1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
16 @macro copyrightDeclare
17 Copyright @copyright{} 1999--2010 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
64 * GNU Free Documentation License:: License of this document.
71 @c TOC - tex. Not desired for this manual. -gp
75 @node Musical terms A-Z
76 @chapter Musical terms A-Z
78 Languages in this order.
80 @item UK - British English (where it differs from American English)
109 * ancient minor scale::
114 * ascending interval::
116 * augmented interval::
153 * compound interval::
157 * conjunct movement::
172 * descending interval::
175 * diminished interval::
179 * disjunct movement::
181 * dissonant interval::
185 * dominant ninth chord::
186 * dominant seventh chord::
188 * dot (augmentation dot)::
190 * double appoggiatura::
192 * double dotted note::
195 * double time signature::
202 * ecclesiastical mode::
209 * equal temperament::
230 * functional harmony::
251 * inverted interval::
266 * long appoggiatura::
273 * meantone temperament::
280 * mensural notation::
285 * metronomic indication::
298 * multi-measure rest::
328 * polymetric time signature::
334 * Pythagorean comma::
365 * sixty-fourth note::
366 * sixty-fourth rest::
397 * thirty-second note::
398 * thirty-second rest::
405 * transposing instrument::
459 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
460 @notation{a due} indicates that:
464 @item A single part notated on a single staff that normally carries parts
465 for two players (e.g. first and second oboes) is to be played by both
468 @item Or conversely, that two pitches or parts notated on a staff that
469 normally carries a single part (e.g. first violin) are to be played by
470 different players, or groups of players (@q{desks}).
483 F: accelerando, en accélérant,
484 D: accelerando, schneller werden,
488 FI: accelerando, kiihdyttäen.
490 [Italian: @q{speed up, accelerate}]
492 An increase in the tempo, abbreviated @notation{accel.}
508 FI: aksentti, korostus.
510 The stress of one tone over others.
524 @section acciaccatura
526 ES: mordente de una nota,
528 F: acciaccatura, appoggiature brève,
535 A grace note which takes its time from the rest or note preceding the
536 principal note to which it is attached. The acciaccatura is drawn as a
537 small eighth note (quaver) with a line drawn through the flag and stem.
540 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
546 ES: alteración accidental,
547 I: alterazione, accidente,
548 F: altération accidentelle,
549 D: Versetzungszeichen, Akzidenz,
550 NL: toevallig (verplaatsings)teken,
552 S: tillfälligt förtecken,
553 FI: tilapäinen etumerkki.
555 An accidental alters a note by:
559 @item Raising its pitch:
561 @item By two semitones—@notation{double sharp}
562 @item By one semitone—@notation{sharp}
565 @item Lowering its pitch:
567 @item By one semitone—@notation{flat}
568 @item By two semitones—@notation{double flat}
571 @item Or canceling the effects of the key signature or previous accidentals.
574 @lilypond[quote,notime]
578 \set Staff.extraNatural = ##f
579 gisis1 gis g! ges geses
584 \center-column { double sharp }
590 \center-column { double flat }
596 \override SpacingSpanner
597 #'base-shortest-duration = #(ly:make-moment 1 32)
604 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
617 FI: adagio, hitaasti.
619 [Italian: @q{comfortable, easy}]
623 @item Slow tempo, slower -- especially in even meter -- than
624 @notation{andante} and faster than @notation{largo}.
626 @item A movement in slow tempo, especially the second (slow) movement
627 of sonatas, symphonies, etc.
632 @ref{andante}, @ref{largo}, @ref{sonata}.
640 F: al niente, en mourant,
645 FI: häviten olemattomiin.
647 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
648 that the sound should fade away to nothing.
650 @notation{Al niente} is indicated by circling the tip of the hairpin:
652 @lilypond[quote,relative=2]
653 \override Hairpin #'circled-tip = ##t
659 or with the actual phrase @notation{al niente}:
661 @lilypond[quote,relative=2]
663 \override DynamicTextSpanner #'(bound-details right text) =
664 \markup { \italic { al niente } }
670 Since one does not crescendo @emph{to} nothing, it is not correct to use
671 @notation{al niente} with @notation{crescendo}. Instead, one should use
672 @emph{dal niente} (@notation{@b{from} nothing}).
675 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
683 F: alla breve, à la brève,
684 D: Allabreve, alla breve
690 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
692 Also called @notation{in cut time}. The name derives from mensural
693 notation, where the @notation{tactus} (or beat) is counted on the semibreve
694 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
695 next longest note value, which (in modern usage) effectively halves all note
698 In mensural notation, breves and semibreves can have a ternary relationship,
699 in which case @notation{alla breve} means thrice (not twice) as fast. In
700 practice, this complication may not have mattered, since Gaffurius's system
701 of multiplex proportions makes it easy to explicitly state which proportion
705 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
706 @ref{proportion}, @ref{whole note}.
714 F: allegro, gaiement,
715 D: Allegro, Schnell, Fröhlich, Lustig,
719 FI: allegro, nopeasti.
721 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
722 quick tempo, especially the first and last movements of a sonata.
735 NL: verhoging of verlaging,
740 An alteration is the modification, raising or lowering, of a note's
741 pitch. It is established by an accidental.
743 @c TODO: add second meaning from mensural notation
759 FI: altto, matala naisääni.
761 A female voice of low range (@emph{contralto}). Originally the alto was a
762 high male voice (hence the name), which by castration or the use of falsetto
763 reached the height of the natural female voice. This type of voice is also
764 known as countertenor.
773 ES: clave de do en tercera,
774 I: chiave di contralto,
775 F: clef d'ut troisième ligne,
776 D: Altschlüssel, Bratschenschlüssel,
782 C clef setting middle C on the middle line of the staff.
793 F: ambitus, tessiture,
798 FI: ambitus, ääniala, soitinala.
800 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
801 Denotes a range of pitches for a given voice in a part of music. It may
802 also denote the pitch range that a musical instrument is capable of playing.
803 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
821 An anacrusis (also known as pickup or upbeat) is an incomplete measure
822 of music before a section of music. It also refers to the initial
823 note(s) of a melody occurring in that incomplete measure.
825 @lilypond[quote,relative=1]
836 @ref{measure}, @ref{meter}.
839 @node ancient minor scale
840 @section ancient minor scale
842 ES: escala menor natural,
843 I: scala minore naturale,
844 F: forme du mode mineur ancien, troisème mode, mode hellénique,
845 D: reines Moll, natürliches Moll,
846 NL: authentieke mineurtoonladder,
849 FI: luonnollinen molliasteikko.
851 Also called @q{natural minor scale}.
853 @lilypond[quote,notime,relative=2]
859 @ref{diatonic scale}.
874 [Italian: present participle of @emph{andare}, @q{to walk}]
876 Walking tempo/character.
883 @section appoggiatura
887 F: appoggiature, (port de voix),
888 D: Vorschlag, Vorhalt
889 NL: (korte) voorslag,
892 FI: appoggiatura, etuhele.
894 Ornamental note, usually a second, that is melodically connected with
895 the main note following it. In music before the 19th century
896 appoggiature were usually performed on the beat, after that mostly
897 before the beat. While the short appoggiatura is performed as a short
898 note regardless of the duration of the main note the duration of the
899 long appoggiatura is proportional to that of the main note.
901 @lilypond[quote,relative=2]
904 <d a fis>4_"notation" r
911 \set Score.measurePosition = #ZERO-MOMENT
912 <d, a fis>4_"performance" r
918 An appoggiatura may have more notes preceding the main note.
920 @lilypond[quote,relative=2]
923 \grace bes16 as8-"notation" as16 bes as8 g |
924 \grace { as16[( bes] } <c as>4)
925 \grace { as16[( bes] } <c as>4) \bar "||"
927 \grace bes16 as8-"performance" as16 bes as8 g |
931 as32 bes c8. as32 bes c8.
935 as16 ~ as8. as16 ~ as8.
950 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
952 DK: arpeggio, akkordbrydning,
954 FI: arpeggio, murtosointu.
956 [Italian: @q{harp-like, played like a harp}]
958 @lilypond[quote,line-width=13\cm]
960 \context Staff = "SA" {
964 r8 g16 c e g, c e r8 g,16 c e g, c e
965 r8 a,16 d f a, d f r8 a,16 d f a, d f
969 \context Staff = "SB" {
975 r16 e8. ( e4) r16 e8. ( e4)
976 r16 d8. ( d4) r16 d8. ( d4)
994 @section articulation
1003 FI: artikulaatio, ilmaisu.
1005 Articulation refers to notation which indicates how a note or notes
1006 should be played. Slurs, accents, staccato, and legato are all
1007 examples of articulation.
1010 No cross-references.
1013 @node ascending interval
1014 @section ascending interval
1016 ES: intervalo ascendente,
1017 I: intervallo ascendente,
1018 F: intervalle ascendant,
1019 D: steigendes Intervall,
1020 NL: stijgend interval,
1021 DK: stigende interval,
1022 S: stigande intervall,
1023 FI: nouseva intervalli.
1025 A distance between a starting lower note and a higher ending note.
1028 No cross-references.
1032 @section augmentation
1041 FI: aika-arvojen pidentäminen.
1043 @c TODO: add definition.
1045 This is a placeholder for augmentation (wrt mensural notation).
1048 @ref{diminution}, @ref{mensural notation}.
1051 @node augmented interval
1052 @section augmented interval
1054 ES: intervalo aumentado,
1055 I: intervallo aumentato,
1056 F: intervalle augmenté,
1057 D: übermäßiges Intervall,
1058 NL: overmatig interval,
1059 DK: forstørret interval,
1060 S: överstigande intervall,
1061 FI: ylinouseva intervalli.
1072 F: manuscrit, autographe
1073 D: Autograph, Handschrift,
1075 DK: håndskrift, autograf,
1077 FI: käsinkirjoitettu nuotti.
1081 @item A manuscript written in the composer's own hand.
1083 @item Music prepared for photoreproduction by freehand drawing, with
1084 the aid of a straightedge ruler and T-square only, which attempts to
1085 emulate engraving. This required more skill than did engraving.
1090 No cross-references.
1108 @ref{H}, @ref{Pitch names}
1128 ES: barra, línea divisoria,
1129 I: stanghetta, barra (di divisione),
1130 F: barre (de mesure),
1137 A vertical line through the staff (or through multiple staves) that
1138 separates measures. Used very infrequently during the Renaissance (mostly
1139 in secular music, or in sacred music to indicate congruences between parts
1140 in otherwise-unmetered music).
1156 FI: baritoni, keskikorkuinen miesääni.
1158 The male voice intermediate in pitch between the bass and the tenor.
1160 @c F: clef de troisième ligne dropped
1163 @ref{bass}, @ref{tenor}.
1167 @section baritone clef
1169 ES: clave de fa en tercera,
1170 I: chiave di baritono,
1171 F: clef d'ut cinquième ligne, clef de fa troisième,
1172 D: Baritonschlüssel,
1178 C or F clef setting middle C on the upper staff line.
1181 @ref{C clef}, @ref{F clef}.
1194 FI: basso, matala miesääni.
1198 @item The lowest male voice.
1200 @item Sometimes, especially in jazz music, used as an abbreviation for
1212 ES: clave de fa en cuarta,
1214 F: clef de fa quatrième ligne,
1221 A clef setting with middle C on the first top ledger line.
1230 ES: barra (de corcheas),
1232 F: ligature, barre (de croches),
1239 Line connecting a series of notes (shorter than a quarter note). The
1240 number of beams determines the note value of the connected notes.
1242 @lilypond[quote,notime,relative=2,line-width=13\cm]
1243 g8-"1/8"[ g g g] s16
1244 g16-"1/16"[ g g g] s
1245 g32-"1/32"[ s g s g s g] s16
1246 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1250 @ref{feathered beam}.
1256 ES: tiempo, parte (de compás)
1259 D: Takt, Taktschlag, Zeit (im Takt),
1265 Note value used for counting, most often half-, fourth-, and eighth notes.
1266 The base counting value and the number of them in each measure is indicated
1267 at the start of the music by the @notation{time signature}.
1269 @lilypond[quote,relative=2]
1272 g4 c b a | g1 \bar "||"
1274 g8 d' c | b c a | g4. \bar "||"
1278 @ref{time signature}.
1282 @section beat repeat
1285 @ref{percent repeat}.
1298 ES: llave, corchete,
1301 D: Klammer, Akkolade,
1302 NL: accolade, teksthaak,
1305 FI: yhdistävä sulkumerkki.
1307 Symbol at the start of a system connecting staves.
1309 Curly braces are used for connecting piano staves, and sometimes for connecting
1310 the staves of like instruments in an orchestral score when written on different
1311 staves (e.g. first and second flutes):
1315 \context Staff = "SA" {
1321 \context Staff = "SB" {
1331 Angular brackets for connecting parts in an orchestral or choral score:
1335 \context Staff = "SA" {
1341 \context Staff = "SB" {
1352 No cross-references.
1359 I: parentesi quadra,
1377 NL: koper (blazers),
1380 S: brassinstrument, mässingsinstrument,
1383 A family of blown musical instruments made of brass, all using a cup
1384 formed mouth piece. The brass instruments commonly used in a symphony
1385 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1386 sousaphones and contrabass bugles are common.
1389 No cross-references.
1393 @section breath mark
1398 D: Atemzeichen, Trennungszeichen,
1399 NL: repercussieteken,
1400 DK: vejrtrækningstegn,
1404 Indication of where to breathe in vocal and wind instrument parts.
1414 @item US: breve, double-whole note
1415 @item ES: cuadrada, breve
1422 @item FI: brevis, kaksoiskokonuotti
1425 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1427 Mainly used in music from before 1650. In mensural notation, it was a note
1428 of fairly short duration—hence the name, which is Latin for @q{short} or
1429 @q{of short duration}.
1431 @lilypond[quote,notime,relative=2]
1436 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1469 Clef symbol indicating the position of the middle C. Used on all note
1472 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1474 \override Staff.Clef #'full-size-change = ##t
1476 \clef mezzosoprano c1
1482 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1483 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1488 No cross-references.
1501 FI: kadenssi, lopuke.
1504 @ref{harmonic cadence}, @ref{functional harmony}.
