1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (music-glossary). Glossary of music terms.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author François Pinard @c Original glossary of GNU music project,
22 @author Mats Bengtsson @c Swedish glossary
23 @author David González @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Heikki Junes @c Finnish glossary
27 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
28 @author Adrian Mariano @c Italian glossary
29 @author Han-Wen Nienhuys @c Dutch glossary
30 @author Jan Nieuwenhuizen @c Dutch glossary
32 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
33 @c Updates to the German translation by Till Rettig, 12/07
35 Copyright @copyright{} 1999--2009 by the authors
37 Permission is granted to copy, distribute and/or modify this document
38 under the terms of the GNU Free Documentation License, Version 1.1
39 or any later version published by the Free Software Foundation,
40 without Invariant Sections.
45 @c TODO: multiple omfcreators?
47 @omfcreator Christian Mondrup, Kurt Kroon
48 @omfdescription Glossary of musical terms with translations
50 @omfcategory Applications|Publishing
64 This document is also available as a
65 @uref{source/Documentation/music-glossary.pdf,PDF} and as
66 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
69 This document is also available as a
70 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
71 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
75 This glossary was brought you by:
79 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
80 @item @b{François Pinard}: Original glossary of GNU music project, French,
82 @item @b{Han-Wen Nienhuys}: Dutch,
83 @item @b{Jan Nieuwenhuizen}: Dutch,
85 @item @b{Neil Jerram}: English,
86 @item @b{Kurtis Kroon}: English,
88 @item @b{Heikki Junes}: Finnish,
90 @item @b{Bjoern Jacke}: German,
92 @item @b{Adrian Mariano}: Italian,
94 @item @b{David González}: Spanish,
96 @item @b{Mats Bengtsson}: Swedish,
100 with additional contributions: thanks to all who have contributed.
104 The list is rather long ...
110 @item Rune Zedeler, @emph{pace}
123 @item Andrew Hawryluk
125 @item Kieren MacMillan
126 @item Patrick McCarty
128 @item Carl D. Sorensen
134 @item Risto Vääräniemi
140 @item Reinhold Kainhofer
143 @item Thomas Scharkowski
158 @item Simon Dahlbacka
165 Copyright 1999--2009 by the authors
167 Permission is granted to copy, distribute and/or modify this document
168 under the terms of the GNU Free Documentation License, Version 1.1
169 or any later version published by the Free Software Foundation,
170 without Invariant Sections.
176 @c @everyheading @| @thispage @|
177 @c @evenheading @thispage @| @|
178 @c @oddheading @| @| @thispage @|
180 This is the Music Glossary (MG) for LilyPond version @version{}.
181 For more information about how this fits with the other
182 documentation, see @rweb{Manuals}.
187 @w{@expansion{}@strong{\word\}}@c
190 @expansion{}@ref{\word\, @strong{\word\}}@c
195 * Musical terms A-Z::
196 * Duration names notes and rests::
201 @node Musical terms A-Z
202 @chapter Musical terms A-Z
204 Languages in this order.
206 @item UK - British English (where it differs from American English)
235 * ancient minor scale::
240 * ascending interval::
242 * augmented interval::
279 * compound interval::
283 * conjunct movement::
298 * descending interval::
301 * diminished interval::
305 * disjunct movement::
307 * dissonant interval::
311 * dominant ninth chord::
312 * dominant seventh chord::
314 * dot (augmentation dot)::
316 * double appoggiatura::
318 * double dotted note::
321 * double time signature::
328 * ecclesiastical mode::
335 * equal temperament::
356 * functional harmony::
377 * inverted interval::
392 * long appoggiatura::
399 * meantone temperament::
406 * mensural notation::
411 * metronomic indication::
424 * multi-measure rest::
454 * polymetric time signature::
459 * Pythagorean comma::
490 * sixty-fourth note::
491 * sixty-fourth rest::
522 * thirty-second note::
523 * thirty-second rest::
530 * transposing instrument::
584 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
585 @notation{a due} indicates that:
589 @item A single part notated on a single staff that normally carries parts
590 for two players (e.g. first and second oboes) is to be played by both
593 @item Or conversely, that two pitches or parts notated on a staff that
594 normally carries a single part (e.g. first violin) are to be played by
595 different players, or groups of players (@q{desks}).
608 F: accelerando, en accélérant,
609 D: accelerando, schneller werden,
613 FI: accelerando, kiihdyttäen.
615 [Italian: @q{speed up, accelerate}]
633 FI: aksentti, korostus.
635 The stress of one tone over others.
649 @section acciaccatura
651 ES: mordente de una nota,
653 F: acciaccatura, appoggiature brève,
660 A grace note which takes its time from the rest or note preceding the
661 principal note to which it is attached. The acciaccatura is drawn as a
662 small eighth note (quaver) with a line drawn through the flag and stem.
665 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
671 ES: alteración accidental,
672 I: alterazione, accidente,
673 F: altération accidentelle,
674 D: Versetzungszeichen, Akzidenz,
675 NL: toevallig (verplaatsings)teken,
677 S: tillfälligt förtecken,
678 FI: tilapäinen etumerkki.
680 An accidental alters a note by:
684 @item Raising its pitch:
686 @item By two semitones—@notation{double sharp}
687 @item By one semitone—@notation{sharp}
690 @item Lowering its pitch:
692 @item By one semitone—@notation{flat}
693 @item By two semitones—@notation{double flat}
696 @item Or canceling the effects of the key signature or previous accidentals.
699 @lilypond[quote,notime]
703 \set Staff.extraNatural = ##f
704 gisis1 gis g! ges geses
709 \center-column { double sharp }
715 \center-column { double flat }
721 \override SpacingSpanner
722 #'base-shortest-duration = #(ly:make-moment 1 32)
729 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
742 FI: adagio, hitaasti.
744 [Italian: @q{comfortable, easy}]
748 @item Slow tempo, slower -- especially in even meter -- than
749 @notation{andante} and faster than @notation{largo}.
751 @item A movement in slow tempo, especially the second (slow) movement
752 of sonatas, symphonies, etc.
757 @ref{andante}, @ref{largo}, @ref{sonata}.
765 F: al niente, en mourant,
770 FI: häviten olemattomiin.
772 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
773 that the sound should fade away to nothing.
775 @notation{Al niente} is indicated by circling the tip of the hairpin:
777 @lilypond[quote,relative=2]
778 \override Hairpin #'circled-tip = ##t
784 or with the actual phrase @notation{al niente}:
786 @lilypond[quote,relative=2]
788 \override DynamicTextSpanner #'(bound-details right text) =
789 \markup { \italic { al niente } }
795 Since one does not crescendo @emph{to} nothing, it is not correct to use
796 @notation{al niente} with @notation{crescendo}. Instead, one should use
797 @emph{dal niente} (@notation{@b{from} nothing}).
800 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
808 F: alla breve, à la brève,
815 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
817 Also called @notation{in cut-time}. The name derives from mensural
818 notation, where the @notation{tactus} (or beat) is counted on the semibreve
819 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
820 next longest note value, which (in modern usage) effectively halves all note
823 In mensural notation, breves and semibreves can have a ternary relationship,
824 in which case @notation{alla breve} means thrice (not twice) as fast. In
825 practice, this complication may not have mattered, since Gaffurius's system
826 of multiplex proportions makes it easy to explicitly state which proportion
830 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
831 @ref{proportion}, @ref{whole note}.
839 F: allegro, gaiement,
840 D: Allegro, Schnell, Fröhlich, Lustig,
844 FI: allegro, nopeasti.
846 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
847 quick tempo, especially the first and last movements of a sonata.
860 NL: verhoging of verlaging,
865 An alteration is the modification, raising or lowering, of a note's
866 pitch. It is established by an accidental.
868 @c TODO: add second meaning from mensural notation
884 FI: altto, matala naisääni.
886 A female voice of low range (@emph{contralto}). Originally the alto was a
887 high male voice (hence the name), which by castration or the use of falsetto
888 reached the height of the natural female voice. This type of voice is also
889 known as countertenor.
898 ES: clave de do en tercera,
899 I: chiave di contralto,
900 F: clef d'ut troisième ligne,
901 D: Altschlüssel, Bratschenschlüssel,
907 C clef setting middle C on the middle line of the staff.
918 F: ambitus, tessiture,
923 FI: ambitus, ääniala, soitinala.
925 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
926 Denotes a range of pitches for a given voice in a part of music. It may
927 also denote the pitch range that a musical instrument is capable of playing.
928 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
946 An anacrusis (also known as pickup or upbeat) is an incomplete measure
947 of music before a section of music. It also refers to the initial
948 note(s) of a melody occurring in that incomplete measure.
950 @lilypond[quote,relative=1]
961 @ref{measure}, @ref{meter}.
964 @node ancient minor scale
965 @section ancient minor scale
967 ES: escala menor natural,
968 I: scala minore naturale,
969 F: forme du mode mineur ancien, troisème mode, mode hellénique,
970 D: reines Moll, natürliches Moll,
971 NL: authentieke mineurtoonladder,
974 FI: luonnollinen molliasteikko.
976 Also called @q{natural minor scale}.
978 @lilypond[quote,notime,relative=2]
984 @ref{diatonic scale}.
999 [Italian: present participle of @emph{andare}, @q{to walk}]
1001 Walking tempo/character.
1004 No cross-references.
1008 @section appoggiatura
1012 F: appoggiature, (port de voix),
1013 D: Vorschlag, Vorhalt
1017 FI: appoggiatura, etuhele.
1019 Ornamental note, usually a second, that is melodically connected with
1020 the main note following it. In music before the 19th century
1021 appoggiature were usually performed on the beat, after that mostly
1022 before the beat. While the short appoggiatura is performed as a short
1023 note regardless of the duration of the main note the duration of the
1024 long appoggiatura is proportional to that of the main note.
1026 @lilypond[quote,relative=2]
1029 <d a fis>4_"notation" r
1036 \set Score.measurePosition = #ZERO-MOMENT
1037 <d, a fis>4_"performance" r
1043 An appoggiatura may have more notes preceding the main note.
1045 @lilypond[quote,relative=2]
1048 \grace bes16 as8-"notation" as16 bes as8 g |
1049 \grace { as16[( bes] } <c as>4)
1050 \grace { as16[( bes] } <c as>4) \bar "||"
1052 \grace bes16 as8-"performance" as16 bes as8 g |
1056 as32 bes c8. as32 bes c8.
1060 as16 ~ as8. as16 ~ as8.
1066 No cross-references.
1075 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1076 NL: gebroken akoord,
1077 DK: arpeggio, akkordbrydning,
1079 FI: arpeggio, murtosointu.
1081 [Italian: @q{harp-like, played like a harp}]
1083 @lilypond[quote,line-width=13\cm]
1085 \context Staff = "SA" {
1089 r8 g16 c e g, c e r8 g,16 c e g, c e
1090 r8 a,16 d f a, d f r8 a,16 d f a, d f
1094 \context Staff = "SB" {
1100 r16 e8. ( e4) r16 e8. ( e4)
1101 r16 d8. ( d4) r16 d8. ( d4)
1115 No cross-references.
1119 @section articulation
1128 FI: artikulaatio, ilmaisu.
1130 Articulation refers to notation which indicates how a note or notes
1131 should be played. Slurs, accents, staccato, and legato are all
1132 examples of articulation.
1135 No cross-references.
1138 @node ascending interval
1139 @section ascending interval
1141 ES: intervalo ascendente,
1142 I: intervallo ascendente,
1143 F: intervalle ascendant,
1144 D: steigendes Intervall,
1145 NL: stijgend interval,
1146 DK: stigende interval,
1147 S: stigande intervall,
1148 FI: nouseva intervalli.
1150 A distance between a starting lower note and a higher ending note.
1153 No cross-references.
1156 @node augmented interval
1157 @section augmented interval
1159 ES: intervalo aumentado,
1160 I: intervallo aumentato,
1161 F: intervalle augmenté,
1162 D: übermäßiges Intervall,
1163 NL: overmatig interval,
1164 DK: forstørret interval,
1165 S: överstigande intervall,
1166 FI: ylinouseva intervalli.
1173 @section augmentation
1182 FI: aika-arvojen pidentäminen.
1184 @c TODO: add definition.
1186 This is a placeholder for augmentation (wrt mensural notation).
1189 @ref{diminution}, @ref{mensural notation}.
1197 F: manuscrit, autographe
1198 D: Autograph, Handschrift,
1200 DK: håndskrift, autograf,
1202 FI: käsinkirjoitettu nuotti.
1206 @item A manuscript written in the composer's own hand.
1208 @item Music prepared for photoreproduction by freehand drawing, with
1209 the aid of a straightedge ruler and T-square only, which attempts to
1210 emulate engraving. This required more skill than did engraving.
1215 No cross-references.
1233 @ref{H}, @ref{Pitch names}
1253 ES: barra, línea divisoria,
1254 I: stanghetta, barra (di divisione),
1255 F: barre (de mesure),
1262 A vertical line through the staff (or through multiple staves) that
1263 separates measures. Used very infrequently during the Renaissance (mostly
1264 in secular music, or in sacred music to indicate congruences between parts
1265 in otherwise-unmetered music).
1281 FI: baritoni, keskikorkuinen miesääni.
1283 The male voice intermediate in pitch between the bass and the tenor.
1285 @c F: clef de troisième ligne dropped
1288 @ref{bass}, @ref{tenor}.
1292 @section baritone clef
1294 ES: clave de fa en tercera,
1295 I: chiave di baritono,
1296 F: clef d'ut cinquième ligne, clef de fa troisième,
1297 D: Baritonschlüssel,
1303 C or F clef setting middle C on the upper staff line.
1306 @ref{C clef}, @ref{F clef}.
1319 FI: basso, matala miesääni.
1323 @item The lowest male voice.
1325 @item Sometimes, especially in jazz music, used as an abbreviation for
1337 ES: clave de fa en cuarta,
1339 F: clef de fa quatrième ligne,
1346 A clef setting with middle C on the first top ledger line.
1355 ES: barra (de corcheas),
1357 F: ligature, barre (de croches),
1364 Line connecting a series of notes (shorter than a quarter note). The
1365 number of beams determines the note value of the connected notes.
1367 @lilypond[quote,notime,relative=2,line-width=13\cm]
1368 g8-"1/8"[ g g g] s16
1369 g16-"1/16"[ g g g] s
1370 g32-"1/32"[ s g s g s g] s16
1371 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1375 @ref{feathered beam}.
