1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2009 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2009 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
185 @c @rlearning{About the documentation}.
191 @w{@expansion{}@strong{\word\}}@c
194 @expansion{}@ref{\word\, @strong{\word\}}@c
199 * Musical terms A-Z::
200 * Duration names notes and rests::
205 @node Musical terms A-Z
206 @chapter Musical terms A-Z
208 Languages in this order.
210 @item UK - British English (where it differs from American English)
239 * ancient minor scale::
244 * ascending interval::
246 * augmented interval::
283 * compound interval::
287 * conjunct movement::
302 * descending interval::
305 * diminished interval::
309 * disjunct movement::
311 * dissonant interval::
315 * dominant ninth chord::
316 * dominant seventh chord::
318 * dot (augmentation dot)::
320 * double appoggiatura::
322 * double dotted note::
325 * double time signature::
332 * ecclesiastical mode::
339 * equal temperament::
360 * functional harmony::
381 * inverted interval::
396 * long appoggiatura::
403 * meantone temperament::
410 * mensural notation::
415 * metronomic indication::
428 * multi-measure rest::
458 * polymetric time signature::
463 * Pythagorean comma::
494 * sixty-fourth note::
495 * sixty-fourth rest::
526 * thirty-second note::
527 * thirty-second rest::
534 * transposing instrument::
588 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
589 @notation{a due} indicates that:
593 @item A single part notated on a single staff that normally carries parts
594 for two players (e.g. first and second oboes) is to be played by both
597 @item Or conversely, that two pitches or parts notated on a staff that
598 normally carries a single part (e.g. first violin) are to be played by
599 different players, or groups of players (@q{desks}).
612 F: accelerando, en accélérant,
613 D: accelerando, schneller werden,
617 FI: accelerando, kiihdyttäen.
619 [Italian: @q{speed up, accelerate}]
637 FI: aksentti, korostus.
639 The stress of one tone over others.
653 @section acciaccatura
657 F: acciaccatura, appoggiature brève,
664 A grace note which takes its time from the rest or note preceding the
665 principal note to which it is attached. The acciaccatura is drawn as a
666 small eighth note (quaver) with a line drawn through the flag and stem.
669 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
675 ES: alteración accidental,
676 I: alterazione, accidente,
677 F: altération accidentelle,
678 D: Versetzungszeichen, Akzidenz,
679 NL: toevallig (verplaatsings)teken,
681 S: tillfälligt förtecken,
682 FI: tilapäinen etumerkki.
684 An accidental alters a note by:
688 @item Raising its pitch:
690 @item By two semitones—@notation{double sharp}
691 @item By one semitone—@notation{sharp}
694 @item Lowering its pitch:
696 @item By one semitone—@notation{flat}
697 @item By two semitones—@notation{double flat}
700 @item Or canceling the effects of the key signature or previous accidentals.
703 @lilypond[quote,notime]
707 \set Staff.extraNatural = ##f
708 gisis1 gis g! ges geses
713 \center-column { double sharp }
719 \center-column { double flat }
725 \override SpacingSpanner
726 #'base-shortest-duration = #(ly:make-moment 1 32)
733 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
746 FI: adagio, hitaasti.
748 [Italian: @q{comfortable, easy}]
752 @item Slow tempo, slower -- especially in even meter -- than
753 @notation{andante} and faster than @notation{largo}.
755 @item A movement in slow tempo, especially the second (slow) movement
756 of sonatas, symphonies, etc.
761 @ref{andante}, @ref{largo}, @ref{sonata}.
769 F: al niente, en mourant,
774 FI: häviten olemattomiin.
776 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
777 that the sound should fade away to nothing.
779 @notation{Al niente} is indicated by circling the tip of the hairpin:
781 @lilypond[quote,relative=2]
782 \override Hairpin #'circled-tip = ##t
788 or with the actual phrase @notation{al niente}:
790 @lilypond[quote,relative=2]
792 \override DynamicTextSpanner #'(bound-details right text) =
793 \markup { \italic { al niente } }
799 Since one does not crescendo @emph{to} nothing, it is not correct to use
800 @notation{al niente} with @notation{crescendo}. Instead, one should use
801 @emph{dal niente} (@notation{@b{from} nothing}).
804 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
812 F: alla breve, à la brève,
819 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
821 Also called @notation{in cut-time}. The name derives from mensural
822 notation, where the @notation{tactus} (or beat) is counted on the semibreve
823 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
824 next longest note value, which (in modern usage) effectively halves all note
827 In mensural notation, breves and semibreves can have a ternary relationship,
828 in which case @notation{alla breve} means thrice (not twice) as fast. In
829 practice, this complication may not have mattered, since Gaffurius's system
830 of multiplex proportions makes it easy to explicitly state which proportion
834 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
835 @ref{proportion}, @ref{whole note}.
843 F: allegro, gaiement,
844 D: Allegro, Schnell, Fröhlich, Lustig,
848 FI: allegro, nopeasti.
850 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
851 quick tempo, especially the first and last movements of a sonata.
864 NL: verhoging of verlaging,
869 An alteration is the modification, raising or lowering, of a note's
870 pitch. It is established by an accidental.
872 @c TODO: add second meaning from mensural notation
888 FI: altto, matala naisääni.
890 A female voice of low range (@emph{contralto}). Originally the alto was a
891 high male voice (hence the name), which by castration or the use of falsetto
892 reached the height of the natural female voice. This type of voice is also
893 known as countertenor.
902 ES: clave de do en tercera,
903 I: chiave di contralto,
904 F: clef d'ut troisième ligne,
905 D: Altschlüssel, Bratschenschlüssel,
911 C clef setting middle C on the middle line of the staff.
922 F: ambitus, tessiture,
927 FI: ambitus, ääniala, soitinala.
929 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
930 Denotes a range of pitches for a given voice in a part of music. It may
931 also denote the pitch range that a musical instrument is capable of playing.
932 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
950 An anacrusis (also known as pickup or upbeat) is an incomplete measure
951 of music before a section of music. It also refers to the initial
952 note(s) of a melody occurring in that incomplete measure.
954 @lilypond[quote,relative=1]
965 @ref{measure}, @ref{meter}.
968 @node ancient minor scale
969 @section ancient minor scale
971 ES: escala menor natural,
972 I: scala minore naturale,
973 F: forme du mode mineur ancien, troisème mode, mode hellénique,
974 D: reines Moll, natürliches Moll,
975 NL: authentieke mineurtoonladder,
978 FI: luonnollinen molliasteikko.
980 Also called @q{natural minor scale}.
982 @lilypond[quote,notime,relative=2]
988 @ref{diatonic scale}.
1001 FI: andante, käyden.
1003 [Italian: present participle of @emph{andare}, @q{to walk}]
1005 Walking tempo/character.
1008 No cross-references.
1012 @section appoggiatura
1016 F: appoggiature, (port de voix),
1017 D: Vorschlag, Vorhalt
1021 FI: appoggiatura, etuhele.
1023 Ornamental note, usually a second, that is melodically connected with
1024 the main note following it. In music before the 19th century
1025 appoggiature were usually performed on the beat, after that mostly
1026 before the beat. While the short appoggiatura is performed as a short
1027 note regardless of the duration of the main note the duration of the
1028 long appoggiatura is proportional to that of the main note.
1030 @lilypond[quote,relative=2]
1033 <d a fis>4_"notation" r
1040 \set Score.measurePosition = #ZERO-MOMENT
1041 <d, a fis>4_"performance" r
1047 An appoggiatura may have more notes preceding the main note.
1049 @lilypond[quote,relative=2]
1052 \grace bes16 as8-"notation" as16 bes as8 g |
1053 \grace { as16[( bes] } <c as>4)
1054 \grace { as16[( bes] } <c as>4) \bar "||"
1056 \grace bes16 as8-"performance" as16 bes as8 g |
1060 as32 bes c8. as32 bes c8.
1064 as16 ~ as8. as16 ~ as8.
1070 No cross-references.
1079 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1080 NL: gebroken akoord,
1081 DK: arpeggio, akkordbrydning,
1083 FI: arpeggio, murtosointu.
1085 [Italian: @q{harp-like, played like a harp}]
1087 @lilypond[quote,line-width=13\cm]
1089 \context Staff = "SA" {
1093 r8 g16 c e g, c e r8 g,16 c e g, c e
1094 r8 a,16 d f a, d f r8 a,16 d f a, d f
1098 \context Staff = "SB" {
1104 r16 e8. ( e4) r16 e8. ( e4)
1105 r16 d8. ( d4) r16 d8. ( d4)
1119 No cross-references.
1123 @section articulation
1132 FI: artikulaatio, ilmaisu.
1134 Articulation refers to notation which indicates how a note or notes
1135 should be played. Slurs, accents, staccato, and legato are all
1136 examples of articulation.
1139 No cross-references.
1142 @node ascending interval
1143 @section ascending interval
1145 ES: intervalo ascendente,
1146 I: intervallo ascendente,
1147 F: intervalle ascendant,
1148 D: steigendes Intervall,
1149 NL: stijgend interval,
1150 DK: stigende interval,
1151 S: stigande intervall,
1152 FI: nouseva intervalli.
1154 A distance between a starting lower note and a higher ending note.
1157 No cross-references.
1160 @node augmented interval
1161 @section augmented interval
1163 ES: intervalo aumentado,
1164 I: intervallo aumentato,
1165 F: intervalle augmenté,
1166 D: übermäßiges Intervall,
1167 NL: overmatig interval,
1168 DK: forstørret interval,
1169 S: överstigande intervall,
1170 FI: ylinouseva intervalli.
1177 @section augmentation
1186 FI: aika-arvojen pidentäminen.
1188 @c TODO: add definition.
1190 This is a placeholder for augmentation (wrt mensural notation).
1193 @ref{diminution}, @ref{mensural notation}.
1201 F: manuscrit, autographe
1202 D: Autograph, Handschrift,
1204 DK: håndskrift, autograf,
1206 FI: käsinkirjoitettu nuotti.
1210 @item A manuscript written in the composer's own hand.
1212 @item Music prepared for photoreproduction by freehand drawing, with
1213 the aid of a straightedge ruler and T-square only, which attempts to
1214 emulate engraving. This required more skill than did engraving.
1219 No cross-references.
1237 @ref{H}, @ref{Pitch names}
1257 ES: barra, línea divisoria,
1258 I: stanghetta, barra (di divisione),
1259 F: barre (de mesure),
1266 A vertical line through the staff (or through multiple staves) that
1267 separates measures. Used very infrequently during the Renaissance (mostly
1268 in secular music, or in sacred music to indicate congruences between parts
1269 in otherwise-unmetered music).
1285 FI: baritoni, keskikorkuinen miesääni.
1287 The male voice intermediate in pitch between the bass and the tenor.
1289 @c F: clef de troisième ligne dropped
1292 @ref{bass}, @ref{tenor}.
1296 @section baritone clef
1298 ES: clave de fa en tercera,
1299 I: chiave di baritono,
1300 F: clef d'ut cinquième ligne, clef de fa troisième,
1301 D: Baritonschlüssel,
1307 C or F clef setting middle C on the upper staff line.
1310 @ref{C clef}, @ref{F clef}.
1323 FI: basso, matala miesääni.
1327 @item The lowest male voice.
1329 @item Sometimes, especially in jazz music, used as an abbreviation for
1341 ES: clave de fa en cuarta,
1343 F: clef de fa quatrième ligne,
1350 A clef setting with middle C on the first top ledger line.
1361 F: ligature, barre (de croches),
1368 Line connecting a series of notes (shorter than a quarter note). The
1369 number of beams determines the note value of the connected notes.
1371 @lilypond[quote,notime,relative=2,line-width=13\cm]
1372 g8-"1/8"[ g g g] s16
1373 g16-"1/16"[ g g g] s
1374 g32-"1/32"[ s g s g s g] s16
1375 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1379 @ref{feathered beam}.
1385 ES: tiempo, parte (de compás)
1388 D: Takt, Taktschlag, Zeit (im Takt),
1394 Note value used for counting, most often half-, fourth-, and eighth notes.
1395 The base counting value and the number of them in each measure is indicated
1396 at the start of the music by the @notation{time signature}.
1398 @lilypond[quote,relative=2]
1401 g4 c b a | g1 \bar "||"
1403 g8 d' c | b c a | g4. \bar "||"
1407 @ref{time signature}.
1411 @section beat repeat
1414 @ref{percent repeat}.
1427 ES: llave, corchete,
1430 D: Klammer, Akkolade,
1431 NL: accolade, teksthaak,
1434 FI: yhdistävä sulkumerkki.
1436 Symbol at the start of a system connecting staves.
1438 Curly braces are used for connecting piano staves, and sometimes for connecting
1439 the staves of like instruments in an orchestral score when written on different
1440 staves (e.g. first and second flutes):
1444 \context Staff = "SA" {
1450 \context Staff = "SB" {
1460 Angular brackets for connecting parts in an orchestral or choral score:
1464 \context Staff = "SA" {
1470 \context Staff = "SB" {
1481 No cross-references.
1488 I: parentesi quadra,
1506 NL: koper (blazers),
1509 S: brassinstrument, mässingsinstrument,
1512 A family of blown musical instruments made of brass, all using a cup
1513 formed mouth piece. The brass instruments commonly used in a symphony
1514 orchestra are trumpet, trombone, french horn, and tuba.
1517 No cross-references.
1521 @section breath mark
1526 D: Atemzeichen, Trennungszeichen,
1527 NL: repercussieteken,
1528 DK: vejrtrækningstegn,
1532 Indication of where to breathe in vocal and wind instrument parts.
1542 @item US: breve, double-whole note
1543 @item ES: cuadrada, breve
1550 @item FI: brevis, kaksoiskokonuotti
1553 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1555 Mainly used in music from before 1650. In mensural notation, it was a note
1556 of fairly short duration—hence the name, which is Latin for @q{short} or
1557 @q{of short duration}.