1517 FI: kadenssi, lopuke.
1519 An extended, improvisatory style section inserted near the end of
1520 movement. The purpose of a cadenza is to give singers or players a
1521 chance to exhibit their technical skill and -- not last -- their
1522 ability to improvise. Since the middle of the 19th century, however,
1523 most cadenzas have been written down by the composer.
1526 No cross-references.
1541 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1543 The break between two musical phrases, sometimes (but not always) marked by a
1544 rest or a breath mark.
1560 FI: kaanon, tarkka jäljittely.
1576 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1577 viritysjärjestelmässä.
1579 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1580 an octave (1/100 of an equally tempered semitone).
1583 @ref{equal temperament}, @ref{semitone}.
1605 Three or more tones sounding simultaneously. In traditional European music
1606 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1607 (major + minor third) as well as @emph{minor} (minor + major third) chords
1608 may be extended with more thirds. Four-tone @emph{seventh chords} and
1609 five-tone @emph{ninth} major chords are most often used as dominants
1610 (functional harmony). Chords having no third above the lower notes to
1611 define their mood are a special case called @q{open chords}. The lack of
1612 the middle third means their quality is ambivalent -- neither major nor
1615 @lilypond[quote,notime,line-width=13.0\cm]
1619 \set Staff.extraNatural = ##f
1640 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1644 @node chromatic scale
1645 @section chromatic scale
1647 ES: escala cromática,
1649 F: gamme chromatique,
1650 D: chro@-ma@-ti@-sche Tonleiter,
1651 NL: chromatische toonladder,
1652 DK: kromatisk skala,
1654 FI: kromaattinen asteikko.
1656 A scale consisting of all 12 semitones.
1658 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1659 c1 cis d dis e f fis g gis a ais b c
1667 @section chromaticism
1678 Using tones extraneous to a diatonic scale (minor, major).
1681 @ref{diatonic scale}.
1685 @section church mode
1687 ES: modo eclesiástico,
1688 I: modo ecclesiastico,
1689 F: mode ecclésiastique, mode d'église,
1694 FI: moodi, kirkkosävellaji.
1697 @ref{diatonic scale}.
1706 D: Schlüssel, Notenschlüssel,
1710 FI: avain, nuottiavain.
1712 The clef indicates which lines of the staff correspond to which
1713 pitches. The three clef symbols in common use are:
1718 \line { The Treble or G clef: }
1720 \line { The Bass or F clef: }
1722 \line { The Alto or C clef: }
1726 \musicglyph #"clefs.G"
1728 \musicglyph #"clefs.F"
1730 \musicglyph #"clefs.C"
1735 Imagine a large staff of 11 lines centered on middle C, sometimes
1736 called a @q{grand staff}, with the bottom line representing low G and
1737 the top line high F:
1742 %-- Note names above treble staff --%
1744 \set printOctaveNames = ##t
1746 \once \override NoteName #'color = #red
1750 %-- Treble Staff --%
1752 \override Staff.Clef #'stencil = ##f
1758 %-- Alto Staff reduced to a single line on middle C --%
1760 \override Staff.StaffSymbol #'line-count = #1
1761 \override Staff.StaffSymbol #'color = #red
1762 \override Staff.Clef #'stencil = ##f
1765 \override NoteHead #'color = #red
1771 \override Staff.Clef #'stencil = ##f
1780 \override SpacingSpanner
1781 #'base-shortest-duration = #(ly:make-moment 1 1)
1782 \override NonMusicalPaperColumn
1783 #'line-break-system-details = #'((alignment-distances . (3 3)))
1784 \override BarLine #'stencil = ##f
1788 \remove "Time_signature_engraver"
1794 Staves of five lines are usually used, and the clef superimposed on them
1795 indicates which five lines have been selected from this @notation{grand
1796 staff}. For example, the treble or G clef indicates that the top five lines
1802 %-- Note names above treble staff --%
1804 \set printOctaveNames = ##t
1806 \once \override NoteName #'color = #red
1811 %-- Treble Staff --%
1813 \once \override Staff.Clef #'stencil = ##f
1816 \override Staff.Clef #'full-size-change = ##t
1817 \set Staff.forceClef = ##t
1821 %-- Alto Staff reduced to a single line on middle C --%
1823 \override Staff.StaffSymbol #'line-count = #1
1824 \override Staff.StaffSymbol #'color = #red
1825 \override Staff.Clef #'stencil = ##f
1828 \override NoteHead #'color = #red
1833 \override Staff.Clef #'stencil = ##f
1841 \override SpacingSpanner
1842 #'base-shortest-duration = #(ly:make-moment 2 1)
1843 \override NonMusicalPaperColumn
1844 #'line-break-system-details = #'((alignment-distances . (3 3)))
1845 \override BarLine #'stencil = ##f
1849 \remove "Time_signature_engraver"
1855 The @q{curl} of the G clef is centered on the line that represents the
1858 In the same way, the bass or F clef indicates that the bottom five lines
1859 have been selected from the @notation{grand staff}, and the alto or C clef
1860 indicates the middle five lines have been selected. This relationship is
1861 shown below, where the notes show an arpeggio on a C major chord.
1866 %-- Treble Staff --%
1874 \override Staff.StaffSymbol #'line-count = #1
1875 \once \override Staff.Clef #'stencil = ##f
1880 \revert Staff.StaffSymbol #'stencil
1881 \override Staff.StaffSymbol #'color = #red
1884 \stopStaff \startStaff
1885 \revert Staff.StaffSymbol #'line-count
1886 \revert Staff.StaffSymbol #'color
1887 \stopStaff \startStaff
1888 \override Staff.Clef #'full-size-change = ##t
1889 \set Staff.forceClef = ##t
1904 \override SpacingSpanner #'base-shortest-duration =
1905 #(ly:make-moment 2 1)
1906 \override NonMusicalPaperColumn
1907 #'line-break-system-details = #'((alignment-distances . (3 3)))
1908 \override BarLine #'stencil = ##f
1912 \remove "Time_signature_engraver"
1919 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1932 FI: klusteri, cluster.
1934 A @emph{cluster} is a range of simultaneously sounding pitches that
1935 may change over time. The set of available pitches to apply usually
1936 depends on the acoustic source. Thus, in piano music, a cluster
1937 typically consists of a continuous range of the semitones as provided
1938 by the piano's fixed set of a chromatic scale. In choral music, each
1939 singer of the choir typically may sing an arbitrary pitch within the
1940 cluster's range that is not bound to any diatonic, chromatic or other
1941 scale. In electronic music, a cluster (theoretically) may even cover
1942 a continuous range of pitches, thus resulting in colored noise, such
1945 Clusters can be denoted in the context of ordinary staff notation by
1946 engraving simple geometrical shapes that replace ordinary notation of
1947 notes. Ordinary notes as musical events specify starting time and
1948 duration of pitches; however, the duration of a note is expressed by
1949 the shape of the note head rather than by the horizontal graphical
1950 extent of the note symbol. In contrast, the shape of a cluster
1951 geometrically describes the development of a range of pitches
1952 (vertical extent) over time (horizontal extent). Still, the
1953 geometrical shape of a cluster covers the area in which any single
1954 pitch contained in the cluster would be notated as an ordinary note.
1956 @lilypond[quote,relative=2]
1957 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1961 No cross-references.
1974 FI: komma, korvinkuultava ero äänenkorkeudessa.
1976 Difference in pitch between a note derived from pure tuning and the
1977 same note derived from some other tuning method.
1980 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1985 @section common meter
1987 Another name for @ref{common time}.
1990 @ref{common time}, @ref{meter}.
1994 @section common time
2005 4/4 time. The symbol, which resembles a capital letter C, comes from
2009 @ref{mensural notation}, @ref{meter}.
2015 ES: intervalo invertido,
2017 F: intervalle complémentaire,
2018 D: Komplementärintervall,
2019 NL: complementair interval,
2020 DK: komplementærinterval,
2021 S: komplementärintervall (?),
2022 FI: täydentävä intervalli.
2025 @ref{inverted interval}.
2028 @node compound interval
2029 @section compound interval
2031 ES: intervalo compuesto,
2032 I: intervallo composto,
2033 F: intervalle composé,
2034 D: weites Intervall,
2035 NL: samengesteld interval,
2036 DK: sammensat interval,
2037 S: sammansatt intervall,
2038 FI: oktaavia laajempi intervalli.
2040 Intervals larger than an octave.
2046 @node compound meter
2047 @section compound meter
2049 ES: compás compuesto, compás de subdivisión ternaria,
2056 FI: kolmijakoinen tahtilaji.
2058 A meter that includes a triplet subdivision within the beat, such as
2062 @ref{meter}, @ref{simple meter}.
2066 @section compound time
2068 ES: compás compuesto, compás de amalgama (def. 2),
2071 D: zusammengesetzte Taktart,
2075 FI: yhdistetty tahtilajiosoitus.
2080 A meter that includes a triplet subdivision within the beat: see
2081 @ref{compound meter}.
2084 A time signature that additively combines two or more unequal meters, e.g.,
2085 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2089 @lilypond[quote,line-width=13.0\cm]
2090 #(define ((compound-time one two three num) grob)
2091 (grob-interpret-markup grob
2093 #:override '(baseline-skip . 0)
2096 #:left-column (one num)
2098 #:left-column (two num)
2100 #:left-column (three num)))))
2104 #(set-time-signature 8 8 '(3 2 3))
2105 \override Staff.TimeSignature #'stencil =
2106 #(compound-time "3" "2" "3" "8")
2114 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2118 @section concert pitch
2120 ES: en Do, tono de concierto,
2121 I: intonazione reale,
2122 F: tonalité de concert, en ut,
2127 FI: konserttikorkeus.
2129 The pitch at which the piano and other nontransposing instruments play: such
2130 instruments are said to be @q{in C}. The following list includes some (but not
2131 all) instruments that play in concert pitch:
2133 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2135 @multitable {bassoon} {violoncello}
2136 @headitem Woodwinds @tab Strings
2155 @ignore This needs to be reworked.
2156 The trombones are a special case: although they are said to be @q{in F} (alto or
2157 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2158 their parts' transposition. (In fact, the trombones' parts are written at
2159 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2160 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2164 Instruments that play @q{in C} but in a different octave than what is written
2165 are, technically speaking, @emph{transposing instruments}:
2169 @item piccolo (plays an octave higher than written)
2170 @item celesta (plays an octave higher than written)
2171 @item classical guitar (plays an octave lower than written)
2172 @item double bass (plays an octave lower than written)
2177 @ref{transposing instrument}.
2180 @node conjunct movement
2181 @section conjunct movement
2183 ES: movimiento conjunto,
2185 F: mouvement conjoint,
2186 D: schritt@-weise, stufenweise Bewegung,
2187 NL: stapsgewijze, trapsgewijze beweging,
2188 DK: trinvis bevægelse,
2190 FI: asteittainen liike.
2192 Progressing melodically by intervals of a second, as contrasted with
2193 @emph{disjunct movement}.
2195 @lilypond[quote,relative=2,line-width=13.0\cm]
2198 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2202 @ref{disjunct movement}.
2215 FI: konsonanssi, sopusointi.
2238 @section copying music
2240 A music copyist did fast freehand scores and parts on preprinted staff
2241 lines for performance. Some of their conventions (e.g., the placement
2242 of note heads on stems) varied slightly from those of engravers. Some
2243 of their working methods were superior and could well be adopted by
2246 @c Copying music required more skill than engraving. Flagged for NPOV
2249 No cross-references.
2253 @section counterpoint
2262 FI: kontrapunkti, ääni ääntä vastaan.
2264 From Latin @emph{punctus contra punctum}, note against note. The
2265 combination into a single musical fabric of lines or parts which have
2266 distinct melodic significance. A frequently used polyphonic technique
2267 is imitation, in its strictest form found in the canon needing only
2268 one part to be written down while the other parts are performed with a
2269 given displacement. Imitation is also the contrapuntal technique
2270 used in the @emph{fugue} which, since the music of the baroque era,
2271 has been one of the most popular polyphonic composition methods.
2273 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2275 \context Staff = SA \relative c' {
2279 << \context Voice = rha {
2281 r1 | r2 r8 g'8 bes d, |
2282 cis4 d r8 e!16 f g8 f16 e |
2283 f8 g16 a bes8 a16 g a8
2285 \context Voice = rhb {
2291 \context Staff = SB \relative c' {
2294 << \context Voice = lha {
2296 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2297 r8 a16 g f8 g16 a bes8 g e! cis' |
2300 \context Voice = lhb {
2309 No cross-references.
2313 @section countertenor
2318 D: Countertenor, Kontratenor,
2321 S: kontratenor, counter tenor,
2334 D: Crescendo, lauter werden,
2338 FI: cresendo, voimistuen.
2340 Increasing volume. Indicated by a rightwards opening horizontal wedge
2341 (hairpin) or the abbreviation @notation{cresc.}
2343 @lilypond[quote,relative=2]
2346 g4\< a b c | d1\! \bar "|."
2350 @ref{decrescendo}, @ref{hairpin}.
2358 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2365 Notes belonging to one part printed in another to hint when to start
2366 playing. Usually printed in a smaller type.
2369 Compare: @ref{ossia}.
2378 D: Notenzeiger, Custos,
2384 A custos (plural: custodes) is a staff symbol that appears at the end of a
2385 staff line with monophonic musical contents (i.e., with a single voice). It
2386 anticipates the pitch of the first note of the following line and thus helps
2387 the player or singer to manage line breaks during performance, which
2388 enhances the readability of a score.
2390 Custodes were frequently used in music notation until the 16th century.
2391 There were different appearances for different notation styles. Nowadays,
2392 they have survived only in special forms of musical notation such as the
2393 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2395 @lilypond[quote,ragged-right]
2398 \override Staff.Custos #'neutral-direction = #DOWN
2399 \override Staff.Custos #'style = #'hufnagel
2406 \consists "Custos_engraver"
2413 No cross-references.
2446 F: da capo, depuis le commencement,
2447 D: da capo, von Anfang,
2451 FI: da capo, alusta.
2453 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2454 the beginning to the end or to a certain place marked @emph{fine}.
