1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with this commit:
18 @c commit: be4e46f61b1a8dec0922e0fd849c626beb6ab9be
19 @c file: Documentation/user/glossary.texi
21 @macro copyrightDeclare
22 Copyright @copyright{} 1999--2014 by the authors
29 @c TODO: multiple omfcreators?
31 @omfcreator Christian Mondrup, Kurt Kroon
32 @omfdescription Glossary of musical terms with translations
34 @omfcategory Applications|Publishing
39 @lilyTitlePage{Music Glossary}
43 @c @everyheading @| @thispage @|
44 @c @evenheading @thispage @| @|
45 @c @oddheading @| @| @thispage @|
50 @w{@expansion{}@strong{\word\}}@c
54 @expansion{}@ref{\word\, @strong{\word\}}@c
63 * Duration names notes and rests::
65 * Non-Western terms A-Z::
70 * GNU Free Documentation License:: License of this document.
77 @c TOC - tex. Not desired for this manual. -gp
81 @node Musical terms A-Z
82 @chapter Musical terms A-Z
84 Languages in this order.
86 @item UK - British English (where it differs from American English)
115 * ancient minor scale::
120 * ascending interval::
122 * augmented interval::
157 * Common Practice Period::
160 * compound interval::
164 * conjunct movement::
179 * descending interval::
182 * diminished interval::
186 * disjunct movement::
188 * dissonant interval::
192 * dominant ninth chord::
193 * dominant seventh chord::
195 * dot (augmentation dot)::
197 * double appoggiatura::
199 * double dotted note::
202 * double time signature::
209 * ecclesiastical mode::
216 * equal temperament::
237 * functional harmony::
256 * incomplete dominant seventh chord::
259 * inverted interval::
275 * long appoggiatura::
282 * meantone temperament::
289 * mensural notation::
294 * metronomic indication::
307 * multi-measure rest::
337 * polymetric time signature::
343 * Pythagorean comma::
374 * sixty-fourth note::
375 * sixty-fourth rest::
406 * thirty-second note::
407 * thirty-second rest::
414 * transposing instrument::
468 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
469 @notation{a due} indicates that:
473 @item A single part notated on a single staff that normally carries parts
474 for two players (e.g. first and second oboes) is to be played by both
477 @item Or conversely, that two pitches or parts notated on a staff that
478 normally carries a single part (e.g. first violin) are to be played by
479 different players, or groups of players (@q{desks}).
492 F: accelerando, en accélérant,
493 D: accelerando, schneller werden,
497 FI: accelerando, kiihdyttäen.
499 [Italian: @q{speed up, accelerate}]
501 An increase in the tempo, abbreviated @notation{accel.}
517 FI: aksentti, korostus.
519 The stress of one tone over others.
533 @section acciaccatura
535 ES: mordente de una nota,
537 F: acciaccatura, appoggiature brève,
544 A grace note which takes its time from the rest or note preceding the
545 principal note to which it is attached. The acciaccatura is drawn as a
546 small eighth note (quaver) with a line drawn through the flag and stem.
549 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
555 ES: alteración accidental,
556 I: alterazione, accidente,
557 F: altération accidentelle,
558 D: Versetzungszeichen, Akzidenz,
559 NL: toevallig (verplaatsings)teken,
561 S: tillfälligt förtecken,
562 FI: tilapäinen etumerkki.
564 An accidental alters a note by:
568 @item Raising its pitch:
570 @item By two semitones—@notation{double sharp}
571 @item By one semitone—@notation{sharp}
574 @item Lowering its pitch:
576 @item By one semitone—@notation{flat}
577 @item By two semitones—@notation{double flat}
580 @item Or canceling the effects of the key signature or previous accidentals.
583 @lilypond[quote,notime]
587 \set Staff.extraNatural = ##f
588 gisis1 gis g! ges geses
593 \center-column { double sharp }
599 \center-column { double flat }
605 \override SpacingSpanner
606 #'base-shortest-duration = #(ly:make-moment 1/32)
613 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
626 FI: adagio, hitaasti.
628 [Italian: @q{comfortable, easy}]
632 @item Slow tempo, slower -- especially in even meter -- than
633 @notation{andante} and faster than @notation{largo}.
635 @item A movement in slow tempo, especially the second (slow) movement
636 of sonatas, symphonies, etc.
641 @ref{andante}, @ref{largo}, @ref{sonata}.
649 F: al niente, en mourant,
654 FI: häviten olemattomiin.
656 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
657 that the sound should fade away to nothing.
659 @notation{Al niente} is indicated by circling the tip of the hairpin:
661 @lilypond[quote,relative=2]
662 \override Hairpin #'circled-tip = ##t
668 or with the actual phrase @notation{al niente}:
670 @lilypond[quote,relative=2]
672 \override DynamicTextSpanner #'(bound-details right text) =
673 \markup { \italic { al niente } }
679 Since one does not crescendo @emph{to} nothing, it is not correct to use
680 @notation{al niente} with @notation{crescendo}. Instead, one should use
681 @emph{dal niente} (@notation{@b{from} nothing}).
684 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
692 F: alla breve, à la brève,
693 D: Allabreve, alla breve
699 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
701 Also called @notation{in cut time}. The name derives from mensural
702 notation, where the @notation{tactus} (or beat) is counted on the semibreve
703 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
704 next longest note value, which (in modern usage) effectively halves all note
707 In mensural notation, breves and semibreves can have a ternary relationship,
708 in which case @notation{alla breve} means thrice (not twice) as fast. In
709 practice, this complication may not have mattered, since Gaffurius's system
710 of multiplex proportions makes it easy to explicitly state which proportion
714 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
715 @ref{proportion}, @ref{whole note}.
723 F: allegro, gaiement,
724 D: Allegro, Schnell, Fröhlich, Lustig,
728 FI: allegro, nopeasti.
730 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
731 quick tempo, especially the first and last movements of a sonata.
744 NL: verhoging of verlaging,
749 An alteration is the modification, raising or lowering, of a note's
750 pitch. It is established by an accidental.
752 @c TODO: add second meaning from mensural notation
768 FI: altto, matala naisääni.
770 A female voice of low range (@emph{contralto}). Originally the alto was a
771 high male voice (hence the name), which by castration or the use of falsetto
772 reached the height of the natural female voice. This type of voice is also
773 known as countertenor.
782 ES: clave de do en tercera,
783 I: chiave di contralto,
784 F: clef d'ut troisième ligne,
785 D: Altschlüssel, Bratschenschlüssel,
791 C clef setting middle C on the middle line of the staff.
802 F: ambitus, tessiture,
807 FI: ambitus, ääniala, soitinala.
809 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
810 Denotes a range of pitches for a given voice in a part of music. It may
811 also denote the pitch range that a musical instrument is capable of playing.
812 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
830 An anacrusis (also known as pickup or upbeat) is an incomplete measure
831 of music before a section of music. It also refers to the initial
832 note(s) of a melody occurring in that incomplete measure.
834 @lilypond[quote,relative=1]
845 @ref{measure}, @ref{meter}.
848 @node ancient minor scale
849 @section ancient minor scale
851 ES: escala menor natural,
852 I: scala minore naturale,
853 F: forme du mode mineur ancien, troisème mode, mode hellénique,
854 D: reines Moll, natürliches Moll,
855 NL: authentieke mineurtoonladder,
858 FI: luonnollinen molliasteikko.
860 Also called @q{natural minor scale}.
862 @lilypond[quote,notime,relative=2]
868 @ref{diatonic scale}.
883 [Italian: present participle of @emph{andare}, @q{to walk}]
885 Walking tempo/character.
892 @section appoggiatura
896 F: appoggiature, (port de voix),
897 D: Vorschlag, Vorhalt
898 NL: (korte) voorslag,
901 FI: appoggiatura, etuhele.
903 Ornamental note, usually a second, that is melodically connected with
904 the main note following it. In music before the 19th century
905 appoggiature were usually performed on the beat, after that mostly
906 before the beat. While the short appoggiatura is performed as a short
907 note regardless of the duration of the main note the duration of the
908 long appoggiatura is proportional to that of the main note.
910 @lilypond[quote,relative=2]
913 <d a fis>4_"notation" r
920 \set Score.measurePosition = #ZERO-MOMENT
921 <d, a fis>4_"performance" r
927 An appoggiatura may have more notes preceding the main note.
929 @lilypond[quote,relative=2]
932 \grace bes16 as8-"notation" as16 bes as8 g |
933 \grace { as16[( bes] } <c as>4)
934 \grace { as16[( bes] } <c as>4) \bar "||"
936 \grace bes16 as8-"performance" as16 bes as8 g |
940 as32 bes c8. as32 bes c8.
944 as16 ~ as8. as16 ~ as8.
959 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
961 DK: arpeggio, akkordbrydning,
963 FI: arpeggio, murtosointu.
965 [Italian: @q{harp-like, played like a harp}]
967 @lilypond[quote,line-width=13\cm]
969 \context Staff = "SA" {
973 r8 g16 c e g, c e r8 g,16 c e g, c e
974 r8 a,16 d f a, d f r8 a,16 d f a, d f
978 \context Staff = "SB" {
984 r16 e8. ( e4) r16 e8. ( e4)
985 r16 d8. ( d4) r16 d8. ( d4)
1003 @section articulation
1012 FI: artikulaatio, ilmaisu.
1014 Articulation refers to notation which indicates how a note or notes
1015 should be played. Slurs, accents, staccato, and legato are all
1016 examples of articulation.
1019 No cross-references.
1022 @node ascending interval
1023 @section ascending interval
1025 ES: intervalo ascendente,
1026 I: intervallo ascendente,
1027 F: intervalle ascendant,
1028 D: steigendes Intervall,
1029 NL: stijgend interval,
1030 DK: stigende interval,
1031 S: stigande intervall,
1032 FI: nouseva intervalli.
1034 A distance between a starting lower note and a higher ending note.
1037 No cross-references.
1041 @section augmentation
1050 FI: aika-arvojen pidentäminen.
1052 @c TODO: add definition.
1054 This is a placeholder for augmentation (wrt mensural notation).
1057 @ref{diminution}, @ref{mensural notation}.
1060 @node augmented interval
1061 @section augmented interval
1063 ES: intervalo aumentado,
1064 I: intervallo aumentato,
1065 F: intervalle augmenté,
1066 D: übermäßiges Intervall,
1067 NL: overmatig interval,
1068 DK: forstørret interval,
1069 S: överstigande intervall,
1070 FI: ylinouseva intervalli.
1081 F: manuscrit, autographe
1082 D: Autograph, Handschrift,
1084 DK: håndskrift, autograf,
1086 FI: käsinkirjoitettu nuotti.
1090 @item A manuscript written in the composer's own hand.
1092 @item Music prepared for photoreproduction by freehand drawing, with
1093 the aid of a straightedge ruler and T-square only, which attempts to
1094 emulate engraving. This required more skill than did engraving.
1099 No cross-references.
1117 @ref{H}, @ref{Pitch names}
1137 ES: barra, línea divisoria,
1138 I: stanghetta, barra (di divisione),
1139 F: barre (de mesure),
1146 A vertical line through the staff (or through multiple staves) that
1147 separates measures. Used very infrequently during the Renaissance (mostly
1148 in secular music, or in sacred music to indicate congruences between parts
1149 in otherwise-unmetered music).
1165 FI: baritoni, keskikorkuinen miesääni.
1167 The male voice intermediate in pitch between the bass and the tenor.
1169 @c F: clef de troisième ligne dropped
1172 @ref{bass}, @ref{tenor}.
1176 @section baritone clef
1178 ES: clave de fa en tercera,
1179 I: chiave di baritono,
1180 F: clef d'ut cinquième ligne, clef de fa troisième,
1181 D: Baritonschlüssel,
1187 C or F clef setting middle C on the upper staff line.
1190 @ref{C clef}, @ref{F clef}.
1203 FI: basso, matala miesääni.
1207 @item The lowest male voice.
1209 @item Sometimes, especially in jazz music, used as an abbreviation for
1221 ES: clave de fa en cuarta,
1223 F: clef de fa quatrième ligne,
1230 A clef setting with middle C on the first top ledger line.
1239 ES: barra (de corcheas),
1241 F: ligature, barre (de croches),
1248 Line connecting a series of notes (shorter than a quarter note). The
1249 number of beams determines the note value of the connected notes.
1251 @lilypond[quote,notime,relative=2,line-width=13\cm]
1252 g8-"1/8"[ g g g] s16
1253 g16-"1/16"[ g g g] s
1254 g32-"1/32"[ s g s g s g] s16
1255 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1259 @ref{feathered beam}.
1265 ES: tiempo, parte (de compás)
1268 D: Takt, Taktschlag, Zeit (im Takt),
1274 Note value used for counting, most often half-, fourth-, and eighth notes.
1275 The base counting value and the number of them in each measure is indicated
1276 at the start of the music by the @notation{time signature}.
1278 @lilypond[quote,relative=2]
1281 g4 c b a | g1 \bar "||"
1283 g8 d' c | b c a | g4. \bar "||"
1287 @ref{time signature}.
1291 @section beat repeat
1294 @ref{percent repeat}.
1307 ES: llave, corchete,
1310 D: Klammer, Akkolade,
1311 NL: accolade, teksthaak,
1314 FI: yhdistävä sulkumerkki.
1316 Symbol at the start of a system connecting staves.
1318 Curly braces are used for connecting piano staves, and sometimes for connecting
1319 the staves of like instruments in an orchestral score when written on different
1320 staves (e.g. first and second flutes):
1324 \context Staff = "SA" {
1330 \context Staff = "SB" {
1340 Angular brackets for connecting parts in an orchestral or choral score:
1344 \context Staff = "SA" {
1350 \context Staff = "SB" {
1361 No cross-references.
1368 I: parentesi quadra,
1386 NL: koper (blazers),
1389 S: brassinstrument, mässingsinstrument,
1392 A family of blown musical instruments made of brass, all using a cup
1393 formed mouth piece. The brass instruments commonly used in a symphony
1394 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1395 sousaphones and contrabass bugles are common.
1398 No cross-references.
1402 @section breath mark
1407 D: Atemzeichen, Trennungszeichen,
1408 NL: repercussieteken,
1409 DK: vejrtrækningstegn,
1413 Indication of where to breathe in vocal and wind instrument parts.
1423 @item US: breve, double-whole note
1424 @item ES: cuadrada, breve
1431 @item FI: brevis, kaksoiskokonuotti
1434 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1436 Mainly used in music from before 1650. In mensural notation, it was a note
1437 of fairly short duration—hence the name, which is Latin for @q{short} or
1438 @q{of short duration}.