1559 @lilypond[quote,notime,relative=2]
1564 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1597 Clef symbol indicating the position of the middle C. Used on all note
1600 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1602 \override Staff.Clef #'full-size-change = ##t
1604 \clef mezzosoprano c1
1610 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1611 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1616 No cross-references.
1629 FI: kadenssi, lopuke.
1632 @ref{harmonic cadence}, @ref{functional harmony}.
1645 FI: kadenssi, lopuke.
1647 An extended, improvisatory style section inserted near the end of
1648 movement. The purpose of a cadenza is to give singers or players a
1649 chance to exhibit their technical skill and -- not last -- their
1650 ability to improvise. Since the middle of the 19th century, however,
1651 most cadenzas have been written down by the composer.
1654 No cross-references.
1669 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1671 The break between two musical phrases, sometimes (but not always) marked by a
1672 rest or a breath mark.
1688 FI: kaanon, tarkka jäljittely.
1704 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1705 viritysjärjestelmässä.
1707 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1708 an octave (1/100 of an equally tempered semitone).
1711 @ref{equal temperament}, @ref{semitone}.
1733 Three or more tones sounding simultaneously. In traditional European music
1734 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1735 (major + minor third) as well as @emph{minor} (minor + major third) chords
1736 may be extended with more thirds. Four-tone @emph{seventh chords} and
1737 five-tone @emph{ninth} major chords are most often used as dominants
1738 (functional harmony). Chords having no third above the lower notes to
1739 define their mood are a special case called @q{open chords}. The lack of
1740 the middle third means their quality is ambivalent -- neither major nor
1743 @lilypond[quote,notime,line-width=13.0\cm]
1747 \set Staff.extraNatural = ##f
1768 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1772 @node chromatic scale
1773 @section chromatic scale
1775 ES: escala cromática,
1777 F: gamme chromatique,
1778 D: chro@-ma@-ti@-sche Tonleiter,
1779 NL: chromatische toonladder,
1780 DK: kromatisk skala,
1782 FI: kromaattinen asteikko.
1784 A scale consisting of all 12 semitones.
1786 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1787 c1 cis d dis e f fis g gis a ais b c
1795 @section chromaticism
1806 Using tones extraneous to a diatonic scale (minor, major).
1809 @ref{diatonic scale}.
1813 @section church mode
1815 ES: modo eclesiástico,
1816 I: modo ecclesiastico,
1817 F: mode ecclésiastique, mode d'église,
1822 FI: moodi, kirkkosävellaji.
1825 @ref{diatonic scale}.
1834 D: Schlüssel, Notenschlüssel,
1838 FI: avain, nuottiavain.
1840 The clef indicates which lines of the staff correspond to which
1841 pitches. The three clef symbols in common use are:
1846 \line { The Treble or G clef: }
1848 \line { The Bass or F clef: }
1850 \line { The Alto or C clef: }
1854 \musicglyph #"clefs.G"
1856 \musicglyph #"clefs.F"
1858 \musicglyph #"clefs.C"
1863 Imagine a large staff of 11 lines centered on middle C, sometimes
1864 called a @q{grand staff}, with the bottom line representing low G and
1865 the top line high F:
1870 %-- Note names above treble staff --%
1872 \set printOctaveNames = ##t
1874 \once \override NoteName #'color = #red
1878 %-- Treble Staff --%
1880 \override Staff.Clef #'stencil = ##f
1886 %-- Alto Staff reduced to a single line on middle C --%
1888 \override Staff.StaffSymbol #'line-count = #1
1889 \override Staff.StaffSymbol #'color = #red
1890 \override Staff.Clef #'stencil = ##f
1893 \override NoteHead #'color = #red
1899 \override Staff.Clef #'stencil = ##f
1908 \override SpacingSpanner
1909 #'base-shortest-duration = #(ly:make-moment 1 1)
1910 \override NonMusicalPaperColumn
1911 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1912 \override BarLine #'stencil = ##f
1916 \remove "Time_signature_engraver"
1922 Staves of five lines are usually used, and the clef superimposed on them
1923 indicates which five lines have been selected from this @notation{grand
1924 staff}. For example, the treble or G clef indicates that the top five lines
1930 %-- Note names above treble staff --%
1932 \set printOctaveNames = ##t
1934 \once \override NoteName #'color = #red
1939 %-- Treble Staff --%
1941 \once \override Staff.Clef #'stencil = ##f
1944 \override Staff.Clef #'full-size-change = ##t
1945 \set Staff.forceClef = ##t
1949 %-- Alto Staff reduced to a single line on middle C --%
1951 \override Staff.StaffSymbol #'line-count = #1
1952 \override Staff.StaffSymbol #'color = #red
1953 \override Staff.Clef #'stencil = ##f
1956 \override NoteHead #'color = #red
1961 \override Staff.Clef #'stencil = ##f
1969 \override SpacingSpanner
1970 #'base-shortest-duration = #(ly:make-moment 2 1)
1971 \override NonMusicalPaperColumn
1972 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1973 \override BarLine #'stencil = ##f
1977 \remove "Time_signature_engraver"
1983 The @q{curl} of the G clef is centered on the line that represents the
1986 In the same way, the bass or F clef indicates that the bottom five lines
1987 have been selected from the @notation{grand staff}, and the alto or C clef
1988 indicates the middle five lines have been selected. This relationship is
1989 shown below, where the notes show an arpeggio on a C major chord.
1994 %-- Treble Staff --%
2002 \override Staff.StaffSymbol #'line-count = #1
2003 \once \override Staff.Clef #'stencil = ##f
2008 \revert Staff.StaffSymbol #'stencil
2009 \override Staff.StaffSymbol #'color = #red
2012 \stopStaff \startStaff
2013 \revert Staff.StaffSymbol #'line-count
2014 \revert Staff.StaffSymbol #'color
2015 \stopStaff \startStaff
2016 \override Staff.Clef #'full-size-change = ##t
2017 \set Staff.forceClef = ##t
2032 \override SpacingSpanner #'base-shortest-duration =
2033 #(ly:make-moment 2 1)
2034 \override NonMusicalPaperColumn
2035 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2036 \override BarLine #'stencil = ##f
2040 \remove "Time_signature_engraver"
2047 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2060 FI: klusteri, cluster.
2062 A @emph{cluster} is a range of simultaneously sounding pitches that
2063 may change over time. The set of available pitches to apply usually
2064 depends on the acoustic source. Thus, in piano music, a cluster
2065 typically consists of a continuous range of the semitones as provided
2066 by the piano's fixed set of a chromatic scale. In choral music, each
2067 singer of the choir typically may sing an arbitrary pitch within the
2068 cluster's range that is not bound to any diatonic, chromatic or other
2069 scale. In electronic music, a cluster (theoretically) may even cover
2070 a continuous range of pitches, thus resulting in colored noise, such
2073 Clusters can be denoted in the context of ordinary staff notation by
2074 engraving simple geometrical shapes that replace ordinary notation of
2075 notes. Ordinary notes as musical events specify starting time and
2076 duration of pitches; however, the duration of a note is expressed by
2077 the shape of the note head rather than by the horizontal graphical
2078 extent of the note symbol. In contrast, the shape of a cluster
2079 geometrically describes the development of a range of pitches
2080 (vertical extent) over time (horizontal extent). Still, the
2081 geometrical shape of a cluster covers the area in which any single
2082 pitch contained in the cluster would be notated as an ordinary note.
2084 @lilypond[quote,relative=2]
2085 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2089 No cross-references.
2102 FI: komma, korvinkuultava ero äänenkorkeudessa.
2104 Difference in pitch between a note derived from pure tuning and the
2105 same note derived from some other tuning method.
2108 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2113 @section common meter
2115 Another name for @ref{common time}.
2118 @ref{common time}, @ref{meter}.
2122 @section common time
2133 4/4 time. The symbol, which resembles a capital letter C, comes from
2137 @ref{mensural notation}, @ref{meter}.
2143 ES: intervalo invertido,
2145 F: intervalle complémentaire,
2146 D: Komplementärintervall,
2147 NL: complementair interval,
2148 DK: komplementærinterval,
2149 S: komplementärintervall (?),
2150 FI: täydentävä intervalli.
2153 @ref{inverted interval}.
2156 @node compound interval
2157 @section compound interval
2159 ES: intervalo compuesto,
2160 I: intervallo composto,
2161 F: intervalle composé,
2162 D: weites Intervall,
2163 NL: samengesteld interval,
2164 DK: sammensat interval,
2165 S: sammansatt intervall,
2166 FI: oktaavia laajempi intervalli.
2168 Intervals larger than an octave.
2174 @node compound meter
2175 @section compound meter
2177 ES: compás compuesto, compás de subdivisión ternaria,
2184 FI: kolmijakoinen tahtilaji.
2186 A meter that includes a triplet subdivision within the beat, such as
2190 @ref{meter}, @ref{simple meter}.
2194 @section compound time
2196 ES: compás compuesto, compás de amalgama (def. 2),
2203 FI: yhdistetty tahtilajiosoitus.
2208 A meter that includes a triplet subdivision within the beat: see
2209 @ref{compound meter}.
2212 A time signature that additively combines two or more unequal meters, e.g.,
2213 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2217 @lilypond[quote,line-width=13.0\cm]
2218 #(define ((compound-time one two three num) grob)
2219 (grob-interpret-markup grob
2221 #:override '(baseline-skip . 0)
2224 #:left-column (one num)
2226 #:left-column (two num)
2228 #:left-column (three num)))))
2232 #(set-time-signature 8 8 '(3 2 3))
2233 \override Staff.TimeSignature #'stencil =
2234 #(compound-time "3" "2" "3" "8")
2242 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2246 @section concert pitch
2248 ES: en Do, afinación de concierto,
2249 I: intonazione reale,
2250 F: tonalité de concert, en ut,
2255 FI: konserttikorkeus.
2257 The pitch at which the piano and other nontransposing instruments play: such
2258 instruments are said to be @q{in C}. The following list includes some (but not
2259 all) instruments that play in concert pitch:
2261 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2263 @multitable {bassoon} {violoncello}
2264 @headitem Woodwinds @tab Strings
2283 @ignore This needs to be reworked.
2284 The trombones are a special case: although they are said to be @q{in F} (alto or
2285 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2286 their parts' transposition. (In fact, the trombones' parts are written at
2287 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2288 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2292 Instruments that play @q{in C} but in a different octave than what is written
2293 are, technically speaking, @emph{transposing instruments}:
2297 @item piccolo (plays an octave higher than written)
2298 @item celesta (plays an octave higher than written)
2299 @item classical guitar (plays an octave lower than written)
2300 @item double bass (plays an octave lower than written)
2305 @ref{transposing instrument}.
2308 @node conjunct movement
2309 @section conjunct movement
2311 ES: movimiento conjunto,
2313 F: mouvement conjoint,
2314 D: schritt@-weise, stufenweise Bewegung,
2315 NL: stapsgewijze, trapsgewijze beweging,
2316 DK: trinvis bevægelse,
2318 FI: asteittainen liike.
2320 Progressing melodically by intervals of a second, as contrasted with
2321 @emph{disjunct movement}.
2323 @lilypond[quote,relative=2,line-width=13.0\cm]
2326 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2330 @ref{disjunct movement}.
2343 FI: konsonanssi, sopusointi.
2366 @section copying music
2368 A music copyist did fast freehand scores and parts on preprinted staff
2369 lines for performance. Some of their conventions (e.g., the placement
2370 of note heads on stems) varied slightly from those of engravers. Some
2371 of their working methods were superior and could well be adopted by
2374 @c Copying music required more skill than engraving. Flagged for NPOV
2377 No cross-references.
2381 @section counterpoint
2390 FI: kontrapunkti, ääni ääntä vastaan.
2392 From Latin @emph{punctus contra punctum}, note against note. The
2393 combination into a single musical fabric of lines or parts which have
2394 distinct melodic significance. A frequently used polyphonic technique
2395 is imitation, in its strictest form found in the canon needing only
2396 one part to be written down while the other parts are performed with a
2397 given displacement. Imitation is also the contrapuntal technique
2398 used in the @emph{fugue} which, since the music of the baroque era,
2399 has been one of the most popular polyphonic composition methods.
2401 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2403 \context Staff = SA \relative c' {
2407 << \context Voice = rha {
2409 r1 | r2 r8 g'8 bes d, |
2410 cis4 d r8 e!16 f g8 f16 e |
2411 f8 g16 a bes8 a16 g a8
2413 \context Voice = rhb {
2419 \context Staff = SB \relative c' {
2422 << \context Voice = lha {
2424 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2425 r8 a16 g f8 g16 a bes8 g e! cis' |
2428 \context Voice = lhb {
2437 No cross-references.
2441 @section countertenor
2446 D: Countertenor, Kontratenor,
2449 S: kontratenor, counter tenor,
2462 D: Crescendo, lauter werden,
2466 FI: cresendo, voimistuen.
2468 Increasing volume. Indicated by a rightwards opening horizontal wedge
2469 (hairpin) or the abbreviation @notation{cresc.}.
2471 @lilypond[quote,relative=2]
2474 g4\< a b c | d1\! \bar "|."
2478 @ref{decrescendo}, @ref{hairpin}.
2486 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2493 Notes belonging to one part printed in another to hint when to start
2494 playing. Usually printed in a smaller type.
2497 Compare: @ref{ossia}.
2506 D: Notenzeiger, Custos,
2512 A custos (plural: custodes) is a staff symbol that appears at the end of a
2513 staff line with monophonic musical contents (i.e., with a single voice). It
2514 anticipates the pitch of the first note of the following line and thus helps
2515 the player or singer to manage line breaks during performance, which
2516 enhances the readability of a score.
2518 Custodes were frequently used in music notation until the 16th century.
2519 There were different appearences for different notation styles. Nowadays,
2520 they have survived only in special forms of musical notation such as the
2521 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2523 @lilypond[quote,ragged-right]
2526 \override Staff.Custos #'neutral-direction = #DOWN
2527 \override Staff.Custos #'style = #'hufnagel
2534 \consists "Custos_engraver"
2541 No cross-references.
2574 F: da capo, depuis le commencement,
2575 D: da capo, von Anfang,
2579 FI: da capo, alusta.
2581 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2582 the beginning to the end or to a certain place marked @emph{fine}.
