
1957 pitch contained in the cluster would be notated as an ordinary note.
1959 @lilypond[quote,relative=2]
1960 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1964 No cross-references.
1977 FI: komma, korvinkuultava ero äänenkorkeudessa.
1979 Difference in pitch between a note derived from pure tuning and the
1980 same note derived from some other tuning method.
1983 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1988 @section common meter
1990 Another name for @ref{common time}.
1993 @ref{common time}, @ref{meter}.
1996 @node Common Practice Period
1997 @section Common Practice Period
2009 This is a stub for Common Practice Period (CPP).
2012 @ruser{Note names in other languages}.
2016 @section common time
2027 4/4 time. The symbol, which resembles a capital letter C, comes from
2031 @ref{mensural notation}, @ref{meter}.
2037 ES: intervalo invertido,
2039 F: intervalle complémentaire,
2040 D: Komplementärintervall,
2041 NL: complementair interval,
2042 DK: komplementærinterval,
2043 S: komplementärintervall (?),
2044 FI: täydentävä intervalli.
2047 @ref{inverted interval}.
2050 @node compound interval
2051 @section compound interval
2053 ES: intervalo compuesto,
2054 I: intervallo composto,
2055 F: intervalle composé,
2056 D: weites Intervall,
2057 NL: samengesteld interval,
2058 DK: sammensat interval,
2059 S: sammansatt intervall,
2060 FI: oktaavia laajempi intervalli.
2062 Intervals larger than an octave.
2068 @node compound meter
2069 @section compound meter
2071 ES: compás compuesto, compás de subdivisión ternaria,
2078 FI: kolmijakoinen tahtilaji.
2080 A meter that includes a triplet subdivision within the beat, such as
2084 @ref{meter}, @ref{simple meter}.
2088 @section compound time
2090 ES: compás compuesto, compás de amalgama (def. 2),
2093 D: zusammengesetzte Taktart,
2097 FI: yhdistetty tahtilajiosoitus.
2102 A meter that includes a triplet subdivision within the beat: see
2103 @ref{compound meter}.
2106 A time signature that additively combines two or more unequal meters,
2107 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2112 @lilypond[quote,verbatim]
2115 \compoundMeter #'((3 8) (2 8) (3 8))
2123 @ref{compound meter},
2125 @ref{polymetric time signature}.
2129 @section concert pitch
2131 ES: en Do, tono de concierto,
2132 I: intonazione reale,
2133 F: tonalité de concert, en ut,
2138 FI: konserttikorkeus.
2140 The pitch at which the piano and other nontransposing instruments play: such
2141 instruments are said to be @q{in C}. The following list includes some (but not
2142 all) instruments that play in concert pitch:
2144 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2146 @multitable {bassoon} {violoncello}
2147 @headitem Woodwinds @tab Strings
2166 @ignore This needs to be reworked.
2167 The trombones are a special case: although they are said to be @q{in F} (alto or
2168 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2169 their parts' transposition. (In fact, the trombones' parts are written at
2170 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2171 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2175 Instruments that play @q{in C} but in a different octave than what is written
2176 are, technically speaking, @emph{transposing instruments}:
2180 @item piccolo (plays an octave higher than written)
2181 @item celesta (plays an octave higher than written)
2182 @item classical guitar (plays an octave lower than written)
2183 @item double bass (plays an octave lower than written)
2188 @ref{transposing instrument}.
2191 @node conjunct movement
2192 @section conjunct movement
2194 ES: movimiento conjunto,
2196 F: mouvement conjoint,
2197 D: schritt@-weise, stufenweise Bewegung,
2198 NL: stapsgewijze, trapsgewijze beweging,
2199 DK: trinvis bevægelse,
2201 FI: asteittainen liike.
2203 Progressing melodically by intervals of a second, as contrasted with
2204 @emph{disjunct movement}.
2206 @lilypond[quote,relative=2,line-width=13.0\cm]
2209 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2213 @ref{disjunct movement}.
2226 FI: konsonanssi, sopusointi.
2249 @section copying music
2251 A music copyist did fast freehand scores and parts on preprinted staff
2252 lines for performance. Some of their conventions (e.g., the placement
2253 of note heads on stems) varied slightly from those of engravers. Some
2254 of their working methods were superior and could well be adopted by
2257 @c Copying music required more skill than engraving. Flagged for NPOV
2260 No cross-references.
2264 @section counterpoint
2273 FI: kontrapunkti, ääni ääntä vastaan.
2275 From Latin @emph{punctus contra punctum}, note against note. The
2276 combination into a single musical fabric of lines or parts which have
2277 distinct melodic significance. A frequently used polyphonic technique
2278 is imitation, in its strictest form found in the canon needing only
2279 one part to be written down while the other parts are performed with a
2280 given displacement. Imitation is also the contrapuntal technique
2281 used in the @emph{fugue} which, since the music of the baroque era,
2282 has been one of the most popular polyphonic composition methods.
2284 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2286 \context Staff = SA \relative c' {
2290 << \context Voice = rha {
2292 r1 | r2 r8 g'8 bes d, |
2293 cis4 d r8 e!16 f g8 f16 e |
2294 f8 g16 a bes8 a16 g a8
2296 \context Voice = rhb {
2302 \context Staff = SB \relative c' {
2305 << \context Voice = lha {
2307 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2308 r8 a16 g f8 g16 a bes8 g e! cis' |
2311 \context Voice = lhb {
2320 No cross-references.
2324 @section countertenor
2329 D: Countertenor, Kontratenor,
2332 S: kontratenor, counter tenor,
2345 D: Crescendo, lauter werden,
2349 FI: cresendo, voimistuen.
2351 Increasing volume. Indicated by a rightwards opening horizontal wedge
2352 (hairpin) or the abbreviation @notation{cresc.}
2354 @lilypond[quote,relative=2]
2357 g4\< a b c | d1\! \bar "|."
2361 @ref{decrescendo}, @ref{hairpin}.
2369 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2376 Notes belonging to one part printed in another to hint when to start
2377 playing. Usually printed in a smaller type.
2380 Compare: @ref{ossia}.
2389 D: Notenzeiger, Custos,
2395 A custos (plural: custodes) is a staff symbol that appears at the end of a
2396 staff line with monophonic musical contents (i.e., with a single voice). It
2397 anticipates the pitch of the first note of the following line and thus helps
2398 the player or singer to manage line breaks during performance, which
2399 enhances the readability of a score.
2401 Custodes were frequently used in music notation until the 16th century.
2402 There were different appearances for different notation styles. Nowadays,
2403 they have survived only in special forms of musical notation such as the
2404 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2406 @lilypond[quote,ragged-right]
2409 \override Staff.Custos #'neutral-direction = #DOWN
2410 \override Staff.Custos #'style = #'hufnagel
2417 \consists "Custos_engraver"
2424 No cross-references.
2457 F: da capo, depuis le commencement,
2458 D: da capo, von Anfang,
2462 FI: da capo, alusta.
2464 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2465 the beginning to the end or to a certain place marked @emph{fine}.
2468 No cross-references.
2474 ES: dal niente, de la nada,
2477 D: aus dem Nichts, dal niente,
2481 FI: tyhjästä ilmaantuen.
2483 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2484 that the sound should gradually increase from nothing.
2495 F: dal segno, depuis le signe,
2496 D: dal segno, ab dem Zeichen,
2500 FI: dal segno, lähtien merkistä.
2502 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2503 another place frequently near the beginning marked by a sign
2506 @lilypond[quote,relative=2]
2514 \musicglyph #"scripts.segno"
2520 No cross-references.
2524 @section decrescendo
2528 D: Decrescendo, leiser werden,
2532 FI: decresendo, hiljentyen.
2534 Decreasing tone volume. Indicated by a leftwards opening horizontal
2535 wedge (hairpin) or the abbreviation @notation{decresc.}
2537 @lilypond[quote,relative=2]
2540 d4\> c b a | g1 \! \bar "|."
2544 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2547 @node descending interval
2548 @section descending interval
2550 ES: intervalo descendente,
2551 I: intervallo discendente,
2552 F: intervalle descendant,
2553 D: fallendes Intervall, absteigendes Intervall,
2554 NL: dalend interval,
2555 DK: faldende interval,
2556 S: fallande intervall,
2557 FI: laskeva intervalli.
2559 A distance between a starting higher note and a lower ending note.
2562 No cross-references.
2565 @node diatonic scale
2566 @section diatonic scale
2568 ES: escala diatónica,
2570 F: gamme diatonique,
2571 D: diatonische Tonleiter,
2572 NL: diatonische toonladder,
2573 DK: diatonisk skala,
2575 FI: diatoninen asteikko.
2577 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2578 played on the white keys of a piano keyboard are diatonic. These scales
2579 are sometimes called, somewhat inaccurately, @q{church modes}).
2581 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2582 but also to some extent in newer jazz music.
2584 @lilypond[quote,notime,relative=1]
2588 e^"~~ S" f g a b^"~~ S" c
2596 @lilypond[quote,notime,relative=1]
2600 e^"~~ S" f g a b^"~~ S" c d
2608 @lilypond[quote,notime,relative=1]
2611 e1^"~~ S" f g a b^"~~ S" c d e
2619 @lilypond[quote,notime,relative=1]
2623 b^"~~ S" c d e^"~~ S" f
2631 @lilypond[quote,notime,relative=2]
2635 b^"~~ S" c d e^"~~ S" f g
2643 @lilypond[quote,notime,relative=2]
2647 b^"~~ S" c d e^"~~ S" f g a
2655 @lilypond[quote,notime,relative=2]
2658 b1^"~~ S" c d e^"~~ S" f g a b
2666 From the beginning of the 17th century the scales used in European
2667 compositional music are primarily the major and the minor scales. In
2668 the harmonic minor scale type an augmented second (A) occurs between
2669 the 6th and 7th tone.
2671 @lilypond[quote,notime,relative=1]
2675 e^"~~ S" f g a b^"~~ S" c
2683 @lilypond[quote,notime,relative=2]
2687 b^"~~ S" c d e^"~~ S" f g a
2690 "Ancient (or Natural) minor"
2695 @lilypond[quote,notime,relative=2]
2699 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2707 @lilypond[quote,notime,relative=2]
2711 b^"~~ S" c d e fis gis^"~~ S" a
2714 "Melodic minor ascending"
2719 @lilypond[quote,notime,relative=3]
2723 g! f!^"~~ S" e d c^"~~ S" b a
2726 "Melodic minor descending"
2732 @ref{semitone}, @ref{whole tone}.
2736 @section didymic comma
2739 @ref{syntonic comma}.
2742 @node diminished interval
2743 @section diminished interval
2745 ES: intervalo disminuido,
2746 I: intervallo diminuito,
2747 F: intervalle diminué,
2748 D: vermindertes Intervall,
2749 NL: verminderd interval,
2750 DK: formindsket interval,
2751 S: förminskat intervall,
2752 FI: vähennetty intervalli.
2763 F: diminuendo, en diminuant,
2768 FI: diminuendo, hiljentyen.
2770 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2786 FI: aika-arvojen tihennys.
2788 This is a stub for diminution (@emph{wrt} mensural notation).
2791 @ref{augmentation}, @ref{mensural notation}.
2810 @node disjunct movement
2811 @section disjunct movement
2813 ES: movimiento disjunto,
2815 F: mouvement disjoint,
2816 D: sprunghafte Bewegung,
2817 NL: sprongsgewijze beweging,
2818 DK: springende bevægelse,
2819 S: hoppande rörelse,
2820 FI: melodian hyppivä liike.
2822 Progressing melodically by intervals larger than a major second, as contrasted
2823 with conjunct movement.
2825 @lilypond[quote,relative=1]
2829 a4. gis8 b a e cis |
2835 @ref{conjunct movement}.