1381 ES: tiempo, parte (de compás)
1384 D: Takt, Taktschlag, Zeit (im Takt),
1390 Note value used for counting, most often half-, fourth-, and eighth notes.
1391 The base counting value and the number of them in each measure is indicated
1392 at the start of the music by the @notation{time signature}.
1394 @lilypond[quote,relative=2]
1397 g4 c b a | g1 \bar "||"
1399 g8 d' c | b c a | g4. \bar "||"
1403 @ref{time signature}.
1407 @section beat repeat
1410 @ref{percent repeat}.
1423 ES: llave, corchete,
1426 D: Klammer, Akkolade,
1427 NL: accolade, teksthaak,
1430 FI: yhdistävä sulkumerkki.
1432 Symbol at the start of a system connecting staves.
1434 Curly braces are used for connecting piano staves, and sometimes for connecting
1435 the staves of like instruments in an orchestral score when written on different
1436 staves (e.g. first and second flutes):
1440 \context Staff = "SA" {
1446 \context Staff = "SB" {
1456 Angular brackets for connecting parts in an orchestral or choral score:
1460 \context Staff = "SA" {
1466 \context Staff = "SB" {
1477 No cross-references.
1484 I: parentesi quadra,
1502 NL: koper (blazers),
1505 S: brassinstrument, mässingsinstrument,
1508 A family of blown musical instruments made of brass, all using a cup
1509 formed mouth piece. The brass instruments commonly used in a symphony
1510 orchestra are trumpet, trombone, french horn, and tuba.
1513 No cross-references.
1517 @section breath mark
1522 D: Atemzeichen, Trennungszeichen,
1523 NL: repercussieteken,
1524 DK: vejrtrækningstegn,
1528 Indication of where to breathe in vocal and wind instrument parts.
1538 @item US: breve, double-whole note
1539 @item ES: cuadrada, breve
1546 @item FI: brevis, kaksoiskokonuotti
1549 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1551 Mainly used in music from before 1650. In mensural notation, it was a note
1552 of fairly short duration—hence the name, which is Latin for @q{short} or
1553 @q{of short duration}.
1555 @lilypond[quote,notime,relative=2]
1560 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1593 Clef symbol indicating the position of the middle C. Used on all note
1596 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1598 \override Staff.Clef #'full-size-change = ##t
1600 \clef mezzosoprano c1
1606 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1607 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1612 No cross-references.
1625 FI: kadenssi, lopuke.
1628 @ref{harmonic cadence}, @ref{functional harmony}.
1641 FI: kadenssi, lopuke.
1643 An extended, improvisatory style section inserted near the end of
1644 movement. The purpose of a cadenza is to give singers or players a
1645 chance to exhibit their technical skill and -- not last -- their
1646 ability to improvise. Since the middle of the 19th century, however,
1647 most cadenzas have been written down by the composer.
1650 No cross-references.
1665 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1667 The break between two musical phrases, sometimes (but not always) marked by a
1668 rest or a breath mark.
1684 FI: kaanon, tarkka jäljittely.
1700 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1701 viritysjärjestelmässä.
1703 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1704 an octave (1/100 of an equally tempered semitone).
1707 @ref{equal temperament}, @ref{semitone}.
1729 Three or more tones sounding simultaneously. In traditional European music
1730 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1731 (major + minor third) as well as @emph{minor} (minor + major third) chords
1732 may be extended with more thirds. Four-tone @emph{seventh chords} and
1733 five-tone @emph{ninth} major chords are most often used as dominants
1734 (functional harmony). Chords having no third above the lower notes to
1735 define their mood are a special case called @q{open chords}. The lack of
1736 the middle third means their quality is ambivalent -- neither major nor
1739 @lilypond[quote,notime,line-width=13.0\cm]
1743 \set Staff.extraNatural = ##f
1764 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1768 @node chromatic scale
1769 @section chromatic scale
1771 ES: escala cromática,
1773 F: gamme chromatique,
1774 D: chro@-ma@-ti@-sche Tonleiter,
1775 NL: chromatische toonladder,
1776 DK: kromatisk skala,
1778 FI: kromaattinen asteikko.
1780 A scale consisting of all 12 semitones.
1782 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1783 c1 cis d dis e f fis g gis a ais b c
1791 @section chromaticism
1802 Using tones extraneous to a diatonic scale (minor, major).
1805 @ref{diatonic scale}.
1809 @section church mode
1811 ES: modo eclesiástico,
1812 I: modo ecclesiastico,
1813 F: mode ecclésiastique, mode d'église,
1818 FI: moodi, kirkkosävellaji.
1821 @ref{diatonic scale}.
1830 D: Schlüssel, Notenschlüssel,
1834 FI: avain, nuottiavain.
1836 The clef indicates which lines of the staff correspond to which
1837 pitches. The three clef symbols in common use are:
1842 \line { The Treble or G clef: }
1844 \line { The Bass or F clef: }
1846 \line { The Alto or C clef: }
1850 \musicglyph #"clefs.G"
1852 \musicglyph #"clefs.F"
1854 \musicglyph #"clefs.C"
1859 Imagine a large staff of 11 lines centered on middle C, sometimes
1860 called a @q{grand staff}, with the bottom line representing low G and
1861 the top line high F:
1866 %-- Note names above treble staff --%
1868 \set printOctaveNames = ##t
1870 \once \override NoteName #'color = #red
1874 %-- Treble Staff --%
1876 \override Staff.Clef #'stencil = ##f
1882 %-- Alto Staff reduced to a single line on middle C --%
1884 \override Staff.StaffSymbol #'line-count = #1
1885 \override Staff.StaffSymbol #'color = #red
1886 \override Staff.Clef #'stencil = ##f
1889 \override NoteHead #'color = #red
1895 \override Staff.Clef #'stencil = ##f
1904 \override SpacingSpanner
1905 #'base-shortest-duration = #(ly:make-moment 1 1)
1906 \override NonMusicalPaperColumn
1907 #'line-break-system-details = #'((alignment-distances . (3 3)))
1908 \override BarLine #'stencil = ##f
1912 \remove "Time_signature_engraver"
1918 Staves of five lines are usually used, and the clef superimposed on them
1919 indicates which five lines have been selected from this @notation{grand
1920 staff}. For example, the treble or G clef indicates that the top five lines
1926 %-- Note names above treble staff --%
1928 \set printOctaveNames = ##t
1930 \once \override NoteName #'color = #red
1935 %-- Treble Staff --%
1937 \once \override Staff.Clef #'stencil = ##f
1940 \override Staff.Clef #'full-size-change = ##t
1941 \set Staff.forceClef = ##t
1945 %-- Alto Staff reduced to a single line on middle C --%
1947 \override Staff.StaffSymbol #'line-count = #1
1948 \override Staff.StaffSymbol #'color = #red
1949 \override Staff.Clef #'stencil = ##f
1952 \override NoteHead #'color = #red
1957 \override Staff.Clef #'stencil = ##f
1965 \override SpacingSpanner
1966 #'base-shortest-duration = #(ly:make-moment 2 1)
1967 \override NonMusicalPaperColumn
1968 #'line-break-system-details = #'((alignment-distances . (3 3)))
1969 \override BarLine #'stencil = ##f
1973 \remove "Time_signature_engraver"
1979 The @q{curl} of the G clef is centered on the line that represents the
1982 In the same way, the bass or F clef indicates that the bottom five lines
1983 have been selected from the @notation{grand staff}, and the alto or C clef
1984 indicates the middle five lines have been selected. This relationship is
1985 shown below, where the notes show an arpeggio on a C major chord.
1990 %-- Treble Staff --%
1998 \override Staff.StaffSymbol #'line-count = #1
1999 \once \override Staff.Clef #'stencil = ##f
2004 \revert Staff.StaffSymbol #'stencil
2005 \override Staff.StaffSymbol #'color = #red
2008 \stopStaff \startStaff
2009 \revert Staff.StaffSymbol #'line-count
2010 \revert Staff.StaffSymbol #'color
2011 \stopStaff \startStaff
2012 \override Staff.Clef #'full-size-change = ##t
2013 \set Staff.forceClef = ##t
2028 \override SpacingSpanner #'base-shortest-duration =
2029 #(ly:make-moment 2 1)
2030 \override NonMusicalPaperColumn
2031 #'line-break-system-details = #'((alignment-distances . (3 3)))
2032 \override BarLine #'stencil = ##f
2036 \remove "Time_signature_engraver"
2043 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2056 FI: klusteri, cluster.
2058 A @emph{cluster} is a range of simultaneously sounding pitches that
2059 may change over time. The set of available pitches to apply usually
2060 depends on the acoustic source. Thus, in piano music, a cluster
2061 typically consists of a continuous range of the semitones as provided
2062 by the piano's fixed set of a chromatic scale. In choral music, each
2063 singer of the choir typically may sing an arbitrary pitch within the
2064 cluster's range that is not bound to any diatonic, chromatic or other
2065 scale. In electronic music, a cluster (theoretically) may even cover
2066 a continuous range of pitches, thus resulting in colored noise, such
2069 Clusters can be denoted in the context of ordinary staff notation by
2070 engraving simple geometrical shapes that replace ordinary notation of
2071 notes. Ordinary notes as musical events specify starting time and
2072 duration of pitches; however, the duration of a note is expressed by
2073 the shape of the note head rather than by the horizontal graphical
2074 extent of the note symbol. In contrast, the shape of a cluster
2075 geometrically describes the development of a range of pitches
2076 (vertical extent) over time (horizontal extent). Still, the
2077 geometrical shape of a cluster covers the area in which any single
2078 pitch contained in the cluster would be notated as an ordinary note.
2080 @lilypond[quote,relative=2]
2081 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2085 No cross-references.
2098 FI: komma, korvinkuultava ero äänenkorkeudessa.
2100 Difference in pitch between a note derived from pure tuning and the
2101 same note derived from some other tuning method.
2104 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2109 @section common meter
2111 Another name for @ref{common time}.
2114 @ref{common time}, @ref{meter}.
2118 @section common time
2129 4/4 time. The symbol, which resembles a capital letter C, comes from
2133 @ref{mensural notation}, @ref{meter}.
2139 ES: intervalo invertido,
2141 F: intervalle complémentaire,
2142 D: Komplementärintervall,
2143 NL: complementair interval,
2144 DK: komplementærinterval,
2145 S: komplementärintervall (?),
2146 FI: täydentävä intervalli.
2149 @ref{inverted interval}.
2152 @node compound interval
2153 @section compound interval
2155 ES: intervalo compuesto,
2156 I: intervallo composto,
2157 F: intervalle composé,
2158 D: weites Intervall,
2159 NL: samengesteld interval,
2160 DK: sammensat interval,
2161 S: sammansatt intervall,
2162 FI: oktaavia laajempi intervalli.
2164 Intervals larger than an octave.
2170 @node compound meter
2171 @section compound meter
2173 ES: compás compuesto, compás de subdivisión ternaria,
2180 FI: kolmijakoinen tahtilaji.
2182 A meter that includes a triplet subdivision within the beat, such as
2186 @ref{meter}, @ref{simple meter}.
2190 @section compound time
2192 ES: compás compuesto, compás de amalgama (def. 2),
2199 FI: yhdistetty tahtilajiosoitus.
2204 A meter that includes a triplet subdivision within the beat: see
2205 @ref{compound meter}.
2208 A time signature that additively combines two or more unequal meters, e.g.,
2209 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2213 @lilypond[quote,line-width=13.0\cm]
2214 #(define ((compound-time one two three num) grob)
2215 (grob-interpret-markup grob
2217 #:override '(baseline-skip . 0)
2220 #:left-column (one num)
2222 #:left-column (two num)
2224 #:left-column (three num)))))
2228 #(set-time-signature 8 8 '(3 2 3))
2229 \override Staff.TimeSignature #'stencil =
2230 #(compound-time "3" "2" "3" "8")
2238 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2242 @section concert pitch
2244 ES: en Do, tono de concierto,
2245 I: intonazione reale,
2246 F: tonalité de concert, en ut,
2251 FI: konserttikorkeus.
2253 The pitch at which the piano and other nontransposing instruments play: such
2254 instruments are said to be @q{in C}. The following list includes some (but not
2255 all) instruments that play in concert pitch:
2257 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2259 @multitable {bassoon} {violoncello}
2260 @headitem Woodwinds @tab Strings
2279 @ignore This needs to be reworked.
2280 The trombones are a special case: although they are said to be @q{in F} (alto or
2281 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2282 their parts' transposition. (In fact, the trombones' parts are written at
2283 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2284 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2288 Instruments that play @q{in C} but in a different octave than what is written
2289 are, technically speaking, @emph{transposing instruments}:
2293 @item piccolo (plays an octave higher than written)
2294 @item celesta (plays an octave higher than written)
2295 @item classical guitar (plays an octave lower than written)
2296 @item double bass (plays an octave lower than written)
2301 @ref{transposing instrument}.
2304 @node conjunct movement
2305 @section conjunct movement
2307 ES: movimiento conjunto,
2309 F: mouvement conjoint,
2310 D: schritt@-weise, stufenweise Bewegung,
2311 NL: stapsgewijze, trapsgewijze beweging,
2312 DK: trinvis bevægelse,
2314 FI: asteittainen liike.
2316 Progressing melodically by intervals of a second, as contrasted with
2317 @emph{disjunct movement}.
2319 @lilypond[quote,relative=2,line-width=13.0\cm]
2322 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2326 @ref{disjunct movement}.
2339 FI: konsonanssi, sopusointi.
2362 @section copying music
2364 A music copyist did fast freehand scores and parts on preprinted staff
2365 lines for performance. Some of their conventions (e.g., the placement
2366 of note heads on stems) varied slightly from those of engravers. Some
2367 of their working methods were superior and could well be adopted by
2370 @c Copying music required more skill than engraving. Flagged for NPOV
2373 No cross-references.
2377 @section counterpoint
2386 FI: kontrapunkti, ääni ääntä vastaan.
2388 From Latin @emph{punctus contra punctum}, note against note. The
2389 combination into a single musical fabric of lines or parts which have
2390 distinct melodic significance. A frequently used polyphonic technique
2391 is imitation, in its strictest form found in the canon needing only
2392 one part to be written down while the other parts are performed with a
2393 given displacement. Imitation is also the contrapuntal technique
2394 used in the @emph{fugue} which, since the music of the baroque era,
2395 has been one of the most popular polyphonic composition methods.