2457 No cross-references.
2463 ES: dal niente, de la nada,
2466 D: aus dem Nichts, dal niente,
2470 FI: tyhjästä ilmaantuen.
2472 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2473 that the sound should gradually increase from nothing.
2484 F: dal segno, depuis le signe,
2485 D: dal segno, ab dem Zeichen,
2489 FI: dal segno, lähtien merkistä.
2491 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2492 another place frequently near the beginning marked by a sign
2495 @lilypond[quote,relative=2]
2503 \musicglyph #"scripts.segno"
2509 No cross-references.
2513 @section decrescendo
2517 D: Decrescendo, leiser werden,
2521 FI: decresendo, hiljentyen.
2523 Decreasing tone volume. Indicated by a leftwards opening horizontal
2524 wedge (hairpin) or the abbreviation @notation{decresc.}
2526 @lilypond[quote,relative=2]
2529 d4\> c b a | g1 \! \bar "|."
2533 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2536 @node descending interval
2537 @section descending interval
2539 ES: intervalo descendente,
2540 I: intervallo discendente,
2541 F: intervalle descendant,
2542 D: fallendes Intervall, absteigendes Intervall,
2543 NL: dalend interval,
2544 DK: faldende interval,
2545 S: fallande intervall,
2546 FI: laskeva intervalli.
2548 A distance between a starting higher note and a lower ending note.
2551 No cross-references.
2554 @node diatonic scale
2555 @section diatonic scale
2557 ES: escala diatónica,
2559 F: gamme diatonique,
2560 D: diatonische Tonleiter,
2561 NL: diatonische toonladder,
2562 DK: diatonisk skala,
2564 FI: diatoninen asteikko.
2566 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2567 played on the white keys of a piano keyboard are diatonic. These scales
2568 are sometimes called, somewhat inaccurately, @q{church modes}).
2570 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2571 but also to some extent in newer jazz music.
2573 @lilypond[quote,notime,relative=1]
2577 e^"~~ S" f g a b^"~~ S" c
2585 @lilypond[quote,notime,relative=1]
2589 e^"~~ S" f g a b^"~~ S" c d
2597 @lilypond[quote,notime,relative=1]
2600 e1^"~~ S" f g a b^"~~ S" c d e
2608 @lilypond[quote,notime,relative=1]
2612 b^"~~ S" c d e^"~~ S" f
2620 @lilypond[quote,notime,relative=2]
2624 b^"~~ S" c d e^"~~ S" f g
2632 @lilypond[quote,notime,relative=2]
2636 b^"~~ S" c d e^"~~ S" f g a
2644 @lilypond[quote,notime,relative=2]
2647 b1^"~~ S" c d e^"~~ S" f g a b
2655 From the beginning of the 17th century the scales used in European
2656 compositional music are primarily the major and the minor scales. In
2657 the harmonic minor scale type an augmented second (A) occurs between
2658 the 6th and 7th tone.
2660 @lilypond[quote,notime,relative=1]
2664 e^"~~ S" f g a b^"~~ S" c
2672 @lilypond[quote,notime,relative=2]
2676 b^"~~ S" c d e^"~~ S" f g a
2679 "Ancient (or Natural) minor"
2684 @lilypond[quote,notime,relative=2]
2688 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2696 @lilypond[quote,notime,relative=2]
2700 b^"~~ S" c d e fis gis^"~~ S" a
2703 "Melodic minor ascending"
2708 @lilypond[quote,notime,relative=3]
2712 g! f!^"~~ S" e d c^"~~ S" b a
2715 "Melodic minor descending"
2721 @ref{semitone}, @ref{whole tone}.
2725 @section didymic comma
2728 @ref{syntonic comma}.
2731 @node diminished interval
2732 @section diminished interval
2734 ES: intervalo disminuido,
2735 I: intervallo diminuito,
2736 F: intervalle diminué,
2737 D: vermindertes Intervall,
2738 NL: verminderd interval,
2739 DK: formindsket interval,
2740 S: förminskat intervall,
2741 FI: vähennetty intervalli.
2752 F: diminuendo, en diminuant,
2757 FI: diminuendo, hiljentyen.
2759 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2775 FI: aika-arvojen tihennys.
2777 This is a stub for diminution (@emph{wrt} mensural notation).
2780 @ref{augmentation}, @ref{mensural notation}.
2799 @node disjunct movement
2800 @section disjunct movement
2802 ES: movimiento disjunto,
2804 F: mouvement disjoint,
2805 D: sprunghafte Bewegung,
2806 NL: sprongsgewijze beweging,
2807 DK: springende bevægelse,
2808 S: hoppande rörelse,
2809 FI: melodian hyppivä liike.
2811 Progressing melodically by intervals larger than a major second, as contrasted
2812 with conjunct movement.
2814 @lilypond[quote,relative=1]
2818 a4. gis8 b a e cis |
2824 @ref{conjunct movement}.
2830 Another name for @ref{dissonant interval}.
2833 @ref{dissonant interval}, @ref{harmony}.
2836 @node dissonant interval
2837 @section dissonant interval
2839 ES: intervalo disonante, disonancia,
2840 I: intervallo dissonante, dissonanza,
2841 F: intervalle dissonant, dissonance,
2843 NL: dissonant interval, dissonant,
2844 DK: dissonerende interval, dissonans,
2846 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2864 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2865 vertical stroke through part or all of the staff that serves to
2866 structure a chant into phrases and sections. There are four types:
2870 @item @emph{divisio minima}, a short pause
2872 @item @emph{divisio maior}, a medium pause
2874 @item @emph{divisio maxima}, a long pause
2876 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2877 section in a long antiphonal or responsorial chant.
2881 TODO: musical example here?
2884 No cross-references.
2890 ES: elevación [de tono],
2893 D: Glissando zu unbestimmter Tonhöhe,
2899 Indicator for a indeterminately rising pitch bend. Compare with
2900 @emph{glissando}, which has determinate starting and ending pitches.
2903 @ref{fall}, @ref{glissando}.
2916 FI: dominantti, huippusointu.
2918 The fifth @emph{scale degree} in @emph{functional harmony}.
2921 @ref{functional harmony}, @ref{scale degree}.
2924 @node dominant ninth chord
2925 @section dominant ninth chord
2927 ES: acorde de novena de dominante,
2928 I: accordo di nona di dominante,
2929 F: accord de neuvième de dominante,
2930 D: Domi@-nant@-nonen@-akkord,
2931 NL: dominant noon akkoord,
2932 DK: dominantnoneakkord,
2933 S: dominantnonackord,
2934 FI: dominanttinoonisointu.
2937 @ref{chord}, @ref{functional harmony}.
2940 @node dominant seventh chord
2941 @section dominant seventh chord
2943 ES: acorde de séptima de dominante,
2944 I: accordo di settima di dominante,
2945 F: accord de septième de dominante,
2946 D: Dominantseptakkord,
2947 NL: dominant septiem akkoord,
2948 DK: dominantseptimakkord,
2949 S: dominantseptimackord,
2950 FI: dominanttiseptimisointu.
2953 @ref{chord}, @ref{functional harmony}.
2957 @section dorian mode
2962 D: dorisch, dorischer Kirchenton,
2963 NL: dorische toonladder,
2969 @ref{diatonic scale}.
2972 @node dot (augmentation dot)
2973 @section dot (augmentation dot)
2976 I: punto (di valore),
2978 D: Punkt (Verlängerungspunkt),
2985 @ref{dotted note}, @ref{note value}.
2989 @section dotted note
2991 ES: nota con puntillo,
2995 NL: gepuncteerde noot,
2998 FI: pisteellinen nuotti.
3004 @node double appoggiatura
3005 @section double appoggiatura
3007 ES: apoyatura doble,
3008 I: appoggiatura doppia,
3009 F: appoggiature double,
3010 D: doppelter Vorschlag,
3011 NL: dubbele voorslag,
3012 DK: dobbelt forslag,
3014 FI: kaksoisappogiatura, kaksoisetuhele.
3020 @node double bar line
3021 @section double bar line
3027 NL: dubbele maatstreep,
3030 FI: kaksoistahtiviiva.
3032 Indicates the end of a section within a movement.
3035 No cross-references.
3038 @node double dotted note
3039 @section double dotted note
3041 ES: nota con doble puntillo,
3042 I: nota doppiamente puntata,
3043 F: note doublement pointée,
3044 D: doppelt punktierte Note,
3045 NL: dubbelgepuncteerde noot,
3046 DK: dob@-belt@-punk@-te@-ret node,
3047 S: dub@-bel@-punk@-te@-rad not,
3048 FI: kaksoispisteellinen nuotti.
3055 @section double flat
3064 FI: kaksoisalennusmerkki.
3071 @section double sharp
3073 ES: doble sostenido,
3078 DK: dob@-belt@-kryds,
3080 FI: kaksoisylennysmerkki.
3086 @node double time signature
3087 @section double time signature
3089 ES: compás polimétrico,
3092 D: zusammengesetzte Taktart,
3096 FI: kaksois-aika-arvomerkintä.
3099 @ref{polymetric time signature}.
3103 @section double trill
3109 NL: dubbele triller,
3114 A simultaneous trill on two notes, usually in the distance of a third.
3117 No cross-references.
3121 @section duple meter
3125 F: métrique binaire,
3126 D: in zwei, grader Takt,
3127 NL: tweedelige maatsoort,
3162 FI: kesto, aika-arvo.
3171 ES: dinámica, matices,
3174 D: Dynamik, Lautstärke,
3178 FI: äänen voimakkuusvaihtelu, dynamiikka.
3180 The aspect of music relating to degrees of loudness, or changes from
3181 one degree to another. The terms, abbreviations, and symbols used to
3182 indicate this information are called dynamic marks.
3185 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3207 @node ecclesiastical mode
3208 @section ecclesiastical mode
3211 @ref{church mode}, @ref{diatonic scale}.
3215 @section eighth note
3222 @item D: Achtel, Achtelnote
3223 @item NL: achtste noot
3224 @item DK: ottendedelsnode
3225 @item S: åttondelsnot
3226 @item FI: kahdeksasosanuotti
3234 @section eighth rest
3237 @item UK: quaver rest
3238 @item ES: silencio de corchea
3239 @item I: pausa di croma
3240 @item F: demi-soupir
3241 @item D: Achtelpause
3242 @item NL: achtste rust
3243 @item DK: ottendedelspause
3244 @item S: åttonddelspaus
3245 @item FI: kahdeksasosatauko
3255 @c TODO: add languages
3264 FI: tavujen yhdistäminen yhteen ääneen.
3266 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3267 @emph{συναλοιφην} @q{to smear together}].
3269 The singing of several syllables on a single note. Elision may be indicated
3270 by a lyric tie, which looks like (and serves the same function) as a musical
3278 @section embellishment
3290 D: Notenstich, Notendruck
3296 Engraving means incising or etching a metal plate for printing.
3297 Photoengraving means drawing music with ink in a manner similar to
3298 drafting or engineering drawing, using similar tools.
3300 The traditional process of music printing is done through cutting in a
3301 plate of metal. Now also the term for the art of music typesetting.
3304 No cross-references.
3319 Two notes, intervals, or scales are enharmonic if they have different
3320 names but equal pitch.
3322 @lilypond[quote,notime,line-width=13.0\cm]
3326 gis1 as <des g,!> <cis g!>
3330 "g sharp " "a flat " "dim fifth " "augm fourth"
3336 No cross-references.
3339 @node equal temperament
3340 @section equal temperament
3342 ES: temperamento igual,
3343 I: temperamento equabile,
3344 F: tempérament égal,
3345 D: gleichschwebende Stimmung,
3346 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3347 DK: ligesvævende temperatur,
3348 S: liksvävande temperatur,
3351 A tuning system that divides the octave into 12 equal semitones (each of
3352 which is precisely equal to 100 cents).
3355 @ref{cent}, @ref{semitone}, @ref{temperament}.
3358 @node expression mark
3359 @section expression mark
3362 I: segno d'espressione,
3363 F: signe d'expression, indication de nuance,
3365 NL: voordrachtsteken,
3366 DK: foredragsbetegnelse,
3367 S: föredragsbeteckning,
3368 FI: nyanssiosoitus, esitysmerkki.
3370 Performance indications concerning:
3374 @item volume, dynamics (for example, @notation{forte},
3375 @notation{crescendo}),
3377 @item tempo (for example, @notation{andante}, @notation{allegro}).
3382 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3386 @section extender line
3388 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3389 I: linea di estensione,
3390 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3397 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3398 extends text (without indicating the musical @emph{function} of that text).
3400 Used in many contexts, for example:
3404 @item In vocal music to indicate the syllable for a melisma. Called
3405 @q{extension} in the
3406 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3410 In figured bass to indicate that:
3414 @item The extended note should be held through a change in harmony, when applied
3415 to one figure --OR--
3416 @item The chord thus represented should be held above a moving bass line, when
3417 applied to more than one figure.
3418 @item These uses were not completely standardized, and some composers used a
3419 single extender line to indicate the latter case.
3424 In string music to indicate that all notes in the passage thus indicated should
3425 be played on the same string. On the violin, for example, a series of notes to
3426 be played on the G string would be indicated @notation{sul G}, another series to be
3427 played on the D string would be indicated @notation{sul D}, and so on.
3430 With an octave mark to indicate that a passage is to be played higher or lower
3431 by the given number of octaves.
3436 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3437 @ref{octave marking}.
3470 The position between the dots of the key symbol is the line of the F
3471 below central@w{ }C. Used on the third, fourth and fifth note line.
3472 A digit@w{ }8 above the clef symbol indicates that the notes must be
3473 played an octave higher (for example, bass recorder) while 8@w{ }below
3474 the clef symbol indicates playing an octave lower (for example, on the
3477 @lilypond[quote,notime,line-width=13.0\cm]
3480 \override Staff.Clef #'full-size-change = ##t
3503 @ref{baritone clef}, @ref{strings}.
3509 ES: caída [de tono],
3512 D: Glissando zu unbestimmter Tonhöhe nach unten,
3518 Indicator for a indeterminately falling pitch bend. Compare with
3519 @emph{glissando}, which has determinate starting and ending pitches.
3522 @ref{doit}, @ref{glissando}.