2841 Another name for @ref{dissonant interval}.
2844 @ref{dissonant interval}, @ref{harmony}.
2847 @node dissonant interval
2848 @section dissonant interval
2850 ES: intervalo disonante, disonancia,
2851 I: intervallo dissonante, dissonanza,
2852 F: intervalle dissonant, dissonance,
2854 NL: dissonant interval, dissonant,
2855 DK: dissonerende interval, dissonans,
2857 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2875 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2876 vertical stroke through part or all of the staff that serves to
2877 structure a chant into phrases and sections. There are four types:
2881 @item @emph{divisio minima}, a short pause
2883 @item @emph{divisio maior}, a medium pause
2885 @item @emph{divisio maxima}, a long pause
2887 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2888 section in a long antiphonal or responsorial chant.
2892 TODO: musical example here?
2895 No cross-references.
2901 ES: elevación [de tono],
2904 D: Glissando zu unbestimmter Tonhöhe,
2910 Indicator for a indeterminately rising pitch bend. Compare with
2911 @emph{glissando}, which has determinate starting and ending pitches.
2914 @ref{fall}, @ref{glissando}.
2927 FI: dominantti, huippusointu.
2929 The fifth @emph{scale degree} in @emph{functional harmony}.
2932 @ref{functional harmony}, @ref{scale degree}.
2935 @node dominant ninth chord
2936 @section dominant ninth chord
2938 ES: acorde de novena de dominante,
2939 I: accordo di nona di dominante,
2940 F: accord de neuvième de dominante,
2941 D: Domi@-nant@-nonen@-akkord,
2942 NL: dominant noon akkoord,
2943 DK: dominantnoneakkord,
2944 S: dominantnonackord,
2945 FI: dominanttinoonisointu.
2948 @ref{chord}, @ref{functional harmony}.
2951 @node dominant seventh chord
2952 @section dominant seventh chord
2954 ES: acorde de séptima de dominante,
2955 I: accordo di settima di dominante,
2956 F: accord de septième de dominante,
2957 D: Dominantseptakkord,
2958 NL: dominant septiem akkoord,
2959 DK: dominantseptimakkord,
2960 S: dominantseptimackord,
2961 FI: dominanttiseptimisointu.
2964 @ref{chord}, @ref{functional harmony}.
2968 @section dorian mode
2973 D: dorisch, dorischer Kirchenton,
2974 NL: dorische toonladder,
2980 @ref{diatonic scale}.
2983 @node dot (augmentation dot)
2984 @section dot (augmentation dot)
2987 I: punto (di valore),
2989 D: Punkt (Verlängerungspunkt),
2996 @ref{dotted note}, @ref{note value}.
3000 @section dotted note
3002 ES: nota con puntillo,
3006 NL: gepuncteerde noot,
3009 FI: pisteellinen nuotti.
3015 @node double appoggiatura
3016 @section double appoggiatura
3018 ES: apoyatura doble,
3019 I: appoggiatura doppia,
3020 F: appoggiature double,
3021 D: doppelter Vorschlag,
3022 NL: dubbele voorslag,
3023 DK: dobbelt forslag,
3025 FI: kaksoisappogiatura, kaksoisetuhele.
3031 @node double bar line
3032 @section double bar line
3038 NL: dubbele maatstreep,
3041 FI: kaksoistahtiviiva.
3043 Indicates the end of a section within a movement.
3046 No cross-references.
3049 @node double dotted note
3050 @section double dotted note
3052 ES: nota con doble puntillo,
3053 I: nota doppiamente puntata,
3054 F: note doublement pointée,
3055 D: doppelt punktierte Note,
3056 NL: dubbelgepuncteerde noot,
3057 DK: dob@-belt@-punk@-te@-ret node,
3058 S: dub@-bel@-punk@-te@-rad not,
3059 FI: kaksoispisteellinen nuotti.
3066 @section double flat
3075 FI: kaksoisalennusmerkki.
3082 @section double sharp
3084 ES: doble sostenido,
3089 DK: dob@-belt@-kryds,
3091 FI: kaksoisylennysmerkki.
3097 @node double time signature
3098 @section double time signature
3100 ES: compás polimétrico,
3103 D: zusammengesetzte Taktart,
3107 FI: kaksois-aika-arvomerkintä.
3110 @ref{polymetric time signature}.
3114 @section double trill
3120 NL: dubbele triller,
3125 A simultaneous trill on two notes, usually in the distance of a third.
3128 No cross-references.
3132 @section duple meter
3136 F: métrique binaire,
3137 D: in zwei, grader Takt,
3138 NL: tweedelige maatsoort,
3173 FI: kesto, aika-arvo.
3182 ES: dinámica, matices,
3185 D: Dynamik, Lautstärke,
3189 FI: äänen voimakkuusvaihtelu, dynamiikka.
3191 The aspect of music relating to degrees of loudness, or changes from
3192 one degree to another. The terms, abbreviations, and symbols used to
3193 indicate this information are called dynamic marks.
3196 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3218 @node ecclesiastical mode
3219 @section ecclesiastical mode
3222 @ref{church mode}, @ref{diatonic scale}.
3226 @section eighth note
3233 @item D: Achtel, Achtelnote
3234 @item NL: achtste noot
3235 @item DK: ottendedelsnode
3236 @item S: åttondelsnot
3237 @item FI: kahdeksasosanuotti
3245 @section eighth rest
3248 @item UK: quaver rest
3249 @item ES: silencio de corchea
3250 @item I: pausa di croma
3251 @item F: demi-soupir
3252 @item D: Achtelpause
3253 @item NL: achtste rust
3254 @item DK: ottendedelspause
3255 @item S: åttonddelspaus
3256 @item FI: kahdeksasosatauko
3266 @c TODO: add languages
3275 FI: tavujen yhdistäminen yhteen ääneen.
3277 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3278 @emph{συναλοιφην} @q{to smear together}].
3280 The singing of several syllables on a single note. Elision may be indicated
3281 by a lyric tie, which looks like (and serves the same function) as a musical
3289 @section embellishment
3301 D: Notenstich, Notendruck
3307 Engraving means incising or etching a metal plate for printing.
3308 Photoengraving means drawing music with ink in a manner similar to
3309 drafting or engineering drawing, using similar tools.
3311 The traditional process of music printing is done through cutting in a
3312 plate of metal. Now also the term for the art of music typesetting.
3315 No cross-references.
3330 Two notes, intervals, or scales are enharmonic if they have different
3331 names but equal pitch.
3333 @lilypond[quote,notime,line-width=13.0\cm]
3337 gis1 as <des g,!> <cis g!>
3341 "g sharp " "a flat " "dim fifth " "augm fourth"
3347 No cross-references.
3350 @node equal temperament
3351 @section equal temperament
3353 ES: temperamento igual,
3354 I: temperamento equabile,
3355 F: tempérament égal,
3356 D: gleichschwebende Stimmung,
3357 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3358 DK: ligesvævende temperatur,
3359 S: liksvävande temperatur,
3362 A tuning system that divides the octave into 12 equal semitones (each of
3363 which is precisely equal to 100 cents).
3366 @ref{cent}, @ref{semitone}, @ref{temperament}.
3369 @node expression mark
3370 @section expression mark
3373 I: segno d'espressione,
3374 F: signe d'expression, indication de nuance,
3376 NL: voordrachtsteken,
3377 DK: foredragsbetegnelse,
3378 S: föredragsbeteckning,
3379 FI: nyanssiosoitus, esitysmerkki.
3381 Performance indications concerning:
3385 @item volume, dynamics (for example, @notation{forte},
3386 @notation{crescendo}),
3388 @item tempo (for example, @notation{andante}, @notation{allegro}).
3393 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3397 @section extender line
3399 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3400 I: linea di estensione,
3401 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3408 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3409 extends text (without indicating the musical @emph{function} of that text).
3411 Used in many contexts, for example:
3415 @item In vocal music to indicate the syllable for a melisma. Called
3416 @q{extension} in the
3417 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3421 In figured bass to indicate that:
3425 @item The extended note should be held through a change in harmony, when applied
3426 to one figure --OR--
3427 @item The chord thus represented should be held above a moving bass line, when
3428 applied to more than one figure.
3429 @item These uses were not completely standardized, and some composers used a
3430 single extender line to indicate the latter case.
3435 In string music to indicate that all notes in the passage thus indicated should
3436 be played on the same string. On the violin, for example, a series of notes to
3437 be played on the G string would be indicated @notation{sul G}, another series to be
3438 played on the D string would be indicated @notation{sul D}, and so on.
3441 With an octave mark to indicate that a passage is to be played higher or lower
3442 by the given number of octaves.
3447 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3448 @ref{octave marking}.
3481 The position between the dots of the key symbol is the line of the F
3482 below central@w{ }C. Used on the third, fourth and fifth note line.
3483 A digit@w{ }8 above the clef symbol indicates that the notes must be
3484 played an octave higher (for example, bass recorder) while 8@w{ }below
3485 the clef symbol indicates playing an octave lower (for example, on the
3488 @lilypond[quote,notime,line-width=13.0\cm]
3491 \override Staff.Clef #'full-size-change = ##t
3514 @ref{baritone clef}, @ref{strings}.
3520 ES: caída [de tono],
3523 D: Glissando zu unbestimmter Tonhöhe nach unten,
3529 Indicator for a indeterminately falling pitch bend. Compare with
3530 @emph{glissando}, which has determinate starting and ending pitches.
3533 @ref{doit}, @ref{glissando}.
3536 @node feathered beam
3537 @section feathered beam
3539 ES: barra progresiva,
3541 F: ligature en soufflet, lien de croches en soufflet,
3542 D: gespreizter Balken,
3548 A type of beam used to indicate that a small group of notes should be
3549 played at an increasing or decreasing tempo -- depending on the
3550 direction of @q{feathering} -- but without changing the overall tempo
3554 Internals Reference: @ruser{Manual beams}
3560 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3564 F: point d'orgue, point d'arrêt,
3569 FI: fermaatti, pidäke.
3571 Prolonged note or rest of indefinite duration.
3573 @lilypond[quote,relative=2]
3580 No cross-references.
3600 @section figured bass
3603 I: basso continuo, basso numerato,
3604 F: basse chiffrée, basse continue,
3605 D: Generalbass, bezifferter Bass,
3606 NL: basso continuo, becijferde bas
3609 FI: kenraalibasso, numeroitu basso.
3611 Also called @q{thorough bass}.
3613 A method of indicating an accompaniment part by the bass notes only,
3614 together with figures designating the chief intervals and chords to be
3615 played above the bass notes.
3617 @lilypond[quote,line-width=13.0\cm]
3619 \new Staff = "rh" \with {
3621 \override StaffSymbol #'staff-space = #(magstep -3)
3627 \context Voice = "rha" {
3632 \context Voice = "rhb" {
3634 <bes g>8 as <as f> g <g es> f <d f> es
3639 \new Staff = "lh" \relative c' {
3642 es8 c d bes c as bes16 as g f
3646 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3652 @ref{chord}, @ref{interval}.
3667 Figures to the side or above the note that methodically indicate which
3668 fingers to use while playing a passage.
3671 No cross-references.
3678 I: coda (uncinata), bandiera,
3686 Ornament at the end of the stem of a note used for notes with values less
3687 than a quarter note. The number of flags determines the note value.
3689 @lilypond[quote,notime,relative=2]
3712 An articulation for string players that means the note or passage is to
3713 be played in harmonics.
3719 @item A duct flute similar to the recorder.
3721 @item An organ stop of flute scale at 1' or 2' pitch.
3726 @ref{articulation}, @ref{harmonics}.
3762 FI: forte, voimakkaasti.
3766 Abbreviated @notation{@b{f}}. Variants include:
3769 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3770 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3774 No cross-references.
