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 small
666 eighth note (quaver) with a line drawn through the flag and stem.
669 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
675 ES: alteración accidental,
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.
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
1923 them indicates which five lines have been selected from this
1924 @samp{grand staff}. For example, the treble or G clef indicates that
1925 the top five lines have been selected:
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
1987 lines have been selected from the @samp{grand staff}, and the alto or
1988 C clef indicates the middle five lines have been selected. This
1989 relationship is shown below, where the notes show an arpeggio on a C
1995 %-- Treble Staff --%
2003 \override Staff.StaffSymbol #'line-count = #1
2004 \once \override Staff.Clef #'stencil = ##f
2009 \revert Staff.StaffSymbol #'stencil
2010 \override Staff.StaffSymbol #'color = #red
2013 \stopStaff \startStaff
2014 \revert Staff.StaffSymbol #'line-count
2015 \revert Staff.StaffSymbol #'color
2016 \stopStaff \startStaff
2017 \override Staff.Clef #'full-size-change = ##t
2018 \set Staff.forceClef = ##t
2033 \override SpacingSpanner #'base-shortest-duration =
2034 #(ly:make-moment 2 1)
2035 \override NonMusicalPaperColumn
2036 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2037 \override BarLine #'stencil = ##f
2041 \remove "Time_signature_engraver"
2048 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2061 FI: klusteri, cluster.
2063 A @emph{cluster} is a range of simultaneously sounding pitches that
2064 may change over time. The set of available pitches to apply usually
2065 depends on the acoustic source. Thus, in piano music, a cluster
2066 typically consists of a continuous range of the semitones as provided
2067 by the piano's fixed set of a chromatic scale. In choral music, each
2068 singer of the choir typically may sing an arbitrary pitch within the
2069 cluster's range that is not bound to any diatonic, chromatic or other
2070 scale. In electronic music, a cluster (theoretically) may even cover
2071 a continuous range of pitches, thus resulting in colored noise, such
2074 Clusters can be denoted in the context of ordinary staff notation by
2075 engraving simple geometrical shapes that replace ordinary notation of
2076 notes. Ordinary notes as musical events specify starting time and
2077 duration of pitches; however, the duration of a note is expressed by
2078 the shape of the note head rather than by the horizontal graphical
2079 extent of the note symbol. In contrast, the shape of a cluster
2080 geometrically describes the development of a range of pitches
2081 (vertical extent) over time (horizontal extent). Still, the
2082 geometrical shape of a cluster covers the area in which any single
2083 pitch contained in the cluster would be notated as an ordinary note.
2085 @lilypond[quote,relative=2]
2086 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2090 No cross-references.
2103 FI: komma, korvinkuultava ero äänenkorkeudessa.
2105 Difference in pitch between a note derived from pure tuning and the
2106 same note derived from some other tuning method.
2109 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2114 @section common meter
2116 Another name for @ref{common time}.
2119 @ref{common time}, @ref{meter}.
2123 @section common time
2134 4/4 time. The symbol, which resembles a capital letter C, comes from
2138 @ref{mensural notation}, @ref{meter}.
2144 ES: intervalo invertido,
2146 F: intervalle complémentaire,
2147 D: Komplementärintervall,
2148 NL: complementair interval,
2149 DK: komplementærinterval,
2150 S: komplementärintervall (?),
2151 FI: täydentävä intervalli.
2154 @ref{inverted interval}.
2157 @node compound interval
2158 @section compound interval
2160 ES: intervalo compuesto,
2161 I: intervallo composto,
2162 F: intervalle composé,
2163 D: weites Intervall,
2164 NL: samengesteld interval,
2165 DK: sammensat interval,
2166 S: sammansatt intervall,
2167 FI: oktaavia laajempi intervalli.
2169 Intervals larger than an octave.
2175 @node compound meter
2176 @section compound meter
2178 ES: compás compuesto, compás de subdivisión ternaria,
2185 FI: kolmijakoinen tahtilaji.
2187 A meter that includes a triplet subdivision within the beat, such as
2191 @ref{meter}, @ref{simple meter}.
2195 @section compound time
2197 ES: compás compuesto, compás de amalgama (def. 2),
2204 FI: yhdistetty tahtilajiosoitus.
2209 A meter that includes a triplet subdivision within the beat: see
2210 @ref{compound meter}.
2213 A time signature that additively combines two or more unequal meters, e.g.,
2214 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2218 @lilypond[quote,line-width=13.0\cm]
2219 #(define ((compound-time one two three num) grob)
2220 (grob-interpret-markup grob
2222 #:override '(baseline-skip . 0)
2225 #:left-column (one num)
2227 #:left-column (two num)
2229 #:left-column (three num)))))
2233 #(set-time-signature 8 8 '(3 2 3))
2234 \override Staff.TimeSignature #'stencil =
2235 #(compound-time "3" "2" "3" "8")
2243 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2247 @section concert pitch
2249 ES: en Do, afinación de concierto,
2251 F: tonalité de concert, en ut,
2256 FI: konserttikorkeus.
2258 The pitch at which the piano and other nontransposing instruments play: such
2259 instruments are said to be @q{in C}. The following list includes some (but not
2260 all) instruments that play in concert pitch:
2262 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2264 @multitable {alto trombone} {tenor trombone} {bass trombone}
2265 @headitem Woodwinds @tab Brass @tab Strings
2278 @item tenor trombone
2292 The trombones are a special case: although they are said to be @q{in F} (alto or
2293 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2294 their parts' transposition. (In fact, the trombones' parts are written at
2295 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2296 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2299 Instruments that play @q{in C} but in a different octave than what is written
2300 are, technically speaking, @emph{transposing instruments}:
2304 @item piccolo (plays an octave higher than written)
2305 @item celesta (plays an octave higher than written)
2306 @item classical guitar (plays an octave lower than written)
2307 @item double bass (plays an octave lower than written)
2312 @ref{transposing instrument}.
2315 @node conjunct movement
2316 @section conjunct movement
2318 ES: movimiento conjunto,
2320 F: mouvement conjoint,
2321 D: schritt@-weise, stufenweise Bewegung,
2322 NL: stapsgewijze, trapsgewijze beweging,
2323 DK: trinvis bevægelse,
2325 FI: asteittainen liike.
2327 Progressing melodically by intervals of a second, as contrasted with
2328 @emph{disjunct movement}.
2330 @lilypond[quote,relative=2,line-width=13.0\cm]
2333 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2337 @ref{disjunct movement}.
2350 FI: konsonanssi, sopusointi.
2373 @section copying music
2375 A music copyist did fast freehand scores and parts on preprinted staff
2376 lines for performance. Some of their conventions (e.g., the placement
2377 of note heads on stems) varied slightly from those of engravers. Some
2378 of their working methods were superior and could well be adopted by
2381 @c Copying music required more skill than engraving. Flagged for NPOV
2384 No cross-references.
2388 @section counterpoint
2397 FI: kontrapunkti, ääni ääntä vastaan.
2399 From Latin @emph{punctus contra punctum}, note against note. The
2400 combination into a single musical fabric of lines or parts which have
2401 distinct melodic significance. A frequently used polyphonic technique
2402 is imitation, in its strictest form found in the canon needing only
2403 one part to be written down while the other parts are performed with a
2404 given displacement. Imitation is also the contrapuntal technique
2405 used in the @emph{fugue} which, since the music of the baroque era,
2406 has been one of the most popular polyphonic composition methods.
2408 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2410 \context Staff = SA \relative c' {
2414 << \context Voice = rha {
2416 r1 | r2 r8 g'8 bes d, |
2417 cis4 d r8 e!16 f g8 f16 e |
2418 f8 g16 a bes8 a16 g a8
2420 \context Voice = rhb {
2426 \context Staff = SB \relative c' {
2429 << \context Voice = lha {
2431 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2432 r8 a16 g f8 g16 a bes8 g e! cis' |
2435 \context Voice = lhb {
2444 No cross-references.
2448 @section countertenor
2453 D: Countertenor, Kontratenor,
2456 S: kontratenor, counter tenor,
2469 D: Crescendo, lauter werden,
2473 FI: cresendo, voimistuen.
2475 Increasing volume. Indicated by a rightwards opening horizontal wedge
2476 (hairpin) or the abbreviation @notation{cresc.}.
2478 @lilypond[quote,relative=2]
2481 g4\< a b c | d1\! \bar "|."
2485 @ref{decrescendo}, @ref{hairpin}.
2493 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2500 Notes belonging to one part printed in another to hint when to start
2501 playing. Usually printed in a smaller type.
2504 Compare: @ref{ossia}.
2513 D: Notenzeiger, Custos,
2519 A custos (plural: custodes) is a staff symbol that appears at the end of a
2520 staff line with monophonic musical contents (i.e., with a single voice). It
2521 anticipates the pitch of the first note of the following line and thus helps
2522 the player or singer to manage line breaks during performance, which
2523 enhances the readability of a score.
2525 Custodes were frequently used in music notation until the 16th century.
2526 There were different appearences for different notation styles. Nowadays,
2527 they have survived only in special forms of musical notation such as the
2528 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2530 @lilypond[quote,ragged-right]
2533 \override Staff.Custos #'neutral-direction = #DOWN
2534 \override Staff.Custos #'style = #'hufnagel
2541 \consists "Custos_engraver"
2548 No cross-references.
2581 F: da capo, depuis le commencement,
2582 D: da capo, von Anfang,
2586 FI: da capo, alusta.
2588 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2589 the beginning to the end or to a certain place marked @emph{fine}.
2592 No cross-references.
2605 FI: tyhjästä ilmaantuen.
2607 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2608 that the sound should gradually increase from nothing.
2619 F: dal segno, depuis le signe,
2620 D: dal segno, ab dem Zeichen,
2624 FI: dal segno, lähtien merkistä.
2626 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2627 another place frequently near the beginning marked by a sign
2630 @lilypond[quote,relative=2]
2638 \musicglyph #"scripts.segno"
2644 No cross-references.
2648 @section decrescendo
2652 D: Decrescendo, leiser werden,
2656 FI: decresendo, hiljentyen.
2658 Decreasing tone volume. Indicated by a leftwards opening horizontal
2659 wedge (hairpin) or the abbreviation @notation{decresc.}.
2661 @lilypond[quote,relative=2]
2664 d4\> c b a | g1 \! \bar "|."
2668 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2671 @node descending interval
2672 @section descending interval
2674 ES: intervalo descendente,
2675 I: intervallo discendente,
2676 F: intervalle descendant,
2677 D: fallendes Intervall, absteigendes Intervall,
2678 NL: dalend interval,
2679 DK: faldende interval,
2680 S: fallande intervall,
2681 FI: laskeva intervalli.
2683 A distance between a starting higher note and a lower ending note.
2686 No cross-references.
2689 @node diatonic scale
2690 @section diatonic scale
2692 ES: escala diatónica,
2694 F: gamme diatonique,
2695 D: diatonische Tonleiter,
2696 NL: diatonische toonladder,
2697 DK: diatonisk skala,
2699 FI: diatoninen asteikko.
2701 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2702 played on the white keys of a piano keybord are diatonic. These scales
2703 are sometimes called, somewhat inaccurately, @q{church modes}).
2705 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2706 but also to some extent in newer jazz music.