1440 @lilypond[quote,notime,relative=2]
1445 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1478 Clef symbol indicating the position of the middle C. Used on all note
1481 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1483 \override Staff.Clef #'full-size-change = ##t
1485 \clef mezzosoprano c1
1491 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1492 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1497 No cross-references.
1510 FI: kadenssi, lopuke.
1513 @ref{harmonic cadence}, @ref{functional harmony}.
1526 FI: kadenssi, lopuke.
1528 An extended, improvisatory style section inserted near the end of
1529 movement. The purpose of a cadenza is to give singers or players a
1530 chance to exhibit their technical skill and -- not last -- their
1531 ability to improvise. Since the middle of the 19th century, however,
1532 most cadenzas have been written down by the composer.
1535 No cross-references.
1550 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1552 The break between two musical phrases, sometimes (but not always) marked by a
1553 rest or a breath mark.
1569 FI: kaanon, tarkka jäljittely.
1585 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1586 viritysjärjestelmässä.
1588 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1589 an octave (1/100 of an equally tempered semitone).
1592 @ref{equal temperament}, @ref{semitone}.
1614 Two or more tones sounding simultaneously. In traditional European music
1615 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1616 (major + minor third) as well as @emph{minor} (minor + major third) chords
1617 may be extended with more thirds. Four-tone @emph{seventh chords} and
1618 five-tone @emph{ninth} major chords are most often used as dominants
1619 (functional harmony). Chords having no third above the lower notes to
1620 define their mood are a special case called @q{open chords}. The lack of
1621 the middle third means their quality is ambivalent -- neither major nor
1624 @lilypond[quote,notime]
1628 \set Staff.extraNatural = ##f
1649 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1653 @node chromatic scale
1654 @section chromatic scale
1656 ES: escala cromática,
1658 F: gamme chromatique,
1659 D: chro@-ma@-ti@-sche Tonleiter,
1660 NL: chromatische toonladder,
1661 DK: kromatisk skala,
1663 FI: kromaattinen asteikko.
1665 A scale consisting of all 12 semitones.
1667 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1668 c1 cis d dis e f fis g gis a ais b c
1676 @section chromaticism
1687 Using tones extraneous to a diatonic scale (minor, major).
1690 @ref{diatonic scale}.
1694 @section church mode
1696 ES: modo eclesiástico,
1697 I: modo ecclesiastico,
1698 F: mode ecclésiastique, mode d'église,
1703 FI: moodi, kirkkosävellaji.
1706 @ref{diatonic scale}.
1715 D: Schlüssel, Notenschlüssel,
1719 FI: avain, nuottiavain.
1721 The clef indicates which lines of the staff correspond to which
1722 pitches. The three clef symbols in common use are:
1727 \line { The Treble or G clef: }
1729 \line { The Bass or F clef: }
1731 \line { The Alto or C clef: }
1735 \musicglyph #"clefs.G"
1737 \musicglyph #"clefs.F"
1739 \musicglyph #"clefs.C"
1744 Imagine a large staff of 11 lines centered on middle C, sometimes
1745 called a @q{grand staff}, with the bottom line representing low G and
1746 the top line high F:
1751 %-- Note names above treble staff --%
1753 \set printOctaveNames = ##t
1755 \once \override NoteName #'color = #red
1759 %-- Treble Staff --%
1761 \override Staff.Clef #'stencil = ##f
1767 %-- Alto Staff reduced to a single line on middle C --%
1769 \override Staff.StaffSymbol #'line-count = #1
1770 \override Staff.StaffSymbol #'color = #red
1771 \override Staff.Clef #'stencil = ##f
1774 \override NoteHead #'color = #red
1780 \override Staff.Clef #'stencil = ##f
1789 \override SpacingSpanner
1790 #'base-shortest-duration = #(ly:make-moment 1/1)
1791 \override NonMusicalPaperColumn
1792 #'line-break-system-details = #'((alignment-distances . (3 3)))
1793 \override BarLine #'stencil = ##f
1797 \remove "Time_signature_engraver"
1803 Staves of five lines are usually used, and the clef superimposed on them
1804 indicates which five lines have been selected from this @notation{grand
1805 staff}. For example, the treble or G clef indicates that the top five lines
1811 %-- Note names above treble staff --%
1813 \set printOctaveNames = ##t
1815 \once \override NoteName #'color = #red
1820 %-- Treble Staff --%
1822 \once \override Staff.Clef #'stencil = ##f
1825 \override Staff.Clef #'full-size-change = ##t
1826 \set Staff.forceClef = ##t
1830 %-- Alto Staff reduced to a single line on middle C --%
1832 \override Staff.StaffSymbol #'line-count = #1
1833 \override Staff.StaffSymbol #'color = #red
1834 \override Staff.Clef #'stencil = ##f
1837 \override NoteHead #'color = #red
1842 \override Staff.Clef #'stencil = ##f
1850 \override SpacingSpanner
1851 #'base-shortest-duration = #(ly:make-moment 2/1)
1852 \override NonMusicalPaperColumn
1853 #'line-break-system-details = #'((alignment-distances . (3 3)))
1854 \override BarLine #'stencil = ##f
1858 \remove "Time_signature_engraver"
1864 The @q{curl} of the G clef is centered on the line that represents the
1867 In the same way, the bass or F clef indicates that the bottom five lines
1868 have been selected from the @notation{grand staff}, and the alto or C clef
1869 indicates the middle five lines have been selected. This relationship is
1870 shown below, where the notes show an arpeggio on a C major chord.
1875 %-- Treble Staff --%
1883 \override Staff.StaffSymbol #'line-count = #1
1884 \once \override Staff.Clef #'stencil = ##f
1889 \revert Staff.StaffSymbol #'stencil
1890 \override Staff.StaffSymbol #'color = #red
1893 \stopStaff \startStaff
1894 \revert Staff.StaffSymbol #'line-count
1895 \revert Staff.StaffSymbol #'color
1896 \stopStaff \startStaff
1897 \override Staff.Clef #'full-size-change = ##t
1898 \set Staff.forceClef = ##t
1913 \override SpacingSpanner #'base-shortest-duration =
1914 #(ly:make-moment 2/1)
1915 \override NonMusicalPaperColumn
1916 #'line-break-system-details = #'((alignment-distances . (3 3)))
1917 \override BarLine #'stencil = ##f
1921 \remove "Time_signature_engraver"
1928 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1941 FI: klusteri, cluster.
1943 A @emph{cluster} is a range of simultaneously sounding pitches that
1944 may change over time. The set of available pitches to apply usually
1945 depends on the acoustic source. Thus, in piano music, a cluster
1946 typically consists of a continuous range of the semitones as provided
1947 by the piano's fixed set of a chromatic scale. In choral music, each
1948 singer of the choir typically may sing an arbitrary pitch within the
1949 cluster's range that is not bound to any diatonic, chromatic or other
1950 scale. In electronic music, a cluster (theoretically) may even cover
1951 a continuous range of pitches, thus resulting in colored noise, such
1954 Clusters can be denoted in the context of ordinary staff notation by
1955 engraving simple geometrical shapes that replace ordinary notation of
1956 notes. Ordinary notes as musical events specify starting time and
1957 duration of pitches; however, the duration of a note is expressed by
1958 the shape of the note head rather than by the horizontal graphical
1959 extent of the note symbol. In contrast, the shape of a cluster
1960 geometrically describes the development of a range of pitches
1961 (vertical extent) over time (horizontal extent). Still, the
1962 geometrical shape of a cluster covers the area in which any single
1963 pitch contained in the cluster would be notated as an ordinary note.
1965 @lilypond[quote,relative=2]
1966 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1970 No cross-references.
1983 FI: komma, korvinkuultava ero äänenkorkeudessa.
1985 Difference in pitch between a note derived from pure tuning and the
1986 same note derived from some other tuning method.
1989 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1994 @section common meter
1996 Another name for @ref{common time}.
1999 @ref{common time}, @ref{meter}.
2002 @node Common Practice Period
2003 @section Common Practice Period
2006 I: Periodo di pratica comune,
2015 This is a stub for Common Practice Period (CPP).
2018 @ruser{Note names in other languages}.
2022 @section common time
2033 4/4 time. The symbol, which resembles a capital letter C, comes from
2037 @ref{mensural notation}, @ref{meter}.
2043 ES: intervalo invertido,
2045 F: intervalle complémentaire,
2046 D: Komplementärintervall,
2047 NL: complementair interval,
2048 DK: komplementærinterval,
2049 S: komplementärintervall (?),
2050 FI: täydentävä intervalli.
2053 @ref{inverted interval}.
2056 @node compound interval
2057 @section compound interval
2059 ES: intervalo compuesto,
2060 I: intervallo composto,
2061 F: intervalle composé,
2062 D: weites Intervall,
2063 NL: samengesteld interval,
2064 DK: sammensat interval,
2065 S: sammansatt intervall,
2066 FI: oktaavia laajempi intervalli.
2068 Intervals larger than an octave.
2074 @node compound meter
2075 @section compound meter
2077 ES: compás compuesto, compás de subdivisión ternaria,
2084 FI: kolmijakoinen tahtilaji.
2086 A meter that includes a triplet subdivision within the beat, such as
2090 @ref{meter}, @ref{simple meter}.
2094 @section compound time
2096 ES: compás compuesto, compás de amalgama (def. 2),
2099 D: zusammengesetzte Taktart,
2103 FI: yhdistetty tahtilajiosoitus.
2108 A meter that includes a triplet subdivision within the beat: see
2109 @ref{compound meter}.
2112 A time signature that additively combines two or more unequal meters,
2113 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2118 @lilypond[quote,verbatim]
2121 \compoundMeter #'((3 8) (2 8) (3 8))
2129 @ref{compound meter},
2131 @ref{polymetric time signature}.
2135 @section concert pitch
2137 ES: en Do, tono de concierto,
2138 I: intonazione reale,
2139 F: tonalité de concert, en ut,
2144 FI: konserttikorkeus.
2146 The pitch at which the piano and other nontransposing instruments play: such
2147 instruments are said to be @q{in C}. The following list includes some (but not
2148 all) instruments that play in concert pitch:
2150 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2152 @multitable {bassoon} {violoncello}
2153 @headitem Woodwinds @tab Strings
2172 @ignore This needs to be reworked.
2173 The trombones are a special case: although they are said to be @q{in F} (alto or
2174 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2175 their parts' transposition. (In fact, the trombones' parts are written at
2176 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2177 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2181 Instruments that play @q{in C} but in a different octave than what is written
2182 are, technically speaking, @emph{transposing instruments}:
2186 @item piccolo (plays an octave higher than written)
2187 @item celesta (plays an octave higher than written)
2188 @item classical guitar (plays an octave lower than written)
2189 @item double bass (plays an octave lower than written)
2194 @ref{transposing instrument}.
2197 @node conjunct movement
2198 @section conjunct movement
2200 ES: movimiento conjunto,
2202 F: mouvement conjoint,
2203 D: schritt@-weise, stufenweise Bewegung,
2204 NL: stapsgewijze, trapsgewijze beweging,
2205 DK: trinvis bevægelse,
2207 FI: asteittainen liike.
2209 Progressing melodically by intervals of a second, as contrasted with
2210 @emph{disjunct movement}.
2212 @lilypond[quote,relative=2,line-width=13.0\cm]
2215 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2219 @ref{disjunct movement}.
2232 FI: konsonanssi, sopusointi.
2255 @section copying music
2257 A music copyist did fast freehand scores and parts on preprinted staff
2258 lines for performance. Some of their conventions (e.g., the placement
2259 of note heads on stems) varied slightly from those of engravers. Some
2260 of their working methods were superior and could well be adopted by
2263 @c Copying music required more skill than engraving. Flagged for NPOV
2266 No cross-references.
2270 @section counterpoint
2279 FI: kontrapunkti, ääni ääntä vastaan.
2281 From Latin @emph{punctus contra punctum}, note against note. The
2282 combination into a single musical fabric of lines or parts which have
2283 distinct melodic significance. A frequently used polyphonic technique
2284 is imitation, in its strictest form found in the canon needing only
2285 one part to be written down while the other parts are performed with a
2286 given displacement. Imitation is also the contrapuntal technique
2287 used in the @emph{fugue} which, since the music of the baroque era,
2288 has been one of the most popular polyphonic composition methods.
2290 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2292 \context Staff = SA \relative c' {
2296 << \context Voice = rha {
2298 r1 | r2 r8 g'8 bes d, |
2299 cis4 d r8 e!16 f g8 f16 e |
2300 f8 g16 a bes8 a16 g a8
2302 \context Voice = rhb {
2308 \context Staff = SB \relative c' {
2311 << \context Voice = lha {
2313 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2314 r8 a16 g f8 g16 a bes8 g e! cis' |
2317 \context Voice = lhb {
2326 No cross-references.
2330 @section countertenor
2335 D: Countertenor, Kontratenor,
2338 S: kontratenor, counter tenor,
2351 D: Crescendo, lauter werden,
2355 FI: cresendo, voimistuen.
2357 Increasing volume. Indicated by a rightwards opening horizontal wedge
2358 (hairpin) or the abbreviation @notation{cresc.}
2360 @lilypond[quote,relative=2]
2363 g4\< a b c | d1\! \bar "|."
2367 @ref{decrescendo}, @ref{hairpin}.
2375 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2382 Notes belonging to one part printed in another to hint when to start
2383 playing. Usually printed in a smaller type.
2386 Compare: @ref{ossia}.
2395 D: Notenzeiger, Custos,
2401 A custos (plural: custodes) is a staff symbol that appears at the end of a
2402 staff line with monophonic musical contents (i.e., with a single voice). It
2403 anticipates the pitch of the first note of the following line and thus helps
2404 the player or singer to manage line breaks during performance, which
2405 enhances the readability of a score.
2407 Custodes were frequently used in music notation until the 16th century.
2408 There were different appearances for different notation styles. Nowadays,
2409 they have survived only in special forms of musical notation such as the
2410 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2412 @lilypond[quote,ragged-right]
2415 \override Staff.Custos #'neutral-direction = #DOWN
2416 \override Staff.Custos #'style = #'hufnagel
2423 \consists "Custos_engraver"
2430 No cross-references.
2463 F: da capo, depuis le commencement,
2464 D: da capo, von Anfang,
2468 FI: da capo, alusta.
2470 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2471 the beginning to the end or to a certain place marked @emph{fine}.
2474 No cross-references.
2480 ES: dal niente, de la nada,
2483 D: aus dem Nichts, dal niente,
2487 FI: tyhjästä ilmaantuen.
2489 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2490 that the sound should gradually increase from nothing.
