1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2009 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2009 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
185 @c @rlearning{About the documentation}.
191 @w{@expansion{}@strong{\word\}}@c
194 @expansion{}@ref{\word\, @strong{\word\}}@c
199 * Musical terms A-Z::
200 * Duration names notes and rests::
205 @node Musical terms A-Z
206 @chapter Musical terms A-Z
208 Languages in this order.
210 @item UK - British English (where it differs from American English)
239 * ancient minor scale::
244 * ascending interval::
246 * augmented interval::
283 * compound interval::
287 * conjunct movement::
302 * descending interval::
305 * diminished interval::
309 * disjunct movement::
311 * dissonant interval::
315 * dominant ninth chord::
316 * dominant seventh chord::
318 * dot (augmentation dot)::
320 * double appoggiatura::
322 * double dotted note::
325 * double time signature::
332 * ecclesiastical mode::
339 * equal temperament::
360 * functional harmony::
381 * inverted interval::
396 * long appoggiatura::
403 * meantone temperament::
410 * mensural notation::
415 * metronomic indication::
428 * multi-measure rest::
458 * polymetric time signature::
463 * Pythagorean comma::
494 * sixty-fourth note::
495 * sixty-fourth rest::
526 * thirty-second note::
527 * thirty-second rest::
534 * transposing instrument::
588 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
589 @notation{a due} indicates that:
593 @item A single part notated on a single staff that normally carries parts
594 for two players (e.g. first and second oboes) is to be played by both
597 @item Or conversely, that two pitches or parts notated on a staff that
598 normally carries a single part (e.g. first violin) are to be played by
599 different players, or groups of players (@q{desks}).
612 F: accelerando, en accélérant,
613 D: accelerando, schneller werden,
617 FI: accelerando, kiihdyttäen.
619 [Italian: @q{speed up, accelerate}]
637 FI: aksentti, korostus.
639 The stress of one tone over others.
653 @section acciaccatura
657 F: acciaccatura, appoggiature brève,
664 A grace note which takes its time from the rest or note preceding the
665 principal note to which it is attached. The acciaccatura is drawn as a small
666 eighth note (quaver) with a line drawn through the flag and stem.
669 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
675 ES: alteración accidental,
677 F: altération accidentelle,
678 D: Versetzungszeichen, Akzidenz,
679 NL: toevallig (verplaatsings)teken,
681 S: tillfälligt förtecken,
682 FI: tilapäinen etumerkki.
684 An accidental alters a note by:
688 @item Raising its pitch:
690 @item By two semitones—@notation{double sharp}
691 @item By one semitone—@notation{sharp}
694 @item Lowering its pitch:
696 @item By one semitone—@notation{flat}
697 @item By two semitones—@notation{double flat}
700 @item Or canceling the effects of the key signature or previous accidentals.
703 @lilypond[quote,notime]
707 \set Staff.extraNatural = ##f
708 gisis1 gis g! ges geses
713 \center-column { double sharp }
719 \center-column { double flat }
725 \override SpacingSpanner
726 #'base-shortest-duration = #(ly:make-moment 1 32)
733 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
746 FI: adagio, hitaasti.
748 [Italian: @q{comfortable, easy}]
752 @item Slow tempo, slower -- especially in even meter -- than
753 @notation{andante} and faster than @notation{largo}.
755 @item A movement in slow tempo, especially the second (slow) movement
756 of sonatas, symphonies, etc.
761 @ref{andante}, @ref{largo}, @ref{sonata}.
769 F: al niente, en mourant,
774 FI: häviten olemattomiin.
776 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
777 that the sound should fade away to nothing.
779 @notation{Al niente} is indicated by circling the tip of the hairpin:
781 @lilypond[quote,relative=2]
782 \override Hairpin #'circled-tip = ##t
788 or with the actual phrase @notation{al niente}:
790 @lilypond[quote,relative=2]
792 \override DynamicTextSpanner #'(bound-details right text) =
793 \markup { \italic { al niente } }
799 Since one does not crescendo @emph{to} nothing, it is not correct to use
800 @notation{al niente} with @notation{crescendo}. Instead, one should use
801 @emph{dal niente} (@notation{@b{from} nothing}).
804 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
812 F: alla breve, à la brève,
819 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
821 Also called @notation{in cut-time}. The name derives from mensural
822 notation, where the @notation{tactus} (or beat) is counted on the semibreve
823 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
824 next longest note value, which (in modern usage) effectively halves all note
827 In mensural notation, breves and semibreves can have a ternary relationship,
828 in which case @notation{alla breve} means thrice (not twice) as fast. In
829 practice, this complication may not have mattered, since Gaffurius's system
830 of multiplex proportions makes it easy to explicitly state which proportion
834 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
835 @ref{proportion}, @ref{whole note}.
843 F: allegro, gaiement,
844 D: Allegro, Schnell, Fröhlich, Lustig,
848 FI: allegro, nopeasti.
850 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
851 quick tempo, especially the first and last movements of a sonata.
864 NL: verhoging of verlaging,
869 An alteration is the modification, raising or lowering, of a note's
870 pitch. It is established by an accidental.
872 @c TODO: add second meaning from mensural notation
888 FI: altto, matala naisääni.
890 A female voice of low range (@emph{contralto}). Originally the alto was a
891 high male voice (hence the name), which by castration or the use of falsetto
892 reached the height of the natural female voice. This type of voice is also
893 known as countertenor.
902 ES: clave de do en tercera,
903 I: chiave di contralto,
904 F: clef d'ut troisième ligne,
905 D: Altschlüssel, Bratschenschlüssel,
911 C clef setting middle C on the middle line of the staff.
922 F: ambitus, tessiture,
927 FI: ambitus, ääniala, soitinala.
929 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
930 Denotes a range of pitches for a given voice in a part of music. It may
931 also denote the pitch range that a musical instrument is capable of playing.
932 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
950 An anacrusis (also known as pickup or upbeat) is an incomplete measure
951 of music before a section of music. It also refers to the initial
952 note(s) of a melody occurring in that incomplete measure.
954 @lilypond[quote,relative=1]
965 @ref{measure}, @ref{meter}.
968 @node ancient minor scale
969 @section ancient minor scale
971 ES: escala menor natural,
972 I: scala minore naturale,
973 F: forme du mode mineur ancien, troisème mode, mode hellénique,
974 D: reines Moll, natürliches Moll,
975 NL: authentieke mineurtoonladder,
978 FI: luonnollinen molliasteikko.
980 Also called @q{natural minor scale}.
982 @lilypond[quote,notime,relative=2]
988 @ref{diatonic scale}.
1001 FI: andante, käyden.
1003 [Italian: present participle of @emph{andare}, @q{to walk}]
1005 Walking tempo/character.
1008 No cross-references.
1012 @section appoggiatura
1016 F: appoggiature, (port de voix),
1017 D: Vorschlag, Vorhalt
1021 FI: appoggiatura, etuhele.
1023 Ornamental note, usually a second, that is melodically connected with
1024 the main note following it. In music before the 19th century
1025 appoggiature were usually performed on the beat, after that mostly
1026 before the beat. While the short appoggiatura is performed as a short
1027 note regardless of the duration of the main note the duration of the
1028 long appoggiatura is proportional to that of the main note.
1030 @lilypond[quote,relative=2]
1033 <d a fis>4_"notation" r
1040 \set Score.measurePosition = #ZERO-MOMENT
1041 <d, a fis>4_"performance" r
1047 An appoggiatura may have more notes preceding the main note.
1049 @lilypond[quote,relative=2]
1052 \grace bes16 as8-"notation" as16 bes as8 g |
1053 \grace { as16[( bes] } <c as>4)
1054 \grace { as16[( bes] } <c as>4) \bar "||"
1056 \grace bes16 as8-"performance" as16 bes as8 g |
1060 as32 bes c8. as32 bes c8.
1064 as16 ~ as8. as16 ~ as8.
1070 No cross-references.
1079 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1080 NL: gebroken akoord,
1081 DK: arpeggio, akkordbrydning,
1083 FI: arpeggio, murtosointu.
1085 [Italian: @q{harp-like, played like a harp}]
1087 @lilypond[quote,line-width=13\cm]
1089 \context Staff = "SA" {
1093 r8 g16 c e g, c e r8 g,16 c e g, c e
1094 r8 a,16 d f a, d f r8 a,16 d f a, d f
1098 \context Staff = "SB" {
1104 r16 e8. ( e4) r16 e8. ( e4)
1105 r16 d8. ( d4) r16 d8. ( d4)
1119 No cross-references.
1123 @section articulation
1132 FI: artikulaatio, ilmaisu.
1134 Articulation refers to notation which indicates how a note or notes
1135 should be played. Slurs, accents, staccato, and legato are all
1136 examples of articulation.
1139 No cross-references.
1142 @node ascending interval
1143 @section ascending interval
1145 ES: intervalo ascendente,
1146 I: intervallo ascendente,
1147 F: intervalle ascendant,
1148 D: steigendes Intervall,
1149 NL: stijgend interval,
1150 DK: stigende interval,
1151 S: stigande intervall,
1152 FI: nouseva intervalli.
1154 A distance between a starting lower note and a higher ending note.
1157 No cross-references.
1160 @node augmented interval
1161 @section augmented interval
1163 ES: intervalo aumentado,
1164 I: intervallo aumentato,
1165 F: intervalle augmenté,
1166 D: übermäßiges Intervall,
1167 NL: overmatig interval,
1168 DK: forstørret interval,
1169 S: överstigande intervall,
1170 FI: ylinouseva intervalli.
1177 @section augmentation
1186 FI: aika-arvojen pidentäminen.
1188 @c TODO: add definition.
1190 This is a placeholder for augmentation (wrt mensural notation).
1193 @ref{diminution}, @ref{mensural notation}.
1201 F: manuscrit, autographe
1202 D: Autograph, Handschrift,
1204 DK: håndskrift, autograf,
1206 FI: käsinkirjoitettu nuotti.
1210 @item A manuscript written in the composer's own hand.
1212 @item Music prepared for photoreproduction by freehand drawing, with
1213 the aid of a straightedge ruler and T-square only, which attempts to
1214 emulate engraving. This required more skill than did engraving.
1219 No cross-references.
1237 @ref{H}, @ref{Pitch names}
1257 ES: barra, línea divisoria,
1258 I: stanghetta, barra (di divisione),
1259 F: barre (de mesure),
1266 A vertical line through the staff (or through multiple staves) that
1267 separates measures. Used very infrequently during the Renaissance (mostly
1268 in secular music, or in sacred music to indicate congruences between parts
1269 in otherwise-unmetered music).
1285 FI: baritoni, keskikorkuinen miesääni.
1287 The male voice intermediate in pitch between the bass and the tenor.
1289 @c F: clef de troisième ligne dropped
1292 @ref{bass}, @ref{tenor}.
1296 @section baritone clef
1298 ES: clave de fa en tercera,
1299 I: chiave di baritono,
1300 F: clef d'ut cinquième ligne, clef de fa troisième,
1301 D: Baritonschlüssel,
1307 C or F clef setting middle C on the upper staff line.
1310 @ref{C clef}, @ref{F clef}.
1323 FI: basso, matala miesääni.
1327 @item The lowest male voice.
1329 @item Sometimes, especially in jazz music, used as an abbreviation for
1341 ES: clave de fa en cuarta,
1343 F: clef de fa quatrième ligne,
1350 A clef setting with middle C on the first top ledger line.
1361 F: ligature, barre (de croches),
1368 Line connecting a series of notes (shorter than a quarter note). The
1369 number of beams determines the note value of the connected notes.
1371 @lilypond[quote,notime,relative=2,line-width=13\cm]
1372 g8-"1/8"[ g g g] s16
1373 g16-"1/16"[ g g g] s
1374 g32-"1/32"[ s g s g s g] s16
1375 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1379 @ref{feathered beam}.
1385 ES: tiempo, parte (de compás)
1388 D: Takt, Taktschlag, Zeit (im Takt),
1394 Note value used for counting, most often half-, fourth-, and eighth notes.
1395 The base counting value and the number of them in each measure is indicated
1396 at the start of the music by the @notation{time signature}.
1398 @lilypond[quote,relative=2]
1401 g4 c b a | g1 \bar "||"
1403 g8 d' c | b c a | g4. \bar "||"
1407 @ref{time signature}.
1411 @section beat repeat
1414 @ref{percent repeat}.
1427 ES: llave, corchete,
1430 D: Klammer, Akkolade,
1431 NL: accolade, teksthaak,
1434 FI: yhdistävä sulkumerkki.
1436 Symbol at the start of a system connecting staves.
1438 Curly braces are used for connecting piano staves, and sometimes for connecting
1439 the staves of like instruments in an orchestral score when written on different
1440 staves (e.g. first and second flutes):
1444 \context Staff = "SA" {
1450 \context Staff = "SB" {
1460 Angular brackets for connecting parts in an orchestral or choral score:
1464 \context Staff = "SA" {
1470 \context Staff = "SB" {
1481 No cross-references.
1506 NL: koper (blazers),
1509 S: brassinstrument, mässingsinstrument,
1512 A family of blown musical instruments made of brass, all using a cup
1513 formed mouth piece. The brass instruments commonly used in a symphony
1514 orchestra are trumpet, trombone, french horn, and tuba.
1517 No cross-references.
1521 @section breath mark
1526 D: Atemzeichen, Trennungszeichen,
1527 NL: repercussieteken,
1528 DK: vejrtrækningstegn,
1532 Indication of where to breathe in vocal and wind instrument parts.
1542 @item US: breve, double-whole note
1543 @item ES: cuadrada, breve
1550 @item FI: brevis, kaksoiskokonuotti
1553 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1555 Mainly used in music from before 1650. In mensural notation, it was a note
1556 of fairly short duration—hence the name, which is Latin for @q{short} or
1557 @q{of short duration}.