2585 No cross-references.
2598 FI: tyhjästä ilmaantuen.
2600 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2601 that the sound should gradually increase from nothing.
2612 F: dal segno, depuis le signe,
2613 D: dal segno, ab dem Zeichen,
2617 FI: dal segno, lähtien merkistä.
2619 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2620 another place frequently near the beginning marked by a sign
2623 @lilypond[quote,relative=2]
2631 \musicglyph #"scripts.segno"
2637 No cross-references.
2641 @section decrescendo
2645 D: Decrescendo, leiser werden,
2649 FI: decresendo, hiljentyen.
2651 Decreasing tone volume. Indicated by a leftwards opening horizontal
2652 wedge (hairpin) or the abbreviation @notation{decresc.}.
2654 @lilypond[quote,relative=2]
2657 d4\> c b a | g1 \! \bar "|."
2661 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2664 @node descending interval
2665 @section descending interval
2667 ES: intervalo descendente,
2668 I: intervallo discendente,
2669 F: intervalle descendant,
2670 D: fallendes Intervall, absteigendes Intervall,
2671 NL: dalend interval,
2672 DK: faldende interval,
2673 S: fallande intervall,
2674 FI: laskeva intervalli.
2676 A distance between a starting higher note and a lower ending note.
2679 No cross-references.
2682 @node diatonic scale
2683 @section diatonic scale
2685 ES: escala diatónica,
2687 F: gamme diatonique,
2688 D: diatonische Tonleiter,
2689 NL: diatonische toonladder,
2690 DK: diatonisk skala,
2692 FI: diatoninen asteikko.
2694 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2695 played on the white keys of a piano keybord are diatonic. These scales
2696 are sometimes called, somewhat inaccurately, @q{church modes}).
2698 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2699 but also to some extent in newer jazz music.
2701 @lilypond[quote,notime,relative=1]
2705 e^"~~ S" f g a b^"~~ S" c
2713 @lilypond[quote,notime,relative=1]
2717 e^"~~ S" f g a b^"~~ S" c d
2725 @lilypond[quote,notime,relative=1]
2728 e1^"~~ S" f g a b^"~~ S" c d e
2736 @lilypond[quote,notime,relative=1]
2740 b^"~~ S" c d e^"~~ S" f
2748 @lilypond[quote,notime,relative=2]
2752 b^"~~ S" c d e^"~~ S" f g
2760 @lilypond[quote,notime,relative=2]
2764 b^"~~ S" c d e^"~~ S" f g a
2772 @lilypond[quote,notime,relative=2]
2775 b1^"~~ S" c d e^"~~ S" f g a b
2783 From the beginning of the 17th century the scales used in European
2784 compositional music are primarily the major and the minor scales. In
2785 the harmonic minor scale type an augmented second (A) occurs between
2786 the 6th and 7th tone.
2788 @lilypond[quote,notime,relative=1]
2792 e^"~~ S" f g a b^"~~ S" c
2800 @lilypond[quote,notime,relative=2]
2804 b^"~~ S" c d e^"~~ S" f g a
2807 "Ancient (or Natural) minor"
2812 @lilypond[quote,notime,relative=2]
2816 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2824 @lilypond[quote,notime,relative=2]
2828 b^"~~ S" c d e fis gis^"~~ S" a
2831 "Melodic minor ascending"
2836 @lilypond[quote,notime,relative=3]
2840 g! f!^"~~ S" e d c^"~~ S" b a
2843 "Melodic minor descending"
2849 @ref{semitone}, @ref{whole tone}.
2853 @section didymic comma
2856 @ref{syntonic comma}.
2859 @node diminished interval
2860 @section diminished interval
2862 ES: intervalo disminuido,
2863 I: intervallo diminuito,
2864 F: intervalle diminué,
2865 D: vermindertes Intervall,
2866 NL: verminderd interval,
2867 DK: formindsket interval,
2868 S: förminskat intervall,
2869 FI: vähennetty intervalli.
2880 F: diminuendo, en diminuant,
2885 FI: diminuendo, hiljentyen.
2901 FI: aika-arvojen tihennys.
2903 This is a stub for diminution (@emph{wrt} mensural notation).
2906 @ref{augmentation}, @ref{mensural notation}.
2925 @node disjunct movement
2926 @section disjunct movement
2928 ES: movimiento disjunto,
2930 F: mouvement disjoint,
2931 D: sprunghafte Bewegung,
2932 NL: sprongsgewijze beweging,
2933 DK: springende bevægelse,
2934 S: hoppande rörelse,
2935 FI: melodian hyppivä liike.
2937 Progressing melodically by intervals larger than a major second, as contrasted
2938 with conjunct movement.
2940 @lilypond[quote,relative=1]
2944 a4. gis8 b a e cis |
2950 @ref{conjunct movement}.
2956 Another name for @ref{dissonant interval}.
2959 @ref{dissonant interval}, @ref{harmony}.
2962 @node dissonant interval
2963 @section dissonant interval
2965 ES: intervalo disonante, disonancia,
2966 I: intervallo dissonante, dissonanza,
2967 F: intervalle dissonant, dissonance,
2969 NL: dissonant interval, dissonant,
2970 DK: dissonerende interval, dissonans,
2972 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2990 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2991 vertical stroke through part or all of the staff that serves to
2992 structure a chant into phrases and sections. There are four types:
2996 @item @emph{divisio minima}, a short pause
2998 @item @emph{divisio maior}, a medium pause
3000 @item @emph{divisio maxima}, a long pause
3002 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3003 section in a long antiphonal or responsorial chant.
3007 TODO: musical example here?
3010 No cross-references.
3025 Indicator for a indeterminately rising pitch bend. Compare with
3026 @emph{glissando}, which has determinate starting and ending pitches.
3029 @ref{fall}, @ref{glissando}.
3042 FI: dominantti, huippusointu.
3044 The fifth @emph{scale degree} in @emph{functional harmony}.
3047 @ref{functional harmony}, @ref{scale degree}.
3050 @node dominant ninth chord
3051 @section dominant ninth chord
3053 ES: acorde de novena de dominante,
3054 I: accordo di nona di dominante,
3055 F: accord de neuvième de dominante,
3056 D: Domi@-nant@-nonen@-akkord,
3057 NL: dominant noon akkoord,
3058 DK: dominantnoneakkord,
3059 S: dominantnonackord,
3060 FI: dominanttinoonisointu.
3063 @ref{chord}, @ref{functional harmony}.
3066 @node dominant seventh chord
3067 @section dominant seventh chord
3069 ES: acorde de séptima de dominante,
3070 I: accordo di settima di dominante,
3071 F: accord de septième de dominante,
3072 D: Dominantseptakkord,
3073 NL: dominant septiem akkoord,
3074 DK: dominantseptimakkord,
3075 S: dominantseptimackord,
3076 FI: dominanttiseptimisointu.
3079 @ref{chord}, @ref{functional harmony}.
3083 @section dorian mode
3088 D: dorisch, dorischer Kirchenton,
3089 NL: dorische toonladder,
3095 @ref{diatonic scale}.
3098 @node dot (augmentation dot)
3099 @section dot (augmentation dot)
3102 I: punto (di valore),
3104 D: Punkt (Verlängerungspunkt),
3111 @ref{dotted note}, @ref{note value}.
3115 @section dotted note
3117 ES: nota con puntillo,
3121 NL: gepuncteerde noot,
3124 FI: pisteellinen nuotti.
3130 @node double appoggiatura
3131 @section double appoggiatura
3133 ES: apoyatura doble,
3134 I: appoggiatura doppia,
3135 F: appoggiature double,
3136 D: doppelter Vorschlag,
3137 NL: dubbele voorslag,
3138 DK: dobbelt forslag,
3140 FI: kaksoisappogiatura, kaksoisetuhele.
3146 @node double bar line
3147 @section double bar line
3153 NL: dubbele maatstreep,
3156 FI: kaksoistahtiviiva.
3158 Indicates the end of a section within a movement.
3161 No cross-references.
3164 @node double dotted note
3165 @section double dotted note
3167 ES: nota con doble puntillo,
3168 I: nota doppiamente puntata,
3169 F: note doublement pointée,
3170 D: doppelt punktierte Note,
3171 NL: dubbelgepuncteerde noot,
3172 DK: dob@-belt@-punk@-te@-ret node,
3173 S: dub@-bel@-punk@-te@-rad not,
3174 FI: kaksoispisteellinen nuotti.
3181 @section double flat
3190 FI: kaksoisalennusmerkki.
3197 @section double sharp
3199 ES: doble sostenido,
3204 DK: dob@-belt@-kryds,
3206 FI: kaksoisylennysmerkki.
3212 @node double time signature
3213 @section double time signature
3222 FI: kaksois-aika-arvomerkintä.
3225 @ref{polymetric time signature}.
3229 @section double trill
3235 NL: dubbele triller,
3240 A simultaneous trill on two notes, usually in the distance of a third.
3243 No cross-references.
3247 @section duple meter
3251 F: métrique binaire,
3252 D: in zwei, grader Takt,
3253 NL: tweedelige maatsoort,
3288 FI: kesto, aika-arvo.
3297 ES: dinámica, matices,
3300 D: Dynamik, Lautstärke,
3304 FI: äänen voimakkuusvaihtelu, dynamiikka.
3306 The aspect of music relating to degrees of loudness, or changes from
3307 one degree to another. The terms, abbreviations, and symbols used to
3308 indicate this information are called dynamic marks.
3311 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3333 @node ecclesiastical mode
3334 @section ecclesiastical mode
3337 @ref{church mode}, @ref{diatonic scale}.
3341 @section eighth note
3348 @item D: Achtel, Achtelnote
3349 @item NL: achtste noot
3350 @item DK: ottendedelsnode
3351 @item S: åttondelsnot
3352 @item FI: kahdeksasosanuotti
3360 @section eighth rest
3363 @item UK: quaver rest
3364 @item ES: silencio de corchea
3365 @item I: pausa di croma
3366 @item F: demi-soupir
3367 @item D: Achtelpause
3368 @item NL: achtste rust
3369 @item DK: ottendedelspause
3370 @item S: åttonddelspaus
3371 @item FI: kahdeksasosatauko
3381 @c TODO: add languages
3390 FI: tavujen yhdistäminen yhteen ääneen.
3392 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3393 @emph{συναλοιφην} @q{to smear together}].
3395 The singing of several syllables on a single note. Elision may be indicated
3396 by a lyric tie, which looks like (and serves the same function) as a musical
3404 @section embellishment
3416 D: Notenstich, Notendruck
3422 Engraving means incising or etching a metal plate for printing.
3423 Photoengraving means drawing music with ink in a manner similar to
3424 drafting or engineering drawing, using similar tools.
3426 The traditional process of music printing is done through cutting in a
3427 plate of metal. Now also the term for the art of music typesetting.
3430 No cross-references.
3445 Two notes, intervals, or scales are enharmonic if they have different
3446 names but equal pitch.
3448 @lilypond[quote,notime,line-width=13.0\cm]
3452 gis1 as <des g,!> <cis g!>
3456 "g sharp " "a flat " "dim fifth " "augm fourth"
3462 No cross-references.
3465 @node equal temperament
3466 @section equal temperament
3468 ES: temperamento igual,
3469 I: temperamento equabile,
3470 F: tempérament égal,
3471 D: gleichschwebende Stimmung,
3472 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3473 DK: ligesvævende temperatur,
3474 S: liksvävande temperatur,
3477 A tuning system that divides the octave into 12 equal semitones (each of
3478 which is precisely equal to 100 cents).
3481 @ref{cent}, @ref{semitone}, @ref{temperament}.
3484 @node expression mark
3485 @section expression mark
3488 I: segno d'espressione,
3489 F: signe d'expression, indication de nuance,
3491 NL: voordrachtsteken,
3492 DK: foredragsbetegnelse,
3493 S: föredragsbeteckning,
3494 FI: nyanssiosoitus, esitysmerkki.
3496 Performance indications concerning:
3500 @item volume, dynamics (for example, @notation{forte},
3501 @notation{crescendo}),
3503 @item tempo (for example, @notation{andante}, @notation{allegro}).
3508 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3512 @section extender line
3514 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3515 I: linea di estensione,
3516 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3523 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3524 extends text (without indicating the musical @emph{function} of that text).
3526 Used in many contexts, for example:
3530 @item In vocal music to indicate the syllable for a melisma. Called
3531 @q{extension} in the
3532 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3536 In figured bass to indicate that:
3540 @item The extended note should be held through a change in harmony, when applied
3541 to one figure --OR--
3542 @item The chord thus represented should be held above a moving bass line, when
3543 applied to more than one figure.
3544 @item These uses were not completely standardized, and some composers used a
3545 single extender line to indicate the latter case.
3550 In string music to indicate that all notes in the passage thus indicated should
3551 be played on the same string. On the violin, for example, a series of notes to
3552 be played on the G string would be indicated @notation{sul G}, another series to be
3553 played on the D string would be indicated @notation{sul D}, and so on.
3556 With an octave mark to indicate that a passage is to be played higher or lower
3557 by the given number of octaves.
3562 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3563 @ref{octave marking}.
3596 The position between the dots of the key symbol is the line of the F
3597 below central@w{ }C. Used on the third, fourth and fifth note line.
3598 A digit@w{ }8 above the clef symbol indicates that the notes must be
3599 played an octave higher (for example, bass recorder) while 8@w{ }below
3600 the clef symbol indicates playing an octave lower (for example, on the
3603 @lilypond[quote,notime,line-width=13.0\cm]
3606 \override Staff.Clef #'full-size-change = ##t
3629 @ref{baritone clef}, @ref{strings}.
3644 Indicator for a indeterminately falling pitch bend. Compare with
3645 @emph{glissando}, which has determinate starting and ending pitches.