2501 F: dal segno, depuis le signe,
2502 D: dal segno, ab dem Zeichen,
2506 FI: dal segno, lähtien merkistä.
2508 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2509 another place frequently near the beginning marked by a sign
2512 @lilypond[quote,relative=2]
2520 \musicglyph #"scripts.segno"
2526 No cross-references.
2530 @section decrescendo
2534 D: Decrescendo, leiser werden,
2538 FI: decresendo, hiljentyen.
2540 Decreasing tone volume. Indicated by a leftwards opening horizontal
2541 wedge (hairpin) or the abbreviation @notation{decresc.}
2543 @lilypond[quote,relative=2]
2546 d4\> c b a | g1 \! \bar "|."
2550 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2553 @node descending interval
2554 @section descending interval
2556 ES: intervalo descendente,
2557 I: intervallo discendente,
2558 F: intervalle descendant,
2559 D: fallendes Intervall, absteigendes Intervall,
2560 NL: dalend interval,
2561 DK: faldende interval,
2562 S: fallande intervall,
2563 FI: laskeva intervalli.
2565 A distance between a starting higher note and a lower ending note.
2568 No cross-references.
2571 @node diatonic scale
2572 @section diatonic scale
2574 ES: escala diatónica,
2576 F: gamme diatonique,
2577 D: diatonische Tonleiter,
2578 NL: diatonische toonladder,
2579 DK: diatonisk skala,
2581 FI: diatoninen asteikko.
2583 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2584 played on the white keys of a piano keyboard are diatonic. These scales
2585 are sometimes called, somewhat inaccurately, @q{church modes}).
2587 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2588 but also to some extent in newer jazz music.
2590 @lilypond[quote,notime,relative=1]
2594 e^"~~ S" f g a b^"~~ S" c
2602 @lilypond[quote,notime,relative=1]
2606 e^"~~ S" f g a b^"~~ S" c d
2614 @lilypond[quote,notime,relative=1]
2617 e1^"~~ S" f g a b^"~~ S" c d e
2625 @lilypond[quote,notime,relative=1]
2629 b^"~~ S" c d e^"~~ S" f
2637 @lilypond[quote,notime,relative=2]
2641 b^"~~ S" c d e^"~~ S" f g
2649 @lilypond[quote,notime,relative=2]
2653 b^"~~ S" c d e^"~~ S" f g a
2661 @lilypond[quote,notime,relative=2]
2664 b1^"~~ S" c d e^"~~ S" f g a b
2672 From the beginning of the 17th century the scales used in European
2673 compositional music are primarily the major and the minor scales. In
2674 the harmonic minor scale type an augmented second (A) occurs between
2675 the 6th and 7th tone.
2677 @lilypond[quote,notime,relative=1]
2681 e^"~~ S" f g a b^"~~ S" c
2689 @lilypond[quote,notime,relative=2]
2693 b^"~~ S" c d e^"~~ S" f g a
2696 "Ancient (or Natural) minor"
2701 @lilypond[quote,notime,relative=2]
2705 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2713 @lilypond[quote,notime,relative=2]
2717 b^"~~ S" c d e fis gis^"~~ S" a
2720 "Melodic minor ascending"
2725 @lilypond[quote,notime,relative=3]
2729 g! f!^"~~ S" e d c^"~~ S" b a
2732 "Melodic minor descending"
2738 @ref{semitone}, @ref{whole tone}.
2742 @section didymic comma
2745 @ref{syntonic comma}.
2748 @node diminished interval
2749 @section diminished interval
2751 ES: intervalo disminuido,
2752 I: intervallo diminuito,
2753 F: intervalle diminué,
2754 D: vermindertes Intervall,
2755 NL: verminderd interval,
2756 DK: formindsket interval,
2757 S: förminskat intervall,
2758 FI: vähennetty intervalli.
2769 F: diminuendo, en diminuant,
2774 FI: diminuendo, hiljentyen.
2776 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2792 FI: aika-arvojen tihennys.
2794 This is a stub for diminution (@emph{wrt} mensural notation).
2797 @ref{augmentation}, @ref{mensural notation}.
2816 @node disjunct movement
2817 @section disjunct movement
2819 ES: movimiento disjunto,
2821 F: mouvement disjoint,
2822 D: sprunghafte Bewegung,
2823 NL: sprongsgewijze beweging,
2824 DK: springende bevægelse,
2825 S: hoppande rörelse,
2826 FI: melodian hyppivä liike.
2828 Progressing melodically by intervals larger than a major second, as contrasted
2829 with conjunct movement.
2831 @lilypond[quote,relative=1]
2835 a4. gis8 b a e cis |
2841 @ref{conjunct movement}.
2847 Another name for @ref{dissonant interval}.
2850 @ref{dissonant interval}, @ref{harmony}.
2853 @node dissonant interval
2854 @section dissonant interval
2856 ES: intervalo disonante, disonancia,
2857 I: intervallo dissonante, dissonanza,
2858 F: intervalle dissonant, dissonance,
2860 NL: dissonant interval, dissonant,
2861 DK: dissonerende interval, dissonans,
2863 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2881 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2882 vertical stroke through part or all of the staff that serves to
2883 structure a chant into phrases and sections. There are four types:
2887 @item @emph{divisio minima}, a short pause
2889 @item @emph{divisio maior}, a medium pause
2891 @item @emph{divisio maxima}, a long pause
2893 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2894 section in a long antiphonal or responsorial chant.
2898 TODO: musical example here?
2901 No cross-references.
2907 ES: elevación [de tono],
2908 I: portamento indeterminato verso l'alto/l'acuto,
2910 D: Glissando zu unbestimmter Tonhöhe,
2916 Indicator for an indeterminately rising pitch bend. Compare with
2917 @emph{glissando}, which has determinate starting and ending pitches.
2920 @ref{fall}, @ref{glissando}.
2933 FI: dominantti, huippusointu.
2935 The fifth @emph{scale degree} in @emph{functional harmony}.
2938 @ref{functional harmony}, @ref{scale degree}.
2941 @node dominant ninth chord
2942 @section dominant ninth chord
2944 ES: acorde de novena de dominante,
2945 I: accordo di nona di dominante,
2946 F: accord de neuvième de dominante,
2947 D: Domi@-nant@-nonen@-akkord,
2948 NL: dominant noon akkoord,
2949 DK: dominantnoneakkord,
2950 S: dominantnonackord,
2951 FI: dominanttinoonisointu.
2954 @ref{chord}, @ref{functional harmony}.
2957 @node dominant seventh chord
2958 @section dominant seventh chord
2960 ES: acorde de séptima de dominante,
2961 I: accordo di settima di dominante,
2962 F: accord de septième de dominante,
2963 D: Dominantseptakkord,
2964 NL: dominant septiem akkoord,
2965 DK: dominantseptimakkord,
2966 S: dominantseptimackord,
2967 FI: dominanttiseptimisointu.
2970 @ref{chord}, @ref{functional harmony}.
2974 @section dorian mode
2979 D: dorisch, dorischer Kirchenton,
2980 NL: dorische toonladder,
2986 @ref{diatonic scale}.
2989 @node dot (augmentation dot)
2990 @section dot (augmentation dot)
2993 I: punto (di valore),
2995 D: Punkt (Verlängerungspunkt),
3002 @ref{dotted note}, @ref{note value}.
3006 @section dotted note
3008 ES: nota con puntillo,
3012 NL: gepuncteerde noot,
3015 FI: pisteellinen nuotti.
3021 @node double appoggiatura
3022 @section double appoggiatura
3024 ES: apoyatura doble,
3025 I: appoggiatura doppia,
3026 F: appoggiature double,
3027 D: doppelter Vorschlag,
3028 NL: dubbele voorslag,
3029 DK: dobbelt forslag,
3031 FI: kaksoisappogiatura, kaksoisetuhele.
3037 @node double bar line
3038 @section double bar line
3044 NL: dubbele maatstreep,
3047 FI: kaksoistahtiviiva.
3049 Indicates the end of a section within a movement.
3052 No cross-references.
3055 @node double dotted note
3056 @section double dotted note
3058 ES: nota con doble puntillo,
3059 I: nota doppiamente puntata,
3060 F: note doublement pointée,
3061 D: doppelt punktierte Note,
3062 NL: dubbelgepuncteerde noot,
3063 DK: dob@-belt@-punk@-te@-ret node,
3064 S: dub@-bel@-punk@-te@-rad not,
3065 FI: kaksoispisteellinen nuotti.
3072 @section double flat
3081 FI: kaksoisalennusmerkki.
3088 @section double sharp
3090 ES: doble sostenido,
3095 DK: dob@-belt@-kryds,
3097 FI: kaksoisylennysmerkki.
3103 @node double time signature
3104 @section double time signature
3106 ES: compás polimétrico,
3107 I: indicazione di tempo doppia/polimetrica,
3109 D: zusammengesetzte Taktart,
3113 FI: kaksois-aika-arvomerkintä.
3116 @ref{polymetric time signature}.
3120 @section double trill
3126 NL: dubbele triller,
3131 A simultaneous trill on two notes, usually in the distance of a third.
3134 No cross-references.
3138 @section duple meter
3142 F: métrique binaire,
3143 D: in zwei, grader Takt,
3144 NL: tweedelige maatsoort,
3179 FI: kesto, aika-arvo.
3188 ES: dinámica, matices,
3191 D: Dynamik, Lautstärke,
3195 FI: äänen voimakkuusvaihtelu, dynamiikka.
3197 The aspect of music relating to degrees of loudness, or changes from
3198 one degree to another. The terms, abbreviations, and symbols used to
3199 indicate this information are called dynamic marks.
3202 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3224 @node ecclesiastical mode
3225 @section ecclesiastical mode
3228 @ref{church mode}, @ref{diatonic scale}.
3232 @section eighth note
3239 @item D: Achtel, Achtelnote
3240 @item NL: achtste noot
3241 @item DK: ottendedelsnode
3242 @item S: åttondelsnot
3243 @item FI: kahdeksasosanuotti
3251 @section eighth rest
3254 @item UK: quaver rest
3255 @item ES: silencio de corchea
3256 @item I: pausa di croma
3257 @item F: demi-soupir
3258 @item D: Achtelpause
3259 @item NL: achtste rust
3260 @item DK: ottendedelspause
3261 @item S: åttonddelspaus
3262 @item FI: kahdeksasosatauko
3272 @c TODO: add languages
3281 FI: tavujen yhdistäminen yhteen ääneen.
3283 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3284 @emph{συναλοιφην} @q{to smear together}].
3286 The singing of several syllables on a single note. Elision may be indicated
3287 by a lyric tie, which looks like (and serves the same function) as a musical
3295 @section embellishment
3307 D: Notenstich, Notendruck
3313 Engraving means incising or etching a metal plate for printing.
3314 Photoengraving means drawing music with ink in a manner similar to
3315 drafting or engineering drawing, using similar tools.
3317 The traditional process of music printing is done through cutting in a
3318 plate of metal. Now also the term for the art of music typesetting.
3321 No cross-references.
3336 Two notes, intervals, or scales are enharmonic if they have different
3337 names but equal pitch.
3339 @lilypond[quote,notime,line-width=13.0\cm]
3343 gis1 as <des g,!> <cis g!>
3347 "g sharp " "a flat " "dim fifth " "augm fourth"
3353 No cross-references.
3356 @node equal temperament
3357 @section equal temperament
3359 ES: temperamento igual,
3360 I: temperamento equabile,
3361 F: tempérament égal,
3362 D: gleichschwebende Stimmung,
3363 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3364 DK: ligesvævende temperatur,
3365 S: liksvävande temperatur,
3368 A tuning system that divides the octave into 12 equal semitones (each of
3369 which is precisely equal to 100 cents).
3372 @ref{cent}, @ref{semitone}, @ref{temperament}.
3375 @node expression mark
3376 @section expression mark
3379 I: segno d'espressione,
3380 F: signe d'expression, indication de nuance,
3382 NL: voordrachtsteken,
3383 DK: foredragsbetegnelse,
3384 S: föredragsbeteckning,
3385 FI: nyanssiosoitus, esitysmerkki.
3387 Performance indications concerning:
3391 @item volume, dynamics (for example, @notation{forte},
3392 @notation{crescendo}),
3394 @item tempo (for example, @notation{andante}, @notation{allegro}).
3399 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3403 @section extender line
3405 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3406 I: linea di estensione,
3407 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3414 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3415 extends text (without indicating the musical @emph{function} of that text).
3417 Used in many contexts, for example:
3421 @item In vocal music to indicate the syllable for a melisma. Called
3422 @q{extension} in the
3423 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3427 In figured bass to indicate that:
3431 @item The extended note should be held through a change in harmony, when applied
3432 to one figure --OR--
3433 @item The chord thus represented should be held above a moving bass line, when
3434 applied to more than one figure.
3435 @item These uses were not completely standardized, and some composers used a
3436 single extender line to indicate the latter case.
3441 In string music to indicate that all notes in the passage thus indicated should
3442 be played on the same string. On the violin, for example, a series of notes to
3443 be played on the G string would be indicated @notation{sul G}, another series to be
3444 played on the D string would be indicated @notation{sul D}, and so on.
3447 With an octave mark to indicate that a passage is to be played higher or lower
3448 by the given number of octaves.
3453 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3454 @ref{octave marking}.
3487 The position between the dots of the key symbol is the line of the F
3488 below central@w{ }C. Used on the third, fourth and fifth note line.
3489 A digit@w{ }8 above the clef symbol indicates that the notes must be
3490 played an octave higher (for example, bass recorder) while 8@w{ }below
3491 the clef symbol indicates playing an octave lower (for example, on the
3494 @lilypond[quote,notime,line-width=13.0\cm]
3497 \override Staff.Clef #'full-size-change = ##t
3520 @ref{baritone clef}, @ref{strings}.
3526 ES: caída [de tono],
3527 I: portamento indeterminato verso il basso/il grave,
3529 D: Glissando zu unbestimmter Tonhöhe nach unten,
3535 Indicator for an indeterminately falling pitch bend. Compare with
3536 @emph{glissando}, which has determinate starting and ending pitches.
3539 @ref{doit}, @ref{glissando}.
3542 @node feathered beam
3543 @section feathered beam
3545 ES: barra progresiva,
3546 I: travatura convergente/divergente,
3547 F: ligature en soufflet, lien de croches en soufflet,
3548 D: gespreizter Balken,
3554 A type of beam used to indicate that a small group of notes should be
3555 played at an increasing or decreasing tempo -- depending on the
3556 direction of @q{feathering} -- but without changing the overall tempo
3560 Internals Reference: @ruser{Manual beams}
3566 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3570 F: point d'orgue, point d'arrêt,
3575 FI: fermaatti, pidäke.
3577 Prolonged note or rest of indefinite duration.
3579 @lilypond[quote,relative=2]
3586 No cross-references.
3606 @section figured bass
3609 I: basso continuo, basso numerato,
3610 F: basse chiffrée, basse continue,
3611 D: Generalbass, bezifferter Bass,
3612 NL: basso continuo, becijferde bas
3615 FI: kenraalibasso, numeroitu basso.
3617 Also called @q{thorough bass}.
3619 A method of indicating an accompaniment part by the bass notes only,
3620 together with figures designating the chief intervals and chords to be
3621 played above the bass notes.