2708 @lilypond[quote,notime,relative=1]
2712 e^"~~ S" f g a b^"~~ S" c
2720 @lilypond[quote,notime,relative=1]
2724 e^"~~ S" f g a b^"~~ S" c d
2732 @lilypond[quote,notime,relative=1]
2735 e1^"~~ S" f g a b^"~~ S" c d e
2743 @lilypond[quote,notime,relative=1]
2747 b^"~~ S" c d e^"~~ S" f
2755 @lilypond[quote,notime,relative=2]
2759 b^"~~ S" c d e^"~~ S" f g
2767 @lilypond[quote,notime,relative=2]
2771 b^"~~ S" c d e^"~~ S" f g a
2779 @lilypond[quote,notime,relative=2]
2782 b1^"~~ S" c d e^"~~ S" f g a b
2790 From the beginning of the 17th century the scales used in European
2791 compositional music are primarily the major and the minor scales. In
2792 the harmonic minor scale type an augmented second (A) occurs between
2793 the 6th and 7th tone.
2795 @lilypond[quote,notime,relative=1]
2799 e^"~~ S" f g a b^"~~ S" c
2807 @lilypond[quote,notime,relative=2]
2811 b^"~~ S" c d e^"~~ S" f g a
2814 "Ancient (or Natural) minor"
2819 @lilypond[quote,notime,relative=2]
2823 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2831 @lilypond[quote,notime,relative=2]
2835 b^"~~ S" c d e fis gis^"~~ S" a
2838 "Melodic minor ascending"
2843 @lilypond[quote,notime,relative=3]
2847 g! f!^"~~ S" e d c^"~~ S" b a
2850 "Melodic minor descending"
2856 @ref{semitone}, @ref{whole tone}.
2860 @section didymic comma
2863 @ref{syntonic comma}.
2866 @node diminished interval
2867 @section diminished interval
2869 ES: intervalo disminuido,
2870 I: intervallo diminuito,
2871 F: intervalle diminué,
2872 D: vermindertes Intervall,
2873 NL: verminderd interval,
2874 DK: formindsket interval,
2875 S: förminskat intervall,
2876 FI: vähennetty intervalli.
2887 F: diminuendo, en diminuant,
2892 FI: diminuendo, hiljentyen.
2908 FI: aika-arvojen tihennys.
2910 This is a stub for diminution (@emph{wrt} mensural notation).
2913 @ref{augmentation}, @ref{mensural notation}.
2932 @node disjunct movement
2933 @section disjunct movement
2935 ES: movimiento disjunto,
2937 F: mouvement disjoint,
2938 D: sprunghafte Bewegung,
2939 NL: sprongsgewijze beweging,
2940 DK: springende bevægelse,
2941 S: hoppande rörelse,
2942 FI: melodian hyppivä liike.
2944 Progressing melodically by intervals larger than a major second, as contrasted
2945 with conjunct movement.
2947 @lilypond[quote,relative=1]
2951 a4. gis8 b a e cis |
2957 @ref{conjunct movement}.
2963 Another name for @ref{dissonant interval}.
2966 @ref{dissonant interval}, @ref{harmony}.
2969 @node dissonant interval
2970 @section dissonant interval
2972 ES: intervalo disonante, disonancia,
2973 I: intervallo dissonante, dissonanza,
2974 F: intervalle dissonant, dissonance,
2976 NL: dissonant interval, dissonant,
2977 DK: dissonerende interval, dissonans,
2979 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2997 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2998 vertical stroke through part or all of the staff that serves to
2999 structure a chant into phrases and sections. There are four types:
3003 @item @emph{divisio minima}, a short pause
3005 @item @emph{divisio maior}, a medium pause
3007 @item @emph{divisio maxima}, a long pause
3009 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3010 section in a long antiphonal or responsorial chant.
3014 TODO: musical example here?
3017 No cross-references.
3032 Indicator for a indeterminately rising pitch bend. Compare with
3033 @emph{glissando}, which has determinate starting and ending pitches.
3036 @ref{fall}, @ref{glissando}.
3049 FI: dominantti, huippusointu.
3051 The fifth @emph{scale degree} in @emph{functional harmony}.
3054 @ref{functional harmony}, @ref{scale degree}.
3057 @node dominant ninth chord
3058 @section dominant ninth chord
3060 ES: acorde de novena de dominante,
3061 I: accordo di nona di dominante,
3062 F: accord de neuvième de dominante,
3063 D: Domi@-nant@-nonen@-akkord,
3064 NL: dominant noon akkoord,
3065 DK: dominantnoneakkord,
3066 S: dominantnonackord,
3067 FI: dominanttinoonisointu.
3070 @ref{chord}, @ref{functional harmony}.
3073 @node dominant seventh chord
3074 @section dominant seventh chord
3076 ES: acorde de séptima de dominante,
3077 I: accordo di settima di dominante,
3078 F: accord de septième de dominante,
3079 D: Dominantseptakkord,
3080 NL: dominant septiem akkoord,
3081 DK: dominantseptimakkord,
3082 S: dominantseptimackord,
3083 FI: dominanttiseptimisointu.
3086 @ref{chord}, @ref{functional harmony}.
3090 @section dorian mode
3095 D: dorisch, dorischer Kirchenton,
3096 NL: dorische toonladder,
3102 @ref{diatonic scale}.
3105 @node dot (augmentation dot)
3106 @section dot (augmentation dot)
3109 I: punto (di valore),
3111 D: Punkt (Verlängerungspunkt),
3118 @ref{dotted note}, @ref{note value}.
3122 @section dotted note
3124 ES: nota con puntillo,
3128 NL: gepuncteerde noot,
3131 FI: pisteellinen nuotti.
3137 @node double appoggiatura
3138 @section double appoggiatura
3140 ES: apoyatura doble,
3141 I: appoggiatura doppia,
3142 F: appoggiature double,
3143 D: doppelter Vorschlag,
3144 NL: dubbele voorslag,
3145 DK: dobbelt forslag,
3147 FI: kaksoisappogiatura, kaksoisetuhele.
3153 @node double bar line
3154 @section double bar line
3160 NL: dubbele maatstreep,
3163 FI: kaksoistahtiviiva.
3165 Indicates the end of a section within a movement.
3168 No cross-references.
3171 @node double dotted note
3172 @section double dotted note
3174 ES: nota con doble puntillo,
3175 I: nota doppiamente puntata,
3176 F: note doublement pointée,
3177 D: doppelt punktierte Note,
3178 NL: dubbelgepuncteerde noot,
3179 DK: dob@-belt@-punk@-te@-ret node,
3180 S: dub@-bel@-punk@-te@-rad not,
3181 FI: kaksoispisteellinen nuotti.
3188 @section double flat
3197 FI: kaksoisalennusmerkki.
3204 @section double sharp
3206 ES: doble sostenido,
3211 DK: dob@-belt@-kryds,
3213 FI: kaksoisylennysmerkki.
3219 @node double time signature
3220 @section double time signature
3229 FI: kaksois-aika-arvomerkintä.
3232 @ref{polymetric time signature}.
3236 @section double trill
3242 NL: dubbele triller,
3247 A simultaneous trill on two notes, usually in the distance of a third.
3250 No cross-references.
3254 @section duple meter
3258 F: métrique binaire,
3259 D: in zwei, grader Takt,
3260 NL: tweedelige maatsoort,
3295 FI: kesto, aika-arvo.
3304 ES: dinámica, matices,
3307 D: Dynamik, Lautstärke,
3311 FI: äänen voimakkuusvaihtelu, dynamiikka.
3313 The aspect of music relating to degrees of loudness, or changes from
3314 one degree to another. The terms, abbreviations, and symbols used to
3315 indicate this information are called dynamic marks.
3318 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3340 @node ecclesiastical mode
3341 @section ecclesiastical mode
3344 @ref{church mode}, @ref{diatonic scale}.
3348 @section eighth note
3355 @item D: Achtel, Achtelnote
3356 @item NL: achtste noot
3357 @item DK: ottendedelsnode
3358 @item S: åttondelsnot
3359 @item FI: kahdeksasosanuotti
3367 @section eighth rest
3370 @item UK: quaver rest
3371 @item ES: silencio de corchea
3372 @item I: pausa di croma
3373 @item F: demi-soupir
3374 @item D: Achtelpause
3375 @item NL: achtste rust
3376 @item DK: ottendedelspause
3377 @item S: åttonddelspaus
3378 @item FI: kahdeksasosatauko
3388 @c TODO: add languages
3397 FI: tavujen yhdistäminen yhteen ääneen.
3399 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3400 @emph{συναλοιφην} @q{to smear together}].
3402 The singing of several syllables on a single note. Elision may be indicated
3403 by a lyric tie, which looks like (and serves the same function) as a musical
3411 @section embellishment
3423 D: Notenstich, Notendruck
3429 Engraving means incising or etching a metal plate for printing.
3430 Photoengraving means drawing music with ink in a manner similar to
3431 drafting or engineering drawing, using similar tools.
3433 The traditional process of music printing is done through cutting in a
3434 plate of metal. Now also the term for the art of music typesetting.
3437 No cross-references.
3452 Two notes, intervals, or scales are enharmonic if they have different
3453 names but equal pitch.
3455 @lilypond[quote,notime,line-width=13.0\cm]
3459 gis1 as <des g,!> <cis g!>
3463 "g sharp " "a flat " "dim fifth " "augm fourth"
3469 No cross-references.
3472 @node equal temperament
3473 @section equal temperament
3475 ES: temperamento igual,
3476 I: temperamento equabile,
3477 F: tempérament égal,
3478 D: gleichschwebende Stimmung,
3479 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3480 DK: ligesvævende temperatur,
3481 S: liksvävande temperatur,
3484 A tuning system that divides the octave into 12 equal semitones (each of
3485 which is precisely equal to 100 cents).
3488 @ref{cent}, @ref{semitone}, @ref{temperament}.
3491 @node expression mark
3492 @section expression mark
3495 I: segno d'espressione,
3496 F: signe d'expression, indication de nuance,
3498 NL: voordrachtsteken,
3499 DK: foredragsbetegnelse,
3500 S: föredragsbeteckning,
3501 FI: nyanssiosoitus, esitysmerkki.
3503 Performance indications concerning:
3507 @item volume, dynamics (for example, @notation{forte},
3508 @notation{crescendo}),
3510 @item tempo (for example, @notation{andante}, @notation{allegro}).
3515 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3519 @section extender line
3521 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3523 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3530 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3531 extends text (without indicating the musical @emph{function} of that text).
3533 Used in many contexts, for example:
3537 @item In vocal music to indicate the syllable for a melisma. Called
3538 @q{extension} in the
3539 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3543 In figured bass to indicate that:
3547 @item The extended note should be held through a change in harmony, when applied
3548 to one figure --OR--
3549 @item The chord thus represented should be held above a moving bass line, when
3550 applied to more than one figure.
3551 @item These uses were not completely standardized, and some composers used a
3552 single extender line to indicate the latter case.
3557 In string music to indicate that all notes in the passage thus indicated should
3558 be played on the same string. On the violin, for example, a series of notes to
3559 be played on the G string would be indicated @notation{sul G}, another series to be
3560 played on the D string would be indicated @notation{sul D}, and so on.
3563 With an octave mark to indicate that a passage is to be played higher or lower
3564 by the given number of octaves.
3569 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3570 @ref{octave marking}.
3603 The position between the dots of the key symbol is the line of the F
3604 below central@w{ }C. Used on the third, fourth and fifth note line.
3605 A digit@w{ }8 above the clef symbol indicates that the notes must be
3606 played an octave higher (for example, bass recorder) while 8@w{ }below
3607 the clef symbol indicates playing an octave lower (for example, on the
3610 @lilypond[quote,notime,line-width=13.0\cm]
3613 \override Staff.Clef #'full-size-change = ##t
3636 @ref{baritone clef}, @ref{strings}.
3651 Indicator for a indeterminately falling pitch bend. Compare with
3652 @emph{glissando}, which has determinate starting and ending pitches.