1559 @lilypond[quote,notime,relative=2]
1564 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1597 Clef symbol indicating the position of the middle C. Used on all note
1600 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1602 \override Staff.Clef #'full-size-change = ##t
1604 \clef mezzosoprano c1
1610 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1611 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1616 No cross-references.
1629 FI: kadenssi, lopuke.
1632 @ref{harmonic cadence}, @ref{functional harmony}.
1645 FI: kadenssi, lopuke.
1647 An extended, improvisatory style section inserted near the end of
1648 movement. The purpose of a cadenza is to give singers or players a
1649 chance to exhibit their technical skill and -- not last -- their
1650 ability to improvise. Since the middle of the 19th century, however,
1651 most cadenzas have been written down by the composer.
1654 No cross-references.
1669 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1671 The break between two musical phrases, sometimes (but not always) marked by a
1672 rest or a breath mark.
1688 FI: kaanon, tarkka jäljittely.
1704 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1705 viritysjärjestelmässä.
1707 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1708 an octave (1/100 of an equally tempered semitone).
1711 @ref{equal temperament}, @ref{semitone}.
1733 Three or more tones sounding simultaneously. In traditional European music
1734 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1735 (major + minor third) as well as @emph{minor} (minor + major third) chords
1736 may be extended with more thirds. Four-tone @emph{seventh chords} and
1737 five-tone @emph{ninth} major chords are most often used as dominants
1738 (functional harmony). Chords having no third above the lower notes to
1739 define their mood are a special case called @q{open chords}. The lack of
1740 the middle third means their quality is ambivalent -- neither major nor
1743 @lilypond[quote,notime,line-width=13.0\cm]
1747 \set Staff.extraNatural = ##f
1768 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1772 @node chromatic scale
1773 @section chromatic scale
1775 ES: escala cromática,
1777 F: gamme chromatique,
1778 D: chro@-ma@-ti@-sche Tonleiter,
1779 NL: chromatische toonladder,
1780 DK: kromatisk skala,
1782 FI: kromaattinen asteikko.
1784 A scale consisting of all 12 semitones.
1786 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1787 c1 cis d dis e f fis g gis a ais b c
1795 @section chromaticism
1806 Using tones extraneous to a diatonic scale (minor, major).
1809 @ref{diatonic scale}.
1813 @section church mode
1815 ES: modo eclesiástico,
1816 I: modo ecclesiastico,
1817 F: mode ecclésiastique, mode d'église,
1822 FI: moodi, kirkkosävellaji.
1825 @ref{diatonic scale}.
1834 D: Schlüssel, Notenschlüssel,
1838 FI: avain, nuottiavain.
1840 The clef indicates which lines of the staff correspond to which
1841 pitches. The three clef symbols in common use are:
1846 \line { The Treble or G clef: }
1848 \line { The Bass or F clef: }
1850 \line { The Alto or C clef: }
1854 \musicglyph #"clefs.G"
1856 \musicglyph #"clefs.F"
1858 \musicglyph #"clefs.C"
1863 Imagine a large staff of 11 lines centered on middle C, sometimes
1864 called a @q{grand staff}, with the bottom line representing low G and
1865 the top line high F:
1870 %-- Note names above treble staff --%
1872 \set printOctaveNames = ##t
1874 \once \override NoteName #'color = #red
1878 %-- Treble Staff --%
1880 \override Staff.Clef #'stencil = ##f
1886 %-- Alto Staff reduced to a single line on middle C --%
1888 \override Staff.StaffSymbol #'line-count = #1
1889 \override Staff.StaffSymbol #'color = #red
1890 \override Staff.Clef #'stencil = ##f
1893 \override NoteHead #'color = #red
1899 \override Staff.Clef #'stencil = ##f
1908 \override SpacingSpanner
1909 #'base-shortest-duration = #(ly:make-moment 1 1)
1910 \override NonMusicalPaperColumn
1911 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1912 \override BarLine #'stencil = ##f
1916 \remove "Time_signature_engraver"
1922 Staves of five lines are usually used, and the clef superimposed on
1923 them indicates which five lines have been selected from this
1924 @samp{grand staff}. For example, the treble or G clef indicates that
1925 the top five lines have been selected:
1930 %-- Note names above treble staff --%
1932 \set printOctaveNames = ##t
1934 \once \override NoteName #'color = #red
1939 %-- Treble Staff --%
1941 \once \override Staff.Clef #'stencil = ##f
1944 \override Staff.Clef #'full-size-change = ##t
1945 \set Staff.forceClef = ##t
1949 %-- Alto Staff reduced to a single line on middle C --%
1951 \override Staff.StaffSymbol #'line-count = #1
1952 \override Staff.StaffSymbol #'color = #red
1953 \override Staff.Clef #'stencil = ##f
1956 \override NoteHead #'color = #red
1961 \override Staff.Clef #'stencil = ##f
1969 \override SpacingSpanner
1970 #'base-shortest-duration = #(ly:make-moment 2 1)
1971 \override NonMusicalPaperColumn
1972 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1973 \override BarLine #'stencil = ##f
1977 \remove "Time_signature_engraver"
1983 The @q{curl} of the G clef is centered on the line that represents the
1986 In the same way, the bass or F clef indicates that the bottom five
1987 lines have been selected from the @samp{grand staff}, and the alto or
1988 C clef indicates the middle five lines have been selected. This
1989 relationship is shown below, where the notes show an arpeggio on a C
1995 %-- Treble Staff --%
2003 \override Staff.StaffSymbol #'line-count = #1
2004 \once \override Staff.Clef #'stencil = ##f
2009 \revert Staff.StaffSymbol #'stencil
2010 \override Staff.StaffSymbol #'color = #red
2013 \stopStaff \startStaff
2014 \revert Staff.StaffSymbol #'line-count
2015 \revert Staff.StaffSymbol #'color
2016 \stopStaff \startStaff
2017 \override Staff.Clef #'full-size-change = ##t
2018 \set Staff.forceClef = ##t
2033 \override SpacingSpanner #'base-shortest-duration =
2034 #(ly:make-moment 2 1)
2035 \override NonMusicalPaperColumn
2036 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2037 \override BarLine #'stencil = ##f
2041 \remove "Time_signature_engraver"
2048 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2061 FI: klusteri, cluster.
2063 A @emph{cluster} is a range of simultaneously sounding pitches that
2064 may change over time. The set of available pitches to apply usually
2065 depends on the acoustic source. Thus, in piano music, a cluster
2066 typically consists of a continuous range of the semitones as provided
2067 by the piano's fixed set of a chromatic scale. In choral music, each
2068 singer of the choir typically may sing an arbitrary pitch within the
2069 cluster's range that is not bound to any diatonic, chromatic or other
2070 scale. In electronic music, a cluster (theoretically) may even cover
2071 a continuous range of pitches, thus resulting in colored noise, such
2074 Clusters can be denoted in the context of ordinary staff notation by
2075 engraving simple geometrical shapes that replace ordinary notation of
2076 notes. Ordinary notes as musical events specify starting time and
2077 duration of pitches; however, the duration of a note is expressed by
2078 the shape of the note head rather than by the horizontal graphical
2079 extent of the note symbol. In contrast, the shape of a cluster
2080 geometrically describes the development of a range of pitches
2081 (vertical extent) over time (horizontal extent). Still, the
2082 geometrical shape of a cluster covers the area in which any single
2083 pitch contained in the cluster would be notated as an ordinary note.
2085 @lilypond[quote,relative=2]
2086 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2090 No cross-references.
2103 FI: komma, korvinkuultava ero äänenkorkeudessa.
2105 Difference in pitch between a note derived from pure tuning and the
2106 same note derived from some other tuning method.
2109 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2114 @section common meter
2116 Another name for @ref{common time}.
2119 @ref{common time}, @ref{meter}.
2123 @section common time
2134 4/4 time. The symbol, which resembles a capital letter C, comes from
2138 @ref{mensural notation}, @ref{meter}.
2144 ES: intervalo invertido,
2146 F: intervalle complémentaire,
2147 D: Komplementärintervall,
2148 NL: complementair interval,
2149 DK: komplementærinterval,
2150 S: komplementärintervall (?),
2151 FI: täydentävä intervalli.
2154 @ref{inverted interval}.
2157 @node compound interval
2158 @section compound interval
2160 ES: intervalo compuesto,
2161 I: intervallo composto,
2162 F: intervalle composé,
2163 D: weites Intervall,
2164 NL: samengesteld interval,
2165 DK: sammensat interval,
2166 S: sammansatt intervall,
2167 FI: oktaavia laajempi intervalli.
2169 Intervals larger than an octave.
2175 @node compound meter
2176 @section compound meter
2178 ES: compás compuesto, compás de subdivisión ternaria,
2185 FI: kolmijakoinen tahtilaji.
2187 A meter that includes a triplet subdivision within the beat, such as
2191 @ref{meter}, @ref{simple meter}.
2195 @section compound time
2197 ES: compás compuesto, compás de amalgama (def. 2),
2204 FI: yhdistetty tahtilajiosoitus.
2209 A meter that includes a triplet subdivision within the beat: see
2210 @ref{compound meter}.
2213 A time signature that additively combines two or more unequal meters, e.g.,
2214 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2218 @lilypond[quote,line-width=13.0\cm]
2219 #(define ((compound-time one two three num) grob)
2220 (grob-interpret-markup grob
2222 #:override '(baseline-skip . 0)
2225 #:left-column (one num)
2227 #:left-column (two num)
2229 #:left-column (three num)))))
2233 #(set-time-signature 8 8 '(3 2 3))
2234 \override Staff.TimeSignature #'stencil =
2235 #(compound-time "3" "2" "3" "8")
2236 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2237 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2246 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2250 @section concert pitch
2252 ES: en Do, afinación de concierto,
2254 F: tonalité de concert, en ut,
2259 FI: konserttikorkeus.
2261 The pitch at which the piano and other nontransposing instruments play: such
2262 instruments are said to be @q{in C}. The following list includes some (but not
2263 all) instruments that play in concert pitch:
2265 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2267 @multitable {alto trombone} {tenor trombone} {bass trombone}
2268 @headitem Woodwinds @tab Brass @tab Strings
2281 @item tenor trombone
2295 The trombones are a special case: although they are said to be @q{in F} (alto or
2296 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2297 their parts' transposition. (In fact, the trombones' parts are written at
2298 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2299 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2302 Instruments that play @q{in C} but in a different octave than what is written
2303 are, technically speaking, @emph{transposing instruments}:
2307 @item piccolo (plays an octave higher than written)
2308 @item celesta (plays an octave higher than written)
2309 @item classical guitar (plays an octave lower than written)
2310 @item double bass (plays an octave lower than written)
2315 @ref{transposing instrument}.
2318 @node conjunct movement
2319 @section conjunct movement
2321 ES: movimiento conjunto,
2323 F: mouvement conjoint,
2324 D: schritt@-weise, stufenweise Bewegung,
2325 NL: stapsgewijze, trapsgewijze beweging,
2326 DK: trinvis bevægelse,
2328 FI: asteittainen liike.
2330 Progressing melodically by intervals of a second, as contrasted with
2331 @emph{disjunct movement}.
2333 @lilypond[quote,relative=2,line-width=13.0\cm]
2336 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2340 @ref{disjunct movement}.
2353 FI: konsonanssi, sopusointi.
2376 @section copying music
2378 A music copyist did fast freehand scores and parts on preprinted staff
2379 lines for performance. Some of their conventions (e.g., the placement
2380 of note heads on stems) varied slightly from those of engravers. Some
2381 of their working methods were superior and could well be adopted by
2384 @c Copying music required more skill than engraving. Flagged for NPOV
2387 No cross-references.
2391 @section counterpoint
2400 FI: kontrapunkti, ääni ääntä vastaan.
2402 From Latin @emph{punctus contra punctum}, note against note. The
2403 combination into a single musical fabric of lines or parts which have
2404 distinct melodic significance. A frequently used polyphonic technique
2405 is imitation, in its strictest form found in the canon needing only
2406 one part to be written down while the other parts are performed with a
2407 given displacement. Imitation is also the contrapuntal technique
2408 used in the @emph{fugue} which, since the music of the baroque era,
2409 has been one of the most popular polyphonic composition methods.
2411 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2413 \context Staff = SA \relative c' {
2417 << \context Voice = rha {
2419 r1 | r2 r8 g'8 bes d, |
2420 cis4 d r8 e!16 f g8 f16 e |
2421 f8 g16 a bes8 a16 g a8
2423 \context Voice = rhb {
2429 \context Staff = SB \relative c' {
2432 << \context Voice = lha {
2434 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2435 r8 a16 g f8 g16 a bes8 g e! cis' |
2438 \context Voice = lhb {
2447 No cross-references.
2451 @section countertenor
2456 D: Countertenor, Kontratenor,
2459 S: kontratenor, counter tenor,
2472 D: Crescendo, lauter werden,
2476 FI: cresendo, voimistuen.
2478 Increasing volume. Indicated by a rightwards opening horizontal wedge
2479 (hairpin) or the abbreviation @notation{cresc.}.
2481 @lilypond[quote,relative=2]
2484 g4\< a b c | d1\! \bar "|."
2488 @ref{decrescendo}, @ref{hairpin}.
2496 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2503 Notes belonging to one part printed in another to hint when to start
2504 playing. Usually printed in a smaller type.
2507 Compare: @ref{ossia}.
2516 D: Notenzeiger, Custos,
2522 A custos (plural: custodes) is a staff symbol that appears at the end of a
2523 staff line with monophonic musical contents (i.e., with a single voice). It
2524 anticipates the pitch of the first note of the following line and thus helps
2525 the player or singer to manage line breaks during performance, which
2526 enhances the readability of a score.