3623 @lilypond[quote,line-width=13.0\cm]
3625 \new Staff = "rh" \with {
3632 \context Voice = "rha" {
3637 \context Voice = "rhb" {
3639 <bes g>8 as <as f> g <g es> f <d f> es
3644 \new Staff = "lh" \relative c' {
3647 es8 c d bes c as bes16 as g f
3651 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3657 @ref{chord}, @ref{interval}.
3672 Figures to the side or above the note that methodically indicate which
3673 fingers to use while playing a passage.
3676 No cross-references.
3683 I: coda (uncinata), bandiera,
3691 Ornament at the end of the stem of a note used for notes with values less
3692 than a quarter note. The number of flags determines the note value.
3694 @lilypond[quote,notime,relative=2]
3717 An articulation for string players that means the note or passage is to
3718 be played in harmonics.
3724 @item A duct flute similar to the recorder.
3726 @item An organ stop of flute scale at 1' or 2' pitch.
3731 @ref{articulation}, @ref{harmonics}.
3767 FI: forte, voimakkaasti.
3771 Abbreviated @notation{@b{f}}. Variants include:
3774 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3775 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3779 No cross-references.
3798 @node Frenched score
3799 @section Frenched score
3801 ES: partitura a la francesa,
3802 I: partitura senza i righi vuoti,
3804 D: Orchesterpartitur ohne leere Systeme,
3808 FI: partituuri ilman tyhjiä nuottiviivastoja.
3810 A @q{condensed} score, produced by omitting staves for instruments that are not
3811 playing at the moment, and by moving up additional systems from following pages
3812 to take up the space thus liberated, which reduces the total number of pages
3813 used to print the work.
3815 The specific rules for @q{frenching} a score differ from publisher to publisher.
3816 If you are producing scores for eventual publication by a commercial publisher,
3817 you may wish to procure a copy of their style manual.
3820 @ref{Frenched staff}.
3823 @node Frenched staff
3824 @section Frenched staff
3826 ES: pentagrama a la francesa,
3829 D: zeitweiliges Notensystem,
3833 FI: karsittu nuotinnus.
3835 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3836 Frenched staff has unneeded measures or sections removed. This is useful
3837 for producing, for example, an @emph{ossia} staff.
3843 @node Frenched staves
3844 @section Frenched staves
3846 Plural of @ref{Frenched staff}.
3865 @node functional harmony
3866 @section functional harmony
3868 ES: armonía funcional,
3869 I: armonia funzionale,
3870 F: étude des functions,
3872 NL: functionele harmonie,
3873 DK: funktionsanalyse, funktionsharmonik,
3875 FI: harmoniajärjestelmä.
3877 A system of harmonic analysis.
3879 It is based on the idea that, in a given key, there are only three
3880 functionally different chords: tonic (T, the chord on the first note of the
3881 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3882 chord on the fifth note). Others are considered to be variants of the base
3884 A few examples among many others are the tonic, subdominant or dominant of
3885 the parallel minor scale, or the incomplete dominant seventh chord.
3887 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3888 #(define-markup-command (diagonal-stroke layout props arg)
3891 #:properties ((font-size 0) (thickness 1.5) (extension 0.07))
3893 ((thick (* (magstep font-size)
3894 (ly:output-def-lookup layout 'line-thickness)))
3895 (underline-thick (* thickness thick))
3896 (markup (interpret-markup layout props arg))
3897 (x1 (car (ly:stencil-extent markup X)))
3898 (x2 (cdr (ly:stencil-extent markup X)))
3899 (y1 (car (ly:stencil-extent markup Y)))
3900 (y2 (cdr (ly:stencil-extent markup Y)))
3901 (dx (* extension (- x2 x1)))
3902 (dy (* extension (- y2 y1)))
3903 (line (make-line-stencil underline-thick
3905 (+ x2 dx) (+ y2 dy))))
3906 (ly:stencil-add markup line)))
3909 <g e c>1 <a f d> <b g e>
3910 <c a f> <d b g> <e c a> <f d b>
3914 \markup { \concat { \diagonal-stroke D \super "7" } }
3920 @ref{dominant}, @ref{incomplete dominant seventh chord},
3921 @ref{subdominant}, @ref{tonic}.
3948 D: G-Schlüssel, Violinschlüssel,
3954 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3955 second note lines. A digit 8 above the clef symbol indicates that the notes
3956 must be played an octave higher while 8 below the clef symbol indicates
3957 playing or singing an octave lower (used most frequently to notate the tenor
3958 part in modern choral scores).
3960 @lilypond[quote,notime]
3962 \override Staff.Clef #'full-size-change = ##t
3963 \set Score.proportionalNotationDuration = #(ly:make-moment 1/8)
3974 "french violin clef"
3982 No cross-references.
3995 FI: glissando, liukuen.
3997 Letting the pitch slide fluently from one note to the other.
4000 No cross-references.
4004 @section grace notes
4006 ES: notas de adorno,
4008 F: ornement, fioriture,
4009 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4015 Notes printed in small types to indicate that their time values are not
4016 counted in the rhythm of the bar.
4019 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
4023 @section grand staff
4025 ES: sistema de piano,
4027 F: système [de portées], accolade,
4028 D: Akkolade, Klaviersystem,
4031 S: ackolad, böjd klammer,
4032 FI: kaksoisnuottiviivasto.
4034 A combination of two staves with a brace. Usually used for piano music.
4050 FI: grave, raskaasti.
4052 [Italian] Slow, solemn.
4055 No cross-references.
4079 Letter name used for @notation{B natural} in German and Scandinavian
4080 usage. In the standard usage of these countries, @notation{B} means
4084 @ref{Pitch names}, @ref{B}.
4090 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4093 @lilypond[quote,relative=2]
4100 @ref{crescendo}, @ref{decrescendo}.
4111 @item D: Halbe, halbe Note,
4112 @item NL: halve noot,
4115 @item FI: puolinuotti.
4126 @item UK: minim rest,
4127 @item ES: silencio de blanca,
4128 @item I: pausa di minima,
4129 @item F: demi-pause,
4130 @item D: halbe Pause,
4131 @item NL: halve, rust,
4132 @item DK: halvnodespause,
4134 @item FI: puolitauko.
4141 @node harmonic cadence
4142 @section harmonic cadence
4144 ES: cadencia (armónica),
4145 I: cadenza (armonica),
4146 F: cadence harmonique,
4148 NL: harmonische cadens,
4149 DK: harmonisk kadence,
4150 S: (harmonisk) kadens,
4151 FI: harmoninen kadenssi.
4153 A sequence of chords that terminates a musical phrase or section.
4157 \context Staff = "SA" \relative c'' {
4160 \partial 4 <c g e>4 |
4161 <c a f> <b g d> <c g e>2
4164 \context Staff = "SB" \relative c {
4166 \partial 4 c4 | f, g c2
4178 @ref{functional harmony}.
4184 ES: armónicos, sonidos aflautados,
4186 F: flageolet, sons harmoniques,
4191 FI: harmoniset äänet, huiluäänet.
4193 The general class of pitches produced by sounding the second or higher
4194 harmonic of a tone producer: string, column of air, and so on.
4196 On stringed instruments, these pitches sound rather flute-like; hence,
4197 their name in languages other than English. They are produced by
4198 lightly touching the string at a node for the desired mode of vibration
4199 while it is being bowed or plucked.
4201 For instruments of the violin family, there are two types of harmonics:
4202 natural harmonics, which are those played on the open string; and
4203 artificial harmonics, which are produced on stopped strings.
4206 No cross-references.
4215 D: Harmonie, Zusammenklang,
4219 FI: harmonia, yhteissointi.
4221 Tones sounding simultaneously. Two note harmonies fall into the
4222 categories @emph{consonances} and @emph{dissonances}.
4226 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4238 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4239 <g a>1_"second " s s
4240 <g f'>_"seventh " s s
4244 For harmony that uses three or more notes, see @ref{chord}.
4254 I: emiolia, (rarely hemiola or emiola),
4260 FI: hemioli, 3/2 -suhde.
4262 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4264 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4265 time normally occupied by two. The resulting rhythm can be expressed in modern
4266 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4267 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4268 as a special effect (or @emph{affect}) at cadences.
4270 For example, this phrase in 6/4 time
4272 @lilypond[quote,relative=1,line-width=13.0\cm]
4275 c2. e | d2 c d | c1. \bar "||"
4278 may be thought of having alternating time signatures
4280 @lilypond[quote,relative=1,line-width=13.0\cm]
4290 and is therefore a polymeter (second definition) of considerable antiquity.
4293 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4306 FI: homofonia, yksiäänisyys.
4308 Music in which one voice leads melodically supported by the other voices in
4309 the same rhythm (more or less). In contrast to @emph{polyphony}.
4326 I: metrica dell'inno,
4332 FI: säkeiden tavumäärät.
4334 A group or list of numbers that indicate the number of syllables in a line
4335 of a hymn's verse. Different hymnals have different ways of noting the hymn
4336 meter: for example, consider a hymn that has four lines in two couplets
4337 alternating regularly between eight and seven syllables. The @emph{English
4338 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4339 or 8@w{ }7@w{ }8@w{ }7.
4341 Some frequently-used hymn meters have traditional names:
4344 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4345 @item 86.86 is called Common Meter (CM or C.M.)
4346 @item 88.88 is called Long Meter (LM or L.M.)
4349 Some hymns and their tunes are doubled versions of a simpler meter: for
4350 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4351 87.87D. The traditional names above also have doubled versions:
4354 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4355 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4356 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4360 No cross-references.
4363 @node incomplete dominant seventh chord
4364 @section incomplete dominant seventh chord
4367 I: accordo di settima dominante incompleto,
4369 D: verkürzter Dominantseptakkord,
4375 A dominant seventh chord where the root tone is removed.
4376 The remaining three tones build a diminished triad.
4379 @ref{chord}, @ref{dominant seventh chord}, @ref{functional harmony}.
4392 FI: intervalli, kahden sävelen korkeusero.
4394 Difference in pitch between two notes. Intervals may be diminished, minor,
4395 perfect, major, or augmented. The augmented fourth and the diminished fifth
4396 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4397 and are called @emph{tritonus} because they consist of three whole tones.
4398 The addition of such two intervals forms an octave.
4402 \context Voice \relative c'' {
4439 \context Lyrics \lyrics {
4441 "second " "second " "second " "second "
4442 "third " "third " "third " "third "
4443 "fourth " "fourth " "fourth "
4444 "fifth " "fifth " "fifth "
4445 "sixth " "sixth " "sixth " "sixth "
4446 "seventh" "seventh" "seventh" "seventh"
4447 "octave " "octave " "octave "
4453 @ref{enharmonic}, @ref{whole tone}.
4468 When a chord sounds with a bass note that differs from the root of the
4469 chord, it is said to be @emph{inverted}. The number of inversions that a
4470 chord can have is one fewer than the number of constituent notes. For
4471 example, triads (which have three constituent notes) can have three
4472 positions, two of which are inversions:
4476 The root note is in the bass, and above that are the third and the fifth. A
4477 triad built on the first scale degree, for example, is marked @notation{I}.
4479 @item First inversion
4480 The third is in the bass, and above it are the fifth and the root. This
4481 creates an interval of a sixth and a third above the bass note, and so is
4482 marked in figured Roman notation as @notation{6/3}. This is commonly
4483 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4484 characteristic interval of the inversion, and so always implies
4487 @item Second inversion
4488 The fifth is in the bass, and above it are the root and the third. This
4489 creates an interval of a sixth and a fourth above the bass note, and so is
4490 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4491 unstable chord position.
4495 No cross-references.
4498 @node inverted interval
4499 @section inverted interval
4501 ES: intervalo invertido,
4502 I: intervallo rivolto,
4503 F: intervalle renversé,
4504 D: umgekehrtes Intervall,
4505 NL: interval inversie,
4506 DK: omvendingsinterval,
4507 S: intervallets omvändning,
4508 FI: käänteisintervalli.
4510 The difference between an interval and an octave.
4512 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4513 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4514 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4515 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4519 No cross-references.
4522 @node just intonation
4523 @section just intonation
4525 ES: entonación justa,
4526 I: intonazione giusta,
4527 F: intonation juste,
4534 Tuning system in which the notes are obtained by adding and subtracting
4535 natural fifths and thirds.
4553 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4554 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4557 @ref{chromatic scale}, @ref{key signature}.
4561 @section key signature
4563 ES: armadura (de la clave),
4564 I: armatura di chiave,
4565 F: armure, armature [de la clé],
4566 D: Vorzeichen, Tonart,
4567 NL: toon@-soort (voortekens),
4570 FI: sävellajiosoitus.
4572 The sharps or flats appearing at the beginning of each staff indicating the
4578 @node kievan notation
4579 @section kievan notation
4581 A form of medieval music notation used predominantly in the chantbooks
4582 of the Russian Orthodox Church as well as Carpatho-Russian and Ukrainian
4583 jurisdictions of Orthodoxy and Byzantine-rite Catholicism. It is
4584 characterized by the square shape of its noteheads.
4587 @node laissez vibrer
4588 @section laissez vibrer
4593 D: Laissez vibrer, schwingen lassen,
4599 [French: @q{Let vibrate}] Most frequently associated with harp
4600 parts. Marked @notation{l.v.} in the score.
4603 No cross-references.
4611 F: largo, large, ample,
4612 D: Largo, Langsam, Breit,
4616 FI: largo, hitaasti, leveästi.
4618 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4619 expressiveness. @emph{Larghetto} is less slow than largo.
4623 @section leading note
4634 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4635 called because of its strong tendency to @q{lead up} (resolve upwards)
4636 to the tonic scale degree.
4639 @ref{scale degree}, @ref{semitone}.
4643 @section ledger line
4645 ES: línea adicional,
4646 I: tagli addizionali,
4647 F: ligne supplémentaire,
4654 A ledger line is an extension of the staff.
4656 @lilypond[quote,notime,relative=2]
4663 No cross-references.
4672 D: legato, gebunden,
4678 To be performed (a) without any perceptible interruption between the
4679 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4680 @notation{portato}, or (d) @notation{staccato}.
4682 @lilypond[quote,notime,line-width=13.0\cm]
4684 \context Staff \relative c'' {
4685 c4-( d e-) \bar "||"
4686 c4-- d-- e-- \bar "||"
4687 c4-.-( d-. e-.-) \bar "||"
4688 c4-. d-. e-. \bar "||"
4704 @section legato curve
4707 @ref{slur}, @ref{legato}.