3525 @node feathered beam
3526 @section feathered beam
3528 ES: barra progresiva,
3530 F: ligature en soufflet, lien de croches en soufflet,
3531 D: gespreizter Balken,
3537 A type of beam used to indicate that a small group of notes should be
3538 played at an increasing or decreasing tempo -- depending on the
3539 direction of @q{feathering} -- but without changing the overall tempo
3543 Internals Reference: @ruser{Manual beams}
3549 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3553 F: point d'orgue, point d'arrêt,
3558 FI: fermaatti, pidäke.
3560 Prolonged note or rest of indefinite duration.
3562 @lilypond[quote,relative=2]
3569 No cross-references.
3589 @section figured bass
3592 I: basso continuo, basso numerato,
3593 F: basse chiffrée, basse continue,
3594 D: Generalbass, bezifferter Bass,
3595 NL: basso continuo, becijferde bas
3598 FI: kenraalibasso, numeroitu basso.
3600 Also called @q{thorough bass}.
3602 A method of indicating an accompaniment part by the bass notes only,
3603 together with figures designating the chief intervals and chords to be
3604 played above the bass notes.
3606 @lilypond[quote,line-width=13.0\cm]
3608 \new Staff = "rh" \with {
3610 \override StaffSymbol #'staff-space = #(magstep -3)
3616 \context Voice = "rha" {
3621 \context Voice = "rhb" {
3623 <bes g>8 as <as f> g <g es> f <d f> es
3628 \new Staff = "lh" \relative c' {
3631 es8 c d bes c as bes16 as g f
3635 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3641 @ref{chord}, @ref{interval}.
3656 Figures to the side or above the note that methodically indicate which
3657 fingers to use while playing a passage.
3660 No cross-references.
3667 I: coda (uncinata), bandiera,
3675 Ornament at the end of the stem of a note used for notes with values less
3676 than a quarter note. The number of flags determines the note value.
3678 @lilypond[quote,notime,relative=2]
3701 An articulation for string players that means the note or passage is to
3702 be played in harmonics.
3708 @item A duct flute similar to the recorder.
3710 @item An organ stop of flute scale at 1' or 2' pitch.
3715 @ref{articulation}, @ref{harmonics}.
3751 FI: forte, voimakkaasti.
3755 Abbreviated @notation{@b{f}}. Variants include:
3758 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3759 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3763 No cross-references.
3782 @node Frenched score
3783 @section Frenched score
3785 ES: partitura a la francesa,
3788 D: Orchesterpartitur ohne leere Systeme,
3792 FI: partituuri ilman tyhjiä nuottiviivastoja.
3794 A @q{condensed} score, produced by omitting staves for instruments that are not
3795 playing at the moment, and by moving up additional systems from following pages
3796 to take up the space thus liberated, which reduces the total number of pages
3797 used to print the work.
3799 The specific rules for @q{frenching} a score differ from publisher to publisher.
3800 If you are producing scores for eventual publication by a commercial publisher,
3801 you may wish to procure a copy of their style manual.
3804 @ref{Frenched staff}.
3807 @node Frenched staff
3808 @section Frenched staff
3810 ES: pentagrama a la francesa,
3813 D: zeitweiliges Notensystem,
3817 FI: karsittu nuotinnus.
3819 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3820 Frenched staff has unneeded measures or sections removed. This is useful
3821 for producing, for example, an @emph{ossia} staff.
3827 @node Frenched staves
3828 @section Frenched staves
3830 Plural of @ref{Frenched staff}.
3849 @node functional harmony
3850 @section functional harmony
3852 ES: armonía funcional,
3853 I: armonia funzionale,
3854 F: étude des functions,
3856 NL: functionele harmonie,
3857 DK: funktionsanalyse, funktionsharmonik,
3859 FI: harmoniajärjestelmä.
3861 A system of harmonic analysis.
3863 It is based on the idea that, in a given key, there are only three
3864 functionally different chords: tonic (T, the chord on the first note of the
3865 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3866 chord on the fifth note). Others are considered to be variants of the base
3869 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3871 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3874 <g e c>1 <a f d> <b g e>
3875 <c a f> <d b g> <e c a> <f d b>
3879 \markup { D \translate #'(-2 . 0) | }
3885 No cross-references.
3912 D: G-Schlüssel, Violinschlüssel,
3918 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3919 second note lines. A digit 8 above the clef symbol indicates that the notes
3920 must be played an octave higher while 8 below the clef symbol indicates
3921 playing or singing an octave lower (used most frequently to notate the tenor
3922 part in modern choral scores).
3924 @lilypond[quote,notime]
3926 \override Staff.Clef #'full-size-change = ##t
3927 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3938 "french violin clef"
3946 No cross-references.
3959 FI: glissando, liukuen.
3961 Letting the pitch slide fluently from one note to the other.
3964 No cross-references.
3968 @section grace notes
3970 ES: notas de adorno,
3972 F: ornement, fioriture,
3973 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3979 Notes printed in small types to indicate that their time values are not
3980 counted in the rhythm of the bar.
3983 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3988 @section grand staff
3990 ES: sistema de piano,
3992 F: système [de portées], accolade,
3993 D: Akkolade, Klaviersystem,
3996 S: ackolad, böjd klammer,
3997 FI: kaksoisnuottiviivasto.
3999 A combination of two staves with a brace. Usually used for piano music.
4015 FI: grave, raskaasti.
4017 [Italian] Slow, solemn.
4020 No cross-references.
4044 Letter name used for @notation{B natural} in German and Scandinavian
4045 usage. In the standard usage of these countries, @notation{B} means
4049 @ref{Pitch names}, @ref{B}.
4055 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4058 @lilypond[quote,relative=2]
4065 @ref{crescendo}, @ref{decrescendo}.
4076 @item D: Halbe, halbe Note,
4077 @item NL: halve noot,
4080 @item FI: puolinuotti.
4091 @item UK: minim rest,
4092 @item ES: silencio de blanca,
4093 @item I: pausa di minima,
4094 @item F: demi-pause,
4095 @item D: halbe Pause,
4096 @item NL: halve, rust,
4097 @item DK: halvnodespause,
4099 @item FI: puolitauko.
4106 @node harmonic cadence
4107 @section harmonic cadence
4109 ES: cadencia (armónica),
4110 I: cadenza (armonica),
4111 F: cadence harmonique,
4113 NL: harmonische cadens,
4114 DK: harmonisk kadence,
4115 S: (harmonisk) kadens,
4116 FI: harmoninen kadenssi.
4118 A sequence of chords that terminates a musical phrase or section.
4122 \context Staff = "SA" \relative c'' {
4125 \partial 4 <c g e>4 |
4126 <c a f> <b g d> <c g e>2
4129 \context Staff = "SB" \relative c {
4131 \partial 4 c4 | f, g c2
4143 @ref{functional harmony}.
4149 ES: armónicos, sonidos aflautados,
4151 F: flageolet, sons harmoniques,
4156 FI: harmoniset äänet, huiluäänet.
4158 The general class of pitches produced by sounding the second or higher
4159 harmonic of a tone producer: string, column of air, and so on.
4161 On stringed instruments, these pitches sound rather flute-like; hence,
4162 their name in languages other than English. They are produced by
4163 lightly touching the string at a node for the desired mode of vibration
4164 while it is being bowed or plucked.
4166 For instruments of the violin family, there are two types of harmonics:
4167 natural harmonics, which are those played on the open string; and
4168 artificial harmonics, which are produced on stopped strings.
4171 No cross-references.
4180 D: Harmonie, Zusammenklang,
4184 FI: harmonia, yhteissointi.
4186 Tones sounding simultaneously. Two note harmonies fall into the
4187 categories @emph{consonances} and @emph{dissonances}.
4191 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4203 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4204 <g a>1_"second " s s
4205 <g f'>_"seventh " s s
4209 For harmony that uses three or more notes, see @ref{chord}.
4219 I: emiolia, (rarely hemiola or emiola),
4225 FI: hemioli, 3/2 -suhde.
4227 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4229 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4230 time normally occupied by two. The resulting rhythm can be expressed in modern
4231 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4232 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4233 as a special effect (or @emph{affect}) at cadences.
4235 For example, this phrase in 6/4 time
4237 @lilypond[quote,relative=1,line-width=13.0\cm]
4240 c2. e | d2 c d | c1. \bar "||"
4243 may be thought of having alternating time signatures
4245 @lilypond[quote,relative=1,line-width=13.0\cm]
4255 and is therefore a polymeter (second definition) of considerable antiquity.
4258 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4271 FI: homofonia, yksiäänisyys.
4273 Music in which one voice leads melodically supported by the other voices in
4274 the same rhythm (more or less). In contrast to @emph{polyphony}.
4297 FI: säkeiden tavumäärät.
4299 A group or list of numbers that indicate the number of syllables in a line
4300 of a hymn's verse. Different hymnals have different ways of noting the hymn
4301 meter: for example, consider a hymn that has four lines in two couplets
4302 alternating regularly between eight and seven syllables. The @emph{English
4303 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4304 or 8@w{ }7@w{ }8@w{ }7.
4306 Some frequently-used hymn meters have traditional names:
4309 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4310 @item 86.86 is called Common Meter (CM or C.M.)
4311 @item 88.88 is called Long Meter (LM or L.M.)
4314 Some hymns and their tunes are doubled versions of a simpler meter: for
4315 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4316 87.87D. The traditional names above also have doubled versions:
4319 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4320 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4321 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4325 No cross-references.
4338 FI: intervalli, kahden sävelen korkeusero.
4340 Difference in pitch between two notes. Intervals may be diminished, minor,
4341 perfect, major, or augmented. The augmented fourth and the diminished fifth
4342 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4343 and are called @emph{tritonus} because they consist of three whole tones.
4344 The addition of such two intervals forms an octave.
4346 @lilypond[quote,notime,line-width=13.0\cm]
4348 \context Voice \relative c'' {
4385 \context Lyrics \lyrics {
4387 "second " "second " "second " "second "
4388 "third " "third " "third " "third "
4389 "fourth " "fourth " "fourth "
4390 "fifth " "fifth " "fifth "
4391 "sixth " "sixth " "sixth " "sixth "
4392 "seventh" "seventh" "seventh" "seventh"
4393 "octave " "octave " "octave "
4399 @ref{enharmonic}, @ref{whole tone}.
4414 When a chord sounds with a bass note that differs from the root of the
4415 chord, it is said to be @emph{inverted}. The number of inversions that a
4416 chord can have is one fewer than the number of constituent notes. For
4417 example, triads (which have three constituent notes) can have three
4418 positions, two of which are inversions:
4422 The root note is in the bass, and above that are the third and the fifth. A
4423 triad built on the first scale degree, for example, is marked @notation{I}.
4425 @item First inversion
4426 The third is in the bass, and above it are the fifth and the root. This
4427 creates an interval of a sixth and a third above the bass note, and so is
4428 marked in figured Roman notation as @notation{6/3}. This is commonly
4429 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4430 characteristic interval of the inversion, and so always implies
4433 @item Second inversion
4434 The fifth is in the bass, and above it are the root and the third. This
4435 creates an interval of a sixth and a fourth above the bass note, and so is
4436 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4437 unstable chord position.
4441 No cross-references.
4444 @node inverted interval
4445 @section inverted interval
4447 ES: intervalo invertido,
4448 I: intervallo rivolto,
4449 F: intervalle renversé,
4450 D: umgekehrtes Intervall,
4451 NL: interval inversie,
4452 DK: omvendingsinterval,
4453 S: intervallets omvändning,
4454 FI: käänteisintervalli.
4456 The difference between an interval and an octave.
4458 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4459 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4460 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4461 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4465 No cross-references.
4468 @node just intonation
4469 @section just intonation
4471 ES: entonación justa,
4472 I: intonazione giusta,
4473 F: intonation juste,
4480 Tuning system in which the notes are obtained by adding and subtracting
4481 natural fifths and thirds.
4499 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4500 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4503 @ref{chromatic scale}, @ref{key signature}.
4507 @section key signature
4509 ES: armadura (de la clave),
4510 I: armatura di chiave,
4511 F: armure, armature [de la clé],
4512 D: Vorzeichen, Tonart,
4513 NL: toon@-soort (voortekens),
4516 FI: sävellajiosoitus.
4518 The sharps or flats appearing at the beginning of each staff indicating the
4525 @node laissez vibrer
4526 @section laissez vibrer
4531 D: Laissez vibrer, schwingen lassen,
4537 [French: @q{Let vibrate}] Most frequently associated with harp
4538 parts. Marked @notation{l.v.} in the score.
4541 No cross-references.
4549 F: largo, large, ample,
4550 D: Largo, Langsam, Breit,
4554 FI: largo, hitaasti, leveästi.
4556 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4557 expressiveness. @emph{Larghetto} is less slow than largo.
4561 @section leading note
4572 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4573 called because of its strong tendency to @q{lead up} (resolve upwards)
4574 to the tonic scale degree.
4577 @ref{scale degree}, @ref{semitone}.
4581 @section ledger line
4583 ES: línea adicional,
4584 I: tagli addizionali,
4585 F: ligne supplémentaire,
4592 A ledger line is an extension of the staff.
4594 @lilypond[quote,notime,relative=2]
4601 No cross-references.
4610 D: legato, gebunden,
4616 To be performed (a) without any perceptible interruption between the
4617 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4618 @notation{portato}, or (d) @notation{staccato}.
4620 @lilypond[quote,notime,line-width=13.0\cm]
4622 \context Staff \relative c'' {
4623 c4-( d e-) \bar "||"
4624 c4-- d-- e-- \bar "||"
4625 c4-.-( d-. e-.-) \bar "||"
4626 c4-. d-. e-. \bar "||"
4642 @section legato curve
4645 @ref{slur}, @ref{legato}.
4667 A ligature is a coherent graphical symbol that represents at least two
4668 distinct notes. Ligatures originally appeared in the manuscripts of
4669 Gregorian chant notation around the 9th century to denote ascending or
4670 descending sequences of notes. In early notation, ligatures were used for
4671 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4672 performance in the sense of articulation. With the invention of the metric
4673 system of the white mensural notation, the need for ligatures to denote such
4674 patterns disappeared.
4677 @ref{mensural notation}.