2528 Custodes were frequently used in music notation until the 16th century.
2529 There were different appearences for different notation styles. Nowadays,
2530 they have survived only in special forms of musical notation such as the
2531 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2533 @lilypond[quote,ragged-right]
2536 \override Staff.Custos #'neutral-direction = #DOWN
2537 \override Staff.Custos #'style = #'hufnagel
2544 \consists "Custos_engraver"
2551 No cross-references.
2584 F: da capo, depuis le commencement,
2585 D: da capo, von Anfang,
2589 FI: da capo, alusta.
2591 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2592 the beginning to the end or to a certain place marked @emph{fine}.
2595 No cross-references.
2608 FI: tyhjästä ilmaantuen.
2610 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2611 that the sound should gradually increase from nothing.
2622 F: dal segno, depuis le signe,
2623 D: dal segno, ab dem Zeichen,
2627 FI: dal segno, lähtien merkistä.
2629 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2630 another place frequently near the beginning marked by a sign
2633 @lilypond[quote,relative=2]
2641 \musicglyph #"scripts.segno"
2647 No cross-references.
2651 @section decrescendo
2655 D: Decrescendo, leiser werden,
2659 FI: decresendo, hiljentyen.
2661 Decreasing tone volume. Indicated by a leftwards opening horizontal
2662 wedge (hairpin) or the abbreviation @notation{decresc.}.
2664 @lilypond[quote,relative=2]
2667 d4\> c b a | g1 \! \bar "|."
2671 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2674 @node descending interval
2675 @section descending interval
2677 ES: intervalo descendente,
2678 I: intervallo discendente,
2679 F: intervalle descendant,
2680 D: fallendes Intervall, absteigendes Intervall,
2681 NL: dalend interval,
2682 DK: faldende interval,
2683 S: fallande intervall,
2684 FI: laskeva intervalli.
2686 A distance between a starting higher note and a lower ending note.
2689 No cross-references.
2692 @node diatonic scale
2693 @section diatonic scale
2695 ES: escala diatónica,
2697 F: gamme diatonique,
2698 D: diatonische Tonleiter,
2699 NL: diatonische toonladder,
2700 DK: diatonisk skala,
2702 FI: diatoninen asteikko.
2704 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2705 played on the white keys of a piano keybord are diatonic. These scales
2706 are sometimes called, somewhat inaccurately, @q{church modes}).
2708 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2709 but also to some extent in newer jazz music.
2711 @lilypond[quote,notime,relative=1]
2715 e^"~~ S" f g a b^"~~ S" c
2723 @lilypond[quote,notime,relative=1]
2727 e^"~~ S" f g a b^"~~ S" c d
2735 @lilypond[quote,notime,relative=1]
2738 e1^"~~ S" f g a b^"~~ S" c d e
2746 @lilypond[quote,notime,relative=1]
2750 b^"~~ S" c d e^"~~ S" f
2758 @lilypond[quote,notime,relative=2]
2762 b^"~~ S" c d e^"~~ S" f g
2770 @lilypond[quote,notime,relative=2]
2774 b^"~~ S" c d e^"~~ S" f g a
2782 @lilypond[quote,notime,relative=2]
2785 b1^"~~ S" c d e^"~~ S" f g a b
2793 From the beginning of the 17th century the scales used in European
2794 compositional music are primarily the major and the minor scales. In
2795 the harmonic minor scale type an augmented second (A) occurs between
2796 the 6th and 7th tone.
2798 @lilypond[quote,notime,relative=1]
2802 e^"~~ S" f g a b^"~~ S" c
2810 @lilypond[quote,notime,relative=2]
2814 b^"~~ S" c d e^"~~ S" f g a
2817 "Ancient (or Natural) minor"
2822 @lilypond[quote,notime,relative=2]
2826 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2834 @lilypond[quote,notime,relative=2]
2838 b^"~~ S" c d e fis gis^"~~ S" a
2841 "Melodic minor ascending"
2846 @lilypond[quote,notime,relative=3]
2850 g! f!^"~~ S" e d c^"~~ S" b a
2853 "Melodic minor descending"
2859 @ref{semitone}, @ref{whole tone}.
2863 @section didymic comma
2866 @ref{syntonic comma}.
2869 @node diminished interval
2870 @section diminished interval
2872 ES: intervalo disminuido,
2873 I: intervallo diminuito,
2874 F: intervalle diminué,
2875 D: vermindertes Intervall,
2876 NL: verminderd interval,
2877 DK: formindsket interval,
2878 S: förminskat intervall,
2879 FI: vähennetty intervalli.
2890 F: diminuendo, en diminuant,
2895 FI: diminuendo, hiljentyen.
2911 FI: aika-arvojen tihennys.
2913 This is a stub for diminution (@emph{wrt} mensural notation).
2916 @ref{augmentation}, @ref{mensural notation}.
2935 @node disjunct movement
2936 @section disjunct movement
2938 ES: movimiento disjunto,
2940 F: mouvement disjoint,
2941 D: sprunghafte Bewegung,
2942 NL: sprongsgewijze beweging,
2943 DK: springende bevægelse,
2944 S: hoppande rörelse,
2945 FI: melodian hyppivä liike.
2947 Progressing melodically by intervals larger than a major second, as contrasted
2948 with conjunct movement.
2950 @lilypond[quote,relative=1]
2954 a4. gis8 b a e cis |
2960 @ref{conjunct movement}.
2966 Another name for @ref{dissonant interval}.
2969 @ref{dissonant interval}, @ref{harmony}.
2972 @node dissonant interval
2973 @section dissonant interval
2975 ES: intervalo disonante, disonancia,
2976 I: intervallo dissonante, dissonanza,
2977 F: intervalle dissonant, dissonance,
2979 NL: dissonant interval, dissonant,
2980 DK: dissonerende interval, dissonans,
2982 FI: dissonanssi, dissonoiva intervalli, riitasointi.
3000 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
3001 vertical stroke through part or all of the staff that serves to
3002 structure a chant into phrases and sections. There are four types:
3006 @item @emph{divisio minima}, a short pause
3008 @item @emph{divisio maior}, a medium pause
3010 @item @emph{divisio maxima}, a long pause
3012 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3013 section in a long antiphonal or responsorial chant.
3017 TODO: musical example here?
3020 No cross-references.
3035 Indicator for a indeterminately rising pitch bend. Compare with
3036 @emph{glissando}, which has determinate starting and ending pitches.
3039 @ref{fall}, @ref{glissando}.
3052 FI: dominantti, huippusointu.
3054 The fifth @emph{scale degree} in @emph{functional harmony}.
3057 @ref{functional harmony}, @ref{scale degree}.
3060 @node dominant ninth chord
3061 @section dominant ninth chord
3063 ES: acorde de novena de dominante,
3064 I: accordo di nona di dominante,
3065 F: accord de neuvième de dominante,
3066 D: Domi@-nant@-nonen@-akkord,
3067 NL: dominant noon akkoord,
3068 DK: dominantnoneakkord,
3069 S: dominantnonackord,
3070 FI: dominanttinoonisointu.
3073 @ref{chord}, @ref{functional harmony}.
3076 @node dominant seventh chord
3077 @section dominant seventh chord
3079 ES: acorde de séptima de dominante,
3080 I: accordo di settima di dominante,
3081 F: accord de septième de dominante,
3082 D: Dominantseptakkord,
3083 NL: dominant septiem akkoord,
3084 DK: dominantseptimakkord,
3085 S: dominantseptimackord,
3086 FI: dominanttiseptimisointu.
3089 @ref{chord}, @ref{functional harmony}.
3093 @section dorian mode
3098 D: dorisch, dorischer Kirchenton,
3099 NL: dorische toonladder,
3105 @ref{diatonic scale}.
3108 @node dot (augmentation dot)
3109 @section dot (augmentation dot)
3112 I: punto (di valore),
3114 D: Punkt (Verlängerungspunkt),
3121 @ref{dotted note}, @ref{note value}.
3125 @section dotted note
3127 ES: nota con puntillo,
3131 NL: gepuncteerde noot,
3134 FI: pisteellinen nuotti.
3140 @node double appoggiatura
3141 @section double appoggiatura
3143 ES: apoyatura doble,
3144 I: appoggiatura doppia,
3145 F: appoggiature double,
3146 D: doppelter Vorschlag,
3147 NL: dubbele voorslag,
3148 DK: dobbelt forslag,
3150 FI: kaksoisappogiatura, kaksoisetuhele.
3156 @node double bar line
3157 @section double bar line
3163 NL: dubbele maatstreep,
3166 FI: kaksoistahtiviiva.
3168 Indicates the end of a section within a movement.
3171 No cross-references.
3174 @node double dotted note
3175 @section double dotted note
3177 ES: nota con doble puntillo,
3178 I: nota doppiamente puntata,
3179 F: note doublement pointée,
3180 D: doppelt punktierte Note,
3181 NL: dubbelgepuncteerde noot,
3182 DK: dob@-belt@-punk@-te@-ret node,
3183 S: dub@-bel@-punk@-te@-rad not,
3184 FI: kaksoispisteellinen nuotti.
3191 @section double flat
3200 FI: kaksoisalennusmerkki.
3207 @section double sharp
3209 ES: doble sostenido,
3214 DK: dob@-belt@-kryds,
3216 FI: kaksoisylennysmerkki.
3222 @node double time signature
3223 @section double time signature
3232 FI: kaksois-aika-arvomerkintä.
3235 @ref{polymetric time signature}.
3239 @section double trill
3245 NL: dubbele triller,
3250 A simultaneous trill on two notes, usually in the distance of a third.
3253 No cross-references.
3257 @section duple meter
3261 F: métrique binaire,
3262 D: in zwei, grader Takt,
3263 NL: tweedelige maatsoort,
3298 FI: kesto, aika-arvo.
3307 ES: dinámica, matices,
3310 D: Dynamik, Lautstärke,
3314 FI: äänen voimakkuusvaihtelu, dynamiikka.
3316 The aspect of music relating to degrees of loudness, or changes from
3317 one degree to another. The terms, abbreviations, and symbols used to
3318 indicate this information are called dynamic marks.
3321 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3343 @node ecclesiastical mode
3344 @section ecclesiastical mode
3347 @ref{church mode}, @ref{diatonic scale}.
3351 @section eighth note
3358 @item D: Achtel, Achtelnote
3359 @item NL: achtste noot
3360 @item DK: ottendedelsnode
3361 @item S: åttondelsnot
3362 @item FI: kahdeksasosanuotti
3370 @section eighth rest
3373 @item UK: quaver rest
3374 @item ES: silencio de corchea
3375 @item I: pausa di croma
3376 @item F: demi-soupir
3377 @item D: Achtelpause
3378 @item NL: achtste rust
3379 @item DK: ottendedelspause
3380 @item S: åttonddelspaus
3381 @item FI: kahdeksasosatauko
3391 @c TODO: add languages
3400 FI: tavujen yhdistäminen yhteen ääneen.
3402 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3403 @emph{συναλοιφην} @q{to smear together}].
3405 The singing of several syllables on a single note. Elision may be indicated
3406 by a lyric tie, which looks like (and serves the same function) as a musical
3414 @section embellishment
3426 D: Notenstich, Notendruck
3432 Engraving means incising or etching a metal plate for printing.
3433 Photoengraving means drawing music with ink in a manner similar to
3434 drafting or engineering drawing, using similar tools.
3436 The traditional process of music printing is done through cutting in a
3437 plate of metal. Now also the term for the art of music typesetting.
3440 No cross-references.
3455 Two notes, intervals, or scales are enharmonic if they have different
3456 names but equal pitch.
3458 @lilypond[quote,notime,line-width=13.0\cm]
3462 gis1 as <des g,!> <cis g!>
3466 "g sharp " "a flat " "dim fifth " "augm fourth"
3472 No cross-references.
3475 @node equal temperament
3476 @section equal temperament
3478 ES: temperamento igual,
3479 I: temperamento equabile,
3480 F: tempérament égal,
3481 D: gleichschwebende Stimmung,
3482 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3483 DK: ligesvævende temperatur,
3484 S: liksvävande temperatur,
3487 A tuning system that divides the octave into 12 equal semitones (each of
3488 which is precisely equal to 100 cents).
3491 @ref{cent}, @ref{semitone}, @ref{temperament}.
3494 @node expression mark
3495 @section expression mark
3498 I: segno d'espressione,
3499 F: signe d'expression, indication de nuance,
3501 NL: voordrachtsteken,
3502 DK: foredragsbetegnelse,
3503 S: föredragsbeteckning,
3504 FI: nyanssiosoitus, esitysmerkki.
3506 Performance indications concerning:
3510 @item volume, dynamics (for example, @notation{forte},
3511 @notation{crescendo}),
3513 @item tempo (for example, @notation{andante}, @notation{allegro}).
3518 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3522 @section extender line
3524 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3526 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3533 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3534 extends text (without indicating the musical @emph{function} of that text).
3536 Used in many contexts, for example:
3540 @item In vocal music to indicate the syllable for a melisma. Called
3541 @q{extension} in the
3542 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3546 In figured bass to indicate that:
3550 @item The extended note should be held through a change in harmony, when applied
3551 to one figure --OR--
3552 @item The chord thus represented should be held above a moving bass line, when
3553 applied to more than one figure.
3554 @item These uses were not completely standardized, and some composers used a
3555 single extender line to indicate the latter case.
3560 In string music to indicate that all notes in the passage thus indicated should
3561 be played on the same string. On the violin, for example, a series of notes to
3562 be played on the G string would be indicated @notation{sul G}, another series to be
3563 played on the D string would be indicated @notation{sul D}, and so on.
3566 With an octave mark to indicate that a passage is to be played higher or lower
3567 by the given number of octaves.
3572 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3573 @ref{octave marking}.
3606 The position between the dots of the key symbol is the line of the F
3607 below central@w{ }C. Used on the third, fourth and fifth note line.
3608 A digit@w{ }8 above the clef symbol indicates that the notes must be
3609 played an octave higher (for example, bass recorder) while 8@w{ }below
3610 the clef symbol indicates playing an octave lower (for example, on the
3613 @lilypond[quote,notime,line-width=13.0\cm]
3616 \override Staff.Clef #'full-size-change = ##t
3639 @ref{baritone clef}, @ref{strings}.