2397 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2399 \context Staff = SA \relative c' {
2403 << \context Voice = rha {
2405 r1 | r2 r8 g'8 bes d, |
2406 cis4 d r8 e!16 f g8 f16 e |
2407 f8 g16 a bes8 a16 g a8
2409 \context Voice = rhb {
2415 \context Staff = SB \relative c' {
2418 << \context Voice = lha {
2420 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2421 r8 a16 g f8 g16 a bes8 g e! cis' |
2424 \context Voice = lhb {
2433 No cross-references.
2437 @section countertenor
2442 D: Countertenor, Kontratenor,
2445 S: kontratenor, counter tenor,
2458 D: Crescendo, lauter werden,
2462 FI: cresendo, voimistuen.
2464 Increasing volume. Indicated by a rightwards opening horizontal wedge
2465 (hairpin) or the abbreviation @notation{cresc.}.
2467 @lilypond[quote,relative=2]
2470 g4\< a b c | d1\! \bar "|."
2474 @ref{decrescendo}, @ref{hairpin}.
2482 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2489 Notes belonging to one part printed in another to hint when to start
2490 playing. Usually printed in a smaller type.
2493 Compare: @ref{ossia}.
2502 D: Notenzeiger, Custos,
2508 A custos (plural: custodes) is a staff symbol that appears at the end of a
2509 staff line with monophonic musical contents (i.e., with a single voice). It
2510 anticipates the pitch of the first note of the following line and thus helps
2511 the player or singer to manage line breaks during performance, which
2512 enhances the readability of a score.
2514 Custodes were frequently used in music notation until the 16th century.
2515 There were different appearences for different notation styles. Nowadays,
2516 they have survived only in special forms of musical notation such as the
2517 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2519 @lilypond[quote,ragged-right]
2522 \override Staff.Custos #'neutral-direction = #DOWN
2523 \override Staff.Custos #'style = #'hufnagel
2530 \consists "Custos_engraver"
2537 No cross-references.
2570 F: da capo, depuis le commencement,
2571 D: da capo, von Anfang,
2575 FI: da capo, alusta.
2577 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2578 the beginning to the end or to a certain place marked @emph{fine}.
2581 No cross-references.
2587 ES: dal niente, de la nada,
2594 FI: tyhjästä ilmaantuen.
2596 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2597 that the sound should gradually increase from nothing.
2608 F: dal segno, depuis le signe,
2609 D: dal segno, ab dem Zeichen,
2613 FI: dal segno, lähtien merkistä.
2615 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2616 another place frequently near the beginning marked by a sign
2619 @lilypond[quote,relative=2]
2627 \musicglyph #"scripts.segno"
2633 No cross-references.
2637 @section decrescendo
2641 D: Decrescendo, leiser werden,
2645 FI: decresendo, hiljentyen.
2647 Decreasing tone volume. Indicated by a leftwards opening horizontal
2648 wedge (hairpin) or the abbreviation @notation{decresc.}.
2650 @lilypond[quote,relative=2]
2653 d4\> c b a | g1 \! \bar "|."
2657 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2660 @node descending interval
2661 @section descending interval
2663 ES: intervalo descendente,
2664 I: intervallo discendente,
2665 F: intervalle descendant,
2666 D: fallendes Intervall, absteigendes Intervall,
2667 NL: dalend interval,
2668 DK: faldende interval,
2669 S: fallande intervall,
2670 FI: laskeva intervalli.
2672 A distance between a starting higher note and a lower ending note.
2675 No cross-references.
2678 @node diatonic scale
2679 @section diatonic scale
2681 ES: escala diatónica,
2683 F: gamme diatonique,
2684 D: diatonische Tonleiter,
2685 NL: diatonische toonladder,
2686 DK: diatonisk skala,
2688 FI: diatoninen asteikko.
2690 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2691 played on the white keys of a piano keybord are diatonic. These scales
2692 are sometimes called, somewhat inaccurately, @q{church modes}).
2694 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2695 but also to some extent in newer jazz music.
2697 @lilypond[quote,notime,relative=1]
2701 e^"~~ S" f g a b^"~~ S" c
2709 @lilypond[quote,notime,relative=1]
2713 e^"~~ S" f g a b^"~~ S" c d
2721 @lilypond[quote,notime,relative=1]
2724 e1^"~~ S" f g a b^"~~ S" c d e
2732 @lilypond[quote,notime,relative=1]
2736 b^"~~ S" c d e^"~~ S" f
2744 @lilypond[quote,notime,relative=2]
2748 b^"~~ S" c d e^"~~ S" f g
2756 @lilypond[quote,notime,relative=2]
2760 b^"~~ S" c d e^"~~ S" f g a
2768 @lilypond[quote,notime,relative=2]
2771 b1^"~~ S" c d e^"~~ S" f g a b
2779 From the beginning of the 17th century the scales used in European
2780 compositional music are primarily the major and the minor scales. In
2781 the harmonic minor scale type an augmented second (A) occurs between
2782 the 6th and 7th tone.
2784 @lilypond[quote,notime,relative=1]
2788 e^"~~ S" f g a b^"~~ S" c
2796 @lilypond[quote,notime,relative=2]
2800 b^"~~ S" c d e^"~~ S" f g a
2803 "Ancient (or Natural) minor"
2808 @lilypond[quote,notime,relative=2]
2812 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2820 @lilypond[quote,notime,relative=2]
2824 b^"~~ S" c d e fis gis^"~~ S" a
2827 "Melodic minor ascending"
2832 @lilypond[quote,notime,relative=3]
2836 g! f!^"~~ S" e d c^"~~ S" b a
2839 "Melodic minor descending"
2845 @ref{semitone}, @ref{whole tone}.
2849 @section didymic comma
2852 @ref{syntonic comma}.
2855 @node diminished interval
2856 @section diminished interval
2858 ES: intervalo disminuido,
2859 I: intervallo diminuito,
2860 F: intervalle diminué,
2861 D: vermindertes Intervall,
2862 NL: verminderd interval,
2863 DK: formindsket interval,
2864 S: förminskat intervall,
2865 FI: vähennetty intervalli.
2876 F: diminuendo, en diminuant,
2881 FI: diminuendo, hiljentyen.
2897 FI: aika-arvojen tihennys.
2899 This is a stub for diminution (@emph{wrt} mensural notation).
2902 @ref{augmentation}, @ref{mensural notation}.
2921 @node disjunct movement
2922 @section disjunct movement
2924 ES: movimiento disjunto,
2926 F: mouvement disjoint,
2927 D: sprunghafte Bewegung,
2928 NL: sprongsgewijze beweging,
2929 DK: springende bevægelse,
2930 S: hoppande rörelse,
2931 FI: melodian hyppivä liike.
2933 Progressing melodically by intervals larger than a major second, as contrasted
2934 with conjunct movement.
2936 @lilypond[quote,relative=1]
2940 a4. gis8 b a e cis |
2946 @ref{conjunct movement}.
2952 Another name for @ref{dissonant interval}.
2955 @ref{dissonant interval}, @ref{harmony}.
2958 @node dissonant interval
2959 @section dissonant interval
2961 ES: intervalo disonante, disonancia,
2962 I: intervallo dissonante, dissonanza,
2963 F: intervalle dissonant, dissonance,
2965 NL: dissonant interval, dissonant,
2966 DK: dissonerende interval, dissonans,
2968 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2986 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2987 vertical stroke through part or all of the staff that serves to
2988 structure a chant into phrases and sections. There are four types:
2992 @item @emph{divisio minima}, a short pause
2994 @item @emph{divisio maior}, a medium pause
2996 @item @emph{divisio maxima}, a long pause
2998 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2999 section in a long antiphonal or responsorial chant.
3003 TODO: musical example here?
3006 No cross-references.
3012 ES: elevación [de tono],
3021 Indicator for a indeterminately rising pitch bend. Compare with
3022 @emph{glissando}, which has determinate starting and ending pitches.
3025 @ref{fall}, @ref{glissando}.
3038 FI: dominantti, huippusointu.
3040 The fifth @emph{scale degree} in @emph{functional harmony}.
3043 @ref{functional harmony}, @ref{scale degree}.
3046 @node dominant ninth chord
3047 @section dominant ninth chord
3049 ES: acorde de novena de dominante,
3050 I: accordo di nona di dominante,
3051 F: accord de neuvième de dominante,
3052 D: Domi@-nant@-nonen@-akkord,
3053 NL: dominant noon akkoord,
3054 DK: dominantnoneakkord,
3055 S: dominantnonackord,
3056 FI: dominanttinoonisointu.
3059 @ref{chord}, @ref{functional harmony}.
3062 @node dominant seventh chord
3063 @section dominant seventh chord
3065 ES: acorde de séptima de dominante,
3066 I: accordo di settima di dominante,
3067 F: accord de septième de dominante,
3068 D: Dominantseptakkord,
3069 NL: dominant septiem akkoord,
3070 DK: dominantseptimakkord,
3071 S: dominantseptimackord,
3072 FI: dominanttiseptimisointu.
3075 @ref{chord}, @ref{functional harmony}.
3079 @section dorian mode
3084 D: dorisch, dorischer Kirchenton,
3085 NL: dorische toonladder,
3091 @ref{diatonic scale}.
3094 @node dot (augmentation dot)
3095 @section dot (augmentation dot)
3098 I: punto (di valore),
3100 D: Punkt (Verlängerungspunkt),
3107 @ref{dotted note}, @ref{note value}.
3111 @section dotted note
3113 ES: nota con puntillo,
3117 NL: gepuncteerde noot,
3120 FI: pisteellinen nuotti.
3126 @node double appoggiatura
3127 @section double appoggiatura
3129 ES: apoyatura doble,
3130 I: appoggiatura doppia,
3131 F: appoggiature double,
3132 D: doppelter Vorschlag,
3133 NL: dubbele voorslag,
3134 DK: dobbelt forslag,
3136 FI: kaksoisappogiatura, kaksoisetuhele.
3142 @node double bar line
3143 @section double bar line
3149 NL: dubbele maatstreep,
3152 FI: kaksoistahtiviiva.
3154 Indicates the end of a section within a movement.
3157 No cross-references.
3160 @node double dotted note
3161 @section double dotted note
3163 ES: nota con doble puntillo,
3164 I: nota doppiamente puntata,
3165 F: note doublement pointée,
3166 D: doppelt punktierte Note,
3167 NL: dubbelgepuncteerde noot,
3168 DK: dob@-belt@-punk@-te@-ret node,
3169 S: dub@-bel@-punk@-te@-rad not,
3170 FI: kaksoispisteellinen nuotti.
3177 @section double flat
3186 FI: kaksoisalennusmerkki.
3193 @section double sharp
3195 ES: doble sostenido,
3200 DK: dob@-belt@-kryds,
3202 FI: kaksoisylennysmerkki.
3208 @node double time signature
3209 @section double time signature
3211 ES: compás polimétrico,
3218 FI: kaksois-aika-arvomerkintä.
3221 @ref{polymetric time signature}.
3225 @section double trill
3231 NL: dubbele triller,
3236 A simultaneous trill on two notes, usually in the distance of a third.
3239 No cross-references.
3243 @section duple meter
3247 F: métrique binaire,
3248 D: in zwei, grader Takt,
3249 NL: tweedelige maatsoort,
3284 FI: kesto, aika-arvo.
3293 ES: dinámica, matices,
3296 D: Dynamik, Lautstärke,
3300 FI: äänen voimakkuusvaihtelu, dynamiikka.
3302 The aspect of music relating to degrees of loudness, or changes from
3303 one degree to another. The terms, abbreviations, and symbols used to
3304 indicate this information are called dynamic marks.
3307 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3329 @node ecclesiastical mode
3330 @section ecclesiastical mode
3333 @ref{church mode}, @ref{diatonic scale}.
3337 @section eighth note
3344 @item D: Achtel, Achtelnote
3345 @item NL: achtste noot
3346 @item DK: ottendedelsnode
3347 @item S: åttondelsnot
3348 @item FI: kahdeksasosanuotti
3356 @section eighth rest
3359 @item UK: quaver rest
3360 @item ES: silencio de corchea
3361 @item I: pausa di croma
3362 @item F: demi-soupir
3363 @item D: Achtelpause
3364 @item NL: achtste rust
3365 @item DK: ottendedelspause
3366 @item S: åttonddelspaus
3367 @item FI: kahdeksasosatauko
3377 @c TODO: add languages
3386 FI: tavujen yhdistäminen yhteen ääneen.
3388 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3389 @emph{συναλοιφην} @q{to smear together}].
3391 The singing of several syllables on a single note. Elision may be indicated
3392 by a lyric tie, which looks like (and serves the same function) as a musical
3400 @section embellishment
3412 D: Notenstich, Notendruck
3418 Engraving means incising or etching a metal plate for printing.
3419 Photoengraving means drawing music with ink in a manner similar to
3420 drafting or engineering drawing, using similar tools.
3422 The traditional process of music printing is done through cutting in a
3423 plate of metal. Now also the term for the art of music typesetting.
3426 No cross-references.
3441 Two notes, intervals, or scales are enharmonic if they have different
3442 names but equal pitch.
3444 @lilypond[quote,notime,line-width=13.0\cm]
3448 gis1 as <des g,!> <cis g!>
3452 "g sharp " "a flat " "dim fifth " "augm fourth"
3458 No cross-references.
3461 @node equal temperament
3462 @section equal temperament
3464 ES: temperamento igual,
3465 I: temperamento equabile,
3466 F: tempérament égal,
3467 D: gleichschwebende Stimmung,
3468 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3469 DK: ligesvævende temperatur,
3470 S: liksvävande temperatur,
3473 A tuning system that divides the octave into 12 equal semitones (each of
3474 which is precisely equal to 100 cents).
3477 @ref{cent}, @ref{semitone}, @ref{temperament}.
3480 @node expression mark
3481 @section expression mark
3484 I: segno d'espressione,
3485 F: signe d'expression, indication de nuance,
3487 NL: voordrachtsteken,
3488 DK: foredragsbetegnelse,
3489 S: föredragsbeteckning,
3490 FI: nyanssiosoitus, esitysmerkki.
3492 Performance indications concerning:
3496 @item volume, dynamics (for example, @notation{forte},
3497 @notation{crescendo}),
3499 @item tempo (for example, @notation{andante}, @notation{allegro}).
