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::
151 * Common Practice Period::
154 * compound interval::
158 * conjunct movement::
173 * descending interval::
176 * diminished interval::
180 * disjunct movement::
182 * dissonant interval::
186 * dominant ninth chord::
187 * dominant seventh chord::
189 * dot (augmentation dot)::
191 * double appoggiatura::
193 * double dotted note::
196 * double time signature::
203 * ecclesiastical mode::
210 * equal temperament::
231 * functional harmony::
252 * inverted interval::
267 * long appoggiatura::
274 * meantone temperament::
281 * mensural notation::
286 * metronomic indication::
299 * multi-measure rest::
329 * polymetric time signature::
335 * Pythagorean comma::
366 * sixty-fourth note::
367 * sixty-fourth rest::
398 * thirty-second note::
399 * thirty-second rest::
406 * transposing instrument::
460 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
461 @notation{a due} indicates that:
465 @item A single part notated on a single staff that normally carries parts
466 for two players (e.g. first and second oboes) is to be played by both
469 @item Or conversely, that two pitches or parts notated on a staff that
470 normally carries a single part (e.g. first violin) are to be played by
471 different players, or groups of players (@q{desks}).
484 F: accelerando, en accélérant,
485 D: accelerando, schneller werden,
489 FI: accelerando, kiihdyttäen.
491 [Italian: @q{speed up, accelerate}]
493 An increase in the tempo, abbreviated @notation{accel.}
509 FI: aksentti, korostus.
511 The stress of one tone over others.
525 @section acciaccatura
527 ES: mordente de una nota,
529 F: acciaccatura, appoggiature brève,
536 A grace note which takes its time from the rest or note preceding the
537 principal note to which it is attached. The acciaccatura is drawn as a
538 small eighth note (quaver) with a line drawn through the flag and stem.
541 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
547 ES: alteración accidental,
548 I: alterazione, accidente,
549 F: altération accidentelle,
550 D: Versetzungszeichen, Akzidenz,
551 NL: toevallig (verplaatsings)teken,
553 S: tillfälligt förtecken,
554 FI: tilapäinen etumerkki.
556 An accidental alters a note by:
560 @item Raising its pitch:
562 @item By two semitones—@notation{double sharp}
563 @item By one semitone—@notation{sharp}
566 @item Lowering its pitch:
568 @item By one semitone—@notation{flat}
569 @item By two semitones—@notation{double flat}
572 @item Or canceling the effects of the key signature or previous accidentals.
575 @lilypond[quote,notime]
579 \set Staff.extraNatural = ##f
580 gisis1 gis g! ges geses
585 \center-column { double sharp }
591 \center-column { double flat }
597 \override SpacingSpanner
598 #'base-shortest-duration = #(ly:make-moment 1 32)
605 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
618 FI: adagio, hitaasti.
620 [Italian: @q{comfortable, easy}]
624 @item Slow tempo, slower -- especially in even meter -- than
625 @notation{andante} and faster than @notation{largo}.
627 @item A movement in slow tempo, especially the second (slow) movement
628 of sonatas, symphonies, etc.
633 @ref{andante}, @ref{largo}, @ref{sonata}.
641 F: al niente, en mourant,
646 FI: häviten olemattomiin.
648 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
649 that the sound should fade away to nothing.
651 @notation{Al niente} is indicated by circling the tip of the hairpin:
653 @lilypond[quote,relative=2]
654 \override Hairpin #'circled-tip = ##t
660 or with the actual phrase @notation{al niente}:
662 @lilypond[quote,relative=2]
664 \override DynamicTextSpanner #'(bound-details right text) =
665 \markup { \italic { al niente } }
671 Since one does not crescendo @emph{to} nothing, it is not correct to use
672 @notation{al niente} with @notation{crescendo}. Instead, one should use
673 @emph{dal niente} (@notation{@b{from} nothing}).
676 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
684 F: alla breve, à la brève,
685 D: Allabreve, alla breve
691 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
693 Also called @notation{in cut time}. The name derives from mensural
694 notation, where the @notation{tactus} (or beat) is counted on the semibreve
695 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
696 next longest note value, which (in modern usage) effectively halves all note
699 In mensural notation, breves and semibreves can have a ternary relationship,
700 in which case @notation{alla breve} means thrice (not twice) as fast. In
701 practice, this complication may not have mattered, since Gaffurius's system
702 of multiplex proportions makes it easy to explicitly state which proportion
706 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
707 @ref{proportion}, @ref{whole note}.
715 F: allegro, gaiement,
716 D: Allegro, Schnell, Fröhlich, Lustig,
720 FI: allegro, nopeasti.
722 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
723 quick tempo, especially the first and last movements of a sonata.
736 NL: verhoging of verlaging,
741 An alteration is the modification, raising or lowering, of a note's
742 pitch. It is established by an accidental.
744 @c TODO: add second meaning from mensural notation
760 FI: altto, matala naisääni.
762 A female voice of low range (@emph{contralto}). Originally the alto was a
763 high male voice (hence the name), which by castration or the use of falsetto
764 reached the height of the natural female voice. This type of voice is also
765 known as countertenor.
774 ES: clave de do en tercera,
775 I: chiave di contralto,
776 F: clef d'ut troisième ligne,
777 D: Altschlüssel, Bratschenschlüssel,
783 C clef setting middle C on the middle line of the staff.
794 F: ambitus, tessiture,
799 FI: ambitus, ääniala, soitinala.
801 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
802 Denotes a range of pitches for a given voice in a part of music. It may
803 also denote the pitch range that a musical instrument is capable of playing.
804 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
822 An anacrusis (also known as pickup or upbeat) is an incomplete measure
823 of music before a section of music. It also refers to the initial
824 note(s) of a melody occurring in that incomplete measure.
826 @lilypond[quote,relative=1]
837 @ref{measure}, @ref{meter}.
840 @node ancient minor scale
841 @section ancient minor scale
843 ES: escala menor natural,
844 I: scala minore naturale,
845 F: forme du mode mineur ancien, troisème mode, mode hellénique,
846 D: reines Moll, natürliches Moll,
847 NL: authentieke mineurtoonladder,
850 FI: luonnollinen molliasteikko.
852 Also called @q{natural minor scale}.
854 @lilypond[quote,notime,relative=2]
860 @ref{diatonic scale}.
875 [Italian: present participle of @emph{andare}, @q{to walk}]
877 Walking tempo/character.
884 @section appoggiatura
888 F: appoggiature, (port de voix),
889 D: Vorschlag, Vorhalt
890 NL: (korte) voorslag,
893 FI: appoggiatura, etuhele.
895 Ornamental note, usually a second, that is melodically connected with
896 the main note following it. In music before the 19th century
897 appoggiature were usually performed on the beat, after that mostly
898 before the beat. While the short appoggiatura is performed as a short
899 note regardless of the duration of the main note the duration of the
900 long appoggiatura is proportional to that of the main note.
902 @lilypond[quote,relative=2]
905 <d a fis>4_"notation" r
912 \set Score.measurePosition = #ZERO-MOMENT
913 <d, a fis>4_"performance" r
919 An appoggiatura may have more notes preceding the main note.
921 @lilypond[quote,relative=2]
924 \grace bes16 as8-"notation" as16 bes as8 g |
925 \grace { as16[( bes] } <c as>4)
926 \grace { as16[( bes] } <c as>4) \bar "||"
928 \grace bes16 as8-"performance" as16 bes as8 g |
932 as32 bes c8. as32 bes c8.
936 as16 ~ as8. as16 ~ as8.
951 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
953 DK: arpeggio, akkordbrydning,
955 FI: arpeggio, murtosointu.
957 [Italian: @q{harp-like, played like a harp}]
959 @lilypond[quote,line-width=13\cm]
961 \context Staff = "SA" {
965 r8 g16 c e g, c e r8 g,16 c e g, c e
966 r8 a,16 d f a, d f r8 a,16 d f a, d f
970 \context Staff = "SB" {
976 r16 e8. ( e4) r16 e8. ( e4)
977 r16 d8. ( d4) r16 d8. ( d4)
995 @section articulation
1004 FI: artikulaatio, ilmaisu.
1006 Articulation refers to notation which indicates how a note or notes
1007 should be played. Slurs, accents, staccato, and legato are all
1008 examples of articulation.
1011 No cross-references.
1014 @node ascending interval
1015 @section ascending interval
1017 ES: intervalo ascendente,
1018 I: intervallo ascendente,
1019 F: intervalle ascendant,
1020 D: steigendes Intervall,
1021 NL: stijgend interval,
1022 DK: stigende interval,
1023 S: stigande intervall,
1024 FI: nouseva intervalli.
1026 A distance between a starting lower note and a higher ending note.
1029 No cross-references.
1033 @section augmentation
1042 FI: aika-arvojen pidentäminen.
1044 @c TODO: add definition.
1046 This is a placeholder for augmentation (wrt mensural notation).
1049 @ref{diminution}, @ref{mensural notation}.
1052 @node augmented interval
1053 @section augmented interval
1055 ES: intervalo aumentado,
1056 I: intervallo aumentato,
1057 F: intervalle augmenté,
1058 D: übermäßiges Intervall,
1059 NL: overmatig interval,
1060 DK: forstørret interval,
1061 S: överstigande intervall,
1062 FI: ylinouseva intervalli.
1073 F: manuscrit, autographe
1074 D: Autograph, Handschrift,
1076 DK: håndskrift, autograf,
1078 FI: käsinkirjoitettu nuotti.
1082 @item A manuscript written in the composer's own hand.
1084 @item Music prepared for photoreproduction by freehand drawing, with
1085 the aid of a straightedge ruler and T-square only, which attempts to
1086 emulate engraving. This required more skill than did engraving.
1091 No cross-references.
1109 @ref{H}, @ref{Pitch names}
1129 ES: barra, línea divisoria,
1130 I: stanghetta, barra (di divisione),
1131 F: barre (de mesure),
1138 A vertical line through the staff (or through multiple staves) that
1139 separates measures. Used very infrequently during the Renaissance (mostly
1140 in secular music, or in sacred music to indicate congruences between parts
1141 in otherwise-unmetered music).
1157 FI: baritoni, keskikorkuinen miesääni.
1159 The male voice intermediate in pitch between the bass and the tenor.
1161 @c F: clef de troisième ligne dropped
1164 @ref{bass}, @ref{tenor}.
1168 @section baritone clef
1170 ES: clave de fa en tercera,
1171 I: chiave di baritono,
1172 F: clef d'ut cinquième ligne, clef de fa troisième,
1173 D: Baritonschlüssel,
1179 C or F clef setting middle C on the upper staff line.
1182 @ref{C clef}, @ref{F clef}.
1195 FI: basso, matala miesääni.
1199 @item The lowest male voice.
1201 @item Sometimes, especially in jazz music, used as an abbreviation for
1213 ES: clave de fa en cuarta,
1215 F: clef de fa quatrième ligne,
1222 A clef setting with middle C on the first top ledger line.
1231 ES: barra (de corcheas),
1233 F: ligature, barre (de croches),
1240 Line connecting a series of notes (shorter than a quarter note). The
1241 number of beams determines the note value of the connected notes.
1243 @lilypond[quote,notime,relative=2,line-width=13\cm]
1244 g8-"1/8"[ g g g] s16
1245 g16-"1/16"[ g g g] s
1246 g32-"1/32"[ s g s g s g] s16
1247 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1251 @ref{feathered beam}.
1257 ES: tiempo, parte (de compás)
1260 D: Takt, Taktschlag, Zeit (im Takt),
1266 Note value used for counting, most often half-, fourth-, and eighth notes.
1267 The base counting value and the number of them in each measure is indicated
1268 at the start of the music by the @notation{time signature}.
1270 @lilypond[quote,relative=2]
1273 g4 c b a | g1 \bar "||"
1275 g8 d' c | b c a | g4. \bar "||"
1279 @ref{time signature}.
1283 @section beat repeat
1286 @ref{percent repeat}.
1299 ES: llave, corchete,
1302 D: Klammer, Akkolade,
1303 NL: accolade, teksthaak,
1306 FI: yhdistävä sulkumerkki.
1308 Symbol at the start of a system connecting staves.
1310 Curly braces are used for connecting piano staves, and sometimes for connecting
1311 the staves of like instruments in an orchestral score when written on different
1312 staves (e.g. first and second flutes):
1316 \context Staff = "SA" {
1322 \context Staff = "SB" {
1332 Angular brackets for connecting parts in an orchestral or choral score:
1336 \context Staff = "SA" {
1342 \context Staff = "SB" {
1353 No cross-references.
1360 I: parentesi quadra,
1378 NL: koper (blazers),
1381 S: brassinstrument, mässingsinstrument,
1384 A family of blown musical instruments made of brass, all using a cup
1385 formed mouth piece. The brass instruments commonly used in a symphony
1386 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1387 sousaphones and contrabass bugles are common.
1390 No cross-references.
1394 @section breath mark
1399 D: Atemzeichen, Trennungszeichen,
1400 NL: repercussieteken,
1401 DK: vejrtrækningstegn,
1405 Indication of where to breathe in vocal and wind instrument parts.
1415 @item US: breve, double-whole note
1416 @item ES: cuadrada, breve
1423 @item FI: brevis, kaksoiskokonuotti
1426 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1428 Mainly used in music from before 1650. In mensural notation, it was a note
1429 of fairly short duration—hence the name, which is Latin for @q{short} or
1430 @q{of short duration}.