3654 Indicator for a indeterminately falling pitch bend. Compare with
3655 @emph{glissando}, which has determinate starting and ending pitches.
3658 @ref{doit}, @ref{glissando}.
3661 @node feathered beam
3662 @section feathered beam
3666 F: ligature en soufflet, lien de croches en soufflet,
3667 D: gespreizter Balken,
3673 A type of beam used to indicate that a small group of notes should be
3674 played at an increasing or decreasing tempo -- depending on the
3675 direction of @q{feathering} -- but without changing the overall tempo
3679 Internals Reference: @ruser{Manual beams}
3685 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3689 F: point d'orgue, point d'arrêt,
3694 FI: fermaatti, pidäke.
3696 Prolonged note or rest of indefinite duration.
3698 @lilypond[quote,relative=2]
3705 No cross-references.
3725 @section figured bass
3728 I: basso continuo, basso numerato,
3729 F: basse chiffrée, basse continue,
3730 D: Generalbass, bezifferter Bass,
3731 NL: basso continuo, becijferde bas
3734 FI: kenraalibasso, numeroitu basso.
3736 Also called @q{thorough bass}.
3738 A method of indicating an accompaniment part by the bass notes only,
3739 together with figures designating the chief intervals and chords to be
3740 played above the bass notes.
3742 @lilypond[quote,line-width=13.0\cm]
3744 \new Staff = "rh" \with {
3746 \override StaffSymbol #'staff-space = #(magstep -3)
3752 \context Voice = "rha" {
3757 \context Voice = "rhb" {
3759 <bes g>8 as <as f> g <g es> f <d f> es
3764 \new Staff = "lh" \relative c' {
3767 es8 c d bes c as bes16 as g f
3771 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3777 @ref{chord}, @ref{interval}.
3792 Figures to the side or above the note that methodically indicate which
3793 fingers to use while playing a passage.
3796 No cross-references.
3803 I: coda (uncinata), bandiera,
3811 Ornament at the end of the stem of a note used for notes with values less
3812 than a quarter note. The number of flags determines the note value.
3814 @lilypond[quote,notime,relative=2]
3837 An articulation for string players that means the note or passage is to
3838 be played in harmonics.
3844 @item A duct flute similar to the recorder.
3846 @item An organ stop of flute scale at 1' or 2' pitch.
3851 @ref{articulation}, @ref{harmonics}.
3887 FI: forte, voimakkaasti.
3891 Abbreviated @notation{@b{f}}. Variants include:
3894 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3895 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3899 No cross-references.
3918 @node Frenched score
3919 @section Frenched score
3921 ES: partitura a la francesa,
3928 FI: partituuri francesan tapaan.
3930 A @q{condensed} score, produced by omitting staves for instruments that are not
3931 playing at the moment, and by moving up additional systems from following pages
3932 to take up the space thus liberated, which reduces the total number of pages
3933 used to print the work.
3935 The specific rules for @q{frenching} a score differ from publisher to publisher.
3936 If you are producing scores for eventual publication by a commercial publisher,
3937 you may wish to procure a copy of their style manual.
3940 @ref{Frenched staff}.
3943 @node Frenched staff
3944 @section Frenched staff
3946 ES: pentagrama a la francesa,
3953 FI: karsittu nuotinnus.
3955 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3956 Frenched staff has unneeded measures or sections removed. This is useful
3957 for producing, for example, an @emph{ossia} staff.
3963 @node Frenched staves
3964 @section Frenched staves
3966 Plural of @ref{Frenched staff}.
3985 @node functional harmony
3986 @section functional harmony
3988 ES: armonía funcional,
3989 I: armonia funzionale,
3990 F: étude des functions,
3992 NL: functionele harmonie,
3993 DK: funktionsanalyse, funktionsharmonik,
3995 FI: harmoniajärjestelmä.
3997 A system of harmonic analysis.
3999 It is based on the idea that, in a given key, there are only three
4000 functionally different chords: tonic (T, the chord on the first note of the
4001 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4002 chord on the fifth note). Others are considered to be variants of the base
4005 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4007 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4010 <g e c>1 <a f d> <b g e>
4011 <c a f> <d b g> <e c a> <f d b>
4015 \markup { D \translate #'(-2 . 0) | }
4021 No cross-references.
4048 D: G-Schlüssel, Violinschlüssel,
4054 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4055 second note lines. A digit 8 above the clef symbol indicates that the notes
4056 must be played an octave higher while 8 below the clef symbol indicates
4057 playing or singing an octave lower (used most frequently to notate the tenor
4058 part in modern choral scores).
4060 @lilypond[quote,notime]
4062 \override Staff.Clef #'full-size-change = ##t
4063 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4074 "french violin clef"
4082 No cross-references.
4095 FI: glissando, liukuen.
4097 Letting the pitch slide fluently from one note to the other.
4100 No cross-references.
4104 @section grace notes
4106 ES: notas de adorno,
4108 F: ornement, fioriture,
4109 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4115 Notes printed in small types to indicate that their time values are not
4116 counted in the rhythm of the bar.
4119 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4124 @section grand staff
4126 ES: sistema de piano,
4128 F: système [de portées], accolade,
4129 D: Akkolade, Klaviersystem,
4132 S: ackolad, böjd klammer,
4133 FI: kaksoisnuottiviivasto.
4135 A combination of two staves with a brace. Usually used for piano music.
4151 FI: grave, raskaasti.
4153 [Italian] Slow, solemn.
4156 No cross-references.
4180 Letter name used for @notation{B natural} in German and Scandinavian
4181 usage. In the standard usage of these countries, @notation{B} means
4185 @ref{Pitch names}, @ref{B}.
4191 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4194 @lilypond[quote,relative=2]
4201 @ref{crescendo}, @ref{decrescendo}.
4212 @item D: Halbe, halbe Note,
4213 @item NL: halve noot,
4216 @item FI: puolinuotti.
4227 @item UK: minim rest,
4228 @item ES: silencio de blanca,
4229 @item I: pausa di minima,
4230 @item F: demi-pause,
4231 @item D: halbe Pause,
4232 @item NL: halve, rust,
4233 @item DK: halvnodespause,
4235 @item FI: puolitauko.
4242 @node harmonic cadence
4243 @section harmonic cadence
4245 ES: cadencia (armónica),
4246 I: cadenza (armonica),
4247 F: cadence harmonique,
4249 NL: harmonische cadens,
4250 DK: harmonisk kadence,
4251 S: (harmonisk) kadens,
4252 FI: harmoninen kadenssi.
4254 A sequence of chords that terminates a musical phrase or section.
4258 \context Staff = "SA" \relative c'' {
4261 \partial 4 <c g e>4 |
4262 <c a f> <b g d> <c g e>2
4265 \context Staff = "SB" \relative c {
4267 \partial 4 c4 | f, g c2
4279 @ref{functional harmony}.
4285 ES: sonidos del flautín,
4287 F: flageolet, sons harmoniques,
4292 FI: harmoniset äänet, huiluäänet.
4294 The general class of pitches produced by sounding the second or higher
4295 harmonic of a tone producer: string, column of air, and so on.
4297 On stringed instruments, these pitches sound rather flute-like; hence,
4298 their name in languages other than English. They are produced by
4299 lightly touching the string at a node for the desired mode of vibration
4300 while it is being bowed or plucked.
4302 For instruments of the violin family, there are two types of harmonics:
4303 natural harmonics, which are those played on the open string; and
4304 artificial harmonics, which are produced on stopped strings.
4307 No cross-references.
4316 D: Harmonie, Zusammenklang,
4320 FI: harmonia, yhteissointi.
4322 Tones sounding simultaneously. Two note harmonies fall into the
4323 categories @emph{consonances} and @emph{dissonances}.
4327 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4339 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4340 <g a>1_"second " s s
4341 <g f'>_"seventh " s s
4345 For harmony that uses three or more notes, see @ref{chord}.
4363 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4365 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4366 time normally occupied by two. The resulting rhythm can be expressed in modern
4367 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4368 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4369 as a special effect (or @emph{affect}) at cadences.
4371 For example, this phrase in 6/4 time
4373 @lilypond[quote,relative=1,line-width=13.0\cm]
4376 c2. e | d2 c d | c1. \bar "||"
4379 may be thought of having alternating time signatures
4381 @lilypond[quote,relative=1,line-width=13.0\cm]
4391 and is therefore a polymeter (second definition) of considerable antiquity.
4394 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4407 FI: homofonia, yksiäänisyys.
4409 Music in which one voice leads melodically supported by the other voices in
4410 the same rhythm (more or less). In contrast to @emph{polyphony}.
4433 FI: säkeiden tavumäärät.
4435 A group or list of numbers that indicate the number of syllables in a line
4436 of a hymn's verse. Different hymnals have different ways of noting the hymn
4437 meter: for example, consider a hymn that has four lines in two couplets
4438 alternating regularly between eight and seven syllables. The @emph{English
4439 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4440 or 8@w{ }7@w{ }8@w{ }7.
4442 Some frequently-used hymn meters have traditional names:
4445 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4446 @item 86.86 is called Common Meter (CM or C.M.)
4447 @item 88.88 is called Long Meter (LM or L.M.)
4450 Some hymns and their tunes are doubled versions of a simpler meter: for
4451 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4452 87.87D. The traditional names above also have doubled versions:
4455 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4456 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4457 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4461 No cross-references.
4474 FI: intervalli, kahden sävelen korkeusero.
4476 Difference in pitch between two notes. Intervals may be diminished, minor,
4477 perfect, major, or augmented. The augmented fourth and the diminished fifth
4478 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4479 and are called @emph{tritonus} because they consist of three whole tones.
4480 The addition of such two intervals forms an octave.
4482 @lilypond[quote,notime,line-width=13.0\cm]
4484 \context Voice \relative c'' {
4521 \context Lyrics \lyrics {
4523 "second " "second " "second " "second "
4524 "third " "third " "third " "third "
4525 "fourth " "fourth " "fourth "
4526 "fifth " "fifth " "fifth "
4527 "sixth " "sixth " "sixth " "sixth "
4528 "seventh" "seventh" "seventh" "seventh"
4529 "octave " "octave " "octave "
4535 @ref{enharmonic}, @ref{whole tone}.
4550 When a chord sounds with a bass note that differs from the root of the
4551 chord, it is said to be @emph{inverted}. The number of inversions that a
4552 chord can have is one fewer than the number of constituent notes. For
4553 example, triads (which have three constituent notes) can have three
4554 positions, two of which are inversions:
4558 The root note is in the bass, and above that are the third and the fifth. A
4559 triad built on the first scale degree, for example, is marked @notation{I}.
4561 @item First inversion
4562 The third is in the bass, and above it are the fifth and the root. This
4563 creates an interval of a sixth and a third above the bass note, and so is
4564 marked in figured Roman notation as @notation{6/3}. This is commonly
4565 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4566 characteristic interval of the inversion, and so always implies
4569 @item Second inversion
4570 The fifth is in the bass, and above it are the root and the third. This
4571 creates an interval of a sixth and a fourth above the bass note, and so is
4572 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4573 unstable chord position.
4577 No cross-references.
4580 @node inverted interval
4581 @section inverted interval
4583 ES: intervalo invertido,
4584 I: intervallo rivolto,
4585 F: intervalle renversé,
4586 D: umgekehrtes Intervall,
4587 NL: interval inversie,
4588 DK: omvendingsinterval,
4589 S: intervallets omvändning,
4590 FI: käänteisintervalli.
4592 The difference between an interval and an octave.
4594 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4595 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4596 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4597 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4601 No cross-references.
4604 @node just intonation
4605 @section just intonation
4607 ES: entonación justa,
4608 I: intonazione giusta,
4609 F: intonation juste,
4616 Tuning system in which the notes are obtained by adding and subtracting
4617 natural fifths and thirds.
4635 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4636 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4639 @ref{chromatic scale}, @ref{key signature}.
4643 @section key signature
4645 ES: armadura (de la clave),
4646 I: armatura di chiave,
4647 F: armure, armature [de la clé],
4648 D: Vorzeichen, Tonart,
4649 NL: toon@-soort (voortekens),
4652 FI: sävellajiosoitus.
4654 The sharps or flats appearing at the beginning of each staff indicating the
4661 @node laissez vibrer
4662 @section laissez vibrer
4673 [French: @q{Let vibrate}] Most frequently associated with harp
4674 parts. Marked @notation{l.v.} in the score.
4677 No cross-references.
4685 F: largo, large, ample,
4686 D: Largo, Langsam, Breit,
4690 FI: largo, hitaasti, leveästi.
4692 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4693 expressiveness. @emph{Larghetto} is less slow than largo.
4697 @section leading note
4708 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4709 called because of its strong tendency to @q{lead up} (resolve upwards)
4710 to the tonic scale degree.
4713 @ref{scale degree}, @ref{semitone}.
4717 @section ledger line
4719 ES: línea adicional,
4720 I: tagli addizionali,
4721 F: ligne supplémentaire,
4728 A ledger line is an extension of the staff.
4730 @lilypond[quote,notime,relative=2]
4737 No cross-references.
4746 D: legato, gebunden,
4752 To be performed (a) without any perceptible interruption between the
4753 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4754 @notation{portato}, or (d) @notation{staccato}.
4756 @lilypond[quote,notime,line-width=13.0\cm]
4758 \context Staff \relative c'' {
4759 c4-( d e-) \bar "||"
4760 c4-- d-- e-- \bar "||"
4761 c4-.-( d-. e-.-) \bar "||"
4762 c4-. d-. e-. \bar "||"
4778 @section legato curve
4781 @ref{slur}, @ref{legato}.
4803 A ligature is a coherent graphical symbol that represents at least two
4804 distinct notes. Ligatures originally appeared in the manuscripts of
4805 Gregorian chant notation around the 9th century to denote ascending or
4806 descending sequences of notes. In early notation, ligatures were used for
4807 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4808 performance in the sense of articulation. With the invention of the metric
4809 system of the white mensural notation, the need for ligatures to denote such
4810 patterns disappeared.