3504 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3508 @section extender line
3510 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3511 I: linea di estensione,
3512 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3519 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3520 extends text (without indicating the musical @emph{function} of that text).
3522 Used in many contexts, for example:
3526 @item In vocal music to indicate the syllable for a melisma. Called
3527 @q{extension} in the
3528 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3532 In figured bass to indicate that:
3536 @item The extended note should be held through a change in harmony, when applied
3537 to one figure --OR--
3538 @item The chord thus represented should be held above a moving bass line, when
3539 applied to more than one figure.
3540 @item These uses were not completely standardized, and some composers used a
3541 single extender line to indicate the latter case.
3546 In string music to indicate that all notes in the passage thus indicated should
3547 be played on the same string. On the violin, for example, a series of notes to
3548 be played on the G string would be indicated @notation{sul G}, another series to be
3549 played on the D string would be indicated @notation{sul D}, and so on.
3552 With an octave mark to indicate that a passage is to be played higher or lower
3553 by the given number of octaves.
3558 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3559 @ref{octave marking}.
3592 The position between the dots of the key symbol is the line of the F
3593 below central@w{ }C. Used on the third, fourth and fifth note line.
3594 A digit@w{ }8 above the clef symbol indicates that the notes must be
3595 played an octave higher (for example, bass recorder) while 8@w{ }below
3596 the clef symbol indicates playing an octave lower (for example, on the
3599 @lilypond[quote,notime,line-width=13.0\cm]
3602 \override Staff.Clef #'full-size-change = ##t
3625 @ref{baritone clef}, @ref{strings}.
3631 ES: caída [de tono],
3640 Indicator for a indeterminately falling pitch bend. Compare with
3641 @emph{glissando}, which has determinate starting and ending pitches.
3644 @ref{doit}, @ref{glissando}.
3647 @node feathered beam
3648 @section feathered beam
3650 ES: barra progresiva,
3652 F: ligature en soufflet, lien de croches en soufflet,
3653 D: gespreizter Balken,
3659 A type of beam used to indicate that a small group of notes should be
3660 played at an increasing or decreasing tempo -- depending on the
3661 direction of @q{feathering} -- but without changing the overall tempo
3665 Internals Reference: @ruser{Manual beams}
3671 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3675 F: point d'orgue, point d'arrêt,
3680 FI: fermaatti, pidäke.
3682 Prolonged note or rest of indefinite duration.
3684 @lilypond[quote,relative=2]
3691 No cross-references.
3711 @section figured bass
3714 I: basso continuo, basso numerato,
3715 F: basse chiffrée, basse continue,
3716 D: Generalbass, bezifferter Bass,
3717 NL: basso continuo, becijferde bas
3720 FI: kenraalibasso, numeroitu basso.
3722 Also called @q{thorough bass}.
3724 A method of indicating an accompaniment part by the bass notes only,
3725 together with figures designating the chief intervals and chords to be
3726 played above the bass notes.
3728 @lilypond[quote,line-width=13.0\cm]
3730 \new Staff = "rh" \with {
3732 \override StaffSymbol #'staff-space = #(magstep -3)
3738 \context Voice = "rha" {
3743 \context Voice = "rhb" {
3745 <bes g>8 as <as f> g <g es> f <d f> es
3750 \new Staff = "lh" \relative c' {
3753 es8 c d bes c as bes16 as g f
3757 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3763 @ref{chord}, @ref{interval}.
3778 Figures to the side or above the note that methodically indicate which
3779 fingers to use while playing a passage.
3782 No cross-references.
3789 I: coda (uncinata), bandiera,
3797 Ornament at the end of the stem of a note used for notes with values less
3798 than a quarter note. The number of flags determines the note value.
3800 @lilypond[quote,notime,relative=2]
3823 An articulation for string players that means the note or passage is to
3824 be played in harmonics.
3830 @item A duct flute similar to the recorder.
3832 @item An organ stop of flute scale at 1' or 2' pitch.
3837 @ref{articulation}, @ref{harmonics}.
3873 FI: forte, voimakkaasti.
3877 Abbreviated @notation{@b{f}}. Variants include:
3880 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3881 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3885 No cross-references.
3904 @node Frenched score
3905 @section Frenched score
3907 ES: partitura a la francesa,
3914 FI: partituuri francesan tapaan.
3916 A @q{condensed} score, produced by omitting staves for instruments that are not
3917 playing at the moment, and by moving up additional systems from following pages
3918 to take up the space thus liberated, which reduces the total number of pages
3919 used to print the work.
3921 The specific rules for @q{frenching} a score differ from publisher to publisher.
3922 If you are producing scores for eventual publication by a commercial publisher,
3923 you may wish to procure a copy of their style manual.
3926 @ref{Frenched staff}.
3929 @node Frenched staff
3930 @section Frenched staff
3932 ES: pentagrama a la francesa,
3939 FI: karsittu nuotinnus.
3941 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3942 Frenched staff has unneeded measures or sections removed. This is useful
3943 for producing, for example, an @emph{ossia} staff.
3949 @node Frenched staves
3950 @section Frenched staves
3952 Plural of @ref{Frenched staff}.
3971 @node functional harmony
3972 @section functional harmony
3974 ES: armonía funcional,
3975 I: armonia funzionale,
3976 F: étude des functions,
3978 NL: functionele harmonie,
3979 DK: funktionsanalyse, funktionsharmonik,
3981 FI: harmoniajärjestelmä.
3983 A system of harmonic analysis.
3985 It is based on the idea that, in a given key, there are only three
3986 functionally different chords: tonic (T, the chord on the first note of the
3987 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3988 chord on the fifth note). Others are considered to be variants of the base
3991 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3993 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3996 <g e c>1 <a f d> <b g e>
3997 <c a f> <d b g> <e c a> <f d b>
4001 \markup { D \translate #'(-2 . 0) | }
4007 No cross-references.
4034 D: G-Schlüssel, Violinschlüssel,
4040 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4041 second note lines. A digit 8 above the clef symbol indicates that the notes
4042 must be played an octave higher while 8 below the clef symbol indicates
4043 playing or singing an octave lower (used most frequently to notate the tenor
4044 part in modern choral scores).
4046 @lilypond[quote,notime]
4048 \override Staff.Clef #'full-size-change = ##t
4049 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4060 "french violin clef"
4068 No cross-references.
4081 FI: glissando, liukuen.
4083 Letting the pitch slide fluently from one note to the other.
4086 No cross-references.
4090 @section grace notes
4092 ES: notas de adorno,
4094 F: ornement, fioriture,
4095 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4101 Notes printed in small types to indicate that their time values are not
4102 counted in the rhythm of the bar.
4105 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4110 @section grand staff
4112 ES: sistema de piano,
4114 F: système [de portées], accolade,
4115 D: Akkolade, Klaviersystem,
4118 S: ackolad, böjd klammer,
4119 FI: kaksoisnuottiviivasto.
4121 A combination of two staves with a brace. Usually used for piano music.
4137 FI: grave, raskaasti.
4139 [Italian] Slow, solemn.
4142 No cross-references.
4166 Letter name used for @notation{B natural} in German and Scandinavian
4167 usage. In the standard usage of these countries, @notation{B} means
4171 @ref{Pitch names}, @ref{B}.
4177 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4180 @lilypond[quote,relative=2]
4187 @ref{crescendo}, @ref{decrescendo}.
4198 @item D: Halbe, halbe Note,
4199 @item NL: halve noot,
4202 @item FI: puolinuotti.
4213 @item UK: minim rest,
4214 @item ES: silencio de blanca,
4215 @item I: pausa di minima,
4216 @item F: demi-pause,
4217 @item D: halbe Pause,
4218 @item NL: halve, rust,
4219 @item DK: halvnodespause,
4221 @item FI: puolitauko.
4228 @node harmonic cadence
4229 @section harmonic cadence
4231 ES: cadencia (armónica),
4232 I: cadenza (armonica),
4233 F: cadence harmonique,
4235 NL: harmonische cadens,
4236 DK: harmonisk kadence,
4237 S: (harmonisk) kadens,
4238 FI: harmoninen kadenssi.
4240 A sequence of chords that terminates a musical phrase or section.
4244 \context Staff = "SA" \relative c'' {
4247 \partial 4 <c g e>4 |
4248 <c a f> <b g d> <c g e>2
4251 \context Staff = "SB" \relative c {
4253 \partial 4 c4 | f, g c2
4265 @ref{functional harmony}.
4271 ES: armónicos, sonidos aflautados,
4273 F: flageolet, sons harmoniques,
4278 FI: harmoniset äänet, huiluäänet.
4280 The general class of pitches produced by sounding the second or higher
4281 harmonic of a tone producer: string, column of air, and so on.
4283 On stringed instruments, these pitches sound rather flute-like; hence,
4284 their name in languages other than English. They are produced by
4285 lightly touching the string at a node for the desired mode of vibration
4286 while it is being bowed or plucked.
4288 For instruments of the violin family, there are two types of harmonics:
4289 natural harmonics, which are those played on the open string; and
4290 artificial harmonics, which are produced on stopped strings.
4293 No cross-references.
4302 D: Harmonie, Zusammenklang,
4306 FI: harmonia, yhteissointi.
4308 Tones sounding simultaneously. Two note harmonies fall into the
4309 categories @emph{consonances} and @emph{dissonances}.
4313 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4325 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4326 <g a>1_"second " s s
4327 <g f'>_"seventh " s s
4331 For harmony that uses three or more notes, see @ref{chord}.
4341 I: emiolia, (rarely hemiola or emiola),
4349 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4351 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4352 time normally occupied by two. The resulting rhythm can be expressed in modern
4353 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4354 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4355 as a special effect (or @emph{affect}) at cadences.
4357 For example, this phrase in 6/4 time
4359 @lilypond[quote,relative=1,line-width=13.0\cm]
4362 c2. e | d2 c d | c1. \bar "||"
4365 may be thought of having alternating time signatures
4367 @lilypond[quote,relative=1,line-width=13.0\cm]
4377 and is therefore a polymeter (second definition) of considerable antiquity.
4380 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4393 FI: homofonia, yksiäänisyys.
4395 Music in which one voice leads melodically supported by the other voices in
4396 the same rhythm (more or less). In contrast to @emph{polyphony}.
4419 FI: säkeiden tavumäärät.
4421 A group or list of numbers that indicate the number of syllables in a line
4422 of a hymn's verse. Different hymnals have different ways of noting the hymn
4423 meter: for example, consider a hymn that has four lines in two couplets
4424 alternating regularly between eight and seven syllables. The @emph{English
4425 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4426 or 8@w{ }7@w{ }8@w{ }7.
4428 Some frequently-used hymn meters have traditional names:
4431 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4432 @item 86.86 is called Common Meter (CM or C.M.)
4433 @item 88.88 is called Long Meter (LM or L.M.)
4436 Some hymns and their tunes are doubled versions of a simpler meter: for
4437 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4438 87.87D. The traditional names above also have doubled versions:
4441 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4442 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4443 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4447 No cross-references.
4460 FI: intervalli, kahden sävelen korkeusero.
4462 Difference in pitch between two notes. Intervals may be diminished, minor,
4463 perfect, major, or augmented. The augmented fourth and the diminished fifth
4464 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4465 and are called @emph{tritonus} because they consist of three whole tones.
4466 The addition of such two intervals forms an octave.
4468 @lilypond[quote,notime,line-width=13.0\cm]
4470 \context Voice \relative c'' {
4507 \context Lyrics \lyrics {
4509 "second " "second " "second " "second "
4510 "third " "third " "third " "third "
4511 "fourth " "fourth " "fourth "
4512 "fifth " "fifth " "fifth "
4513 "sixth " "sixth " "sixth " "sixth "
4514 "seventh" "seventh" "seventh" "seventh"
4515 "octave " "octave " "octave "
4521 @ref{enharmonic}, @ref{whole tone}.
4536 When a chord sounds with a bass note that differs from the root of the
4537 chord, it is said to be @emph{inverted}. The number of inversions that a
4538 chord can have is one fewer than the number of constituent notes. For
4539 example, triads (which have three constituent notes) can have three
4540 positions, two of which are inversions:
4544 The root note is in the bass, and above that are the third and the fifth. A
4545 triad built on the first scale degree, for example, is marked @notation{I}.
4547 @item First inversion
4548 The third is in the bass, and above it are the fifth and the root. This
4549 creates an interval of a sixth and a third above the bass note, and so is
4550 marked in figured Roman notation as @notation{6/3}. This is commonly
4551 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4552 characteristic interval of the inversion, and so always implies
4555 @item Second inversion
4556 The fifth is in the bass, and above it are the root and the third. This
4557 creates an interval of a sixth and a fourth above the bass note, and so is
4558 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4559 unstable chord position.
4563 No cross-references.
4566 @node inverted interval
4567 @section inverted interval
4569 ES: intervalo invertido,
4570 I: intervallo rivolto,
4571 F: intervalle renversé,
4572 D: umgekehrtes Intervall,
4573 NL: interval inversie,
4574 DK: omvendingsinterval,
4575 S: intervallets omvändning,
4576 FI: käänteisintervalli.
4578 The difference between an interval and an octave.
4580 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4581 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4582 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4583 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4587 No cross-references.
4590 @node just intonation
4591 @section just intonation
4593 ES: entonación justa,
4594 I: intonazione giusta,
4595 F: intonation juste,
4602 Tuning system in which the notes are obtained by adding and subtracting
4603 natural fifths and thirds.
4621 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4622 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4625 @ref{chromatic scale}, @ref{key signature}.
4629 @section key signature
4631 ES: armadura (de la clave),
4632 I: armatura di chiave,
4633 F: armure, armature [de la clé],
4634 D: Vorzeichen, Tonart,
4635 NL: toon@-soort (voortekens),
4638 FI: sävellajiosoitus.
4640 The sharps or flats appearing at the beginning of each staff indicating the
4647 @node laissez vibrer
4648 @section laissez vibrer
4659 [French: @q{Let vibrate}] Most frequently associated with harp
4660 parts. Marked @notation{l.v.} in the score.
4663 No cross-references.
4671 F: largo, large, ample,
4672 D: Largo, Langsam, Breit,
4676 FI: largo, hitaasti, leveästi.
4678 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4679 expressiveness. @emph{Larghetto} is less slow than largo.
4683 @section leading note
4694 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4695 called because of its strong tendency to @q{lead up} (resolve upwards)
4696 to the tonic scale degree.