3793 @node Frenched score
3794 @section Frenched score
3796 ES: partitura a la francesa,
3799 D: Orchesterpartitur ohne leere Systeme,
3803 FI: partituuri ilman tyhjiä nuottiviivastoja.
3805 A @q{condensed} score, produced by omitting staves for instruments that are not
3806 playing at the moment, and by moving up additional systems from following pages
3807 to take up the space thus liberated, which reduces the total number of pages
3808 used to print the work.
3810 The specific rules for @q{frenching} a score differ from publisher to publisher.
3811 If you are producing scores for eventual publication by a commercial publisher,
3812 you may wish to procure a copy of their style manual.
3815 @ref{Frenched staff}.
3818 @node Frenched staff
3819 @section Frenched staff
3821 ES: pentagrama a la francesa,
3824 D: zeitweiliges Notensystem,
3828 FI: karsittu nuotinnus.
3830 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3831 Frenched staff has unneeded measures or sections removed. This is useful
3832 for producing, for example, an @emph{ossia} staff.
3838 @node Frenched staves
3839 @section Frenched staves
3841 Plural of @ref{Frenched staff}.
3860 @node functional harmony
3861 @section functional harmony
3863 ES: armonía funcional,
3864 I: armonia funzionale,
3865 F: étude des functions,
3867 NL: functionele harmonie,
3868 DK: funktionsanalyse, funktionsharmonik,
3870 FI: harmoniajärjestelmä.
3872 A system of harmonic analysis.
3874 It is based on the idea that, in a given key, there are only three
3875 functionally different chords: tonic (T, the chord on the first note of the
3876 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3877 chord on the fifth note). Others are considered to be variants of the base
3880 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3882 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3885 <g e c>1 <a f d> <b g e>
3886 <c a f> <d b g> <e c a> <f d b>
3890 \markup { D \translate #'(-2 . 0) | }
3896 No cross-references.
3923 D: G-Schlüssel, Violinschlüssel,
3929 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3930 second note lines. A digit 8 above the clef symbol indicates that the notes
3931 must be played an octave higher while 8 below the clef symbol indicates
3932 playing or singing an octave lower (used most frequently to notate the tenor
3933 part in modern choral scores).
3935 @lilypond[quote,notime]
3937 \override Staff.Clef #'full-size-change = ##t
3938 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3949 "french violin clef"
3957 No cross-references.
3970 FI: glissando, liukuen.
3972 Letting the pitch slide fluently from one note to the other.
3975 No cross-references.
3979 @section grace notes
3981 ES: notas de adorno,
3983 F: ornement, fioriture,
3984 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3990 Notes printed in small types to indicate that their time values are not
3991 counted in the rhythm of the bar.
3994 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
3998 @section grand staff
4000 ES: sistema de piano,
4002 F: système [de portées], accolade,
4003 D: Akkolade, Klaviersystem,
4006 S: ackolad, böjd klammer,
4007 FI: kaksoisnuottiviivasto.
4009 A combination of two staves with a brace. Usually used for piano music.
4025 FI: grave, raskaasti.
4027 [Italian] Slow, solemn.
4030 No cross-references.
4054 Letter name used for @notation{B natural} in German and Scandinavian
4055 usage. In the standard usage of these countries, @notation{B} means
4059 @ref{Pitch names}, @ref{B}.
4065 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4068 @lilypond[quote,relative=2]
4075 @ref{crescendo}, @ref{decrescendo}.
4086 @item D: Halbe, halbe Note,
4087 @item NL: halve noot,
4090 @item FI: puolinuotti.
4101 @item UK: minim rest,
4102 @item ES: silencio de blanca,
4103 @item I: pausa di minima,
4104 @item F: demi-pause,
4105 @item D: halbe Pause,
4106 @item NL: halve, rust,
4107 @item DK: halvnodespause,
4109 @item FI: puolitauko.
4116 @node harmonic cadence
4117 @section harmonic cadence
4119 ES: cadencia (armónica),
4120 I: cadenza (armonica),
4121 F: cadence harmonique,
4123 NL: harmonische cadens,
4124 DK: harmonisk kadence,
4125 S: (harmonisk) kadens,
4126 FI: harmoninen kadenssi.
4128 A sequence of chords that terminates a musical phrase or section.
4132 \context Staff = "SA" \relative c'' {
4135 \partial 4 <c g e>4 |
4136 <c a f> <b g d> <c g e>2
4139 \context Staff = "SB" \relative c {
4141 \partial 4 c4 | f, g c2
4153 @ref{functional harmony}.
4159 ES: armónicos, sonidos aflautados,
4161 F: flageolet, sons harmoniques,
4166 FI: harmoniset äänet, huiluäänet.
4168 The general class of pitches produced by sounding the second or higher
4169 harmonic of a tone producer: string, column of air, and so on.
4171 On stringed instruments, these pitches sound rather flute-like; hence,
4172 their name in languages other than English. They are produced by
4173 lightly touching the string at a node for the desired mode of vibration
4174 while it is being bowed or plucked.
4176 For instruments of the violin family, there are two types of harmonics:
4177 natural harmonics, which are those played on the open string; and
4178 artificial harmonics, which are produced on stopped strings.
4181 No cross-references.
4190 D: Harmonie, Zusammenklang,
4194 FI: harmonia, yhteissointi.
4196 Tones sounding simultaneously. Two note harmonies fall into the
4197 categories @emph{consonances} and @emph{dissonances}.
4201 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4213 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4214 <g a>1_"second " s s
4215 <g f'>_"seventh " s s
4219 For harmony that uses three or more notes, see @ref{chord}.
4229 I: emiolia, (rarely hemiola or emiola),
4235 FI: hemioli, 3/2 -suhde.
4237 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4239 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4240 time normally occupied by two. The resulting rhythm can be expressed in modern
4241 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4242 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4243 as a special effect (or @emph{affect}) at cadences.
4245 For example, this phrase in 6/4 time
4247 @lilypond[quote,relative=1,line-width=13.0\cm]
4250 c2. e | d2 c d | c1. \bar "||"
4253 may be thought of having alternating time signatures
4255 @lilypond[quote,relative=1,line-width=13.0\cm]
4265 and is therefore a polymeter (second definition) of considerable antiquity.
4268 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4281 FI: homofonia, yksiäänisyys.
4283 Music in which one voice leads melodically supported by the other voices in
4284 the same rhythm (more or less). In contrast to @emph{polyphony}.
4307 FI: säkeiden tavumäärät.
4309 A group or list of numbers that indicate the number of syllables in a line
4310 of a hymn's verse. Different hymnals have different ways of noting the hymn
4311 meter: for example, consider a hymn that has four lines in two couplets
4312 alternating regularly between eight and seven syllables. The @emph{English
4313 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4314 or 8@w{ }7@w{ }8@w{ }7.
4316 Some frequently-used hymn meters have traditional names:
4319 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4320 @item 86.86 is called Common Meter (CM or C.M.)
4321 @item 88.88 is called Long Meter (LM or L.M.)
4324 Some hymns and their tunes are doubled versions of a simpler meter: for
4325 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4326 87.87D. The traditional names above also have doubled versions:
4329 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4330 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4331 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4335 No cross-references.
4348 FI: intervalli, kahden sävelen korkeusero.
4350 Difference in pitch between two notes. Intervals may be diminished, minor,
4351 perfect, major, or augmented. The augmented fourth and the diminished fifth
4352 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4353 and are called @emph{tritonus} because they consist of three whole tones.
4354 The addition of such two intervals forms an octave.
4356 @lilypond[quote,notime,line-width=13.0\cm]
4358 \context Voice \relative c'' {
4395 \context Lyrics \lyrics {
4397 "second " "second " "second " "second "
4398 "third " "third " "third " "third "
4399 "fourth " "fourth " "fourth "
4400 "fifth " "fifth " "fifth "
4401 "sixth " "sixth " "sixth " "sixth "
4402 "seventh" "seventh" "seventh" "seventh"
4403 "octave " "octave " "octave "
4409 @ref{enharmonic}, @ref{whole tone}.
4424 When a chord sounds with a bass note that differs from the root of the
4425 chord, it is said to be @emph{inverted}. The number of inversions that a
4426 chord can have is one fewer than the number of constituent notes. For
4427 example, triads (which have three constituent notes) can have three
4428 positions, two of which are inversions:
4432 The root note is in the bass, and above that are the third and the fifth. A
4433 triad built on the first scale degree, for example, is marked @notation{I}.
4435 @item First inversion
4436 The third is in the bass, and above it are the fifth and the root. This
4437 creates an interval of a sixth and a third above the bass note, and so is
4438 marked in figured Roman notation as @notation{6/3}. This is commonly
4439 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4440 characteristic interval of the inversion, and so always implies
4443 @item Second inversion
4444 The fifth is in the bass, and above it are the root and the third. This
4445 creates an interval of a sixth and a fourth above the bass note, and so is
4446 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4447 unstable chord position.
4451 No cross-references.
4454 @node inverted interval
4455 @section inverted interval
4457 ES: intervalo invertido,
4458 I: intervallo rivolto,
4459 F: intervalle renversé,
4460 D: umgekehrtes Intervall,
4461 NL: interval inversie,
4462 DK: omvendingsinterval,
4463 S: intervallets omvändning,
4464 FI: käänteisintervalli.
4466 The difference between an interval and an octave.
4468 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4469 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4470 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4471 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4475 No cross-references.
4478 @node just intonation
4479 @section just intonation
4481 ES: entonación justa,
4482 I: intonazione giusta,
4483 F: intonation juste,
4490 Tuning system in which the notes are obtained by adding and subtracting
4491 natural fifths and thirds.
4509 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4510 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4513 @ref{chromatic scale}, @ref{key signature}.
4517 @section key signature
4519 ES: armadura (de la clave),
4520 I: armatura di chiave,
4521 F: armure, armature [de la clé],
4522 D: Vorzeichen, Tonart,
4523 NL: toon@-soort (voortekens),
4526 FI: sävellajiosoitus.
4528 The sharps or flats appearing at the beginning of each staff indicating the
4534 @node kievan notation
4535 @section kievan notation
4537 A form of medieval music notation used predominantly in the chantbooks
4538 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4539 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4540 characterized by the square shape of its noteheads.
4543 @node laissez vibrer
4544 @section laissez vibrer
4549 D: Laissez vibrer, schwingen lassen,
4555 [French: @q{Let vibrate}] Most frequently associated with harp
4556 parts. Marked @notation{l.v.} in the score.
4559 No cross-references.
4567 F: largo, large, ample,
4568 D: Largo, Langsam, Breit,
4572 FI: largo, hitaasti, leveästi.
4574 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4575 expressiveness. @emph{Larghetto} is less slow than largo.
4579 @section leading note
4590 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4591 called because of its strong tendency to @q{lead up} (resolve upwards)
4592 to the tonic scale degree.
4595 @ref{scale degree}, @ref{semitone}.
4599 @section ledger line
4601 ES: línea adicional,
4602 I: tagli addizionali,
4603 F: ligne supplémentaire,
4610 A ledger line is an extension of the staff.
4612 @lilypond[quote,notime,relative=2]
4619 No cross-references.
4628 D: legato, gebunden,
4634 To be performed (a) without any perceptible interruption between the
4635 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4636 @notation{portato}, or (d) @notation{staccato}.
4638 @lilypond[quote,notime,line-width=13.0\cm]
4640 \context Staff \relative c'' {
4641 c4-( d e-) \bar "||"
4642 c4-- d-- e-- \bar "||"
4643 c4-.-( d-. e-.-) \bar "||"
4644 c4-. d-. e-. \bar "||"
4660 @section legato curve
4663 @ref{slur}, @ref{legato}.