1432 @lilypond[quote,notime,relative=2]
1437 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1470 Clef symbol indicating the position of the middle C. Used on all note
1473 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1475 \override Staff.Clef #'full-size-change = ##t
1477 \clef mezzosoprano c1
1483 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1484 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1489 No cross-references.
1502 FI: kadenssi, lopuke.
1505 @ref{harmonic cadence}, @ref{functional harmony}.
1518 FI: kadenssi, lopuke.
1520 An extended, improvisatory style section inserted near the end of
1521 movement. The purpose of a cadenza is to give singers or players a
1522 chance to exhibit their technical skill and -- not last -- their
1523 ability to improvise. Since the middle of the 19th century, however,
1524 most cadenzas have been written down by the composer.
1527 No cross-references.
1542 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1544 The break between two musical phrases, sometimes (but not always) marked by a
1545 rest or a breath mark.
1561 FI: kaanon, tarkka jäljittely.
1577 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1578 viritysjärjestelmässä.
1580 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1581 an octave (1/100 of an equally tempered semitone).
1584 @ref{equal temperament}, @ref{semitone}.
1606 Three or more tones sounding simultaneously. In traditional European music
1607 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1608 (major + minor third) as well as @emph{minor} (minor + major third) chords
1609 may be extended with more thirds. Four-tone @emph{seventh chords} and
1610 five-tone @emph{ninth} major chords are most often used as dominants
1611 (functional harmony). Chords having no third above the lower notes to
1612 define their mood are a special case called @q{open chords}. The lack of
1613 the middle third means their quality is ambivalent -- neither major nor
1616 @lilypond[quote,notime,line-width=13.0\cm]
1620 \set Staff.extraNatural = ##f
1641 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1645 @node chromatic scale
1646 @section chromatic scale
1648 ES: escala cromática,
1650 F: gamme chromatique,
1651 D: chro@-ma@-ti@-sche Tonleiter,
1652 NL: chromatische toonladder,
1653 DK: kromatisk skala,
1655 FI: kromaattinen asteikko.
1657 A scale consisting of all 12 semitones.
1659 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1660 c1 cis d dis e f fis g gis a ais b c
1668 @section chromaticism
1679 Using tones extraneous to a diatonic scale (minor, major).
1682 @ref{diatonic scale}.
1686 @section church mode
1688 ES: modo eclesiástico,
1689 I: modo ecclesiastico,
1690 F: mode ecclésiastique, mode d'église,
1695 FI: moodi, kirkkosävellaji.
1698 @ref{diatonic scale}.
1707 D: Schlüssel, Notenschlüssel,
1711 FI: avain, nuottiavain.
1713 The clef indicates which lines of the staff correspond to which
1714 pitches. The three clef symbols in common use are:
1719 \line { The Treble or G clef: }
1721 \line { The Bass or F clef: }
1723 \line { The Alto or C clef: }
1727 \musicglyph #"clefs.G"
1729 \musicglyph #"clefs.F"
1731 \musicglyph #"clefs.C"
1736 Imagine a large staff of 11 lines centered on middle C, sometimes
1737 called a @q{grand staff}, with the bottom line representing low G and
1738 the top line high F:
1743 %-- Note names above treble staff --%
1745 \set printOctaveNames = ##t
1747 \once \override NoteName #'color = #red
1751 %-- Treble Staff --%
1753 \override Staff.Clef #'stencil = ##f
1759 %-- Alto Staff reduced to a single line on middle C --%
1761 \override Staff.StaffSymbol #'line-count = #1
1762 \override Staff.StaffSymbol #'color = #red
1763 \override Staff.Clef #'stencil = ##f
1766 \override NoteHead #'color = #red
1772 \override Staff.Clef #'stencil = ##f
1781 \override SpacingSpanner
1782 #'base-shortest-duration = #(ly:make-moment 1 1)
1783 \override NonMusicalPaperColumn
1784 #'line-break-system-details = #'((alignment-distances . (3 3)))
1785 \override BarLine #'stencil = ##f
1789 \remove "Time_signature_engraver"
1795 Staves of five lines are usually used, and the clef superimposed on them
1796 indicates which five lines have been selected from this @notation{grand
1797 staff}. For example, the treble or G clef indicates that the top five lines
1803 %-- Note names above treble staff --%
1805 \set printOctaveNames = ##t
1807 \once \override NoteName #'color = #red
1812 %-- Treble Staff --%
1814 \once \override Staff.Clef #'stencil = ##f
1817 \override Staff.Clef #'full-size-change = ##t
1818 \set Staff.forceClef = ##t
1822 %-- Alto Staff reduced to a single line on middle C --%
1824 \override Staff.StaffSymbol #'line-count = #1
1825 \override Staff.StaffSymbol #'color = #red
1826 \override Staff.Clef #'stencil = ##f
1829 \override NoteHead #'color = #red
1834 \override Staff.Clef #'stencil = ##f
1842 \override SpacingSpanner
1843 #'base-shortest-duration = #(ly:make-moment 2 1)
1844 \override NonMusicalPaperColumn
1845 #'line-break-system-details = #'((alignment-distances . (3 3)))
1846 \override BarLine #'stencil = ##f
1850 \remove "Time_signature_engraver"
1856 The @q{curl} of the G clef is centered on the line that represents the
1859 In the same way, the bass or F clef indicates that the bottom five lines
1860 have been selected from the @notation{grand staff}, and the alto or C clef
1861 indicates the middle five lines have been selected. This relationship is
1862 shown below, where the notes show an arpeggio on a C major chord.
1867 %-- Treble Staff --%
1875 \override Staff.StaffSymbol #'line-count = #1
1876 \once \override Staff.Clef #'stencil = ##f
1881 \revert Staff.StaffSymbol #'stencil
1882 \override Staff.StaffSymbol #'color = #red
1885 \stopStaff \startStaff
1886 \revert Staff.StaffSymbol #'line-count
1887 \revert Staff.StaffSymbol #'color
1888 \stopStaff \startStaff
1889 \override Staff.Clef #'full-size-change = ##t
1890 \set Staff.forceClef = ##t
1905 \override SpacingSpanner #'base-shortest-duration =
1906 #(ly:make-moment 2 1)
1907 \override NonMusicalPaperColumn
1908 #'line-break-system-details = #'((alignment-distances . (3 3)))
1909 \override BarLine #'stencil = ##f
1913 \remove "Time_signature_engraver"
1920 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1933 FI: klusteri, cluster.
1935 A @emph{cluster} is a range of simultaneously sounding pitches that
1936 may change over time. The set of available pitches to apply usually
1937 depends on the acoustic source. Thus, in piano music, a cluster
1938 typically consists of a continuous range of the semitones as provided
1939 by the piano's fixed set of a chromatic scale. In choral music, each
1940 singer of the choir typically may sing an arbitrary pitch within the
1941 cluster's range that is not bound to any diatonic, chromatic or other
1942 scale. In electronic music, a cluster (theoretically) may even cover
1943 a continuous range of pitches, thus resulting in colored noise, such
1946 Clusters can be denoted in the context of ordinary staff notation by
1947 engraving simple geometrical shapes that replace ordinary notation of
1948 notes. Ordinary notes as musical events specify starting time and
1949 duration of pitches; however, the duration of a note is expressed by
1950 the shape of the note head rather than by the horizontal graphical
1951 extent of the note symbol. In contrast, the shape of a cluster
1952 geometrically describes the development of a range of pitches
1953 (vertical extent) over time (horizontal extent). Still, the
1954 geometrical shape of a cluster covers the area in which any single
1955 pitch contained in the cluster would be notated as an ordinary note.
1957 @lilypond[quote,relative=2]
1958 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1962 No cross-references.
1975 FI: komma, korvinkuultava ero äänenkorkeudessa.
1977 Difference in pitch between a note derived from pure tuning and the
1978 same note derived from some other tuning method.
1981 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1986 @section common meter
1988 Another name for @ref{common time}.
1991 @ref{common time}, @ref{meter}.
1994 @node Common Practice Period
1995 @section Common Practice Period
2007 This is a stubs for Common Practice Period (CPP).
2010 @ruser{Note names in other languages}.
2014 @section common time
2025 4/4 time. The symbol, which resembles a capital letter C, comes from
2029 @ref{mensural notation}, @ref{meter}.
2035 ES: intervalo invertido,
2037 F: intervalle complémentaire,
2038 D: Komplementärintervall,
2039 NL: complementair interval,
2040 DK: komplementærinterval,
2041 S: komplementärintervall (?),
2042 FI: täydentävä intervalli.
2045 @ref{inverted interval}.
2048 @node compound interval
2049 @section compound interval
2051 ES: intervalo compuesto,
2052 I: intervallo composto,
2053 F: intervalle composé,
2054 D: weites Intervall,
2055 NL: samengesteld interval,
2056 DK: sammensat interval,
2057 S: sammansatt intervall,
2058 FI: oktaavia laajempi intervalli.
2060 Intervals larger than an octave.
2066 @node compound meter
2067 @section compound meter
2069 ES: compás compuesto, compás de subdivisión ternaria,
2076 FI: kolmijakoinen tahtilaji.
2078 A meter that includes a triplet subdivision within the beat, such as
2082 @ref{meter}, @ref{simple meter}.
2086 @section compound time
2088 ES: compás compuesto, compás de amalgama (def. 2),
2091 D: zusammengesetzte Taktart,
2095 FI: yhdistetty tahtilajiosoitus.
2100 A meter that includes a triplet subdivision within the beat: see
2101 @ref{compound meter}.
2104 A time signature that additively combines two or more unequal meters, e.g.,
2105 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2109 @lilypond[quote,line-width=13.0\cm]
2110 #(define ((compound-time one two three num) grob)
2111 (grob-interpret-markup grob
2113 #:override '(baseline-skip . 0)
2116 #:left-column (one num)
2118 #:left-column (two num)
2120 #:left-column (three num)))))
2124 #(set-time-signature 8 8 '(3 2 3))
2125 \override Staff.TimeSignature #'stencil =
2126 #(compound-time "3" "2" "3" "8")
2134 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2138 @section concert pitch
2140 ES: en Do, tono de concierto,
2141 I: intonazione reale,
2142 F: tonalité de concert, en ut,
2147 FI: konserttikorkeus.
2149 The pitch at which the piano and other nontransposing instruments play: such
2150 instruments are said to be @q{in C}. The following list includes some (but not
2151 all) instruments that play in concert pitch:
2153 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2155 @multitable {bassoon} {violoncello}
2156 @headitem Woodwinds @tab Strings
2175 @ignore This needs to be reworked.
2176 The trombones are a special case: although they are said to be @q{in F} (alto or
2177 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2178 their parts' transposition. (In fact, the trombones' parts are written at
2179 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2180 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2184 Instruments that play @q{in C} but in a different octave than what is written
2185 are, technically speaking, @emph{transposing instruments}:
2189 @item piccolo (plays an octave higher than written)
2190 @item celesta (plays an octave higher than written)
2191 @item classical guitar (plays an octave lower than written)
2192 @item double bass (plays an octave lower than written)
2197 @ref{transposing instrument}.
2200 @node conjunct movement
2201 @section conjunct movement
2203 ES: movimiento conjunto,
2205 F: mouvement conjoint,
2206 D: schritt@-weise, stufenweise Bewegung,
2207 NL: stapsgewijze, trapsgewijze beweging,
2208 DK: trinvis bevægelse,
2210 FI: asteittainen liike.
2212 Progressing melodically by intervals of a second, as contrasted with
2213 @emph{disjunct movement}.
2215 @lilypond[quote,relative=2,line-width=13.0\cm]
2218 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2222 @ref{disjunct movement}.
2235 FI: konsonanssi, sopusointi.
2258 @section copying music
2260 A music copyist did fast freehand scores and parts on preprinted staff
2261 lines for performance. Some of their conventions (e.g., the placement
2262 of note heads on stems) varied slightly from those of engravers. Some
2263 of their working methods were superior and could well be adopted by
2266 @c Copying music required more skill than engraving. Flagged for NPOV
2269 No cross-references.
2273 @section counterpoint
2282 FI: kontrapunkti, ääni ääntä vastaan.
2284 From Latin @emph{punctus contra punctum}, note against note. The
2285 combination into a single musical fabric of lines or parts which have
2286 distinct melodic significance. A frequently used polyphonic technique
2287 is imitation, in its strictest form found in the canon needing only
2288 one part to be written down while the other parts are performed with a
2289 given displacement. Imitation is also the contrapuntal technique
2290 used in the @emph{fugue} which, since the music of the baroque era,
2291 has been one of the most popular polyphonic composition methods.
2293 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2295 \context Staff = SA \relative c' {
2299 << \context Voice = rha {
2301 r1 | r2 r8 g'8 bes d, |
2302 cis4 d r8 e!16 f g8 f16 e |
2303 f8 g16 a bes8 a16 g a8
2305 \context Voice = rhb {
2311 \context Staff = SB \relative c' {
2314 << \context Voice = lha {
2316 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2317 r8 a16 g f8 g16 a bes8 g e! cis' |
2320 \context Voice = lhb {
2329 No cross-references.
2333 @section countertenor
2338 D: Countertenor, Kontratenor,
2341 S: kontratenor, counter tenor,
2354 D: Crescendo, lauter werden,
2358 FI: cresendo, voimistuen.
2360 Increasing volume. Indicated by a rightwards opening horizontal wedge
2361 (hairpin) or the abbreviation @notation{cresc.}
2363 @lilypond[quote,relative=2]
2366 g4\< a b c | d1\! \bar "|."