3648 @ref{doit}, @ref{glissando}.
3651 @node feathered beam
3652 @section feathered beam
3656 F: ligature en soufflet, lien de croches en soufflet,
3657 D: gespreizter Balken,
3663 A type of beam used to indicate that a small group of notes should be
3664 played at an increasing or decreasing tempo -- depending on the
3665 direction of @q{feathering} -- but without changing the overall tempo
3669 Internals Reference: @ruser{Manual beams}
3675 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3679 F: point d'orgue, point d'arrêt,
3684 FI: fermaatti, pidäke.
3686 Prolonged note or rest of indefinite duration.
3688 @lilypond[quote,relative=2]
3695 No cross-references.
3715 @section figured bass
3718 I: basso continuo, basso numerato,
3719 F: basse chiffrée, basse continue,
3720 D: Generalbass, bezifferter Bass,
3721 NL: basso continuo, becijferde bas
3724 FI: kenraalibasso, numeroitu basso.
3726 Also called @q{thorough bass}.
3728 A method of indicating an accompaniment part by the bass notes only,
3729 together with figures designating the chief intervals and chords to be
3730 played above the bass notes.
3732 @lilypond[quote,line-width=13.0\cm]
3734 \new Staff = "rh" \with {
3736 \override StaffSymbol #'staff-space = #(magstep -3)
3742 \context Voice = "rha" {
3747 \context Voice = "rhb" {
3749 <bes g>8 as <as f> g <g es> f <d f> es
3754 \new Staff = "lh" \relative c' {
3757 es8 c d bes c as bes16 as g f
3761 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3767 @ref{chord}, @ref{interval}.
3782 Figures to the side or above the note that methodically indicate which
3783 fingers to use while playing a passage.
3786 No cross-references.
3793 I: coda (uncinata), bandiera,
3801 Ornament at the end of the stem of a note used for notes with values less
3802 than a quarter note. The number of flags determines the note value.
3804 @lilypond[quote,notime,relative=2]
3827 An articulation for string players that means the note or passage is to
3828 be played in harmonics.
3834 @item A duct flute similar to the recorder.
3836 @item An organ stop of flute scale at 1' or 2' pitch.
3841 @ref{articulation}, @ref{harmonics}.
3877 FI: forte, voimakkaasti.
3881 Abbreviated @notation{@b{f}}. Variants include:
3884 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3885 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3889 No cross-references.
3908 @node Frenched score
3909 @section Frenched score
3911 ES: partitura a la francesa,
3918 FI: partituuri francesan tapaan.
3920 A @q{condensed} score, produced by omitting staves for instruments that are not
3921 playing at the moment, and by moving up additional systems from following pages
3922 to take up the space thus liberated, which reduces the total number of pages
3923 used to print the work.
3925 The specific rules for @q{frenching} a score differ from publisher to publisher.
3926 If you are producing scores for eventual publication by a commercial publisher,
3927 you may wish to procure a copy of their style manual.
3930 @ref{Frenched staff}.
3933 @node Frenched staff
3934 @section Frenched staff
3936 ES: pentagrama a la francesa,
3943 FI: karsittu nuotinnus.
3945 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3946 Frenched staff has unneeded measures or sections removed. This is useful
3947 for producing, for example, an @emph{ossia} staff.
3953 @node Frenched staves
3954 @section Frenched staves
3956 Plural of @ref{Frenched staff}.
3975 @node functional harmony
3976 @section functional harmony
3978 ES: armonía funcional,
3979 I: armonia funzionale,
3980 F: étude des functions,
3982 NL: functionele harmonie,
3983 DK: funktionsanalyse, funktionsharmonik,
3985 FI: harmoniajärjestelmä.
3987 A system of harmonic analysis.
3989 It is based on the idea that, in a given key, there are only three
3990 functionally different chords: tonic (T, the chord on the first note of the
3991 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3992 chord on the fifth note). Others are considered to be variants of the base
3995 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3997 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4000 <g e c>1 <a f d> <b g e>
4001 <c a f> <d b g> <e c a> <f d b>
4005 \markup { D \translate #'(-2 . 0) | }
4011 No cross-references.
4038 D: G-Schlüssel, Violinschlüssel,
4044 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4045 second note lines. A digit 8 above the clef symbol indicates that the notes
4046 must be played an octave higher while 8 below the clef symbol indicates
4047 playing or singing an octave lower (used most frequently to notate the tenor
4048 part in modern choral scores).
4050 @lilypond[quote,notime]
4052 \override Staff.Clef #'full-size-change = ##t
4053 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4064 "french violin clef"
4072 No cross-references.
4085 FI: glissando, liukuen.
4087 Letting the pitch slide fluently from one note to the other.
4090 No cross-references.
4094 @section grace notes
4096 ES: notas de adorno,
4098 F: ornement, fioriture,
4099 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4105 Notes printed in small types to indicate that their time values are not
4106 counted in the rhythm of the bar.
4109 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4114 @section grand staff
4116 ES: sistema de piano,
4118 F: système [de portées], accolade,
4119 D: Akkolade, Klaviersystem,
4122 S: ackolad, böjd klammer,
4123 FI: kaksoisnuottiviivasto.
4125 A combination of two staves with a brace. Usually used for piano music.
4141 FI: grave, raskaasti.
4143 [Italian] Slow, solemn.
4146 No cross-references.
4170 Letter name used for @notation{B natural} in German and Scandinavian
4171 usage. In the standard usage of these countries, @notation{B} means
4175 @ref{Pitch names}, @ref{B}.
4181 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4184 @lilypond[quote,relative=2]
4191 @ref{crescendo}, @ref{decrescendo}.
4202 @item D: Halbe, halbe Note,
4203 @item NL: halve noot,
4206 @item FI: puolinuotti.
4217 @item UK: minim rest,
4218 @item ES: silencio de blanca,
4219 @item I: pausa di minima,
4220 @item F: demi-pause,
4221 @item D: halbe Pause,
4222 @item NL: halve, rust,
4223 @item DK: halvnodespause,
4225 @item FI: puolitauko.
4232 @node harmonic cadence
4233 @section harmonic cadence
4235 ES: cadencia (armónica),
4236 I: cadenza (armonica),
4237 F: cadence harmonique,
4239 NL: harmonische cadens,
4240 DK: harmonisk kadence,
4241 S: (harmonisk) kadens,
4242 FI: harmoninen kadenssi.
4244 A sequence of chords that terminates a musical phrase or section.
4248 \context Staff = "SA" \relative c'' {
4251 \partial 4 <c g e>4 |
4252 <c a f> <b g d> <c g e>2
4255 \context Staff = "SB" \relative c {
4257 \partial 4 c4 | f, g c2
4269 @ref{functional harmony}.
4275 ES: sonidos del flautín,
4277 F: flageolet, sons harmoniques,
4282 FI: harmoniset äänet, huiluäänet.
4284 The general class of pitches produced by sounding the second or higher
4285 harmonic of a tone producer: string, column of air, and so on.
4287 On stringed instruments, these pitches sound rather flute-like; hence,
4288 their name in languages other than English. They are produced by
4289 lightly touching the string at a node for the desired mode of vibration
4290 while it is being bowed or plucked.
4292 For instruments of the violin family, there are two types of harmonics:
4293 natural harmonics, which are those played on the open string; and
4294 artificial harmonics, which are produced on stopped strings.
4297 No cross-references.
4306 D: Harmonie, Zusammenklang,
4310 FI: harmonia, yhteissointi.
4312 Tones sounding simultaneously. Two note harmonies fall into the
4313 categories @emph{consonances} and @emph{dissonances}.
4317 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4329 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4330 <g a>1_"second " s s
4331 <g f'>_"seventh " s s
4335 For harmony that uses three or more notes, see @ref{chord}.
4345 I: emiolia, (rarely hemiola or emiola),
4353 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4355 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4356 time normally occupied by two. The resulting rhythm can be expressed in modern
4357 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4358 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4359 as a special effect (or @emph{affect}) at cadences.
4361 For example, this phrase in 6/4 time
4363 @lilypond[quote,relative=1,line-width=13.0\cm]
4366 c2. e | d2 c d | c1. \bar "||"
4369 may be thought of having alternating time signatures
4371 @lilypond[quote,relative=1,line-width=13.0\cm]
4381 and is therefore a polymeter (second definition) of considerable antiquity.
4384 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4397 FI: homofonia, yksiäänisyys.
4399 Music in which one voice leads melodically supported by the other voices in
4400 the same rhythm (more or less). In contrast to @emph{polyphony}.
4423 FI: säkeiden tavumäärät.
4425 A group or list of numbers that indicate the number of syllables in a line
4426 of a hymn's verse. Different hymnals have different ways of noting the hymn
4427 meter: for example, consider a hymn that has four lines in two couplets
4428 alternating regularly between eight and seven syllables. The @emph{English
4429 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4430 or 8@w{ }7@w{ }8@w{ }7.
4432 Some frequently-used hymn meters have traditional names:
4435 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4436 @item 86.86 is called Common Meter (CM or C.M.)
4437 @item 88.88 is called Long Meter (LM or L.M.)
4440 Some hymns and their tunes are doubled versions of a simpler meter: for
4441 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4442 87.87D. The traditional names above also have doubled versions:
4445 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4446 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4447 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4451 No cross-references.
4464 FI: intervalli, kahden sävelen korkeusero.
4466 Difference in pitch between two notes. Intervals may be diminished, minor,
4467 perfect, major, or augmented. The augmented fourth and the diminished fifth
4468 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4469 and are called @emph{tritonus} because they consist of three whole tones.
4470 The addition of such two intervals forms an octave.
4472 @lilypond[quote,notime,line-width=13.0\cm]
4474 \context Voice \relative c'' {
4511 \context Lyrics \lyrics {
4513 "second " "second " "second " "second "
4514 "third " "third " "third " "third "
4515 "fourth " "fourth " "fourth "
4516 "fifth " "fifth " "fifth "
4517 "sixth " "sixth " "sixth " "sixth "
4518 "seventh" "seventh" "seventh" "seventh"
4519 "octave " "octave " "octave "
4525 @ref{enharmonic}, @ref{whole tone}.
4540 When a chord sounds with a bass note that differs from the root of the
4541 chord, it is said to be @emph{inverted}. The number of inversions that a
4542 chord can have is one fewer than the number of constituent notes. For
4543 example, triads (which have three constituent notes) can have three
4544 positions, two of which are inversions:
4548 The root note is in the bass, and above that are the third and the fifth. A
4549 triad built on the first scale degree, for example, is marked @notation{I}.
4551 @item First inversion
4552 The third is in the bass, and above it are the fifth and the root. This
4553 creates an interval of a sixth and a third above the bass note, and so is
4554 marked in figured Roman notation as @notation{6/3}. This is commonly
4555 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4556 characteristic interval of the inversion, and so always implies
4559 @item Second inversion
4560 The fifth is in the bass, and above it are the root and the third. This
4561 creates an interval of a sixth and a fourth above the bass note, and so is
4562 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4563 unstable chord position.
4567 No cross-references.
4570 @node inverted interval
4571 @section inverted interval
4573 ES: intervalo invertido,
4574 I: intervallo rivolto,
4575 F: intervalle renversé,
4576 D: umgekehrtes Intervall,
4577 NL: interval inversie,
4578 DK: omvendingsinterval,
4579 S: intervallets omvändning,
4580 FI: käänteisintervalli.
4582 The difference between an interval and an octave.
4584 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4585 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4586 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4587 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4591 No cross-references.
4594 @node just intonation
4595 @section just intonation
4597 ES: entonación justa,
4598 I: intonazione giusta,
4599 F: intonation juste,
4606 Tuning system in which the notes are obtained by adding and subtracting
4607 natural fifths and thirds.
4625 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4626 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4629 @ref{chromatic scale}, @ref{key signature}.
4633 @section key signature
4635 ES: armadura (de la clave),
4636 I: armatura di chiave,
4637 F: armure, armature [de la clé],
4638 D: Vorzeichen, Tonart,
4639 NL: toon@-soort (voortekens),
4642 FI: sävellajiosoitus.
4644 The sharps or flats appearing at the beginning of each staff indicating the
4651 @node laissez vibrer
4652 @section laissez vibrer
4663 [French: @q{Let vibrate}] Most frequently associated with harp
4664 parts. Marked @notation{l.v.} in the score.
4667 No cross-references.
4675 F: largo, large, ample,
4676 D: Largo, Langsam, Breit,
4680 FI: largo, hitaasti, leveästi.
4682 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4683 expressiveness. @emph{Larghetto} is less slow than largo.
4687 @section leading note
4698 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4699 called because of its strong tendency to @q{lead up} (resolve upwards)
4700 to the tonic scale degree.
4703 @ref{scale degree}, @ref{semitone}.
4707 @section ledger line
4709 ES: línea adicional,
4710 I: tagli addizionali,
4711 F: ligne supplémentaire,
4718 A ledger line is an extension of the staff.
4720 @lilypond[quote,notime,relative=2]
4727 No cross-references.
4736 D: legato, gebunden,
4742 To be performed (a) without any perceptible interruption between the
4743 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4744 @notation{portato}, or (d) @notation{staccato}.
4746 @lilypond[quote,notime,line-width=13.0\cm]
4748 \context Staff \relative c'' {
4749 c4-( d e-) \bar "||"
4750 c4-- d-- e-- \bar "||"
4751 c4-.-( d-. e-.-) \bar "||"
4752 c4-. d-. e-. \bar "||"
4768 @section legato curve
4771 @ref{slur}, @ref{legato}.
4793 A ligature is a coherent graphical symbol that represents at least two
4794 distinct notes. Ligatures originally appeared in the manuscripts of
4795 Gregorian chant notation around the 9th century to denote ascending or
4796 descending sequences of notes. In early notation, ligatures were used for
4797 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4798 performance in the sense of articulation. With the invention of the metric
4799 system of the white mensural notation, the need for ligatures to denote such
4800 patterns disappeared.
4803 @ref{mensural notation}.