4699 @ref{scale degree}, @ref{semitone}.
4703 @section ledger line
4705 ES: línea adicional,
4706 I: tagli addizionali,
4707 F: ligne supplémentaire,
4714 A ledger line is an extension of the staff.
4716 @lilypond[quote,notime,relative=2]
4723 No cross-references.
4732 D: legato, gebunden,
4738 To be performed (a) without any perceptible interruption between the
4739 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4740 @notation{portato}, or (d) @notation{staccato}.
4742 @lilypond[quote,notime,line-width=13.0\cm]
4744 \context Staff \relative c'' {
4745 c4-( d e-) \bar "||"
4746 c4-- d-- e-- \bar "||"
4747 c4-.-( d-. e-.-) \bar "||"
4748 c4-. d-. e-. \bar "||"
4764 @section legato curve
4767 @ref{slur}, @ref{legato}.
4789 A ligature is a coherent graphical symbol that represents at least two
4790 distinct notes. Ligatures originally appeared in the manuscripts of
4791 Gregorian chant notation around the 9th century to denote ascending or
4792 descending sequences of notes. In early notation, ligatures were used for
4793 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4794 performance in the sense of articulation. With the invention of the metric
4795 system of the white mensural notation, the need for ligatures to denote such
4796 patterns disappeared.
4799 @ref{mensural notation}.
4806 ES: estanque de nenúfares,
4807 I: stagno del giglio,
4808 F: étang de nénuphars, étang de nymphéas,
4810 NL: le@-lie@-vij@-ver,
4815 A pond with lilies floating in it.
4817 Also, the name of a music typesetting program.
4820 No cross-references.
4829 D: Linie, Notenlinie,
4833 FI: viiva, nuottiviiva.
4849 FI: kirjoitetussa äänenkorkeudessa.
4851 [Italian: @q{place}] Instruction to play the following passage at the
4852 written pitch. Cancels octave mark (q.v.).
4855 @ref{octave mark}, @ref{octave marking}.
4858 @node long appoggiatura
4859 @section long appoggiatura
4861 ES: apoyatura larga,
4862 I: appoggiatura lunga,
4863 F: appoggiature longue,
4868 FI: pitkä appoggiatura, pitkä etuhele.
4878 @item US: long, longa,
4881 @item F: longa, longue,
4889 Note value: twice the length of a @notation{breve}.
4891 @lilypond[quote,notime,relative=2]
4892 \override NoteHead #'style = #'mensural
4897 @ref{breve}, @ref{note value}.
4903 ES: ligadura de letra,
4905 F: ligature de mots,
4910 FI: sidonta sanoituksessa.
4912 @c TODO: add languages
4921 ES: letra (de la canción),
4924 D: Liedtext, Gesangtext,
4933 No cross-references.
4949 @ref{diatonic scale}.
4952 @node major interval
4953 @section major interval
4955 ES: intervalo mayor,
4956 I: intervallo maggiore,
4957 F: intervalle majeur,
4958 D: großes Intervall,
4962 FI: suuri intervalli.
4980 Note value: twice the length of a @notation{longa}.
4982 The maxima is the largest duration in use during the 15th and 16th centuries.
4983 Like the longa, the maxima can be either two or three times as long as the
4984 @notation{longa} (called @notation{binary} and @notation{ternary},
4985 respectively). By the late 15th century, most composers used the smaller
4986 proportion by default.
4989 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4992 @node meantone temperament
4993 @section meantone temperament
4995 ES: afinación mesotónica,
4996 I: accordatura mesotonica,
4997 F: tempérament mésotonique,
4998 D: mitteltönige Stimmung,
4999 NL: middenstemming, middentoonstemming,
5000 DK: middeltonetemperatur,
5001 S: medeltonstemperatur,
5002 FI: keskisävelviritys.
5004 Temperament yielding acoustically pure thirds by decreasing the natural
5005 fifth by 16@w{ }cents. Due to the non-circular character of this
5006 temperament only a limited set of keys are playable. Used for tuning
5007 keyboard instruments for performance of pre-1650 music.
5010 @ref{cent}, @ref{temperament}.
5025 A group of beats (units of musical time) the first of which bears an accent.
5026 Such groups in numbers of two or more recur consistently throughout the
5027 composition and are separated from each other by bar lines.
5030 @ref{bar line}, @ref{beat}, @ref{meter}.
5033 @node measure repeat
5034 @section measure repeat
5037 @ref{percent repeat}.
5044 I: mediante, modale,
5054 @item The third @b{scale degree}.
5056 @item A @emph{chord} having its base tone a third from that of another
5057 chord. For example, the tonic chord may be replaced by its lower
5058 mediant (variant tonic).
5063 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5076 FI: melisma, laulettavan tavun sävelkuvio.
5078 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5079 on one syllable, especially as applied to liturgical chant.
5082 No cross-references.
5086 @section melisma line
5088 @c TODO: add languages
5090 ES: línea de melisma,
5091 I: linea del melisma,
5092 F: trait de mélisme, trait de tenue,
5100 @ref{extender line}.
5103 @node melodic cadence
5104 @section melodic cadence
5110 @node mensural notation
5111 @section mensural notation
5113 @c TODO: add languages
5115 ES: notación mensural,
5116 I: notazione mensurale,
5117 F: notation mensurale,
5122 FI: mensuraalinuotinnus.
5124 A system of duration notation whose principles were first established in the
5125 mid-13th century, and that (with various changes) remained in use until about
5126 1600. As such, it is the basis for the notation of rhythms in Western musical
5129 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5130 of the notation's principles, so the notation of this earliest period is called
5131 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5132 and semibreve -- each of which was normally equivalent to three of the next
5135 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5136 added several note values (the minim, semiminim and fusa) and extended Franco's
5137 principles to govern the relationship between these values. They also put the
5138 duple division of note values on an equal footing with the earlier (preferred)
5141 TODO: continue description of French and Italian black notation, and the
5142 relationship betwixt them.
5144 @b{White or void mensural notation}
5146 In the 15th century, hollow (or void) notes began to substitute for the earlier
5147 solid black ones, which were then free to assume the function of red (or
5148 colored) notes in the earlier notation. ...
5150 TODO: add to definition (including summary info on proportional notation)
5153 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5154 @c TODO: more cross-references?
5157 @node mensuration sign
5158 @section mensuration sign
5160 @c TODO: add languages
5162 ES: signo de mensuración,
5164 F: signe de mensuration,
5171 The ancestor of the time signature, mensuration signs were used to indicate the
5172 relationship between two sets of note durations—specifically, the ratio of
5173 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5174 (called @notation{prolatio}).
5176 Each ratio was represented with a single single sign, and was either
5177 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5178 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5179 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5180 represented by a complete circle; applied to the @emph{prolatio}, it was called
5181 @emph{major} and was represented by a dot in the middle of the sign. The binary
5182 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5183 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5184 @emph{minor} and was represented by the lack of an internal dot. There are four
5185 possible combinations, which can be represented in modern time signatures with
5186 and without reduction of note values. (These signs are hard-coded in LilyPond
5190 @item perfect @emph{tempus} with major @emph{prolatio}
5191 Indicated by a complete circle with an internal dot. In modern time signatures,
5194 @item 9/4, with reduction or
5195 @item 9/2, without reduction
5198 @item perfect @emph{tempus} and minor @emph{prolatio}
5199 Indicated by a complete circle without an internal dot. In modern time
5200 signatures, this equals:
5202 @item 3/2, with reduction or
5203 @item 3/1, without reduction
5206 @item imperfect @emph{tempus} and major @emph{prolatio}
5207 Indicated by an incomplete circle with an internal dot. In modern time
5208 signatures, this equals:
5210 @item 6/4, with reduction or
5211 @item 6/2, without reduction
5214 @item imperfect @emph{tempus} and minor @emph{prolatio}
5215 Indicated by an incomplete circle without an internal dot. In modern time
5216 signatures, this equals:
5218 @item 4/4, with reduction or
5219 @item 2/1, without reduction
5223 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5224 with note values reduced from the original semibreve to a modern quarter note.
5225 Being doubly imperfect, this sign represented the (theoretically)
5226 least-preferred mensuration, but it was actually used fairly often.
5228 This system extended to the ratio of longer note values to each other:
5232 @item maxima to longa, called:
5236 @item @notation{modus maximorum},
5237 @item @notation{modus major}, or
5238 @item @notation{maximodus})
5242 @item longa to breve, called:
5246 @item @notation{modus longarum},
5247 @item @notation{modus minor}, or
5248 @item @notation{modus}
5254 In the absence of any other indication, these modes were assumed to be
5255 binary. The mensuration signs only indicated tempus and prolatio, so
5256 composers needed another way to indicate these longer ratios (called modes.
5257 Around the middle of the 15th century started to use groups of rests at the
5258 beginning of the staff, preceding the mensuration sign.
5261 Two mensuration signs have survived to the present day: the C-shaped sign,
5262 which originally designated @notation{tempus imperfectum} and
5263 @notation{prolatio minor} now stands for @notation{common time}; and the
5264 slashed C, which designated the same with @notation{diminution} now stands
5265 for @notation{cut-time} (essentially, it has not lost its original meaning).
5268 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5269 @c TODO: more cross-references?
5277 F: indication de mesure, mesure,
5284 The pattern of note values and accents in a composition or a section thereof.
5285 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5286 by grouping beats and by subdividing the primary beat.
5288 @b{By grouping beats}:
5292 @item @b{duple}: groups of two.
5293 @item @b{triple}: groups of three.
5294 @item @b{quadruple}: groups of four. A special case of duple meter.
5295 @item @b{quintuple}: groups of five beats.
5296 @item @b{sextuple} meter: groups of six. A special case of:
5300 @item duple meter, subdivided in three; or
5301 @item triple meter, subdivided in two.
5305 @item @b{septuple} meter: groups of seven.
5310 Other than triple meter and its subdivided variants (see below), meters that
5311 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5312 frequently used prior to the 20th Century.
5314 @b{By subdividing the primary beat}:
5318 @item simple: subdivided in groups of two.
5322 @item duple: 2/2, 2/4, 2/8
5323 @item triple: 3/2, 3/4, 3/8
5324 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5328 @item compound: subdivided in groups of three.
5334 @item quadruple: 12/8
5340 Time signatures are placed at the beginning of a composition (or section) to
5341 indicate the meter. For instance, a piece written in simple triple meter with a
5342 beat on each quarter note is conventionally written with a time signature of
5343 3/4. Here are some combinations of the two classifications above:
5345 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5347 @lilypond[quote,line-width=13.0\cm]
5351 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5354 Simple triple meter:
5356 @lilypond[quote,line-width=13.0\cm]
5360 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5363 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5365 @lilypond[quote,line-width=13.0\cm]
5369 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5372 Simple quintuple meter (B. Marcello, 1686-1739):
5374 @lilypond[quote,line-width=13.0\cm]
5378 r4 cis8 bis ais4 dis c8 ais |
5379 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5382 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5383 the source, with sharps in the accompaniment where the voice has flats and
5386 Compound duple meter (unknown):
5388 @lilypond[quote,line-width=13.0\cm]
5392 f8 f g a bes16 a g f |
5393 g8 g bes a c16 a bes g
5397 Compound triple meter (J.S. Bach, 1685-1750):
5399 @lilypond[quote,line-width=13.0\cm]
5403 r8 g'( a) b( d c) c( e d) |
5404 d( g fis) g( d b) g( a b)
5408 Compound quadruple meter (P. Yon, 1886-1943):
5410 @lilypond[quote,line-width=13.0\cm]
5414 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5415 e4 e8 fis( gis) a b4.~ b4 b8
5420 @b{@q{Monometer} vs Polymeter}
5422 TODO: add information from discussion on lilypond-user related to polymeter.
5426 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5441 Device used to indicate the exact tempo of a piece.
5443 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5444 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5445 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5446 followed acknowledged Winkler as the creator, but by then Mälzel had already
5447 sold many of them, and people had taken to calling it a Mälzel Metronome.
5450 @ref{metronome mark}.
5453 @node metronome mark
5454 @section metronome mark
5456 ES: indicación metronómica,
5457 I: indicazione metronomica,
5458 F: indication métronomique,
5460 NL: metronoom aanduiding,
5462 S: metronomangivelse,
5463 FI: metronomiosoitus.
5465 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5466 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5473 @node metronomic indication
5474 @section metronomic indication
5477 @ref{metronome mark}
5490 FI: kohtalaisen, melko.
5492 [Italian: @q{medium}]
5494 Used to qualify other indications, such as:
5500 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5502 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5508 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5515 No cross-references.
5519 @section mezzo-soprano
5530 The female voice between soprano and contralto.
5533 @ref{soprano}, @ref{contralto}.
5542 D: eingestrichenes@w{ }c,
5544 DK: enstreget@w{ }c,
5545 S: ettstruket@w{ }c,
5548 First C below the 440 Hz A.
5550 @lilypond[quote,notime,relative=1]
5551 \override Staff.Clef #'full-size-change = ##t
5558 No cross-references.
5574 @ref{diatonic scale}.
5577 @node minor interval
5578 @section minor interval
5580 ES: intervalo menor,
5581 I: intervallo minore,
5582 F: intervalle mineur,
5583 D: kleines Intervall,
5587 FI: pieni intervalli.
5593 @node mixolydian mode
5594 @section mixolydian mode
5597 @ref{diatonic scale}.
5606 D: Kirchentonart, Modus,
5610 FI: moodi, kirkkosävelasteikko.
5613 @ref{church mode}, @ref{diatonic scale}.
5626 FI: modulaatio, sävellajin vaihdos.
5628 Moving from one @ref{key} to another. For example, the second subject
5629 of a @ref{sonata form} movement modulates to the dominant key if the
5630 key is major and to the @ref{relative key} if the key is minor.
5633 No cross-references.
5645 FI: mordent, korukuvio.
5668 FI: teema, sävelaihe.
5670 The briefest intelligible and self-contained fragment of a musical
5673 @lilypond[quote,line-width=13.0\cm]
5676 \set Score.implicitTimeSignatureVisibility = #all-invisible
5677 \override Score.TimeSignature #'break-visibility = #all-invisible
5680 \partial 8 g16\startGroup fis |
5681 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5682 g8 g,16 a b8 cis d16 s
5686 \Staff \consists "Horizontal_bracket_engraver"
5692 No cross-references.
5707 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5708 several -- more or less -- independent pieces called movements.