2370 @ref{decrescendo}, @ref{hairpin}.
2378 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2385 Notes belonging to one part printed in another to hint when to start
2386 playing. Usually printed in a smaller type.
2389 Compare: @ref{ossia}.
2398 D: Notenzeiger, Custos,
2404 A custos (plural: custodes) is a staff symbol that appears at the end of a
2405 staff line with monophonic musical contents (i.e., with a single voice). It
2406 anticipates the pitch of the first note of the following line and thus helps
2407 the player or singer to manage line breaks during performance, which
2408 enhances the readability of a score.
2410 Custodes were frequently used in music notation until the 16th century.
2411 There were different appearances for different notation styles. Nowadays,
2412 they have survived only in special forms of musical notation such as the
2413 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2415 @lilypond[quote,ragged-right]
2418 \override Staff.Custos #'neutral-direction = #DOWN
2419 \override Staff.Custos #'style = #'hufnagel
2426 \consists "Custos_engraver"
2433 No cross-references.
2466 F: da capo, depuis le commencement,
2467 D: da capo, von Anfang,
2471 FI: da capo, alusta.
2473 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2474 the beginning to the end or to a certain place marked @emph{fine}.
2477 No cross-references.
2483 ES: dal niente, de la nada,
2486 D: aus dem Nichts, dal niente,
2490 FI: tyhjästä ilmaantuen.
2492 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2493 that the sound should gradually increase from nothing.
2504 F: dal segno, depuis le signe,
2505 D: dal segno, ab dem Zeichen,
2509 FI: dal segno, lähtien merkistä.
2511 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2512 another place frequently near the beginning marked by a sign
2515 @lilypond[quote,relative=2]
2523 \musicglyph #"scripts.segno"
2529 No cross-references.
2533 @section decrescendo
2537 D: Decrescendo, leiser werden,
2541 FI: decresendo, hiljentyen.
2543 Decreasing tone volume. Indicated by a leftwards opening horizontal
2544 wedge (hairpin) or the abbreviation @notation{decresc.}
2546 @lilypond[quote,relative=2]
2549 d4\> c b a | g1 \! \bar "|."
2553 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2556 @node descending interval
2557 @section descending interval
2559 ES: intervalo descendente,
2560 I: intervallo discendente,
2561 F: intervalle descendant,
2562 D: fallendes Intervall, absteigendes Intervall,
2563 NL: dalend interval,
2564 DK: faldende interval,
2565 S: fallande intervall,
2566 FI: laskeva intervalli.
2568 A distance between a starting higher note and a lower ending note.
2571 No cross-references.
2574 @node diatonic scale
2575 @section diatonic scale
2577 ES: escala diatónica,
2579 F: gamme diatonique,
2580 D: diatonische Tonleiter,
2581 NL: diatonische toonladder,
2582 DK: diatonisk skala,
2584 FI: diatoninen asteikko.
2586 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2587 played on the white keys of a piano keyboard are diatonic. These scales
2588 are sometimes called, somewhat inaccurately, @q{church modes}).
2590 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2591 but also to some extent in newer jazz music.
2593 @lilypond[quote,notime,relative=1]
2597 e^"~~ S" f g a b^"~~ S" c
2605 @lilypond[quote,notime,relative=1]
2609 e^"~~ S" f g a b^"~~ S" c d
2617 @lilypond[quote,notime,relative=1]
2620 e1^"~~ S" f g a b^"~~ S" c d e
2628 @lilypond[quote,notime,relative=1]
2632 b^"~~ S" c d e^"~~ S" f
2640 @lilypond[quote,notime,relative=2]
2644 b^"~~ S" c d e^"~~ S" f g
2652 @lilypond[quote,notime,relative=2]
2656 b^"~~ S" c d e^"~~ S" f g a
2664 @lilypond[quote,notime,relative=2]
2667 b1^"~~ S" c d e^"~~ S" f g a b
2675 From the beginning of the 17th century the scales used in European
2676 compositional music are primarily the major and the minor scales. In
2677 the harmonic minor scale type an augmented second (A) occurs between
2678 the 6th and 7th tone.
2680 @lilypond[quote,notime,relative=1]
2684 e^"~~ S" f g a b^"~~ S" c
2692 @lilypond[quote,notime,relative=2]
2696 b^"~~ S" c d e^"~~ S" f g a
2699 "Ancient (or Natural) minor"
2704 @lilypond[quote,notime,relative=2]
2708 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2716 @lilypond[quote,notime,relative=2]
2720 b^"~~ S" c d e fis gis^"~~ S" a
2723 "Melodic minor ascending"
2728 @lilypond[quote,notime,relative=3]
2732 g! f!^"~~ S" e d c^"~~ S" b a
2735 "Melodic minor descending"
2741 @ref{semitone}, @ref{whole tone}.
2745 @section didymic comma
2748 @ref{syntonic comma}.
2751 @node diminished interval
2752 @section diminished interval
2754 ES: intervalo disminuido,
2755 I: intervallo diminuito,
2756 F: intervalle diminué,
2757 D: vermindertes Intervall,
2758 NL: verminderd interval,
2759 DK: formindsket interval,
2760 S: förminskat intervall,
2761 FI: vähennetty intervalli.
2772 F: diminuendo, en diminuant,
2777 FI: diminuendo, hiljentyen.
2779 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2795 FI: aika-arvojen tihennys.
2797 This is a stub for diminution (@emph{wrt} mensural notation).
2800 @ref{augmentation}, @ref{mensural notation}.
2819 @node disjunct movement
2820 @section disjunct movement
2822 ES: movimiento disjunto,
2824 F: mouvement disjoint,
2825 D: sprunghafte Bewegung,
2826 NL: sprongsgewijze beweging,
2827 DK: springende bevægelse,
2828 S: hoppande rörelse,
2829 FI: melodian hyppivä liike.
2831 Progressing melodically by intervals larger than a major second, as contrasted
2832 with conjunct movement.
2834 @lilypond[quote,relative=1]
2838 a4. gis8 b a e cis |
2844 @ref{conjunct movement}.
2850 Another name for @ref{dissonant interval}.
2853 @ref{dissonant interval}, @ref{harmony}.
2856 @node dissonant interval
2857 @section dissonant interval
2859 ES: intervalo disonante, disonancia,
2860 I: intervallo dissonante, dissonanza,
2861 F: intervalle dissonant, dissonance,
2863 NL: dissonant interval, dissonant,
2864 DK: dissonerende interval, dissonans,
2866 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2884 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2885 vertical stroke through part or all of the staff that serves to
2886 structure a chant into phrases and sections. There are four types:
2890 @item @emph{divisio minima}, a short pause
2892 @item @emph{divisio maior}, a medium pause
2894 @item @emph{divisio maxima}, a long pause
2896 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2897 section in a long antiphonal or responsorial chant.
2901 TODO: musical example here?
2904 No cross-references.
2910 ES: elevación [de tono],
2913 D: Glissando zu unbestimmter Tonhöhe,
2919 Indicator for a indeterminately rising pitch bend. Compare with
2920 @emph{glissando}, which has determinate starting and ending pitches.
2923 @ref{fall}, @ref{glissando}.
2936 FI: dominantti, huippusointu.
2938 The fifth @emph{scale degree} in @emph{functional harmony}.
2941 @ref{functional harmony}, @ref{scale degree}.
2944 @node dominant ninth chord
2945 @section dominant ninth chord
2947 ES: acorde de novena de dominante,
2948 I: accordo di nona di dominante,
2949 F: accord de neuvième de dominante,
2950 D: Domi@-nant@-nonen@-akkord,
2951 NL: dominant noon akkoord,
2952 DK: dominantnoneakkord,
2953 S: dominantnonackord,
2954 FI: dominanttinoonisointu.
2957 @ref{chord}, @ref{functional harmony}.
2960 @node dominant seventh chord
2961 @section dominant seventh chord
2963 ES: acorde de séptima de dominante,
2964 I: accordo di settima di dominante,
2965 F: accord de septième de dominante,
2966 D: Dominantseptakkord,
2967 NL: dominant septiem akkoord,
2968 DK: dominantseptimakkord,
2969 S: dominantseptimackord,
2970 FI: dominanttiseptimisointu.
2973 @ref{chord}, @ref{functional harmony}.
2977 @section dorian mode
2982 D: dorisch, dorischer Kirchenton,
2983 NL: dorische toonladder,
2989 @ref{diatonic scale}.
2992 @node dot (augmentation dot)
2993 @section dot (augmentation dot)
2996 I: punto (di valore),
2998 D: Punkt (Verlängerungspunkt),
3005 @ref{dotted note}, @ref{note value}.
3009 @section dotted note
3011 ES: nota con puntillo,
3015 NL: gepuncteerde noot,
3018 FI: pisteellinen nuotti.
3024 @node double appoggiatura
3025 @section double appoggiatura
3027 ES: apoyatura doble,
3028 I: appoggiatura doppia,
3029 F: appoggiature double,
3030 D: doppelter Vorschlag,
3031 NL: dubbele voorslag,
3032 DK: dobbelt forslag,
3034 FI: kaksoisappogiatura, kaksoisetuhele.
3040 @node double bar line
3041 @section double bar line
3047 NL: dubbele maatstreep,
3050 FI: kaksoistahtiviiva.
3052 Indicates the end of a section within a movement.
3055 No cross-references.
3058 @node double dotted note
3059 @section double dotted note
3061 ES: nota con doble puntillo,
3062 I: nota doppiamente puntata,
3063 F: note doublement pointée,
3064 D: doppelt punktierte Note,
3065 NL: dubbelgepuncteerde noot,
3066 DK: dob@-belt@-punk@-te@-ret node,
3067 S: dub@-bel@-punk@-te@-rad not,
3068 FI: kaksoispisteellinen nuotti.
3075 @section double flat
3084 FI: kaksoisalennusmerkki.
3091 @section double sharp
3093 ES: doble sostenido,
3098 DK: dob@-belt@-kryds,
3100 FI: kaksoisylennysmerkki.
3106 @node double time signature
3107 @section double time signature
3109 ES: compás polimétrico,
3112 D: zusammengesetzte Taktart,
3116 FI: kaksois-aika-arvomerkintä.
3119 @ref{polymetric time signature}.
3123 @section double trill
3129 NL: dubbele triller,
3134 A simultaneous trill on two notes, usually in the distance of a third.
3137 No cross-references.
3141 @section duple meter
3145 F: métrique binaire,
3146 D: in zwei, grader Takt,
3147 NL: tweedelige maatsoort,
3182 FI: kesto, aika-arvo.
3191 ES: dinámica, matices,
3194 D: Dynamik, Lautstärke,
3198 FI: äänen voimakkuusvaihtelu, dynamiikka.
3200 The aspect of music relating to degrees of loudness, or changes from
3201 one degree to another. The terms, abbreviations, and symbols used to
3202 indicate this information are called dynamic marks.
3205 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3227 @node ecclesiastical mode
3228 @section ecclesiastical mode
3231 @ref{church mode}, @ref{diatonic scale}.
3235 @section eighth note
3242 @item D: Achtel, Achtelnote
3243 @item NL: achtste noot
3244 @item DK: ottendedelsnode
3245 @item S: åttondelsnot
3246 @item FI: kahdeksasosanuotti
3254 @section eighth rest
3257 @item UK: quaver rest
3258 @item ES: silencio de corchea
3259 @item I: pausa di croma
3260 @item F: demi-soupir
3261 @item D: Achtelpause
3262 @item NL: achtste rust
3263 @item DK: ottendedelspause
3264 @item S: åttonddelspaus
3265 @item FI: kahdeksasosatauko
3275 @c TODO: add languages
3284 FI: tavujen yhdistäminen yhteen ääneen.
3286 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3287 @emph{συναλοιφην} @q{to smear together}].
3289 The singing of several syllables on a single note. Elision may be indicated
3290 by a lyric tie, which looks like (and serves the same function) as a musical
3298 @section embellishment
3310 D: Notenstich, Notendruck
3316 Engraving means incising or etching a metal plate for printing.
3317 Photoengraving means drawing music with ink in a manner similar to
3318 drafting or engineering drawing, using similar tools.
3320 The traditional process of music printing is done through cutting in a
3321 plate of metal. Now also the term for the art of music typesetting.
3324 No cross-references.
3339 Two notes, intervals, or scales are enharmonic if they have different
3340 names but equal pitch.
3342 @lilypond[quote,notime,line-width=13.0\cm]
3346 gis1 as <des g,!> <cis g!>
3350 "g sharp " "a flat " "dim fifth " "augm fourth"
3356 No cross-references.
3359 @node equal temperament
3360 @section equal temperament
3362 ES: temperamento igual,
3363 I: temperamento equabile,
3364 F: tempérament égal,
3365 D: gleichschwebende Stimmung,
3366 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3367 DK: ligesvævende temperatur,
3368 S: liksvävande temperatur,
3371 A tuning system that divides the octave into 12 equal semitones (each of
3372 which is precisely equal to 100 cents).
3375 @ref{cent}, @ref{semitone}, @ref{temperament}.