3655 @ref{doit}, @ref{glissando}.
3658 @node feathered beam
3659 @section feathered beam
3663 F: ligature en soufflet, lien de croches en soufflet,
3664 D: gespreizter Balken,
3670 A type of beam used to indicate that a small group of notes should be
3671 played at an increasing or decreasing tempo -- depending on the
3672 direction of @q{feathering} -- but without changing the overall tempo
3676 Internals Reference: @ruser{Manual beams}
3682 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3686 F: point d'orgue, point d'arrêt,
3691 FI: fermaatti, pidäke.
3693 Prolonged note or rest of indefinite duration.
3695 @lilypond[quote,relative=2]
3702 No cross-references.
3722 @section figured bass
3725 I: basso continuo, basso numerato,
3726 F: basse chiffrée, basse continue,
3727 D: Generalbass, bezifferter Bass,
3728 NL: basso continuo, becijferde bas
3731 FI: kenraalibasso, numeroitu basso.
3733 Also called @q{thorough bass}.
3735 A method of indicating an accompaniment part by the bass notes only,
3736 together with figures designating the chief intervals and chords to be
3737 played above the bass notes.
3739 @lilypond[quote,line-width=13.0\cm]
3741 \new Staff = "rh" \with {
3743 \override StaffSymbol #'staff-space = #(magstep -3)
3749 \context Voice = "rha" {
3754 \context Voice = "rhb" {
3756 <bes g>8 as <as f> g <g es> f <d f> es
3761 \new Staff = "lh" \relative c' {
3764 es8 c d bes c as bes16 as g f
3768 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3774 @ref{chord}, @ref{interval}.
3789 Figures to the side or above the note that methodically indicate which
3790 fingers to use while playing a passage.
3793 No cross-references.
3800 I: coda (uncinata), bandiera,
3808 Ornament at the end of the stem of a note used for notes with values less
3809 than a quarter note. The number of flags determines the note value.
3811 @lilypond[quote,notime,relative=2]
3834 An articulation for string players that means the note or passage is to
3835 be played in harmonics.
3841 @item A duct flute similar to the recorder.
3843 @item An organ stop of flute scale at 1' or 2' pitch.
3848 @ref{articulation}, @ref{harmonics}.
3884 FI: forte, voimakkaasti.
3888 Abbreviated @notation{@b{f}}. Variants include:
3891 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3892 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3896 No cross-references.
3915 @node Frenched score
3916 @section Frenched score
3918 ES: partitura a la francesa,
3925 FI: partituuri francesan tapaan.
3927 A @q{condensed} score, produced by omitting staves for instruments that are not
3928 playing at the moment, and by moving up additional systems from following pages
3929 to take up the space thus liberated, which reduces the total number of pages
3930 used to print the work.
3932 The specific rules for @q{frenching} a score differ from publisher to publisher.
3933 If you are producing scores for eventual publication by a commercial publisher,
3934 you may wish to procure a copy of their style manual.
3937 @ref{Frenched staff}.
3940 @node Frenched staff
3941 @section Frenched staff
3943 ES: pentagrama a la francesa,
3950 FI: karsittu nuotinnus.
3952 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3953 Frenched staff has unneeded measures or sections removed. This is useful
3954 for producing, for example, an @emph{ossia} staff.
3960 @node Frenched staves
3961 @section Frenched staves
3963 Plural of @ref{Frenched staff}.
3982 @node functional harmony
3983 @section functional harmony
3985 ES: armonía funcional,
3986 I: armonia funzionale,
3987 F: étude des functions,
3989 NL: functionele harmonie,
3990 DK: funktionsanalyse, funktionsharmonik,
3992 FI: harmoniajärjestelmä.
3994 A system of harmonic analysis.
3996 It is based on the idea that, in a given key, there are only three
3997 functionally different chords: tonic (T, the chord on the first note of the
3998 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3999 chord on the fifth note). Others are considered to be variants of the base
4002 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4004 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4007 <g e c>1 <a f d> <b g e>
4008 <c a f> <d b g> <e c a> <f d b>
4012 \markup { D \translate #'(-2 . 0) | }
4018 No cross-references.
4045 D: G-Schlüssel, Violinschlüssel,
4051 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4052 second note lines. A digit 8 above the clef symbol indicates that the notes
4053 must be played an octave higher while 8 below the clef symbol indicates
4054 playing or singing an octave lower (used most frequently to notate the tenor
4055 part in modern choral scores).
4057 @lilypond[quote,notime]
4059 \override Staff.Clef #'full-size-change = ##t
4060 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4071 "french violin clef"
4079 No cross-references.
4092 FI: glissando, liukuen.
4094 Letting the pitch slide fluently from one note to the other.
4097 No cross-references.
4101 @section grace notes
4103 ES: notas de adorno,
4105 F: ornement, fioriture,
4106 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4112 Notes printed in small types to indicate that their time values are not
4113 counted in the rhythm of the bar.
4116 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4121 @section grand staff
4123 ES: sistema de piano,
4125 F: système [de portées], accolade,
4126 D: Akkolade, Klaviersystem,
4129 S: ackolad, böjd klammer,
4130 FI: kaksoisnuottiviivasto.
4132 A combination of two staves with a brace. Usually used for piano music.
4148 FI: grave, raskaasti.
4150 [Italian] Slow, solemn.
4153 No cross-references.
4177 Letter name used for @notation{B natural} in German and Scandinavian
4178 usage. In the standard usage of these countries, @notation{B} means
4182 @ref{Pitch names}, @ref{B}.
4188 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4191 @lilypond[quote,relative=2]
4198 @ref{crescendo}, @ref{decrescendo}.
4209 @item D: Halbe, halbe Note,
4210 @item NL: halve noot,
4213 @item FI: puolinuotti.
4224 @item UK: minim rest,
4225 @item ES: silencio de blanca,
4226 @item I: pausa di minima,
4227 @item F: demi-pause,
4228 @item D: halbe Pause,
4229 @item NL: halve, rust,
4230 @item DK: halvnodespause,
4232 @item FI: puolitauko.
4239 @node harmonic cadence
4240 @section harmonic cadence
4242 ES: cadencia (armónica),
4243 I: cadenza (armonica),
4244 F: cadence harmonique,
4246 NL: harmonische cadens,
4247 DK: harmonisk kadence,
4248 S: (harmonisk) kadens,
4249 FI: harmoninen kadenssi.
4251 A sequence of chords that terminates a musical phrase or section.
4255 \context Staff = "SA" \relative c'' {
4258 \partial 4 <c g e>4 |
4259 <c a f> <b g d> <c g e>2
4262 \context Staff = "SB" \relative c {
4264 \partial 4 c4 | f, g c2
4276 @ref{functional harmony}.
4282 ES: sonidos del flautín,
4284 F: flageolet, sons harmoniques,
4289 FI: harmoniset äänet, huiluäänet.
4291 The general class of pitches produced by sounding the second or higher
4292 harmonic of a tone producer: string, column of air, and so on.
4294 On stringed instruments, these pitches sound rather flute-like; hence,
4295 their name in languages other than English. They are produced by
4296 lightly touching the string at a node for the desired mode of vibration
4297 while it is being bowed or plucked.
4299 For instruments of the violin family, there are two types of harmonics:
4300 natural harmonics, which are those played on the open string; and
4301 artificial harmonics, which are produced on stopped strings.
4304 No cross-references.
4313 D: Harmonie, Zusammenklang,
4317 FI: harmonia, yhteissointi.
4319 Tones sounding simultaneously. Two note harmonies fall into the
4320 categories @emph{consonances} and @emph{dissonances}.
4324 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4336 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4337 <g a>1_"second " s s
4338 <g f'>_"seventh " s s
4342 For harmony that uses three or more notes, see @ref{chord}.
4360 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4362 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4363 time normally occupied by two. The resulting rhythm can be expressed in modern
4364 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4365 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4366 as a special effect (or @emph{affect}) at cadences.
4368 For example, this phrase in 6/4 time
4370 @lilypond[quote,relative=1,line-width=13.0\cm]
4373 c2. e | d2 c d | c1. \bar "||"
4376 may be thought of having alternating time signatures
4378 @lilypond[quote,relative=1,line-width=13.0\cm]
4388 and is therefore a polymeter (second definition) of considerable antiquity.
4391 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4404 FI: homofonia, yksiäänisyys.
4406 Music in which one voice leads melodically supported by the other voices in
4407 the same rhythm (more or less). In contrast to @emph{polyphony}.
4430 FI: säkeiden tavumäärät.
4432 A group or list of numbers that indicate the number of syllables in a line
4433 of a hymn's verse. Different hymnals have different ways of noting the hymn
4434 meter: for example, consider a hymn that has four lines in two couplets
4435 alternating regularly between eight and seven syllables. The @emph{English
4436 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4437 or 8@w{ }7@w{ }8@w{ }7.
4439 Some frequently-used hymn meters have traditional names:
4442 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4443 @item 86.86 is called Common Meter (CM or C.M.)
4444 @item 88.88 is called Long Meter (LM or L.M.)
4447 Some hymns and their tunes are doubled versions of a simpler meter: for
4448 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4449 87.87D. The traditional names above also have doubled versions:
4452 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4453 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4454 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4458 No cross-references.
4471 FI: intervalli, kahden sävelen korkeusero.
4473 Difference in pitch between two notes. Intervals may be diminished, minor,
4474 perfect, major, or augmented. The augmented fourth and the diminished fifth
4475 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4476 and are called @emph{tritonus} because they consist of three whole tones.
4477 The addition of such two intervals forms an octave.
4479 @lilypond[quote,notime,line-width=13.0\cm]
4481 \context Voice \relative c'' {
4518 \context Lyrics \lyrics {
4520 "second " "second " "second " "second "
4521 "third " "third " "third " "third "
4522 "fourth " "fourth " "fourth "
4523 "fifth " "fifth " "fifth "
4524 "sixth " "sixth " "sixth " "sixth "
4525 "seventh" "seventh" "seventh" "seventh"
4526 "octave " "octave " "octave "
4532 @ref{enharmonic}, @ref{whole tone}.
4547 When a chord sounds with a bass note that differs from the root of the
4548 chord, it is said to be @emph{inverted}. The number of inversions that a
4549 chord can have is one fewer than the number of constituent notes. For
4550 example, triads (which have three constituent notes) can have three
4551 positions, two of which are inversions:
4555 The root note is in the bass, and above that are the third and the fifth. A
4556 triad built on the first scale degree, for example, is marked @notation{I}.
4558 @item First inversion
4559 The third is in the bass, and above it are the fifth and the root. This
4560 creates an interval of a sixth and a third above the bass note, and so is
4561 marked in figured Roman notation as @notation{6/3}. This is commonly
4562 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4563 characteristic interval of the inversion, and so always implies
4566 @item Second inversion
4567 The fifth is in the bass, and above it are the root and the third. This
4568 creates an interval of a sixth and a fourth above the bass note, and so is
4569 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4570 unstable chord position.
4574 No cross-references.
4577 @node inverted interval
4578 @section inverted interval
4580 ES: intervalo invertido,
4581 I: intervallo rivolto,
4582 F: intervalle renversé,
4583 D: umgekehrtes Intervall,
4584 NL: interval inversie,
4585 DK: omvendingsinterval,
4586 S: intervallets omvändning,
4587 FI: käänteisintervalli.
4589 The difference between an interval and an octave.
4591 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4592 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4593 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4594 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4598 No cross-references.