4810 ES: estanque de nenúfares,
4811 I: stagno del giglio,
4812 F: étang de nénuphars, étang de nymphéas,
4814 NL: le@-lie@-vij@-ver,
4819 A pond with lilies floating in it.
4821 Also, the name of a music typesetting program.
4824 No cross-references.
4833 D: Linie, Notenlinie,
4837 FI: viiva, nuottiviiva.
4853 FI: kirjoitetussa äänenkorkeudessa.
4855 [Italian: @q{place}] Instruction to play the following passage at the
4856 written pitch. Cancels octave mark (q.v.).
4859 @ref{octave mark}, @ref{octave marking}.
4862 @node long appoggiatura
4863 @section long appoggiatura
4865 ES: apoyatura larga,
4866 I: appoggiatura lunga,
4867 F: appoggiature longue,
4872 FI: pitkä appoggiatura, pitkä etuhele.
4882 @item US: long, longa,
4885 @item F: longa, longue,
4893 Note value: twice the length of a @notation{breve}.
4895 @lilypond[quote,notime,relative=2]
4896 \override NoteHead #'style = #'mensural
4901 @ref{breve}, @ref{note value}.
4907 ES: ligadura de letra,
4909 F: ligature de mots,
4914 FI: sidonta sanoituksessa.
4916 @c TODO: add languages
4925 ES: letra (de la canción),
4928 D: Liedtext, Gesangtext,
4937 No cross-references.
4953 @ref{diatonic scale}.
4956 @node major interval
4957 @section major interval
4959 ES: intervalo mayor,
4960 I: intervallo maggiore,
4961 F: intervalle majeur,
4962 D: großes Intervall,
4966 FI: suuri intervalli.
4984 Note value: twice the length of a @notation{longa}.
4986 The maxima is the largest duration in use during the 15th and 16th centuries.
4987 Like the longa, the maxima can be either two or three times as long as the
4988 @notation{longa} (called @notation{binary} and @notation{ternary},
4989 respectively). By the late 15th century, most composers used the smaller
4990 proportion by default.
4993 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4996 @node meantone temperament
4997 @section meantone temperament
4999 ES: afinación mesotónica,
5000 I: accordatura mesotonica,
5001 F: tempérament mésotonique,
5002 D: mitteltönige Stimmung,
5003 NL: middenstemming, middentoonstemming,
5004 DK: middeltonetemperatur,
5005 S: medeltonstemperatur,
5006 FI: keskisävelviritys.
5008 Temperament yielding acoustically pure thirds by decreasing the natural
5009 fifth by 16@w{ }cents. Due to the non-circular character of this
5010 temperament only a limited set of keys are playable. Used for tuning
5011 keyboard instruments for performance of pre-1650 music.
5014 @ref{cent}, @ref{temperament}.
5029 A group of beats (units of musical time) the first of which bears an accent.
5030 Such groups in numbers of two or more recur consistently throughout the
5031 composition and are separated from each other by bar lines.
5034 @ref{bar line}, @ref{beat}, @ref{meter}.
5037 @node measure repeat
5038 @section measure repeat
5041 @ref{percent repeat}.
5048 I: mediante, modale,
5058 @item The third @b{scale degree}.
5060 @item A @emph{chord} having its base tone a third from that of another
5061 chord. For example, the tonic chord may be replaced by its lower
5062 mediant (variant tonic).
5067 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5080 FI: melisma, laulettavan tavun sävelkuvio.
5082 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5083 on one syllable, especially as applied to liturgical chant.
5086 No cross-references.
5090 @section melisma line
5092 @c TODO: add languages
5094 ES: línea de melisma,
5095 I: linea del melisma,
5096 F: trait de mélisme, trait de tenue,
5104 @ref{extender line}.
5107 @node melodic cadence
5108 @section melodic cadence
5114 @node mensural notation
5115 @section mensural notation
5117 @c TODO: add languages
5119 ES: notación mensural,
5120 I: notazione mensurale,
5121 F: notation mensurale,
5126 FI: mensuraalinuotinnus.
5128 A system of duration notation whose principles were first established in the
5129 mid-13th century, and that (with various changes) remained in use until about
5130 1600. As such, it is the basis for the notation of rhythms in Western musical
5133 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5134 of the notation's principles, so the notation of this earliest period is called
5135 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5136 and semibreve -- each of which was normally equivalent to three of the next
5139 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5140 added several note values (the minim, semiminim and fusa) and extended Franco's
5141 principles to govern the relationship between these values. They also put the
5142 duple division of note values on an equal footing with the earlier (preferred)
5145 TODO: continue description of French and Italian black notation, and the
5146 relationship betwixt them.
5148 @b{White or void mensural notation}
5150 In the 15th century, hollow (or void) notes began to substitute for the earlier
5151 solid black ones, which were then free to assume the function of red (or
5152 colored) notes in the earlier notation. ...
5154 TODO: add to definition (including summary info on proportional notation)
5157 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5158 @c TODO: more cross-references?
5161 @node mensuration sign
5162 @section mensuration sign
5164 @c TODO: add languages
5168 F: signe de mensuration,
5175 The ancestor of the time signature, mensuration signs were used to indicate the
5176 relationship between two sets of note durations—specifically, the ratio of
5177 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5178 (called @notation{prolatio}).
5180 Each ratio was represented with a single single sign, and was either
5181 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5182 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5183 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5184 represented by a complete circle; applied to the @emph{prolatio}, it was called
5185 @emph{major} and was represented by a dot in the middle of the sign. The binary
5186 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5187 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5188 @emph{minor} and was represented by the lack of an internal dot. There are four
5189 possible combinations, which can be represented in modern time signatures with
5190 and without reduction of note values. (These signs are hard-coded in LilyPond
5194 @item perfect @emph{tempus} with major @emph{prolatio}
5195 Indicated by a complete circle with an internal dot. In modern time signatures,
5198 @item 9/4, with reduction or
5199 @item 9/2, without reduction
5202 @item perfect @emph{tempus} and minor @emph{prolatio}
5203 Indicated by a complete circle without an internal dot. In modern time
5204 signatures, this equals:
5206 @item 3/2, with reduction or
5207 @item 3/1, without reduction
5210 @item imperfect @emph{tempus} and major @emph{prolatio}
5211 Indicated by an incomplete circle with an internal dot. In modern time
5212 signatures, this equals:
5214 @item 6/4, with reduction or
5215 @item 6/2, without reduction
5218 @item imperfect @emph{tempus} and minor @emph{prolatio}
5219 Indicated by an incomplete circle without an internal dot. In modern time
5220 signatures, this equals:
5222 @item 4/4, with reduction or
5223 @item 2/1, without reduction
5227 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5228 with note values reduced from the original semibreve to a modern quarter note.
5229 Being doubly imperfect, this sign represented the (theoretically)
5230 least-preferred mensuration, but it was actually used fairly often.
5232 This system extended to the ratio of longer note values to each other:
5236 @item maxima to longa, called:
5240 @item @notation{modus maximorum},
5241 @item @notation{modus major}, or
5242 @item @notation{maximodus})
5246 @item longa to breve, called:
5250 @item @notation{modus longarum},
5251 @item @notation{modus minor}, or
5252 @item @notation{modus}
5258 In the absence of any other indication, these modes were assumed to be
5259 binary. The mensuration signs only indicated tempus and prolatio, so
5260 composers needed another way to indicate these longer ratios (called modes.
5261 Around the middle of the 15th century started to use groups of rests at the
5262 beginning of the staff, preceding the mensuration sign.
5265 Two mensuration signs have survived to the present day: the C-shaped sign,
5266 which originally designated @notation{tempus imperfectum} and
5267 @notation{prolatio minor} now stands for @notation{common time}; and the
5268 slashed C, which designated the same with @notation{diminution} now stands
5269 for @notation{cut-time} (essentially, it has not lost its original meaning).
5272 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5273 @c TODO: more cross-references?
5281 F: indication de mesure, mesure,
5288 The pattern of note values and accents in a composition or a section thereof.
5289 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5290 by grouping beats and by subdividing the primary beat.
5292 @b{By grouping beats}:
5296 @item @b{duple}: groups of two.
5297 @item @b{triple}: groups of three.
5298 @item @b{quadruple}: groups of four. A special case of duple meter.
5299 @item @b{quintuple}: groups of five beats.
5300 @item @b{sextuple} meter: groups of six. A special case of:
5304 @item duple meter, subdivided in three; or
5305 @item triple meter, subdivided in two.
5309 @item @b{septuple} meter: groups of seven.
5314 Other than triple meter and its subdivided variants (see below), meters that
5315 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5316 frequently used prior to the 20th Century.
5318 @b{By subdividing the primary beat}:
5322 @item simple: subdivided in groups of two.
5326 @item duple: 2/2, 2/4, 2/8
5327 @item triple: 3/2, 3/4, 3/8
5328 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5332 @item compound: subdivided in groups of three.
5338 @item quadruple: 12/8
5344 Time signatures are placed at the beginning of a composition (or section) to
5345 indicate the meter. For instance, a piece written in simple triple meter with a
5346 beat on each quarter note is conventionally written with a time signature of
5347 3/4. Here are some combinations of the two classifications above:
5349 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5351 @lilypond[quote,line-width=13.0\cm]
5355 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5358 Simple triple meter:
5360 @lilypond[quote,line-width=13.0\cm]
5364 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5367 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5369 @lilypond[quote,line-width=13.0\cm]
5373 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5376 Simple quintuple meter (B. Marcello, 1686-1739):
5378 @lilypond[quote,line-width=13.0\cm]
5382 r4 cis8 bis ais4 dis c8 ais |
5383 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5386 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5387 the source, with sharps in the accompaniment where the voice has flats and
5390 Compound duple meter (unknown):
5392 @lilypond[quote,line-width=13.0\cm]
5396 f8 f g a bes16 a g f |
5397 g8 g bes a c16 a bes g
5401 Compound triple meter (J.S. Bach, 1685-1750):
5403 @lilypond[quote,line-width=13.0\cm]
5407 r8 g'( a) b( d c) c( e d) |
5408 d( g fis) g( d b) g( a b)
5412 Compound quadruple meter (P. Yon, 1886-1943):
5414 @lilypond[quote,line-width=13.0\cm]
5418 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5419 e4 e8 fis( gis) a b4.~ b4 b8
5424 @b{@q{Monometer} vs Polymeter}
5426 TODO: add information from discussion on lilypond-user related to polymeter.
5430 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5445 Device used to indicate the exact tempo of a piece.
5447 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5448 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5449 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5450 followed acknowledged Winkler as the creator, but by then Mälzel had already
5451 sold many of them, and people had taken to calling it a Mälzel Metronome.
5454 @ref{metronome mark}.
5457 @node metronome mark
5458 @section metronome mark
5460 ES: indicación metronómica,
5461 I: indicazione metronomica,
5462 F: indication métronomique,
5464 NL: metronoom aanduiding,
5466 S: metronomangivelse,
5467 FI: metronomiosoitus.
5469 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5470 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5477 @node metronomic indication
5478 @section metronomic indication
5481 @ref{metronome mark}
5494 FI: kohtalaisen, melko.
5496 [Italian: @q{medium}]
5498 Used to qualify other indications, such as:
5504 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5506 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5512 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5519 No cross-references.
5523 @section mezzo-soprano
5534 The female voice between soprano and contralto.
5537 @ref{soprano}, @ref{contralto}.
5546 D: eingestrichenes@w{ }c,
5548 DK: enstreget@w{ }c,
5549 S: ettstruket@w{ }c,
5552 First C below the 440 Hz A.
5554 @lilypond[quote,notime,relative=1]
5555 \override Staff.Clef #'full-size-change = ##t
5562 No cross-references.
5578 @ref{diatonic scale}.
5581 @node minor interval
5582 @section minor interval
5584 ES: intervalo menor,
5585 I: intervallo minore,
5586 F: intervalle mineur,
5587 D: kleines Intervall,
5591 FI: pieni intervalli.
5597 @node mixolydian mode
5598 @section mixolydian mode
5601 @ref{diatonic scale}.
5610 D: Kirchentonart, Modus,
5614 FI: moodi, kirkkosävelasteikko.
5617 @ref{church mode}, @ref{diatonic scale}.
5630 FI: modulaatio, sävellajin vaihdos.
5632 Moving from one @ref{key} to another. For example, the second subject
5633 of a @ref{sonata form} movement modulates to the dominant key if the
5634 key is major and to the @ref{relative key} if the key is minor.
5637 No cross-references.
5649 FI: mordent, korukuvio.
5672 FI: teema, sävelaihe.
5674 The briefest intelligible and self-contained fragment of a musical
5677 @lilypond[quote,line-width=13.0\cm]
5680 \set Score.implicitTimeSignatureVisibility = #all-invisible
5681 \override Score.TimeSignature #'break-visibility = #all-invisible
5684 \partial 8 g16\startGroup fis |
5685 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5686 g8 g,16 a b8 cis d16 s
5690 \Staff \consists "Horizontal_bracket_engraver"
5696 No cross-references.
5711 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5712 several -- more or less -- independent pieces called movements.
5715 No cross-references.
5718 @node multi-measure rest
5719 @section multi-measure rest
5721 ES: compases de espera,
5723 F: pause multiple, mesure à compter,
5725 D: mehrtaktige Pause, Kirchenpause,
5728 FI: usean tahdin mittainen tauko.
5730 Multi-measure rests are conventionally typeset with a combination of
5731 longa, breve and whole rests for shorter and a long horizontal bar for
5732 longer spans of rest, with a number above to indicate the duration (in
5733 measures) of the rest. The former style is called @q{Kirchenpausen} in
5734 German, as a reminiscence of its use in Renaissance vocal polyphony.
5736 @lilypond[quote,relative=2]
5738 \set Score.skipBars = ##t
5741 \set Score.skipBars = ##t
5747 @ref{longa}, @ref{breve}.