3378 @node expression mark
3379 @section expression mark
3382 I: segno d'espressione,
3383 F: signe d'expression, indication de nuance,
3385 NL: voordrachtsteken,
3386 DK: foredragsbetegnelse,
3387 S: föredragsbeteckning,
3388 FI: nyanssiosoitus, esitysmerkki.
3390 Performance indications concerning:
3394 @item volume, dynamics (for example, @notation{forte},
3395 @notation{crescendo}),
3397 @item tempo (for example, @notation{andante}, @notation{allegro}).
3402 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3406 @section extender line
3408 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3409 I: linea di estensione,
3410 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3417 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3418 extends text (without indicating the musical @emph{function} of that text).
3420 Used in many contexts, for example:
3424 @item In vocal music to indicate the syllable for a melisma. Called
3425 @q{extension} in the
3426 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3430 In figured bass to indicate that:
3434 @item The extended note should be held through a change in harmony, when applied
3435 to one figure --OR--
3436 @item The chord thus represented should be held above a moving bass line, when
3437 applied to more than one figure.
3438 @item These uses were not completely standardized, and some composers used a
3439 single extender line to indicate the latter case.
3444 In string music to indicate that all notes in the passage thus indicated should
3445 be played on the same string. On the violin, for example, a series of notes to
3446 be played on the G string would be indicated @notation{sul G}, another series to be
3447 played on the D string would be indicated @notation{sul D}, and so on.
3450 With an octave mark to indicate that a passage is to be played higher or lower
3451 by the given number of octaves.
3456 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3457 @ref{octave marking}.
3490 The position between the dots of the key symbol is the line of the F
3491 below central@w{ }C. Used on the third, fourth and fifth note line.
3492 A digit@w{ }8 above the clef symbol indicates that the notes must be
3493 played an octave higher (for example, bass recorder) while 8@w{ }below
3494 the clef symbol indicates playing an octave lower (for example, on the
3497 @lilypond[quote,notime,line-width=13.0\cm]
3500 \override Staff.Clef #'full-size-change = ##t
3523 @ref{baritone clef}, @ref{strings}.
3529 ES: caída [de tono],
3532 D: Glissando zu unbestimmter Tonhöhe nach unten,
3538 Indicator for a indeterminately falling pitch bend. Compare with
3539 @emph{glissando}, which has determinate starting and ending pitches.
3542 @ref{doit}, @ref{glissando}.
3545 @node feathered beam
3546 @section feathered beam
3548 ES: barra progresiva,
3550 F: ligature en soufflet, lien de croches en soufflet,
3551 D: gespreizter Balken,
3557 A type of beam used to indicate that a small group of notes should be
3558 played at an increasing or decreasing tempo -- depending on the
3559 direction of @q{feathering} -- but without changing the overall tempo
3563 Internals Reference: @ruser{Manual beams}
3569 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3573 F: point d'orgue, point d'arrêt,
3578 FI: fermaatti, pidäke.
3580 Prolonged note or rest of indefinite duration.
3582 @lilypond[quote,relative=2]
3589 No cross-references.
3609 @section figured bass
3612 I: basso continuo, basso numerato,
3613 F: basse chiffrée, basse continue,
3614 D: Generalbass, bezifferter Bass,
3615 NL: basso continuo, becijferde bas
3618 FI: kenraalibasso, numeroitu basso.
3620 Also called @q{thorough bass}.
3622 A method of indicating an accompaniment part by the bass notes only,
3623 together with figures designating the chief intervals and chords to be
3624 played above the bass notes.
3626 @lilypond[quote,line-width=13.0\cm]
3628 \new Staff = "rh" \with {
3630 \override StaffSymbol #'staff-space = #(magstep -3)
3636 \context Voice = "rha" {
3641 \context Voice = "rhb" {
3643 <bes g>8 as <as f> g <g es> f <d f> es
3648 \new Staff = "lh" \relative c' {
3651 es8 c d bes c as bes16 as g f
3655 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3661 @ref{chord}, @ref{interval}.
3676 Figures to the side or above the note that methodically indicate which
3677 fingers to use while playing a passage.
3680 No cross-references.
3687 I: coda (uncinata), bandiera,
3695 Ornament at the end of the stem of a note used for notes with values less
3696 than a quarter note. The number of flags determines the note value.
3698 @lilypond[quote,notime,relative=2]
3721 An articulation for string players that means the note or passage is to
3722 be played in harmonics.
3728 @item A duct flute similar to the recorder.
3730 @item An organ stop of flute scale at 1' or 2' pitch.
3735 @ref{articulation}, @ref{harmonics}.
3771 FI: forte, voimakkaasti.
3775 Abbreviated @notation{@b{f}}. Variants include:
3778 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3779 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3783 No cross-references.
3802 @node Frenched score
3803 @section Frenched score
3805 ES: partitura a la francesa,
3808 D: Orchesterpartitur ohne leere Systeme,
3812 FI: partituuri ilman tyhjiä nuottiviivastoja.
3814 A @q{condensed} score, produced by omitting staves for instruments that are not
3815 playing at the moment, and by moving up additional systems from following pages
3816 to take up the space thus liberated, which reduces the total number of pages
3817 used to print the work.
3819 The specific rules for @q{frenching} a score differ from publisher to publisher.
3820 If you are producing scores for eventual publication by a commercial publisher,
3821 you may wish to procure a copy of their style manual.
3824 @ref{Frenched staff}.
3827 @node Frenched staff
3828 @section Frenched staff
3830 ES: pentagrama a la francesa,
3833 D: zeitweiliges Notensystem,
3837 FI: karsittu nuotinnus.
3839 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3840 Frenched staff has unneeded measures or sections removed. This is useful
3841 for producing, for example, an @emph{ossia} staff.
3847 @node Frenched staves
3848 @section Frenched staves
3850 Plural of @ref{Frenched staff}.
3869 @node functional harmony
3870 @section functional harmony
3872 ES: armonía funcional,
3873 I: armonia funzionale,
3874 F: étude des functions,
3876 NL: functionele harmonie,
3877 DK: funktionsanalyse, funktionsharmonik,
3879 FI: harmoniajärjestelmä.
3881 A system of harmonic analysis.
3883 It is based on the idea that, in a given key, there are only three
3884 functionally different chords: tonic (T, the chord on the first note of the
3885 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3886 chord on the fifth note). Others are considered to be variants of the base
3889 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3891 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3894 <g e c>1 <a f d> <b g e>
3895 <c a f> <d b g> <e c a> <f d b>
3899 \markup { D \translate #'(-2 . 0) | }
3905 No cross-references.
3932 D: G-Schlüssel, Violinschlüssel,
3938 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3939 second note lines. A digit 8 above the clef symbol indicates that the notes
3940 must be played an octave higher while 8 below the clef symbol indicates
3941 playing or singing an octave lower (used most frequently to notate the tenor
3942 part in modern choral scores).
3944 @lilypond[quote,notime]
3946 \override Staff.Clef #'full-size-change = ##t
3947 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3958 "french violin clef"
3966 No cross-references.
3979 FI: glissando, liukuen.
3981 Letting the pitch slide fluently from one note to the other.
3984 No cross-references.
3988 @section grace notes
3990 ES: notas de adorno,
3992 F: ornement, fioriture,
3993 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3999 Notes printed in small types to indicate that their time values are not
4000 counted in the rhythm of the bar.
4003 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4008 @section grand staff
4010 ES: sistema de piano,
4012 F: système [de portées], accolade,
4013 D: Akkolade, Klaviersystem,
4016 S: ackolad, böjd klammer,
4017 FI: kaksoisnuottiviivasto.
4019 A combination of two staves with a brace. Usually used for piano music.
4035 FI: grave, raskaasti.
4037 [Italian] Slow, solemn.
4040 No cross-references.
4064 Letter name used for @notation{B natural} in German and Scandinavian
4065 usage. In the standard usage of these countries, @notation{B} means
4069 @ref{Pitch names}, @ref{B}.
4075 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4078 @lilypond[quote,relative=2]
4085 @ref{crescendo}, @ref{decrescendo}.
4096 @item D: Halbe, halbe Note,
4097 @item NL: halve noot,
4100 @item FI: puolinuotti.
4111 @item UK: minim rest,
4112 @item ES: silencio de blanca,
4113 @item I: pausa di minima,
4114 @item F: demi-pause,
4115 @item D: halbe Pause,
4116 @item NL: halve, rust,
4117 @item DK: halvnodespause,
4119 @item FI: puolitauko.
4126 @node harmonic cadence
4127 @section harmonic cadence
4129 ES: cadencia (armónica),
4130 I: cadenza (armonica),
4131 F: cadence harmonique,
4133 NL: harmonische cadens,
4134 DK: harmonisk kadence,
4135 S: (harmonisk) kadens,
4136 FI: harmoninen kadenssi.
4138 A sequence of chords that terminates a musical phrase or section.
4142 \context Staff = "SA" \relative c'' {
4145 \partial 4 <c g e>4 |
4146 <c a f> <b g d> <c g e>2
4149 \context Staff = "SB" \relative c {
4151 \partial 4 c4 | f, g c2
4163 @ref{functional harmony}.
4169 ES: armónicos, sonidos aflautados,
4171 F: flageolet, sons harmoniques,
4176 FI: harmoniset äänet, huiluäänet.
4178 The general class of pitches produced by sounding the second or higher
4179 harmonic of a tone producer: string, column of air, and so on.
4181 On stringed instruments, these pitches sound rather flute-like; hence,
4182 their name in languages other than English. They are produced by
4183 lightly touching the string at a node for the desired mode of vibration
4184 while it is being bowed or plucked.
4186 For instruments of the violin family, there are two types of harmonics:
4187 natural harmonics, which are those played on the open string; and
4188 artificial harmonics, which are produced on stopped strings.
4191 No cross-references.
4200 D: Harmonie, Zusammenklang,
4204 FI: harmonia, yhteissointi.
4206 Tones sounding simultaneously. Two note harmonies fall into the
4207 categories @emph{consonances} and @emph{dissonances}.
4211 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4223 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4224 <g a>1_"second " s s
4225 <g f'>_"seventh " s s
4229 For harmony that uses three or more notes, see @ref{chord}.
4239 I: emiolia, (rarely hemiola or emiola),
4245 FI: hemioli, 3/2 -suhde.
4247 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4249 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4250 time normally occupied by two. The resulting rhythm can be expressed in modern
4251 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4252 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4253 as a special effect (or @emph{affect}) at cadences.
4255 For example, this phrase in 6/4 time
4257 @lilypond[quote,relative=1,line-width=13.0\cm]
4260 c2. e | d2 c d | c1. \bar "||"
4263 may be thought of having alternating time signatures
4265 @lilypond[quote,relative=1,line-width=13.0\cm]
4275 and is therefore a polymeter (second definition) of considerable antiquity.
4278 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4291 FI: homofonia, yksiäänisyys.
4293 Music in which one voice leads melodically supported by the other voices in
4294 the same rhythm (more or less). In contrast to @emph{polyphony}.
4317 FI: säkeiden tavumäärät.
4319 A group or list of numbers that indicate the number of syllables in a line
4320 of a hymn's verse. Different hymnals have different ways of noting the hymn
4321 meter: for example, consider a hymn that has four lines in two couplets
4322 alternating regularly between eight and seven syllables. The @emph{English
4323 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4324 or 8@w{ }7@w{ }8@w{ }7.
4326 Some frequently-used hymn meters have traditional names:
4329 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4330 @item 86.86 is called Common Meter (CM or C.M.)
4331 @item 88.88 is called Long Meter (LM or L.M.)
4334 Some hymns and their tunes are doubled versions of a simpler meter: for
4335 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4336 87.87D. The traditional names above also have doubled versions:
4339 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4340 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4341 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4345 No cross-references.
4358 FI: intervalli, kahden sävelen korkeusero.
4360 Difference in pitch between two notes. Intervals may be diminished, minor,
4361 perfect, major, or augmented. The augmented fourth and the diminished fifth
4362 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4363 and are called @emph{tritonus} because they consist of three whole tones.
4364 The addition of such two intervals forms an octave.
4366 @lilypond[quote,notime,line-width=13.0\cm]
4368 \context Voice \relative c'' {
4405 \context Lyrics \lyrics {
4407 "second " "second " "second " "second "
4408 "third " "third " "third " "third "
4409 "fourth " "fourth " "fourth "
4410 "fifth " "fifth " "fifth "
4411 "sixth " "sixth " "sixth " "sixth "
4412 "seventh" "seventh" "seventh" "seventh"
4413 "octave " "octave " "octave "
4419 @ref{enharmonic}, @ref{whole tone}.
4434 When a chord sounds with a bass note that differs from the root of the
4435 chord, it is said to be @emph{inverted}. The number of inversions that a
4436 chord can have is one fewer than the number of constituent notes. For
4437 example, triads (which have three constituent notes) can have three
4438 positions, two of which are inversions:
4442 The root note is in the bass, and above that are the third and the fifth. A
4443 triad built on the first scale degree, for example, is marked @notation{I}.
4445 @item First inversion
4446 The third is in the bass, and above it are the fifth and the root. This
4447 creates an interval of a sixth and a third above the bass note, and so is
4448 marked in figured Roman notation as @notation{6/3}. This is commonly
4449 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4450 characteristic interval of the inversion, and so always implies
4453 @item Second inversion
4454 The fifth is in the bass, and above it are the root and the third. This
4455 creates an interval of a sixth and a fourth above the bass note, and so is
4456 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4457 unstable chord position.