5711 No cross-references.
5714 @node multi-measure rest
5715 @section multi-measure rest
5717 ES: compases de espera, silencio multicompás,
5719 F: pause multiple, mesure à compter,
5721 D: mehrtaktige Pause, Kirchenpause,
5724 FI: usean tahdin mittainen tauko.
5726 Multi-measure rests are conventionally typeset with a combination of
5727 longa, breve and whole rests for shorter and a long horizontal bar for
5728 longer spans of rest, with a number above to indicate the duration (in
5729 measures) of the rest. The former style is called @q{Kirchenpausen} in
5730 German, as a reminiscence of its use in Renaissance vocal polyphony.
5732 @lilypond[quote,relative=2]
5734 \set Score.skipBars = ##t
5737 \set Score.skipBars = ##t
5743 @ref{longa}, @ref{breve}.
5752 D: Auflösungszeichen,
5753 NL: herstellingsteken,
5754 DK: op@-løsningstegn,
5755 S: återställningstecken,
5762 @node neighbor tones
5763 @section neighbor tones
5765 @c TODO: add definition.
5777 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5816 Notes are signs by means of which music is fixed in writing. The term is also
5817 used for the sound indicated by a note, and even for the key of the piano
5818 which produces the sound. However, a clear distinction between the terms tone
5819 and @ref{note} is strongly recommended. Briefly, one sees a note,
5823 No cross-references.
5830 I: testa, testina, capocchia,
5838 A head-like sign which indicates pitch by its position on a @notation{staff}
5839 provided with a @notation{clef}, and duration by a variety of shapes such as
5840 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5841 For percussion instruments (often having no defined pitch) the note head may
5842 indicate the instrument.
5845 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5858 ES: valor, duración,
5860 F: durée, valeur (d'une note),
5865 FI: nuotin aika-arvo.
5867 Note values (durations) are measured as fractions—in modern usage, one-half—of
5868 the next higher note value. The longest duration in current use is the
5869 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5870 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5871 or @notation{maxima} (eight whole notes) may be found.
5873 As used in mensural notation, this fraction was more flexible: it could also
5874 be one-third the higher note value. Composers indicated which proportions
5875 to use with various signs—two of which survive to the present day: the
5876 C-shaped sign for @notation{common time}, and the slashed C for
5877 @notation{alla breve} or @notation{cut-time}.
5879 @c TODO -- add maxima to this example, in a way that doesn't break it.
5881 @lilypond[quote,notime,line-width=13.0\cm]
5883 \override NoteHead #'style = #'mensural
5884 a\longa_"longa" a\breve_"breve"
5885 \revert NoteHead #'style
5886 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5887 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5890 @c TODO -- add maxima rest to this example
5892 @lilypond[quote,notime,line-width=13.0\cm]
5894 r\longa_"longa" r\breve_"breve"
5895 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5896 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5899 An augmentation dot after a note increases its duration by half; a second dot
5900 increases it by half of the first addition (that is, by a fourth of the original
5901 duration). More dots can be used to add further halved fractions of the
5902 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5904 @lilypond[quote,line-width=13.0\cm]
5907 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5908 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5911 Alternatively note values may be subdivided by other ratios. Most common is
5912 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5913 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5914 dotted notes are also frequently used.
5916 @lilypond[quote,line-width=13.0\cm]
5919 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5920 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5924 @lilypond[quote,line-width=13.0\cm]
5927 \times 3/2 {g4_"duplets" g} |
5929 \times 6/4 {g8_"quadruplets" g g g} |
5930 g8 g g g g4 \bar "||"
5942 @ref{octave marking}.
5957 The interval of an octave, sometimes abbreviated @notation{8ve}.
5959 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5960 bracket, or @notation{loco} see octave marking.
5963 @ref{interval}, @ref{octave marking}.
5967 @section octave mark
5969 ES: indicación de octava,
5971 F: indication d'octave,
5978 The phrase, abbreviation, or other mark used (with or without an extender line
5979 or bracket) to indicate that the music is to be played in a different octave:
5983 @item @notation{15ma}: play two octaves higher
5984 @item @notation{8va}: play one octave higher
5985 @item @notation{8vb}: play one octave lower
5986 @item @notation{8va} (written below the passage): unusual, same as
5988 @item @notation{15vb}: play two octaves lower
5989 @item @notation{15va} (written below the passage): unusual, same as
5994 For longer passages, it may be more practical to mark the octave change at the
5995 beginning with a phrase (see the list below for examples), but without a bracket
5996 or extender line. Then, when the music returns to the written pitch, the octave
5997 change is cancelled with the word @notation{loco} (q.v.).
5999 To parallel the list above:
6003 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6004 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6005 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6006 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6010 In the phrases above, @notation{quindicesima} is sometimes replaced with
6011 @notation{quindecima}, which is Latin.
6013 The music on an entire staff can be marked to be played in a different octave by
6014 putting a small 8 or 15 above or below the clef at the beginning. This octave
6015 mark can be applied to any clef, but it is most frequently used with the G and F
6019 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6022 @node octave marking
6023 @section octave marking
6032 FI: oktaavamerkintä.
6034 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6035 that it is to be played in a different octave. If applied to the clef at the
6036 beginning of the staff, all music on that staff is to played at the indicated
6039 For a list of the specific marks used, see @ref{octave mark}.
6042 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6046 @section octave sign
6056 I: abbellimento, fioriture,
6057 F: agrément, ornement,
6058 D: Verzierung, Ornament,
6064 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6065 with the diatonic @ref{second} above it. In the music from the
6066 middle of the 19th century and onwards the trill is performed with the main
6067 note first while in the music from the preceding baroque and classic periods
6068 the upper note is played first.
6070 @lilypond[quote,line-width=13.0\cm]
6072 \context Staff = sa {
6074 c2._"pre-1850" b4\trill | c1 \bar "||"
6075 c2._"post-1850" b4\trill | c1 \bar "||"
6079 c2. c32 b c b c b c b | c1
6080 c2. b32 c b c \times 4/5 { b c b c b } | c1
6085 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6086 the @emph{prall} (inverted mordent).
6088 @lilypond[quote,line-width=13.0\cm]
6090 \context Staff = sa {
6092 a4_"turn" b\turn c2 \bar "||"
6093 g4_"mordent" a b\mordent a \bar "||"
6094 e'4_"prall" d\prall c2 \bar "||"
6100 e'4 e32[ d e d ~ d8] c2
6106 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6114 F: ossia, alternative,
6119 FI: ossia, vaihtoehtoinen esitystapa.
6121 Ossia (otherwise) marks an alternative. It is an added staff or piano
6122 score, usually only a few measures long, which presents another version
6123 of the music, for example for small hands.
6126 Compare: @ref{cue-notes}.
6132 ES: parte, particella,
6139 FI: stemma, instrumenttiosuus.
6143 @item In instrumental or choral music, the music for a single
6144 instrument or voice.
6146 @item in contrapuntal music, a single melodic line in the contrapuntal
6169 @node percent repeat
6170 @section percent repeat
6172 LilyPond-specific term to indicate the repetition of a musical expression on a
6173 single staff, as opposed to the more usual definition of repeat, which affects
6174 all parts. The musical expression can be anything from a single note or note
6175 pattern to one or more measures. There are other names for this symbol:
6180 @item slash mark, or slash repeat
6182 @item measure (or multi-measure) repeat
6186 @lilypond[quote,relative=2,line-width=13.0\cm]
6188 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6189 \repeat percent 2 { c4 e g b_"Measure repeat" }
6190 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6195 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6196 Vermont Music Dictionary}.
6205 D: Schlagzeug, Schlagwerk,
6211 A family of musical instruments which are played on by striking or
6212 shaking. Percussion instruments commonly used in a symphony orchestra are
6213 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6214 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6218 No cross-references.
6221 @node perfect interval
6222 @section perfect interval
6224 ES: intervalo justo,
6225 I: intervallo giusto,
6226 F: intervalle juste,
6227 D: reines Intervall,
6231 FI: puhdas intervalli.
6249 A natural division of the melodic line, comparable to a sentence of speech.
6265 FI: fraseeraus, jäsentäminen.
6267 The clear rendering in musical performance of the @notation{phrases} of the
6268 melody. Phrasing may be indicated by a @notation{slur}.
6271 @ref{phrase}, @ref{slur}.
6286 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6287 @emph{mezzo piano} (@b{mp}) medium soft.
6290 No cross-references.
6298 F: anacrouse, levée,
6323 @item The perceived quality of a sound that is primarily a function of its
6324 fundamental frequency.
6326 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6328 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6329 association of a particular frequency with a particular pitch name, e.g., c' =
6345 NL: pizzicato, getokkeld,
6348 FI: pizzicato, näppäillen.
6350 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6354 No cross-references.
6360 ES: compás polimétrico,
6367 FI: monia tahtiosoituksia sisältävä.
6371 @item The @emph{simultaneous} use of two or more meters, in two or more
6374 @item The @emph{successive} use of different meters in one or more parts.
6379 @ref{polymetric} (adj.)
6392 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6394 Characterized by @emph{polymeter}: using two or more metric frameworks
6395 simultaneously or in alternation.
6398 @ref{polymeter} (noun)
6401 @node polymetric time signature
6402 @section polymetric time signature
6404 ES: indicación de compás polimétrico,
6405 I: tempo polimetrico,
6411 FI: vaihtelevan tahtiosoitusmerkintä.
6413 A time signature that indicates regularly alternating polymetric time.
6425 D: Polyphonie, Mehrstimmigkeit,
6429 FI: polyfonia, moniäänisyys.
6431 Music written in a combination of several simultaneous voices (parts)
6432 of a more or less pronounced individuality.
6441 [Italian: past participle of @emph{portare}, @q{to carry}]
6443 A stroke in which each of several notes is separated slightly within a slur,
6444 without changing the bow's direction. It is used for passages of a
6445 @notation{cantabile} character.
6454 ES: presto, muy rápido,
6456 F: presto, très rapide, enlevé,
6457 D: Presto, Sehr schnell,
6458 NL: presto, Sehr schnell,
6461 FI: presto, hyvin nopeasti.
6465 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6466 denotes the highest possible degree of speed.
6469 No cross-references.
6484 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6485 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6490 @item A ratio that expresses the relationship between the note values that
6491 follow with those that precede;
6493 @item A ratio between the note values of a passage and the @q{normal}
6494 relationship of note values to the metrical pulse. (A special case of the
6499 The most common proportions are:
6502 @item 2:1 (or simply 2), expressed by a vertical line through the
6503 mensuration sign (the origin of the @notation{alla breve} time signature),
6504 or by turning the sign backwards
6505 @item 3:1 (or simply 3)
6506 @item 3:2 (@emph{sesquialtera})
6509 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6512 @item 1:2 cancels 2:1
6513 @item 1:3 cancels 3:1
6514 @item 2:3 cancels 3:2
6518 Gaffurius enumerates five basic types of major:minor proportions and their
6522 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6523 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6525 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6526 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6527 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6529 @item Superpartiens, if the major number is one less than twice the minor
6530 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6532 @item Multiplexsuperparticular, if the major number is one more than twice the
6533 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6536 @item Multiplexsuperpartiens, if the major number is one less than some other
6537 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6538 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6542 He then continues to subdivide each type in various ways. For the multiplex
6543 proportions, for example, he indicates how many times greater the major number
6548 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6549 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6551 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6554 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6555 Example: 4:1, 8:2, and 12:3
6559 Other proportions were possible, but whether they were frequently used is
6564 @item 33:9, @emph{triplasuperbipartientetertias}
6565 @item 51:15, @emph{triplasuperbipartientequintas}
6569 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6572 @ref{mensural notation}.
6575 @node Pythagorean comma
6576 @section Pythagorean comma
6578 ES: coma pitagórica,
6579 I: comma pitagorico,
6580 F: comma pythagoricien,
6581 D: Pythagoräisches Komma,
6582 NL: komma van Pythagoras,
6583 DK: pythagoræisk komma,
6584 S: pytagoreiskt komma,
6585 FI: pytagorinen komma.
6587 Originally, the interval by which the sum of six whole tones exceeds the octave
6588 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6590 Modern acoustical theory defines it as the interval by which twelve fifths
6591 exceed seven octaves. To put it another way: A sequence of fifths that starts
6592 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6593 than the C obtained by adding 7 octaves. The difference between those two
6594 pitches is the Pythagorean comma.
6597 @ref{cent}, @ref{temperament}.
6619 ES: variante [de acorde o intervalo],
6628 The quality of a triad is determined by the precise arrangement of its
6629 intervals. Tertian triads can be described as a series of three notes. The
6630 first element is the root note (or simply @q{root}) of the chord, the second
6631 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6632 the chord. These are described below:
6634 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6635 @headitem Chord name
6636 @tab Component intervals
6639 @item major triad @tab major third/perfect fifth
6641 @tab C, CM, Cma, Cmaj, CΔ
6642 @item minor triad @tab minor third/perfect fifth
6644 @tab Cm, Cmi, Cmin, C-
6645 @item augmented triad @tab major third/augmented fifth
6648 @item diminished triad @tab minor third/diminished fifth
6650 @tab Cm(♭5), Cº, Cdim
6653 There are various types of seventh chords depending on the quality of the
6654 original chord and the quality of the seventh added.
6656 Five common types of seventh chords have standard symbols. The chord quality
6657 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6658 and D^m7 are all identical). The last three chords are not commonly used
6666 @section quarter note
6671 @item I: semiminima, nera
6673 @item D: Viertel, Viertelnote
6675 @item DK: fjerdedelsnode
6676 @item S: fjärdedelsnot
6677 @item FI: neljäsosanuotti
6685 @section quarter rest
6688 @item UK: crotchet rest
6689 @item ES: silencio de negra
6690 @item I: pausa di semiminima
6692 @item D: Viertelpause
6694 @item DK: fjerdedelspause
6695 @item S: fjärdedelspaus
6696 @item FI: neljäsosatauko
6704 @section quarter tone
6713 FI: neljännessävelaskel.
6715 An interval equal to half a semitone.
6724 ES: cinquillo, quintillo,
6738 @section rallentando
6742 F: rallentando, en ralentissant,
6743 D: rallentando, langsamer werden,
6747 FI: rallerdando, hidastuen.
6749 [Italian] A performance indication, abbreviated @notation{rall.}.