4729 A ligature is a coherent graphical symbol that represents at least two
4730 distinct notes. Ligatures originally appeared in the manuscripts of
4731 Gregorian chant notation around the 9th century to denote ascending or
4732 descending sequences of notes. In early notation, ligatures were used for
4733 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4734 performance in the sense of articulation. With the invention of the metric
4735 system of the white mensural notation, the need for ligatures to denote such
4736 patterns disappeared.
4739 @ref{mensural notation}.
4746 ES: estanque de nenúfares,
4747 I: stagno del giglio,
4748 F: étang de nénuphars, étang de nymphéas,
4750 NL: le@-lie@-vij@-ver,
4755 A pond with lilies floating in it.
4757 Also, the name of a music typesetting program.
4760 No cross-references.
4769 D: Linie, Notenlinie,
4773 FI: viiva, nuottiviiva.
4789 FI: kirjoitetussa äänenkorkeudessa.
4791 [Italian: @q{place}] Instruction to play the following passage at the
4792 written pitch. Cancels octave mark (q.v.).
4795 @ref{octave mark}, @ref{octave marking}.
4798 @node long appoggiatura
4799 @section long appoggiatura
4801 ES: apoyatura larga,
4802 I: appoggiatura lunga,
4803 F: appoggiature longue,
4808 FI: pitkä appoggiatura, pitkä etuhele.
4818 @item US: long, longa,
4821 @item F: longa, longue,
4829 Note value: twice the length of a @notation{breve}.
4831 @lilypond[quote,notime,relative=2]
4832 \override NoteHead #'style = #'mensural
4837 @ref{breve}, @ref{note value}.
4843 ES: ligadura de letra,
4844 I: legatura del testo,
4845 F: ligature de mots,
4850 FI: sidonta sanoituksessa.
4852 @c TODO: add languages
4861 ES: letra (de la canción),
4864 D: Liedtext, Gesangstext,
4873 No cross-references.
4889 @ref{diatonic scale}.
4892 @node major interval
4893 @section major interval
4895 ES: intervalo mayor,
4896 I: intervallo maggiore,
4897 F: intervalle majeur,
4898 D: großes Intervall,
4902 FI: suuri intervalli.
4920 Note value: twice the length of a @notation{longa}.
4922 The maxima is the largest duration in use during the 15th and 16th centuries.
4923 Like the longa, the maxima can be either two or three times as long as the
4924 @notation{longa} (called @notation{binary} and @notation{ternary},
4925 respectively). By the late 15th century, most composers used the smaller
4926 proportion by default.
4929 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4932 @node meantone temperament
4933 @section meantone temperament
4935 ES: afinación mesotónica,
4936 I: accordatura mesotonica,
4937 F: tempérament mésotonique,
4938 D: mitteltönige Stimmung,
4939 NL: middenstemming, middentoonstemming,
4940 DK: middeltonetemperatur,
4941 S: medeltonstemperatur,
4942 FI: keskisävelviritys.
4944 Temperament yielding acoustically pure thirds by decreasing the natural
4945 fifth by 16@w{ }cents. Due to the non-circular character of this
4946 temperament only a limited set of keys are playable. Used for tuning
4947 keyboard instruments for performance of pre-1650 music.
4950 @ref{cent}, @ref{temperament}.
4965 A group of beats (units of musical time) the first of which bears an accent.
4966 Such groups in numbers of two or more recur consistently throughout the
4967 composition and are separated from each other by bar lines.
4970 @ref{bar line}, @ref{beat}, @ref{meter}.
4973 @node measure repeat
4974 @section measure repeat
4977 @ref{percent repeat}.
4984 I: mediante, modale,
4994 @item The third @b{scale degree}.
4996 @item A @emph{chord} having its base tone a third from that of another
4997 chord. For example, the tonic chord may be replaced by its lower
4998 mediant (variant tonic).
5003 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5016 FI: melisma, laulettavan tavun sävelkuvio.
5018 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5019 on one syllable, especially as applied to liturgical chant.
5022 No cross-references.
5026 @section melisma line
5028 @c TODO: add languages
5030 ES: línea de melisma,
5031 I: linea del melisma,
5032 F: trait de mélisme, trait de tenue,
5040 @ref{extender line}.
5043 @node melodic cadence
5044 @section melodic cadence
5050 @node mensural notation
5051 @section mensural notation
5053 @c TODO: add languages
5055 ES: notación mensural,
5056 I: notazione mensurale,
5057 F: notation mensurale,
5058 D: Mensuralnotation,
5062 FI: mensuraalinuotinnus.
5064 A system of duration notation whose principles were first established in the
5065 mid-13th century, and that (with various changes) remained in use until about
5066 1600. As such, it is the basis for the notation of rhythms in Western musical
5069 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5070 of the notation's principles, so the notation of this earliest period is called
5071 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5072 and semibreve -- each of which was normally equivalent to three of the next
5075 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5076 added several note values (the minim, semiminim and fusa) and extended Franco's
5077 principles to govern the relationship between these values. They also put the
5078 duple division of note values on an equal footing with the earlier (preferred)
5081 TODO: continue description of French and Italian black notation, and the
5082 relationship betwixt them.
5084 @b{White or void mensural notation}
5086 In the 15th century, hollow (or void) notes began to substitute for the earlier
5087 solid black ones, which were then free to assume the function of red (or
5088 colored) notes in the earlier notation. ...
5090 TODO: add to definition (including summary info on proportional notation)
5093 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5094 @c TODO: more cross-references?
5097 @node mensuration sign
5098 @section mensuration sign
5100 @c TODO: add languages
5102 ES: signo de mensuración,
5103 I: indicazione mensurale,
5104 F: signe de mensuration,
5111 The ancestor of the time signature, mensuration signs were used to indicate the
5112 relationship between two sets of note durations—specifically, the ratio of
5113 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5114 (called @notation{prolatio}).
5116 Each ratio was represented with a single single sign, and was either
5117 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5118 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5119 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5120 represented by a complete circle; applied to the @emph{prolatio}, it was called
5121 @emph{major} and was represented by a dot in the middle of the sign. The binary
5122 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5123 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5124 @emph{minor} and was represented by the lack of an internal dot. There are four
5125 possible combinations, which can be represented in modern time signatures with
5126 and without reduction of note values. (These signs are hard-coded in LilyPond
5130 @item perfect @emph{tempus} with major @emph{prolatio}
5131 Indicated by a complete circle with an internal dot. In modern time signatures,
5134 @item 9/4, with reduction or
5135 @item 9/2, without reduction
5138 @item perfect @emph{tempus} and minor @emph{prolatio}
5139 Indicated by a complete circle without an internal dot. In modern time
5140 signatures, this equals:
5142 @item 3/2, with reduction or
5143 @item 3/1, without reduction
5146 @item imperfect @emph{tempus} and major @emph{prolatio}
5147 Indicated by an incomplete circle with an internal dot. In modern time
5148 signatures, this equals:
5150 @item 6/4, with reduction or
5151 @item 6/2, without reduction
5154 @item imperfect @emph{tempus} and minor @emph{prolatio}
5155 Indicated by an incomplete circle without an internal dot. In modern time
5156 signatures, this equals:
5158 @item 4/4, with reduction or
5159 @item 2/1, without reduction
5163 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5164 with note values reduced from the original semibreve to a modern quarter note.
5165 Being doubly imperfect, this sign represented the (theoretically)
5166 least-preferred mensuration, but it was actually used fairly often.
5168 This system extended to the ratio of longer note values to each other:
5172 @item maxima to longa, called:
5176 @item @notation{modus maximorum},
5177 @item @notation{modus major}, or
5178 @item @notation{maximodus})
5182 @item longa to breve, called:
5186 @item @notation{modus longarum},
5187 @item @notation{modus minor}, or
5188 @item @notation{modus}
5194 In the absence of any other indication, these modes were assumed to be
5195 binary. The mensuration signs only indicated tempus and prolatio, so
5196 composers needed another way to indicate these longer ratios (called modes.
5197 Around the middle of the 15th century started to use groups of rests at the
5198 beginning of the staff, preceding the mensuration sign.
5201 Two mensuration signs have survived to the present day: the C-shaped sign,
5202 which originally designated @notation{tempus imperfectum} and
5203 @notation{prolatio minor} now stands for @notation{common time}; and the
5204 slashed C, which designated the same with @notation{diminution} now stands
5205 for @notation{cut time} (essentially, it has not lost its original meaning).
5208 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5209 @c TODO: more cross-references?
5217 F: indication de mesure, mesure,
5224 The pattern of note values and accents in a composition or a section thereof.
5225 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5226 by grouping beats and by subdividing the primary beat.
5228 @b{By grouping beats}:
5232 @item @b{duple}: groups of two.
5233 @item @b{triple}: groups of three.
5234 @item @b{quadruple}: groups of four. A special case of duple meter.
5235 @item @b{quintuple}: groups of five beats.
5236 @item @b{sextuple} meter: groups of six. A special case of:
5240 @item duple meter, subdivided in three; or
5241 @item triple meter, subdivided in two.
5245 @item @b{septuple} meter: groups of seven.
5250 Other than triple meter and its subdivided variants (see below), meters that
5251 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5252 frequently used prior to the 20th Century.
5254 @b{By subdividing the primary beat}:
5258 @item simple: subdivided in groups of two.
5262 @item duple: 2/2, 2/4, 2/8
5263 @item triple: 3/2, 3/4, 3/8
5264 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5268 @item compound: subdivided in groups of three.
5274 @item quadruple: 12/8
5280 Time signatures are placed at the beginning of a composition (or section) to
5281 indicate the meter. For instance, a piece written in simple triple meter with a
5282 beat on each quarter note is conventionally written with a time signature of
5283 3/4. Here are some combinations of the two classifications above:
5285 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5287 @lilypond[quote,line-width=13.0\cm]
5291 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5294 Simple triple meter:
5296 @lilypond[quote,line-width=13.0\cm]
5300 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5303 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5305 @lilypond[quote,line-width=13.0\cm]
5309 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5312 Simple quintuple meter (B. Marcello, 1686-1739):
5314 @lilypond[quote,line-width=13.0\cm]
5318 r4 cis8 bis ais4 dis c8 ais |
5319 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5322 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5323 the source, with sharps in the accompaniment where the voice has flats and
5326 Compound duple meter (unknown):
5328 @lilypond[quote,line-width=13.0\cm]
5332 f8 f g a bes16 a g f |
5333 g8 g bes a c16 a bes g
5337 Compound triple meter (J.S. Bach, 1685-1750):
5339 @lilypond[quote,line-width=13.0\cm]
5343 r8 g'( a) b( d c) c( e d) |
5344 d( g fis) g( d b) g( a b)
5348 Compound quadruple meter (P. Yon, 1886-1943):
5350 @lilypond[quote,line-width=13.0\cm]
5354 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5355 e4 e8 fis( gis) a b4.~ b4 b8
5360 @b{@q{Monometer} vs Polymeter}
5362 TODO: add information from discussion on lilypond-user related to polymeter.
5366 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5381 Device used to indicate the exact tempo of a piece.
5383 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5384 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5385 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5386 followed acknowledged Winkler as the creator, but by then Mälzel had already
5387 sold many of them, and people had taken to calling it a Mälzel Metronome.
5390 @ref{metronome mark}.
5393 @node metronome mark
5394 @section metronome mark
5396 ES: indicación metronómica,
5397 I: indicazione metronomica,
5398 F: indication métronomique,
5400 NL: metronoom aanduiding,
5402 S: metronomangivelse,
5403 FI: metronomiosoitus.
5405 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5406 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5413 @node metronomic indication
5414 @section metronomic indication
5417 @ref{metronome mark}
5430 FI: kohtalaisen, melko.
5432 [Italian: @q{medium}]
5434 Used to qualify other indications, such as:
5440 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5442 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5448 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5455 No cross-references.
5459 @section mezzo-soprano
5470 The female voice between soprano and contralto.
5473 @ref{soprano}, @ref{contralto}.
5482 D: zweigestrichenes@w{ }c,
5484 DK: enstreget@w{ }c,
5485 S: ettstruket@w{ }c,
5488 First C below the 440 Hz A.
5490 @lilypond[quote,notime,relative=1]
5491 \override Staff.Clef #'full-size-change = ##t
5498 No cross-references.
5514 @ref{diatonic scale}.
5517 @node minor interval
5518 @section minor interval
5520 ES: intervalo menor,
5521 I: intervallo minore,
5522 F: intervalle mineur,
5523 D: kleines Intervall,
5527 FI: pieni intervalli.
5533 @node mixolydian mode
5534 @section mixolydian mode
5537 @ref{diatonic scale}.
5546 D: Kirchentonart, Modus,
5550 FI: moodi, kirkkosävelasteikko.
5553 @ref{church mode}, @ref{diatonic scale}.
5566 FI: modulaatio, sävellajin vaihdos.
5568 Moving from one @ref{key} to another. For example, the second subject
5569 of a @ref{sonata form} movement modulates to the dominant key if the
5570 key is major and to the @ref{relative key} if the key is minor.
5573 No cross-references.
5585 FI: mordent, korukuvio.
5588 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5609 FI: teema, sävelaihe.
5611 The briefest intelligible and self-contained fragment of a musical
5614 @lilypond[quote,line-width=13.0\cm]
5617 \set Score.implicitTimeSignatureVisibility = #all-invisible
5618 \override Score.TimeSignature #'break-visibility = #all-invisible
5621 \partial 8 g16\startGroup fis |
5622 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5623 g8 g,16 a b8 cis d16 s
5627 \Staff \consists "Horizontal_bracket_engraver"
5633 No cross-references.
5648 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5649 several -- more or less -- independent pieces called movements.
5652 No cross-references.
5655 @node multi-measure rest
5656 @section multi-measure rest
5658 ES: compases de espera, silencio multicompás,
5660 F: pause multiple, mesure à compter,
5662 D: mehrtaktige Pause, Kirchenpause,
5665 FI: usean tahdin mittainen tauko.
5667 Multi-measure rests are conventionally typeset with a combination of
5668 longa, breve and whole rests for shorter and a long horizontal bar for
5669 longer spans of rest, with a number above to indicate the duration (in
5670 measures) of the rest. The former style is called @q{Kirchenpausen} in
5671 German, as a reminiscence of its use in Renaissance vocal polyphony.
5673 @lilypond[quote,relative=2]
5675 \set Score.skipBars = ##t
5678 \set Score.skipBars = ##t
5684 @ref{longa}, @ref{breve}.