4685 A ligature is a coherent graphical symbol that represents at least two
4686 distinct notes. Ligatures originally appeared in the manuscripts of
4687 Gregorian chant notation around the 9th century to denote ascending or
4688 descending sequences of notes. In early notation, ligatures were used for
4689 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4690 performance in the sense of articulation. With the invention of the metric
4691 system of the white mensural notation, the need for ligatures to denote such
4692 patterns disappeared.
4695 @ref{mensural notation}.
4702 ES: estanque de nenúfares,
4703 I: stagno del giglio,
4704 F: étang de nénuphars, étang de nymphéas,
4706 NL: le@-lie@-vij@-ver,
4711 A pond with lilies floating in it.
4713 Also, the name of a music typesetting program.
4716 No cross-references.
4725 D: Linie, Notenlinie,
4729 FI: viiva, nuottiviiva.
4745 FI: kirjoitetussa äänenkorkeudessa.
4747 [Italian: @q{place}] Instruction to play the following passage at the
4748 written pitch. Cancels octave mark (q.v.).
4751 @ref{octave mark}, @ref{octave marking}.
4754 @node long appoggiatura
4755 @section long appoggiatura
4757 ES: apoyatura larga,
4758 I: appoggiatura lunga,
4759 F: appoggiature longue,
4764 FI: pitkä appoggiatura, pitkä etuhele.
4774 @item US: long, longa,
4777 @item F: longa, longue,
4785 Note value: twice the length of a @notation{breve}.
4787 @lilypond[quote,notime,relative=2]
4788 \override NoteHead #'style = #'mensural
4793 @ref{breve}, @ref{note value}.
4799 ES: ligadura de letra,
4801 F: ligature de mots,
4806 FI: sidonta sanoituksessa.
4808 @c TODO: add languages
4817 ES: letra (de la canción),
4820 D: Liedtext, Gesangstext,
4829 No cross-references.
4845 @ref{diatonic scale}.
4848 @node major interval
4849 @section major interval
4851 ES: intervalo mayor,
4852 I: intervallo maggiore,
4853 F: intervalle majeur,
4854 D: großes Intervall,
4858 FI: suuri intervalli.
4876 Note value: twice the length of a @notation{longa}.
4878 The maxima is the largest duration in use during the 15th and 16th centuries.
4879 Like the longa, the maxima can be either two or three times as long as the
4880 @notation{longa} (called @notation{binary} and @notation{ternary},
4881 respectively). By the late 15th century, most composers used the smaller
4882 proportion by default.
4885 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4888 @node meantone temperament
4889 @section meantone temperament
4891 ES: afinación mesotónica,
4892 I: accordatura mesotonica,
4893 F: tempérament mésotonique,
4894 D: mitteltönige Stimmung,
4895 NL: middenstemming, middentoonstemming,
4896 DK: middeltonetemperatur,
4897 S: medeltonstemperatur,
4898 FI: keskisävelviritys.
4900 Temperament yielding acoustically pure thirds by decreasing the natural
4901 fifth by 16@w{ }cents. Due to the non-circular character of this
4902 temperament only a limited set of keys are playable. Used for tuning
4903 keyboard instruments for performance of pre-1650 music.
4906 @ref{cent}, @ref{temperament}.
4921 A group of beats (units of musical time) the first of which bears an accent.
4922 Such groups in numbers of two or more recur consistently throughout the
4923 composition and are separated from each other by bar lines.
4926 @ref{bar line}, @ref{beat}, @ref{meter}.
4929 @node measure repeat
4930 @section measure repeat
4933 @ref{percent repeat}.
4940 I: mediante, modale,
4950 @item The third @b{scale degree}.
4952 @item A @emph{chord} having its base tone a third from that of another
4953 chord. For example, the tonic chord may be replaced by its lower
4954 mediant (variant tonic).
4959 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4972 FI: melisma, laulettavan tavun sävelkuvio.
4974 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4975 on one syllable, especially as applied to liturgical chant.
4978 No cross-references.
4982 @section melisma line
4984 @c TODO: add languages
4986 ES: línea de melisma,
4987 I: linea del melisma,
4988 F: trait de mélisme, trait de tenue,
4996 @ref{extender line}.
4999 @node melodic cadence
5000 @section melodic cadence
5006 @node mensural notation
5007 @section mensural notation
5009 @c TODO: add languages
5011 ES: notación mensural,
5012 I: notazione mensurale,
5013 F: notation mensurale,
5014 D: Mensuralnotation,
5018 FI: mensuraalinuotinnus.
5020 A system of duration notation whose principles were first established in the
5021 mid-13th century, and that (with various changes) remained in use until about
5022 1600. As such, it is the basis for the notation of rhythms in Western musical
5025 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5026 of the notation's principles, so the notation of this earliest period is called
5027 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5028 and semibreve -- each of which was normally equivalent to three of the next
5031 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5032 added several note values (the minim, semiminim and fusa) and extended Franco's
5033 principles to govern the relationship between these values. They also put the
5034 duple division of note values on an equal footing with the earlier (preferred)
5037 TODO: continue description of French and Italian black notation, and the
5038 relationship betwixt them.
5040 @b{White or void mensural notation}
5042 In the 15th century, hollow (or void) notes began to substitute for the earlier
5043 solid black ones, which were then free to assume the function of red (or
5044 colored) notes in the earlier notation. ...
5046 TODO: add to definition (including summary info on proportional notation)
5049 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5050 @c TODO: more cross-references?
5053 @node mensuration sign
5054 @section mensuration sign
5056 @c TODO: add languages
5058 ES: signo de mensuración,
5060 F: signe de mensuration,
5067 The ancestor of the time signature, mensuration signs were used to indicate the
5068 relationship between two sets of note durations—specifically, the ratio of
5069 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5070 (called @notation{prolatio}).
5072 Each ratio was represented with a single single sign, and was either
5073 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5074 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5075 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5076 represented by a complete circle; applied to the @emph{prolatio}, it was called
5077 @emph{major} and was represented by a dot in the middle of the sign. The binary
5078 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5079 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5080 @emph{minor} and was represented by the lack of an internal dot. There are four
5081 possible combinations, which can be represented in modern time signatures with
5082 and without reduction of note values. (These signs are hard-coded in LilyPond
5086 @item perfect @emph{tempus} with major @emph{prolatio}
5087 Indicated by a complete circle with an internal dot. In modern time signatures,
5090 @item 9/4, with reduction or
5091 @item 9/2, without reduction
5094 @item perfect @emph{tempus} and minor @emph{prolatio}
5095 Indicated by a complete circle without an internal dot. In modern time
5096 signatures, this equals:
5098 @item 3/2, with reduction or
5099 @item 3/1, without reduction
5102 @item imperfect @emph{tempus} and major @emph{prolatio}
5103 Indicated by an incomplete circle with an internal dot. In modern time
5104 signatures, this equals:
5106 @item 6/4, with reduction or
5107 @item 6/2, without reduction
5110 @item imperfect @emph{tempus} and minor @emph{prolatio}
5111 Indicated by an incomplete circle without an internal dot. In modern time
5112 signatures, this equals:
5114 @item 4/4, with reduction or
5115 @item 2/1, without reduction
5119 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5120 with note values reduced from the original semibreve to a modern quarter note.
5121 Being doubly imperfect, this sign represented the (theoretically)
5122 least-preferred mensuration, but it was actually used fairly often.
5124 This system extended to the ratio of longer note values to each other:
5128 @item maxima to longa, called:
5132 @item @notation{modus maximorum},
5133 @item @notation{modus major}, or
5134 @item @notation{maximodus})
5138 @item longa to breve, called:
5142 @item @notation{modus longarum},
5143 @item @notation{modus minor}, or
5144 @item @notation{modus}
5150 In the absence of any other indication, these modes were assumed to be
5151 binary. The mensuration signs only indicated tempus and prolatio, so
5152 composers needed another way to indicate these longer ratios (called modes.
5153 Around the middle of the 15th century started to use groups of rests at the
5154 beginning of the staff, preceding the mensuration sign.
5157 Two mensuration signs have survived to the present day: the C-shaped sign,
5158 which originally designated @notation{tempus imperfectum} and
5159 @notation{prolatio minor} now stands for @notation{common time}; and the
5160 slashed C, which designated the same with @notation{diminution} now stands
5161 for @notation{cut time} (essentially, it has not lost its original meaning).
5164 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5165 @c TODO: more cross-references?
5173 F: indication de mesure, mesure,
5180 The pattern of note values and accents in a composition or a section thereof.
5181 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5182 by grouping beats and by subdividing the primary beat.
5184 @b{By grouping beats}:
5188 @item @b{duple}: groups of two.
5189 @item @b{triple}: groups of three.
5190 @item @b{quadruple}: groups of four. A special case of duple meter.
5191 @item @b{quintuple}: groups of five beats.
5192 @item @b{sextuple} meter: groups of six. A special case of:
5196 @item duple meter, subdivided in three; or
5197 @item triple meter, subdivided in two.
5201 @item @b{septuple} meter: groups of seven.
5206 Other than triple meter and its subdivided variants (see below), meters that
5207 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5208 frequently used prior to the 20th Century.
5210 @b{By subdividing the primary beat}:
5214 @item simple: subdivided in groups of two.
5218 @item duple: 2/2, 2/4, 2/8
5219 @item triple: 3/2, 3/4, 3/8
5220 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5224 @item compound: subdivided in groups of three.
5230 @item quadruple: 12/8
5236 Time signatures are placed at the beginning of a composition (or section) to
5237 indicate the meter. For instance, a piece written in simple triple meter with a
5238 beat on each quarter note is conventionally written with a time signature of
5239 3/4. Here are some combinations of the two classifications above:
5241 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5243 @lilypond[quote,line-width=13.0\cm]
5247 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5250 Simple triple meter:
5252 @lilypond[quote,line-width=13.0\cm]
5256 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5259 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5261 @lilypond[quote,line-width=13.0\cm]
5265 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5268 Simple quintuple meter (B. Marcello, 1686-1739):
5270 @lilypond[quote,line-width=13.0\cm]
5274 r4 cis8 bis ais4 dis c8 ais |
5275 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5278 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5279 the source, with sharps in the accompaniment where the voice has flats and
5282 Compound duple meter (unknown):
5284 @lilypond[quote,line-width=13.0\cm]
5288 f8 f g a bes16 a g f |
5289 g8 g bes a c16 a bes g
5293 Compound triple meter (J.S. Bach, 1685-1750):
5295 @lilypond[quote,line-width=13.0\cm]
5299 r8 g'( a) b( d c) c( e d) |
5300 d( g fis) g( d b) g( a b)
5304 Compound quadruple meter (P. Yon, 1886-1943):
5306 @lilypond[quote,line-width=13.0\cm]
5310 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5311 e4 e8 fis( gis) a b4.~ b4 b8
5316 @b{@q{Monometer} vs Polymeter}
5318 TODO: add information from discussion on lilypond-user related to polymeter.
5322 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5337 Device used to indicate the exact tempo of a piece.
5339 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5340 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5341 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5342 followed acknowledged Winkler as the creator, but by then Mälzel had already
5343 sold many of them, and people had taken to calling it a Mälzel Metronome.
5346 @ref{metronome mark}.
5349 @node metronome mark
5350 @section metronome mark
5352 ES: indicación metronómica,
5353 I: indicazione metronomica,
5354 F: indication métronomique,
5356 NL: metronoom aanduiding,
5358 S: metronomangivelse,
5359 FI: metronomiosoitus.
5361 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5362 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5369 @node metronomic indication
5370 @section metronomic indication
5373 @ref{metronome mark}
5386 FI: kohtalaisen, melko.
5388 [Italian: @q{medium}]
5390 Used to qualify other indications, such as:
5396 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5398 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5404 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5411 No cross-references.