4813 @ref{mensural notation}.
4820 ES: estanque de nenúfares,
4821 I: stagno del giglio,
4822 F: étang de nénuphars, étang de nymphéas,
4824 NL: le@-lie@-vij@-ver,
4829 A pond with lilies floating in it.
4831 Also, the name of a music typesetting program.
4834 No cross-references.
4843 D: Linie, Notenlinie,
4847 FI: viiva, nuottiviiva.
4863 FI: kirjoitetussa äänenkorkeudessa.
4865 [Italian: @q{place}] Instruction to play the following passage at the
4866 written pitch. Cancels octave mark (q.v.).
4869 @ref{octave mark}, @ref{octave marking}.
4872 @node long appoggiatura
4873 @section long appoggiatura
4875 ES: apoyatura larga,
4876 I: appoggiatura lunga,
4877 F: appoggiature longue,
4882 FI: pitkä appoggiatura, pitkä etuhele.
4892 @item US: long, longa,
4895 @item F: longa, longue,
4903 Note value: twice the length of a @notation{breve}.
4905 @lilypond[quote,notime,relative=2]
4906 \override NoteHead #'style = #'mensural
4911 @ref{breve}, @ref{note value}.
4917 ES: ligadura de letra,
4919 F: ligature de mots,
4924 FI: sidonta sanoituksessa.
4926 @c TODO: add languages
4935 ES: letra (de la canción),
4938 D: Liedtext, Gesangtext,
4947 No cross-references.
4963 @ref{diatonic scale}.
4966 @node major interval
4967 @section major interval
4969 ES: intervalo mayor,
4970 I: intervallo maggiore,
4971 F: intervalle majeur,
4972 D: großes Intervall,
4976 FI: suuri intervalli.
4994 Note value: twice the length of a @notation{longa}.
4996 The maxima is the largest duration in use during the 15th and 16th centuries.
4997 Like the longa, the maxima can be either two or three times as long as the
4998 @notation{longa} (called @notation{binary} and @notation{ternary},
4999 respectively). By the late 15th century, most composers used the smaller
5000 proportion by default.
5003 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
5006 @node meantone temperament
5007 @section meantone temperament
5009 ES: afinación mesotónica,
5010 I: accordatura mesotonica,
5011 F: tempérament mésotonique,
5012 D: mitteltönige Stimmung,
5013 NL: middenstemming, middentoonstemming,
5014 DK: middeltonetemperatur,
5015 S: medeltonstemperatur,
5016 FI: keskisävelviritys.
5018 Temperament yielding acoustically pure thirds by decreasing the natural
5019 fifth by 16@w{ }cents. Due to the non-circular character of this
5020 temperament only a limited set of keys are playable. Used for tuning
5021 keyboard instruments for performance of pre-1650 music.
5024 @ref{cent}, @ref{temperament}.
5039 A group of beats (units of musical time) the first of which bears an accent.
5040 Such groups in numbers of two or more recur consistently throughout the
5041 composition and are separated from each other by bar lines.
5044 @ref{bar line}, @ref{beat}, @ref{meter}.
5047 @node measure repeat
5048 @section measure repeat
5051 @ref{percent repeat}.
5058 I: mediante, modale,
5068 @item The third @b{scale degree}.
5070 @item A @emph{chord} having its base tone a third from that of another
5071 chord. For example, the tonic chord may be replaced by its lower
5072 mediant (variant tonic).
5077 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5090 FI: melisma, laulettavan tavun sävelkuvio.
5092 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5093 on one syllable, especially as applied to liturgical chant.
5096 No cross-references.
5100 @section melisma line
5102 @c TODO: add languages
5104 ES: línea de melisma,
5106 F: trait de mélisme, trait de tenue,
5114 @ref{extender line}.
5117 @node melodic cadence
5118 @section melodic cadence
5124 @node mensural notation
5125 @section mensural notation
5127 @c TODO: add languages
5129 ES: notación mensural,
5131 F: notation mensurale,
5136 FI: mensuraalinuotinnus.
5138 A system of duration notation whose principles were first established in the
5139 mid-13th century, and that (with various changes) remained in use until about
5140 1600. As such, it is the basis for the notation of rhythms in Western musical
5143 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5144 of the notation's principles, so the notation of this earliest period is called
5145 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5146 and semibreve -- each of which was normally equivalent to three of the next
5149 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5150 added several note values (the minim, semiminim and fusa) and extended Franco's
5151 principles to govern the relationship between these values. They also put the
5152 duple division of note values on an equal footing with the earlier (preferred)
5155 TODO: continue description of French and Italian black notation, and the
5156 relationship betwixt them.
5158 @b{White or void mensural notation}
5160 In the 15th century, hollow (or void) notes began to substitute for the earlier
5161 solid black ones, which were then free to assume the function of red (or
5162 colored) notes in the earlier notation. ...
5164 TODO: add to definition (including summary info on proportional notation)
5167 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5168 @c TODO: more cross-references?
5171 @node mensuration sign
5172 @section mensuration sign
5174 @c TODO: add languages
5178 F: signe de mensuration,
5185 The ancestor of the time signature, mensuration signs were used to indicate the
5186 relationship between two sets of note durations—specifically, the ratio of
5187 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5188 (called @notation{prolatio}).
5190 Each ratio was represented with a single single sign, and was either
5191 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5192 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5193 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5194 represented by a complete circle; applied to the @emph{prolatio}, it was called
5195 @emph{major} and was represented by a dot in the middle of the sign. The binary
5196 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5197 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5198 @emph{minor} and was represented by the lack of an internal dot. There are four
5199 possible combinations, which can be represented in modern time signatures with
5200 and without reduction of note values. (These signs are hard-coded in LilyPond
5204 @item perfect @emph{tempus} with major @emph{prolatio}
5205 Indicated by a complete circle with an internal dot. In modern time signatures,
5208 @item 9/4, with reduction or
5209 @item 9/2, without reduction
5212 @item perfect @emph{tempus} and minor @emph{prolatio}
5213 Indicated by a complete circle without an internal dot. In modern time
5214 signatures, this equals:
5216 @item 3/2, with reduction or
5217 @item 3/1, without reduction
5220 @item imperfect @emph{tempus} and major @emph{prolatio}
5221 Indicated by an incomplete circle with an internal dot. In modern time
5222 signatures, this equals:
5224 @item 6/4, with reduction or
5225 @item 6/2, without reduction
5228 @item imperfect @emph{tempus} and minor @emph{prolatio}
5229 Indicated by an incomplete circle without an internal dot. In modern time
5230 signatures, this equals:
5232 @item 4/4, with reduction or
5233 @item 2/1, without reduction
5237 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5238 with note values reduced from the original semibreve to a modern quarter note.
5239 Being doubly imperfect, this sign represented the (theoretically)
5240 least-preferred mensuration, but it was actually used fairly often.
5242 This system extended to the ratio of longer note values to each other:
5246 @item maxima to longa, called:
5250 @item @notation{modus maximorum},
5251 @item @notation{modus major}, or
5252 @item @notation{maximodus})
5256 @item longa to breve, called:
5260 @item @notation{modus longarum},
5261 @item @notation{modus minor}, or
5262 @item @notation{modus}
5268 In the absence of any other indication, these modes were assumed to be
5269 binary. The mensuration signs only indicated tempus and prolatio, so
5270 composers needed another way to indicate these longer ratios (called modes.
5271 Around the middle of the 15th century started to use groups of rests at the
5272 beginning of the staff, preceding the mensuration sign.
5275 Two mensuration signs have survived to the present day: the C-shaped sign,
5276 which originally designated @notation{tempus imperfectum} and
5277 @notation{prolatio minor} now stands for @notation{common time}; and the
5278 slashed C, which designated the same with @notation{diminution} now stands
5279 for @notation{cut-time} (essentially, it has not lost its original meaning).
5282 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5283 @c TODO: more cross-references?
5291 F: indication de mesure, mesure,
5298 The pattern of note values and accents in a composition or a section thereof.
5299 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5300 by grouping beats and by subdividing the primary beat.
5302 @b{By grouping beats}:
5306 @item @b{duple}: groups of two.
5307 @item @b{triple}: groups of three.
5308 @item @b{quadruple}: groups of four. A special case of duple meter.
5309 @item @b{quintuple}: groups of five beats.
5310 @item @b{sextuple} meter: groups of six. A special case of:
5314 @item duple meter, subdivided in three; or
5315 @item triple meter, subdivided in two.
5319 @item @b{septuple} meter: groups of seven.
5324 Other than triple meter and its subdivided variants (see below), meters that
5325 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5326 frequently used prior to the 20th Century.
5328 @b{By subdividing the primary beat}:
5332 @item simple: subdivided in groups of two.
5336 @item duple: 2/2, 2/4, 2/8
5337 @item triple: 3/2, 3/4, 3/8
5338 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5342 @item compound: subdivided in groups of three.
5348 @item quadruple: 12/8
5354 Time signatures are placed at the beginning of a composition (or section) to
5355 indicate the meter. For instance, a piece written in simple triple meter with a
5356 beat on each quarter note is conventionally written with a time signature of
5357 3/4. Here are some combinations of the two classifications above:
5359 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5361 @lilypond[quote,line-width=13.0\cm]
5365 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5368 Simple triple meter:
5370 @lilypond[quote,line-width=13.0\cm]
5374 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5377 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5379 @lilypond[quote,line-width=13.0\cm]
5383 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5386 Simple quintuple meter (B. Marcello, 1686-1739):
5388 @lilypond[quote,line-width=13.0\cm]
5392 r4 cis8 bis ais4 dis c8 ais |
5393 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5396 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5397 the source, with sharps in the accompaniment where the voice has flats and
5400 Compound duple meter (unknown):
5402 @lilypond[quote,line-width=13.0\cm]
5406 f8 f g a bes16 a g f |
5407 g8 g bes a c16 a bes g
5411 Compound triple meter (J.S. Bach, 1685-1750):
5413 @lilypond[quote,line-width=13.0\cm]
5417 r8 g'( a) b( d c) c( e d) |
5418 d( g fis) g( d b) g( a b)
5422 Compound quadruple meter (P. Yon, 1886-1943):
5424 @lilypond[quote,line-width=13.0\cm]
5428 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5429 e4 e8 fis( gis) a b4.~ b4 b8
5434 @b{@q{Monometer} vs Polymeter}
5436 TODO: add information from discussion on lilypond-user related to polymeter.
5440 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5455 Device used to indicate the exact tempo of a piece.
5457 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5458 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5459 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5460 followed acknowledged Winkler as the creator, but by then Mälzel had already
5461 sold many of them, and people had taken to calling it a Mälzel Metronome.
5464 @ref{metronome mark}.
5467 @node metronome mark
5468 @section metronome mark
5470 ES: indicación metronómica,
5471 I: indicazione metronomica,
5472 F: indication métronomique,
5474 NL: metronoom aanduiding,
5476 S: metronomangivelse,
5477 FI: metronomiosoitus.
5479 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5480 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5487 @node metronomic indication
5488 @section metronomic indication
5491 @ref{metronome mark}
5504 FI: kohtalaisen, melko.
5506 [Italian: @q{medium}]
5508 Used to qualify other indications, such as:
5514 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5516 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5522 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5529 No cross-references.
5533 @section mezzo-soprano
5544 The female voice between soprano and contralto.
5547 @ref{soprano}, @ref{contralto}.
5556 D: eingestrichenes@w{ }c,
5558 DK: enstreget@w{ }c,
5559 S: ettstruket@w{ }c,
5562 First C below the 440 Hz A.
5564 @lilypond[quote,notime,relative=1]
5565 \override Staff.Clef #'full-size-change = ##t
5572 No cross-references.
5588 @ref{diatonic scale}.
5591 @node minor interval
5592 @section minor interval
5594 ES: intervalo menor,
5595 I: intervallo minore,
5596 F: intervalle mineur,
5597 D: kleines Intervall,
5601 FI: pieni intervalli.
5607 @node mixolydian mode
5608 @section mixolydian mode
5611 @ref{diatonic scale}.
5620 D: Kirchentonart, Modus,
5624 FI: moodi, kirkkosävelasteikko.
5627 @ref{church mode}, @ref{diatonic scale}.
5640 FI: modulaatio, sävellajin vaihdos.
5642 Moving from one @ref{key} to another. For example, the second subject
5643 of a @ref{sonata form} movement modulates to the dominant key if the
5644 key is major and to the @ref{relative key} if the key is minor.
5647 No cross-references.
5659 FI: mordent, korukuvio.
5682 FI: teema, sävelaihe.
5684 The briefest intelligible and self-contained fragment of a musical
5687 @lilypond[quote,line-width=13.0\cm]
5690 \set Score.implicitTimeSignatureVisibility = #all-invisible
5691 \override Score.TimeSignature #'break-visibility = #all-invisible
5694 \partial 8 g16\startGroup fis |
5695 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5696 g8 g,16 a b8 cis d16 s
5700 \Staff \consists "Horizontal_bracket_engraver"
5706 No cross-references.
5721 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5722 several -- more or less -- independent pieces called movements.
5725 No cross-references.
5728 @node multi-measure rest
5729 @section multi-measure rest
5731 ES: compases de espera,
5733 F: pause multiple, mesure à compter,
5735 D: mehrtaktige Pause, Kirchenpause,
5738 FI: usean tahdin mittainen tauko.
5740 Multi-measure rests are conventionally typeset with a combination of
5741 longa, breve and whole rests for shorter and a long horizontal bar for
5742 longer spans of rest, with a number above to indicate the duration (in
5743 measures) of the rest. The former style is called @q{Kirchenpausen} in
5744 German, as a reminiscence of its use in Renaissance vocal polyphony.
5746 @lilypond[quote,relative=2]
5748 \set Score.skipBars = ##t
5751 \set Score.skipBars = ##t
5757 @ref{longa}, @ref{breve}.