4461 No cross-references.
4464 @node inverted interval
4465 @section inverted interval
4467 ES: intervalo invertido,
4468 I: intervallo rivolto,
4469 F: intervalle renversé,
4470 D: umgekehrtes Intervall,
4471 NL: interval inversie,
4472 DK: omvendingsinterval,
4473 S: intervallets omvändning,
4474 FI: käänteisintervalli.
4476 The difference between an interval and an octave.
4478 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4479 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4480 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4481 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4485 No cross-references.
4488 @node just intonation
4489 @section just intonation
4491 ES: entonación justa,
4492 I: intonazione giusta,
4493 F: intonation juste,
4500 Tuning system in which the notes are obtained by adding and subtracting
4501 natural fifths and thirds.
4519 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4520 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4523 @ref{chromatic scale}, @ref{key signature}.
4527 @section key signature
4529 ES: armadura (de la clave),
4530 I: armatura di chiave,
4531 F: armure, armature [de la clé],
4532 D: Vorzeichen, Tonart,
4533 NL: toon@-soort (voortekens),
4536 FI: sävellajiosoitus.
4538 The sharps or flats appearing at the beginning of each staff indicating the
4545 @node laissez vibrer
4546 @section laissez vibrer
4551 D: Laissez vibrer, schwingen lassen,
4557 [French: @q{Let vibrate}] Most frequently associated with harp
4558 parts. Marked @notation{l.v.} in the score.
4561 No cross-references.
4569 F: largo, large, ample,
4570 D: Largo, Langsam, Breit,
4574 FI: largo, hitaasti, leveästi.
4576 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4577 expressiveness. @emph{Larghetto} is less slow than largo.
4581 @section leading note
4592 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4593 called because of its strong tendency to @q{lead up} (resolve upwards)
4594 to the tonic scale degree.
4597 @ref{scale degree}, @ref{semitone}.
4601 @section ledger line
4603 ES: línea adicional,
4604 I: tagli addizionali,
4605 F: ligne supplémentaire,
4612 A ledger line is an extension of the staff.
4614 @lilypond[quote,notime,relative=2]
4621 No cross-references.
4630 D: legato, gebunden,
4636 To be performed (a) without any perceptible interruption between the
4637 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4638 @notation{portato}, or (d) @notation{staccato}.
4640 @lilypond[quote,notime,line-width=13.0\cm]
4642 \context Staff \relative c'' {
4643 c4-( d e-) \bar "||"
4644 c4-- d-- e-- \bar "||"
4645 c4-.-( d-. e-.-) \bar "||"
4646 c4-. d-. e-. \bar "||"
4662 @section legato curve
4665 @ref{slur}, @ref{legato}.
4687 A ligature is a coherent graphical symbol that represents at least two
4688 distinct notes. Ligatures originally appeared in the manuscripts of
4689 Gregorian chant notation around the 9th century to denote ascending or
4690 descending sequences of notes. In early notation, ligatures were used for
4691 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4692 performance in the sense of articulation. With the invention of the metric
4693 system of the white mensural notation, the need for ligatures to denote such
4694 patterns disappeared.
4697 @ref{mensural notation}.
4704 ES: estanque de nenúfares,
4705 I: stagno del giglio,
4706 F: étang de nénuphars, étang de nymphéas,
4708 NL: le@-lie@-vij@-ver,
4713 A pond with lilies floating in it.
4715 Also, the name of a music typesetting program.
4718 No cross-references.
4727 D: Linie, Notenlinie,
4731 FI: viiva, nuottiviiva.
4747 FI: kirjoitetussa äänenkorkeudessa.
4749 [Italian: @q{place}] Instruction to play the following passage at the
4750 written pitch. Cancels octave mark (q.v.).
4753 @ref{octave mark}, @ref{octave marking}.
4756 @node long appoggiatura
4757 @section long appoggiatura
4759 ES: apoyatura larga,
4760 I: appoggiatura lunga,
4761 F: appoggiature longue,
4766 FI: pitkä appoggiatura, pitkä etuhele.
4776 @item US: long, longa,
4779 @item F: longa, longue,
4787 Note value: twice the length of a @notation{breve}.
4789 @lilypond[quote,notime,relative=2]
4790 \override NoteHead #'style = #'mensural
4795 @ref{breve}, @ref{note value}.
4801 ES: ligadura de letra,
4803 F: ligature de mots,
4808 FI: sidonta sanoituksessa.
4810 @c TODO: add languages
4819 ES: letra (de la canción),
4822 D: Liedtext, Gesangstext,
4831 No cross-references.
4847 @ref{diatonic scale}.
4850 @node major interval
4851 @section major interval
4853 ES: intervalo mayor,
4854 I: intervallo maggiore,
4855 F: intervalle majeur,
4856 D: großes Intervall,
4860 FI: suuri intervalli.
4878 Note value: twice the length of a @notation{longa}.
4880 The maxima is the largest duration in use during the 15th and 16th centuries.
4881 Like the longa, the maxima can be either two or three times as long as the
4882 @notation{longa} (called @notation{binary} and @notation{ternary},
4883 respectively). By the late 15th century, most composers used the smaller
4884 proportion by default.
4887 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4890 @node meantone temperament
4891 @section meantone temperament
4893 ES: afinación mesotónica,
4894 I: accordatura mesotonica,
4895 F: tempérament mésotonique,
4896 D: mitteltönige Stimmung,
4897 NL: middenstemming, middentoonstemming,
4898 DK: middeltonetemperatur,
4899 S: medeltonstemperatur,
4900 FI: keskisävelviritys.
4902 Temperament yielding acoustically pure thirds by decreasing the natural
4903 fifth by 16@w{ }cents. Due to the non-circular character of this
4904 temperament only a limited set of keys are playable. Used for tuning
4905 keyboard instruments for performance of pre-1650 music.
4908 @ref{cent}, @ref{temperament}.
4923 A group of beats (units of musical time) the first of which bears an accent.
4924 Such groups in numbers of two or more recur consistently throughout the
4925 composition and are separated from each other by bar lines.
4928 @ref{bar line}, @ref{beat}, @ref{meter}.
4931 @node measure repeat
4932 @section measure repeat
4935 @ref{percent repeat}.
4942 I: mediante, modale,
4952 @item The third @b{scale degree}.
4954 @item A @emph{chord} having its base tone a third from that of another
4955 chord. For example, the tonic chord may be replaced by its lower
4956 mediant (variant tonic).
4961 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4974 FI: melisma, laulettavan tavun sävelkuvio.
4976 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4977 on one syllable, especially as applied to liturgical chant.
4980 No cross-references.
4984 @section melisma line
4986 @c TODO: add languages
4988 ES: línea de melisma,
4989 I: linea del melisma,
4990 F: trait de mélisme, trait de tenue,
4998 @ref{extender line}.
5001 @node melodic cadence
5002 @section melodic cadence
5008 @node mensural notation
5009 @section mensural notation
5011 @c TODO: add languages
5013 ES: notación mensural,
5014 I: notazione mensurale,
5015 F: notation mensurale,
5016 D: Mensuralnotation,
5020 FI: mensuraalinuotinnus.
5022 A system of duration notation whose principles were first established in the
5023 mid-13th century, and that (with various changes) remained in use until about
5024 1600. As such, it is the basis for the notation of rhythms in Western musical
5027 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5028 of the notation's principles, so the notation of this earliest period is called
5029 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5030 and semibreve -- each of which was normally equivalent to three of the next
5033 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5034 added several note values (the minim, semiminim and fusa) and extended Franco's
5035 principles to govern the relationship between these values. They also put the
5036 duple division of note values on an equal footing with the earlier (preferred)
5039 TODO: continue description of French and Italian black notation, and the
5040 relationship betwixt them.
5042 @b{White or void mensural notation}
5044 In the 15th century, hollow (or void) notes began to substitute for the earlier
5045 solid black ones, which were then free to assume the function of red (or
5046 colored) notes in the earlier notation. ...
5048 TODO: add to definition (including summary info on proportional notation)
5051 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5052 @c TODO: more cross-references?
5055 @node mensuration sign
5056 @section mensuration sign
5058 @c TODO: add languages
5060 ES: signo de mensuración,
5062 F: signe de mensuration,
5069 The ancestor of the time signature, mensuration signs were used to indicate the
5070 relationship between two sets of note durations—specifically, the ratio of
5071 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5072 (called @notation{prolatio}).
5074 Each ratio was represented with a single single sign, and was either
5075 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5076 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5077 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5078 represented by a complete circle; applied to the @emph{prolatio}, it was called
5079 @emph{major} and was represented by a dot in the middle of the sign. The binary
5080 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5081 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5082 @emph{minor} and was represented by the lack of an internal dot. There are four
5083 possible combinations, which can be represented in modern time signatures with
5084 and without reduction of note values. (These signs are hard-coded in LilyPond
5088 @item perfect @emph{tempus} with major @emph{prolatio}
5089 Indicated by a complete circle with an internal dot. In modern time signatures,
5092 @item 9/4, with reduction or
5093 @item 9/2, without reduction
5096 @item perfect @emph{tempus} and minor @emph{prolatio}
5097 Indicated by a complete circle without an internal dot. In modern time
5098 signatures, this equals:
5100 @item 3/2, with reduction or
5101 @item 3/1, without reduction
5104 @item imperfect @emph{tempus} and major @emph{prolatio}
5105 Indicated by an incomplete circle with an internal dot. In modern time
5106 signatures, this equals:
5108 @item 6/4, with reduction or
5109 @item 6/2, without reduction
5112 @item imperfect @emph{tempus} and minor @emph{prolatio}
5113 Indicated by an incomplete circle without an internal dot. In modern time
5114 signatures, this equals:
5116 @item 4/4, with reduction or
5117 @item 2/1, without reduction
5121 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5122 with note values reduced from the original semibreve to a modern quarter note.
5123 Being doubly imperfect, this sign represented the (theoretically)
5124 least-preferred mensuration, but it was actually used fairly often.
5126 This system extended to the ratio of longer note values to each other:
5130 @item maxima to longa, called:
5134 @item @notation{modus maximorum},
5135 @item @notation{modus major}, or
5136 @item @notation{maximodus})
5140 @item longa to breve, called:
5144 @item @notation{modus longarum},
5145 @item @notation{modus minor}, or
5146 @item @notation{modus}
5152 In the absence of any other indication, these modes were assumed to be
5153 binary. The mensuration signs only indicated tempus and prolatio, so
5154 composers needed another way to indicate these longer ratios (called modes.
5155 Around the middle of the 15th century started to use groups of rests at the
5156 beginning of the staff, preceding the mensuration sign.
5159 Two mensuration signs have survived to the present day: the C-shaped sign,
5160 which originally designated @notation{tempus imperfectum} and
5161 @notation{prolatio minor} now stands for @notation{common time}; and the
5162 slashed C, which designated the same with @notation{diminution} now stands
5163 for @notation{cut time} (essentially, it has not lost its original meaning).
5166 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5167 @c TODO: more cross-references?
5175 F: indication de mesure, mesure,
5182 The pattern of note values and accents in a composition or a section thereof.
5183 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5184 by grouping beats and by subdividing the primary beat.
5186 @b{By grouping beats}:
5190 @item @b{duple}: groups of two.
5191 @item @b{triple}: groups of three.
5192 @item @b{quadruple}: groups of four. A special case of duple meter.
5193 @item @b{quintuple}: groups of five beats.
5194 @item @b{sextuple} meter: groups of six. A special case of:
5198 @item duple meter, subdivided in three; or
5199 @item triple meter, subdivided in two.
5203 @item @b{septuple} meter: groups of seven.
5208 Other than triple meter and its subdivided variants (see below), meters that
5209 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5210 frequently used prior to the 20th Century.
5212 @b{By subdividing the primary beat}:
5216 @item simple: subdivided in groups of two.
5220 @item duple: 2/2, 2/4, 2/8
5221 @item triple: 3/2, 3/4, 3/8
5222 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5226 @item compound: subdivided in groups of three.
5232 @item quadruple: 12/8
5238 Time signatures are placed at the beginning of a composition (or section) to
5239 indicate the meter. For instance, a piece written in simple triple meter with a
5240 beat on each quarter note is conventionally written with a time signature of
5241 3/4. Here are some combinations of the two classifications above:
5243 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5245 @lilypond[quote,line-width=13.0\cm]
5249 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5252 Simple triple meter:
5254 @lilypond[quote,line-width=13.0\cm]
5258 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5261 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5263 @lilypond[quote,line-width=13.0\cm]
5267 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5270 Simple quintuple meter (B. Marcello, 1686-1739):
5272 @lilypond[quote,line-width=13.0\cm]
5276 r4 cis8 bis ais4 dis c8 ais |
5277 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5280 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5281 the source, with sharps in the accompaniment where the voice has flats and
5284 Compound duple meter (unknown):
5286 @lilypond[quote,line-width=13.0\cm]
5290 f8 f g a bes16 a g f |
5291 g8 g bes a c16 a bes g
5295 Compound triple meter (J.S. Bach, 1685-1750):
5297 @lilypond[quote,line-width=13.0\cm]
5301 r8 g'( a) b( d c) c( e d) |
5302 d( g fis) g( d b) g( a b)
5306 Compound quadruple meter (P. Yon, 1886-1943):
5308 @lilypond[quote,line-width=13.0\cm]
5312 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5313 e4 e8 fis( gis) a b4.~ b4 b8
5318 @b{@q{Monometer} vs Polymeter}
5320 TODO: add information from discussion on lilypond-user related to polymeter.
5324 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5339 Device used to indicate the exact tempo of a piece.