5415 @section mezzo-soprano
5426 The female voice between soprano and contralto.
5429 @ref{soprano}, @ref{contralto}.
5438 D: zweigestrichenes@w{ }c,
5440 DK: enstreget@w{ }c,
5441 S: ettstruket@w{ }c,
5444 First C below the 440 Hz A.
5446 @lilypond[quote,notime,relative=1]
5447 \override Staff.Clef #'full-size-change = ##t
5454 No cross-references.
5470 @ref{diatonic scale}.
5473 @node minor interval
5474 @section minor interval
5476 ES: intervalo menor,
5477 I: intervallo minore,
5478 F: intervalle mineur,
5479 D: kleines Intervall,
5483 FI: pieni intervalli.
5489 @node mixolydian mode
5490 @section mixolydian mode
5493 @ref{diatonic scale}.
5502 D: Kirchentonart, Modus,
5506 FI: moodi, kirkkosävelasteikko.
5509 @ref{church mode}, @ref{diatonic scale}.
5522 FI: modulaatio, sävellajin vaihdos.
5524 Moving from one @ref{key} to another. For example, the second subject
5525 of a @ref{sonata form} movement modulates to the dominant key if the
5526 key is major and to the @ref{relative key} if the key is minor.
5529 No cross-references.
5541 FI: mordent, korukuvio.
5544 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5565 FI: teema, sävelaihe.
5567 The briefest intelligible and self-contained fragment of a musical
5570 @lilypond[quote,line-width=13.0\cm]
5573 \set Score.implicitTimeSignatureVisibility = #all-invisible
5574 \override Score.TimeSignature #'break-visibility = #all-invisible
5577 \partial 8 g16\startGroup fis |
5578 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5579 g8 g,16 a b8 cis d16 s
5583 \Staff \consists "Horizontal_bracket_engraver"
5589 No cross-references.
5604 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5605 several -- more or less -- independent pieces called movements.
5608 No cross-references.
5611 @node multi-measure rest
5612 @section multi-measure rest
5614 ES: compases de espera, silencio multicompás,
5616 F: pause multiple, mesure à compter,
5618 D: mehrtaktige Pause, Kirchenpause,
5621 FI: usean tahdin mittainen tauko.
5623 Multi-measure rests are conventionally typeset with a combination of
5624 longa, breve and whole rests for shorter and a long horizontal bar for
5625 longer spans of rest, with a number above to indicate the duration (in
5626 measures) of the rest. The former style is called @q{Kirchenpausen} in
5627 German, as a reminiscence of its use in Renaissance vocal polyphony.
5629 @lilypond[quote,relative=2]
5631 \set Score.skipBars = ##t
5634 \set Score.skipBars = ##t
5640 @ref{longa}, @ref{breve}.
5649 D: Auflösungszeichen,
5650 NL: herstellingsteken,
5651 DK: op@-løsningstegn,
5652 S: återställningstecken,
5659 @node neighbor tones
5660 @section neighbor tones
5662 @c TODO: add definition.
5674 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5675 @ref{mordent}, @ref{ornament}.
5713 Notes are signs by means of which music is fixed in writing. The term is also
5714 used for the sound indicated by a note, and even for the key of the piano
5715 which produces the sound. However, a clear distinction between the terms tone
5716 and @ref{note} is strongly recommended. Briefly, one sees a note,
5720 No cross-references.
5727 I: testa, testina, capocchia,
5735 A head-like sign which indicates pitch by its position on a @notation{staff}
5736 provided with a @notation{clef}, and duration by a variety of shapes such as
5737 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5738 For percussion instruments (often having no defined pitch) the note head may
5739 indicate the instrument.
5742 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5755 ES: valor, duración,
5757 F: durée, valeur (d'une note),
5762 FI: nuotin aika-arvo.
5764 Note values (durations) are measured as fractions—in modern usage, one-half—of
5765 the next higher note value. The longest duration in current use is the
5766 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5767 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5768 or @notation{maxima} (eight whole notes) may be found.
5770 As used in mensural notation, this fraction was more flexible: it could also
5771 be one-third the higher note value. Composers indicated which proportions
5772 to use with various signs—two of which survive to the present day: the
5773 C-shaped sign for @notation{common time}, and the slashed C for
5774 @notation{alla breve} or @notation{cut time}.
5776 @c TODO -- add maxima to this example, in a way that doesn't break it.
5778 @lilypond[quote,notime,line-width=13.0\cm]
5780 \override NoteHead #'style = #'mensural
5781 a\longa_"longa" a\breve_"breve"
5782 \revert NoteHead #'style
5783 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5784 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5787 @c TODO -- add maxima rest to this example
5789 @lilypond[quote,notime,line-width=13.0\cm]
5791 r\longa_"longa" r\breve_"breve"
5792 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5793 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5796 An augmentation dot after a note increases its duration by half; a second dot
5797 increases it by half of the first addition (that is, by a fourth of the original
5798 duration). More dots can be used to add further halved fractions of the
5799 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5801 @lilypond[quote,line-width=13.0\cm]
5804 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5805 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5808 Alternatively note values may be subdivided by other ratios. Most common is
5809 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5810 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5811 dotted notes are also frequently used.
5813 @lilypond[quote,line-width=13.0\cm]
5816 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5817 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5821 @lilypond[quote,line-width=13.0\cm]
5824 \times 3/2 {g4_"duplets" g} |
5826 \times 6/4 {g8_"quadruplets" g g g} |
5827 g8 g g g g4 \bar "||"
5839 @ref{octave marking}.
5854 The interval of an octave, sometimes abbreviated @notation{8ve}.
5856 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5857 bracket, or @notation{loco} see octave marking.
5860 @ref{interval}, @ref{octave marking}.
5864 @section octave mark
5866 ES: indicación de octava,
5868 F: indication d'octave,
5869 D: Oktavierungszeichen,
5875 The phrase, abbreviation, or other mark used (with or without an extender line
5876 or bracket) to indicate that the music is to be played in a different octave:
5880 @item @notation{15ma}: play two octaves higher
5881 @item @notation{8va}: play one octave higher
5882 @item @notation{8vb}: play one octave lower
5883 @item @notation{8va} (written below the passage): unusual, same as
5885 @item @notation{15vb}: play two octaves lower
5886 @item @notation{15va} (written below the passage): unusual, same as
5891 For longer passages, it may be more practical to mark the octave change at the
5892 beginning with a phrase (see the list below for examples), but without a bracket
5893 or extender line. Then, when the music returns to the written pitch, the octave
5894 change is canceled with the word @notation{loco} (q.v.).
5896 To parallel the list above:
5900 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5901 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5902 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5903 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5907 In the phrases above, @notation{quindicesima} is sometimes replaced with
5908 @notation{quindecima}, which is Latin.
5910 The music on an entire staff can be marked to be played in a different octave by
5911 putting a small 8 or 15 above or below the clef at the beginning. This octave
5912 mark can be applied to any clef, but it is most frequently used with the G and F
5916 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5919 @node octave marking
5920 @section octave marking
5929 FI: oktaavamerkintä.
5931 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5932 that it is to be played in a different octave. If applied to the clef at the
5933 beginning of the staff, all music on that staff is to played at the indicated
5936 For a list of the specific marks used, see @ref{octave mark}.
5939 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5943 @section octave sign
5953 I: abbellimento, fioriture,
5954 F: agrément, ornement,
5955 D: Verzierung, Ornament,
5961 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5962 with the diatonic @ref{second} above it. In the music from the
5963 middle of the 19th century and onwards the trill is performed with the main
5964 note first while in the music from the preceding baroque and classic periods
5965 the upper note is played first.
5967 @lilypond[quote,line-width=13.0\cm]
5969 \context Staff = sa {
5971 c2._"pre-1850" b4\trill | c1 \bar "||"
5972 c2._"post-1850" b4\trill | c1 \bar "||"
5976 c2. c32 b c b c b c b | c1
5977 c2. b32 c b c \times 4/5 { b c b c b } | c1
5982 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5983 the @emph{prall} (inverted mordent).
5985 @lilypond[quote,line-width=13.0\cm]
5987 \context Staff = sa {
5989 a4_"turn" b\turn c2 \bar "||"
5990 g4_"mordent" a b\mordent a \bar "||"
5991 e'4_"prall" d\prall c2 \bar "||"
5997 e'4 e32[ d e d ~ d8] c2
6003 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6012 F: ossia, alternative,
6017 FI: ossia, vaihtoehtoinen esitystapa.
6019 Ossia (otherwise) marks an alternative. It is an added staff or piano
6020 score, usually only a few measures long, which presents another version
6021 of the music, for example for small hands.
6024 Compare: @ref{cue-notes}.
6030 ES: parte, particella,
6037 FI: stemma, instrumenttiosuus.
6041 @item In instrumental or choral music, the music for a single
6042 instrument or voice.
6044 @item in contrapuntal music, a single melodic line in the contrapuntal
6067 @node percent repeat
6068 @section percent repeat
6070 LilyPond-specific term to indicate the repetition of a musical expression on a
6071 single staff, as opposed to the more usual definition of repeat, which affects
6072 all parts. The musical expression can be anything from a single note or note
6073 pattern to one or more measures. There are other names for this symbol:
6078 @item slash mark, or slash repeat
6080 @item measure (or multi-measure) repeat
6084 @lilypond[quote,relative=2,line-width=13.0\cm]
6086 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6087 \repeat percent 2 { c4 e g b_"Measure repeat" }
6088 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6093 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6094 Vermont Music Dictionary}.
6103 D: Schlagzeug, Schlagwerk,
6109 A family of musical instruments which are played on by striking or
6110 shaking. Percussion instruments commonly used in a symphony orchestra are
6111 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6112 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6116 No cross-references.
6119 @node perfect interval
6120 @section perfect interval
6122 ES: intervalo justo,
6123 I: intervallo giusto,
6124 F: intervalle juste,
6125 D: reines Intervall,
6129 FI: puhdas intervalli.
6147 A natural division of the melodic line, comparable to a sentence of speech.
6163 FI: fraseeraus, jäsentäminen.
6165 The clear rendering in musical performance of the @notation{phrases} of the
6166 melody. Phrasing may be indicated by a @notation{slur}.
6169 @ref{phrase}, @ref{slur}.
6184 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6185 @emph{mezzo piano} (@b{mp}) medium soft.
6188 No cross-references.
6196 F: anacrouse, levée,
6221 @item The perceived quality of a sound that is primarily a function of its
6222 fundamental frequency.
6224 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6226 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6227 association of a particular frequency with a particular pitch name, e.g., c' =
6243 NL: pizzicato, getokkeld,
6246 FI: pizzicato, näppäillen.
6248 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6252 No cross-references.
6258 ES: compás polimétrico,
6265 FI: monia tahtiosoituksia sisältävä.
6269 @item The @emph{simultaneous} use of two or more meters, in two or more
6272 @item The @emph{successive} use of different meters in one or more parts.
6277 @ref{polymetric} (adj.)
6290 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6292 Characterized by @emph{polymeter}: using two or more metric frameworks
6293 simultaneously or in alternation.
6296 @ref{polymeter} (noun)
6299 @node polymetric time signature
6300 @section polymetric time signature
6302 ES: indicación de compás polimétrico,
6303 I: tempo polimetrico,
6305 D: zusammengesetzte Taktart,
6309 FI: vaihtelevan tahtiosoitusmerkintä.
6311 A time signature that indicates regularly alternating polymetric time.
6323 D: Polyphonie, Mehrstimmigkeit,
6327 FI: polyfonia, moniäänisyys.
6329 Music written in a combination of several simultaneous voices (parts)
6330 of a more or less pronounced individuality.
6339 [Italian: past participle of @emph{portare}, @q{to carry}]
6341 A stroke in which each of several notes is separated slightly within a slur,
6342 without changing the bow's direction. It is used for passages of a
6343 @notation{cantabile} character.