5766 D: Auflösungszeichen,
5767 NL: herstellingsteken,
5768 DK: op@-løsningstegn,
5769 S: återställningstecken,
5776 @node neighbor tones
5777 @section neighbor tones
5779 @c TODO: add definition.
5791 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5830 Notes are signs by means of which music is fixed in writing. The term is also
5831 used for the sound indicated by a note, and even for the key of the piano
5832 which produces the sound. However, a clear distinction between the terms tone
5833 and @ref{note} is strongly recommended. Briefly, one sees a note,
5837 No cross-references.
5844 I: testa, testina, capocchia,
5852 A head-like sign which indicates pitch by its position on a @notation{staff}
5853 provided with a @notation{clef}, and duration by a variety of shapes such as
5854 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5855 For percussion instruments (often having no defined pitch) the note head may
5856 indicate the instrument.
5859 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5872 ES: valor (duración),
5874 F: durée, valeur (d'une note),
5879 FI: nuotin aika-arvo.
5881 Note values (durations) are measured as fractions—in modern usage, one-half—of
5882 the next higher note value. The longest duration in current use is the
5883 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5884 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5885 or @notation{maxima} (eight whole notes) may be found.
5887 As used in mensural notation, this fraction was more flexible: it could also
5888 be one-third the higher note value. Composers indicated which proportions
5889 to use with various signs—two of which survive to the present day: the
5890 C-shaped sign for @notation{common time}, and the slashed C for
5891 @notation{alla breve} or @notation{cut-time}.
5893 @c TODO -- add maxima to this example, in a way that doesn't break it.
5895 @lilypond[quote,notime,line-width=13.0\cm]
5897 \override NoteHead #'style = #'mensural
5898 a\longa_"longa" a\breve_"breve"
5899 \revert NoteHead #'style
5900 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5901 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5904 @c TODO -- add maxima rest to this example
5906 @lilypond[quote,notime,line-width=13.0\cm]
5908 r\longa_"longa" r\breve_"breve"
5909 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5910 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5913 An augmentation dot after a note increases its duration by half; a second dot
5914 increases it by half of the first addition (that is, by a fourth of the original
5915 duration). More dots can be used to add further halved fractions of the
5916 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5918 @lilypond[quote,line-width=13.0\cm]
5921 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5922 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5925 Alternatively note values may be subdivided by other ratios. Most common is
5926 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5927 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5928 dotted notes are also frequently used.
5930 @lilypond[quote,line-width=13.0\cm]
5933 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5934 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5938 @lilypond[quote,line-width=13.0\cm]
5941 \times 3/2 {g4_"duplets" g} |
5943 \times 6/4 {g8_"quadruplets" g g g} |
5944 g8 g g g g4 \bar "||"
5956 @ref{octave marking}.
5971 The interval of an octave, sometimes abbreviated @notation{8ve}.
5973 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5974 bracket, or @notation{loco} see octave marking.
5977 @ref{interval}, @ref{octave marking}.
5981 @section octave mark
5983 ES: indicación de octava,
5985 F: indication d'octave,
5992 The phrase, abbreviation, or other mark used (with or without an extender line
5993 or bracket) to indicate that the music is to be played in a different octave:
5997 @item @notation{15ma}: play two octaves higher
5998 @item @notation{8va}: play one octave higher
5999 @item @notation{8vb}: play one octave lower
6000 @item @notation{8va} (written below the passage): unusual, same as
6002 @item @notation{15vb}: play two octaves lower
6003 @item @notation{15va} (written below the passage): unusual, same as
6008 For longer passages, it may be more practical to mark the octave change at the
6009 beginning with a phrase (see the list below for examples), but without a bracket
6010 or extender line. Then, when the music returns to the written pitch, the octave
6011 change is cancelled with the word @notation{loco} (q.v.).
6013 To parallel the list above:
6017 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6018 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6019 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6020 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6024 In the phrases above, @notation{quindicesima} is sometimes replaced with
6025 @notation{quindecima}, which is Latin.
6027 The music on an entire staff can be marked to be played in a different octave by
6028 putting a small 8 or 15 above or below the clef at the beginning. This octave
6029 mark can be applied to any clef, but it is most frequently used with the G and F
6033 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6036 @node octave marking
6037 @section octave marking
6046 FI: oktaavamerkintä.
6048 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6049 that it is to be played in a different octave. If applied to the clef at the
6050 beginning of the staff, all music on that staff is to played at the indicated
6053 For a list of the specific marks used, see @ref{octave mark}.
6056 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6060 @section octave sign
6070 I: abbellimento, fioriture,
6071 F: agrément, ornement,
6072 D: Verzierung, Ornament,
6078 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6079 with the diatonic @ref{second} above it. In the music from the
6080 middle of the 19th century and onwards the trill is performed with the main
6081 note first while in the music from the preceding baroque and classic periods
6082 the upper note is played first.
6084 @lilypond[quote,line-width=13.0\cm]
6086 \context Staff = sa {
6088 c2._"pre-1850" b4\trill | c1 \bar "||"
6089 c2._"post-1850" b4\trill | c1 \bar "||"
6093 c2. c32 b c b c b c b | c1
6094 c2. b32 c b c \times 4/5 { b c b c b } | c1
6099 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6100 the @emph{prall} (inverted mordent).
6102 @lilypond[quote,line-width=13.0\cm]
6104 \context Staff = sa {
6106 a4_"turn" b\turn c2 \bar "||"
6107 g4_"mordent" a b\mordent a \bar "||"
6108 e'4_"prall" d\prall c2 \bar "||"
6114 e'4 e32[ d e d ~ d8] c2
6120 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6128 F: ossia, alternative,
6133 FI: ossia, vaihtoehtoinen esitystapa.
6135 Ossia (otherwise) marks an alternative. It is an added staff or piano
6136 score, usually only a few measures long, which presents another version
6137 of the music, for example for small hands.
6140 Compare: @ref{cue-notes}.
6153 FI: stemma, instrumenttiosuus.
6157 @item In instrumental or choral music, the music for a single
6158 instrument or voice.
6160 @item in contrapuntal music, a single melodic line in the contrapuntal
6183 @node percent repeat
6184 @section percent repeat
6186 LilyPond-specific term to indicate the repetition of a musical expression on a
6187 single staff, as opposed to the more usual definition of repeat, which affects
6188 all parts. The musical expression can be anything from a single note or note
6189 pattern to one or more measures. There are other names for this symbol:
6194 @item slash mark, or slash repeat
6196 @item measure (or multi-measure) repeat
6200 @lilypond[quote,relative=2,line-width=13.0\cm]
6202 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6203 \repeat percent 2 { c4 e g b_"Measure repeat" }
6204 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6209 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6210 Vermont Music Dictionary}.
6219 D: Schlagzeug, Schlagwerk,
6225 A family of musical instruments which are played on by striking or
6226 shaking. Percussion instruments commonly used in a symphony orchestra are
6227 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6228 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6232 No cross-references.
6235 @node perfect interval
6236 @section perfect interval
6238 ES: intervalo justo,
6239 I: intervallo giusto,
6240 F: intervalle juste,
6241 D: reines Intervall,
6245 FI: puhdas intervalli.
6263 A natural division of the melodic line, comparable to a sentence of speech.
6279 FI: fraseeraus, jäsentäminen.
6281 The clear rendering in musical performance of the @notation{phrases} of the
6282 melody. Phrasing may be indicated by a @notation{slur}.
6285 @ref{phrase}, @ref{slur}.
6300 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6301 @emph{mezzo piano} (@b{mp}) medium soft.
6304 No cross-references.
6312 F: anacrouse, levée,
6337 @item The perceived quality of a sound that is primarily a function of its
6338 fundamental frequency.
6340 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6342 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6343 association of a particular frequency with a particular pitch name, e.g., c' =
6359 NL: pizzicato, getokkeld,
6362 FI: pizzicato, näppäillen.
6364 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6368 No cross-references.
6374 ES: compás polimétrico,
6381 FI: monia tahtiosoituksia sisältävä.
6385 @item The @emph{simultaneous} use of two or more meters, in two or more
6388 @item The @emph{successive} use of different meters in one or more parts.
6393 @ref{polymetric} (adj.)
6406 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6408 Characterized by @emph{polymeter}: using two or more metric frameworks
6409 simultaneously or in alternation.
6412 @ref{polymeter} (noun)
6415 @node polymetric time signature
6416 @section polymetric time signature
6418 ES: compás polimétrico,
6425 FI: vaihtelevan tahtiosoitusmerkintä.
6427 A time signature that indicates regularly alternating polymetric time.
6439 D: Polyphonie, Mehrstimmigkeit,
6443 FI: polyfonia, moniäänisyys.
6445 Music written in a combination of several simultaneous voices (parts)
6446 of a more or less pronounced individuality.
6455 [Italian: past participle of @emph{portare}, @q{to carry}]
6457 A stroke in which each of several notes is separated slightly within a slur,
6458 without changing the bow's direction. It is used for passages of a
6459 @notation{cantabile} character.
6470 F: presto, très rapide, enlevé,
6471 D: Presto, Sehr schnell,
6472 NL: presto, Sehr schnell,
6475 FI: presto, hyvin nopeasti.
6479 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6480 denotes the highest possible degree of speed.
6483 No cross-references.
6498 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6499 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6504 @item A ratio that expresses the relationship between the note values that
6505 follow with those that precede;
6507 @item A ratio between the note values of a passage and the @q{normal}
6508 relationship of note values to the metrical pulse. (A special case of the
6513 The most common proportions are:
6516 @item 2:1 (or simply 2), expressed by a vertical line through the
6517 mensuration sign (the origin of the @notation{alla breve} time signature),
6518 or by turning the sign backwards
6519 @item 3:1 (or simply 3)
6520 @item 3:2 (@emph{sesquialtera})
6523 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6526 @item 1:2 cancels 2:1
6527 @item 1:3 cancels 3:1
6528 @item 2:3 cancels 3:2
6532 Gaffurius enumerates five basic types of major:minor proportions and their
6536 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6537 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6539 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6540 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6541 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6543 @item Superpartiens, if the major number is one less than twice the minor
6544 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6546 @item Multiplexsuperparticular, if the major number is one more than twice the
6547 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6550 @item Multiplexsuperpartiens, if the major number is one less than some other
6551 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6552 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6556 He then continues to subdivide each type in various ways. For the multiplex
6557 proportions, for example, he indicates how many times greater the major number
6562 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6563 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6565 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6568 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6569 Example: 4:1, 8:2, and 12:3
6573 Other proportions were possible, but whether they were frequently used is
6578 @item 33:9, @emph{triplasuperbipartientetertias}
6579 @item 51:15, @emph{triplasuperbipartientequintas}
6583 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6586 @ref{mensural notation}.
6589 @node Pythagorean comma
6590 @section Pythagorean comma
6592 ES: coma pitagórica,
6593 I: comma pitagorico,
6594 F: comma pythagoricien,
6595 D: Pythagoräisches Komma,
6596 NL: komma van Pythagoras,
6597 DK: pythagoræisk komma,
6598 S: pytagoreiskt komma,
6599 FI: pytagorinen komma.
6601 Originally, the interval by which the sum of six whole tones exceeds the octave
6602 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6604 Modern acoustical theory defines it as the interval by which twelve fifths
6605 exceed seven octaves. To put it another way: A sequence of fifths that starts
6606 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6607 than the C obtained by adding 7 octaves. The difference between those two
6608 pitches is the Pythagorean comma.
6611 @ref{cent}, @ref{temperament}.
6642 The quality of a triad is determined by the precise arrangement of its
6643 intervals. Tertian triads can be described as a series of three notes. The
6644 first element is the root note (or simply @q{root}) of the chord, the second
6645 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6646 the chord. These are described below:
6648 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6649 @headitem Chord name
6650 @tab Component intervals
6653 @item major triad @tab major third/perfect fifth
6655 @tab C, CM, Cma, Cmaj, CΔ
6656 @item minor triad @tab minor third/perfect fifth
6658 @tab Cm, Cmi, Cmin, C-
6659 @item augmented triad @tab major third/augmented fifth
6662 @item diminished triad @tab minor third/diminished fifth
6664 @tab Cm(♭5), Cº, Cdim
6667 There are various types of seventh chords depending on the quality of the
6668 original chord and the quality of the seventh added.
6670 Five common types of seventh chords have standard symbols. The chord quality
6671 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6672 and D^m7 are all identical). The last three chords are not commonly used
6680 @section quarter note
6685 @item I: semiminima, nera
6687 @item D: Viertel, Viertelnote
6689 @item DK: fjerdedelsnode
6690 @item S: fjärdedelsnot
6691 @item FI: neljäsosanuotti
6699 @section quarter rest
6702 @item UK: crotchet rest
6703 @item ES: silencio de negra
6704 @item I: pausa di semiminima
6706 @item D: Viertelpause
6708 @item DK: fjerdedelspause
6709 @item S: fjärdedelspaus
6710 @item FI: neljäsosatauko
6718 @section quarter tone
6720 ES: cuarto de tonno,
6727 FI: neljännessävelaskel.
6729 An interval equal to half a semitone.
6738 ES: cinquillo, quintillo.
6752 @section rallentando
6756 F: rallentando, en ralentissant,
6757 D: rallentando, langsamer werden,
6761 FI: rallerdando, hidastuen.
6763 [Italian] A performance indication, abbreviated @notation{rall.}.
6770 @section relative key
6773 I: tonalità relativa,
6774 F: tonalité relative,
6776 NL: paralleltoonsoort,
6777 DK: paralleltoneart,
6779 FI: rinnakkaissävellaji.
6781 Major and minor keys that have the same key signature.
6783 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6785 es1_"e flat major" f g as bes c d es
6789 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6791 c1_"c minor" d es f g a! b! c
6796 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6804 F: barre de reprise,
6807 DK: gen@-ta@-gel@-se,
6811 @lilypond[quote,relative=2,line-width=13.0\cm]
6823 No cross-references.
6838 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6839 @c specify the rest's value.