4601 @node just intonation
4602 @section just intonation
4604 ES: entonación justa,
4605 I: intonazione giusta,
4606 F: intonation juste,
4613 Tuning system in which the notes are obtained by adding and subtracting
4614 natural fifths and thirds.
4632 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4633 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4636 @ref{chromatic scale}, @ref{key signature}.
4640 @section key signature
4642 ES: armadura (de la clave),
4643 I: armatura di chiave,
4644 F: armure, armature [de la clé],
4645 D: Vorzeichen, Tonart,
4646 NL: toon@-soort (voortekens),
4649 FI: sävellajiosoitus.
4651 The sharps or flats appearing at the beginning of each staff indicating the
4658 @node laissez vibrer
4659 @section laissez vibrer
4670 [French: @q{Let vibrate}] Most frequently associated with harp
4671 parts. Marked @notation{l.v.} in the score.
4674 No cross-references.
4682 F: largo, large, ample,
4683 D: Largo, Langsam, Breit,
4687 FI: largo, hitaasti, leveästi.
4689 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4690 expressiveness. @emph{Larghetto} is less slow than largo.
4694 @section leading note
4705 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4706 called because of its strong tendency to @q{lead up} (resolve upwards)
4707 to the tonic scale degree.
4710 @ref{scale degree}, @ref{semitone}.
4714 @section ledger line
4716 ES: línea adicional,
4717 I: tagli addizionali,
4718 F: ligne supplémentaire,
4725 A ledger line is an extension of the staff.
4727 @lilypond[quote,notime,relative=2]
4734 No cross-references.
4743 D: legato, gebunden,
4749 To be performed (a) without any perceptible interruption between the
4750 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4751 @notation{portato}, or (d) @notation{staccato}.
4753 @lilypond[quote,notime,line-width=13.0\cm]
4755 \context Staff \relative c'' {
4756 c4-( d e-) \bar "||"
4757 c4-- d-- e-- \bar "||"
4758 c4-.-( d-. e-.-) \bar "||"
4759 c4-. d-. e-. \bar "||"
4775 @section legato curve
4778 @ref{slur}, @ref{legato}.
4800 A ligature is a coherent graphical symbol that represents at least two
4801 distinct notes. Ligatures originally appeared in the manuscripts of
4802 Gregorian chant notation around the 9th century to denote ascending or
4803 descending sequences of notes. In early notation, ligatures were used for
4804 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4805 performance in the sense of articulation. With the invention of the metric
4806 system of the white mensural notation, the need for ligatures to denote such
4807 patterns disappeared.
4810 @ref{mensural notation}.
4817 ES: estanque de nenúfares,
4818 I: stagno del giglio,
4819 F: étang de nénuphars, étang de nymphéas,
4821 NL: le@-lie@-vij@-ver,
4826 A pond with lilies floating in it.
4828 Also, the name of a music typesetting program.
4831 No cross-references.
4840 D: Linie, Notenlinie,
4844 FI: viiva, nuottiviiva.
4860 FI: kirjoitetussa äänenkorkeudessa.
4862 [Italian: @q{place}] Instruction to play the following passage at the
4863 written pitch. Cancels octave mark (q.v.).
4866 @ref{octave mark}, @ref{octave marking}.
4869 @node long appoggiatura
4870 @section long appoggiatura
4872 ES: apoyatura larga,
4873 I: appoggiatura lunga,
4874 F: appoggiature longue,
4879 FI: pitkä appoggiatura, pitkä etuhele.
4889 @item US: long, longa,
4892 @item F: longa, longue,
4900 Note value: twice the length of a @notation{breve}.
4902 @lilypond[quote,notime,relative=2]
4903 \override NoteHead #'style = #'mensural
4908 @ref{breve}, @ref{note value}.
4914 ES: ligadura de letra,
4916 F: ligature de mots,
4921 FI: sidonta sanoituksessa.
4923 @c TODO: add languages
4932 ES: letra (de la canción),
4935 D: Liedtext, Gesangtext,
4944 No cross-references.
4960 @ref{diatonic scale}.
4963 @node major interval
4964 @section major interval
4966 ES: intervalo mayor,
4967 I: intervallo maggiore,
4968 F: intervalle majeur,
4969 D: großes Intervall,
4973 FI: suuri intervalli.
4991 Note value: twice the length of a @notation{longa}.
4993 The maxima is the largest duration in use during the 15th and 16th centuries.
4994 Like the longa, the maxima can be either two or three times as long as the
4995 @notation{longa} (called @notation{binary} and @notation{ternary},
4996 respectively). By the late 15th century, most composers used the smaller
4997 proportion by default.
5000 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
5003 @node meantone temperament
5004 @section meantone temperament
5006 ES: afinación mesotónica,
5007 I: accordatura mesotonica,
5008 F: tempérament mésotonique,
5009 D: mitteltönige Stimmung,
5010 NL: middenstemming, middentoonstemming,
5011 DK: middeltonetemperatur,
5012 S: medeltonstemperatur,
5013 FI: keskisävelviritys.
5015 Temperament yielding acoustically pure thirds by decreasing the natural
5016 fifth by 16@w{ }cents. Due to the non-circular character of this
5017 temperament only a limited set of keys are playable. Used for tuning
5018 keyboard instruments for performance of pre-1650 music.
5021 @ref{cent}, @ref{temperament}.
5036 A group of beats (units of musical time) the first of which bears an accent.
5037 Such groups in numbers of two or more recur consistently throughout the
5038 composition and are separated from each other by bar lines.
5041 @ref{bar line}, @ref{beat}, @ref{meter}.
5044 @node measure repeat
5045 @section measure repeat
5048 @ref{percent repeat}.
5055 I: mediante, modale,
5065 @item The third @b{scale degree}.
5067 @item A @emph{chord} having its base tone a third from that of another
5068 chord. For example, the tonic chord may be replaced by its lower
5069 mediant (variant tonic).
5074 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5087 FI: melisma, laulettavan tavun sävelkuvio.
5089 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5090 on one syllable, especially as applied to liturgical chant.
5093 No cross-references.
5097 @section melisma line
5099 @c TODO: add languages
5101 ES: línea de melisma,
5103 F: trait de mélisme, trait de tenue,
5111 @ref{extender line}.
5114 @node melodic cadence
5115 @section melodic cadence
5121 @node mensural notation
5122 @section mensural notation
5124 @c TODO: add languages
5126 ES: notación mensural,
5128 F: notation mensurale,
5133 FI: mensuraalinuotinnus.
5135 A system of duration notation whose principles were first established in the
5136 mid-13th century, and that (with various changes) remained in use until about
5137 1600. As such, it is the basis for the notation of rhythms in Western musical
5140 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5141 of the notation's principles, so the notation of this earliest period is called
5142 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5143 and semibreve -- each of which was normally equivalent to three of the next
5146 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5147 added several note values (the minim, semiminim and fusa) and extended Franco's
5148 principles to govern the relationship between these values. They also put the
5149 duple division of note values on an equal footing with the earlier (preferred)
5152 TODO: continue description of French and Italian black notation, and the
5153 relationship betwixt them.
5155 @b{White or void mensural notation}
5157 In the 15th century, hollow (or void) notes began to substitute for the earlier
5158 solid black ones, which were then free to assume the function of red (or
5159 colored) notes in the earlier notation. ...
5161 TODO: add to definition (including summary info on proportional notation)
5164 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5165 @c TODO: more cross-references?
5168 @node mensuration sign
5169 @section mensuration sign
5171 @c TODO: add languages
5175 F: signe de mensuration,
5182 The ancestor of the time signature, mensuration signs were used to indicate the
5183 relationship between two sets of note durations—specifically, the ratio of
5184 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5185 (called @notation{prolatio}).
5187 Each ratio was represented with a single single sign, and was either
5188 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5189 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5190 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5191 represented by a complete circle; applied to the @emph{prolatio}, it was called
5192 @emph{major} and was represented by a dot in the middle of the sign. The binary
5193 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5194 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5195 @emph{minor} and was represented by the lack of an internal dot. There are four
5196 possible combinations, which can be represented in modern time signatures with
5197 and without reduction of note values. (These signs are hard-coded in LilyPond
5201 @item perfect @emph{tempus} with major @emph{prolatio}
5202 Indicated by a complete circle with an internal dot. In modern time signatures,
5205 @item 9/4, with reduction or
5206 @item 9/2, without reduction
5209 @item perfect @emph{tempus} and minor @emph{prolatio}
5210 Indicated by a complete circle without an internal dot. In modern time
5211 signatures, this equals:
5213 @item 3/2, with reduction or
5214 @item 3/1, without reduction
5217 @item imperfect @emph{tempus} and major @emph{prolatio}
5218 Indicated by an incomplete circle with an internal dot. In modern time
5219 signatures, this equals:
5221 @item 6/4, with reduction or
5222 @item 6/2, without reduction
5225 @item imperfect @emph{tempus} and minor @emph{prolatio}
5226 Indicated by an incomplete circle without an internal dot. In modern time
5227 signatures, this equals:
5229 @item 4/4, with reduction or
5230 @item 2/1, without reduction
5234 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5235 with note values reduced from the original semibreve to a modern quarter note.
5236 Being doubly imperfect, this sign represented the (theoretically)
5237 least-preferred mensuration, but it was actually used fairly often.
5239 This system extended to the ratio of longer note values to each other:
5243 @item maxima to longa, called:
5247 @item @notation{modus maximorum},
5248 @item @notation{modus major}, or
5249 @item @notation{maximodus})
5253 @item longa to breve, called:
5257 @item @notation{modus longarum},
5258 @item @notation{modus minor}, or
5259 @item @notation{modus}
5265 In the absence of any other indication, these modes were assumed to be
5266 binary. The mensuration signs only indicated tempus and prolatio, so
5267 composers needed another way to indicate these longer ratios (called modes.
5268 Around the middle of the 15th century started to use groups of rests at the
5269 beginning of the staff, preceding the mensuration sign.
5272 Two mensuration signs have survived to the present day: the C-shaped sign,
5273 which originally designated @notation{tempus imperfectum} and
5274 @notation{prolatio minor} now stands for @notation{common time}; and the
5275 slashed C, which designated the same with @notation{diminution} now stands
5276 for @notation{cut-time} (essentially, it has not lost its original meaning).
5279 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5280 @c TODO: more cross-references?
5288 F: indication de mesure, mesure,
5295 The pattern of note values and accents in a composition or a section thereof.
5296 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5297 by grouping beats and by subdividing the primary beat.
5299 @b{By grouping beats}:
5303 @item @b{duple}: groups of two.
5304 @item @b{triple}: groups of three.
5305 @item @b{quadruple}: groups of four. A special case of duple meter.
5306 @item @b{quintuple}: groups of five beats.
5307 @item @b{sextuple} meter: groups of six. A special case of:
5311 @item duple meter, subdivided in three; or
5312 @item triple meter, subdivided in two.
5316 @item @b{septuple} meter: groups of seven.
5321 Other than triple meter and its subdivided variants (see below), meters that
5322 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5323 frequently used prior to the 20th Century.
5325 @b{By subdividing the primary beat}:
5329 @item simple: subdivided in groups of two.
5333 @item duple: 2/2, 2/4, 2/8
5334 @item triple: 3/2, 3/4, 3/8
5335 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5339 @item compound: subdivided in groups of three.