5693 D: Auflösungszeichen,
5694 NL: herstellingsteken,
5695 DK: op@-løsningstegn,
5696 S: återställningstecken,
5703 @node neighbor tones
5704 @section neighbor tones
5706 @c TODO: add definition.
5718 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5719 @ref{mordent}, @ref{ornament}.
5757 Notes are signs by means of which music is fixed in writing. The term is also
5758 used for the sound indicated by a note, and even for the key of the piano
5759 which produces the sound. However, a clear distinction between the terms tone
5760 and @ref{note} is strongly recommended. Briefly, one sees a note,
5764 No cross-references.
5771 I: testa, testina, capocchia,
5779 A head-like sign which indicates pitch by its position on a @notation{staff}
5780 provided with a @notation{clef}, and duration by a variety of shapes such as
5781 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5782 For percussion instruments (often having no defined pitch) the note head may
5783 indicate the instrument.
5786 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5799 ES: valor, duración,
5801 F: durée, valeur (d'une note),
5806 FI: nuotin aika-arvo.
5808 Note values (durations) are measured as fractions—in modern usage, one-half—of
5809 the next higher note value. The longest duration in current use is the
5810 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5811 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5812 or @notation{maxima} (eight whole notes) may be found.
5814 As used in mensural notation, this fraction was more flexible: it could also
5815 be one-third the higher note value. Composers indicated which proportions
5816 to use with various signs—two of which survive to the present day: the
5817 C-shaped sign for @notation{common time}, and the slashed C for
5818 @notation{alla breve} or @notation{cut time}.
5820 @c TODO -- add maxima to this example, in a way that doesn't break it.
5822 @lilypond[quote,notime,line-width=13.0\cm]
5824 \override NoteHead #'style = #'mensural
5825 a\longa_"longa" a\breve_"breve"
5826 \revert NoteHead #'style
5827 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5828 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5831 @c TODO -- add maxima rest to this example
5833 @lilypond[quote,notime,line-width=13.0\cm]
5835 r\longa_"longa" r\breve_"breve"
5836 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5837 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5840 An augmentation dot after a note increases its duration by half; a second dot
5841 increases it by half of the first addition (that is, by a fourth of the original
5842 duration). More dots can be used to add further halved fractions of the
5843 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5845 @lilypond[quote,line-width=13.0\cm]
5848 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5849 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5852 Alternatively note values may be subdivided by other ratios. Most common is
5853 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5854 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5855 dotted notes are also frequently used.
5857 @lilypond[quote,line-width=13.0\cm]
5860 \tuplet 3/2 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5861 \tuplet 5/2 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5865 @lilypond[quote,line-width=13.0\cm]
5868 \tuplet 2/3 {g4_"duplets" g} |
5870 \tuplet 4/6 {g8_"quadruplets" g g g} |
5871 g8 g g g g4 \bar "||"
5883 @ref{octave marking}.
5898 The interval of an octave, sometimes abbreviated @notation{8ve}.
5900 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5901 bracket, or @notation{loco} see octave marking.
5904 @ref{interval}, @ref{octave marking}.
5908 @section octave mark
5910 ES: indicación de octava,
5912 F: indication d'octave,
5913 D: Oktavierungszeichen,
5919 The phrase, abbreviation, or other mark used (with or without an extender line
5920 or bracket) to indicate that the music is to be played in a different octave:
5924 @item @notation{15ma}: play two octaves higher
5925 @item @notation{8va}: play one octave higher
5926 @item @notation{8vb}: play one octave lower
5927 @item @notation{8va} (written below the passage): unusual, same as
5929 @item @notation{15vb}: play two octaves lower
5930 @item @notation{15va} (written below the passage): unusual, same as
5935 For longer passages, it may be more practical to mark the octave change at the
5936 beginning with a phrase (see the list below for examples), but without a bracket
5937 or extender line. Then, when the music returns to the written pitch, the octave
5938 change is canceled with the word @notation{loco} (q.v.).
5940 To parallel the list above:
5944 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5945 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5946 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5947 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5951 In the phrases above, @notation{quindicesima} is sometimes replaced with
5952 @notation{quindecima}, which is Latin.
5954 The music on an entire staff can be marked to be played in a different octave by
5955 putting a small 8 or 15 above or below the clef at the beginning. This octave
5956 mark can be applied to any clef, but it is most frequently used with the G and F
5960 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5963 @node octave marking
5964 @section octave marking
5973 FI: oktaavamerkintä.
5975 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5976 that it is to be played in a different octave. If applied to the clef at the
5977 beginning of the staff, all music on that staff is to played at the indicated
5980 For a list of the specific marks used, see @ref{octave mark}.
5983 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5987 @section octave sign
5997 I: abbellimento, fioriture,
5998 F: agrément, ornement,
5999 D: Verzierung, Ornament,
6005 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6006 with the diatonic @ref{second} above it. In the music from the
6007 middle of the 19th century and onwards the trill is performed with the main
6008 note first while in the music from the preceding baroque and classic periods
6009 the upper note is played first.
6011 @lilypond[quote,line-width=13.0\cm]
6013 \context Staff = sa {
6015 c2._"pre-1850" b4\trill | c1 \bar "||"
6016 c2._"post-1850" b4\trill | c1 \bar "||"
6020 c2. c32 b c b c b c b | c1
6021 c2. b32 c b c \tuplet 5/4 { b c b c b } | c1
6026 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6027 the @emph{prall} (inverted mordent).
6029 @lilypond[quote,line-width=13.0\cm]
6031 \context Staff = sa {
6033 a4_"turn" b\turn c2 \bar "||"
6034 g4_"mordent" a b\mordent a \bar "||"
6035 e'4_"prall" d\prall c2 \bar "||"
6041 e'4 e32[ d e d ~ d8] c2
6047 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6056 F: ossia, alternative,
6061 FI: ossia, vaihtoehtoinen esitystapa.
6063 Ossia (otherwise) marks an alternative. It is an added staff or piano
6064 score, usually only a few measures long, which presents another version
6065 of the music, for example for small hands.
6068 Compare: @ref{cue-notes}.
6074 ES: parte, particella,
6081 FI: stemma, instrumenttiosuus.
6085 @item In instrumental or choral music, the music for a single
6086 instrument or voice.
6088 @item in contrapuntal music, a single melodic line in the contrapuntal
6111 @node percent repeat
6112 @section percent repeat
6114 LilyPond-specific term to indicate the repetition of a musical expression on a
6115 single staff, as opposed to the more usual definition of repeat, which affects
6116 all parts. The musical expression can be anything from a single note or note
6117 pattern to one or more measures. There are other names for this symbol:
6122 @item slash mark, or slash repeat
6124 @item measure (or multi-measure) repeat
6128 @lilypond[quote,relative=2,line-width=13.0\cm]
6130 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6131 \repeat percent 2 { c4 e g b_"Measure repeat" }
6132 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6137 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6138 Vermont Music Dictionary}.
6147 D: Schlagzeug, Schlagwerk,
6153 A family of musical instruments which are played on by striking or
6154 shaking. Percussion instruments commonly used in a symphony orchestra are
6155 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6156 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6160 No cross-references.
6163 @node perfect interval
6164 @section perfect interval
6166 ES: intervalo justo,
6167 I: intervallo giusto,
6168 F: intervalle juste,
6169 D: reines Intervall,
6173 FI: puhdas intervalli.
6191 A natural division of the melodic line, comparable to a sentence of speech.
6207 FI: fraseeraus, jäsentäminen.
6209 The clear rendering in musical performance of the @notation{phrases} of the
6210 melody. Phrasing may be indicated by a @notation{slur}.
6213 @ref{phrase}, @ref{slur}.
6228 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6229 @emph{mezzo piano} (@b{mp}) medium soft.
6232 No cross-references.
6240 F: anacrouse, levée,
6265 @item The perceived quality of a sound that is primarily a function of its
6266 fundamental frequency.
6268 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6270 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6271 association of a particular frequency with a particular pitch name, e.g., c' =
6287 NL: pizzicato, getokkeld,
6290 FI: pizzicato, näppäillen.
6292 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6296 No cross-references.
6302 ES: compás polimétrico,
6309 FI: monia tahtiosoituksia sisältävä.
6313 @item The @emph{simultaneous} use of two or more meters, in two or more
6316 @item The @emph{successive} use of different meters in one or more parts.
6321 @ref{polymetric} (adj.)
6334 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6336 Characterized by @emph{polymeter}: using two or more metric frameworks
6337 simultaneously or in alternation.
6340 @ref{polymeter} (noun)
6343 @node polymetric time signature
6344 @section polymetric time signature
6346 ES: indicación de compás polimétrico,
6347 I: tempo polimetrico,
6349 D: zusammengesetzte Taktart,
6353 FI: vaihtelevan tahtiosoitusmerkintä.
6355 A time signature that indicates regularly alternating polymetric time.
6367 D: Polyphonie, Mehrstimmigkeit,
6371 FI: polyfonia, moniäänisyys.
6373 Music written in a combination of several simultaneous voices (parts)
6374 of a more or less pronounced individuality.
6383 [Italian: past participle of @emph{portare}, @q{to carry}]
6385 A stroke in which each of several notes is separated slightly within a slur,
6386 without changing the bow's direction. It is used for passages of a
6387 @notation{cantabile} character.
6393 @section power chord
6395 A chord containing only the root and the fifth (possibly in multiple
6396 octaves). Commonly used in guitar music, particularly with electric
6397 guitar and high distortion.
6405 ES: presto, muy rápido,
6407 F: presto, très rapide, enlevé,
6408 D: Presto, Sehr schnell,
6409 NL: presto, Sehr schnell,
6412 FI: presto, hyvin nopeasti.
6416 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6417 denotes the highest possible degree of speed.
6420 No cross-references.
6435 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6436 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6441 @item A ratio that expresses the relationship between the note values that
6442 follow with those that precede;
6444 @item A ratio between the note values of a passage and the @q{normal}
6445 relationship of note values to the metrical pulse. (A special case of the
6450 The most common proportions are:
6453 @item 2:1 (or simply 2), expressed by a vertical line through the
6454 mensuration sign (the origin of the @notation{alla breve} time signature),
6455 or by turning the sign backwards
6456 @item 3:1 (or simply 3)
6457 @item 3:2 (@emph{sesquialtera})
6460 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6463 @item 1:2 cancels 2:1
6464 @item 1:3 cancels 3:1
6465 @item 2:3 cancels 3:2
6469 Gaffurius enumerates five basic types of major:minor proportions and their
6473 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6474 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6476 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6477 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6478 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6480 @item Superpartiens, if the major number is one less than twice the minor
6481 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6483 @item Multiplexsuperparticular, if the major number is one more than twice the
6484 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6487 @item Multiplexsuperpartiens, if the major number is one less than some other
6488 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6489 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6493 He then continues to subdivide each type in various ways. For the multiplex
6494 proportions, for example, he indicates how many times greater the major number
6499 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6500 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6502 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6505 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6506 Example: 4:1, 8:2, and 12:3
6510 Other proportions were possible, but whether they were frequently used is
6515 @item 33:9, @emph{triplasuperbipartientetertias}
6516 @item 51:15, @emph{triplasuperbipartientequintas}
6520 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6523 @ref{mensural notation}.
6526 @node Pythagorean comma
6527 @section Pythagorean comma
6529 ES: coma pitagórica,
6530 I: comma pitagorico,
6531 F: comma pythagoricien,
6532 D: Pythagoräisches Komma,
6533 NL: komma van Pythagoras,
6534 DK: pythagoræisk komma,
6535 S: pytagoreiskt komma,
6536 FI: pytagorinen komma.
6538 Originally, the interval by which the sum of six whole tones exceeds the octave
6539 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6541 Modern acoustical theory defines it as the interval by which twelve fifths
6542 exceed seven octaves. To put it another way: A sequence of fifths that starts
6543 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6544 than the C obtained by adding 7 octaves. The difference between those two
6545 pitches is the Pythagorean comma.
6548 @ref{cent}, @ref{temperament}.
6570 ES: variante [de acorde o intervalo],
6573 D: Modus (Dur oder Moll),
6579 The quality of a triad is determined by the precise arrangement of its
6580 intervals. Tertian triads can be described as a series of three notes. The
6581 first element is the root note (or simply @q{root}) of the chord, the second
6582 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6583 the chord. These are described below:
6585 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6586 @headitem Chord name
6587 @tab Component intervals
6590 @item major triad @tab major third/perfect fifth
6592 @tab C, CM, Cma, Cmaj, CΔ
6593 @item minor triad @tab minor third/perfect fifth
6595 @tab Cm, Cmi, Cmin, C-
6596 @item augmented triad @tab major third/augmented fifth
6599 @item diminished triad @tab minor third/diminished fifth
6601 @tab Cm(♭5), Cº, Cdim
6604 There are various types of seventh chords depending on the quality of the
6605 original chord and the quality of the seventh added.
6607 Five common types of seventh chords have standard symbols. The chord quality
6608 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6609 and D^m7 are all identical). The last three chords are not commonly used
6617 @section quarter note
6622 @item I: semiminima, nera
6624 @item D: Viertel, Viertelnote
6626 @item DK: fjerdedelsnode
6627 @item S: fjärdedelsnot
6628 @item FI: neljäsosanuotti
6636 @section quarter rest
6639 @item UK: crotchet rest
6640 @item ES: silencio de negra
6641 @item I: pausa di semiminima
6643 @item D: Viertelpause
6645 @item DK: fjerdedelspause
6646 @item S: fjärdedelspaus
6647 @item FI: neljäsosatauko
6655 @section quarter tone
6664 FI: neljännessävelaskel.
6666 An interval equal to half a semitone.
6675 ES: cinquillo, quintillo,
6689 @section rallentando
6693 F: rallentando, en ralentissant,
6694 D: rallentando, langsamer werden,
6698 FI: rallerdando, hidastuen.
6700 [Italian: @q{slowing down}]
6702 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6710 @section relative key
6713 I: tonalità relativa,
6714 F: tonalité relative,
6716 NL: paralleltoonsoort,
6717 DK: paralleltoneart,
6719 FI: rinnakkaissävellaji.
6721 Major and minor keys that have the same key signature.
6723 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6725 es1_"e flat major" f g as bes c d es
6729 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6731 c1_"c minor" d es f g a! b! c
6736 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6744 F: barre de reprise,
6747 DK: gen@-ta@-gel@-se,
6751 @lilypond[quote,relative=2,line-width=13.0\cm]
6763 No cross-references.
6778 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6779 @c specify the rest's value.
6799 @item Metrical rhythm in which every time value is a multiple or
6800 fraction of a fixed unit of time, called @emph{beat}, and in which the
6801 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6802 The basic scheme of time values is called @emph{meter}.