5756 D: Auflösungszeichen,
5757 NL: herstellingsteken,
5758 DK: op@-løsningstegn,
5759 S: återställningstecken,
5766 @node neighbor tones
5767 @section neighbor tones
5769 @c TODO: add definition.
5781 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5820 Notes are signs by means of which music is fixed in writing. The term is also
5821 used for the sound indicated by a note, and even for the key of the piano
5822 which produces the sound. However, a clear distinction between the terms tone
5823 and @ref{note} is strongly recommended. Briefly, one sees a note,
5827 No cross-references.
5834 I: testa, testina, capocchia,
5842 A head-like sign which indicates pitch by its position on a @notation{staff}
5843 provided with a @notation{clef}, and duration by a variety of shapes such as
5844 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5845 For percussion instruments (often having no defined pitch) the note head may
5846 indicate the instrument.
5849 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5862 ES: valor (duración),
5864 F: durée, valeur (d'une note),
5869 FI: nuotin aika-arvo.
5871 Note values (durations) are measured as fractions—in modern usage, one-half—of
5872 the next higher note value. The longest duration in current use is the
5873 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5874 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5875 or @notation{maxima} (eight whole notes) may be found.
5877 As used in mensural notation, this fraction was more flexible: it could also
5878 be one-third the higher note value. Composers indicated which proportions
5879 to use with various signs—two of which survive to the present day: the
5880 C-shaped sign for @notation{common time}, and the slashed C for
5881 @notation{alla breve} or @notation{cut-time}.
5883 @c TODO -- add maxima to this example, in a way that doesn't break it.
5885 @lilypond[quote,notime,line-width=13.0\cm]
5887 \override NoteHead #'style = #'mensural
5888 a\longa_"longa" a\breve_"breve"
5889 \revert NoteHead #'style
5890 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5891 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5894 @c TODO -- add maxima rest to this example
5896 @lilypond[quote,notime,line-width=13.0\cm]
5898 r\longa_"longa" r\breve_"breve"
5899 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5900 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5903 An augmentation dot after a note increases its duration by half; a second dot
5904 increases it by half of the first addition (that is, by a fourth of the original
5905 duration). More dots can be used to add further halved fractions of the
5906 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5908 @lilypond[quote,line-width=13.0\cm]
5911 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5912 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5915 Alternatively note values may be subdivided by other ratios. Most common is
5916 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5917 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5918 dotted notes are also frequently used.
5920 @lilypond[quote,line-width=13.0\cm]
5923 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5924 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5928 @lilypond[quote,line-width=13.0\cm]
5931 \times 3/2 {g4_"duplets" g} |
5933 \times 6/4 {g8_"quadruplets" g g g} |
5934 g8 g g g g4 \bar "||"
5946 @ref{octave marking}.
5961 The interval of an octave, sometimes abbreviated @notation{8ve}.
5963 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5964 bracket, or @notation{loco} see octave marking.
5967 @ref{interval}, @ref{octave marking}.
5971 @section octave mark
5973 ES: indicación de octava,
5975 F: indication d'octave,
5982 The phrase, abbreviation, or other mark used (with or without an extender line
5983 or bracket) to indicate that the music is to be played in a different octave:
5987 @item @notation{15ma}: play two octaves higher
5988 @item @notation{8va}: play one octave higher
5989 @item @notation{8vb}: play one octave lower
5990 @item @notation{8va} (written below the passage): unusual, same as
5992 @item @notation{15vb}: play two octaves lower
5993 @item @notation{15va} (written below the passage): unusual, same as
5998 For longer passages, it may be more practical to mark the octave change at the
5999 beginning with a phrase (see the list below for examples), but without a bracket
6000 or extender line. Then, when the music returns to the written pitch, the octave
6001 change is cancelled with the word @notation{loco} (q.v.).
6003 To parallel the list above:
6007 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6008 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6009 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6010 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6014 In the phrases above, @notation{quindicesima} is sometimes replaced with
6015 @notation{quindecima}, which is Latin.
6017 The music on an entire staff can be marked to be played in a different octave by
6018 putting a small 8 or 15 above or below the clef at the beginning. This octave
6019 mark can be applied to any clef, but it is most frequently used with the G and F
6023 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6026 @node octave marking
6027 @section octave marking
6036 FI: oktaavamerkintä.
6038 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6039 that it is to be played in a different octave. If applied to the clef at the
6040 beginning of the staff, all music on that staff is to played at the indicated
6043 For a list of the specific marks used, see @ref{octave mark}.
6046 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6050 @section octave sign
6060 I: abbellimento, fioriture,
6061 F: agrément, ornement,
6062 D: Verzierung, Ornament,
6068 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6069 with the diatonic @ref{second} above it. In the music from the
6070 middle of the 19th century and onwards the trill is performed with the main
6071 note first while in the music from the preceding baroque and classic periods
6072 the upper note is played first.
6074 @lilypond[quote,line-width=13.0\cm]
6076 \context Staff = sa {
6078 c2._"pre-1850" b4\trill | c1 \bar "||"
6079 c2._"post-1850" b4\trill | c1 \bar "||"
6083 c2. c32 b c b c b c b | c1
6084 c2. b32 c b c \times 4/5 { b c b c b } | c1
6089 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6090 the @emph{prall} (inverted mordent).
6092 @lilypond[quote,line-width=13.0\cm]
6094 \context Staff = sa {
6096 a4_"turn" b\turn c2 \bar "||"
6097 g4_"mordent" a b\mordent a \bar "||"
6098 e'4_"prall" d\prall c2 \bar "||"
6104 e'4 e32[ d e d ~ d8] c2
6110 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6118 F: ossia, alternative,
6123 FI: ossia, vaihtoehtoinen esitystapa.
6125 Ossia (otherwise) marks an alternative. It is an added staff or piano
6126 score, usually only a few measures long, which presents another version
6127 of the music, for example for small hands.
6130 Compare: @ref{cue-notes}.
6143 FI: stemma, instrumenttiosuus.
6147 @item In instrumental or choral music, the music for a single
6148 instrument or voice.
6150 @item in contrapuntal music, a single melodic line in the contrapuntal
6173 @node percent repeat
6174 @section percent repeat
6176 LilyPond-specific term to indicate the repetition of a musical expression on a
6177 single staff, as opposed to the more usual definition of repeat, which affects
6178 all parts. The musical expression can be anything from a single note or note
6179 pattern to one or more measures. There are other names for this symbol:
6184 @item slash mark, or slash repeat
6186 @item measure (or multi-measure) repeat
6190 @lilypond[quote,relative=2,line-width=13.0\cm]
6192 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6193 \repeat percent 2 { c4 e g b_"Measure repeat" }
6194 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6199 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6200 Vermont Music Dictionary}.
6209 D: Schlagzeug, Schlagwerk,
6215 A family of musical instruments which are played on by striking or
6216 shaking. Percussion instruments commonly used in a symphony orchestra are
6217 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6218 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6222 No cross-references.
6225 @node perfect interval
6226 @section perfect interval
6228 ES: intervalo justo,
6229 I: intervallo giusto,
6230 F: intervalle juste,
6231 D: reines Intervall,
6235 FI: puhdas intervalli.
6253 A natural division of the melodic line, comparable to a sentence of speech.
6269 FI: fraseeraus, jäsentäminen.
6271 The clear rendering in musical performance of the @notation{phrases} of the
6272 melody. Phrasing may be indicated by a @notation{slur}.
6275 @ref{phrase}, @ref{slur}.
6290 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6291 @emph{mezzo piano} (@b{mp}) medium soft.
6294 No cross-references.
6302 F: anacrouse, levée,
6327 @item The perceived quality of a sound that is primarily a function of its
6328 fundamental frequency.
6330 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6332 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6333 association of a particular frequency with a particular pitch name, e.g., c' =
6349 NL: pizzicato, getokkeld,
6352 FI: pizzicato, näppäillen.
6354 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6358 No cross-references.
6364 ES: compás polimétrico,
6371 FI: monia tahtiosoituksia sisältävä.
6375 @item The @emph{simultaneous} use of two or more meters, in two or more
6378 @item The @emph{successive} use of different meters in one or more parts.
6383 @ref{polymetric} (adj.)
6396 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6398 Characterized by @emph{polymeter}: using two or more metric frameworks
6399 simultaneously or in alternation.
6402 @ref{polymeter} (noun)
6405 @node polymetric time signature
6406 @section polymetric time signature
6408 ES: compás polimétrico,
6409 I: tempo polimetrico,
6415 FI: vaihtelevan tahtiosoitusmerkintä.
6417 A time signature that indicates regularly alternating polymetric time.
6429 D: Polyphonie, Mehrstimmigkeit,
6433 FI: polyfonia, moniäänisyys.
6435 Music written in a combination of several simultaneous voices (parts)
6436 of a more or less pronounced individuality.
6445 [Italian: past participle of @emph{portare}, @q{to carry}]
6447 A stroke in which each of several notes is separated slightly within a slur,
6448 without changing the bow's direction. It is used for passages of a
6449 @notation{cantabile} character.
6460 F: presto, très rapide, enlevé,
6461 D: Presto, Sehr schnell,
6462 NL: presto, Sehr schnell,
6465 FI: presto, hyvin nopeasti.
6469 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6470 denotes the highest possible degree of speed.
6473 No cross-references.
6488 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6489 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6494 @item A ratio that expresses the relationship between the note values that
6495 follow with those that precede;
6497 @item A ratio between the note values of a passage and the @q{normal}
6498 relationship of note values to the metrical pulse. (A special case of the
6503 The most common proportions are:
6506 @item 2:1 (or simply 2), expressed by a vertical line through the
6507 mensuration sign (the origin of the @notation{alla breve} time signature),
6508 or by turning the sign backwards
6509 @item 3:1 (or simply 3)
6510 @item 3:2 (@emph{sesquialtera})
6513 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6516 @item 1:2 cancels 2:1
6517 @item 1:3 cancels 3:1
6518 @item 2:3 cancels 3:2
6522 Gaffurius enumerates five basic types of major:minor proportions and their
6526 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6527 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6529 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6530 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6531 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6533 @item Superpartiens, if the major number is one less than twice the minor
6534 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6536 @item Multiplexsuperparticular, if the major number is one more than twice the
6537 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6540 @item Multiplexsuperpartiens, if the major number is one less than some other
6541 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6542 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6546 He then continues to subdivide each type in various ways. For the multiplex
6547 proportions, for example, he indicates how many times greater the major number
6552 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6553 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6555 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6558 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6559 Example: 4:1, 8:2, and 12:3
6563 Other proportions were possible, but whether they were frequently used is
6568 @item 33:9, @emph{triplasuperbipartientetertias}
6569 @item 51:15, @emph{triplasuperbipartientequintas}
6573 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6576 @ref{mensural notation}.
6579 @node Pythagorean comma
6580 @section Pythagorean comma
6582 ES: coma pitagórica,
6583 I: comma pitagorico,
6584 F: comma pythagoricien,
6585 D: Pythagoräisches Komma,
6586 NL: komma van Pythagoras,
6587 DK: pythagoræisk komma,
6588 S: pytagoreiskt komma,
6589 FI: pytagorinen komma.
6591 Originally, the interval by which the sum of six whole tones exceeds the octave
6592 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6594 Modern acoustical theory defines it as the interval by which twelve fifths
6595 exceed seven octaves. To put it another way: A sequence of fifths that starts
6596 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6597 than the C obtained by adding 7 octaves. The difference between those two
6598 pitches is the Pythagorean comma.
6601 @ref{cent}, @ref{temperament}.
6632 The quality of a triad is determined by the precise arrangement of its
6633 intervals. Tertian triads can be described as a series of three notes. The
6634 first element is the root note (or simply @q{root}) of the chord, the second
6635 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6636 the chord. These are described below:
6638 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6639 @headitem Chord name
6640 @tab Component intervals
6643 @item major triad @tab major third/perfect fifth
6645 @tab C, CM, Cma, Cmaj, CΔ
6646 @item minor triad @tab minor third/perfect fifth
6648 @tab Cm, Cmi, Cmin, C-
6649 @item augmented triad @tab major third/augmented fifth
6652 @item diminished triad @tab minor third/diminished fifth
6654 @tab Cm(♭5), Cº, Cdim
6657 There are various types of seventh chords depending on the quality of the
6658 original chord and the quality of the seventh added.
6660 Five common types of seventh chords have standard symbols. The chord quality
6661 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6662 and D^m7 are all identical). The last three chords are not commonly used
6670 @section quarter note
6675 @item I: semiminima, nera
6677 @item D: Viertel, Viertelnote
6679 @item DK: fjerdedelsnode
6680 @item S: fjärdedelsnot
6681 @item FI: neljäsosanuotti
6689 @section quarter rest
6692 @item UK: crotchet rest
6693 @item ES: silencio de negra
6694 @item I: pausa di semiminima
6696 @item D: Viertelpause
6698 @item DK: fjerdedelspause
6699 @item S: fjärdedelspaus
6700 @item FI: neljäsosatauko
6708 @section quarter tone
6710 ES: cuarto de tonno,
6717 FI: neljännessävelaskel.
6719 An interval equal to half a semitone.
6728 ES: cinquillo, quintillo.
6742 @section rallentando
6746 F: rallentando, en ralentissant,
6747 D: rallentando, langsamer werden,
6751 FI: rallerdando, hidastuen.
6753 [Italian] A performance indication, abbreviated @notation{rall.}.
6760 @section relative key
6763 I: tonalità relativa,
6764 F: tonalité relative,
6766 NL: paralleltoonsoort,
6767 DK: paralleltoneart,
6769 FI: rinnakkaissävellaji.
6771 Major and minor keys that have the same key signature.
6773 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6775 es1_"e flat major" f g as bes c d es
6779 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6781 c1_"c minor" d es f g a! b! c
6786 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6794 F: barre de reprise,
6797 DK: gen@-ta@-gel@-se,
6801 @lilypond[quote,relative=2,line-width=13.0\cm]
6813 No cross-references.
6828 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6829 @c specify the rest's value.