5345 @item quadruple: 12/8
5351 Time signatures are placed at the beginning of a composition (or section) to
5352 indicate the meter. For instance, a piece written in simple triple meter with a
5353 beat on each quarter note is conventionally written with a time signature of
5354 3/4. Here are some combinations of the two classifications above:
5356 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5358 @lilypond[quote,line-width=13.0\cm]
5362 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5365 Simple triple meter:
5367 @lilypond[quote,line-width=13.0\cm]
5371 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5374 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5376 @lilypond[quote,line-width=13.0\cm]
5380 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5383 Simple quintuple meter (B. Marcello, 1686-1739):
5385 @lilypond[quote,line-width=13.0\cm]
5389 r4 cis8 bis ais4 dis c8 ais |
5390 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5393 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5394 the source, with sharps in the accompaniment where the voice has flats and
5397 Compound duple meter (unknown):
5399 @lilypond[quote,line-width=13.0\cm]
5403 f8 f g a bes16 a g f |
5404 g8 g bes a c16 a bes g
5408 Compound triple meter (J.S. Bach, 1685-1750):
5410 @lilypond[quote,line-width=13.0\cm]
5414 r8 g'( a) b( d c) c( e d) |
5415 d( g fis) g( d b) g( a b)
5419 Compound quadruple meter (P. Yon, 1886-1943):
5421 @lilypond[quote,line-width=13.0\cm]
5425 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5426 e4 e8 fis( gis) a b4.~ b4 b8
5431 @b{@q{Monometer} vs Polymeter}
5433 TODO: add information from discussion on lilypond-user related to polymeter.
5437 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5452 Device used to indicate the exact tempo of a piece.
5454 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5455 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5456 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5457 followed acknowledged Winkler as the creator, but by then Mälzel had already
5458 sold many of them, and people had taken to calling it a Mälzel Metronome.
5461 @ref{metronome mark}.
5464 @node metronome mark
5465 @section metronome mark
5467 ES: indicación metronómica,
5468 I: indicazione metronomica,
5469 F: indication métronomique,
5471 NL: metronoom aanduiding,
5473 S: metronomangivelse,
5474 FI: metronomiosoitus.
5476 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5477 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5484 @node metronomic indication
5485 @section metronomic indication
5488 @ref{metronome mark}
5501 FI: kohtalaisen, melko.
5503 [Italian: @q{medium}]
5505 Used to qualify other indications, such as:
5511 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5513 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5519 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5526 No cross-references.
5530 @section mezzo-soprano
5541 The female voice between soprano and contralto.
5544 @ref{soprano}, @ref{contralto}.
5553 D: eingestrichenes@w{ }c,
5555 DK: enstreget@w{ }c,
5556 S: ettstruket@w{ }c,
5559 First C below the 440 Hz A.
5561 @lilypond[quote,notime,relative=1]
5562 \override Staff.Clef #'full-size-change = ##t
5569 No cross-references.
5585 @ref{diatonic scale}.
5588 @node minor interval
5589 @section minor interval
5591 ES: intervalo menor,
5592 I: intervallo minore,
5593 F: intervalle mineur,
5594 D: kleines Intervall,
5598 FI: pieni intervalli.
5604 @node mixolydian mode
5605 @section mixolydian mode
5608 @ref{diatonic scale}.
5617 D: Kirchentonart, Modus,
5621 FI: moodi, kirkkosävelasteikko.
5624 @ref{church mode}, @ref{diatonic scale}.
5637 FI: modulaatio, sävellajin vaihdos.
5639 Moving from one @ref{key} to another. For example, the second subject
5640 of a @ref{sonata form} movement modulates to the dominant key if the
5641 key is major and to the @ref{relative key} if the key is minor.
5644 No cross-references.
5656 FI: mordent, korukuvio.
5679 FI: teema, sävelaihe.
5681 The briefest intelligible and self-contained fragment of a musical
5684 @lilypond[quote,line-width=13.0\cm]
5687 \set Score.implicitTimeSignatureVisibility = #all-invisible
5688 \override Score.TimeSignature #'break-visibility = #all-invisible
5691 \partial 8 g16\startGroup fis |
5692 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5693 g8 g,16 a b8 cis d16 s
5697 \Staff \consists "Horizontal_bracket_engraver"
5703 No cross-references.
5718 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5719 several -- more or less -- independent pieces called movements.
5722 No cross-references.
5725 @node multi-measure rest
5726 @section multi-measure rest
5728 ES: compases de espera,
5730 F: pause multiple, mesure à compter,
5732 D: mehrtaktige Pause, Kirchenpause,
5735 FI: usean tahdin mittainen tauko.
5737 Multi-measure rests are conventionally typeset with a combination of
5738 longa, breve and whole rests for shorter and a long horizontal bar for
5739 longer spans of rest, with a number above to indicate the duration (in
5740 measures) of the rest. The former style is called @q{Kirchenpausen} in
5741 German, as a reminiscence of its use in Renaissance vocal polyphony.
5743 @lilypond[quote,relative=2]
5745 \set Score.skipBars = ##t
5748 \set Score.skipBars = ##t
5754 @ref{longa}, @ref{breve}.
5763 D: Auflösungszeichen,
5764 NL: herstellingsteken,
5765 DK: op@-løsningstegn,
5766 S: återställningstecken,
5773 @node neighbor tones
5774 @section neighbor tones
5776 @c TODO: add definition.
5788 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5827 Notes are signs by means of which music is fixed in writing. The term is also
5828 used for the sound indicated by a note, and even for the key of the piano
5829 which produces the sound. However, a clear distinction between the terms tone
5830 and @ref{note} is strongly recommended. Briefly, one sees a note,
5834 No cross-references.
5841 I: testa, testina, capocchia,
5849 A head-like sign which indicates pitch by its position on a @notation{staff}
5850 provided with a @notation{clef}, and duration by a variety of shapes such as
5851 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5852 For percussion instruments (often having no defined pitch) the note head may
5853 indicate the instrument.
5856 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5869 ES: valor (duración),
5871 F: durée, valeur (d'une note),
5876 FI: nuotin aika-arvo.
5878 Note values (durations) are measured as fractions—in modern usage, one-half—of
5879 the next higher note value. The longest duration in current use is the
5880 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5881 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5882 or @notation{maxima} (eight whole notes) may be found.
5884 As used in mensural notation, this fraction was more flexible: it could also
5885 be one-third the higher note value. Composers indicated which proportions
5886 to use with various signs—two of which survive to the present day: the
5887 C-shaped sign for @notation{common time}, and the slashed C for
5888 @notation{alla breve} or @notation{cut-time}.
5890 @c TODO -- add maxima to this example, in a way that doesn't break it.
5892 @lilypond[quote,notime,line-width=13.0\cm]
5894 \override NoteHead #'style = #'mensural
5895 a\longa_"longa" a\breve_"breve"
5896 \revert NoteHead #'style
5897 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5898 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5901 @c TODO -- add maxima rest to this example
5903 @lilypond[quote,notime,line-width=13.0\cm]
5905 r\longa_"longa" r\breve_"breve"
5906 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5907 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5910 An augmentation dot after a note increases its duration by half; a second dot
5911 increases it by half of the first addition (that is, by a fourth of the original
5912 duration). More dots can be used to add further halved fractions of the
5913 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5915 @lilypond[quote,line-width=13.0\cm]
5918 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5919 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5922 Alternatively note values may be subdivided by other ratios. Most common is
5923 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5924 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5925 dotted notes are also frequently used.
5927 @lilypond[quote,line-width=13.0\cm]
5930 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5931 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5935 @lilypond[quote,line-width=13.0\cm]
5938 \times 3/2 {g4_"duplets" g} |
5940 \times 6/4 {g8_"quadruplets" g g g} |
5941 g8 g g g g4 \bar "||"
5953 @ref{octave marking}.
5968 The interval of an octave, sometimes abbreviated @notation{8ve}.
5970 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5971 bracket, or @notation{loco} see octave marking.
5974 @ref{interval}, @ref{octave marking}.
5978 @section octave mark
5980 ES: indicación de octava,
5982 F: indication d'octave,
5989 The phrase, abbreviation, or other mark used (with or without an extender line
5990 or bracket) to indicate that the music is to be played in a different octave:
5994 @item @notation{15ma}: play two octaves higher
5995 @item @notation{8va}: play one octave higher
5996 @item @notation{8vb}: play one octave lower
5997 @item @notation{8va} (written below the passage): unusual, same as
5999 @item @notation{15vb}: play two octaves lower
6000 @item @notation{15va} (written below the passage): unusual, same as
6005 For longer passages, it may be more practical to mark the octave change at the
6006 beginning with a phrase (see the list below for examples), but without a bracket
6007 or extender line. Then, when the music returns to the written pitch, the octave
6008 change is cancelled with the word @notation{loco} (q.v.).
6010 To parallel the list above:
6014 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6015 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6016 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6017 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6021 In the phrases above, @notation{quindicesima} is sometimes replaced with
6022 @notation{quindecima}, which is Latin.
6024 The music on an entire staff can be marked to be played in a different octave by
6025 putting a small 8 or 15 above or below the clef at the beginning. This octave
6026 mark can be applied to any clef, but it is most frequently used with the G and F
6030 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6033 @node octave marking
6034 @section octave marking
6043 FI: oktaavamerkintä.
6045 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6046 that it is to be played in a different octave. If applied to the clef at the
6047 beginning of the staff, all music on that staff is to played at the indicated
6050 For a list of the specific marks used, see @ref{octave mark}.
6053 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6057 @section octave sign
6067 I: abbellimento, fioriture,
6068 F: agrément, ornement,
6069 D: Verzierung, Ornament,
6075 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6076 with the diatonic @ref{second} above it. In the music from the
6077 middle of the 19th century and onwards the trill is performed with the main
6078 note first while in the music from the preceding baroque and classic periods
6079 the upper note is played first.
6081 @lilypond[quote,line-width=13.0\cm]
6083 \context Staff = sa {
6085 c2._"pre-1850" b4\trill | c1 \bar "||"
6086 c2._"post-1850" b4\trill | c1 \bar "||"
6090 c2. c32 b c b c b c b | c1
6091 c2. b32 c b c \times 4/5 { b c b c b } | c1
6096 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6097 the @emph{prall} (inverted mordent).
6099 @lilypond[quote,line-width=13.0\cm]
6101 \context Staff = sa {
6103 a4_"turn" b\turn c2 \bar "||"
6104 g4_"mordent" a b\mordent a \bar "||"
6105 e'4_"prall" d\prall c2 \bar "||"
6111 e'4 e32[ d e d ~ d8] c2
6117 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6125 F: ossia, alternative,
6130 FI: ossia, vaihtoehtoinen esitystapa.
6132 Ossia (otherwise) marks an alternative. It is an added staff or piano
6133 score, usually only a few measures long, which presents another version
6134 of the music, for example for small hands.
6137 Compare: @ref{cue-notes}.
6150 FI: stemma, instrumenttiosuus.
6154 @item In instrumental or choral music, the music for a single
6155 instrument or voice.
6157 @item in contrapuntal music, a single melodic line in the contrapuntal
6180 @node percent repeat
6181 @section percent repeat
6183 LilyPond-specific term to indicate the repetition of a musical expression on a
6184 single staff, as opposed to the more usual definition of repeat, which affects
6185 all parts. The musical expression can be anything from a single note or note
6186 pattern to one or more measures. There are other names for this symbol:
6191 @item slash mark, or slash repeat
6193 @item measure (or multi-measure) repeat
6197 @lilypond[quote,relative=2,line-width=13.0\cm]
6199 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6200 \repeat percent 2 { c4 e g b_"Measure repeat" }
6201 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6206 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6207 Vermont Music Dictionary}.
6216 D: Schlagzeug, Schlagwerk,
6222 A family of musical instruments which are played on by striking or
6223 shaking. Percussion instruments commonly used in a symphony orchestra are
6224 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6225 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6229 No cross-references.