5341 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5342 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5343 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5344 followed acknowledged Winkler as the creator, but by then Mälzel had already
5345 sold many of them, and people had taken to calling it a Mälzel Metronome.
5348 @ref{metronome mark}.
5351 @node metronome mark
5352 @section metronome mark
5354 ES: indicación metronómica,
5355 I: indicazione metronomica,
5356 F: indication métronomique,
5358 NL: metronoom aanduiding,
5360 S: metronomangivelse,
5361 FI: metronomiosoitus.
5363 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5364 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5371 @node metronomic indication
5372 @section metronomic indication
5375 @ref{metronome mark}
5388 FI: kohtalaisen, melko.
5390 [Italian: @q{medium}]
5392 Used to qualify other indications, such as:
5398 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5400 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5406 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5413 No cross-references.
5417 @section mezzo-soprano
5428 The female voice between soprano and contralto.
5431 @ref{soprano}, @ref{contralto}.
5440 D: zweigestrichenes@w{ }c,
5442 DK: enstreget@w{ }c,
5443 S: ettstruket@w{ }c,
5446 First C below the 440 Hz A.
5448 @lilypond[quote,notime,relative=1]
5449 \override Staff.Clef #'full-size-change = ##t
5456 No cross-references.
5472 @ref{diatonic scale}.
5475 @node minor interval
5476 @section minor interval
5478 ES: intervalo menor,
5479 I: intervallo minore,
5480 F: intervalle mineur,
5481 D: kleines Intervall,
5485 FI: pieni intervalli.
5491 @node mixolydian mode
5492 @section mixolydian mode
5495 @ref{diatonic scale}.
5504 D: Kirchentonart, Modus,
5508 FI: moodi, kirkkosävelasteikko.
5511 @ref{church mode}, @ref{diatonic scale}.
5524 FI: modulaatio, sävellajin vaihdos.
5526 Moving from one @ref{key} to another. For example, the second subject
5527 of a @ref{sonata form} movement modulates to the dominant key if the
5528 key is major and to the @ref{relative key} if the key is minor.
5531 No cross-references.
5543 FI: mordent, korukuvio.
5566 FI: teema, sävelaihe.
5568 The briefest intelligible and self-contained fragment of a musical
5571 @lilypond[quote,line-width=13.0\cm]
5574 \set Score.implicitTimeSignatureVisibility = #all-invisible
5575 \override Score.TimeSignature #'break-visibility = #all-invisible
5578 \partial 8 g16\startGroup fis |
5579 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5580 g8 g,16 a b8 cis d16 s
5584 \Staff \consists "Horizontal_bracket_engraver"
5590 No cross-references.
5605 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5606 several -- more or less -- independent pieces called movements.
5609 No cross-references.
5612 @node multi-measure rest
5613 @section multi-measure rest
5615 ES: compases de espera, silencio multicompás,
5617 F: pause multiple, mesure à compter,
5619 D: mehrtaktige Pause, Kirchenpause,
5622 FI: usean tahdin mittainen tauko.
5624 Multi-measure rests are conventionally typeset with a combination of
5625 longa, breve and whole rests for shorter and a long horizontal bar for
5626 longer spans of rest, with a number above to indicate the duration (in
5627 measures) of the rest. The former style is called @q{Kirchenpausen} in
5628 German, as a reminiscence of its use in Renaissance vocal polyphony.
5630 @lilypond[quote,relative=2]
5632 \set Score.skipBars = ##t
5635 \set Score.skipBars = ##t
5641 @ref{longa}, @ref{breve}.
5650 D: Auflösungszeichen,
5651 NL: herstellingsteken,
5652 DK: op@-løsningstegn,
5653 S: återställningstecken,
5660 @node neighbor tones
5661 @section neighbor tones
5663 @c TODO: add definition.
5675 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5714 Notes are signs by means of which music is fixed in writing. The term is also
5715 used for the sound indicated by a note, and even for the key of the piano
5716 which produces the sound. However, a clear distinction between the terms tone
5717 and @ref{note} is strongly recommended. Briefly, one sees a note,
5721 No cross-references.
5728 I: testa, testina, capocchia,
5736 A head-like sign which indicates pitch by its position on a @notation{staff}
5737 provided with a @notation{clef}, and duration by a variety of shapes such as
5738 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5739 For percussion instruments (often having no defined pitch) the note head may
5740 indicate the instrument.
5743 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5756 ES: valor, duración,
5758 F: durée, valeur (d'une note),
5763 FI: nuotin aika-arvo.
5765 Note values (durations) are measured as fractions—in modern usage, one-half—of
5766 the next higher note value. The longest duration in current use is the
5767 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5768 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5769 or @notation{maxima} (eight whole notes) may be found.
5771 As used in mensural notation, this fraction was more flexible: it could also
5772 be one-third the higher note value. Composers indicated which proportions
5773 to use with various signs—two of which survive to the present day: the
5774 C-shaped sign for @notation{common time}, and the slashed C for
5775 @notation{alla breve} or @notation{cut time}.
5777 @c TODO -- add maxima to this example, in a way that doesn't break it.
5779 @lilypond[quote,notime,line-width=13.0\cm]
5781 \override NoteHead #'style = #'mensural
5782 a\longa_"longa" a\breve_"breve"
5783 \revert NoteHead #'style
5784 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5785 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5788 @c TODO -- add maxima rest to this example
5790 @lilypond[quote,notime,line-width=13.0\cm]
5792 r\longa_"longa" r\breve_"breve"
5793 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5794 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5797 An augmentation dot after a note increases its duration by half; a second dot
5798 increases it by half of the first addition (that is, by a fourth of the original
5799 duration). More dots can be used to add further halved fractions of the
5800 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5802 @lilypond[quote,line-width=13.0\cm]
5805 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5806 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5809 Alternatively note values may be subdivided by other ratios. Most common is
5810 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5811 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5812 dotted notes are also frequently used.
5814 @lilypond[quote,line-width=13.0\cm]
5817 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5818 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5822 @lilypond[quote,line-width=13.0\cm]
5825 \times 3/2 {g4_"duplets" g} |
5827 \times 6/4 {g8_"quadruplets" g g g} |
5828 g8 g g g g4 \bar "||"
5840 @ref{octave marking}.
5855 The interval of an octave, sometimes abbreviated @notation{8ve}.
5857 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5858 bracket, or @notation{loco} see octave marking.
5861 @ref{interval}, @ref{octave marking}.
5865 @section octave mark
5867 ES: indicación de octava,
5869 F: indication d'octave,
5870 D: Oktavierungszeichen,
5876 The phrase, abbreviation, or other mark used (with or without an extender line
5877 or bracket) to indicate that the music is to be played in a different octave:
5881 @item @notation{15ma}: play two octaves higher
5882 @item @notation{8va}: play one octave higher
5883 @item @notation{8vb}: play one octave lower
5884 @item @notation{8va} (written below the passage): unusual, same as
5886 @item @notation{15vb}: play two octaves lower
5887 @item @notation{15va} (written below the passage): unusual, same as
5892 For longer passages, it may be more practical to mark the octave change at the
5893 beginning with a phrase (see the list below for examples), but without a bracket
5894 or extender line. Then, when the music returns to the written pitch, the octave
5895 change is cancelled with the word @notation{loco} (q.v.).
5897 To parallel the list above:
5901 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5902 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5903 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5904 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5908 In the phrases above, @notation{quindicesima} is sometimes replaced with
5909 @notation{quindecima}, which is Latin.
5911 The music on an entire staff can be marked to be played in a different octave by
5912 putting a small 8 or 15 above or below the clef at the beginning. This octave
5913 mark can be applied to any clef, but it is most frequently used with the G and F
5917 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5920 @node octave marking
5921 @section octave marking
5930 FI: oktaavamerkintä.
5932 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5933 that it is to be played in a different octave. If applied to the clef at the
5934 beginning of the staff, all music on that staff is to played at the indicated
5937 For a list of the specific marks used, see @ref{octave mark}.
5940 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5944 @section octave sign
5954 I: abbellimento, fioriture,
5955 F: agrément, ornement,
5956 D: Verzierung, Ornament,
5962 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5963 with the diatonic @ref{second} above it. In the music from the
5964 middle of the 19th century and onwards the trill is performed with the main
5965 note first while in the music from the preceding baroque and classic periods
5966 the upper note is played first.
5968 @lilypond[quote,line-width=13.0\cm]
5970 \context Staff = sa {
5972 c2._"pre-1850" b4\trill | c1 \bar "||"
5973 c2._"post-1850" b4\trill | c1 \bar "||"
5977 c2. c32 b c b c b c b | c1
5978 c2. b32 c b c \times 4/5 { b c b c b } | c1
5983 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5984 the @emph{prall} (inverted mordent).
5986 @lilypond[quote,line-width=13.0\cm]
5988 \context Staff = sa {
5990 a4_"turn" b\turn c2 \bar "||"
5991 g4_"mordent" a b\mordent a \bar "||"
5992 e'4_"prall" d\prall c2 \bar "||"
5998 e'4 e32[ d e d ~ d8] c2
6004 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6012 F: ossia, alternative,
6017 FI: ossia, vaihtoehtoinen esitystapa.
6019 Ossia (otherwise) marks an alternative. It is an added staff or piano
6020 score, usually only a few measures long, which presents another version
6021 of the music, for example for small hands.
6024 Compare: @ref{cue-notes}.
6030 ES: parte, particella,
6037 FI: stemma, instrumenttiosuus.
6041 @item In instrumental or choral music, the music for a single
6042 instrument or voice.
6044 @item in contrapuntal music, a single melodic line in the contrapuntal
6067 @node percent repeat
6068 @section percent repeat
6070 LilyPond-specific term to indicate the repetition of a musical expression on a
6071 single staff, as opposed to the more usual definition of repeat, which affects
6072 all parts. The musical expression can be anything from a single note or note
6073 pattern to one or more measures. There are other names for this symbol:
6078 @item slash mark, or slash repeat
6080 @item measure (or multi-measure) repeat
6084 @lilypond[quote,relative=2,line-width=13.0\cm]
6086 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6087 \repeat percent 2 { c4 e g b_"Measure repeat" }
6088 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6093 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6094 Vermont Music Dictionary}.
6103 D: Schlagzeug, Schlagwerk,
6109 A family of musical instruments which are played on by striking or
6110 shaking. Percussion instruments commonly used in a symphony orchestra are
6111 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6112 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6116 No cross-references.
6119 @node perfect interval
6120 @section perfect interval
6122 ES: intervalo justo,
6123 I: intervallo giusto,
6124 F: intervalle juste,
6125 D: reines Intervall,
6129 FI: puhdas intervalli.
6147 A natural division of the melodic line, comparable to a sentence of speech.
6163 FI: fraseeraus, jäsentäminen.
6165 The clear rendering in musical performance of the @notation{phrases} of the
6166 melody. Phrasing may be indicated by a @notation{slur}.
6169 @ref{phrase}, @ref{slur}.
6184 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6185 @emph{mezzo piano} (@b{mp}) medium soft.
6188 No cross-references.
6196 F: anacrouse, levée,
6221 @item The perceived quality of a sound that is primarily a function of its
6222 fundamental frequency.
6224 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6226 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6227 association of a particular frequency with a particular pitch name, e.g., c' =
6243 NL: pizzicato, getokkeld,
6246 FI: pizzicato, näppäillen.
6248 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6252 No cross-references.
6258 ES: compás polimétrico,
6265 FI: monia tahtiosoituksia sisältävä.
6269 @item The @emph{simultaneous} use of two or more meters, in two or more
6272 @item The @emph{successive} use of different meters in one or more parts.
6277 @ref{polymetric} (adj.)
6290 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6292 Characterized by @emph{polymeter}: using two or more metric frameworks
6293 simultaneously or in alternation.
6296 @ref{polymeter} (noun)
6299 @node polymetric time signature
6300 @section polymetric time signature
6302 ES: indicación de compás polimétrico,
6303 I: tempo polimetrico,
6305 D: zusammengesetzte Taktart,
6309 FI: vaihtelevan tahtiosoitusmerkintä.
6311 A time signature that indicates regularly alternating polymetric time.
6323 D: Polyphonie, Mehrstimmigkeit,
6327 FI: polyfonia, moniäänisyys.
6329 Music written in a combination of several simultaneous voices (parts)
6330 of a more or less pronounced individuality.
6339 [Italian: past participle of @emph{portare}, @q{to carry}]
6341 A stroke in which each of several notes is separated slightly within a slur,
6342 without changing the bow's direction. It is used for passages of a
6343 @notation{cantabile} character.
6349 @section power chord
6351 A chord containing only the root and the fifth (possibly in multiple
6352 octaves). Commonly used in guitar music, particularly with electric
6353 guitar and high distortion.
6361 ES: presto, muy rápido,
6363 F: presto, très rapide, enlevé,
6364 D: Presto, Sehr schnell,
6365 NL: presto, Sehr schnell,
6368 FI: presto, hyvin nopeasti.
6372 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6373 denotes the highest possible degree of speed.