6849 @item Metrical rhythm in which every time value is a multiple or
6850 fraction of a fixed unit of time, called @emph{beat}, and in which the
6851 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6852 The basic scheme of time values is called @emph{meter}.
6854 @item Measured rhythm which lacks regularly recurrent accent. In
6855 modern notation such music appears as a free alternation of different
6858 @item Free rhythm, i.e., the use of temporal values having no common
6859 metrical unit (beat).
6864 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6872 F: ritardando, en ralentissant,
6873 D: ritardando, langsamer werden,
6877 FI: ritardando, hidastuen,
6879 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6883 No cross-references.
6891 F: ritenuto, en retenant,
6896 FI: ritenuto, hidastaen.
6898 Immediate reduction of speed.
6901 No cross-references.
6914 FI: asteikko, sävelasteikko.
6917 @ref{diatonic scale}.
6921 @section scale degree
6923 ES: grado (de la escala),
6924 I: grado della scala,
6925 F: degré [de la gamme],
6927 NL: trap [van de toonladder],
6930 FI: sävelaste, asteikon sävel.
6932 Names and symbols used in harmonic analysis to denote tones of the
6933 scale as roots of chords. The most important are degrees I = tonic
6934 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6936 @lilypond[quote,notime,line-width=13.0\cm]
6938 \new Staff \relative c' {
6942 << { I II III IV V VI VII I }
6949 @ref{functional harmony}.
6957 F: à cordes ravallées,
6962 FI: epätavallinen viritys.
6964 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6965 tuning of stringed instruments, particularly lutes or violins. Used
6970 @item facilitate pitch combinations that would otherwise be difficult
6973 @item alter the characteristic timbre of the instrument, for example,
6974 to increase brilliance
6976 @item reinforce certain sonorities or tonalities by making them
6977 available on open strings
6979 @item imitate other instruments
6985 Tunings that could be called @var{scordatura} first appeared early in
6986 the 16th Century and became commonplace in the 17th.
6989 No cross-references.
6997 F: partition, conducteur (full score),
6998 D: Partitur (full score), Klavierauszug (vocal score),
7004 A copy of orchestral, choral, or chamber music showing what each
7005 instrument is to play, each voice to sing, having each part arranged
7006 one underneath the other on different staves @ref{staff}.
7009 No cross-references.
7024 The interval between two neighboring tones of a scale. A diatonic scale
7025 consists of alternating semitones and whole tones, hence the size of a
7026 second depends on the scale degrees in question.
7029 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7036 @item US: whole note,
7040 @item D: Ganze, ganze Note,
7041 @item NL: hele noot,
7044 @item FI: kokonuotti.
7047 Note value: called @notation{whole note} in the US.
7049 The semibreve is the basis for the @notation{tactus} in mensural notation
7050 (i.e. music written before ca. 1600).
7053 @ref{mensural notation}, @ref{note value}.
7068 The interval of a minor second. The (usually) smallest interval in European
7069 composed music. The interval between two neighboring tones on the piano
7070 keyboard -- including black and white keys -- is a semitone. An octave may
7071 be divided into 12@w{ }semitones.
7073 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7074 g1 gis s a bes s b! c
7078 @ref{interval}, @ref{chromatic scale}.
7101 @ref{sextuplet}, @ref{note value}.
7155 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7156 is to be played in the same manner (i.e. with the same articulations, dynamics,
7157 etc.) as the music that precedes it.
7160 TODO: Where else could I refer the reader?
7164 @section simple meter
7166 ES: compás simple, compás de subdivisión binaria,
7173 FI: kaksijakoinen tahtiosoitus.
7175 A meter in which the basic beat is subdivided in two: that is, a meter
7176 that does not include triplet subdivision of the beat.
7179 @ref{compound meter}, @ref{meter}.
7182 @node sixteenth note
7183 @section sixteenth note
7186 @item UK: semiquaver
7187 @item ES: semicorchea
7189 @item F: double croche
7190 @item D: Sechzehntel, Sechzehntelnote
7191 @item NL: zestiende noot
7192 @item DK: sekstendedelsnode
7193 @item S: sextondelsnot
7194 @item FI: kuudestoistaosanuotti
7201 @node sixteenth rest
7202 @section sixteenth rest
7205 @item UK: semiquaver rest
7206 @item ES: silencio de semicorchea
7207 @item I: pausa di semicroma
7208 @item F: quart de soupir
7209 @item D: Sechzehntelpause
7210 @item NL: zestiende rust
7211 @item DK: sekstendedelspause
7212 @item S: sextondelspaus
7213 @item FI: kuudestoistaosatauko
7236 @node sixty-fourth note
7237 @section sixty-fourth note
7240 @item UK: hemidemisemiquaver
7242 @item I: semibiscroma
7243 @item F: quadruple croche
7244 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7245 @item NL: vierenzestigste noot
7246 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7247 @item S: sextiofjärdedelsnot
7248 @item FI: kuudeskymmenesneljäsosanuotti
7255 @node sixty-fourth rest
7256 @section sixty-fourth rest
7259 @item UK: hemidemisemiquaver rest
7260 @item ES: silencio de semifusa
7261 @item I: pausa di semibiscroma
7262 @item F: seizième de soupir
7263 @item D: Vierundsechzigstelpause
7264 @item NL: vierenzestigste rust
7265 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7266 @item S: sextiofjärdedelspaus
7267 @item FI: kuudeskymmenesneljäsosatauko
7275 @section slash repeat
7278 @ref{percent repeat}.
7284 ES: ligadura (de expresión),
7285 I: legatura (di portamento o espressiva),
7287 D: Bogen (Legatobogen, Phrasierungsbogen),
7288 NL: fraseringsboog, legatoboog, streekboog,
7289 DK: legatobue, fraseringsbue,
7293 A slur above or below a group of notes indicates that they are to be
7294 played @ref{legato}, e.g., with one stroke of the violin bow or with
7295 one breath in singing.
7298 No cross-references.
7302 @section solmization
7311 FI: suhteelliset laulunimet.
7313 General term for systems of designating the degrees of the
7314 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7315 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7319 @ref{scale}, @ref{scale degree}.
7334 In its present-day meaning a sonata denotes an instrumental
7335 composition for piano or for some other instrument with piano
7336 accompaniment, which consists of three or four independant pieces,
7340 No cross-references.
7344 @section sonata form
7348 F: [en] forme de sonate,
7350 NL: hoofdvorm, sonatevorm,
7355 A form used frequently for single movements of the @emph{sonata},
7356 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7357 three sections called @notation{exposition}, @notation{development} and
7358 @notation{recapitulation}. In the exposition the composer introduces some
7359 musical ideas, consisting of a number of themes; in the development section the
7360 composer @emph{develops} this material, and in the recapitulation the composer
7361 repeats the exposition, with certain modifications. The exposition contains a
7362 number of themes that fall into two groups, often called first and second
7363 subject. Other melodies occurring in each group are considered as continuations
7364 of these two. The second theme is in another key, normally in the key of the
7365 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7366 @notation{relative key} if the tonic is @notation{minor}.
7369 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7370 @ref{symphony}, @ref{tonic}.
7390 FI: sopraano, korkea naisääni.
7392 The highest female voice.
7395 No cross-references.
7403 F: staccato, piqué, détaché,
7408 FI: staccato, lyhyesti, terävästi.
7410 Playing the note(s) short. Staccato is indicated by a dot above or
7411 below the note head.
7413 @lilypond[quote,relative=2]
7417 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7423 No cross-references.
7431 I: pentagramma, rigo (musicale),
7433 D: Notensystem, Notenzeile,
7434 NL: (noten)balk, partij,
7439 A staff (plural: staves) is a series of (normally five) horizontal
7440 lines upon and between which the musical notes are written, thus
7441 indicating (in connection with a @ref{clef}) their pitch. Staves for
7442 @ref{percussion} instruments may have fewer lines.
7445 No cross-references.
7461 D: Hals, Notenhals, Stiel,
7467 Vertical line above or below a @ref{note head} shorter than a
7470 @lilypond[quote,notime,relative=2]
7471 \set Score.autoBeaming = ##f
7487 F: stringendo, en accélérant,
7492 FI: kiihdyttäen, nopeuttaen.
7494 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7513 A family of stringed musical instruments played with a bow. Strings
7514 commonly used in a symphony orchestra are violin, viola, violoncello,
7518 No cross-references.
7522 @section strong beat
7527 D: betonter Taktteil oder Taktschlag,
7529 D: betonet taktslag,
7530 S: betonat taktslag,
7531 FI: tahdin vahva isku.
7534 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7538 @section subdominant
7547 FI: subdominantti, alidominantti.
7549 The fourth @notation{scale degree}.
7552 @ref{functional harmony}, @ref{scale degree}.
7567 The sixth @notation{scale degree}.
7570 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7583 FI: subtoonika, alitoonika.
7585 The seventh @ref{scale degree}.
7588 @ref{functional harmony}, @ref{scale degree}.
7594 ES: sobre la cuerda de Sol,
7597 D: auf G, auf der G-Saite,
7603 Indicates that the indicated passage (or note) should be played on the
7607 No cross-references.
7611 @section superdominant
7622 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7625 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7640 The second @ref{scale degree}.
7643 @ref{functional harmony}, @ref{scale degree}.
7652 D: Sinfonie, Symphonie,
7658 A symphony may be defined as a @emph{sonata} for orchestra.
7665 @section syncopation
7676 Any deliberate upsetting of the normal pulse of @ref{meter},
7677 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7678 rhythm rests upon the grouping of equal beats into groups of two or
7679 three, with a regularly recurrent accent on the first beat of each
7680 group. Any deviation from this scheme is felt as a disturbance or
7681 contradiction between the underlaying (normal) pulse and the actual
7684 @lilypond[quote,relative=1]
7687 e16 c'8 e,16 c'8 e,16 c' ~
7692 No cross-references.
7695 @node syntonic comma
7696 @section syntonic comma
7698 ES: coma sintónica, coma de Dídimo,
7699 I: comma sintonico (o didimico),
7700 F: comma syntonique,
7701 D: syntonisches Komma,
7702 NL: syntonische komma,
7703 DK: syntonisk komma,
7704 S: syntoniskt komma,
7705 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7706 Pytagorisessa viritysjärjestelmässä.
7708 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7709 by which the ditone exceeds the pure major third obtained by Pythagorean
7710 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7712 Modern acoustical theory defines it as the interval by which four fifths exceed
7713 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7715 This comma is also known as the comma of Didymus, or didymic comma.
7718 @ref{Pythagorean comma}
7727 D: Notensystem, Partitur,
7731 FI: nuottijärjestelmä.
7733 The collection of staves (@notation{staff}), two or more, as used for writing
7734 down of keyboard, chamber, choral, or orchestral music.
7741 @section temperament
7746 D: Stimmung, Tem@-pe@-ra@-tur,
7747 NL: stemming, temperatuur,
7750 FI: viritysjärjestelmä.
7752 Systems of tuning in which the intervals deviate from the acoustically
7756 @ref{meantone temperament}, @ref{equal temperament}.
7759 @node tempo indication
7760 @section tempo indication
7762 ES: indicación de tempo,
7763 I: indicazione di tempo,
7764 F: indication de tempo,
7765 D: Zeitmaß, Tempobezeichnung,
7766 NL: tempo aanduiding,
7771 The rate of speed of a composition or a section thereof, ranging from the
7772 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7773 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7777 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7791 FI: tenori, korkea miesääni.
7793 The highest @q{natural} male voice (apart from @notation{countertenor}).
7818 ES: subrayado (tenuto),
7827 An indication that a particular note should be held for the whole
7828 length, although this can vary depending on the composer and era.
7831 No cross-references.
7850 @node thirty-second note
7851 @section thirty-second note
7854 @item UK: demisemiquaver
7857 @item F: triple croche
7858 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7859 @item NL: twee@-endertig@-ste (32e) noot
7860 @item DK: toogtredivtedelsnode
7861 @item S: trettiotvåondelsnot
7862 @item FI: kolmaskymmeneskahdesosanuotti
7869 @node thirty-second rest
7870 @section thirty-second rest
7873 @item UK: demisemiquaver rest
7874 @item ES: silencio de fusa
7875 @item I: pausa di biscroma
7876 @item F: huitième de soupir
7877 @item D: Zweiunddreissigstel@-pause
7878 @item NL: twee@-endertig@-ste (32e) rust
7879 @item DK: toogtredivtedelspause
7880 @item S: trettiotvåondelspaus
7881 @item FI: kolmaskymmeneskahdesosatauko
7889 @section thorough bass
7898 ES: ligadura de prolongación, ligadura de unión,
7899 I: legatura (di valore),
7900 F: liaison (de tenue),
7901 D: Haltebogen, Bindebogen,
7902 NL: overbinding, bindingsboog,
7904 S: bindebåge, överbindning,
7907 A curved line, identical in appearance with the @ref{slur}, which
7908 connects two succesive notes of the same pitch, and which has the
7909 function of uniting them into a single sound (tone) equal to the
7912 @lilypond[quote,notime,relative=2]
7924 @node time signature
7925 @section time signature
7927 ES: indicación de compás,
7929 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7930 D: Taktangabe, Angabe der Taktart,
7933 S: taktartssignatur,
7936 The sign placed at the beginning of a composition to indicate its
7937 meter. It most often takes the form of a fraction, but a few signs
7938 derived from mensural notation and proportions are also employed.
7941 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7956 A sound of definite pitch and duration, as distinct from @emph{noise}.
7957 Tone is a primary building material of music.
7959 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7962 No cross-references.
7977 The first @notation{scale degree}.
7980 @ref{functional harmony}, @ref{scale degree}.
7983 @node transposing instrument
7984 @section transposing instrument
7986 ES: instrumento transpositor,
7987 I: strumento traspositore,
7988 F: instrument transpositeur,
7993 FI: transponoitava soitin.
7995 Instruments whose notated pitch is different from their sounded pitch. Except
7996 for those whose notated and sounding pitches differ by one or more octaves (to
7997 reduce the number of ledger lines needed), most such instruments are identified
7998 by the letter name of the pitch class of their fundamental. The pitch class is
7999 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8000 the instrument plays a notated C.