6232 @node perfect interval
6233 @section perfect interval
6235 ES: intervalo justo,
6236 I: intervallo giusto,
6237 F: intervalle juste,
6238 D: reines Intervall,
6242 FI: puhdas intervalli.
6260 A natural division of the melodic line, comparable to a sentence of speech.
6276 FI: fraseeraus, jäsentäminen.
6278 The clear rendering in musical performance of the @notation{phrases} of the
6279 melody. Phrasing may be indicated by a @notation{slur}.
6282 @ref{phrase}, @ref{slur}.
6297 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6298 @emph{mezzo piano} (@b{mp}) medium soft.
6301 No cross-references.
6309 F: anacrouse, levée,
6334 @item The perceived quality of a sound that is primarily a function of its
6335 fundamental frequency.
6337 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6339 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6340 association of a particular frequency with a particular pitch name, e.g., c' =
6356 NL: pizzicato, getokkeld,
6359 FI: pizzicato, näppäillen.
6361 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6365 No cross-references.
6371 ES: compás polimétrico,
6378 FI: monia tahtiosoituksia sisältävä.
6382 @item The @emph{simultaneous} use of two or more meters, in two or more
6385 @item The @emph{successive} use of different meters in one or more parts.
6390 @ref{polymetric} (adj.)
6403 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6405 Characterized by @emph{polymeter}: using two or more metric frameworks
6406 simultaneously or in alternation.
6409 @ref{polymeter} (noun)
6412 @node polymetric time signature
6413 @section polymetric time signature
6415 ES: compás polimétrico,
6422 FI: vaihtelevan tahtiosoitusmerkintä.
6424 A time signature that indicates regularly alternating polymetric time.
6436 D: Polyphonie, Mehrstimmigkeit,
6440 FI: polyfonia, moniäänisyys.
6442 Music written in a combination of several simultaneous voices (parts)
6443 of a more or less pronounced individuality.
6452 [Italian: past participle of @emph{portare}, @q{to carry}]
6454 A stroke in which each of several notes is separated slightly within a slur,
6455 without changing the bow's direction. It is used for passages of a
6456 @notation{cantabile} character.
6467 F: presto, très rapide, enlevé,
6468 D: Presto, Sehr schnell,
6469 NL: presto, Sehr schnell,
6472 FI: presto, hyvin nopeasti.
6476 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6477 denotes the highest possible degree of speed.
6480 No cross-references.
6495 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6496 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6501 @item A ratio that expresses the relationship between the note values that
6502 follow with those that precede;
6504 @item A ratio between the note values of a passage and the @q{normal}
6505 relationship of note values to the metrical pulse. (A special case of the
6510 The most common proportions are:
6513 @item 2:1 (or simply 2), expressed by a vertical line through the
6514 mensuration sign (the origin of the @notation{alla breve} time signature),
6515 or by turning the sign backwards
6516 @item 3:1 (or simply 3)
6517 @item 3:2 (@emph{sesquialtera})
6520 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6523 @item 1:2 cancels 2:1
6524 @item 1:3 cancels 3:1
6525 @item 2:3 cancels 3:2
6529 Gaffurius enumerates five basic types of major:minor proportions and their
6533 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6534 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6536 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6537 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6538 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6540 @item Superpartiens, if the major number is one less than twice the minor
6541 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6543 @item Multiplexsuperparticular, if the major number is one more than twice the
6544 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6547 @item Multiplexsuperpartiens, if the major number is one less than some other
6548 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6549 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6553 He then continues to subdivide each type in various ways. For the multiplex
6554 proportions, for example, he indicates how many times greater the major number
6559 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6560 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6562 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6565 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6566 Example: 4:1, 8:2, and 12:3
6570 Other proportions were possible, but whether they were frequently used is
6575 @item 33:9, @emph{triplasuperbipartientetertias}
6576 @item 51:15, @emph{triplasuperbipartientequintas}
6580 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6583 @ref{mensural notation}.
6586 @node Pythagorean comma
6587 @section Pythagorean comma
6589 ES: coma pitagórica,
6590 I: comma pitagorico,
6591 F: comma pythagoricien,
6592 D: Pythagoräisches Komma,
6593 NL: komma van Pythagoras,
6594 DK: pythagoræisk komma,
6595 S: pytagoreiskt komma,
6596 FI: pytagorinen komma.
6598 Originally, the interval by which the sum of six whole tones exceeds the octave
6599 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6601 Modern acoustical theory defines it as the interval by which twelve fifths
6602 exceed seven octaves. To put it another way: A sequence of fifths that starts
6603 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6604 than the C obtained by adding 7 octaves. The difference between those two
6605 pitches is the Pythagorean comma.
6608 @ref{cent}, @ref{temperament}.
6639 The quality of a triad is determined by the precise arrangement of its
6640 intervals. Tertian triads can be described as a series of three notes. The
6641 first element is the root note (or simply @q{root}) of the chord, the second
6642 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6643 the chord. These are described below:
6645 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6646 @headitem Chord name
6647 @tab Component intervals
6650 @item major triad @tab major third/perfect fifth
6652 @tab C, CM, Cma, Cmaj, CΔ
6653 @item minor triad @tab minor third/perfect fifth
6655 @tab Cm, Cmi, Cmin, C-
6656 @item augmented triad @tab major third/augmented fifth
6659 @item diminished triad @tab minor third/diminished fifth
6661 @tab Cm(♭5), Cº, Cdim
6664 There are various types of seventh chords depending on the quality of the
6665 original chord and the quality of the seventh added.
6667 Five common types of seventh chords have standard symbols. The chord quality
6668 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6669 and D^m7 are all identical). The last three chords are not commonly used
6677 @section quarter note
6682 @item I: semiminima, nera
6684 @item D: Viertel, Viertelnote
6686 @item DK: fjerdedelsnode
6687 @item S: fjärdedelsnot
6688 @item FI: neljäsosanuotti
6696 @section quarter rest
6699 @item UK: crotchet rest
6700 @item ES: silencio de negra
6701 @item I: pausa di semiminima
6703 @item D: Viertelpause
6705 @item DK: fjerdedelspause
6706 @item S: fjärdedelspaus
6707 @item FI: neljäsosatauko
6715 @section quarter tone
6717 ES: cuarto de tonno,
6724 FI: neljännessävelaskel.
6726 An interval equal to half a semitone.
6735 ES: cinquillo, quintillo.
6749 @section rallentando
6753 F: rallentando, en ralentissant,
6754 D: rallentando, langsamer werden,
6758 FI: rallerdando, hidastuen.
6760 [Italian] A performance indication, abbreviated @notation{rall.}.
6767 @section relative key
6770 I: tonalità relativa,
6771 F: tonalité relative,
6773 NL: paralleltoonsoort,
6774 DK: paralleltoneart,
6776 FI: rinnakkaissävellaji.
6778 Major and minor keys that have the same key signature.
6780 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6782 es1_"e flat major" f g as bes c d es
6786 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6788 c1_"c minor" d es f g a! b! c
6793 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6801 F: barre de reprise,
6804 DK: gen@-ta@-gel@-se,
6808 @lilypond[quote,relative=2,line-width=13.0\cm]
6820 No cross-references.
6835 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6836 @c specify the rest's value.
6856 @item Metrical rhythm in which every time value is a multiple or
6857 fraction of a fixed unit of time, called @emph{beat}, and in which the
6858 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6859 The basic scheme of time values is called @emph{meter}.
6861 @item Measured rhythm which lacks regularly recurrent accent. In
6862 modern notation such music appears as a free alternation of different
6865 @item Free rhythm, i.e., the use of temporal values having no common
6866 metrical unit (beat).
6871 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6878 F: ritardando, en ralentissant,
6879 D: ritardando, langsamer werden,
6883 FI: ritardando, hidastuen,
6885 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6888 No cross-references.
6896 F: ritenuto, en retenant,
6901 FI: ritenuto, hidastaen.
6903 Immediate reduction of speed.
6906 No cross-references.
6919 FI: asteikko, sävelasteikko.
6922 @ref{diatonic scale}.
6926 @section scale degree
6928 ES: grado (de la escala),
6929 I: grado della scala,
6930 F: degré [de la gamme],
6932 NL: trap [van de toonladder],
6935 FI: sävelaste, asteikon sävel.
6937 Names and symbols used in harmonic analysis to denote tones of the
6938 scale as roots of chords. The most important are degrees I = tonic
6939 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6941 @lilypond[quote,notime,line-width=13.0\cm]
6943 \new Staff \relative c' {
6947 << { I II III IV V VI VII I }
6954 @ref{functional harmony}.
6962 F: à cordes ravallées,
6967 FI: epätavallinen viritys.
6969 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6970 tuning of stringed instruments, particularly lutes or violins. Used
6975 @item facilitate pitch combinations that would otherwise be difficult
6978 @item alter the characteristic timbre of the instrument, for example,
6979 to increase brilliance
6981 @item reinforce certain sonorities or tonalities by making them
6982 available on open strings
6984 @item imitate other instruments
6990 Tunings that could be called @var{scordatura} first appeared early in
6991 the 16th Century and became commonplace in the 17th.
6994 No cross-references.
7002 F: partition, conducteur (full score),
7003 D: Partitur (full score), Klavierauszug (vocal score),
7009 A copy of orchestral, choral, or chamber music showing what each
7010 instrument is to play, each voice to sing, having each part arranged
7011 one underneath the other on different staves @ref{staff}.
7014 No cross-references.
7029 The interval between two neighboring tones of a scale. A diatonic scale
7030 consists of alternating semitones and whole tones, hence the size of a
7031 second depends on the scale degrees in question.
7034 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7041 @item US: whole note,
7045 @item D: Ganze, ganze Note,
7046 @item NL: hele noot,
7049 @item FI: kokonuotti.
7052 Note value: called @notation{whole note} in the US.
7054 The semibreve is the basis for the @notation{tactus} in mensural notation
7055 (i.e. music written before ca. 1600).
7058 @ref{mensural notation}, @ref{note value}.
7073 The interval of a minor second. The (usually) smallest interval in European
7074 composed music. The interval between two neighboring tones on the piano
7075 keyboard -- including black and white keys -- is a semitone. An octave may
7076 be divided into 12@w{ }semitones.
7078 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7079 g1 gis s a bes s b! c
7083 @ref{interval}, @ref{chromatic scale}.
7106 @ref{sextuplet}, @ref{note value}.
7160 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7161 is to be played in the same manner (i.e. with the same articulations, dynamics,
7162 etc.) as the music that precedes it.
7165 TODO: Where else could I refer the reader?
7169 @section simple meter
7171 ES: compás simple, compás de subdivisión binaria,
7178 FI: kaksijakoinen tahtiosoitus.
7180 A meter in which the basic beat is subdivided in two: that is, a meter
7181 that does not include triplet subdivision of the beat.
7184 @ref{compound meter}, @ref{meter}.