6756 @section relative key
6759 I: tonalità relativa,
6760 F: tonalité relative,
6762 NL: paralleltoonsoort,
6763 DK: paralleltoneart,
6765 FI: rinnakkaissävellaji.
6767 Major and minor keys that have the same key signature.
6769 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6771 es1_"e flat major" f g as bes c d es
6775 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6777 c1_"c minor" d es f g a! b! c
6782 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6790 F: barre de reprise,
6793 DK: gen@-ta@-gel@-se,
6797 @lilypond[quote,relative=2,line-width=13.0\cm]
6809 No cross-references.
6824 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6825 @c specify the rest's value.
6845 @item Metrical rhythm in which every time value is a multiple or
6846 fraction of a fixed unit of time, called @emph{beat}, and in which the
6847 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6848 The basic scheme of time values is called @emph{meter}.
6850 @item Measured rhythm which lacks regularly recurrent accent. In
6851 modern notation such music appears as a free alternation of different
6854 @item Free rhythm, i.e., the use of temporal values having no common
6855 metrical unit (beat).
6860 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6866 ES: ritardando, retardando,
6868 F: ritardando, en ralentissant,
6869 D: ritardando, langsamer werden,
6873 FI: ritardando, hidastuen,
6875 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6879 No cross-references.
6885 ES: ritenuto, reteniendo,
6887 F: ritenuto, en retenant,
6892 FI: ritenuto, hidastaen.
6894 Immediate reduction of speed.
6897 No cross-references.
6910 FI: asteikko, sävelasteikko.
6913 @ref{diatonic scale}.
6917 @section scale degree
6919 ES: grado (de la escala),
6920 I: grado della scala,
6921 F: degré [de la gamme],
6923 NL: trap [van de toonladder],
6926 FI: sävelaste, asteikon sävel.
6928 Names and symbols used in harmonic analysis to denote tones of the
6929 scale as roots of chords. The most important are degrees I = tonic
6930 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6932 @lilypond[quote,notime,line-width=13.0\cm]
6934 \new Staff \relative c' {
6938 << { I II III IV V VI VII I }
6945 @ref{functional harmony}.
6953 F: à cordes ravallées,
6958 FI: epätavallinen viritys.
6960 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6961 tuning of stringed instruments, particularly lutes or violins. Used
6966 @item facilitate pitch combinations that would otherwise be difficult
6969 @item alter the characteristic timbre of the instrument, for example,
6970 to increase brilliance
6972 @item reinforce certain sonorities or tonalities by making them
6973 available on open strings
6975 @item imitate other instruments
6981 Tunings that could be called @var{scordatura} first appeared early in
6982 the 16th Century and became commonplace in the 17th.
6985 No cross-references.
6993 F: partition, conducteur (full score),
6994 D: Partitur (full score), Klavierauszug (vocal score),
7000 A copy of orchestral, choral, or chamber music showing what each
7001 instrument is to play, each voice to sing, having each part arranged
7002 one underneath the other on different staves @ref{staff}.
7005 No cross-references.
7020 The interval between two neighboring tones of a scale. A diatonic scale
7021 consists of alternating semitones and whole tones, hence the size of a
7022 second depends on the scale degrees in question.
7025 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7032 @item US: whole note,
7036 @item D: Ganze, ganze Note,
7037 @item NL: hele noot,
7040 @item FI: kokonuotti.
7043 Note value: called @notation{whole note} in the US.
7045 The semibreve is the basis for the @notation{tactus} in mensural notation
7046 (i.e. music written before ca. 1600).
7049 @ref{mensural notation}, @ref{note value}.
7064 The interval of a minor second. The (usually) smallest interval in European
7065 composed music. The interval between two neighboring tones on the piano
7066 keyboard -- including black and white keys -- is a semitone. An octave may
7067 be divided into 12@w{ }semitones.
7069 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7070 g1 gis s a bes s b! c
7074 @ref{interval}, @ref{chromatic scale}.
7097 @ref{sextuplet}, @ref{note value}.
7142 ES: simile, similar,
7151 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7152 is to be played in the same manner (i.e. with the same articulations, dynamics,
7153 etc.) as the music that precedes it.
7156 TODO: Where else could I refer the reader?
7160 @section simple meter
7162 ES: compás simple, compás de subdivisión binaria,
7169 FI: kaksijakoinen tahtiosoitus.
7171 A meter in which the basic beat is subdivided in two: that is, a meter
7172 that does not include triplet subdivision of the beat.
7175 @ref{compound meter}, @ref{meter}.
7178 @node sixteenth note
7179 @section sixteenth note
7182 @item UK: semiquaver
7183 @item ES: semicorchea
7185 @item F: double croche
7186 @item D: Sechzehntel, Sechzehntelnote
7187 @item NL: zestiende noot
7188 @item DK: sekstendedelsnode
7189 @item S: sextondelsnot
7190 @item FI: kuudestoistaosanuotti
7197 @node sixteenth rest
7198 @section sixteenth rest
7201 @item UK: semiquaver rest
7202 @item ES: silencio de semicorchea
7203 @item I: pausa di semicroma
7204 @item F: quart de soupir
7205 @item D: Sechzehntelpause
7206 @item NL: zestiende rust
7207 @item DK: sekstendedelspause
7208 @item S: sextondelspaus
7209 @item FI: kuudestoistaosatauko
7232 @node sixty-fourth note
7233 @section sixty-fourth note
7236 @item UK: hemidemisemiquaver
7238 @item I: semibiscroma
7239 @item F: quadruple croche
7240 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7241 @item NL: vierenzestigste noot
7242 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7243 @item S: sextiofjärdedelsnot
7244 @item FI: kuudeskymmenesneljäsosanuotti
7251 @node sixty-fourth rest
7252 @section sixty-fourth rest
7255 @item UK: hemidemisemiquaver rest
7256 @item ES: silencio de semifusa
7257 @item I: pausa di semibiscroma
7258 @item F: seizième de soupir
7259 @item D: Vierundsechzigstelpause
7260 @item NL: vierenzestigste rust
7261 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7262 @item S: sextiofjärdedelspaus
7263 @item FI: kuudeskymmenesneljäsosatauko
7271 @section slash repeat
7274 @ref{percent repeat}.
7280 ES: ligadura de expresión,
7281 I: legatura (di portamento o espressiva),
7283 D: Bogen (Legatobogen, Phrasierungsbogen),
7284 NL: fraseringsboog, legatoboog, streekboog,
7285 DK: legatobue, fraseringsbue,
7289 A slur above or below a group of notes indicates that they are to be
7290 played @ref{legato}, e.g., with one stroke of the violin bow or with
7291 one breath in singing.
7294 No cross-references.
7298 @section solmization
7307 FI: suhteelliset laulunimet.
7309 General term for systems of designating the degrees of the
7310 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7311 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7315 @ref{scale}, @ref{scale degree}.
7330 In its present-day meaning a sonata denotes an instrumental
7331 composition for piano or for some other instrument with piano
7332 accompaniment, which consists of three or four independant pieces,
7336 No cross-references.
7340 @section sonata form
7344 F: [en] forme de sonate,
7346 NL: hoofdvorm, sonatevorm,
7351 A form used frequently for single movements of the @emph{sonata},
7352 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7353 three sections called @notation{exposition}, @notation{development} and
7354 @notation{recapitulation}. In the exposition the composer introduces some
7355 musical ideas, consisting of a number of themes; in the development section the
7356 composer @emph{develops} this material, and in the recapitulation the composer
7357 repeats the exposition, with certain modifications. The exposition contains a
7358 number of themes that fall into two groups, often called first and second
7359 subject. Other melodies occurring in each group are considered as continuations
7360 of these two. The second theme is in another key, normally in the key of the
7361 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7362 @notation{relative key} if the tonic is @notation{minor}.
7365 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7366 @ref{symphony}, @ref{tonic}.
7386 FI: sopraano, korkea naisääni.
7388 The highest female voice.
7391 No cross-references.
7399 F: staccato, piqué, détaché,
7404 FI: staccato, lyhyesti, terävästi.
7406 Playing the note(s) short. Staccato is indicated by a dot above or
7407 below the note head.
7409 @lilypond[quote,relative=2]
7413 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7419 No cross-references.
7426 ES: pentagrama, pauta,
7427 I: pentagramma, rigo (musicale),
7429 D: Notensystem, Notenzeile,
7430 NL: (noten)balk, partij,
7435 A staff (plural: staves) is a series of (normally five) horizontal
7436 lines upon and between which the musical notes are written, thus
7437 indicating (in connection with a @ref{clef}) their pitch. Staves for
7438 @ref{percussion} instruments may have fewer lines.
7441 No cross-references.
7457 D: Hals, Notenhals, Stiel,
7463 Vertical line above or below a @ref{note head} shorter than a
7466 @lilypond[quote,notime,relative=2]
7467 \set Score.autoBeaming = ##f
7481 ES: stringendo, acelerando,
7483 F: stringendo, en accélérant,
7488 FI: kiihdyttäen, nopeuttaen.
7490 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7509 A family of stringed musical instruments played with a bow. Strings
7510 commonly used in a symphony orchestra are violin, viola, violoncello,
7514 No cross-references.
7518 @section strong beat
7523 D: betonter Taktteil oder Taktschlag,
7525 D: betonet taktslag,
7526 S: betonat taktslag,
7527 FI: tahdin vahva isku.
7530 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7534 @section subdominant
7543 FI: subdominantti, alidominantti.
7545 The fourth @notation{scale degree}.
7548 @ref{functional harmony}, @ref{scale degree}.
7563 The sixth @notation{scale degree}.
7566 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7579 FI: subtoonika, alitoonika.
7581 The seventh @ref{scale degree}.
7584 @ref{functional harmony}, @ref{scale degree}.
7590 ES: sobre la cuerda de Sol,
7593 D: auf G, auf der G-Saite,
7599 Indicates that the indicated passage (or note) should be played on the
7603 No cross-references.
7607 @section superdominant
7618 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7621 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7636 The second @ref{scale degree}.
7639 @ref{functional harmony}, @ref{scale degree}.
7648 D: Sinfonie, Symphonie,
7654 A symphony may be defined as a @emph{sonata} for orchestra.
7661 @section syncopation
7672 Any deliberate upsetting of the normal pulse of @ref{meter},
7673 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7674 rhythm rests upon the grouping of equal beats into groups of two or
7675 three, with a regularly recurrent accent on the first beat of each
7676 group. Any deviation from this scheme is felt as a disturbance or
7677 contradiction between the underlaying (normal) pulse and the actual
7680 @lilypond[quote,relative=1]
7683 e16 c'8 e,16 c'8 e,16 c' ~
7688 No cross-references.
7691 @node syntonic comma
7692 @section syntonic comma
7694 ES: coma sintónica, coma de Dídimo,
7695 I: comma sintonico (o didimico),
7696 F: comma syntonique,
7697 D: syntonisches Komma,
7698 NL: syntonische komma,
7699 DK: syntonisk komma,
7700 S: syntoniskt komma,
7701 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7702 Pytagorisessa viritysjärjestelmässä.
7704 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7705 by which the ditone exceeds the pure major third obtained by Pythagorean
7706 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7708 Modern acoustical theory defines it as the interval by which four fifths exceed
7709 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7711 This comma is also known as the comma of Didymus, or didymic comma.
7714 @ref{Pythagorean comma}
7723 D: Notensystem, Partitur,
7727 FI: nuottijärjestelmä.
7729 The collection of staves (@notation{staff}), two or more, as used for writing
7730 down of keyboard, chamber, choral, or orchestral music.
7737 @section temperament
7742 D: Stimmung, Tem@-pe@-ra@-tur,
7743 NL: stemming, temperatuur,
7746 FI: viritysjärjestelmä.
7748 Systems of tuning in which the intervals deviate from the acoustically
7752 @ref{meantone temperament}, @ref{equal temperament}.
7755 @node tempo indication
7756 @section tempo indication
7758 ES: indicación de tempo,
7759 I: indicazione di tempo,
7760 F: indication de tempo,
7761 D: Zeitmaß, Tempobezeichnung,
7762 NL: tempo aanduiding,
7767 The rate of speed of a composition or a section thereof, ranging from the
7768 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7769 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7773 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7787 FI: tenori, korkea miesääni.
7789 The highest @q{natural} male voice (apart from @notation{countertenor}).
7814 ES: subrayado (tenuto),
7823 An indication that a particular note should be held for the whole
7824 length, although this can vary depending on the composer and era.
7827 No cross-references.
7846 @node thirty-second note
7847 @section thirty-second note
7850 @item UK: demisemiquaver
7853 @item F: triple croche
7854 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7855 @item NL: twee@-endertig@-ste (32e) noot
7856 @item DK: toogtredivtedelsnode
7857 @item S: trettiotvåondelsnot
7858 @item FI: kolmaskymmeneskahdesosanuotti
7865 @node thirty-second rest
7866 @section thirty-second rest
7869 @item UK: demisemiquaver rest
7870 @item ES: silencio de fusa
7871 @item I: pausa di biscroma
7872 @item F: huitième de soupir
7873 @item D: Zweiunddreissigstel@-pause
7874 @item NL: twee@-endertig@-ste (32e) rust
7875 @item DK: toogtredivtedelspause
7876 @item S: trettiotvåondelspaus
7877 @item FI: kolmaskymmeneskahdesosatauko
7885 @section thorough bass
7894 ES: ligadura de unión (o de prolongación),
7895 I: legatura (di valore),
7896 F: liaison (de tenue),
7897 D: Haltebogen, Bindebogen,
7898 NL: overbinding, bindingsboog,
7900 S: bindebåge, överbindning,
7903 A curved line, identical in appearance with the @ref{slur}, which
7904 connects two succesive notes of the same pitch, and which has the
7905 function of uniting them into a single sound (tone) equal to the
7908 @lilypond[quote,notime,relative=2]
7920 @node time signature
7921 @section time signature
7923 ES: indicación de compás,
7925 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7926 D: Taktangabe, Angabe der Taktart,
7929 S: taktartssignatur,
7932 The sign placed at the beginning of a composition to indicate its
7933 meter. It most often takes the form of a fraction, but a few signs
7934 derived from mensural notation and proportions are also employed.
7937 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7952 A sound of definite pitch and duration, as distinct from @emph{noise}.
7953 Tone is a primary building material of music.
7955 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7958 No cross-references.
7973 The first @notation{scale degree}.
7976 @ref{functional harmony}, @ref{scale degree}.