6349 @section power chord
6351 A chord containing only the root and the fifth (possibly in multiple
6352 octaves). Commonly used in guitar music, particularly with electric
6353 guitar and high distortion.
6361 ES: presto, muy rápido,
6363 F: presto, très rapide, enlevé,
6364 D: Presto, Sehr schnell,
6365 NL: presto, Sehr schnell,
6368 FI: presto, hyvin nopeasti.
6372 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6373 denotes the highest possible degree of speed.
6376 No cross-references.
6391 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6392 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6397 @item A ratio that expresses the relationship between the note values that
6398 follow with those that precede;
6400 @item A ratio between the note values of a passage and the @q{normal}
6401 relationship of note values to the metrical pulse. (A special case of the
6406 The most common proportions are:
6409 @item 2:1 (or simply 2), expressed by a vertical line through the
6410 mensuration sign (the origin of the @notation{alla breve} time signature),
6411 or by turning the sign backwards
6412 @item 3:1 (or simply 3)
6413 @item 3:2 (@emph{sesquialtera})
6416 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6419 @item 1:2 cancels 2:1
6420 @item 1:3 cancels 3:1
6421 @item 2:3 cancels 3:2
6425 Gaffurius enumerates five basic types of major:minor proportions and their
6429 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6430 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6432 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6433 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6434 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6436 @item Superpartiens, if the major number is one less than twice the minor
6437 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6439 @item Multiplexsuperparticular, if the major number is one more than twice the
6440 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6443 @item Multiplexsuperpartiens, if the major number is one less than some other
6444 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6445 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6449 He then continues to subdivide each type in various ways. For the multiplex
6450 proportions, for example, he indicates how many times greater the major number
6455 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6456 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6458 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6461 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6462 Example: 4:1, 8:2, and 12:3
6466 Other proportions were possible, but whether they were frequently used is
6471 @item 33:9, @emph{triplasuperbipartientetertias}
6472 @item 51:15, @emph{triplasuperbipartientequintas}
6476 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6479 @ref{mensural notation}.
6482 @node Pythagorean comma
6483 @section Pythagorean comma
6485 ES: coma pitagórica,
6486 I: comma pitagorico,
6487 F: comma pythagoricien,
6488 D: Pythagoräisches Komma,
6489 NL: komma van Pythagoras,
6490 DK: pythagoræisk komma,
6491 S: pytagoreiskt komma,
6492 FI: pytagorinen komma.
6494 Originally, the interval by which the sum of six whole tones exceeds the octave
6495 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6497 Modern acoustical theory defines it as the interval by which twelve fifths
6498 exceed seven octaves. To put it another way: A sequence of fifths that starts
6499 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6500 than the C obtained by adding 7 octaves. The difference between those two
6501 pitches is the Pythagorean comma.
6504 @ref{cent}, @ref{temperament}.
6526 ES: variante [de acorde o intervalo],
6529 D: Modus (Dur oder Moll),
6535 The quality of a triad is determined by the precise arrangement of its
6536 intervals. Tertian triads can be described as a series of three notes. The
6537 first element is the root note (or simply @q{root}) of the chord, the second
6538 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6539 the chord. These are described below:
6541 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6542 @headitem Chord name
6543 @tab Component intervals
6546 @item major triad @tab major third/perfect fifth
6548 @tab C, CM, Cma, Cmaj, CΔ
6549 @item minor triad @tab minor third/perfect fifth
6551 @tab Cm, Cmi, Cmin, C-
6552 @item augmented triad @tab major third/augmented fifth
6555 @item diminished triad @tab minor third/diminished fifth
6557 @tab Cm(♭5), Cº, Cdim
6560 There are various types of seventh chords depending on the quality of the
6561 original chord and the quality of the seventh added.
6563 Five common types of seventh chords have standard symbols. The chord quality
6564 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6565 and D^m7 are all identical). The last three chords are not commonly used
6573 @section quarter note
6578 @item I: semiminima, nera
6580 @item D: Viertel, Viertelnote
6582 @item DK: fjerdedelsnode
6583 @item S: fjärdedelsnot
6584 @item FI: neljäsosanuotti
6592 @section quarter rest
6595 @item UK: crotchet rest
6596 @item ES: silencio de negra
6597 @item I: pausa di semiminima
6599 @item D: Viertelpause
6601 @item DK: fjerdedelspause
6602 @item S: fjärdedelspaus
6603 @item FI: neljäsosatauko
6611 @section quarter tone
6620 FI: neljännessävelaskel.
6622 An interval equal to half a semitone.
6631 ES: cinquillo, quintillo,
6645 @section rallentando
6649 F: rallentando, en ralentissant,
6650 D: rallentando, langsamer werden,
6654 FI: rallerdando, hidastuen.
6656 [Italian: @q{slowing down}]
6658 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6666 @section relative key
6669 I: tonalità relativa,
6670 F: tonalité relative,
6672 NL: paralleltoonsoort,
6673 DK: paralleltoneart,
6675 FI: rinnakkaissävellaji.
6677 Major and minor keys that have the same key signature.
6679 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6681 es1_"e flat major" f g as bes c d es
6685 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6687 c1_"c minor" d es f g a! b! c
6692 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6700 F: barre de reprise,
6703 DK: gen@-ta@-gel@-se,
6707 @lilypond[quote,relative=2,line-width=13.0\cm]
6719 No cross-references.
6734 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6735 @c specify the rest's value.
6755 @item Metrical rhythm in which every time value is a multiple or
6756 fraction of a fixed unit of time, called @emph{beat}, and in which the
6757 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6758 The basic scheme of time values is called @emph{meter}.
6760 @item Measured rhythm which lacks regularly recurrent accent. In
6761 modern notation such music appears as a free alternation of different
6764 @item Free rhythm, i.e., the use of temporal values having no common
6765 metrical unit (beat).
6770 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6776 ES: ritardando, retardando,
6778 F: ritardando, en ralentissant,
6779 D: ritardando, langsamer werden,
6783 FI: ritardando, hidastuen,
6785 [Italian: @q{lagging}]
6787 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6788 abbreviated to @notation{rit.} or @notation{ritard}.
6797 ES: ritenuto, reteniendo,
6799 F: ritenuto, en retenant,
6804 FI: ritenuto, hidastaen.
6806 Immediate reduction of speed.
6809 No cross-references.
6822 FI: asteikko, sävelasteikko.
6825 @ref{diatonic scale}.
6829 @section scale degree
6831 ES: grado (de la escala),
6832 I: grado della scala,
6833 F: degré [de la gamme],
6835 NL: trap [van de toonladder],
6838 FI: sävelaste, asteikon sävel.
6840 Names and symbols used in harmonic analysis to denote tones of the
6841 scale as roots of chords. The most important are degrees I = tonic
6842 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6844 @lilypond[quote,notime,line-width=13.0\cm]
6846 \new Staff \relative c' {
6849 \lyrics { I II III IV V VI VII I }
6850 \lyrics { T "" "" S D }
6855 @ref{functional harmony}.
6863 F: à cordes ravallées,
6868 FI: epätavallinen viritys.
6870 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6871 tuning of stringed instruments, particularly lutes or violins. Used
6876 @item facilitate pitch combinations that would otherwise be difficult
6879 @item alter the characteristic timbre of the instrument, for example,
6880 to increase brilliance
6882 @item reinforce certain sonorities or tonalities by making them
6883 available on open strings
6885 @item imitate other instruments
6891 Tunings that could be called @var{scordatura} first appeared early in
6892 the 16th Century and became commonplace in the 17th.
6895 No cross-references.
6903 F: partition, conducteur (full score),
6904 D: Partitur (full score), Klavierauszug (vocal score),
6910 A copy of orchestral, choral, or chamber music showing what each
6911 instrument is to play, each voice to sing, having each part arranged
6912 one underneath the other on different staves @ref{staff}.
6915 No cross-references.
6930 The interval between two neighboring tones of a scale. A diatonic scale
6931 consists of alternating semitones and whole tones, hence the size of a
6932 second depends on the scale degrees in question.
6935 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6942 @item US: whole note,
6946 @item D: Ganze, ganze Note, Semibrevis,
6947 @item NL: hele noot,
6950 @item FI: kokonuotti.
6953 Note value: called @notation{whole note} in the US.
6955 The semibreve is the basis for the @notation{tactus} in mensural notation
6956 (i.e. music written before ca. 1600).
6959 @ref{mensural notation}, @ref{note value}.
6974 The interval of a minor second. The (usually) smallest interval in European
6975 composed music. The interval between two neighboring tones on the piano
6976 keyboard -- including black and white keys -- is a semitone. An octave may
6977 be divided into 12@w{ }semitones.
6979 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6980 g1 gis s a bes s b! c
6984 @ref{interval}, @ref{chromatic scale}.
7007 @ref{sextuplet}, @ref{note value}.
7052 ES: simile, similar,
7055 D: simile, gleichartig,
7061 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7062 is to be played in the same manner (i.e. with the same articulations, dynamics,
7063 etc.) as the music that precedes it.
7066 TODO: Where else could I refer the reader?
7070 @section simple meter
7072 ES: compás simple, compás de subdivisión binaria,
7079 FI: kaksijakoinen tahtiosoitus.
7081 A meter in which the basic beat is subdivided in two: that is, a meter
7082 that does not include triplet subdivision of the beat.
7085 @ref{compound meter}, @ref{meter}.
7088 @node sixteenth note
7089 @section sixteenth note
7092 @item UK: semiquaver
7093 @item ES: semicorchea
7095 @item F: double croche
7096 @item D: Sechzehntel, Sechzehntelnote
7097 @item NL: zestiende noot
7098 @item DK: sekstendedelsnode
7099 @item S: sextondelsnot
7100 @item FI: kuudestoistaosanuotti
7107 @node sixteenth rest
7108 @section sixteenth rest
7111 @item UK: semiquaver rest
7112 @item ES: silencio de semicorchea
7113 @item I: pausa di semicroma
7114 @item F: quart de soupir
7115 @item D: Sechzehntelpause
7116 @item NL: zestiende rust
7117 @item DK: sekstendedelspause
7118 @item S: sextondelspaus
7119 @item FI: kuudestoistaosatauko
7142 @node sixty-fourth note
7143 @section sixty-fourth note
7146 @item UK: hemidemisemiquaver
7148 @item I: semibiscroma
7149 @item F: quadruple croche
7150 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7151 @item NL: vierenzestigste noot
7152 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7153 @item S: sextiofjärdedelsnot
7154 @item FI: kuudeskymmenesneljäsosanuotti
7161 @node sixty-fourth rest
7162 @section sixty-fourth rest
7165 @item UK: hemidemisemiquaver rest
7166 @item ES: silencio de semifusa
7167 @item I: pausa di semibiscroma
7168 @item F: seizième de soupir
7169 @item D: Vierundsechzigstelpause
7170 @item NL: vierenzestigste rust
7171 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7172 @item S: sextiofjärdedelspaus
7173 @item FI: kuudeskymmenesneljäsosatauko
7181 @section slash repeat
7184 @ref{percent repeat}.
7190 ES: ligadura de expresión,
7191 I: legatura (di portamento o espressiva),
7193 D: Bogen (Legatobogen, Phrasierungsbogen),
7194 NL: fraseringsboog, legatoboog, streekboog,
7195 DK: legatobue, fraseringsbue,
7199 A slur above or below a group of notes indicates that they are to be
7200 played @ref{legato}, e.g., with one stroke of the violin bow or with
7201 one breath in singing.
7204 No cross-references.
7208 @section solmization
7217 FI: suhteelliset laulunimet.
7219 General term for systems of designating the degrees of the
7220 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7221 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7225 @ref{scale}, @ref{scale degree}.