7187 @node sixteenth note
7188 @section sixteenth note
7191 @item UK: semiquaver
7192 @item ES: semicorchea
7194 @item F: double croche
7195 @item D: Sechzehntel, Sechzehntelnote
7196 @item NL: zestiende noot
7197 @item DK: sekstendedelsnode
7198 @item S: sextondelsnot
7199 @item FI: kuudestoistaosanuotti
7206 @node sixteenth rest
7207 @section sixteenth rest
7210 @item UK: semiquaver rest
7211 @item ES: silencio de semicorchea
7212 @item I: pausa di semicroma
7213 @item F: quart de soupir
7214 @item D: Sechzehntelpause
7215 @item NL: zestiende rust
7216 @item DK: sekstendedelspause
7217 @item S: sextondelspaus
7218 @item FI: kuudestoistaosatauko
7241 @node sixty-fourth note
7242 @section sixty-fourth note
7245 @item UK: hemidemisemiquaver
7247 @item I: semibiscroma
7248 @item F: quadruple croche
7249 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7250 @item NL: vierenzestigste noot
7251 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7252 @item S: sextiofjärdedelsnot
7253 @item FI: kuudeskymmenesneljäsosanuotti
7260 @node sixty-fourth rest
7261 @section sixty-fourth rest
7264 @item UK: hemidemisemiquaver rest
7265 @item ES: silencio de semifusa
7266 @item I: pausa di semibiscroma
7267 @item F: seizième de soupir
7268 @item D: Vierundsechzigstelpause
7269 @item NL: vierenzestigste rust
7270 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7271 @item S: sextiofjärdedelspaus
7272 @item FI: kuudeskymmenesneljäsosatauko
7280 @section slash repeat
7283 @ref{percent repeat}.
7289 ES: ligadura (de expresión),
7290 I: legatura (di portamento or espressiva),
7292 D: Bogen (Legatobogen, Phrasierungsbogen),
7293 NL: fraseringsboog, legatoboog, streekboog,
7294 DK: legatobue, fraseringsbue,
7298 A slur above or below a group of notes indicates that they are to be
7299 played @ref{legato}, e.g., with one stroke of the violin bow or with
7300 one breath in singing.
7303 No cross-references.
7307 @section solmization
7316 FI: suhteelliset laulunimet.
7318 General term for systems of designating the degrees of the
7319 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7320 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7324 @ref{scale}, @ref{scale degree}.
7339 In its present-day meaning a sonata denotes an instrumental
7340 composition for piano or for some other instrument with piano
7341 accompaniment, which consists of three or four independant pieces,
7345 No cross-references.
7349 @section sonata form
7353 F: [en] forme de sonate,
7355 NL: hoofdvorm, sonatevorm,
7360 A form used frequently for single movements of the @emph{sonata},
7361 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7362 three sections called @notation{exposition}, @notation{development} and
7363 @notation{recapitulation}. In the exposition the composer introduces some
7364 musical ideas, consisting of a number of themes; in the development section the
7365 composer @emph{develops} this material, and in the recapitulation the composer
7366 repeats the exposition, with certain modifications. The exposition contains a
7367 number of themes that fall into two groups, often called first and second
7368 subject. Other melodies occurring in each group are considered as continuations
7369 of these two. The second theme is in another key, normally in the key of the
7370 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7371 @notation{relative key} if the tonic is @notation{minor}.
7374 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7375 @ref{symphony}, @ref{tonic}.
7395 FI: sopraano, korkea naisääni.
7397 The highest female voice.
7400 No cross-references.
7408 F: staccato, piqué, détaché,
7413 FI: staccato, lyhyesti, terävästi.
7415 Playing the note(s) short. Staccato is indicated by a dot above or
7416 below the note head.
7418 @lilypond[quote,relative=2]
7422 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7428 No cross-references.
7436 I: pentagramma, rigo (musicale),
7438 D: Notensystem, Notenzeile,
7439 NL: (noten)balk, partij,
7444 A staff (plural: staves) is a series of (normally five) horizontal
7445 lines upon and between which the musical notes are written, thus
7446 indicating (in connection with a @ref{clef}) their pitch. Staves for
7447 @ref{percussion} instruments may have fewer lines.
7450 No cross-references.
7466 D: Hals, Notenhals, Stiel,
7472 Vertical line above or below a @ref{note head} shorter than a
7475 @lilypond[quote,notime,relative=2]
7476 \set Score.autoBeaming = ##f
7492 F: stringendo, en accélérant,
7497 FI: kiihdyttäen, nopeuttaen.
7499 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7518 A family of stringed musical instruments played with a bow. Strings
7519 commonly used in a symphony orchestra are violin, viola, violoncello,
7523 No cross-references.
7527 @section strong beat
7532 D: betonter Taktteil oder Taktschlag,
7534 D: betonet taktslag,
7535 S: betonat taktslag,
7536 FI: tahdin vahva isku.
7539 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7543 @section subdominant
7552 FI: subdominantti, alidominantti.
7554 The fourth @notation{scale degree}.
7557 @ref{functional harmony}, @ref{scale degree}.
7572 The sixth @notation{scale degree}.
7575 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7588 FI: subtoonika, alitoonika.
7590 The seventh @ref{scale degree}.
7593 @ref{functional harmony}, @ref{scale degree}.
7599 ES: sobre la cuerda de Sol,
7602 D: auf G, auf der G-Saite,
7608 Indicates that the indicated passage (or note) should be played on the
7612 No cross-references.
7616 @section superdominant
7627 The sixth @ref{scale degree}.
7630 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7645 The second @ref{scale degree}.
7648 @ref{functional harmony}, @ref{scale degree}.
7657 D: Sinfonie, Symphonie,
7663 A symphony may be defined as a @emph{sonata} for orchestra.
7670 @section syncopation
7681 Any deliberate upsetting of the normal pulse of @ref{meter},
7682 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7683 rhythm rests upon the grouping of equal beats into groups of two or
7684 three, with a regularly recurrent accent on the first beat of each
7685 group. Any deviation from this scheme is felt as a disturbance or
7686 contradiction between the underlaying (normal) pulse and the actual
7689 @lilypond[quote,relative=1]
7692 e16 c'8 e,16 c'8 e,16 c' ~
7697 No cross-references.
7700 @node syntonic comma
7701 @section syntonic comma
7703 ES: coma sintónica, coma de Dídimo,
7704 I: comma sintonico (o didimico),
7705 F: comma syntonique,
7706 D: syntonisches Komma,
7707 NL: syntonische komma,
7708 DK: syntonisk komma,
7709 S: syntoniskt komma,
7710 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7711 Pytagorisessa viritysjärjestelmässä.
7713 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7714 by which the ditone exceeds the pure major third obtained by Pythagorean
7715 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7717 Modern acoustical theory defines it as the interval by which four fifths exceed
7718 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7720 This comma is also known as the comma of Didymus, or didymic comma.
7723 @ref{Pythagorean comma}
7732 D: Notensystem, Partitur,
7736 FI: nuottijärjestelmä.
7738 The collection of staves (@notation{staff}), two or more, as used for writing
7739 down of keyboard, chamber, choral, or orchestral music.
7746 @section temperament
7751 D: Stimmung, Tem@-pe@-ra@-tur,
7752 NL: stemming, temperatuur,
7755 FI: viritysjärjestelmä.
7757 Systems of tuning in which the intervals deviate from the acoustically
7761 @ref{meantone temperament}, @ref{equal temperament}.
7764 @node tempo indication
7765 @section tempo indication
7767 ES: indicación de tempo,
7768 I: indicazione di tempo,
7769 F: indication de tempo,
7770 D: Zeitmaß, Tempobezeichnung,
7771 NL: tempo aanduiding,
7776 The rate of speed of a composition or a section thereof, ranging from the
7777 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7778 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7782 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7796 FI: tenori, korkea miesääni.
7798 The highest @q{natural} male voice (apart from @notation{countertenor}).
7823 ES: subrayado (tenuto),
7832 An indication that a particular note should be held for the whole
7833 length, although this can vary depending on the composer and era.
7836 No cross-references.
7855 @node thirty-second note
7856 @section thirty-second note
7859 @item UK: demisemiquaver
7862 @item F: triple croche
7863 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7864 @item NL: twee@-endertig@-ste (32e) noot
7865 @item DK: toogtredivtedelsnode
7866 @item S: trettiotvåondelsnot
7867 @item FI: kolmaskymmeneskahdesosanuotti
7874 @node thirty-second rest
7875 @section thirty-second rest
7878 @item UK: demisemiquaver rest
7879 @item ES: silencio de fusa
7880 @item I: pausa di biscroma
7881 @item F: huitième de soupir
7882 @item D: Zweiunddreissigstel@-pause
7883 @item NL: twee@-endertig@-ste (32e) rust
7884 @item DK: toogtredivtedelspause
7885 @item S: trettiotvåondelspaus
7886 @item FI: kolmaskymmeneskahdesosatauko
7894 @section thorough bass
7903 ES: ligadura de prolongación, ligadura de unión,
7904 I: legatura (di valore),
7905 F: liaison (de tenue),
7906 D: Haltebogen, Bindebogen,
7907 NL: overbinding, bindingsboog,
7909 S: bindebåge, överbindning,
7912 A curved line, identical in appearance with the @ref{slur}, which
7913 connects two succesive notes of the same pitch, and which has the
7914 function of uniting them into a single sound (tone) equal to the
7917 @lilypond[quote,notime,relative=2]
7929 @node time signature
7930 @section time signature
7932 ES: indicación de compás,
7934 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7935 D: Taktangabe, Angabe der Taktart,
7938 S: taktartssignatur,
7941 The sign placed at the beginning of a composition to indicate its
7942 meter. It most often takes the form of a fraction, but a few signs
7943 derived from mensural notation and proportions are also employed.
7946 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7961 A sound of definite pitch and duration, as distinct from @emph{noise}.
7962 Tone is a primary building material of music.
7964 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7967 No cross-references.
7982 The first @notation{scale degree}.
7985 @ref{functional harmony}, @ref{scale degree}.
7988 @node transposing instrument
7989 @section transposing instrument
7991 ES: instrumento transpositor,
7993 F: instrument transpositeur,
7998 FI: transponoitava soitin.
8000 Instruments whose notated pitch is different from their sounded pitch. Except
8001 for those whose notated and sounding pitches differ by one or more octaves (to
8002 reduce the number of ledger lines needed), most such instruments are identified
8003 by the letter name of the pitch class of their fundamental. The pitch class is
8004 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8005 the instrument plays a notated C.
8007 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8008 the B-flat one tone lower. If played on the A clarinet, the same written
8009 note sounds the A (one and half tones -- a minor third -- lower).
8011 Not all transposing instruments include the pitch class in their name:
8015 @item English horn (in F)
8017 @item Alto flute (in G)
8022 @ref{concert pitch}.
8026 @section transposition
8037 Shifting a melody up or down in pitch, while keeping the same
8040 @lilypond[quote,line-width=13.0\cm]
8045 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8050 @lilypond[quote,line-width=13.0\cm]
8053 \transpose c bes \relative c'' {
8055 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8061 No cross-references.
8065 @section treble clef
8068 I: chiave di violino,
8070 D: Violinschlüssel, Sopranschlüssel,
8092 On stringed instruments:
8096 @item The quick reiteration of the same tone, produced by a rapid
8097 up-and-down movement of the bow.
8099 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8100 in the distance of a third (@ref{interval}).
8104 @lilypond[quote,notime,relative=1]
8106 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8107 \repeat tremolo 8 { e32_"b" g }
8119 F: triade, accord parfait, accord de trois sons,
8135 F: trille, tremblement, battement (cadence),
8147 @section triple meter
8149 ES: compás ternario,
8152 D: in drei, ungerader Takt,
8153 NL: driedelige maatsoort,
8195 @section tuning fork
8197 ES: diapasón, horquilla de afinación,
8198 I: diapason, corista,
8206 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8207 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8208 standard. Tuning forks for other pitches are available.
8217 A non-standard subdivision of a beat or part of a beat, usually
8218 indicated with a bracket and a number indicating the number of
8222 @ref{triplet}, @ref{note value}.
8228 ES: grupeto (circular),
8251 FI: unisono, yksiäänisesti.
8253 Playing of the same notes or the same melody by various instruments
8254 (voices) or by the whole orchestra (choir), either at exactly the same
8255 pitch or in a different octave.