6376 No cross-references.
6391 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6392 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6397 @item A ratio that expresses the relationship between the note values that
6398 follow with those that precede;
6400 @item A ratio between the note values of a passage and the @q{normal}
6401 relationship of note values to the metrical pulse. (A special case of the
6406 The most common proportions are:
6409 @item 2:1 (or simply 2), expressed by a vertical line through the
6410 mensuration sign (the origin of the @notation{alla breve} time signature),
6411 or by turning the sign backwards
6412 @item 3:1 (or simply 3)
6413 @item 3:2 (@emph{sesquialtera})
6416 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6419 @item 1:2 cancels 2:1
6420 @item 1:3 cancels 3:1
6421 @item 2:3 cancels 3:2
6425 Gaffurius enumerates five basic types of major:minor proportions and their
6429 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6430 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6432 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6433 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6434 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6436 @item Superpartiens, if the major number is one less than twice the minor
6437 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6439 @item Multiplexsuperparticular, if the major number is one more than twice the
6440 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6443 @item Multiplexsuperpartiens, if the major number is one less than some other
6444 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6445 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6449 He then continues to subdivide each type in various ways. For the multiplex
6450 proportions, for example, he indicates how many times greater the major number
6455 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6456 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6458 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6461 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6462 Example: 4:1, 8:2, and 12:3
6466 Other proportions were possible, but whether they were frequently used is
6471 @item 33:9, @emph{triplasuperbipartientetertias}
6472 @item 51:15, @emph{triplasuperbipartientequintas}
6476 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6479 @ref{mensural notation}.
6482 @node Pythagorean comma
6483 @section Pythagorean comma
6485 ES: coma pitagórica,
6486 I: comma pitagorico,
6487 F: comma pythagoricien,
6488 D: Pythagoräisches Komma,
6489 NL: komma van Pythagoras,
6490 DK: pythagoræisk komma,
6491 S: pytagoreiskt komma,
6492 FI: pytagorinen komma.
6494 Originally, the interval by which the sum of six whole tones exceeds the octave
6495 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6497 Modern acoustical theory defines it as the interval by which twelve fifths
6498 exceed seven octaves. To put it another way: A sequence of fifths that starts
6499 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6500 than the C obtained by adding 7 octaves. The difference between those two
6501 pitches is the Pythagorean comma.
6504 @ref{cent}, @ref{temperament}.
6526 ES: variante [de acorde o intervalo],
6529 D: Modus (Dur oder Moll),
6535 The quality of a triad is determined by the precise arrangement of its
6536 intervals. Tertian triads can be described as a series of three notes. The
6537 first element is the root note (or simply @q{root}) of the chord, the second
6538 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6539 the chord. These are described below:
6541 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6542 @headitem Chord name
6543 @tab Component intervals
6546 @item major triad @tab major third/perfect fifth
6548 @tab C, CM, Cma, Cmaj, CΔ
6549 @item minor triad @tab minor third/perfect fifth
6551 @tab Cm, Cmi, Cmin, C-
6552 @item augmented triad @tab major third/augmented fifth
6555 @item diminished triad @tab minor third/diminished fifth
6557 @tab Cm(♭5), Cº, Cdim
6560 There are various types of seventh chords depending on the quality of the
6561 original chord and the quality of the seventh added.
6563 Five common types of seventh chords have standard symbols. The chord quality
6564 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6565 and D^m7 are all identical). The last three chords are not commonly used
6573 @section quarter note
6578 @item I: semiminima, nera
6580 @item D: Viertel, Viertelnote
6582 @item DK: fjerdedelsnode
6583 @item S: fjärdedelsnot
6584 @item FI: neljäsosanuotti
6592 @section quarter rest
6595 @item UK: crotchet rest
6596 @item ES: silencio de negra
6597 @item I: pausa di semiminima
6599 @item D: Viertelpause
6601 @item DK: fjerdedelspause
6602 @item S: fjärdedelspaus
6603 @item FI: neljäsosatauko
6611 @section quarter tone
6620 FI: neljännessävelaskel.
6622 An interval equal to half a semitone.
6631 ES: cinquillo, quintillo,
6645 @section rallentando
6649 F: rallentando, en ralentissant,
6650 D: rallentando, langsamer werden,
6654 FI: rallerdando, hidastuen.
6656 [Italian] A performance indication, abbreviated @notation{rall.}
6663 @section relative key
6666 I: tonalità relativa,
6667 F: tonalité relative,
6669 NL: paralleltoonsoort,
6670 DK: paralleltoneart,
6672 FI: rinnakkaissävellaji.
6674 Major and minor keys that have the same key signature.
6676 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6678 es1_"e flat major" f g as bes c d es
6682 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6684 c1_"c minor" d es f g a! b! c
6689 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6697 F: barre de reprise,
6700 DK: gen@-ta@-gel@-se,
6704 @lilypond[quote,relative=2,line-width=13.0\cm]
6716 No cross-references.
6731 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6732 @c specify the rest's value.
6752 @item Metrical rhythm in which every time value is a multiple or
6753 fraction of a fixed unit of time, called @emph{beat}, and in which the
6754 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6755 The basic scheme of time values is called @emph{meter}.
6757 @item Measured rhythm which lacks regularly recurrent accent. In
6758 modern notation such music appears as a free alternation of different
6761 @item Free rhythm, i.e., the use of temporal values having no common
6762 metrical unit (beat).
6767 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6773 ES: ritardando, retardando,
6775 F: ritardando, en ralentissant,
6776 D: ritardando, langsamer werden,
6780 FI: ritardando, hidastuen,
6782 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6786 No cross-references.
6792 ES: ritenuto, reteniendo,
6794 F: ritenuto, en retenant,
6799 FI: ritenuto, hidastaen.
6801 Immediate reduction of speed.
6804 No cross-references.
6817 FI: asteikko, sävelasteikko.
6820 @ref{diatonic scale}.
6824 @section scale degree
6826 ES: grado (de la escala),
6827 I: grado della scala,
6828 F: degré [de la gamme],
6830 NL: trap [van de toonladder],
6833 FI: sävelaste, asteikon sävel.
6835 Names and symbols used in harmonic analysis to denote tones of the
6836 scale as roots of chords. The most important are degrees I = tonic
6837 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6839 @lilypond[quote,notime,line-width=13.0\cm]
6841 \new Staff \relative c' {
6845 << { I II III IV V VI VII I }
6852 @ref{functional harmony}.
6860 F: à cordes ravallées,
6865 FI: epätavallinen viritys.
6867 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6868 tuning of stringed instruments, particularly lutes or violins. Used
6873 @item facilitate pitch combinations that would otherwise be difficult
6876 @item alter the characteristic timbre of the instrument, for example,
6877 to increase brilliance
6879 @item reinforce certain sonorities or tonalities by making them
6880 available on open strings
6882 @item imitate other instruments
6888 Tunings that could be called @var{scordatura} first appeared early in
6889 the 16th Century and became commonplace in the 17th.
6892 No cross-references.
6900 F: partition, conducteur (full score),
6901 D: Partitur (full score), Klavierauszug (vocal score),
6907 A copy of orchestral, choral, or chamber music showing what each
6908 instrument is to play, each voice to sing, having each part arranged
6909 one underneath the other on different staves @ref{staff}.
6912 No cross-references.
6927 The interval between two neighboring tones of a scale. A diatonic scale
6928 consists of alternating semitones and whole tones, hence the size of a
6929 second depends on the scale degrees in question.
6932 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6939 @item US: whole note,
6943 @item D: Ganze, ganze Note, Semibrevis,
6944 @item NL: hele noot,
6947 @item FI: kokonuotti.
6950 Note value: called @notation{whole note} in the US.
6952 The semibreve is the basis for the @notation{tactus} in mensural notation
6953 (i.e. music written before ca. 1600).
6956 @ref{mensural notation}, @ref{note value}.
6971 The interval of a minor second. The (usually) smallest interval in European
6972 composed music. The interval between two neighboring tones on the piano
6973 keyboard -- including black and white keys -- is a semitone. An octave may
6974 be divided into 12@w{ }semitones.
6976 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6977 g1 gis s a bes s b! c
6981 @ref{interval}, @ref{chromatic scale}.
7004 @ref{sextuplet}, @ref{note value}.
7049 ES: simile, similar,
7052 D: simile, gleichartig,
7058 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7059 is to be played in the same manner (i.e. with the same articulations, dynamics,
7060 etc.) as the music that precedes it.
7063 TODO: Where else could I refer the reader?
7067 @section simple meter
7069 ES: compás simple, compás de subdivisión binaria,
7076 FI: kaksijakoinen tahtiosoitus.
7078 A meter in which the basic beat is subdivided in two: that is, a meter
7079 that does not include triplet subdivision of the beat.
7082 @ref{compound meter}, @ref{meter}.
7085 @node sixteenth note
7086 @section sixteenth note
7089 @item UK: semiquaver
7090 @item ES: semicorchea
7092 @item F: double croche
7093 @item D: Sechzehntel, Sechzehntelnote
7094 @item NL: zestiende noot
7095 @item DK: sekstendedelsnode
7096 @item S: sextondelsnot
7097 @item FI: kuudestoistaosanuotti
7104 @node sixteenth rest
7105 @section sixteenth rest
7108 @item UK: semiquaver rest
7109 @item ES: silencio de semicorchea
7110 @item I: pausa di semicroma
7111 @item F: quart de soupir
7112 @item D: Sechzehntelpause
7113 @item NL: zestiende rust
7114 @item DK: sekstendedelspause
7115 @item S: sextondelspaus
7116 @item FI: kuudestoistaosatauko
7139 @node sixty-fourth note
7140 @section sixty-fourth note
7143 @item UK: hemidemisemiquaver
7145 @item I: semibiscroma
7146 @item F: quadruple croche
7147 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7148 @item NL: vierenzestigste noot
7149 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7150 @item S: sextiofjärdedelsnot
7151 @item FI: kuudeskymmenesneljäsosanuotti
7158 @node sixty-fourth rest
7159 @section sixty-fourth rest
7162 @item UK: hemidemisemiquaver rest
7163 @item ES: silencio de semifusa
7164 @item I: pausa di semibiscroma
7165 @item F: seizième de soupir
7166 @item D: Vierundsechzigstelpause
7167 @item NL: vierenzestigste rust
7168 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7169 @item S: sextiofjärdedelspaus
7170 @item FI: kuudeskymmenesneljäsosatauko
7178 @section slash repeat
7181 @ref{percent repeat}.
7187 ES: ligadura de expresión,
7188 I: legatura (di portamento o espressiva),
7190 D: Bogen (Legatobogen, Phrasierungsbogen),
7191 NL: fraseringsboog, legatoboog, streekboog,
7192 DK: legatobue, fraseringsbue,
7196 A slur above or below a group of notes indicates that they are to be
7197 played @ref{legato}, e.g., with one stroke of the violin bow or with
7198 one breath in singing.
7201 No cross-references.
7205 @section solmization
7214 FI: suhteelliset laulunimet.
7216 General term for systems of designating the degrees of the
7217 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7218 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7222 @ref{scale}, @ref{scale degree}.
7237 In its present-day meaning a sonata denotes an instrumental
7238 composition for piano or for some other instrument with piano
7239 accompaniment, which consists of three or four independent pieces,
7243 No cross-references.
7247 @section sonata form
7251 F: [en] forme de sonate,
7253 NL: hoofdvorm, sonatevorm,
7258 A form used frequently for single movements of the @emph{sonata},
7259 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7260 three sections called @notation{exposition}, @notation{development} and
7261 @notation{recapitulation}. In the exposition the composer introduces some
7262 musical ideas, consisting of a number of themes; in the development section the
7263 composer @emph{develops} this material, and in the recapitulation the composer
7264 repeats the exposition, with certain modifications. The exposition contains a
7265 number of themes that fall into two groups, often called first and second
7266 subject. Other melodies occurring in each group are considered as continuations
7267 of these two. The second theme is in another key, normally in the key of the
7268 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7269 @notation{relative key} if the tonic is @notation{minor}.
7272 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7273 @ref{symphony}, @ref{tonic}.
7293 FI: sopraano, korkea naisääni.
7295 The highest female voice.
7298 No cross-references.
7306 F: staccato, piqué, détaché,
7311 FI: staccato, lyhyesti, terävästi.
7313 Playing the note(s) short. Staccato is indicated by a dot above or
7314 below the note head.
7316 @lilypond[quote,relative=2]
7320 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7326 No cross-references.
7333 ES: pentagrama, pauta,
7334 I: pentagramma, rigo (musicale),
7336 D: Notensystem, Notenzeile,
7337 NL: (noten)balk, partij,
7342 A staff (plural: staves) is a series of (normally five) horizontal
7343 lines upon and between which the musical notes are written, thus
7344 indicating (in connection with a @ref{clef}) their pitch. Staves for
7345 @ref{percussion} instruments may have fewer lines.
7347 @lilypond[quote,relative=1]
7368 D: Hals, Notenhals, Stiel,
7374 Vertical line above or below a @ref{note head} shorter than a
7377 @lilypond[quote,notime,relative=2]
7378 \set Score.autoBeaming = ##f
7392 ES: stringendo, acelerando,
7394 F: stringendo, en accélérant,
7399 FI: kiihdyttäen, nopeuttaen.
7401 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7420 A family of stringed musical instruments played with a bow. Strings
7421 commonly used in a symphony orchestra are violin, viola, violoncello,
7425 No cross-references.
7429 @section strong beat
7434 D: betonter Taktteil oder Taktschlag,
7436 D: betonet taktslag,
7437 S: betonat taktslag,
7438 FI: tahdin vahva isku.
7441 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7445 @section subdominant
7454 FI: subdominantti, alidominantti.
7456 The fourth @notation{scale degree}.
7459 @ref{functional harmony}, @ref{scale degree}.