7240 In its present-day meaning a sonata denotes an instrumental
7241 composition for piano or for some other instrument with piano
7242 accompaniment, which consists of three or four independent pieces,
7246 No cross-references.
7250 @section sonata form
7254 F: [en] forme de sonate,
7256 NL: hoofdvorm, sonatevorm,
7261 A form used frequently for single movements of the @emph{sonata},
7262 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7263 three sections called @notation{exposition}, @notation{development} and
7264 @notation{recapitulation}. In the exposition the composer introduces some
7265 musical ideas, consisting of a number of themes; in the development section the
7266 composer @emph{develops} this material, and in the recapitulation the composer
7267 repeats the exposition, with certain modifications. The exposition contains a
7268 number of themes that fall into two groups, often called first and second
7269 subject. Other melodies occurring in each group are considered as continuations
7270 of these two. The second theme is in another key, normally in the key of the
7271 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7272 @notation{relative key} if the tonic is @notation{minor}.
7275 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7276 @ref{symphony}, @ref{tonic}.
7296 FI: sopraano, korkea naisääni.
7298 The highest female voice.
7301 No cross-references.
7309 F: staccato, piqué, détaché,
7314 FI: staccato, lyhyesti, terävästi.
7316 Playing the note(s) short. Staccato is indicated by a dot above or
7317 below the note head.
7319 @lilypond[quote,relative=2]
7323 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7329 No cross-references.
7336 ES: pentagrama, pauta,
7337 I: pentagramma, rigo (musicale),
7339 D: Notensystem, Notenzeile,
7340 NL: (noten)balk, partij,
7345 A staff (plural: staves) is a series of (normally five) horizontal
7346 lines upon and between which the musical notes are written, thus
7347 indicating (in connection with a @ref{clef}) their pitch. Staves for
7348 @ref{percussion} instruments may have fewer lines.
7350 @lilypond[quote,relative=1]
7371 D: Hals, Notenhals, Stiel,
7377 Vertical line above or below a @ref{note head} shorter than a
7380 @lilypond[quote,notime,relative=2]
7381 \set Score.autoBeaming = ##f
7395 ES: stringendo, acelerando,
7397 F: stringendo, en accélérant,
7402 FI: kiihdyttäen, nopeuttaen.
7404 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7423 A family of stringed musical instruments played with a bow. Strings
7424 commonly used in a symphony orchestra are violin, viola, violoncello,
7428 No cross-references.
7432 @section strong beat
7437 D: betonter Taktteil oder Taktschlag,
7439 D: betonet taktslag,
7440 S: betonat taktslag,
7441 FI: tahdin vahva isku.
7444 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7448 @section subdominant
7457 FI: subdominantti, alidominantti.
7459 The fourth @notation{scale degree}.
7462 @ref{functional harmony}, @ref{scale degree}.
7477 The sixth @notation{scale degree}.
7480 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7493 FI: subtoonika, alitoonika.
7495 The seventh @ref{scale degree}.
7498 @ref{functional harmony}, @ref{scale degree}.
7504 ES: sobre la cuerda de Sol,
7507 D: auf G, auf der G-Saite,
7513 Indicates that the indicated passage (or note) should be played on the
7517 No cross-references.
7521 @section superdominant
7532 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7535 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7550 The second @ref{scale degree}.
7553 @ref{functional harmony}, @ref{scale degree}.
7562 D: Sinfonie, Symphonie,
7568 A symphony may be defined as a @emph{sonata} for orchestra.
7575 @section syncopation
7586 Any deliberate upsetting of the normal pulse of @ref{meter},
7587 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7588 rhythm rests upon the grouping of equal beats into groups of two or
7589 three, with a regularly recurrent accent on the first beat of each
7590 group. Any deviation from this scheme is felt as a disturbance or
7591 contradiction between the underlaying (normal) pulse and the actual
7594 @lilypond[quote,relative=1]
7597 e16 c'8 e,16 c'8 e,16 c' ~
7602 No cross-references.
7605 @node syntonic comma
7606 @section syntonic comma
7608 ES: coma sintónica, coma de Dídimo,
7609 I: comma sintonico (o didimico),
7610 F: comma syntonique,
7611 D: syntonisches Komma,
7612 NL: syntonische komma,
7613 DK: syntonisk komma,
7614 S: syntoniskt komma,
7615 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7616 Pytagorisessa viritysjärjestelmässä.
7618 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7619 by which the ditone exceeds the pure major third obtained by Pythagorean
7620 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7622 Modern acoustical theory defines it as the interval by which four fifths exceed
7623 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7625 This comma is also known as the comma of Didymus, or didymic comma.
7628 @ref{Pythagorean comma}
7637 D: Notensystem, Partitur,
7643 The collection of staves (@notation{staff}), two or more, as used
7644 for writing down keyboard, chamber, choral, or orchestral music;
7645 a section of the score spanning the width of a single page.
7652 @section temperament
7657 D: Stimmung, Tem@-pe@-ra@-tur,
7658 NL: stemming, temperatuur,
7661 FI: viritysjärjestelmä.
7663 Systems of tuning in which the intervals deviate from the acoustically
7667 @ref{meantone temperament}, @ref{equal temperament}.
7670 @node tempo indication
7671 @section tempo indication
7673 ES: indicación de tempo,
7674 I: indicazione di tempo,
7675 F: indication de tempo,
7676 D: Zeitmaß, Tempobezeichnung,
7677 NL: tempo aanduiding,
7682 The rate of speed of a composition or a section thereof, ranging from the
7683 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7684 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7688 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7702 FI: tenori, korkea miesääni.
7704 The highest @q{natural} male voice (apart from @notation{countertenor}).
7729 ES: subrayado (tenuto),
7738 An indication that a particular note should be held for the whole
7739 length, although this can vary depending on the composer and era.
7742 No cross-references.
7761 @node thirty-second note
7762 @section thirty-second note
7765 @item UK: demisemiquaver
7768 @item F: triple croche
7769 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7770 @item NL: twee@-endertig@-ste (32e) noot
7771 @item DK: toogtredivtedelsnode
7772 @item S: trettiotvåondelsnot
7773 @item FI: kolmaskymmeneskahdesosanuotti
7780 @node thirty-second rest
7781 @section thirty-second rest
7784 @item UK: demisemiquaver rest
7785 @item ES: silencio de fusa
7786 @item I: pausa di biscroma
7787 @item F: huitième de soupir
7788 @item D: Zweiunddreissigstel@-pause
7789 @item NL: twee@-endertig@-ste (32e) rust
7790 @item DK: toogtredivtedelspause
7791 @item S: trettiotvåondelspaus
7792 @item FI: kolmaskymmeneskahdesosatauko
7800 @section thorough bass
7809 ES: ligadura de unión (o de prolongación),
7810 I: legatura (di valore),
7811 F: liaison (de tenue),
7812 D: Haltebogen, Bindebogen,
7813 NL: overbinding, bindingsboog,
7815 S: bindebåge, överbindning,
7818 A curved line, identical in appearance with the @ref{slur}, which
7819 connects two succesive notes of the same pitch, and which has the
7820 function of uniting them into a single sound (tone) equal to the
7823 @lilypond[quote,notime,relative=2]
7835 @node time signature
7836 @section time signature
7838 ES: indicación de compás,
7840 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7841 D: Taktangabe, Angabe der Taktart,
7844 S: taktartssignatur,
7847 The sign placed at the beginning of a composition to indicate its
7848 meter. It most often takes the form of a fraction, but a few signs
7849 derived from mensural notation and proportions are also employed.
7852 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7867 A sound of definite pitch and duration, as distinct from @emph{noise}.
7868 Tone is a primary building material of music.
7870 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7873 No cross-references.
7888 The first @notation{scale degree}.
7891 @ref{functional harmony}, @ref{scale degree}.
7894 @node transposing instrument
7895 @section transposing instrument
7897 ES: instrumento transpositor,
7898 I: strumento traspositore,
7899 F: instrument transpositeur,
7900 D: transponierende Instrumente,
7904 FI: transponoitava soitin.
7906 Instruments whose notated pitch is different from their sounded pitch. Except
7907 for those whose notated and sounding pitches differ by one or more octaves (to
7908 reduce the number of ledger lines needed), most such instruments are identified
7909 by the letter name of the pitch class of their fundamental. The pitch class is
7910 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7911 the instrument plays a notated C.
7913 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7914 the B-flat one tone lower. If played on the A clarinet, the same written
7915 note sounds the A (one and half tones -- a minor third -- lower).
7917 Not all transposing instruments include the pitch class in their name:
7920 @item Alto flute (in G)
7921 @item English horn (in F)
7922 @item Saxophones (in B-flat or E-flat)
7925 @ignore Can we do better?
7927 To make matters more complex, some instruments are transposing instruments,
7928 but their players play from parts written at concert pitch. This is the
7929 case for orchestral trombone and tuba players—whereas trombone players in
7930 brass bands treat their parts as if written for a true transposing
7931 instrument in B-flat.
7936 @ref{concert pitch}.
7940 @section transposition
7942 ES: transporte, transposición,
7951 Shifting a melody up or down in pitch, while keeping the same
7954 @lilypond[quote,line-width=13.0\cm]
7959 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7964 @lilypond[quote,line-width=13.0\cm]
7967 \transpose c bes \relative c'' {
7969 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7975 No cross-references.
7979 @section treble clef
7981 ES: clave de sol en segunda,
7982 I: chiave di violino,
7984 D: Violinschlüssel, Sopranschlüssel,
8006 On stringed instruments:
8010 @item The quick reiteration of the same tone, produced by a rapid
8011 up-and-down movement of the bow.
8013 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8014 in the distance of a third (@ref{interval}).
8018 @lilypond[quote,notime,relative=1]
8020 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8021 \repeat tremolo 8 { e32_"b" g }
8033 F: triade, accord parfait, accord de trois sons,
8049 F: trille, tremblement, battement (cadence),
8061 @section triple meter
8063 ES: compás ternario,
8066 D: Dreiertakt, ungerader Takt,
8067 NL: driedelige maatsoort,
8109 @section tuning fork
8111 ES: diapasón [de horquilla],
8112 I: diapason, corista,
8118 FI: viritysavain, äänirauta.
8120 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8121 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8122 standard. Tuning forks for other pitches are available.
8131 ES: grupo de valoración especial,
8132 I: gruppi irregolari,
8135 NL: Antimetrische figuur,
8140 A non-standard subdivision of a beat or part of a beat, usually
8141 indicated with a bracket and a number indicating the number of
8145 @ref{triplet}, @ref{note value}.
8151 ES: grupeto (circular),
8174 FI: unisono, yksiäänisesti.
8176 Playing of the same notes or the same melody by various instruments
8177 (voices) or by the whole orchestra (choir), either at exactly the same
8178 pitch or in a different octave.
8181 No cross-references.
8189 F: anacrouse, levée,
8210 FI: ääni, lauluääni.
8218 @item @ref{mezzo-soprano}
8219 @item @ref{contralto}
8221 @item @ref{baritone}
8225 @item A melodic layer or part of a polyphonic composition.
8230 No cross-references.
8236 ES: vez, primera y segunda vez,
8239 D: volta-Klammer, Wiederholungsklammer,
8243 FI: yksi kertauksen maaleista.
8245 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8246 or second ending. LilyPond extends this idea to any number, and allows any text
8247 (not just a number) -- to serve as the @notation{volta} text.
8250 No cross-references.
8257 I: tempo debole, arsi,
8259 D: unbetonter Taktteil oder Taktschlag,
8261 DK: ubetonet taktslag,
8262 S: obetonat taktslag,
8263 FI: tahdin heikko isku.
8266 @ref{beat}, @ref{measure}, @ref{rhythm}.