6804 @item Measured rhythm which lacks regularly recurrent accent. In
6805 modern notation such music appears as a free alternation of different
6808 @item Free rhythm, i.e., the use of temporal values having no common
6809 metrical unit (beat).
6814 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6820 ES: ritardando, retardando,
6822 F: ritardando, en ralentissant,
6823 D: ritardando, langsamer werden,
6827 FI: ritardando, hidastuen,
6829 [Italian: @q{lagging}]
6831 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6832 abbreviated to @notation{rit.} or @notation{ritard}.
6841 ES: ritenuto, reteniendo,
6843 F: ritenuto, en retenant,
6848 FI: ritenuto, hidastaen.
6850 Immediate reduction of speed.
6853 No cross-references.
6866 FI: asteikko, sävelasteikko.
6869 @ref{diatonic scale}.
6873 @section scale degree
6875 ES: grado (de la escala),
6876 I: grado della scala,
6877 F: degré [de la gamme],
6879 NL: trap [van de toonladder],
6882 FI: sävelaste, asteikon sävel.
6884 Names and symbols used in harmonic analysis to denote tones of the
6885 scale as roots of chords. The most important are degrees I = tonic
6886 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6888 @lilypond[quote,notime,line-width=13.0\cm]
6890 \new Staff \relative c' {
6893 \lyrics { I II III IV V VI VII I }
6894 \lyrics { T "" "" S D }
6899 @ref{functional harmony}.
6907 F: à cordes ravallées,
6912 FI: epätavallinen viritys.
6914 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6915 tuning of stringed instruments, particularly lutes or violins. Used
6920 @item facilitate pitch combinations that would otherwise be difficult
6923 @item alter the characteristic timbre of the instrument, for example,
6924 to increase brilliance
6926 @item reinforce certain sonorities or tonalities by making them
6927 available on open strings
6929 @item imitate other instruments
6935 Tunings that could be called @var{scordatura} first appeared early in
6936 the 16th Century and became commonplace in the 17th.
6939 No cross-references.
6947 F: partition, conducteur (full score),
6948 D: Partitur (full score), Klavierauszug (vocal score),
6954 A copy of orchestral, choral, or chamber music showing what each
6955 instrument is to play, each voice to sing, having each part arranged
6956 one underneath the other on different staves @ref{staff}.
6959 No cross-references.
6974 The interval between two neighboring tones of a scale. A diatonic scale
6975 consists of alternating semitones and whole tones, hence the size of a
6976 second depends on the scale degrees in question.
6979 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6986 @item US: whole note,
6990 @item D: Ganze, ganze Note, Semibrevis,
6991 @item NL: hele noot,
6994 @item FI: kokonuotti.
6997 Note value: called @notation{whole note} in the US.
6999 The semibreve is the basis for the @notation{tactus} in mensural notation
7000 (i.e. music written before ca. 1600).
7003 @ref{mensural notation}, @ref{note value}.
7018 The interval of a minor second. The (usually) smallest interval in European
7019 composed music. The interval between two neighboring tones on the piano
7020 keyboard -- including black and white keys -- is a semitone. An octave may
7021 be divided into 12@w{ }semitones.
7023 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7024 g1 gis s a bes s b! c
7028 @ref{interval}, @ref{chromatic scale}.
7051 @ref{sextuplet}, @ref{note value}.
7096 ES: simile, similar,
7099 D: simile, gleichartig,
7105 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7106 is to be played in the same manner (i.e. with the same articulations, dynamics,
7107 etc.) as the music that precedes it.
7110 TODO: Where else could I refer the reader?
7114 @section simple meter
7116 ES: compás simple, compás de subdivisión binaria,
7123 FI: kaksijakoinen tahtiosoitus.
7125 A meter in which the basic beat is subdivided in two: that is, a meter
7126 that does not include triplet subdivision of the beat.
7129 @ref{compound meter}, @ref{meter}.
7132 @node sixteenth note
7133 @section sixteenth note
7136 @item UK: semiquaver
7137 @item ES: semicorchea
7139 @item F: double croche
7140 @item D: Sechzehntel, Sechzehntelnote
7141 @item NL: zestiende noot
7142 @item DK: sekstendedelsnode
7143 @item S: sextondelsnot
7144 @item FI: kuudestoistaosanuotti
7151 @node sixteenth rest
7152 @section sixteenth rest
7155 @item UK: semiquaver rest
7156 @item ES: silencio de semicorchea
7157 @item I: pausa di semicroma
7158 @item F: quart de soupir
7159 @item D: Sechzehntelpause
7160 @item NL: zestiende rust
7161 @item DK: sekstendedelspause
7162 @item S: sextondelspaus
7163 @item FI: kuudestoistaosatauko
7186 @node sixty-fourth note
7187 @section sixty-fourth note
7190 @item UK: hemidemisemiquaver
7192 @item I: semibiscroma
7193 @item F: quadruple croche
7194 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7195 @item NL: vierenzestigste noot
7196 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7197 @item S: sextiofjärdedelsnot
7198 @item FI: kuudeskymmenesneljäsosanuotti
7205 @node sixty-fourth rest
7206 @section sixty-fourth rest
7209 @item UK: hemidemisemiquaver rest
7210 @item ES: silencio de semifusa
7211 @item I: pausa di semibiscroma
7212 @item F: seizième de soupir
7213 @item D: Vierundsechzigstelpause
7214 @item NL: vierenzestigste rust
7215 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7216 @item S: sextiofjärdedelspaus
7217 @item FI: kuudeskymmenesneljäsosatauko
7225 @section slash repeat
7228 @ref{percent repeat}.
7234 ES: ligadura de expresión,
7235 I: legatura (di portamento o espressiva),
7237 D: Bogen (Legatobogen, Phrasierungsbogen),
7238 NL: fraseringsboog, legatoboog, streekboog,
7239 DK: legatobue, fraseringsbue,
7243 A slur above or below a group of notes indicates that they are to be
7244 played @ref{legato}, e.g., with one stroke of the violin bow or with
7245 one breath in singing.
7248 No cross-references.
7252 @section solmization
7261 FI: suhteelliset laulunimet.
7263 General term for systems of designating the degrees of the
7264 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7265 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7269 @ref{scale}, @ref{scale degree}.
7284 In its present-day meaning a sonata denotes an instrumental
7285 composition for piano or for some other instrument with piano
7286 accompaniment, which consists of three or four independent pieces,
7290 No cross-references.
7294 @section sonata form
7298 F: [en] forme de sonate,
7300 NL: hoofdvorm, sonatevorm,
7305 A form used frequently for single movements of the @emph{sonata},
7306 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7307 three sections called @notation{exposition}, @notation{development} and
7308 @notation{recapitulation}. In the exposition the composer introduces some
7309 musical ideas, consisting of a number of themes; in the development section the
7310 composer @emph{develops} this material, and in the recapitulation the composer
7311 repeats the exposition, with certain modifications. The exposition contains a
7312 number of themes that fall into two groups, often called first and second
7313 subject. Other melodies occurring in each group are considered as continuations
7314 of these two. The second theme is in another key, normally in the key of the
7315 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7316 @notation{relative key} if the tonic is @notation{minor}.
7319 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7320 @ref{symphony}, @ref{tonic}.
7340 FI: sopraano, korkea naisääni.
7342 The highest female voice.
7345 No cross-references.
7353 F: staccato, piqué, détaché,
7358 FI: staccato, lyhyesti, terävästi.
7360 Playing the note(s) short. Staccato is indicated by a dot above or
7361 below the note head.
7363 @lilypond[quote,relative=2]
7367 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7373 No cross-references.
7380 ES: pentagrama, pauta,
7381 I: pentagramma, rigo (musicale),
7383 D: Notensystem, Notenzeile,
7384 NL: (noten)balk, partij,
7389 A staff (plural: staves) is a series of (normally five) horizontal
7390 lines upon and between which the musical notes are written, thus
7391 indicating (in connection with a @ref{clef}) their pitch. Staves for
7392 @ref{percussion} instruments may have fewer lines.
7394 @lilypond[quote,relative=1]
7415 D: Hals, Notenhals, Stiel,
7421 Vertical line above or below a @ref{note head} shorter than a
7424 @lilypond[quote,notime,relative=2]
7425 \set Score.autoBeaming = ##f
7439 ES: stringendo, acelerando,
7441 F: stringendo, en accélérant,
7446 FI: kiihdyttäen, nopeuttaen.
7448 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7467 A family of stringed musical instruments played with a bow. Strings
7468 commonly used in a symphony orchestra are violin, viola, violoncello,
7472 No cross-references.
7476 @section strong beat
7481 D: betonter Taktteil oder Taktschlag,
7483 D: betonet taktslag,
7484 S: betonat taktslag,
7485 FI: tahdin vahva isku.
7488 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7492 @section subdominant
7501 FI: subdominantti, alidominantti.
7503 The fourth @notation{scale degree}.
7506 @ref{functional harmony}, @ref{scale degree}.
7521 The sixth @notation{scale degree}.
7524 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7537 FI: subtoonika, alitoonika.
7539 The seventh @ref{scale degree}.
7542 @ref{functional harmony}, @ref{scale degree}.
7548 ES: sobre la cuerda de Sol,
7551 D: auf G, auf der G-Saite,
7557 Indicates that the indicated passage (or note) should be played on the
7561 No cross-references.
7565 @section superdominant
7576 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7579 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7594 The second @ref{scale degree}.
7597 @ref{functional harmony}, @ref{scale degree}.
7606 D: Sinfonie, Symphonie,
7612 A symphony may be defined as a @emph{sonata} for orchestra.
7619 @section syncopation
7630 Any deliberate upsetting of the normal pulse of @ref{meter},
7631 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7632 rhythm rests upon the grouping of equal beats into groups of two or
7633 three, with a regularly recurrent accent on the first beat of each
7634 group. Any deviation from this scheme is felt as a disturbance or
7635 contradiction between the underlaying (normal) pulse and the actual
7638 @lilypond[quote,relative=1]
7641 e16 c'8 e,16 c'8 e,16 c' ~
7646 No cross-references.
7649 @node syntonic comma
7650 @section syntonic comma
7652 ES: coma sintónica, coma de Dídimo,
7653 I: comma sintonico (o didimico),
7654 F: comma syntonique,
7655 D: syntonisches Komma,
7656 NL: syntonische komma,
7657 DK: syntonisk komma,
7658 S: syntoniskt komma,
7659 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7660 Pytagorisessa viritysjärjestelmässä.
7662 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7663 by which the ditone exceeds the pure major third obtained by Pythagorean
7664 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7666 Modern acoustical theory defines it as the interval by which four fifths exceed
7667 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7669 This comma is also known as the comma of Didymus, or didymic comma.
7672 @ref{Pythagorean comma}
7681 D: Notensystem, Partitur,
7687 The collection of staves (@notation{staff}), two or more, as used
7688 for writing down keyboard, chamber, choral, or orchestral music;
7689 a section of the score spanning the width of a single page.
7696 @section temperament
7701 D: Stimmung, Tem@-pe@-ra@-tur,
7702 NL: stemming, temperatuur,
7705 FI: viritysjärjestelmä.
7707 Systems of tuning in which the intervals deviate from the acoustically
7711 @ref{meantone temperament}, @ref{equal temperament}.
7714 @node tempo indication
7715 @section tempo indication
7717 ES: indicación de tempo,
7718 I: indicazione di tempo,
7719 F: indication de tempo,
7720 D: Zeitmaß, Tempobezeichnung,
7721 NL: tempo aanduiding,
7726 The rate of speed of a composition or a section thereof, ranging from the
7727 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7728 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7732 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7746 FI: tenori, korkea miesääni.
7748 The highest @q{natural} male voice (apart from @notation{countertenor}).
7773 ES: subrayado (tenuto),
7782 An indication that a particular note should be held for the whole
7783 length, although this can vary depending on the composer and era.
7786 No cross-references.
7805 @node thirty-second note
7806 @section thirty-second note
7809 @item UK: demisemiquaver
7812 @item F: triple croche
7813 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7814 @item NL: twee@-endertig@-ste (32e) noot
7815 @item DK: toogtredivtedelsnode
7816 @item S: trettiotvåondelsnot
7817 @item FI: kolmaskymmeneskahdesosanuotti
7824 @node thirty-second rest
7825 @section thirty-second rest
7828 @item UK: demisemiquaver rest
7829 @item ES: silencio de fusa
7830 @item I: pausa di biscroma
7831 @item F: huitième de soupir
7832 @item D: Zweiunddreissigstel@-pause
7833 @item NL: twee@-endertig@-ste (32e) rust
7834 @item DK: toogtredivtedelspause
7835 @item S: trettiotvåondelspaus
7836 @item FI: kolmaskymmeneskahdesosatauko
7844 @section thorough bass
7853 ES: ligadura de unión (o de prolongación),
7854 I: legatura (di valore),
7855 F: liaison (de tenue),
7856 D: Haltebogen, Bindebogen,
7857 NL: overbinding, bindingsboog,
7859 S: bindebåge, överbindning,
7862 A curved line, identical in appearance with the @ref{slur}, which
7863 connects two succesive notes of the same pitch, and which has the
7864 function of uniting them into a single sound (tone) equal to the
7867 @lilypond[quote,notime,relative=2]
7879 @node time signature
7880 @section time signature
7882 ES: indicación de compás,
7884 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7885 D: Taktangabe, Angabe der Taktart,
7888 S: taktartssignatur,
7891 The sign placed at the beginning of a composition to indicate its
7892 meter. It most often takes the form of a fraction, but a few signs
7893 derived from mensural notation and proportions are also employed.
7896 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7911 A sound of definite pitch and duration, as distinct from @emph{noise}.
7912 Tone is a primary building material of music.
7914 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7917 No cross-references.
7932 The first @notation{scale degree}.
7935 @ref{functional harmony}, @ref{scale degree}.
7938 @node transposing instrument
7939 @section transposing instrument
7941 ES: instrumento transpositor,
7942 I: strumento traspositore,
7943 F: instrument transpositeur,
7944 D: transponierende Instrumente,
7948 FI: transponoitava soitin.
7950 Instruments whose notated pitch is different from their sounded pitch. Except
7951 for those whose notated and sounding pitches differ by one or more octaves (to
7952 reduce the number of ledger lines needed), most such instruments are identified
7953 by the letter name of the pitch class of their fundamental. The pitch class is
7954 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7955 the instrument plays a notated C.
7957 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7958 the B-flat one tone lower. If played on the A clarinet, the same written
7959 note sounds the A (one and half tones -- a minor third -- lower).
7961 Not all transposing instruments include the pitch class in their name:
7964 @item Alto flute (in G)
7965 @item English horn (in F)
7966 @item Saxophones (in B-flat or E-flat)
7969 @ignore Can we do better?