8002 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8003 the B-flat one tone lower. If played on the A clarinet, the same written
8004 note sounds the A (one and half tones -- a minor third -- lower).
8006 Not all transposing instruments include the pitch class in their name:
8009 @item Alto flute (in G)
8010 @item English horn (in F)
8011 @item Saxophones (in B-flat or E-flat)
8014 @ignore Can we do better?
8016 To make matters more complex, some instruments are transposing instruments,
8017 but their players play from parts written at concert pitch. This is the
8018 case for orchestral trombone and tuba players—whereas trombone players in
8019 brass bands treat their parts as if written for a true transposing
8020 instrument in B-flat.
8025 @ref{concert pitch}.
8029 @section transposition
8040 Shifting a melody up or down in pitch, while keeping the same
8043 @lilypond[quote,line-width=13.0\cm]
8048 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8053 @lilypond[quote,line-width=13.0\cm]
8056 \transpose c bes \relative c'' {
8058 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8064 No cross-references.
8068 @section treble clef
8071 I: chiave di violino,
8073 D: Violinschlüssel, Sopranschlüssel,
8095 On stringed instruments:
8099 @item The quick reiteration of the same tone, produced by a rapid
8100 up-and-down movement of the bow.
8102 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8103 in the distance of a third (@ref{interval}).
8107 @lilypond[quote,notime,relative=1]
8109 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8110 \repeat tremolo 8 { e32_"b" g }
8122 F: triade, accord parfait, accord de trois sons,
8138 F: trille, tremblement, battement (cadence),
8150 @section triple meter
8152 ES: compás ternario,
8155 D: in drei, ungerader Takt,
8156 NL: driedelige maatsoort,
8198 @section tuning fork
8200 ES: diapasón, horquilla de afinación,
8201 I: diapason, corista,
8209 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8210 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8211 standard. Tuning forks for other pitches are available.
8221 I: gruppi irregolari,
8229 A non-standard subdivision of a beat or part of a beat, usually
8230 indicated with a bracket and a number indicating the number of
8234 @ref{triplet}, @ref{note value}.
8240 ES: grupeto (circular),
8263 FI: unisono, yksiäänisesti.
8265 Playing of the same notes or the same melody by various instruments
8266 (voices) or by the whole orchestra (choir), either at exactly the same
8267 pitch or in a different octave.
8270 No cross-references.
8278 F: anacrouse, levée,
8299 FI: ääni, lauluääni.
8307 @item @ref{mezzo-soprano}
8308 @item @ref{contralto}
8310 @item @ref{baritone}
8314 @item A melodic layer or part of a polyphonic composition.
8319 No cross-references.
8325 ES: vez, primera y segunda vez,
8332 FI: yksi kertauksen maaleista.
8334 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8335 or second ending. LilyPond extends this idea to any number, and allows any text
8336 (not just a number) -- to serve as the @notation{volta} text.
8339 No cross-references.
8346 I: tempo debole, arsi,
8348 D: unbetonter Taktteil oder Taktschlag,
8350 DK: ubetonet taktslag,
8351 S: obetonat taktslag,
8352 FI: tahdin heikko isku.
8355 @ref{beat}, @ref{measure}, @ref{rhythm}.
8366 @item D: Ganze, ganze Note
8370 @item FI: kokonuotti
8381 @item UK: semibreve rest
8382 @item ES: silencio de redonda
8383 @item I: pausa di semibreve
8385 @item D: ganze Pause, ganztaktige Pause
8387 @item DK: helnodespause
8408 The interval of a major second. The interval between two tones
8409 on the piano keyboard with exactly one key between them -- including
8410 black and white keys -- is a whole tone.
8428 A family of blown wooden musical instruments. Today some of these
8429 instruments are actually made from metal. The woodwind instruments
8430 commonly used in a symphony orchestra are flute, oboe, clarinet,
8431 saxophone, and bassoon.
8434 No cross-references.
8437 @node Duration names notes and rests
8438 @chapter Duration names notes and rests
8440 @multitable @columnfractions .12 .22 .22 .22 .22
8442 @headitem Lang. @tab note name
8446 @item @strong{US} @tab long
8450 @item @strong{UK} @tab longa
8454 @item @strong{ES} @tab longa
8455 @tab silencio de longa
8457 @tab silencio de cuadrada
8458 @item @strong{IT} @tab longa
8462 @item @strong{FR} @tab longa
8463 @tab quadruple-pause
8466 @item @strong{DE} @tab Longa
8470 @item @strong{NL} @tab longa
8474 @item @strong{DK} @tab longa
8475 @tab longanodespause
8477 @tab brevis(nodes)pause
8478 @item @strong{SE} @tab longa
8482 @item @strong{FI} @tab longa-nuotti
8484 @tab brevis-nuotti, kaksoiskoko@-nuotti
8485 @tab brevis-tauko, kaksoiskoko@-tauko
8489 @multitable @columnfractions .12 .22 .22 .22 .22
8491 @headitem Lang. @tab note name
8495 @item @strong{US} @tab whole note
8499 @item @strong{UK} @tab semibreve
8503 @item @strong{ES} @tab redonda
8504 @tab silencio de redonda
8506 @tab silencio de blanca
8507 @item @strong{IT} @tab semibreve
8508 @tab pause di semibreve
8510 @tab pausa di minima
8511 @item @strong{FR} @tab ronde
8515 @item @strong{DE} @tab ganze Note
8519 @item @strong{NL} @tab hele noot
8523 @item @strong{DK} @tab helnode
8527 @item @strong{SE} @tab helnot
8531 @item @strong{FI} @tab kokonuotti
8538 @multitable @columnfractions .12 .22 .22 .22 .22
8540 @headitem Lang. @tab note name
8544 @item @strong{US} @tab quarter note
8548 @item @strong{UK} @tab crotchet
8552 @item @strong{ES} @tab negra
8553 @tab silencio de negra
8555 @tab silencio de corchea
8556 @item @strong{IT} @tab semiminima, nera
8557 @tab pausa di semiminima, pausa di nera
8560 @item @strong{FR} @tab noire
8564 @item @strong{DE} @tab Viertelnote
8568 @item @strong{NL} @tab kwartnoot
8572 @item @strong{DK} @tab fjerdedelsnode
8573 @tab fjerdedelspause
8574 @tab ottendedelsnode
8575 @tab ottendedelspause
8576 @item @strong{SE} @tab fjärdedelsnot
8580 @item @strong{FI} @tab neljäsosa@-nuotti
8581 @tab neljäsosa@-tauko
8582 @tab kahdeksasosa@-nuotti
8583 @tab kahdeksasosa@-tauko
8587 * About the French naming system: @notation{croche} refers to the note's
8588 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8589 @q{doubled hook}, @q{trebled hook}, and so on.
8591 The rest names are based on the @notation{soupir}, or quarter rest.
8592 Subsequent rests are expressed as fractions thereof: half a
8593 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8595 Each of the following tables contains one type of note and its matching rest,
8596 with abbreviations that apply to both notes and rests. Just switch the part
8597 that means @q{note} with the part that means @q{rest}, for example:
8601 @item English: 16th @strong{note}, 16th @strong{rest}
8602 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8603 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8607 Editor's note: I put a dash @q{-} when I could not find a language-specific
8608 abbreviation for a duration name. If you know of one that I missed, please
8609 send it to me, care of the lilypond-user discussion list.
8611 @multitable @columnfractions .10 .35 .35 .20
8613 @headitem Lang. @tab Note name
8616 @item @strong{US} @tab sixteenth note
8619 @item @strong{UK} @tab semiquaver
8620 @tab semiquaver rest
8622 @item @strong{ES} @tab semicorchea
8623 @tab silencio de semicorchea
8625 @item @strong{IT} @tab semicroma
8626 @tab pausa di semicroma
8628 @item @strong{FR} @tab double croche
8629 @tab quart de soupir
8631 @item @strong{DE} @tab Sechzehntelnote
8632 @tab Sechzehntelpause
8634 @item @strong{NL} @tab zes@-ti@-ende noot
8635 @tab zes@-ti@-ende rust
8637 @item @strong{DK} @tab sekstendedelsnode
8638 @tab sekstendedelspause
8640 @item @strong{SE} @tab sextondelsnot
8643 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8644 @tab kuudes@-toistaosa@-tauko
8649 @multitable @columnfractions .10 .35 .35 .20
8651 @headitem Lang. @tab Note name
8654 @item @strong{US} @tab thirty-second note
8655 @tab thirty-second rest
8657 @item @strong{UK} @tab demisemiquaver
8658 @tab demisemiquaver rest
8660 @item @strong{ES} @tab fusa
8661 @tab silencio de fusa
8663 @item @strong{IT} @tab biscroma
8664 @tab pausa di biscroma
8666 @item @strong{FR} @tab triple croche
8667 @tab huitième de soupir
8669 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8670 @tab Zweiunddreißig@-stelpause
8672 @item @strong{NL} @tab twee@-endertigste noot
8673 @tab twee@-endertigste rust
8675 @item @strong{DK} @tab toogtredivtedelsnode
8676 @tab toogtredivtedelspause
8678 @item @strong{SE} @tab trettio@-tvåondelsnot
8679 @tab trettio@-tvåondelspaus
8681 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8682 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8687 @multitable @columnfractions .10 .35 .35 .20
8689 @headitem Lang. @tab Note name
8692 @item @strong{US} @tab sixty-fourth note
8693 @tab sixty-fourth rest
8695 @item @strong{UK} @tab hemidemisemiquaver
8696 @tab hemidemisemiquaver rest
8698 @item @strong{ES} @tab semifusa
8699 @tab silencio de semifusa
8701 @item @strong{IT} @tab semibiscroma
8702 @tab pausa di semibiscroma
8704 @item @strong{FR} @tab quadruple croche
8705 @tab seizième de soupir
8707 @item @strong{DE} @tab Vierundsechzigstelnote
8708 @tab Vierundsechzigstelpause
8710 @item @strong{NL} @tab vierenzestigste noot
8711 @tab vierenzestigste rust
8713 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8714 @tab fireog@-tredsindstyven@-dedelspause
8716 @item @strong{SE} @tab sextiofjärdedelsnot
8717 @tab sextiofjärdedelspaus
8719 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8720 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8725 @multitable @columnfractions .10 .35 .35 .20
8727 @headitem Lang. @tab Note name
8730 @item @strong{US} @tab one-hundred-twenty-eighth note
8731 @tab one-hundred-twenty-eighth rest
8733 @item @strong{UK} @tab semihemidemisemiquaver
8734 @tab semihemidemisemiquaver rest
8736 @item @strong{ES} @tab garrapatea
8737 @tab silencio de garrapatea
8739 @item @strong{IT} @tab fusa
8742 @item @strong{FR} @tab quintuple croche
8743 @tab trente-deuxième de soupir @tab -
8744 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8745 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8746 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8747 @tab honderd@-acht@-en@-twintigste rust
8749 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8750 @tab hundrede@-otte@-og@-tyvendedels@-pause
8752 @item @strong{SE} @tab hundratjugoåttondelsnot
8753 @tab hundratjugoåttondelspaus
8755 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8756 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8761 @multitable @columnfractions .10 .35 .35 .20
8763 @headitem Lang. @tab Note name
8766 @item @strong{US} @tab two-hundred-fifty-sixth note
8767 @tab two-hundred-fifty-sixth rest
8769 @item @strong{UK} @tab demisemihemidemisemiquaver
8770 @tab demisemihemidemisemiquaver rest
8772 @item @strong{ES} @tab semigarrapatea
8773 @tab silencio de semigarrapatea @tab -
8774 @item @strong{IT} @tab semifusa
8775 @tab pausa di semifusa
8777 @item @strong{FR} @tab sextuple croche
8778 @tab soixante-quatrième de soupir @tab -
8779 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8780 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8781 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8782 @tab tweehonderd@-zesenvijftigste rust
8784 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8785 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8787 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8788 @tab tvåhundra@-femtiosjättedelspaus
8790 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8791 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8797 @ref{mensural notation}
8801 @chapter Pitch names
8804 -is/-es endings for Danish per Rune Zedeler, pace,
8805 and for Finnish per Risto Vääräniemi;
8806 -iss/-ess endings for Swedish per Mats Bengtsson
8807 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8809 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8810 multiple lines -- as texinfo needs it to allow enough space for the
8811 table entries. (For the curious, it's a list of the widest items in
8812 each column of the table. Romance pitch names are two characters,
8813 except for g (sol) ... so there you go.)
8816 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8817 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8818 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8819 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8820 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8821 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8822 @tab des @tab des @tab dess @tab des
8823 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8824 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8825 @tab dis @tab dis @tab diss @tab dis
8826 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8827 @tab es @tab es @tab ess @tab es
8828 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8829 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8830 @tab Fes @tab fes @tab fes @tab fess @tab fes
8831 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8832 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8833 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8834 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8835 @tab fis @tab fis @tab fiss @tab fis
8836 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8837 @tab ges @tab ges @tab gess @tab ges
8838 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8839 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8840 @tab Gis @tab gis @tab gis @tab giss @tab gis
8841 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8842 @tab as @tab as @tab ass @tab as
8843 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8844 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8845 @tab ais @tab ais @tab aiss @tab ais
8846 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8847 @tab bes @tab b @tab b @tab b
8848 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8849 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8850 @tab ces @tab ces @tab cess @tab ces
8851 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8852 @tab His @tab bis @tab his @tab hiss @tab his
8860 @node Literature used
8861 @unnumberedsec Literature used
8864 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8865 Cambridge: Belknap Press (Harvard University Press), 1944.
8867 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8870 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8871 Terminologie}. Kassel, 1980.
8873 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8874 Current English}, 3rd ed. London: Oxford University Press, 1974.
8876 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8877 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8879 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8880 Cambridge: Belknap Press (Harvard University Press), 1986.
8882 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.