8258 No cross-references.
8266 F: anacrouse, levée,
8287 FI: ääni, lauluääni.
8295 @item @ref{mezzo-soprano}
8296 @item @ref{contralto}
8298 @item @ref{baritone}
8302 @item A melodic layer or part of a polyphonic composition.
8307 No cross-references.
8313 ES: vez, primera y segunda vez,
8320 FI: yksi kertauksen maaleista.
8322 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8323 or second ending. LilyPond extends this idea to any number, and allows any text
8324 (not just a number) -- to serve as the @notation{volta} text.
8327 No cross-references.
8334 I: tempo debole, arsi,
8336 D: unbetonter Taktteil oder Taktschlag,
8338 DK: ubetonet taktslag,
8339 S: obetonat taktslag,
8340 FI: tahdin heikko isku.
8343 @ref{beat}, @ref{measure}, @ref{rhythm}.
8354 @item D: Ganze, ganze Note
8358 @item FI: kokonuotti
8369 @item UK: semibreve rest
8370 @item ES: silencio de redonda
8371 @item I: pausa di semibreve
8373 @item D: ganze Pause, ganztaktige Pause
8375 @item DK: helnodespause
8396 The interval of a major second. The interval between two tones
8397 on the piano keyboard with exactly one key between them -- including
8398 black and white keys -- is a whole tone.
8416 A family of blown wooden musical instruments. Today some of these
8417 instruments are actually made from metal. The woodwind instruments
8418 commonly used in a symphony orchestra are flute, oboe, clarinet,
8419 saxophone, and bassoon.
8422 No cross-references.
8425 @node Duration names notes and rests
8426 @chapter Duration names notes and rests
8428 @multitable @columnfractions .12 .22 .22 .22 .22
8430 @headitem Lang. @tab note name
8434 @item @strong{US} @tab long
8438 @item @strong{UK} @tab longa
8442 @item @strong{ES} @tab longa
8443 @tab silencio de longa
8445 @tab silencio de cuadrada
8446 @item @strong{IT} @tab longa
8450 @item @strong{FR} @tab longa
8451 @tab quadruple-pause
8454 @item @strong{DE} @tab Longa
8458 @item @strong{NL} @tab longa
8462 @item @strong{DK} @tab longa
8463 @tab longanodespause
8465 @tab brevis(nodes)pause
8466 @item @strong{SE} @tab longa
8470 @item @strong{FI} @tab longa-nuotti
8472 @tab brevis-nuotti, kaksoiskoko@-nuotti
8473 @tab brevis-tauko, kaksoiskoko@-tauko
8477 @multitable @columnfractions .12 .22 .22 .22 .22
8479 @headitem Lang. @tab note name
8483 @item @strong{US} @tab whole note
8487 @item @strong{UK} @tab semibreve
8491 @item @strong{ES} @tab redonda
8492 @tab silencio de redonda
8494 @tab silencio de blanca
8495 @item @strong{IT} @tab semibreve
8496 @tab pause di semibreve
8498 @tab pausa di minima
8499 @item @strong{FR} @tab ronde
8503 @item @strong{DE} @tab ganze Note
8507 @item @strong{NL} @tab hele noot
8511 @item @strong{DK} @tab helnode
8515 @item @strong{SE} @tab helnot
8519 @item @strong{FI} @tab kokonuotti
8526 @multitable @columnfractions .12 .22 .22 .22 .22
8528 @headitem Lang. @tab note name
8532 @item @strong{US} @tab quarter note
8536 @item @strong{UK} @tab crotchet
8540 @item @strong{ES} @tab negra
8541 @tab silencio de negra
8543 @tab silencio de corchea
8544 @item @strong{IT} @tab semiminima, nera
8545 @tab pausa di semiminima, pausa di nera
8548 @item @strong{FR} @tab noire
8552 @item @strong{DE} @tab Viertelnote
8556 @item @strong{NL} @tab kwartnoot
8560 @item @strong{DK} @tab fjerdedelsnode
8561 @tab fjerdedelspause
8562 @tab ottendedelsnode
8563 @tab ottendedelspause
8564 @item @strong{SE} @tab fjärdedelsnot
8568 @item @strong{FI} @tab neljäsosa@-nuotti
8569 @tab neljäsosa@-tauko
8570 @tab kahdeksasosa@-nuotti
8571 @tab kahdeksasosa@-tauko
8575 * About the French naming system: @notation{croche} refers to the note's
8576 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8577 @q{doubled hook}, @q{trebled hook}, and so on.
8579 The rest names are based on the @notation{soupir}, or quarter rest.
8580 Subsequent rests are expressed as fractions thereof: half a
8581 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8583 Each of the following tables contains one type of note and its matching rest,
8584 with abbreviations that apply to both notes and rests. Just switch the part
8585 that means @q{note} with the part that means @q{rest}, for example:
8589 @item English: 16th @strong{note}, 16th @strong{rest}
8590 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8591 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8595 Editor's note: I put a dash @q{-} when I could not find a language-specific
8596 abbreviation for a duration name. If you know of one that I missed, please
8597 send it to me, care of the lilypond-user discussion list.
8599 @multitable @columnfractions .10 .35 .35 .20
8601 @headitem Lang. @tab Note name
8604 @item @strong{US} @tab sixteenth note
8607 @item @strong{UK} @tab semiquaver
8608 @tab semiquaver rest
8610 @item @strong{ES} @tab semicorchea
8611 @tab silencio de semicorchea
8613 @item @strong{IT} @tab semicroma
8614 @tab pausa di semicroma
8616 @item @strong{FR} @tab double croche
8617 @tab quart de soupir
8619 @item @strong{DE} @tab Sechzehntelnote
8620 @tab Sechzehntelpause
8622 @item @strong{NL} @tab zes@-ti@-ende noot
8623 @tab zes@-ti@-ende rust
8625 @item @strong{DK} @tab sekstendedelsnode
8626 @tab sekstendedelspause
8628 @item @strong{SE} @tab sextondelsnot
8631 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8632 @tab kuudes@-toistaosa@-tauko
8637 @multitable @columnfractions .10 .35 .35 .20
8639 @headitem Lang. @tab Note name
8642 @item @strong{US} @tab thirty-second note
8643 @tab thirty-second rest
8645 @item @strong{UK} @tab demisemiquaver
8646 @tab demisemiquaver rest
8648 @item @strong{ES} @tab fusa
8649 @tab silencio de fusa
8651 @item @strong{IT} @tab biscroma
8652 @tab pausa di biscroma
8654 @item @strong{FR} @tab triple croche
8655 @tab huitième de soupir
8657 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8658 @tab Zweiunddreißig@-stelpause
8660 @item @strong{NL} @tab twee@-endertigste noot
8661 @tab twee@-endertigste rust
8663 @item @strong{DK} @tab toogtredivtedelsnode
8664 @tab toogtredivtedelspause
8666 @item @strong{SE} @tab trettio@-tvåondelsnot
8667 @tab trettio@-tvåondelspaus
8669 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8670 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8675 @multitable @columnfractions .10 .35 .35 .20
8677 @headitem Lang. @tab Note name
8680 @item @strong{US} @tab sixty-fourth note
8681 @tab sixty-fourth rest
8683 @item @strong{UK} @tab hemidemisemiquaver
8684 @tab hemidemisemiquaver rest
8686 @item @strong{ES} @tab semifusa
8687 @tab silencio de semifusa
8689 @item @strong{IT} @tab semibiscroma
8690 @tab pausa di semibiscroma
8692 @item @strong{FR} @tab quadruple croche
8693 @tab seizième de soupir
8695 @item @strong{DE} @tab Vierundsechzigstelnote
8696 @tab Vierundsechzigstelpause
8698 @item @strong{NL} @tab vierenzestigste noot
8699 @tab vierenzestigste rust
8701 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8702 @tab fireog@-tredsindstyven@-dedelspause
8704 @item @strong{SE} @tab sextiofjärdedelsnot
8705 @tab sextiofjärdedelspaus
8707 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8708 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8713 @multitable @columnfractions .10 .35 .35 .20
8715 @headitem Lang. @tab Note name
8718 @item @strong{US} @tab one-hundred-twenty-eighth note
8719 @tab one-hundred-twenty-eighth rest
8721 @item @strong{UK} @tab semihemidemisemiquaver
8722 @tab semihemidemisemiquaver rest
8724 @item @strong{ES} @tab garrapatea
8725 @tab silencio de garrapatea
8727 @item @strong{IT} @tab fusa
8730 @item @strong{FR} @tab quintuple croche
8731 @tab trente-deuxième de soupir @tab -
8732 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8733 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8734 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8735 @tab honderd@-acht@-en@-twintigste rust
8737 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8738 @tab hundrede@-otte@-og@-tyvendedels@-pause
8740 @item @strong{SE} @tab hundratjugoåttondelsnot
8741 @tab hundratjugoåttondelspaus
8743 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8744 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8749 @multitable @columnfractions .10 .35 .35 .20
8751 @headitem Lang. @tab Note name
8754 @item @strong{US} @tab two-hundred-fifty-sixth note
8755 @tab two-hundred-fifty-sixth rest
8757 @item @strong{UK} @tab demisemihemidemisemiquaver
8758 @tab demisemihemidemisemiquaver rest
8760 @item @strong{ES} @tab semigarrapatea
8761 @tab silencio de semigarrapatea @tab -
8762 @item @strong{IT} @tab semifusa
8763 @tab pausa di semifusa
8765 @item @strong{FR} @tab sextuple croche
8766 @tab soixante-quatrième de soupir @tab -
8767 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8768 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8769 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8770 @tab tweehonderd@-zesenvijftigste rust
8772 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8773 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8775 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8776 @tab tvåhundra@-femtiosjättedelspaus
8778 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8779 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8785 @ref{mensural notation}
8789 @chapter Pitch names
8792 -is/-es endings for Danish per Rune Zedeler, pace,
8793 and for Finnish per Risto Vääräniemi;
8794 -iss/-ess endings for Swedish per Mats Bengtsson
8795 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8797 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8798 multiple lines -- as texinfo needs it to allow enough space for the
8799 table entries. (For the curious, it's a list of the widest items in
8800 each column of the table. Romance pitch names are two characters,
8801 except for g (sol) ... so there you go.)
8804 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8805 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8806 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8807 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8808 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8809 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8810 @tab des @tab des @tab dess @tab des
8811 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8812 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8813 @tab dis @tab dis @tab diss @tab dis
8814 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8815 @tab es @tab es @tab ess @tab es
8816 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8817 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8818 @tab Fes @tab fes @tab fes @tab fess @tab fes
8819 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8820 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8821 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8822 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8823 @tab fis @tab fis @tab fiss @tab fis
8824 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8825 @tab ges @tab ges @tab gess @tab ges
8826 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8827 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8828 @tab Gis @tab gis @tab gis @tab giss @tab gis
8829 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8830 @tab as @tab as @tab ass @tab as
8831 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8832 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8833 @tab ais @tab ais @tab aiss @tab ais
8834 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8835 @tab bes @tab b @tab b @tab b
8836 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8837 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8838 @tab ces @tab ces @tab cess @tab ces
8839 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8840 @tab His @tab bis @tab his @tab hiss @tab his
8848 @node Literature used
8849 @unnumberedsec Literature used
8852 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8853 Cambridge: Belknap Press (Harvard University Press), 1944.
8855 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8858 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8859 Terminologie}. Kassel, 1980.
8861 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8862 Current English}, 3rd ed. London: Oxford University Press, 1974.
8864 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8865 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8867 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8868 Cambridge: Belknap Press (Harvard University Press), 1986.
8870 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.