8277 @item D: Ganze, ganze Note
8281 @item FI: kokonuotti
8292 @item UK: semibreve rest
8293 @item ES: silencio de redonda
8294 @item I: pausa di semibreve
8296 @item D: ganze Pause, ganztaktige Pause
8298 @item DK: helnodespause
8319 The interval of a major second. The interval between two tones
8320 on the piano keyboard with exactly one key between them -- including
8321 black and white keys -- is a whole tone.
8339 A family of blown wooden musical instruments. Today some of these
8340 instruments are actually made from metal. The woodwind instruments
8341 commonly used in a symphony orchestra are flute, oboe, clarinet,
8342 saxophone, and bassoon.
8345 No cross-references.
8348 @node Duration names notes and rests
8349 @chapter Duration names notes and rests
8351 @multitable @columnfractions .12 .22 .22 .22 .22
8353 @headitem Lang. @tab note name
8357 @item @strong{US} @tab long
8361 @item @strong{UK} @tab longa
8365 @item @strong{ES} @tab longa
8366 @tab silencio de longa
8368 @tab silencio de cuadrada
8369 @item @strong{IT} @tab longa
8373 @item @strong{FR} @tab longa
8374 @tab quadruple-pause
8377 @item @strong{DE} @tab Longa
8381 @item @strong{NL} @tab longa
8385 @item @strong{DK} @tab longa
8386 @tab longanodespause
8388 @tab brevis(nodes)pause
8389 @item @strong{SE} @tab longa
8393 @item @strong{FI} @tab longa-nuotti
8395 @tab brevis-nuotti, kaksoiskoko@-nuotti
8396 @tab brevis-tauko, kaksoiskoko@-tauko
8400 @multitable @columnfractions .12 .22 .22 .22 .22
8402 @headitem Lang. @tab note name
8406 @item @strong{US} @tab whole note
8410 @item @strong{UK} @tab semibreve
8414 @item @strong{ES} @tab redonda
8415 @tab silencio de redonda
8417 @tab silencio de blanca
8418 @item @strong{IT} @tab semibreve
8419 @tab pause di semibreve
8421 @tab pausa di minima
8422 @item @strong{FR} @tab ronde
8426 @item @strong{DE} @tab ganze Note
8430 @item @strong{NL} @tab hele noot
8434 @item @strong{DK} @tab helnode
8438 @item @strong{SE} @tab helnot
8442 @item @strong{FI} @tab kokonuotti
8449 @multitable @columnfractions .12 .22 .22 .22 .22
8451 @headitem Lang. @tab note name
8455 @item @strong{US} @tab quarter note
8459 @item @strong{UK} @tab crotchet
8463 @item @strong{ES} @tab negra
8464 @tab silencio de negra
8466 @tab silencio de corchea
8467 @item @strong{IT} @tab semiminima, nera
8468 @tab pausa di semiminima, pausa di nera
8471 @item @strong{FR} @tab noire
8475 @item @strong{DE} @tab Viertelnote
8479 @item @strong{NL} @tab kwartnoot
8483 @item @strong{DK} @tab fjerdedelsnode
8484 @tab fjerdedelspause
8485 @tab ottendedelsnode
8486 @tab ottendedelspause
8487 @item @strong{SE} @tab fjärdedelsnot
8491 @item @strong{FI} @tab neljäsosa@-nuotti
8492 @tab neljäsosa@-tauko
8493 @tab kahdeksasosa@-nuotti
8494 @tab kahdeksasosa@-tauko
8498 * About the French naming system: @notation{croche} refers to the note's
8499 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8500 @q{doubled hook}, @q{trebled hook}, and so on.
8502 The rest names are based on the @notation{soupir}, or quarter rest.
8503 Subsequent rests are expressed as fractions thereof: half a
8504 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8506 Each of the following tables contains one type of note and its matching rest,
8507 with abbreviations that apply to both notes and rests. Just switch the part
8508 that means @q{note} with the part that means @q{rest}, for example:
8512 @item English: 16th @strong{note}, 16th @strong{rest}
8513 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8514 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8518 Editor's note: I put a dash @q{-} when I could not find a language-specific
8519 abbreviation for a duration name. If you know of one that I missed, please
8520 send it to me, care of the lilypond-user discussion list.
8522 @multitable @columnfractions .10 .35 .35 .20
8524 @headitem Lang. @tab Note name
8527 @item @strong{US} @tab sixteenth note
8530 @item @strong{UK} @tab semiquaver
8531 @tab semiquaver rest
8533 @item @strong{ES} @tab semicorchea
8534 @tab silencio de semicorchea
8536 @item @strong{IT} @tab semicroma
8537 @tab pausa di semicroma
8539 @item @strong{FR} @tab double croche
8540 @tab quart de soupir
8542 @item @strong{DE} @tab Sechzehntelnote
8543 @tab Sechzehntelpause
8545 @item @strong{NL} @tab zes@-ti@-ende noot
8546 @tab zes@-ti@-ende rust
8548 @item @strong{DK} @tab sekstendedelsnode
8549 @tab sekstendedelspause
8551 @item @strong{SE} @tab sextondelsnot
8554 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8555 @tab kuudes@-toistaosa@-tauko
8560 @multitable @columnfractions .10 .35 .35 .20
8562 @headitem Lang. @tab Note name
8565 @item @strong{US} @tab thirty-second note
8566 @tab thirty-second rest
8568 @item @strong{UK} @tab demisemiquaver
8569 @tab demisemiquaver rest
8571 @item @strong{ES} @tab fusa
8572 @tab silencio de fusa
8574 @item @strong{IT} @tab biscroma
8575 @tab pausa di biscroma
8577 @item @strong{FR} @tab triple croche
8578 @tab huitième de soupir
8580 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8581 @tab Zweiunddreißig@-stelpause
8583 @item @strong{NL} @tab twee@-endertigste noot
8584 @tab twee@-endertigste rust
8586 @item @strong{DK} @tab toogtredivtedelsnode
8587 @tab toogtredivtedelspause
8589 @item @strong{SE} @tab trettio@-tvåondelsnot
8590 @tab trettio@-tvåondelspaus
8592 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8593 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8598 @multitable @columnfractions .10 .35 .35 .20
8600 @headitem Lang. @tab Note name
8603 @item @strong{US} @tab sixty-fourth note
8604 @tab sixty-fourth rest
8606 @item @strong{UK} @tab hemidemisemiquaver
8607 @tab hemidemisemiquaver rest
8609 @item @strong{ES} @tab semifusa
8610 @tab silencio de semifusa
8612 @item @strong{IT} @tab semibiscroma
8613 @tab pausa di semibiscroma
8615 @item @strong{FR} @tab quadruple croche
8616 @tab seizième de soupir
8618 @item @strong{DE} @tab Vierundsechzigstelnote
8619 @tab Vierundsechzigstelpause
8621 @item @strong{NL} @tab vierenzestigste noot
8622 @tab vierenzestigste rust
8624 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8625 @tab fireog@-tredsindstyven@-dedelspause
8627 @item @strong{SE} @tab sextiofjärdedelsnot
8628 @tab sextiofjärdedelspaus
8630 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8631 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8636 @multitable @columnfractions .10 .35 .35 .20
8638 @headitem Lang. @tab Note name
8641 @item @strong{US} @tab one-hundred-twenty-eighth note
8642 @tab one-hundred-twenty-eighth rest
8644 @item @strong{UK} @tab semihemidemisemiquaver
8645 @tab semihemidemisemiquaver rest
8647 @item @strong{ES} @tab garrapatea
8648 @tab silencio de garrapatea
8650 @item @strong{IT} @tab fusa
8653 @item @strong{FR} @tab quintuple croche
8654 @tab trente-deuxième de soupir @tab -
8655 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8656 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8657 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8658 @tab honderd@-acht@-en@-twintigste rust
8660 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8661 @tab hundrede@-otte@-og@-tyvendedels@-pause
8663 @item @strong{SE} @tab hundratjugoåttondelsnot
8664 @tab hundratjugoåttondelspaus
8666 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8667 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8672 @multitable @columnfractions .10 .35 .35 .20
8674 @headitem Lang. @tab Note name
8677 @item @strong{US} @tab two-hundred-fifty-sixth note
8678 @tab two-hundred-fifty-sixth rest
8680 @item @strong{UK} @tab demisemihemidemisemiquaver
8681 @tab demisemihemidemisemiquaver rest
8683 @item @strong{ES} @tab semigarrapatea
8684 @tab silencio de semigarrapatea @tab -
8685 @item @strong{IT} @tab semifusa
8686 @tab pausa di semifusa
8688 @item @strong{FR} @tab sextuple croche
8689 @tab soixante-quatrième de soupir @tab -
8690 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8691 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8692 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8693 @tab tweehonderd@-zesenvijftigste rust
8695 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8696 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8698 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8699 @tab tvåhundra@-femtiosjättedelspaus
8701 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8702 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8708 @ref{mensural notation}
8712 @chapter Pitch names
8715 -is/-es endings for Danish per Rune Zedeler, pace,
8716 and for Finnish per Risto Vääräniemi;
8717 -iss/-ess endings for Swedish per Mats Bengtsson
8718 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8720 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8721 multiple lines -- as texinfo needs it to allow enough space for the
8722 table entries. (For the curious, it's a list of the widest items in
8723 each column of the table. Romance pitch names are two characters,
8724 except for g (sol) ... so there you go.)
8727 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8728 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8729 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8730 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8731 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8732 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8733 @tab des @tab des @tab dess @tab des
8734 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8735 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8736 @tab dis @tab dis @tab diss @tab dis
8737 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8738 @tab es @tab es @tab ess @tab es
8739 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8740 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8741 @tab Fes @tab fes @tab fes @tab fess @tab fes
8742 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8743 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8744 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8745 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8746 @tab fis @tab fis @tab fiss @tab fis
8747 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8748 @tab ges @tab ges @tab gess @tab ges
8749 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8750 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8751 @tab Gis @tab gis @tab gis @tab giss @tab gis
8752 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8753 @tab as @tab as @tab ass @tab as
8754 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8755 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8756 @tab ais @tab ais @tab aiss @tab ais
8757 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8758 @tab bes @tab b @tab b @tab b
8759 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8760 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8761 @tab ces @tab ces @tab cess @tab ces
8762 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8763 @tab His @tab bis @tab his @tab hiss @tab his
8767 @node Non-Western terms A-Z
8768 @chapter Non-Western terms A-Z
8788 This is a stub for @code{bayati}.
8792 @ruser{Arabic key signatures}.
8799 This is a stub for @code{iraq}.
8803 @ruser{Arabic key signatures}.
8810 This is a stub for @code{kurd}.
8814 @ruser{Arabic key signatures}.
8821 This is a stub for @code{makam}.
8825 @ruser{Turkish classical music}.
8832 This is a stub for @code{makamlar}.
8836 @ruser{Turkish classical music}.
8843 This is a stub for @code{maqam}.
8847 @ruser{Arabic music},
8848 @ruser{Arabic key signatures}.
8855 This is a stub for @code{rast}.
8859 @ruser{Arabic key signatures}.
8866 This is a stub for @code{semai}.
8870 @ruser{Arabic key signatures}.
8877 This is a stub for @code{sikah}.
8881 @ruser{Arabic key signatures}.
8888 This is a stub for @code{taqasim}.
8892 @ruser{Arabic key signatures}.
8895 @node Literature used
8896 @appendix Literature used
8899 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8900 Cambridge: Belknap Press (Harvard University Press), 1944.
8902 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8905 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8906 Terminologie}. Kassel, 1980.
8908 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8909 Current English}, 3rd ed. London: Oxford University Press, 1974.
8911 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8912 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8914 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8915 Cambridge: Belknap Press (Harvard University Press), 1986.
8917 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.