6859 @item Metrical rhythm in which every time value is a multiple or
6860 fraction of a fixed unit of time, called @emph{beat}, and in which the
6861 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6862 The basic scheme of time values is called @emph{meter}.
6864 @item Measured rhythm which lacks regularly recurrent accent. In
6865 modern notation such music appears as a free alternation of different
6868 @item Free rhythm, i.e., the use of temporal values having no common
6869 metrical unit (beat).
6874 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6881 F: ritardando, en ralentissant,
6882 D: ritardando, langsamer werden,
6886 FI: ritardando, hidastuen,
6888 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6891 No cross-references.
6899 F: ritenuto, en retenant,
6904 FI: ritenuto, hidastaen.
6906 Immediate reduction of speed.
6909 No cross-references.
6922 FI: asteikko, sävelasteikko.
6925 @ref{diatonic scale}.
6929 @section scale degree
6931 ES: grado (de la escala),
6932 I: grado della scala,
6933 F: degré [de la gamme],
6935 NL: trap [van de toonladder],
6938 FI: sävelaste, asteikon sävel.
6940 Names and symbols used in harmonic analysis to denote tones of the
6941 scale as roots of chords. The most important are degrees I = tonic
6942 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6944 @lilypond[quote,notime,line-width=13.0\cm]
6946 \new Staff \relative c' {
6950 << { I II III IV V VI VII I }
6957 @ref{functional harmony}.
6965 F: à cordes ravallées,
6970 FI: epätavallinen viritys.
6972 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6973 tuning of stringed instruments, particularly lutes or violins. Used
6978 @item facilitate pitch combinations that would otherwise be difficult
6981 @item alter the characteristic timbre of the instrument, for example,
6982 to increase brilliance
6984 @item reinforce certain sonorities or tonalities by making them
6985 available on open strings
6987 @item imitate other instruments
6993 Tunings that could be called @var{scordatura} first appeared early in
6994 the 16th Century and became commonplace in the 17th.
6997 No cross-references.
7005 F: partition, conducteur (full score),
7006 D: Partitur (full score), Klavierauszug (vocal score),
7012 A copy of orchestral, choral, or chamber music showing what each
7013 instrument is to play, each voice to sing, having each part arranged
7014 one underneath the other on different staves @ref{staff}.
7017 No cross-references.
7032 The interval between two neighboring tones of a scale. A diatonic scale
7033 consists of alternating semitones and whole tones, hence the size of a
7034 second depends on the scale degrees in question.
7037 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7044 @item US: whole note,
7048 @item D: Ganze, ganze Note,
7049 @item NL: hele noot,
7052 @item FI: kokonuotti.
7055 Note value: called @notation{whole note} in the US.
7057 The semibreve is the basis for the @notation{tactus} in mensural notation
7058 (i.e. music written before ca. 1600).
7061 @ref{mensural notation}, @ref{note value}.
7076 The interval of a minor second. The (usually) smallest interval in European
7077 composed music. The interval between two neighboring tones on the piano
7078 keyboard -- including black and white keys -- is a semitone. An octave may
7079 be divided into 12@w{ }semitones.
7081 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7082 g1 gis s a bes s b! c
7086 @ref{interval}, @ref{chromatic scale}.
7109 @ref{sextuplet}, @ref{note value}.
7163 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7164 is to be played in the same manner (i.e. with the same articulations, dynamics,
7165 etc.) as the music that precedes it.
7168 TODO: Where else could I refer the reader?
7172 @section simple meter
7174 ES: compás simple, compás de subdivisión binaria,
7181 FI: kaksijakoinen tahtiosoitus.
7183 A meter in which the basic beat is subdivided in two: that is, a meter
7184 that does not include triplet subdivision of the beat.
7187 @ref{compound meter}, @ref{meter}.
7190 @node sixteenth note
7191 @section sixteenth note
7194 @item UK: semiquaver
7195 @item ES: semicorchea
7197 @item F: double croche
7198 @item D: Sechzehntel, Sechzehntelnote
7199 @item NL: zestiende noot
7200 @item DK: sekstendedelsnode
7201 @item S: sextondelsnot
7202 @item FI: kuudestoistaosanuotti
7209 @node sixteenth rest
7210 @section sixteenth rest
7213 @item UK: semiquaver rest
7214 @item ES: silencio de semicorchea
7215 @item I: pausa di semicroma
7216 @item F: quart de soupir
7217 @item D: Sechzehntelpause
7218 @item NL: zestiende rust
7219 @item DK: sekstendedelspause
7220 @item S: sextondelspaus
7221 @item FI: kuudestoistaosatauko
7244 @node sixty-fourth note
7245 @section sixty-fourth note
7248 @item UK: hemidemisemiquaver
7250 @item I: semibiscroma
7251 @item F: quadruple croche
7252 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7253 @item NL: vierenzestigste noot
7254 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7255 @item S: sextiofjärdedelsnot
7256 @item FI: kuudeskymmenesneljäsosanuotti
7263 @node sixty-fourth rest
7264 @section sixty-fourth rest
7267 @item UK: hemidemisemiquaver rest
7268 @item ES: silencio de semifusa
7269 @item I: pausa di semibiscroma
7270 @item F: seizième de soupir
7271 @item D: Vierundsechzigstelpause
7272 @item NL: vierenzestigste rust
7273 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7274 @item S: sextiofjärdedelspaus
7275 @item FI: kuudeskymmenesneljäsosatauko
7283 @section slash repeat
7286 @ref{percent repeat}.
7292 ES: ligadura (de expresión),
7293 I: legatura (di portamento or espressiva),
7295 D: Bogen (Legatobogen, Phrasierungsbogen),
7296 NL: fraseringsboog, legatoboog, streekboog,
7297 DK: legatobue, fraseringsbue,
7301 A slur above or below a group of notes indicates that they are to be
7302 played @ref{legato}, e.g., with one stroke of the violin bow or with
7303 one breath in singing.
7306 No cross-references.
7310 @section solmization
7319 FI: suhteelliset laulunimet.
7321 General term for systems of designating the degrees of the
7322 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7323 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7327 @ref{scale}, @ref{scale degree}.
7342 In its present-day meaning a sonata denotes an instrumental
7343 composition for piano or for some other instrument with piano
7344 accompaniment, which consists of three or four independant pieces,
7348 No cross-references.
7352 @section sonata form
7356 F: [en] forme de sonate,
7358 NL: hoofdvorm, sonatevorm,
7363 A form used frequently for single movements of the @emph{sonata},
7364 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7365 three sections called @notation{exposition}, @notation{development} and
7366 @notation{recapitulation}. In the exposition the composer introduces some
7367 musical ideas, consisting of a number of themes; in the development section the
7368 composer @emph{develops} this material, and in the recapitulation the composer
7369 repeats the exposition, with certain modifications. The exposition contains a
7370 number of themes that fall into two groups, often called first and second
7371 subject. Other melodies occurring in each group are considered as continuations
7372 of these two. The second theme is in another key, normally in the key of the
7373 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7374 @notation{relative key} if the tonic is @notation{minor}.
7377 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7378 @ref{symphony}, @ref{tonic}.
7398 FI: sopraano, korkea naisääni.
7400 The highest female voice.
7403 No cross-references.
7411 F: staccato, piqué, détaché,
7416 FI: staccato, lyhyesti, terävästi.
7418 Playing the note(s) short. Staccato is indicated by a dot above or
7419 below the note head.
7421 @lilypond[quote,relative=2]
7425 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7431 No cross-references.
7439 I: pentagramma, rigo (musicale),
7441 D: Notensystem, Notenzeile,
7442 NL: (noten)balk, partij,
7447 A staff (plural: staves) is a series of (normally five) horizontal
7448 lines upon and between which the musical notes are written, thus
7449 indicating (in connection with a @ref{clef}) their pitch. Staves for
7450 @ref{percussion} instruments may have fewer lines.
7453 No cross-references.
7469 D: Hals, Notenhals, Stiel,
7475 Vertical line above or below a @ref{note head} shorter than a
7478 @lilypond[quote,notime,relative=2]
7479 \set Score.autoBeaming = ##f
7495 F: stringendo, en accélérant,
7500 FI: kiihdyttäen, nopeuttaen.
7502 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7521 A family of stringed musical instruments played with a bow. Strings
7522 commonly used in a symphony orchestra are violin, viola, violoncello,
7526 No cross-references.
7530 @section strong beat
7535 D: betonter Taktteil oder Taktschlag,
7537 D: betonet taktslag,
7538 S: betonat taktslag,
7539 FI: tahdin vahva isku.
7542 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7546 @section subdominant
7555 FI: subdominantti, alidominantti.
7557 The fourth @notation{scale degree}.
7560 @ref{functional harmony}, @ref{scale degree}.
7575 The sixth @notation{scale degree}.
7578 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7591 FI: subtoonika, alitoonika.
7593 The seventh @ref{scale degree}.
7596 @ref{functional harmony}, @ref{scale degree}.
7602 ES: sobre la cuerda de Sol,
7605 D: auf G, auf der G-Saite,
7611 Indicates that the indicated passage (or note) should be played on the
7615 No cross-references.
7619 @section superdominant
7630 The sixth @ref{scale degree}.
7633 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7648 The second @ref{scale degree}.
7651 @ref{functional harmony}, @ref{scale degree}.
7660 D: Sinfonie, Symphonie,
7666 A symphony may be defined as a @emph{sonata} for orchestra.
7673 @section syncopation
7684 Any deliberate upsetting of the normal pulse of @ref{meter},
7685 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7686 rhythm rests upon the grouping of equal beats into groups of two or
7687 three, with a regularly recurrent accent on the first beat of each
7688 group. Any deviation from this scheme is felt as a disturbance or
7689 contradiction between the underlaying (normal) pulse and the actual
7692 @lilypond[quote,relative=1]
7695 e16 c'8 e,16 c'8 e,16 c' ~
7700 No cross-references.
7703 @node syntonic comma
7704 @section syntonic comma
7706 ES: coma sintónica, coma de Dídimo,
7707 I: comma sintonico (o didimico),
7708 F: comma syntonique,
7709 D: syntonisches Komma,
7710 NL: syntonische komma,
7711 DK: syntonisk komma,
7712 S: syntoniskt komma,
7713 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7714 Pytagorisessa viritysjärjestelmässä.
7716 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7717 by which the ditone exceeds the pure major third obtained by Pythagorean
7718 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7720 Modern acoustical theory defines it as the interval by which four fifths exceed
7721 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7723 This comma is also known as the comma of Didymus, or didymic comma.
7726 @ref{Pythagorean comma}
7735 D: Notensystem, Partitur,
7739 FI: nuottijärjestelmä.
7741 The collection of staves (@notation{staff}), two or more, as used for writing
7742 down of keyboard, chamber, choral, or orchestral music.
7749 @section temperament
7754 D: Stimmung, Tem@-pe@-ra@-tur,
7755 NL: stemming, temperatuur,
7758 FI: viritysjärjestelmä.
7760 Systems of tuning in which the intervals deviate from the acoustically
7764 @ref{meantone temperament}, @ref{equal temperament}.
7767 @node tempo indication
7768 @section tempo indication
7770 ES: indicación de tempo,
7771 I: indicazione di tempo,
7772 F: indication de tempo,
7773 D: Zeitmaß, Tempobezeichnung,
7774 NL: tempo aanduiding,
7779 The rate of speed of a composition or a section thereof, ranging from the
7780 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7781 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7785 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7799 FI: tenori, korkea miesääni.
7801 The highest @q{natural} male voice (apart from @notation{countertenor}).
7826 ES: subrayado (tenuto),
7835 An indication that a particular note should be held for the whole
7836 length, although this can vary depending on the composer and era.
7839 No cross-references.
7858 @node thirty-second note
7859 @section thirty-second note
7862 @item UK: demisemiquaver
7865 @item F: triple croche
7866 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7867 @item NL: twee@-endertig@-ste (32e) noot
7868 @item DK: toogtredivtedelsnode
7869 @item S: trettiotvåondelsnot
7870 @item FI: kolmaskymmeneskahdesosanuotti
7877 @node thirty-second rest
7878 @section thirty-second rest
7881 @item UK: demisemiquaver rest
7882 @item ES: silencio de fusa
7883 @item I: pausa di biscroma
7884 @item F: huitième de soupir
7885 @item D: Zweiunddreissigstel@-pause
7886 @item NL: twee@-endertig@-ste (32e) rust
7887 @item DK: toogtredivtedelspause
7888 @item S: trettiotvåondelspaus
7889 @item FI: kolmaskymmeneskahdesosatauko
7897 @section thorough bass
7906 ES: ligadura de prolongación, ligadura de unión,
7907 I: legatura (di valore),
7908 F: liaison (de tenue),
7909 D: Haltebogen, Bindebogen,
7910 NL: overbinding, bindingsboog,
7912 S: bindebåge, överbindning,
7915 A curved line, identical in appearance with the @ref{slur}, which
7916 connects two succesive notes of the same pitch, and which has the
7917 function of uniting them into a single sound (tone) equal to the
7920 @lilypond[quote,notime,relative=2]
7932 @node time signature
7933 @section time signature
7935 ES: indicación de compás,
7937 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7938 D: Taktangabe, Angabe der Taktart,
7941 S: taktartssignatur,
7944 The sign placed at the beginning of a composition to indicate its
7945 meter. It most often takes the form of a fraction, but a few signs
7946 derived from mensural notation and proportions are also employed.
7949 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7964 A sound of definite pitch and duration, as distinct from @emph{noise}.
7965 Tone is a primary building material of music.
7967 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7970 No cross-references.
7985 The first @notation{scale degree}.
7988 @ref{functional harmony}, @ref{scale degree}.