4684 ES: estanque de nenúfares,
4685 I: stagno del giglio,
4686 F: étang de nénuphars, étang de nymphéas,
4688 NL: le@-lie@-vij@-ver,
4693 A pond with lilies floating in it.
4695 Also, the name of a music typesetting program.
4698 No cross-references.
4707 D: Linie, Notenlinie,
4711 FI: viiva, nuottiviiva.
4727 FI: kirjoitetussa äänenkorkeudessa.
4729 [Italian: @q{place}] Instruction to play the following passage at the
4730 written pitch. Cancels octave mark (q.v.).
4733 @ref{octave mark}, @ref{octave marking}.
4736 @node long appoggiatura
4737 @section long appoggiatura
4739 ES: apoyatura larga,
4740 I: appoggiatura lunga,
4741 F: appoggiature longue,
4746 FI: pitkä appoggiatura, pitkä etuhele.
4756 @item US: long, longa,
4759 @item F: longa, longue,
4767 Note value: twice the length of a @notation{breve}.
4769 @lilypond[quote,notime,relative=2]
4770 \override NoteHead #'style = #'mensural
4775 @ref{breve}, @ref{note value}.
4781 ES: ligadura de letra,
4783 F: ligature de mots,
4788 FI: sidonta sanoituksessa.
4790 @c TODO: add languages
4799 ES: letra (de la canción),
4802 D: Liedtext, Gesangstext,
4811 No cross-references.
4827 @ref{diatonic scale}.
4830 @node major interval
4831 @section major interval
4833 ES: intervalo mayor,
4834 I: intervallo maggiore,
4835 F: intervalle majeur,
4836 D: großes Intervall,
4840 FI: suuri intervalli.
4858 Note value: twice the length of a @notation{longa}.
4860 The maxima is the largest duration in use during the 15th and 16th centuries.
4861 Like the longa, the maxima can be either two or three times as long as the
4862 @notation{longa} (called @notation{binary} and @notation{ternary},
4863 respectively). By the late 15th century, most composers used the smaller
4864 proportion by default.
4867 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4870 @node meantone temperament
4871 @section meantone temperament
4873 ES: afinación mesotónica,
4874 I: accordatura mesotonica,
4875 F: tempérament mésotonique,
4876 D: mitteltönige Stimmung,
4877 NL: middenstemming, middentoonstemming,
4878 DK: middeltonetemperatur,
4879 S: medeltonstemperatur,
4880 FI: keskisävelviritys.
4882 Temperament yielding acoustically pure thirds by decreasing the natural
4883 fifth by 16@w{ }cents. Due to the non-circular character of this
4884 temperament only a limited set of keys are playable. Used for tuning
4885 keyboard instruments for performance of pre-1650 music.
4888 @ref{cent}, @ref{temperament}.
4903 A group of beats (units of musical time) the first of which bears an accent.
4904 Such groups in numbers of two or more recur consistently throughout the
4905 composition and are separated from each other by bar lines.
4908 @ref{bar line}, @ref{beat}, @ref{meter}.
4911 @node measure repeat
4912 @section measure repeat
4915 @ref{percent repeat}.
4922 I: mediante, modale,
4932 @item The third @b{scale degree}.
4934 @item A @emph{chord} having its base tone a third from that of another
4935 chord. For example, the tonic chord may be replaced by its lower
4936 mediant (variant tonic).
4941 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4954 FI: melisma, laulettavan tavun sävelkuvio.
4956 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4957 on one syllable, especially as applied to liturgical chant.
4960 No cross-references.
4964 @section melisma line
4966 @c TODO: add languages
4968 ES: línea de melisma,
4969 I: linea del melisma,
4970 F: trait de mélisme, trait de tenue,
4978 @ref{extender line}.
4981 @node melodic cadence
4982 @section melodic cadence
4988 @node mensural notation
4989 @section mensural notation
4991 @c TODO: add languages
4993 ES: notación mensural,
4994 I: notazione mensurale,
4995 F: notation mensurale,
4996 D: Mensuralnotation,
5000 FI: mensuraalinuotinnus.
5002 A system of duration notation whose principles were first established in the
5003 mid-13th century, and that (with various changes) remained in use until about
5004 1600. As such, it is the basis for the notation of rhythms in Western musical
5007 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5008 of the notation's principles, so the notation of this earliest period is called
5009 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5010 and semibreve -- each of which was normally equivalent to three of the next
5013 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5014 added several note values (the minim, semiminim and fusa) and extended Franco's
5015 principles to govern the relationship between these values. They also put the
5016 duple division of note values on an equal footing with the earlier (preferred)
5019 TODO: continue description of French and Italian black notation, and the
5020 relationship betwixt them.
5022 @b{White or void mensural notation}
5024 In the 15th century, hollow (or void) notes began to substitute for the earlier
5025 solid black ones, which were then free to assume the function of red (or
5026 colored) notes in the earlier notation. ...
5028 TODO: add to definition (including summary info on proportional notation)
5031 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5032 @c TODO: more cross-references?
5035 @node mensuration sign
5036 @section mensuration sign
5038 @c TODO: add languages
5040 ES: signo de mensuración,
5042 F: signe de mensuration,
5049 The ancestor of the time signature, mensuration signs were used to indicate the
5050 relationship between two sets of note durations—specifically, the ratio of
5051 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5052 (called @notation{prolatio}).
5054 Each ratio was represented with a single single sign, and was either
5055 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5056 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5057 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5058 represented by a complete circle; applied to the @emph{prolatio}, it was called
5059 @emph{major} and was represented by a dot in the middle of the sign. The binary
5060 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5061 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5062 @emph{minor} and was represented by the lack of an internal dot. There are four
5063 possible combinations, which can be represented in modern time signatures with
5064 and without reduction of note values. (These signs are hard-coded in LilyPond
5068 @item perfect @emph{tempus} with major @emph{prolatio}
5069 Indicated by a complete circle with an internal dot. In modern time signatures,
5072 @item 9/4, with reduction or
5073 @item 9/2, without reduction
5076 @item perfect @emph{tempus} and minor @emph{prolatio}
5077 Indicated by a complete circle without an internal dot. In modern time
5078 signatures, this equals:
5080 @item 3/2, with reduction or
5081 @item 3/1, without reduction
5084 @item imperfect @emph{tempus} and major @emph{prolatio}
5085 Indicated by an incomplete circle with an internal dot. In modern time
5086 signatures, this equals:
5088 @item 6/4, with reduction or
5089 @item 6/2, without reduction
5092 @item imperfect @emph{tempus} and minor @emph{prolatio}
5093 Indicated by an incomplete circle without an internal dot. In modern time
5094 signatures, this equals:
5096 @item 4/4, with reduction or
5097 @item 2/1, without reduction
5101 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5102 with note values reduced from the original semibreve to a modern quarter note.
5103 Being doubly imperfect, this sign represented the (theoretically)
5104 least-preferred mensuration, but it was actually used fairly often.
5106 This system extended to the ratio of longer note values to each other:
5110 @item maxima to longa, called:
5114 @item @notation{modus maximorum},
5115 @item @notation{modus major}, or
5116 @item @notation{maximodus})
5120 @item longa to breve, called:
5124 @item @notation{modus longarum},
5125 @item @notation{modus minor}, or
5126 @item @notation{modus}
5132 In the absence of any other indication, these modes were assumed to be
5133 binary. The mensuration signs only indicated tempus and prolatio, so
5134 composers needed another way to indicate these longer ratios (called modes.
5135 Around the middle of the 15th century started to use groups of rests at the
5136 beginning of the staff, preceding the mensuration sign.
5139 Two mensuration signs have survived to the present day: the C-shaped sign,
5140 which originally designated @notation{tempus imperfectum} and
5141 @notation{prolatio minor} now stands for @notation{common time}; and the
5142 slashed C, which designated the same with @notation{diminution} now stands
5143 for @notation{cut time} (essentially, it has not lost its original meaning).
5146 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5147 @c TODO: more cross-references?
5155 F: indication de mesure, mesure,
5162 The pattern of note values and accents in a composition or a section thereof.
5163 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5164 by grouping beats and by subdividing the primary beat.
5166 @b{By grouping beats}:
5170 @item @b{duple}: groups of two.
5171 @item @b{triple}: groups of three.
5172 @item @b{quadruple}: groups of four. A special case of duple meter.
5173 @item @b{quintuple}: groups of five beats.
5174 @item @b{sextuple} meter: groups of six. A special case of:
5178 @item duple meter, subdivided in three; or
5179 @item triple meter, subdivided in two.
5183 @item @b{septuple} meter: groups of seven.
5188 Other than triple meter and its subdivided variants (see below), meters that
5189 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5190 frequently used prior to the 20th Century.
5192 @b{By subdividing the primary beat}:
5196 @item simple: subdivided in groups of two.
5200 @item duple: 2/2, 2/4, 2/8
5201 @item triple: 3/2, 3/4, 3/8
5202 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5206 @item compound: subdivided in groups of three.
5212 @item quadruple: 12/8
5218 Time signatures are placed at the beginning of a composition (or section) to
5219 indicate the meter. For instance, a piece written in simple triple meter with a
5220 beat on each quarter note is conventionally written with a time signature of
5221 3/4. Here are some combinations of the two classifications above:
5223 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5225 @lilypond[quote,line-width=13.0\cm]
5229 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5232 Simple triple meter:
5234 @lilypond[quote,line-width=13.0\cm]
5238 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5241 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5243 @lilypond[quote,line-width=13.0\cm]
5247 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5250 Simple quintuple meter (B. Marcello, 1686-1739):
5252 @lilypond[quote,line-width=13.0\cm]
5256 r4 cis8 bis ais4 dis c8 ais |
5257 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5260 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5261 the source, with sharps in the accompaniment where the voice has flats and
5264 Compound duple meter (unknown):
5266 @lilypond[quote,line-width=13.0\cm]
5270 f8 f g a bes16 a g f |
5271 g8 g bes a c16 a bes g
5275 Compound triple meter (J.S. Bach, 1685-1750):
5277 @lilypond[quote,line-width=13.0\cm]
5281 r8 g'( a) b( d c) c( e d) |
5282 d( g fis) g( d b) g( a b)
5286 Compound quadruple meter (P. Yon, 1886-1943):
5288 @lilypond[quote,line-width=13.0\cm]
5292 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5293 e4 e8 fis( gis) a b4.~ b4 b8
5298 @b{@q{Monometer} vs Polymeter}
5300 TODO: add information from discussion on lilypond-user related to polymeter.
5304 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5319 Device used to indicate the exact tempo of a piece.
5321 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5322 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5323 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5324 followed acknowledged Winkler as the creator, but by then Mälzel had already
5325 sold many of them, and people had taken to calling it a Mälzel Metronome.
5328 @ref{metronome mark}.
5331 @node metronome mark
5332 @section metronome mark
5334 ES: indicación metronómica,
5335 I: indicazione metronomica,
5336 F: indication métronomique,
5338 NL: metronoom aanduiding,
5340 S: metronomangivelse,
5341 FI: metronomiosoitus.
5343 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5344 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5351 @node metronomic indication
5352 @section metronomic indication
5355 @ref{metronome mark}
5368 FI: kohtalaisen, melko.
5370 [Italian: @q{medium}]
5372 Used to qualify other indications, such as:
5378 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5380 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5386 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5393 No cross-references.
5397 @section mezzo-soprano
5408 The female voice between soprano and contralto.
5411 @ref{soprano}, @ref{contralto}.
5420 D: zweigestrichenes@w{ }c,
5422 DK: enstreget@w{ }c,
5423 S: ettstruket@w{ }c,
5426 First C below the 440 Hz A.
5428 @lilypond[quote,notime,relative=1]
5429 \override Staff.Clef #'full-size-change = ##t
5436 No cross-references.
5452 @ref{diatonic scale}.
5455 @node minor interval
5456 @section minor interval
5458 ES: intervalo menor,
5459 I: intervallo minore,
5460 F: intervalle mineur,
5461 D: kleines Intervall,
5465 FI: pieni intervalli.
5471 @node mixolydian mode
5472 @section mixolydian mode
5475 @ref{diatonic scale}.
5484 D: Kirchentonart, Modus,
5488 FI: moodi, kirkkosävelasteikko.
5491 @ref{church mode}, @ref{diatonic scale}.
5504 FI: modulaatio, sävellajin vaihdos.
5506 Moving from one @ref{key} to another. For example, the second subject
5507 of a @ref{sonata form} movement modulates to the dominant key if the
5508 key is major and to the @ref{relative key} if the key is minor.
5511 No cross-references.
5523 FI: mordent, korukuvio.
5546 FI: teema, sävelaihe.
5548 The briefest intelligible and self-contained fragment of a musical
5551 @lilypond[quote,line-width=13.0\cm]
5554 \set Score.implicitTimeSignatureVisibility = #all-invisible
5555 \override Score.TimeSignature #'break-visibility = #all-invisible
5558 \partial 8 g16\startGroup fis |
5559 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5560 g8 g,16 a b8 cis d16 s
5564 \Staff \consists "Horizontal_bracket_engraver"
5570 No cross-references.
5585 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5586 several -- more or less -- independent pieces called movements.
5589 No cross-references.
5592 @node multi-measure rest
5593 @section multi-measure rest
5595 ES: compases de espera, silencio multicompás,
5597 F: pause multiple, mesure à compter,
5599 D: mehrtaktige Pause, Kirchenpause,
5602 FI: usean tahdin mittainen tauko.
5604 Multi-measure rests are conventionally typeset with a combination of
5605 longa, breve and whole rests for shorter and a long horizontal bar for
5606 longer spans of rest, with a number above to indicate the duration (in
5607 measures) of the rest. The former style is called @q{Kirchenpausen} in
5608 German, as a reminiscence of its use in Renaissance vocal polyphony.
5610 @lilypond[quote,relative=2]
5612 \set Score.skipBars = ##t
5615 \set Score.skipBars = ##t
5621 @ref{longa}, @ref{breve}.
5630 D: Auflösungszeichen,
5631 NL: herstellingsteken,
5632 DK: op@-løsningstegn,
5633 S: återställningstecken,
5640 @node neighbor tones
5641 @section neighbor tones
5643 @c TODO: add definition.