7979 @node transposing instrument
7980 @section transposing instrument
7982 ES: instrumento transpositor,
7983 I: strumento traspositore,
7984 F: instrument transpositeur,
7989 FI: transponoitava soitin.
7991 Instruments whose notated pitch is different from their sounded pitch. Except
7992 for those whose notated and sounding pitches differ by one or more octaves (to
7993 reduce the number of ledger lines needed), most such instruments are identified
7994 by the letter name of the pitch class of their fundamental. The pitch class is
7995 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7996 the instrument plays a notated C.
7998 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7999 the B-flat one tone lower. If played on the A clarinet, the same written
8000 note sounds the A (one and half tones -- a minor third -- lower).
8002 Not all transposing instruments include the pitch class in their name:
8005 @item Alto flute (in G)
8006 @item English horn (in F)
8007 @item Saxophones (in B-flat or E-flat)
8010 @ignore Can we do better?
8012 To make matters more complex, some instruments are transposing instruments,
8013 but their players play from parts written at concert pitch. This is the
8014 case for orchestral trombone and tuba players—whereas trombone players in
8015 brass bands treat their parts as if written for a true transposing
8016 instrument in B-flat.
8021 @ref{concert pitch}.
8025 @section transposition
8027 ES: transporte, transposición,
8036 Shifting a melody up or down in pitch, while keeping the same
8039 @lilypond[quote,line-width=13.0\cm]
8044 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8049 @lilypond[quote,line-width=13.0\cm]
8052 \transpose c bes \relative c'' {
8054 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8060 No cross-references.
8064 @section treble clef
8066 ES: clave de sol en segunda,
8067 I: chiave di violino,
8069 D: Violinschlüssel, Sopranschlüssel,
8091 On stringed instruments:
8095 @item The quick reiteration of the same tone, produced by a rapid
8096 up-and-down movement of the bow.
8098 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8099 in the distance of a third (@ref{interval}).
8103 @lilypond[quote,notime,relative=1]
8105 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8106 \repeat tremolo 8 { e32_"b" g }
8118 F: triade, accord parfait, accord de trois sons,
8134 F: trille, tremblement, battement (cadence),
8146 @section triple meter
8148 ES: compás ternario,
8151 D: in drei, ungerader Takt,
8152 NL: driedelige maatsoort,
8194 @section tuning fork
8196 ES: diapasón [de horquilla],
8197 I: diapason, corista,
8205 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8206 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8207 standard. Tuning forks for other pitches are available.
8216 ES: grupo de valoración especial,
8217 I: gruppi irregolari,
8225 A non-standard subdivision of a beat or part of a beat, usually
8226 indicated with a bracket and a number indicating the number of
8230 @ref{triplet}, @ref{note value}.
8236 ES: grupeto (circular),
8259 FI: unisono, yksiäänisesti.
8261 Playing of the same notes or the same melody by various instruments
8262 (voices) or by the whole orchestra (choir), either at exactly the same
8263 pitch or in a different octave.
8266 No cross-references.
8274 F: anacrouse, levée,
8295 FI: ääni, lauluääni.
8303 @item @ref{mezzo-soprano}
8304 @item @ref{contralto}
8306 @item @ref{baritone}
8310 @item A melodic layer or part of a polyphonic composition.
8315 No cross-references.
8321 ES: vez, primera y segunda vez,
8328 FI: yksi kertauksen maaleista.
8330 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8331 or second ending. LilyPond extends this idea to any number, and allows any text
8332 (not just a number) -- to serve as the @notation{volta} text.
8335 No cross-references.
8342 I: tempo debole, arsi,
8344 D: unbetonter Taktteil oder Taktschlag,
8346 DK: ubetonet taktslag,
8347 S: obetonat taktslag,
8348 FI: tahdin heikko isku.
8351 @ref{beat}, @ref{measure}, @ref{rhythm}.
8362 @item D: Ganze, ganze Note
8366 @item FI: kokonuotti
8377 @item UK: semibreve rest
8378 @item ES: silencio de redonda
8379 @item I: pausa di semibreve
8381 @item D: ganze Pause, ganztaktige Pause
8383 @item DK: helnodespause
8404 The interval of a major second. The interval between two tones
8405 on the piano keyboard with exactly one key between them -- including
8406 black and white keys -- is a whole tone.
8424 A family of blown wooden musical instruments. Today some of these
8425 instruments are actually made from metal. The woodwind instruments
8426 commonly used in a symphony orchestra are flute, oboe, clarinet,
8427 saxophone, and bassoon.
8430 No cross-references.
8433 @node Duration names notes and rests
8434 @chapter Duration names notes and rests
8436 @multitable @columnfractions .12 .22 .22 .22 .22
8438 @headitem Lang. @tab note name
8442 @item @strong{US} @tab long
8446 @item @strong{UK} @tab longa
8450 @item @strong{ES} @tab longa
8451 @tab silencio de longa
8453 @tab silencio de cuadrada
8454 @item @strong{IT} @tab longa
8458 @item @strong{FR} @tab longa
8459 @tab quadruple-pause
8462 @item @strong{DE} @tab Longa
8466 @item @strong{NL} @tab longa
8470 @item @strong{DK} @tab longa
8471 @tab longanodespause
8473 @tab brevis(nodes)pause
8474 @item @strong{SE} @tab longa
8478 @item @strong{FI} @tab longa-nuotti
8480 @tab brevis-nuotti, kaksoiskoko@-nuotti
8481 @tab brevis-tauko, kaksoiskoko@-tauko
8485 @multitable @columnfractions .12 .22 .22 .22 .22
8487 @headitem Lang. @tab note name
8491 @item @strong{US} @tab whole note
8495 @item @strong{UK} @tab semibreve
8499 @item @strong{ES} @tab redonda
8500 @tab silencio de redonda
8502 @tab silencio de blanca
8503 @item @strong{IT} @tab semibreve
8504 @tab pause di semibreve
8506 @tab pausa di minima
8507 @item @strong{FR} @tab ronde
8511 @item @strong{DE} @tab ganze Note
8515 @item @strong{NL} @tab hele noot
8519 @item @strong{DK} @tab helnode
8523 @item @strong{SE} @tab helnot
8527 @item @strong{FI} @tab kokonuotti
8534 @multitable @columnfractions .12 .22 .22 .22 .22
8536 @headitem Lang. @tab note name
8540 @item @strong{US} @tab quarter note
8544 @item @strong{UK} @tab crotchet
8548 @item @strong{ES} @tab negra
8549 @tab silencio de negra
8551 @tab silencio de corchea
8552 @item @strong{IT} @tab semiminima, nera
8553 @tab pausa di semiminima, pausa di nera
8556 @item @strong{FR} @tab noire
8560 @item @strong{DE} @tab Viertelnote
8564 @item @strong{NL} @tab kwartnoot
8568 @item @strong{DK} @tab fjerdedelsnode
8569 @tab fjerdedelspause
8570 @tab ottendedelsnode
8571 @tab ottendedelspause
8572 @item @strong{SE} @tab fjärdedelsnot
8576 @item @strong{FI} @tab neljäsosa@-nuotti
8577 @tab neljäsosa@-tauko
8578 @tab kahdeksasosa@-nuotti
8579 @tab kahdeksasosa@-tauko
8583 * About the French naming system: @notation{croche} refers to the note's
8584 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8585 @q{doubled hook}, @q{trebled hook}, and so on.
8587 The rest names are based on the @notation{soupir}, or quarter rest.
8588 Subsequent rests are expressed as fractions thereof: half a
8589 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8591 Each of the following tables contains one type of note and its matching rest,
8592 with abbreviations that apply to both notes and rests. Just switch the part
8593 that means @q{note} with the part that means @q{rest}, for example:
8597 @item English: 16th @strong{note}, 16th @strong{rest}
8598 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8599 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8603 Editor's note: I put a dash @q{-} when I could not find a language-specific
8604 abbreviation for a duration name. If you know of one that I missed, please
8605 send it to me, care of the lilypond-user discussion list.
8607 @multitable @columnfractions .10 .35 .35 .20
8609 @headitem Lang. @tab Note name
8612 @item @strong{US} @tab sixteenth note
8615 @item @strong{UK} @tab semiquaver
8616 @tab semiquaver rest
8618 @item @strong{ES} @tab semicorchea
8619 @tab silencio de semicorchea
8621 @item @strong{IT} @tab semicroma
8622 @tab pausa di semicroma
8624 @item @strong{FR} @tab double croche
8625 @tab quart de soupir
8627 @item @strong{DE} @tab Sechzehntelnote
8628 @tab Sechzehntelpause
8630 @item @strong{NL} @tab zes@-ti@-ende noot
8631 @tab zes@-ti@-ende rust
8633 @item @strong{DK} @tab sekstendedelsnode
8634 @tab sekstendedelspause
8636 @item @strong{SE} @tab sextondelsnot
8639 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8640 @tab kuudes@-toistaosa@-tauko
8645 @multitable @columnfractions .10 .35 .35 .20
8647 @headitem Lang. @tab Note name
8650 @item @strong{US} @tab thirty-second note
8651 @tab thirty-second rest
8653 @item @strong{UK} @tab demisemiquaver
8654 @tab demisemiquaver rest
8656 @item @strong{ES} @tab fusa
8657 @tab silencio de fusa
8659 @item @strong{IT} @tab biscroma
8660 @tab pausa di biscroma
8662 @item @strong{FR} @tab triple croche
8663 @tab huitième de soupir
8665 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8666 @tab Zweiunddreißig@-stelpause
8668 @item @strong{NL} @tab twee@-endertigste noot
8669 @tab twee@-endertigste rust
8671 @item @strong{DK} @tab toogtredivtedelsnode
8672 @tab toogtredivtedelspause
8674 @item @strong{SE} @tab trettio@-tvåondelsnot
8675 @tab trettio@-tvåondelspaus
8677 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8678 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8683 @multitable @columnfractions .10 .35 .35 .20
8685 @headitem Lang. @tab Note name
8688 @item @strong{US} @tab sixty-fourth note
8689 @tab sixty-fourth rest
8691 @item @strong{UK} @tab hemidemisemiquaver
8692 @tab hemidemisemiquaver rest
8694 @item @strong{ES} @tab semifusa
8695 @tab silencio de semifusa
8697 @item @strong{IT} @tab semibiscroma
8698 @tab pausa di semibiscroma
8700 @item @strong{FR} @tab quadruple croche
8701 @tab seizième de soupir
8703 @item @strong{DE} @tab Vierundsechzigstelnote
8704 @tab Vierundsechzigstelpause
8706 @item @strong{NL} @tab vierenzestigste noot
8707 @tab vierenzestigste rust
8709 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8710 @tab fireog@-tredsindstyven@-dedelspause
8712 @item @strong{SE} @tab sextiofjärdedelsnot
8713 @tab sextiofjärdedelspaus
8715 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8716 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8721 @multitable @columnfractions .10 .35 .35 .20
8723 @headitem Lang. @tab Note name
8726 @item @strong{US} @tab one-hundred-twenty-eighth note
8727 @tab one-hundred-twenty-eighth rest
8729 @item @strong{UK} @tab semihemidemisemiquaver
8730 @tab semihemidemisemiquaver rest
8732 @item @strong{ES} @tab garrapatea
8733 @tab silencio de garrapatea
8735 @item @strong{IT} @tab fusa
8738 @item @strong{FR} @tab quintuple croche
8739 @tab trente-deuxième de soupir @tab -
8740 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8741 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8742 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8743 @tab honderd@-acht@-en@-twintigste rust
8745 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8746 @tab hundrede@-otte@-og@-tyvendedels@-pause
8748 @item @strong{SE} @tab hundratjugoåttondelsnot
8749 @tab hundratjugoåttondelspaus
8751 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8752 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8757 @multitable @columnfractions .10 .35 .35 .20
8759 @headitem Lang. @tab Note name
8762 @item @strong{US} @tab two-hundred-fifty-sixth note
8763 @tab two-hundred-fifty-sixth rest
8765 @item @strong{UK} @tab demisemihemidemisemiquaver
8766 @tab demisemihemidemisemiquaver rest
8768 @item @strong{ES} @tab semigarrapatea
8769 @tab silencio de semigarrapatea @tab -
8770 @item @strong{IT} @tab semifusa
8771 @tab pausa di semifusa
8773 @item @strong{FR} @tab sextuple croche
8774 @tab soixante-quatrième de soupir @tab -
8775 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8776 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8777 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8778 @tab tweehonderd@-zesenvijftigste rust
8780 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8781 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8783 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8784 @tab tvåhundra@-femtiosjättedelspaus
8786 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8787 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8793 @ref{mensural notation}
8797 @chapter Pitch names
8800 -is/-es endings for Danish per Rune Zedeler, pace,
8801 and for Finnish per Risto Vääräniemi;
8802 -iss/-ess endings for Swedish per Mats Bengtsson
8803 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8805 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8806 multiple lines -- as texinfo needs it to allow enough space for the
8807 table entries. (For the curious, it's a list of the widest items in
8808 each column of the table. Romance pitch names are two characters,
8809 except for g (sol) ... so there you go.)
8812 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8813 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8814 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8815 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8816 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8817 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8818 @tab des @tab des @tab dess @tab des
8819 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8820 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8821 @tab dis @tab dis @tab diss @tab dis
8822 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8823 @tab es @tab es @tab ess @tab es
8824 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8825 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8826 @tab Fes @tab fes @tab fes @tab fess @tab fes
8827 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8828 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8829 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8830 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8831 @tab fis @tab fis @tab fiss @tab fis
8832 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8833 @tab ges @tab ges @tab gess @tab ges
8834 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8835 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8836 @tab Gis @tab gis @tab gis @tab giss @tab gis
8837 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8838 @tab as @tab as @tab ass @tab as
8839 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8840 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8841 @tab ais @tab ais @tab aiss @tab ais
8842 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8843 @tab bes @tab b @tab b @tab b
8844 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8845 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8846 @tab ces @tab ces @tab cess @tab ces
8847 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8848 @tab His @tab bis @tab his @tab hiss @tab his
8856 @node Literature used
8857 @unnumberedsec Literature used
8860 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8861 Cambridge: Belknap Press (Harvard University Press), 1944.
8863 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8866 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8867 Terminologie}. Kassel, 1980.
8869 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8870 Current English}, 3rd ed. London: Oxford University Press, 1974.
8872 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8873 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8875 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8876 Cambridge: Belknap Press (Harvard University Press), 1986.
8878 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.