7991 @node transposing instrument
7992 @section transposing instrument
7994 ES: instrumento transpositor,
7996 F: instrument transpositeur,
8001 FI: transponoitava soitin.
8003 Instruments whose notated pitch is different from their sounded pitch. Except
8004 for those whose notated and sounding pitches differ by one or more octaves (to
8005 reduce the number of ledger lines needed), most such instruments are identified
8006 by the letter name of the pitch class of their fundamental. The pitch class is
8007 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8008 the instrument plays a notated C.
8010 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8011 the B-flat one tone lower. If played on the A clarinet, the same written
8012 note sounds the A (one and half tones -- a minor third -- lower).
8014 Not all transposing instruments include the pitch class in their name:
8018 @item English horn (in F)
8020 @item Alto flute (in G)
8025 @ref{concert pitch}.
8029 @section transposition
8040 Shifting a melody up or down in pitch, while keeping the same
8043 @lilypond[quote,line-width=13.0\cm]
8048 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8053 @lilypond[quote,line-width=13.0\cm]
8056 \transpose c bes \relative c'' {
8058 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8064 No cross-references.
8068 @section treble clef
8071 I: chiave di violino,
8073 D: Violinschlüssel, Sopranschlüssel,
8095 On stringed instruments:
8099 @item The quick reiteration of the same tone, produced by a rapid
8100 up-and-down movement of the bow.
8102 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8103 in the distance of a third (@ref{interval}).
8107 @lilypond[quote,notime,relative=1]
8109 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8110 \repeat tremolo 8 { e32_"b" g }
8122 F: triade, accord parfait, accord de trois sons,
8138 F: trille, tremblement, battement (cadence),
8150 @section triple meter
8152 ES: compás ternario,
8155 D: in drei, ungerader Takt,
8156 NL: driedelige maatsoort,
8198 @section tuning fork
8200 ES: diapasón, horquilla de afinación,
8201 I: diapason, corista,
8209 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8210 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8211 standard. Tuning forks for other pitches are available.
8220 A non-standard subdivision of a beat or part of a beat, usually
8221 indicated with a bracket and a number indicating the number of
8225 @ref{triplet}, @ref{note value}.
8231 ES: grupeto (circular),
8254 FI: unisono, yksiäänisesti.
8256 Playing of the same notes or the same melody by various instruments
8257 (voices) or by the whole orchestra (choir), either at exactly the same
8258 pitch or in a different octave.
8261 No cross-references.
8269 F: anacrouse, levée,
8290 FI: ääni, lauluääni.
8298 @item @ref{mezzo-soprano}
8299 @item @ref{contralto}
8301 @item @ref{baritone}
8305 @item A melodic layer or part of a polyphonic composition.
8310 No cross-references.
8316 ES: vez, primera y segunda vez,
8323 FI: yksi kertauksen maaleista.
8325 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8326 or second ending. LilyPond extends this idea to any number, and allows any text
8327 (not just a number) -- to serve as the @notation{volta} text.
8330 No cross-references.
8337 I: tempo debole, arsi,
8339 D: unbetonter Taktteil oder Taktschlag,
8341 DK: ubetonet taktslag,
8342 S: obetonat taktslag,
8343 FI: tahdin heikko isku.
8346 @ref{beat}, @ref{measure}, @ref{rhythm}.
8357 @item D: Ganze, ganze Note
8361 @item FI: kokonuotti
8372 @item UK: semibreve rest
8373 @item ES: silencio de redonda
8374 @item I: pausa di semibreve
8376 @item D: ganze Pause, ganztaktige Pause
8378 @item DK: helnodespause
8399 The interval of a major second. The interval between two tones
8400 on the piano keyboard with exactly one key between them -- including
8401 black and white keys -- is a whole tone.
8419 A family of blown wooden musical instruments. Today some of these
8420 instruments are actually made from metal. The woodwind instruments
8421 commonly used in a symphony orchestra are flute, oboe, clarinet,
8422 saxophone, and bassoon.
8425 No cross-references.
8428 @node Duration names notes and rests
8429 @chapter Duration names notes and rests
8431 @multitable @columnfractions .12 .22 .22 .22 .22
8433 @headitem Lang. @tab note name
8437 @item @strong{US} @tab long
8441 @item @strong{UK} @tab longa
8445 @item @strong{ES} @tab longa
8446 @tab silencio de longa
8448 @tab silencio de cuadrada
8449 @item @strong{IT} @tab longa
8453 @item @strong{FR} @tab longa
8454 @tab quadruple-pause
8457 @item @strong{DE} @tab Longa
8461 @item @strong{NL} @tab longa
8465 @item @strong{DK} @tab longa
8466 @tab longanodespause
8468 @tab brevis(nodes)pause
8469 @item @strong{SE} @tab longa
8473 @item @strong{FI} @tab longa-nuotti
8475 @tab brevis-nuotti, kaksoiskoko@-nuotti
8476 @tab brevis-tauko, kaksoiskoko@-tauko
8480 @multitable @columnfractions .12 .22 .22 .22 .22
8482 @headitem Lang. @tab note name
8486 @item @strong{US} @tab whole note
8490 @item @strong{UK} @tab semibreve
8494 @item @strong{ES} @tab redonda
8495 @tab silencio de redonda
8497 @tab silencio de blanca
8498 @item @strong{IT} @tab semibreve
8499 @tab pause di semibreve
8501 @tab pausa di minima
8502 @item @strong{FR} @tab ronde
8506 @item @strong{DE} @tab ganze Note
8510 @item @strong{NL} @tab hele noot
8514 @item @strong{DK} @tab helnode
8518 @item @strong{SE} @tab helnot
8522 @item @strong{FI} @tab kokonuotti
8529 @multitable @columnfractions .12 .22 .22 .22 .22
8531 @headitem Lang. @tab note name
8535 @item @strong{US} @tab quarter note
8539 @item @strong{UK} @tab crotchet
8543 @item @strong{ES} @tab negra
8544 @tab silencio de negra
8546 @tab silencio de corchea
8547 @item @strong{IT} @tab semiminima, nera
8548 @tab pausa di semiminima, pausa di nera
8551 @item @strong{FR} @tab noire
8555 @item @strong{DE} @tab Viertelnote
8559 @item @strong{NL} @tab kwartnoot
8563 @item @strong{DK} @tab fjerdedelsnode
8564 @tab fjerdedelspause
8565 @tab ottendedelsnode
8566 @tab ottendedelspause
8567 @item @strong{SE} @tab fjärdedelsnot
8571 @item @strong{FI} @tab neljäsosa@-nuotti
8572 @tab neljäsosa@-tauko
8573 @tab kahdeksasosa@-nuotti
8574 @tab kahdeksasosa@-tauko
8578 * About the French naming system: @notation{croche} refers to the note's
8579 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8580 @q{doubled hook}, @q{trebled hook}, and so on.
8582 The rest names are based on the @notation{soupir}, or quarter rest.
8583 Subsequent rests are expressed as fractions thereof: half a
8584 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8586 Each of the following tables contains one type of note and its matching rest,
8587 with abbreviations that apply to both notes and rests. Just switch the part
8588 that means @q{note} with the part that means @q{rest}, for example:
8592 @item English: 16th @strong{note}, 16th @strong{rest}
8593 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8594 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8598 Editor's note: I put a dash @q{-} when I could not find a language-specific
8599 abbreviation for a duration name. If you know of one that I missed, please
8600 send it to me, care of the lilypond-user discussion list.
8602 @multitable @columnfractions .10 .35 .35 .20
8604 @headitem Lang. @tab Note name
8607 @item @strong{US} @tab sixteenth note
8610 @item @strong{UK} @tab semiquaver
8611 @tab semiquaver rest
8613 @item @strong{ES} @tab semicorchea
8614 @tab silencio de semicorchea
8616 @item @strong{IT} @tab semicroma
8617 @tab pausa di semicroma
8619 @item @strong{FR} @tab double croche
8620 @tab quart de soupir
8622 @item @strong{DE} @tab Sechzehntelnote
8623 @tab Sechzehntelpause
8625 @item @strong{NL} @tab zes@-ti@-ende noot
8626 @tab zes@-ti@-ende rust
8628 @item @strong{DK} @tab sekstendedelsnode
8629 @tab sekstendedelspause
8631 @item @strong{SE} @tab sextondelsnot
8634 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8635 @tab kuudes@-toistaosa@-tauko
8640 @multitable @columnfractions .10 .35 .35 .20
8642 @headitem Lang. @tab Note name
8645 @item @strong{US} @tab thirty-second note
8646 @tab thirty-second rest
8648 @item @strong{UK} @tab demisemiquaver
8649 @tab demisemiquaver rest
8651 @item @strong{ES} @tab fusa
8652 @tab silencio de fusa
8654 @item @strong{IT} @tab biscroma
8655 @tab pausa di biscroma
8657 @item @strong{FR} @tab triple croche
8658 @tab huitième de soupir
8660 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8661 @tab Zweiunddreißig@-stelpause
8663 @item @strong{NL} @tab twee@-endertigste noot
8664 @tab twee@-endertigste rust
8666 @item @strong{DK} @tab toogtredivtedelsnode
8667 @tab toogtredivtedelspause
8669 @item @strong{SE} @tab trettio@-tvåondelsnot
8670 @tab trettio@-tvåondelspaus
8672 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8673 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8678 @multitable @columnfractions .10 .35 .35 .20
8680 @headitem Lang. @tab Note name
8683 @item @strong{US} @tab sixty-fourth note
8684 @tab sixty-fourth rest
8686 @item @strong{UK} @tab hemidemisemiquaver
8687 @tab hemidemisemiquaver rest
8689 @item @strong{ES} @tab semifusa
8690 @tab silencio de semifusa
8692 @item @strong{IT} @tab semibiscroma
8693 @tab pausa di semibiscroma
8695 @item @strong{FR} @tab quadruple croche
8696 @tab seizième de soupir
8698 @item @strong{DE} @tab Vierundsechzigstelnote
8699 @tab Vierundsechzigstelpause
8701 @item @strong{NL} @tab vierenzestigste noot
8702 @tab vierenzestigste rust
8704 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8705 @tab fireog@-tredsindstyven@-dedelspause
8707 @item @strong{SE} @tab sextiofjärdedelsnot
8708 @tab sextiofjärdedelspaus
8710 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8711 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8716 @multitable @columnfractions .10 .35 .35 .20
8718 @headitem Lang. @tab Note name
8721 @item @strong{US} @tab one-hundred-twenty-eighth note
8722 @tab one-hundred-twenty-eighth rest
8724 @item @strong{UK} @tab semihemidemisemiquaver
8725 @tab semihemidemisemiquaver rest
8727 @item @strong{ES} @tab garrapatea
8728 @tab silencio de garrapatea
8730 @item @strong{IT} @tab fusa
8733 @item @strong{FR} @tab quintuple croche
8734 @tab trente-deuxième de soupir @tab -
8735 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8736 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8737 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8738 @tab honderd@-acht@-en@-twintigste rust
8740 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8741 @tab hundrede@-otte@-og@-tyvendedels@-pause
8743 @item @strong{SE} @tab hundratjugoåttondelsnot
8744 @tab hundratjugoåttondelspaus
8746 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8747 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8752 @multitable @columnfractions .10 .35 .35 .20
8754 @headitem Lang. @tab Note name
8757 @item @strong{US} @tab two-hundred-fifty-sixth note
8758 @tab two-hundred-fifty-sixth rest
8760 @item @strong{UK} @tab demisemihemidemisemiquaver
8761 @tab demisemihemidemisemiquaver rest
8763 @item @strong{ES} @tab semigarrapatea
8764 @tab silencio de semigarrapatea @tab -
8765 @item @strong{IT} @tab semifusa
8766 @tab pausa di semifusa
8768 @item @strong{FR} @tab sextuple croche
8769 @tab soixante-quatrième de soupir @tab -
8770 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8771 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8772 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8773 @tab tweehonderd@-zesenvijftigste rust
8775 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8776 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8778 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8779 @tab tvåhundra@-femtiosjättedelspaus
8781 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8782 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8788 @ref{mensural notation}
8792 @chapter Pitch names
8795 -is/-es endings for Danish per Rune Zedeler, pace,
8796 and for Finnish per Risto Vääräniemi;
8797 -iss/-ess endings for Swedish per Mats Bengtsson
8798 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8800 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8801 multiple lines -- as texinfo needs it to allow enough space for the
8802 table entries. (For the curious, it's a list of the widest items in
8803 each column of the table. Romance pitch names are two characters,
8804 except for g (sol) ... so there you go.)
8807 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8808 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8809 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8810 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8811 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8812 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8813 @tab des @tab des @tab dess @tab des
8814 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8815 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8816 @tab dis @tab dis @tab diss @tab dis
8817 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8818 @tab es @tab es @tab ess @tab es
8819 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8820 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8821 @tab Fes @tab fes @tab fes @tab fess @tab fes
8822 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8823 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8824 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8825 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8826 @tab fis @tab fis @tab fiss @tab fis
8827 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8828 @tab ges @tab ges @tab gess @tab ges
8829 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8830 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8831 @tab Gis @tab gis @tab gis @tab giss @tab gis
8832 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8833 @tab as @tab as @tab ass @tab as
8834 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8835 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8836 @tab ais @tab ais @tab aiss @tab ais
8837 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8838 @tab bes @tab b @tab b @tab b
8839 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8840 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8841 @tab ces @tab ces @tab cess @tab ces
8842 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8843 @tab His @tab bis @tab his @tab hiss @tab his
8851 @node Literature used
8852 @unnumberedsec Literature used
8855 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8856 Cambridge: Belknap Press (Harvard University Press), 1944.
8858 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8861 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8862 Terminologie}. Kassel, 1980.
8864 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8865 Current English}, 3rd ed. London: Oxford University Press, 1974.
8867 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8868 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8870 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8871 Cambridge: Belknap Press (Harvard University Press), 1986.
8873 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.