5655 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5694 Notes are signs by means of which music is fixed in writing. The term is also
5695 used for the sound indicated by a note, and even for the key of the piano
5696 which produces the sound. However, a clear distinction between the terms tone
5697 and @ref{note} is strongly recommended. Briefly, one sees a note,
5701 No cross-references.
5708 I: testa, testina, capocchia,
5716 A head-like sign which indicates pitch by its position on a @notation{staff}
5717 provided with a @notation{clef}, and duration by a variety of shapes such as
5718 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5719 For percussion instruments (often having no defined pitch) the note head may
5720 indicate the instrument.
5723 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5736 ES: valor, duración,
5738 F: durée, valeur (d'une note),
5743 FI: nuotin aika-arvo.
5745 Note values (durations) are measured as fractions—in modern usage, one-half—of
5746 the next higher note value. The longest duration in current use is the
5747 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5748 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5749 or @notation{maxima} (eight whole notes) may be found.
5751 As used in mensural notation, this fraction was more flexible: it could also
5752 be one-third the higher note value. Composers indicated which proportions
5753 to use with various signs—two of which survive to the present day: the
5754 C-shaped sign for @notation{common time}, and the slashed C for
5755 @notation{alla breve} or @notation{cut time}.
5757 @c TODO -- add maxima to this example, in a way that doesn't break it.
5759 @lilypond[quote,notime,line-width=13.0\cm]
5761 \override NoteHead #'style = #'mensural
5762 a\longa_"longa" a\breve_"breve"
5763 \revert NoteHead #'style
5764 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5765 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5768 @c TODO -- add maxima rest to this example
5770 @lilypond[quote,notime,line-width=13.0\cm]
5772 r\longa_"longa" r\breve_"breve"
5773 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5774 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5777 An augmentation dot after a note increases its duration by half; a second dot
5778 increases it by half of the first addition (that is, by a fourth of the original
5779 duration). More dots can be used to add further halved fractions of the
5780 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5782 @lilypond[quote,line-width=13.0\cm]
5785 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5786 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5789 Alternatively note values may be subdivided by other ratios. Most common is
5790 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5791 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5792 dotted notes are also frequently used.
5794 @lilypond[quote,line-width=13.0\cm]
5797 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5798 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5802 @lilypond[quote,line-width=13.0\cm]
5805 \times 3/2 {g4_"duplets" g} |
5807 \times 6/4 {g8_"quadruplets" g g g} |
5808 g8 g g g g4 \bar "||"
5820 @ref{octave marking}.
5835 The interval of an octave, sometimes abbreviated @notation{8ve}.
5837 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5838 bracket, or @notation{loco} see octave marking.
5841 @ref{interval}, @ref{octave marking}.
5845 @section octave mark
5847 ES: indicación de octava,
5849 F: indication d'octave,
5850 D: Oktavierungszeichen,
5856 The phrase, abbreviation, or other mark used (with or without an extender line
5857 or bracket) to indicate that the music is to be played in a different octave:
5861 @item @notation{15ma}: play two octaves higher
5862 @item @notation{8va}: play one octave higher
5863 @item @notation{8vb}: play one octave lower
5864 @item @notation{8va} (written below the passage): unusual, same as
5866 @item @notation{15vb}: play two octaves lower
5867 @item @notation{15va} (written below the passage): unusual, same as
5872 For longer passages, it may be more practical to mark the octave change at the
5873 beginning with a phrase (see the list below for examples), but without a bracket
5874 or extender line. Then, when the music returns to the written pitch, the octave
5875 change is cancelled with the word @notation{loco} (q.v.).
5877 To parallel the list above:
5881 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5882 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5883 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5884 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5888 In the phrases above, @notation{quindicesima} is sometimes replaced with
5889 @notation{quindecima}, which is Latin.
5891 The music on an entire staff can be marked to be played in a different octave by
5892 putting a small 8 or 15 above or below the clef at the beginning. This octave
5893 mark can be applied to any clef, but it is most frequently used with the G and F
5897 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5900 @node octave marking
5901 @section octave marking
5910 FI: oktaavamerkintä.
5912 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5913 that it is to be played in a different octave. If applied to the clef at the
5914 beginning of the staff, all music on that staff is to played at the indicated
5917 For a list of the specific marks used, see @ref{octave mark}.
5920 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5924 @section octave sign
5934 I: abbellimento, fioriture,
5935 F: agrément, ornement,
5936 D: Verzierung, Ornament,
5942 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5943 with the diatonic @ref{second} above it. In the music from the
5944 middle of the 19th century and onwards the trill is performed with the main
5945 note first while in the music from the preceding baroque and classic periods
5946 the upper note is played first.
5948 @lilypond[quote,line-width=13.0\cm]
5950 \context Staff = sa {
5952 c2._"pre-1850" b4\trill | c1 \bar "||"
5953 c2._"post-1850" b4\trill | c1 \bar "||"
5957 c2. c32 b c b c b c b | c1
5958 c2. b32 c b c \times 4/5 { b c b c b } | c1
5963 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5964 the @emph{prall} (inverted mordent).
5966 @lilypond[quote,line-width=13.0\cm]
5968 \context Staff = sa {
5970 a4_"turn" b\turn c2 \bar "||"
5971 g4_"mordent" a b\mordent a \bar "||"
5972 e'4_"prall" d\prall c2 \bar "||"
5978 e'4 e32[ d e d ~ d8] c2
5984 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5992 F: ossia, alternative,
5997 FI: ossia, vaihtoehtoinen esitystapa.
5999 Ossia (otherwise) marks an alternative. It is an added staff or piano
6000 score, usually only a few measures long, which presents another version
6001 of the music, for example for small hands.
6004 Compare: @ref{cue-notes}.
6010 ES: parte, particella,
6017 FI: stemma, instrumenttiosuus.
6021 @item In instrumental or choral music, the music for a single
6022 instrument or voice.
6024 @item in contrapuntal music, a single melodic line in the contrapuntal
6047 @node percent repeat
6048 @section percent repeat
6050 LilyPond-specific term to indicate the repetition of a musical expression on a
6051 single staff, as opposed to the more usual definition of repeat, which affects
6052 all parts. The musical expression can be anything from a single note or note
6053 pattern to one or more measures. There are other names for this symbol:
6058 @item slash mark, or slash repeat
6060 @item measure (or multi-measure) repeat
6064 @lilypond[quote,relative=2,line-width=13.0\cm]
6066 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6067 \repeat percent 2 { c4 e g b_"Measure repeat" }
6068 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6073 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6074 Vermont Music Dictionary}.
6083 D: Schlagzeug, Schlagwerk,
6089 A family of musical instruments which are played on by striking or
6090 shaking. Percussion instruments commonly used in a symphony orchestra are
6091 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6092 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6096 No cross-references.
6099 @node perfect interval
6100 @section perfect interval
6102 ES: intervalo justo,
6103 I: intervallo giusto,
6104 F: intervalle juste,
6105 D: reines Intervall,
6109 FI: puhdas intervalli.
6127 A natural division of the melodic line, comparable to a sentence of speech.
6143 FI: fraseeraus, jäsentäminen.
6145 The clear rendering in musical performance of the @notation{phrases} of the
6146 melody. Phrasing may be indicated by a @notation{slur}.
6149 @ref{phrase}, @ref{slur}.
6164 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6165 @emph{mezzo piano} (@b{mp}) medium soft.
6168 No cross-references.
6176 F: anacrouse, levée,
6201 @item The perceived quality of a sound that is primarily a function of its
6202 fundamental frequency.
6204 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6206 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6207 association of a particular frequency with a particular pitch name, e.g., c' =
6223 NL: pizzicato, getokkeld,
6226 FI: pizzicato, näppäillen.
6228 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6232 No cross-references.
6238 ES: compás polimétrico,
6245 FI: monia tahtiosoituksia sisältävä.
6249 @item The @emph{simultaneous} use of two or more meters, in two or more
6252 @item The @emph{successive} use of different meters in one or more parts.
6257 @ref{polymetric} (adj.)
6270 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6272 Characterized by @emph{polymeter}: using two or more metric frameworks
6273 simultaneously or in alternation.
6276 @ref{polymeter} (noun)
6279 @node polymetric time signature
6280 @section polymetric time signature
6282 ES: indicación de compás polimétrico,
6283 I: tempo polimetrico,
6285 D: zusammengesetzte Taktart,
6289 FI: vaihtelevan tahtiosoitusmerkintä.
6291 A time signature that indicates regularly alternating polymetric time.
6303 D: Polyphonie, Mehrstimmigkeit,
6307 FI: polyfonia, moniäänisyys.
6309 Music written in a combination of several simultaneous voices (parts)
6310 of a more or less pronounced individuality.
6319 [Italian: past participle of @emph{portare}, @q{to carry}]
6321 A stroke in which each of several notes is separated slightly within a slur,
6322 without changing the bow's direction. It is used for passages of a
6323 @notation{cantabile} character.
6329 @section power chord
6331 A chord containing only the root and the fifth (possibly in multiple
6332 octaves). Commonly used in guitar music, particularly with electric
6333 guitar and high distortion.
6341 ES: presto, muy rápido,
6343 F: presto, très rapide, enlevé,
6344 D: Presto, Sehr schnell,
6345 NL: presto, Sehr schnell,
6348 FI: presto, hyvin nopeasti.
6352 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6353 denotes the highest possible degree of speed.
6356 No cross-references.
6371 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6372 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6377 @item A ratio that expresses the relationship between the note values that
6378 follow with those that precede;
6380 @item A ratio between the note values of a passage and the @q{normal}
6381 relationship of note values to the metrical pulse. (A special case of the
6386 The most common proportions are:
6389 @item 2:1 (or simply 2), expressed by a vertical line through the
6390 mensuration sign (the origin of the @notation{alla breve} time signature),
6391 or by turning the sign backwards
6392 @item 3:1 (or simply 3)
6393 @item 3:2 (@emph{sesquialtera})
6396 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6399 @item 1:2 cancels 2:1
6400 @item 1:3 cancels 3:1
6401 @item 2:3 cancels 3:2
6405 Gaffurius enumerates five basic types of major:minor proportions and their
6409 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6410 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6412 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6413 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6414 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6416 @item Superpartiens, if the major number is one less than twice the minor
6417 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6419 @item Multiplexsuperparticular, if the major number is one more than twice the
6420 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6423 @item Multiplexsuperpartiens, if the major number is one less than some other
6424 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6425 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6429 He then continues to subdivide each type in various ways. For the multiplex
6430 proportions, for example, he indicates how many times greater the major number
6435 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6436 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6438 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6441 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6442 Example: 4:1, 8:2, and 12:3
6446 Other proportions were possible, but whether they were frequently used is
6451 @item 33:9, @emph{triplasuperbipartientetertias}
6452 @item 51:15, @emph{triplasuperbipartientequintas}
6456 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6459 @ref{mensural notation}.
6462 @node Pythagorean comma
6463 @section Pythagorean comma
6465 ES: coma pitagórica,
6466 I: comma pitagorico,
6467 F: comma pythagoricien,
6468 D: Pythagoräisches Komma,
6469 NL: komma van Pythagoras,
6470 DK: pythagoræisk komma,
6471 S: pytagoreiskt komma,
6472 FI: pytagorinen komma.
6474 Originally, the interval by which the sum of six whole tones exceeds the octave
6475 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6477 Modern acoustical theory defines it as the interval by which twelve fifths
6478 exceed seven octaves. To put it another way: A sequence of fifths that starts
6479 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6480 than the C obtained by adding 7 octaves. The difference between those two
6481 pitches is the Pythagorean comma.
6484 @ref{cent}, @ref{temperament}.
6506 ES: variante [de acorde o intervalo],
6509 D: Modus (Dur oder Moll),
6515 The quality of a triad is determined by the precise arrangement of its
6516 intervals. Tertian triads can be described as a series of three notes. The
6517 first element is the root note (or simply @q{root}) of the chord, the second
6518 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6519 the chord. These are described below:
6521 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6522 @headitem Chord name
6523 @tab Component intervals
6526 @item major triad @tab major third/perfect fifth
6528 @tab C, CM, Cma, Cmaj, CΔ
6529 @item minor triad @tab minor third/perfect fifth
6531 @tab Cm, Cmi, Cmin, C-
6532 @item augmented triad @tab major third/augmented fifth
6535 @item diminished triad @tab minor third/diminished fifth
6537 @tab Cm(♭5), Cº, Cdim
6540 There are various types of seventh chords depending on the quality of the
6541 original chord and the quality of the seventh added.
6543 Five common types of seventh chords have standard symbols. The chord quality
6544 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6545 and D^m7 are all identical). The last three chords are not commonly used
6553 @section quarter note
6558 @item I: semiminima, nera
6560 @item D: Viertel, Viertelnote
6562 @item DK: fjerdedelsnode
6563 @item S: fjärdedelsnot
6564 @item FI: neljäsosanuotti
6572 @section quarter rest
6575 @item UK: crotchet rest
6576 @item ES: silencio de negra
6577 @item I: pausa di semiminima
6579 @item D: Viertelpause
6581 @item DK: fjerdedelspause
6582 @item S: fjärdedelspaus
6583 @item FI: neljäsosatauko
6591 @section quarter tone
6600 FI: neljännessävelaskel.
6602 An interval equal to half a semitone.
6611 ES: cinquillo, quintillo,
6625 @section rallentando
6629 F: rallentando, en ralentissant,
6630 D: rallentando, langsamer werden,
6634 FI: rallerdando, hidastuen.
6636 [Italian] A performance indication, abbreviated @notation{rall.}
6643 @section relative key
6646 I: tonalità relativa,
6647 F: tonalité relative,
6649 NL: paralleltoonsoort,
6650 DK: paralleltoneart,
6652 FI: rinnakkaissävellaji.
6654 Major and minor keys that have the same key signature.
6656 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6658 es1_"e flat major" f g as bes c d es
6662 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6664 c1_"c minor" d es f g a! b! c
6669 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6677 F: barre de reprise,
6680 DK: gen@-ta@-gel@-se,
6684 @lilypond[quote,relative=2,line-width=13.0\cm]
6696 No cross-references.
6711 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6712 @c specify the rest's value.
6732 @item Metrical rhythm in which every time value is a multiple or
6733 fraction of a fixed unit of time, called @emph{beat}, and in which the
6734 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6735 The basic scheme of time values is called @emph{meter}.