7971 To make matters more complex, some instruments are transposing instruments,
7972 but their players play from parts written at concert pitch. This is the
7973 case for orchestral trombone and tuba players—whereas trombone players in
7974 brass bands treat their parts as if written for a true transposing
7975 instrument in B-flat.
7980 @ref{concert pitch}.
7984 @section transposition
7986 ES: transporte, transposición,
7995 Shifting a melody up or down in pitch, while keeping the same
7998 @lilypond[quote,line-width=13.0\cm]
8003 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8008 @lilypond[quote,line-width=13.0\cm]
8011 \transpose c bes \relative c'' {
8013 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8019 No cross-references.
8023 @section treble clef
8025 ES: clave de sol en segunda,
8026 I: chiave di violino,
8028 D: Violinschlüssel, Sopranschlüssel,
8050 On stringed instruments:
8054 @item The quick reiteration of the same tone, produced by a rapid
8055 up-and-down movement of the bow.
8057 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8058 in the distance of a third (@ref{interval}).
8062 @lilypond[quote,notime,relative=1]
8064 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8065 \repeat tremolo 8 { e32_"b" g }
8077 F: triade, accord parfait, accord de trois sons,
8093 F: trille, tremblement, battement (cadence),
8105 @section triple meter
8107 ES: compás ternario,
8110 D: Dreiertakt, ungerader Takt,
8111 NL: driedelige maatsoort,
8153 @section tuning fork
8155 ES: diapasón [de horquilla],
8156 I: diapason, corista,
8162 FI: viritysavain, äänirauta.
8164 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8165 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8166 standard. Tuning forks for other pitches are available.
8175 ES: grupo de valoración especial,
8176 I: gruppi irregolari,
8179 NL: Antimetrische figuur,
8184 A non-standard subdivision of a beat or part of a beat, usually
8185 indicated with a bracket and a number indicating the number of
8189 @ref{triplet}, @ref{note value}.
8195 ES: grupeto (circular),
8218 FI: unisono, yksiäänisesti.
8220 Playing of the same notes or the same melody by various instruments
8221 (voices) or by the whole orchestra (choir), either at exactly the same
8222 pitch or in a different octave.
8225 No cross-references.
8233 F: anacrouse, levée,
8254 FI: ääni, lauluääni.
8262 @item @ref{mezzo-soprano}
8263 @item @ref{contralto}
8265 @item @ref{baritone}
8269 @item A melodic layer or part of a polyphonic composition.
8274 No cross-references.
8280 ES: vez, primera y segunda vez,
8283 D: volta-Klammer, Wiederholungsklammer,
8287 FI: yksi kertauksen maaleista.
8289 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8290 or second ending. LilyPond extends this idea to any number, and allows any text
8291 (not just a number) -- to serve as the @notation{volta} text.
8294 No cross-references.
8301 I: tempo debole, arsi,
8303 D: unbetonter Taktteil oder Taktschlag,
8305 DK: ubetonet taktslag,
8306 S: obetonat taktslag,
8307 FI: tahdin heikko isku.
8310 @ref{beat}, @ref{measure}, @ref{rhythm}.
8321 @item D: Ganze, ganze Note
8325 @item FI: kokonuotti
8336 @item UK: semibreve rest
8337 @item ES: silencio de redonda
8338 @item I: pausa di semibreve
8340 @item D: ganze Pause, ganztaktige Pause
8342 @item DK: helnodespause
8363 The interval of a major second. The interval between two tones
8364 on the piano keyboard with exactly one key between them -- including
8365 black and white keys -- is a whole tone.
8383 A family of blown wooden musical instruments. Today some of these
8384 instruments are actually made from metal. The woodwind instruments
8385 commonly used in a symphony orchestra are flute, oboe, clarinet,
8386 saxophone, and bassoon.
8389 No cross-references.
8392 @node Duration names notes and rests
8393 @chapter Duration names notes and rests
8395 @multitable @columnfractions .12 .22 .22 .22 .22
8397 @headitem Lang. @tab note name
8401 @item @strong{US} @tab long
8405 @item @strong{UK} @tab longa
8409 @item @strong{ES} @tab longa
8410 @tab silencio de longa
8412 @tab silencio de cuadrada
8413 @item @strong{IT} @tab longa
8417 @item @strong{FR} @tab longa
8418 @tab quadruple-pause
8421 @item @strong{DE} @tab Longa
8425 @item @strong{NL} @tab longa
8429 @item @strong{DK} @tab longa
8430 @tab longanodespause
8432 @tab brevis(nodes)pause
8433 @item @strong{SE} @tab longa
8437 @item @strong{FI} @tab longa-nuotti
8439 @tab brevis-nuotti, kaksoiskoko@-nuotti
8440 @tab brevis-tauko, kaksoiskoko@-tauko
8444 @multitable @columnfractions .12 .22 .22 .22 .22
8446 @headitem Lang. @tab note name
8450 @item @strong{US} @tab whole note
8454 @item @strong{UK} @tab semibreve
8458 @item @strong{ES} @tab redonda
8459 @tab silencio de redonda
8461 @tab silencio de blanca
8462 @item @strong{IT} @tab semibreve
8463 @tab pause di semibreve
8465 @tab pausa di minima
8466 @item @strong{FR} @tab ronde
8470 @item @strong{DE} @tab ganze Note
8474 @item @strong{NL} @tab hele noot
8478 @item @strong{DK} @tab helnode
8482 @item @strong{SE} @tab helnot
8486 @item @strong{FI} @tab kokonuotti
8493 @multitable @columnfractions .12 .22 .22 .22 .22
8495 @headitem Lang. @tab note name
8499 @item @strong{US} @tab quarter note
8503 @item @strong{UK} @tab crotchet
8507 @item @strong{ES} @tab negra
8508 @tab silencio de negra
8510 @tab silencio de corchea
8511 @item @strong{IT} @tab semiminima, nera
8512 @tab pausa di semiminima, pausa di nera
8515 @item @strong{FR} @tab noire
8519 @item @strong{DE} @tab Viertelnote
8523 @item @strong{NL} @tab kwartnoot
8527 @item @strong{DK} @tab fjerdedelsnode
8528 @tab fjerdedelspause
8529 @tab ottendedelsnode
8530 @tab ottendedelspause
8531 @item @strong{SE} @tab fjärdedelsnot
8535 @item @strong{FI} @tab neljäsosa@-nuotti
8536 @tab neljäsosa@-tauko
8537 @tab kahdeksasosa@-nuotti
8538 @tab kahdeksasosa@-tauko
8542 * About the French naming system: @notation{croche} refers to the note's
8543 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8544 @q{doubled hook}, @q{trebled hook}, and so on.
8546 The rest names are based on the @notation{soupir}, or quarter rest.
8547 Subsequent rests are expressed as fractions thereof: half a
8548 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8550 Each of the following tables contains one type of note and its matching rest,
8551 with abbreviations that apply to both notes and rests. Just switch the part
8552 that means @q{note} with the part that means @q{rest}, for example:
8556 @item English: 16th @strong{note}, 16th @strong{rest}
8557 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8558 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8562 Editor's note: I put a dash @q{-} when I could not find a language-specific
8563 abbreviation for a duration name. If you know of one that I missed, please
8564 send it to me, care of the lilypond-user discussion list.
8566 @multitable @columnfractions .10 .35 .35 .20
8568 @headitem Lang. @tab Note name
8571 @item @strong{US} @tab sixteenth note
8574 @item @strong{UK} @tab semiquaver
8575 @tab semiquaver rest
8577 @item @strong{ES} @tab semicorchea
8578 @tab silencio de semicorchea
8580 @item @strong{IT} @tab semicroma
8581 @tab pausa di semicroma
8583 @item @strong{FR} @tab double croche
8584 @tab quart de soupir
8586 @item @strong{DE} @tab Sechzehntelnote
8587 @tab Sechzehntelpause
8589 @item @strong{NL} @tab zes@-ti@-ende noot
8590 @tab zes@-ti@-ende rust
8592 @item @strong{DK} @tab sekstendedelsnode
8593 @tab sekstendedelspause
8595 @item @strong{SE} @tab sextondelsnot
8598 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8599 @tab kuudes@-toistaosa@-tauko
8604 @multitable @columnfractions .10 .35 .35 .20
8606 @headitem Lang. @tab Note name
8609 @item @strong{US} @tab thirty-second note
8610 @tab thirty-second rest
8612 @item @strong{UK} @tab demisemiquaver
8613 @tab demisemiquaver rest
8615 @item @strong{ES} @tab fusa
8616 @tab silencio de fusa
8618 @item @strong{IT} @tab biscroma
8619 @tab pausa di biscroma
8621 @item @strong{FR} @tab triple croche
8622 @tab huitième de soupir
8624 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8625 @tab Zweiunddreißig@-stelpause
8627 @item @strong{NL} @tab twee@-endertigste noot
8628 @tab twee@-endertigste rust
8630 @item @strong{DK} @tab toogtredivtedelsnode
8631 @tab toogtredivtedelspause
8633 @item @strong{SE} @tab trettio@-tvåondelsnot
8634 @tab trettio@-tvåondelspaus
8636 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8637 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8642 @multitable @columnfractions .10 .35 .35 .20
8644 @headitem Lang. @tab Note name
8647 @item @strong{US} @tab sixty-fourth note
8648 @tab sixty-fourth rest
8650 @item @strong{UK} @tab hemidemisemiquaver
8651 @tab hemidemisemiquaver rest
8653 @item @strong{ES} @tab semifusa
8654 @tab silencio de semifusa
8656 @item @strong{IT} @tab semibiscroma
8657 @tab pausa di semibiscroma
8659 @item @strong{FR} @tab quadruple croche
8660 @tab seizième de soupir
8662 @item @strong{DE} @tab Vierundsechzigstelnote
8663 @tab Vierundsechzigstelpause
8665 @item @strong{NL} @tab vierenzestigste noot
8666 @tab vierenzestigste rust
8668 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8669 @tab fireog@-tredsindstyven@-dedelspause
8671 @item @strong{SE} @tab sextiofjärdedelsnot
8672 @tab sextiofjärdedelspaus
8674 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8675 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8680 @multitable @columnfractions .10 .35 .35 .20
8682 @headitem Lang. @tab Note name
8685 @item @strong{US} @tab one-hundred-twenty-eighth note
8686 @tab one-hundred-twenty-eighth rest
8688 @item @strong{UK} @tab semihemidemisemiquaver
8689 @tab semihemidemisemiquaver rest
8691 @item @strong{ES} @tab garrapatea
8692 @tab silencio de garrapatea
8694 @item @strong{IT} @tab fusa
8697 @item @strong{FR} @tab quintuple croche
8698 @tab trente-deuxième de soupir @tab -
8699 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8700 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8701 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8702 @tab honderd@-acht@-en@-twintigste rust
8704 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8705 @tab hundrede@-otte@-og@-tyvendedels@-pause
8707 @item @strong{SE} @tab hundratjugoåttondelsnot
8708 @tab hundratjugoåttondelspaus
8710 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8711 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8716 @multitable @columnfractions .10 .35 .35 .20
8718 @headitem Lang. @tab Note name
8721 @item @strong{US} @tab two-hundred-fifty-sixth note
8722 @tab two-hundred-fifty-sixth rest
8724 @item @strong{UK} @tab demisemihemidemisemiquaver
8725 @tab demisemihemidemisemiquaver rest
8727 @item @strong{ES} @tab semigarrapatea
8728 @tab silencio de semigarrapatea @tab -
8729 @item @strong{IT} @tab semifusa
8730 @tab pausa di semifusa
8732 @item @strong{FR} @tab sextuple croche
8733 @tab soixante-quatrième de soupir @tab -
8734 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8735 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8736 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8737 @tab tweehonderd@-zesenvijftigste rust
8739 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8740 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8742 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8743 @tab tvåhundra@-femtiosjättedelspaus
8745 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8746 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8752 @ref{mensural notation}
8756 @chapter Pitch names
8759 -is/-es endings for Danish per Rune Zedeler, pace,
8760 and for Finnish per Risto Vääräniemi;
8761 -iss/-ess endings for Swedish per Mats Bengtsson
8762 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8764 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8765 multiple lines -- as texinfo needs it to allow enough space for the
8766 table entries. (For the curious, it's a list of the widest items in
8767 each column of the table. Romance pitch names are two characters,
8768 except for g (sol) ... so there you go.)
8771 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8772 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8773 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8774 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8775 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8776 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8777 @tab des @tab des @tab dess @tab des
8778 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8779 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8780 @tab dis @tab dis @tab diss @tab dis
8781 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8782 @tab es @tab es @tab ess @tab es
8783 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8784 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8785 @tab Fes @tab fes @tab fes @tab fess @tab fes
8786 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8787 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8788 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8789 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8790 @tab fis @tab fis @tab fiss @tab fis
8791 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8792 @tab ges @tab ges @tab gess @tab ges
8793 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8794 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8795 @tab Gis @tab gis @tab gis @tab giss @tab gis
8796 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8797 @tab as @tab as @tab ass @tab as
8798 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8799 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8800 @tab ais @tab ais @tab aiss @tab ais
8801 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8802 @tab bes @tab b @tab b @tab b
8803 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8804 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8805 @tab ces @tab ces @tab cess @tab ces
8806 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8807 @tab His @tab bis @tab his @tab hiss @tab his
8811 @node Non-Western terms A-Z
8812 @chapter Non-Western terms A-Z
8832 This is a stub for @code{bayati}.
8836 @ruser{Arabic key signatures}.
8843 This is a stub for @code{iraq}.
8847 @ruser{Arabic key signatures}.
8854 This is a stub for @code{kurd}.
8858 @ruser{Arabic key signatures}.
8865 This is a stub for @code{makam}.
8869 @ruser{Turkish classical music}.
8876 This is a stub for @code{makamlar}.
8880 @ruser{Turkish classical music}.
8887 This is a stub for @code{maqam}.
8891 @ruser{Arabic music},
8892 @ruser{Arabic key signatures}.
8899 This is a stub for @code{rast}.
8903 @ruser{Arabic key signatures}.
8910 This is a stub for @code{semai}.
8914 @ruser{Arabic key signatures}.
8921 This is a stub for @code{sikah}.
8925 @ruser{Arabic key signatures}.
8932 This is a stub for @code{taqasim}.
8936 @ruser{Arabic key signatures}.
8939 @node Literature used
8940 @appendix Literature used
8943 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8944 Cambridge: Belknap Press (Harvard University Press), 1944.
8946 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8949 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8950 Terminologie}. Kassel, 1980.
8952 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8953 Current English}, 3rd ed. London: Oxford University Press, 1974.
8955 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8956 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8958 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8959 Cambridge: Belknap Press (Harvard University Press), 1986.
8961 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.