6737 @item Measured rhythm which lacks regularly recurrent accent. In
6738 modern notation such music appears as a free alternation of different
6741 @item Free rhythm, i.e., the use of temporal values having no common
6742 metrical unit (beat).
6747 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6753 ES: ritardando, retardando,
6755 F: ritardando, en ralentissant,
6756 D: ritardando, langsamer werden,
6760 FI: ritardando, hidastuen,
6762 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6766 No cross-references.
6772 ES: ritenuto, reteniendo,
6774 F: ritenuto, en retenant,
6779 FI: ritenuto, hidastaen.
6781 Immediate reduction of speed.
6784 No cross-references.
6797 FI: asteikko, sävelasteikko.
6800 @ref{diatonic scale}.
6804 @section scale degree
6806 ES: grado (de la escala),
6807 I: grado della scala,
6808 F: degré [de la gamme],
6810 NL: trap [van de toonladder],
6813 FI: sävelaste, asteikon sävel.
6815 Names and symbols used in harmonic analysis to denote tones of the
6816 scale as roots of chords. The most important are degrees I = tonic
6817 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6819 @lilypond[quote,notime,line-width=13.0\cm]
6821 \new Staff \relative c' {
6825 << { I II III IV V VI VII I }
6832 @ref{functional harmony}.
6840 F: à cordes ravallées,
6845 FI: epätavallinen viritys.
6847 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6848 tuning of stringed instruments, particularly lutes or violins. Used
6853 @item facilitate pitch combinations that would otherwise be difficult
6856 @item alter the characteristic timbre of the instrument, for example,
6857 to increase brilliance
6859 @item reinforce certain sonorities or tonalities by making them
6860 available on open strings
6862 @item imitate other instruments
6868 Tunings that could be called @var{scordatura} first appeared early in
6869 the 16th Century and became commonplace in the 17th.
6872 No cross-references.
6880 F: partition, conducteur (full score),
6881 D: Partitur (full score), Klavierauszug (vocal score),
6887 A copy of orchestral, choral, or chamber music showing what each
6888 instrument is to play, each voice to sing, having each part arranged
6889 one underneath the other on different staves @ref{staff}.
6892 No cross-references.
6907 The interval between two neighboring tones of a scale. A diatonic scale
6908 consists of alternating semitones and whole tones, hence the size of a
6909 second depends on the scale degrees in question.
6912 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6919 @item US: whole note,
6923 @item D: Ganze, ganze Note, Semibrevis,
6924 @item NL: hele noot,
6927 @item FI: kokonuotti.
6930 Note value: called @notation{whole note} in the US.
6932 The semibreve is the basis for the @notation{tactus} in mensural notation
6933 (i.e. music written before ca. 1600).
6936 @ref{mensural notation}, @ref{note value}.
6951 The interval of a minor second. The (usually) smallest interval in European
6952 composed music. The interval between two neighboring tones on the piano
6953 keyboard -- including black and white keys -- is a semitone. An octave may
6954 be divided into 12@w{ }semitones.
6956 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6957 g1 gis s a bes s b! c
6961 @ref{interval}, @ref{chromatic scale}.
6984 @ref{sextuplet}, @ref{note value}.
7029 ES: simile, similar,
7032 D: simile, gleichartig,
7038 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7039 is to be played in the same manner (i.e. with the same articulations, dynamics,
7040 etc.) as the music that precedes it.
7043 TODO: Where else could I refer the reader?
7047 @section simple meter
7049 ES: compás simple, compás de subdivisión binaria,
7056 FI: kaksijakoinen tahtiosoitus.
7058 A meter in which the basic beat is subdivided in two: that is, a meter
7059 that does not include triplet subdivision of the beat.
7062 @ref{compound meter}, @ref{meter}.
7065 @node sixteenth note
7066 @section sixteenth note
7069 @item UK: semiquaver
7070 @item ES: semicorchea
7072 @item F: double croche
7073 @item D: Sechzehntel, Sechzehntelnote
7074 @item NL: zestiende noot
7075 @item DK: sekstendedelsnode
7076 @item S: sextondelsnot
7077 @item FI: kuudestoistaosanuotti
7084 @node sixteenth rest
7085 @section sixteenth rest
7088 @item UK: semiquaver rest
7089 @item ES: silencio de semicorchea
7090 @item I: pausa di semicroma
7091 @item F: quart de soupir
7092 @item D: Sechzehntelpause
7093 @item NL: zestiende rust
7094 @item DK: sekstendedelspause
7095 @item S: sextondelspaus
7096 @item FI: kuudestoistaosatauko
7119 @node sixty-fourth note
7120 @section sixty-fourth note
7123 @item UK: hemidemisemiquaver
7125 @item I: semibiscroma
7126 @item F: quadruple croche
7127 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7128 @item NL: vierenzestigste noot
7129 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7130 @item S: sextiofjärdedelsnot
7131 @item FI: kuudeskymmenesneljäsosanuotti
7138 @node sixty-fourth rest
7139 @section sixty-fourth rest
7142 @item UK: hemidemisemiquaver rest
7143 @item ES: silencio de semifusa
7144 @item I: pausa di semibiscroma
7145 @item F: seizième de soupir
7146 @item D: Vierundsechzigstelpause
7147 @item NL: vierenzestigste rust
7148 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7149 @item S: sextiofjärdedelspaus
7150 @item FI: kuudeskymmenesneljäsosatauko
7158 @section slash repeat
7161 @ref{percent repeat}.
7167 ES: ligadura de expresión,
7168 I: legatura (di portamento o espressiva),
7170 D: Bogen (Legatobogen, Phrasierungsbogen),
7171 NL: fraseringsboog, legatoboog, streekboog,
7172 DK: legatobue, fraseringsbue,
7176 A slur above or below a group of notes indicates that they are to be
7177 played @ref{legato}, e.g., with one stroke of the violin bow or with
7178 one breath in singing.
7181 No cross-references.
7185 @section solmization
7194 FI: suhteelliset laulunimet.
7196 General term for systems of designating the degrees of the
7197 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7198 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7202 @ref{scale}, @ref{scale degree}.
7217 In its present-day meaning a sonata denotes an instrumental
7218 composition for piano or for some other instrument with piano
7219 accompaniment, which consists of three or four independent pieces,
7223 No cross-references.
7227 @section sonata form
7231 F: [en] forme de sonate,
7233 NL: hoofdvorm, sonatevorm,
7238 A form used frequently for single movements of the @emph{sonata},
7239 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7240 three sections called @notation{exposition}, @notation{development} and
7241 @notation{recapitulation}. In the exposition the composer introduces some
7242 musical ideas, consisting of a number of themes; in the development section the
7243 composer @emph{develops} this material, and in the recapitulation the composer
7244 repeats the exposition, with certain modifications. The exposition contains a
7245 number of themes that fall into two groups, often called first and second
7246 subject. Other melodies occurring in each group are considered as continuations
7247 of these two. The second theme is in another key, normally in the key of the
7248 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7249 @notation{relative key} if the tonic is @notation{minor}.
7252 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7253 @ref{symphony}, @ref{tonic}.
7273 FI: sopraano, korkea naisääni.
7275 The highest female voice.
7278 No cross-references.
7286 F: staccato, piqué, détaché,
7291 FI: staccato, lyhyesti, terävästi.
7293 Playing the note(s) short. Staccato is indicated by a dot above or
7294 below the note head.
7296 @lilypond[quote,relative=2]
7300 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7306 No cross-references.
7313 ES: pentagrama, pauta,
7314 I: pentagramma, rigo (musicale),
7316 D: Notensystem, Notenzeile,
7317 NL: (noten)balk, partij,
7322 A staff (plural: staves) is a series of (normally five) horizontal
7323 lines upon and between which the musical notes are written, thus
7324 indicating (in connection with a @ref{clef}) their pitch. Staves for
7325 @ref{percussion} instruments may have fewer lines.
7327 @lilypond[quote,relative=1]
7348 D: Hals, Notenhals, Stiel,
7354 Vertical line above or below a @ref{note head} shorter than a
7357 @lilypond[quote,notime,relative=2]
7358 \set Score.autoBeaming = ##f
7372 ES: stringendo, acelerando,
7374 F: stringendo, en accélérant,
7379 FI: kiihdyttäen, nopeuttaen.
7381 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7400 A family of stringed musical instruments played with a bow. Strings
7401 commonly used in a symphony orchestra are violin, viola, violoncello,
7405 No cross-references.
7409 @section strong beat
7414 D: betonter Taktteil oder Taktschlag,
7416 D: betonet taktslag,
7417 S: betonat taktslag,
7418 FI: tahdin vahva isku.
7421 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7425 @section subdominant
7434 FI: subdominantti, alidominantti.
7436 The fourth @notation{scale degree}.
7439 @ref{functional harmony}, @ref{scale degree}.
7454 The sixth @notation{scale degree}.
7457 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7470 FI: subtoonika, alitoonika.
7472 The seventh @ref{scale degree}.
7475 @ref{functional harmony}, @ref{scale degree}.
7481 ES: sobre la cuerda de Sol,
7484 D: auf G, auf der G-Saite,
7490 Indicates that the indicated passage (or note) should be played on the
7494 No cross-references.
7498 @section superdominant
7509 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7512 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7527 The second @ref{scale degree}.
7530 @ref{functional harmony}, @ref{scale degree}.
7539 D: Sinfonie, Symphonie,
7545 A symphony may be defined as a @emph{sonata} for orchestra.
7552 @section syncopation
7563 Any deliberate upsetting of the normal pulse of @ref{meter},
7564 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7565 rhythm rests upon the grouping of equal beats into groups of two or
7566 three, with a regularly recurrent accent on the first beat of each
7567 group. Any deviation from this scheme is felt as a disturbance or
7568 contradiction between the underlaying (normal) pulse and the actual
7571 @lilypond[quote,relative=1]
7574 e16 c'8 e,16 c'8 e,16 c' ~
7579 No cross-references.
7582 @node syntonic comma
7583 @section syntonic comma
7585 ES: coma sintónica, coma de Dídimo,
7586 I: comma sintonico (o didimico),
7587 F: comma syntonique,
7588 D: syntonisches Komma,
7589 NL: syntonische komma,
7590 DK: syntonisk komma,
7591 S: syntoniskt komma,
7592 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7593 Pytagorisessa viritysjärjestelmässä.
7595 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7596 by which the ditone exceeds the pure major third obtained by Pythagorean
7597 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7599 Modern acoustical theory defines it as the interval by which four fifths exceed
7600 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7602 This comma is also known as the comma of Didymus, or didymic comma.
7605 @ref{Pythagorean comma}
7614 D: Notensystem, Partitur,
7620 The collection of staves (@notation{staff}), two or more, as used
7621 for writing down keyboard, chamber, choral, or orchestral music;
7622 a section of the score spanning the width of a single page.
7629 @section temperament
7634 D: Stimmung, Tem@-pe@-ra@-tur,
7635 NL: stemming, temperatuur,
7638 FI: viritysjärjestelmä.
7640 Systems of tuning in which the intervals deviate from the acoustically
7644 @ref{meantone temperament}, @ref{equal temperament}.
7647 @node tempo indication
7648 @section tempo indication
7650 ES: indicación de tempo,
7651 I: indicazione di tempo,
7652 F: indication de tempo,
7653 D: Zeitmaß, Tempobezeichnung,
7654 NL: tempo aanduiding,
7659 The rate of speed of a composition or a section thereof, ranging from the
7660 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7661 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7665 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7679 FI: tenori, korkea miesääni.
7681 The highest @q{natural} male voice (apart from @notation{countertenor}).
7706 ES: subrayado (tenuto),
7715 An indication that a particular note should be held for the whole
7716 length, although this can vary depending on the composer and era.
7719 No cross-references.
7738 @node thirty-second note
7739 @section thirty-second note
7742 @item UK: demisemiquaver
7745 @item F: triple croche
7746 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7747 @item NL: twee@-endertig@-ste (32e) noot
7748 @item DK: toogtredivtedelsnode
7749 @item S: trettiotvåondelsnot
7750 @item FI: kolmaskymmeneskahdesosanuotti
7757 @node thirty-second rest
7758 @section thirty-second rest
7761 @item UK: demisemiquaver rest
7762 @item ES: silencio de fusa
7763 @item I: pausa di biscroma
7764 @item F: huitième de soupir
7765 @item D: Zweiunddreissigstel@-pause
7766 @item NL: twee@-endertig@-ste (32e) rust
7767 @item DK: toogtredivtedelspause
7768 @item S: trettiotvåondelspaus
7769 @item FI: kolmaskymmeneskahdesosatauko
7777 @section thorough bass
7786 ES: ligadura de unión (o de prolongación),
7787 I: legatura (di valore),
7788 F: liaison (de tenue),
7789 D: Haltebogen, Bindebogen,
7790 NL: overbinding, bindingsboog,
7792 S: bindebåge, överbindning,
7795 A curved line, identical in appearance with the @ref{slur}, which
7796 connects two succesive notes of the same pitch, and which has the
7797 function of uniting them into a single sound (tone) equal to the
7800 @lilypond[quote,notime,relative=2]
7812 @node time signature
7813 @section time signature
7815 ES: indicación de compás,
7817 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7818 D: Taktangabe, Angabe der Taktart,
7821 S: taktartssignatur,
7824 The sign placed at the beginning of a composition to indicate its
7825 meter. It most often takes the form of a fraction, but a few signs
7826 derived from mensural notation and proportions are also employed.
7829 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7844 A sound of definite pitch and duration, as distinct from @emph{noise}.
7845 Tone is a primary building material of music.
7847 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7850 No cross-references.
7865 The first @notation{scale degree}.
7868 @ref{functional harmony}, @ref{scale degree}.
7871 @node transposing instrument
7872 @section transposing instrument
7874 ES: instrumento transpositor,
7875 I: strumento traspositore,
7876 F: instrument transpositeur,
7877 D: transponierende Instrumente,
7881 FI: transponoitava soitin.
7883 Instruments whose notated pitch is different from their sounded pitch. Except
7884 for those whose notated and sounding pitches differ by one or more octaves (to
7885 reduce the number of ledger lines needed), most such instruments are identified
7886 by the letter name of the pitch class of their fundamental. The pitch class is
7887 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7888 the instrument plays a notated C.
7890 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7891 the B-flat one tone lower. If played on the A clarinet, the same written
7892 note sounds the A (one and half tones -- a minor third -- lower).
7894 Not all transposing instruments include the pitch class in their name:
7897 @item Alto flute (in G)
7898 @item English horn (in F)
7899 @item Saxophones (in B-flat or E-flat)
7902 @ignore Can we do better?
7904 To make matters more complex, some instruments are transposing instruments,
7905 but their players play from parts written at concert pitch. This is the
7906 case for orchestral trombone and tuba players—whereas trombone players in
7907 brass bands treat their parts as if written for a true transposing
7908 instrument in B-flat.
7913 @ref{concert pitch}.
7917 @section transposition
7919 ES: transporte, transposición,
7928 Shifting a melody up or down in pitch, while keeping the same
7931 @lilypond[quote,line-width=13.0\cm]
7936 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7941 @lilypond[quote,line-width=13.0\cm]
7944 \transpose c bes \relative c'' {
7946 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7952 No cross-references.
7956 @section treble clef
7958 ES: clave de sol en segunda,
7959 I: chiave di violino,
7961 D: Violinschlüssel, Sopranschlüssel,
7983 On stringed instruments:
7987 @item The quick reiteration of the same tone, produced by a rapid
7988 up-and-down movement of the bow.
7990 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7991 in the distance of a third (@ref{interval}).
7995 @lilypond[quote,notime,relative=1]
7997 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7998 \repeat tremolo 8 { e32_"b" g }
8010 F: triade, accord parfait, accord de trois sons,
8026 F: trille, tremblement, battement (cadence),
8038 @section triple meter
8040 ES: compás ternario,
8043 D: Dreiertakt, ungerader Takt,
8044 NL: driedelige maatsoort,
8086 @section tuning fork
8088 ES: diapasón [de horquilla],
8089 I: diapason, corista,
8095 FI: viritysavain, äänirauta.
8097 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8098 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8099 standard. Tuning forks for other pitches are available.
8108 ES: grupo de valoración especial,
8109 I: gruppi irregolari,
8112 NL: Antimetrische figuur,
8117 A non-standard subdivision of a beat or part of a beat, usually
8118 indicated with a bracket and a number indicating the number of
8122 @ref{triplet}, @ref{note value}.
8128 ES: grupeto (circular),
8151 FI: unisono, yksiäänisesti.
8153 Playing of the same notes or the same melody by various instruments
8154 (voices) or by the whole orchestra (choir), either at exactly the same
8155 pitch or in a different octave.
8158 No cross-references.
8166 F: anacrouse, levée,
8187 FI: ääni, lauluääni.
8195 @item @ref{mezzo-soprano}
8196 @item @ref{contralto}
8198 @item @ref{baritone}
8202 @item A melodic layer or part of a polyphonic composition.
8207 No cross-references.
8213 ES: vez, primera y segunda vez,
8216 D: volta-Klammer, Wiederholungsklammer,
8220 FI: yksi kertauksen maaleista.
8222 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8223 or second ending. LilyPond extends this idea to any number, and allows any text
8224 (not just a number) -- to serve as the @notation{volta} text.
8227 No cross-references.
8234 I: tempo debole, arsi,
8236 D: unbetonter Taktteil oder Taktschlag,
8238 DK: ubetonet taktslag,
8239 S: obetonat taktslag,
8240 FI: tahdin heikko isku.
8243 @ref{beat}, @ref{measure}, @ref{rhythm}.
8254 @item D: Ganze, ganze Note
8258 @item FI: kokonuotti
8269 @item UK: semibreve rest
8270 @item ES: silencio de redonda
8271 @item I: pausa di semibreve
8273 @item D: ganze Pause, ganztaktige Pause
8275 @item DK: helnodespause
8296 The interval of a major second. The interval between two tones
8297 on the piano keyboard with exactly one key between them -- including
8298 black and white keys -- is a whole tone.
8316 A family of blown wooden musical instruments. Today some of these
8317 instruments are actually made from metal. The woodwind instruments
8318 commonly used in a symphony orchestra are flute, oboe, clarinet,
8319 saxophone, and bassoon.
8322 No cross-references.
8325 @node Duration names notes and rests
8326 @chapter Duration names notes and rests
8328 @multitable @columnfractions .12 .22 .22 .22 .22
8330 @headitem Lang. @tab note name
8334 @item @strong{US} @tab long
8338 @item @strong{UK} @tab longa
8342 @item @strong{ES} @tab longa
8343 @tab silencio de longa
8345 @tab silencio de cuadrada
8346 @item @strong{IT} @tab longa
8350 @item @strong{FR} @tab longa
8351 @tab quadruple-pause
8354 @item @strong{DE} @tab Longa
8358 @item @strong{NL} @tab longa
8362 @item @strong{DK} @tab longa
8363 @tab longanodespause
8365 @tab brevis(nodes)pause
8366 @item @strong{SE} @tab longa
8370 @item @strong{FI} @tab longa-nuotti
8372 @tab brevis-nuotti, kaksoiskoko@-nuotti
8373 @tab brevis-tauko, kaksoiskoko@-tauko
8377 @multitable @columnfractions .12 .22 .22 .22 .22
8379 @headitem Lang. @tab note name
8383 @item @strong{US} @tab whole note
8387 @item @strong{UK} @tab semibreve
8391 @item @strong{ES} @tab redonda
8392 @tab silencio de redonda
8394 @tab silencio de blanca
8395 @item @strong{IT} @tab semibreve
8396 @tab pause di semibreve
8398 @tab pausa di minima
8399 @item @strong{FR} @tab ronde
8403 @item @strong{DE} @tab ganze Note
8407 @item @strong{NL} @tab hele noot
8411 @item @strong{DK} @tab helnode
8415 @item @strong{SE} @tab helnot
8419 @item @strong{FI} @tab kokonuotti
8426 @multitable @columnfractions .12 .22 .22 .22 .22
8428 @headitem Lang. @tab note name
8432 @item @strong{US} @tab quarter note
8436 @item @strong{UK} @tab crotchet
8440 @item @strong{ES} @tab negra
8441 @tab silencio de negra
8443 @tab silencio de corchea
8444 @item @strong{IT} @tab semiminima, nera
8445 @tab pausa di semiminima, pausa di nera
8448 @item @strong{FR} @tab noire
8452 @item @strong{DE} @tab Viertelnote
8456 @item @strong{NL} @tab kwartnoot
8460 @item @strong{DK} @tab fjerdedelsnode
8461 @tab fjerdedelspause
8462 @tab ottendedelsnode
8463 @tab ottendedelspause
8464 @item @strong{SE} @tab fjärdedelsnot
8468 @item @strong{FI} @tab neljäsosa@-nuotti
8469 @tab neljäsosa@-tauko
8470 @tab kahdeksasosa@-nuotti
8471 @tab kahdeksasosa@-tauko
8475 * About the French naming system: @notation{croche} refers to the note's
8476 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8477 @q{doubled hook}, @q{trebled hook}, and so on.
8479 The rest names are based on the @notation{soupir}, or quarter rest.
8480 Subsequent rests are expressed as fractions thereof: half a
8481 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8483 Each of the following tables contains one type of note and its matching rest,
8484 with abbreviations that apply to both notes and rests. Just switch the part
8485 that means @q{note} with the part that means @q{rest}, for example:
8489 @item English: 16th @strong{note}, 16th @strong{rest}
8490 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8491 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8495 Editor's note: I put a dash @q{-} when I could not find a language-specific
8496 abbreviation for a duration name. If you know of one that I missed, please
8497 send it to me, care of the lilypond-user discussion list.
8499 @multitable @columnfractions .10 .35 .35 .20
8501 @headitem Lang. @tab Note name
8504 @item @strong{US} @tab sixteenth note
8507 @item @strong{UK} @tab semiquaver
8508 @tab semiquaver rest
8510 @item @strong{ES} @tab semicorchea
8511 @tab silencio de semicorchea
8513 @item @strong{IT} @tab semicroma
8514 @tab pausa di semicroma
8516 @item @strong{FR} @tab double croche
8517 @tab quart de soupir
8519 @item @strong{DE} @tab Sechzehntelnote
8520 @tab Sechzehntelpause
8522 @item @strong{NL} @tab zes@-ti@-ende noot
8523 @tab zes@-ti@-ende rust
8525 @item @strong{DK} @tab sekstendedelsnode
8526 @tab sekstendedelspause
8528 @item @strong{SE} @tab sextondelsnot
8531 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8532 @tab kuudes@-toistaosa@-tauko
8537 @multitable @columnfractions .10 .35 .35 .20
8539 @headitem Lang. @tab Note name
8542 @item @strong{US} @tab thirty-second note
8543 @tab thirty-second rest
8545 @item @strong{UK} @tab demisemiquaver
8546 @tab demisemiquaver rest
8548 @item @strong{ES} @tab fusa
8549 @tab silencio de fusa
8551 @item @strong{IT} @tab biscroma
8552 @tab pausa di biscroma
8554 @item @strong{FR} @tab triple croche
8555 @tab huitième de soupir
8557 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8558 @tab Zweiunddreißig@-stelpause
8560 @item @strong{NL} @tab twee@-endertigste noot
8561 @tab twee@-endertigste rust
8563 @item @strong{DK} @tab toogtredivtedelsnode
8564 @tab toogtredivtedelspause
8566 @item @strong{SE} @tab trettio@-tvåondelsnot
8567 @tab trettio@-tvåondelspaus
8569 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8570 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8575 @multitable @columnfractions .10 .35 .35 .20
8577 @headitem Lang. @tab Note name
8580 @item @strong{US} @tab sixty-fourth note
8581 @tab sixty-fourth rest
8583 @item @strong{UK} @tab hemidemisemiquaver
8584 @tab hemidemisemiquaver rest
8586 @item @strong{ES} @tab semifusa
8587 @tab silencio de semifusa
8589 @item @strong{IT} @tab semibiscroma
8590 @tab pausa di semibiscroma
8592 @item @strong{FR} @tab quadruple croche
8593 @tab seizième de soupir
8595 @item @strong{DE} @tab Vierundsechzigstelnote
8596 @tab Vierundsechzigstelpause
8598 @item @strong{NL} @tab vierenzestigste noot
8599 @tab vierenzestigste rust
8601 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8602 @tab fireog@-tredsindstyven@-dedelspause
8604 @item @strong{SE} @tab sextiofjärdedelsnot
8605 @tab sextiofjärdedelspaus
8607 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8608 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8613 @multitable @columnfractions .10 .35 .35 .20
8615 @headitem Lang. @tab Note name
8618 @item @strong{US} @tab one-hundred-twenty-eighth note
8619 @tab one-hundred-twenty-eighth rest
8621 @item @strong{UK} @tab semihemidemisemiquaver
8622 @tab semihemidemisemiquaver rest
8624 @item @strong{ES} @tab garrapatea
8625 @tab silencio de garrapatea
8627 @item @strong{IT} @tab fusa
8630 @item @strong{FR} @tab quintuple croche
8631 @tab trente-deuxième de soupir @tab -
8632 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8633 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8634 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8635 @tab honderd@-acht@-en@-twintigste rust
8637 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8638 @tab hundrede@-otte@-og@-tyvendedels@-pause
8640 @item @strong{SE} @tab hundratjugoåttondelsnot
8641 @tab hundratjugoåttondelspaus
8643 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8644 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8649 @multitable @columnfractions .10 .35 .35 .20
8651 @headitem Lang. @tab Note name
8654 @item @strong{US} @tab two-hundred-fifty-sixth note
8655 @tab two-hundred-fifty-sixth rest
8657 @item @strong{UK} @tab demisemihemidemisemiquaver
8658 @tab demisemihemidemisemiquaver rest
8660 @item @strong{ES} @tab semigarrapatea
8661 @tab silencio de semigarrapatea @tab -
8662 @item @strong{IT} @tab semifusa
8663 @tab pausa di semifusa
8665 @item @strong{FR} @tab sextuple croche
8666 @tab soixante-quatrième de soupir @tab -
8667 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8668 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8669 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8670 @tab tweehonderd@-zesenvijftigste rust
8672 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8673 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8675 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8676 @tab tvåhundra@-femtiosjättedelspaus
8678 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8679 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8685 @ref{mensural notation}
8689 @chapter Pitch names
8692 -is/-es endings for Danish per Rune Zedeler, pace,
8693 and for Finnish per Risto Vääräniemi;
8694 -iss/-ess endings for Swedish per Mats Bengtsson
8695 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8697 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8698 multiple lines -- as texinfo needs it to allow enough space for the
8699 table entries. (For the curious, it's a list of the widest items in
8700 each column of the table. Romance pitch names are two characters,
8701 except for g (sol) ... so there you go.)
8704 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8705 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8706 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8707 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8708 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8709 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8710 @tab des @tab des @tab dess @tab des
8711 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8712 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8713 @tab dis @tab dis @tab diss @tab dis
8714 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8715 @tab es @tab es @tab ess @tab es
8716 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8717 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8718 @tab Fes @tab fes @tab fes @tab fess @tab fes
8719 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8720 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8721 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8722 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8723 @tab fis @tab fis @tab fiss @tab fis
8724 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8725 @tab ges @tab ges @tab gess @tab ges
8726 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8727 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8728 @tab Gis @tab gis @tab gis @tab giss @tab gis
8729 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8730 @tab as @tab as @tab ass @tab as
8731 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8732 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8733 @tab ais @tab ais @tab aiss @tab ais
8734 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8735 @tab bes @tab b @tab b @tab b
8736 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8737 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8738 @tab ces @tab ces @tab cess @tab ces
8739 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8740 @tab His @tab bis @tab his @tab hiss @tab his
8744 @node Literature used
8745 @appendix Literature used
8748 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8749 Cambridge: Belknap Press (Harvard University Press), 1944.
8751 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8754 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8755 Terminologie}. Kassel, 1980.
8757 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8758 Current English}, 3rd ed. London: Oxford University Press, 1974.
8760 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8761 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8763 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8764 Cambridge: Belknap Press (Harvard University Press), 1986.
8766 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
projects / lilypond.git / blob