7474 The sixth @notation{scale degree}.
7477 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7490 FI: subtoonika, alitoonika.
7492 The seventh @ref{scale degree}.
7495 @ref{functional harmony}, @ref{scale degree}.
7501 ES: sobre la cuerda de Sol,
7504 D: auf G, auf der G-Saite,
7510 Indicates that the indicated passage (or note) should be played on the
7514 No cross-references.
7518 @section superdominant
7529 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7532 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7547 The second @ref{scale degree}.
7550 @ref{functional harmony}, @ref{scale degree}.
7559 D: Sinfonie, Symphonie,
7565 A symphony may be defined as a @emph{sonata} for orchestra.
7572 @section syncopation
7583 Any deliberate upsetting of the normal pulse of @ref{meter},
7584 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7585 rhythm rests upon the grouping of equal beats into groups of two or
7586 three, with a regularly recurrent accent on the first beat of each
7587 group. Any deviation from this scheme is felt as a disturbance or
7588 contradiction between the underlaying (normal) pulse and the actual
7591 @lilypond[quote,relative=1]
7594 e16 c'8 e,16 c'8 e,16 c' ~
7599 No cross-references.
7602 @node syntonic comma
7603 @section syntonic comma
7605 ES: coma sintónica, coma de Dídimo,
7606 I: comma sintonico (o didimico),
7607 F: comma syntonique,
7608 D: syntonisches Komma,
7609 NL: syntonische komma,
7610 DK: syntonisk komma,
7611 S: syntoniskt komma,
7612 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7613 Pytagorisessa viritysjärjestelmässä.
7615 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7616 by which the ditone exceeds the pure major third obtained by Pythagorean
7617 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7619 Modern acoustical theory defines it as the interval by which four fifths exceed
7620 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7622 This comma is also known as the comma of Didymus, or didymic comma.
7625 @ref{Pythagorean comma}
7634 D: Notensystem, Partitur,
7640 The collection of staves (@notation{staff}), two or more, as used
7641 for writing down keyboard, chamber, choral, or orchestral music;
7642 a section of the score spanning the width of a single page.
7649 @section temperament
7654 D: Stimmung, Tem@-pe@-ra@-tur,
7655 NL: stemming, temperatuur,
7658 FI: viritysjärjestelmä.
7660 Systems of tuning in which the intervals deviate from the acoustically
7664 @ref{meantone temperament}, @ref{equal temperament}.
7667 @node tempo indication
7668 @section tempo indication
7670 ES: indicación de tempo,
7671 I: indicazione di tempo,
7672 F: indication de tempo,
7673 D: Zeitmaß, Tempobezeichnung,
7674 NL: tempo aanduiding,
7679 The rate of speed of a composition or a section thereof, ranging from the
7680 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7681 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7685 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7699 FI: tenori, korkea miesääni.
7701 The highest @q{natural} male voice (apart from @notation{countertenor}).
7726 ES: subrayado (tenuto),
7735 An indication that a particular note should be held for the whole
7736 length, although this can vary depending on the composer and era.
7739 No cross-references.
7758 @node thirty-second note
7759 @section thirty-second note
7762 @item UK: demisemiquaver
7765 @item F: triple croche
7766 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7767 @item NL: twee@-endertig@-ste (32e) noot
7768 @item DK: toogtredivtedelsnode
7769 @item S: trettiotvåondelsnot
7770 @item FI: kolmaskymmeneskahdesosanuotti
7777 @node thirty-second rest
7778 @section thirty-second rest
7781 @item UK: demisemiquaver rest
7782 @item ES: silencio de fusa
7783 @item I: pausa di biscroma
7784 @item F: huitième de soupir
7785 @item D: Zweiunddreissigstel@-pause
7786 @item NL: twee@-endertig@-ste (32e) rust
7787 @item DK: toogtredivtedelspause
7788 @item S: trettiotvåondelspaus
7789 @item FI: kolmaskymmeneskahdesosatauko
7797 @section thorough bass
7806 ES: ligadura de unión (o de prolongación),
7807 I: legatura (di valore),
7808 F: liaison (de tenue),
7809 D: Haltebogen, Bindebogen,
7810 NL: overbinding, bindingsboog,
7812 S: bindebåge, överbindning,
7815 A curved line, identical in appearance with the @ref{slur}, which
7816 connects two succesive notes of the same pitch, and which has the
7817 function of uniting them into a single sound (tone) equal to the
7820 @lilypond[quote,notime,relative=2]
7832 @node time signature
7833 @section time signature
7835 ES: indicación de compás,
7837 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7838 D: Taktangabe, Angabe der Taktart,
7841 S: taktartssignatur,
7844 The sign placed at the beginning of a composition to indicate its
7845 meter. It most often takes the form of a fraction, but a few signs
7846 derived from mensural notation and proportions are also employed.
7849 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7864 A sound of definite pitch and duration, as distinct from @emph{noise}.
7865 Tone is a primary building material of music.
7867 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7870 No cross-references.
7885 The first @notation{scale degree}.
7888 @ref{functional harmony}, @ref{scale degree}.
7891 @node transposing instrument
7892 @section transposing instrument
7894 ES: instrumento transpositor,
7895 I: strumento traspositore,
7896 F: instrument transpositeur,
7897 D: transponierende Instrumente,
7901 FI: transponoitava soitin.
7903 Instruments whose notated pitch is different from their sounded pitch. Except
7904 for those whose notated and sounding pitches differ by one or more octaves (to
7905 reduce the number of ledger lines needed), most such instruments are identified
7906 by the letter name of the pitch class of their fundamental. The pitch class is
7907 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7908 the instrument plays a notated C.
7910 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7911 the B-flat one tone lower. If played on the A clarinet, the same written
7912 note sounds the A (one and half tones -- a minor third -- lower).
7914 Not all transposing instruments include the pitch class in their name:
7917 @item Alto flute (in G)
7918 @item English horn (in F)
7919 @item Saxophones (in B-flat or E-flat)
7922 @ignore Can we do better?
7924 To make matters more complex, some instruments are transposing instruments,
7925 but their players play from parts written at concert pitch. This is the
7926 case for orchestral trombone and tuba players—whereas trombone players in
7927 brass bands treat their parts as if written for a true transposing
7928 instrument in B-flat.
7933 @ref{concert pitch}.
7937 @section transposition
7939 ES: transporte, transposición,
7948 Shifting a melody up or down in pitch, while keeping the same
7951 @lilypond[quote,line-width=13.0\cm]
7956 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7961 @lilypond[quote,line-width=13.0\cm]
7964 \transpose c bes \relative c'' {
7966 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7972 No cross-references.
7976 @section treble clef
7978 ES: clave de sol en segunda,
7979 I: chiave di violino,
7981 D: Violinschlüssel, Sopranschlüssel,
8003 On stringed instruments:
8007 @item The quick reiteration of the same tone, produced by a rapid
8008 up-and-down movement of the bow.
8010 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8011 in the distance of a third (@ref{interval}).
8015 @lilypond[quote,notime,relative=1]
8017 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8018 \repeat tremolo 8 { e32_"b" g }
8030 F: triade, accord parfait, accord de trois sons,
8046 F: trille, tremblement, battement (cadence),
8058 @section triple meter
8060 ES: compás ternario,
8063 D: Dreiertakt, ungerader Takt,
8064 NL: driedelige maatsoort,
8106 @section tuning fork
8108 ES: diapasón [de horquilla],
8109 I: diapason, corista,
8115 FI: viritysavain, äänirauta.
8117 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8118 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8119 standard. Tuning forks for other pitches are available.
8128 ES: grupo de valoración especial,
8129 I: gruppi irregolari,
8132 NL: Antimetrische figuur,
8137 A non-standard subdivision of a beat or part of a beat, usually
8138 indicated with a bracket and a number indicating the number of
8142 @ref{triplet}, @ref{note value}.
8148 ES: grupeto (circular),
8171 FI: unisono, yksiäänisesti.
8173 Playing of the same notes or the same melody by various instruments
8174 (voices) or by the whole orchestra (choir), either at exactly the same
8175 pitch or in a different octave.
8178 No cross-references.
8186 F: anacrouse, levée,
8207 FI: ääni, lauluääni.
8215 @item @ref{mezzo-soprano}
8216 @item @ref{contralto}
8218 @item @ref{baritone}
8222 @item A melodic layer or part of a polyphonic composition.
8227 No cross-references.
8233 ES: vez, primera y segunda vez,
8236 D: volta-Klammer, Wiederholungsklammer,
8240 FI: yksi kertauksen maaleista.
8242 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8243 or second ending. LilyPond extends this idea to any number, and allows any text
8244 (not just a number) -- to serve as the @notation{volta} text.
8247 No cross-references.
8254 I: tempo debole, arsi,
8256 D: unbetonter Taktteil oder Taktschlag,
8258 DK: ubetonet taktslag,
8259 S: obetonat taktslag,
8260 FI: tahdin heikko isku.
8263 @ref{beat}, @ref{measure}, @ref{rhythm}.
8274 @item D: Ganze, ganze Note
8278 @item FI: kokonuotti
8289 @item UK: semibreve rest
8290 @item ES: silencio de redonda
8291 @item I: pausa di semibreve
8293 @item D: ganze Pause, ganztaktige Pause
8295 @item DK: helnodespause
8316 The interval of a major second. The interval between two tones
8317 on the piano keyboard with exactly one key between them -- including
8318 black and white keys -- is a whole tone.
8336 A family of blown wooden musical instruments. Today some of these
8337 instruments are actually made from metal. The woodwind instruments
8338 commonly used in a symphony orchestra are flute, oboe, clarinet,
8339 saxophone, and bassoon.
8342 No cross-references.
8345 @node Duration names notes and rests
8346 @chapter Duration names notes and rests
8348 @multitable @columnfractions .12 .22 .22 .22 .22
8350 @headitem Lang. @tab note name
8354 @item @strong{US} @tab long
8358 @item @strong{UK} @tab longa
8362 @item @strong{ES} @tab longa
8363 @tab silencio de longa
8365 @tab silencio de cuadrada
8366 @item @strong{IT} @tab longa
8370 @item @strong{FR} @tab longa
8371 @tab quadruple-pause
8374 @item @strong{DE} @tab Longa
8378 @item @strong{NL} @tab longa
8382 @item @strong{DK} @tab longa
8383 @tab longanodespause
8385 @tab brevis(nodes)pause
8386 @item @strong{SE} @tab longa
8390 @item @strong{FI} @tab longa-nuotti
8392 @tab brevis-nuotti, kaksoiskoko@-nuotti
8393 @tab brevis-tauko, kaksoiskoko@-tauko
8397 @multitable @columnfractions .12 .22 .22 .22 .22
8399 @headitem Lang. @tab note name
8403 @item @strong{US} @tab whole note
8407 @item @strong{UK} @tab semibreve
8411 @item @strong{ES} @tab redonda
8412 @tab silencio de redonda
8414 @tab silencio de blanca
8415 @item @strong{IT} @tab semibreve
8416 @tab pause di semibreve
8418 @tab pausa di minima
8419 @item @strong{FR} @tab ronde
8423 @item @strong{DE} @tab ganze Note
8427 @item @strong{NL} @tab hele noot
8431 @item @strong{DK} @tab helnode
8435 @item @strong{SE} @tab helnot
8439 @item @strong{FI} @tab kokonuotti
8446 @multitable @columnfractions .12 .22 .22 .22 .22
8448 @headitem Lang. @tab note name
8452 @item @strong{US} @tab quarter note
8456 @item @strong{UK} @tab crotchet
8460 @item @strong{ES} @tab negra
8461 @tab silencio de negra
8463 @tab silencio de corchea
8464 @item @strong{IT} @tab semiminima, nera
8465 @tab pausa di semiminima, pausa di nera
8468 @item @strong{FR} @tab noire
8472 @item @strong{DE} @tab Viertelnote
8476 @item @strong{NL} @tab kwartnoot
8480 @item @strong{DK} @tab fjerdedelsnode
8481 @tab fjerdedelspause
8482 @tab ottendedelsnode
8483 @tab ottendedelspause
8484 @item @strong{SE} @tab fjärdedelsnot
8488 @item @strong{FI} @tab neljäsosa@-nuotti
8489 @tab neljäsosa@-tauko
8490 @tab kahdeksasosa@-nuotti
8491 @tab kahdeksasosa@-tauko
8495 * About the French naming system: @notation{croche} refers to the note's
8496 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8497 @q{doubled hook}, @q{trebled hook}, and so on.
8499 The rest names are based on the @notation{soupir}, or quarter rest.
8500 Subsequent rests are expressed as fractions thereof: half a
8501 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8503 Each of the following tables contains one type of note and its matching rest,
8504 with abbreviations that apply to both notes and rests. Just switch the part
8505 that means @q{note} with the part that means @q{rest}, for example:
8509 @item English: 16th @strong{note}, 16th @strong{rest}
8510 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8511 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8515 Editor's note: I put a dash @q{-} when I could not find a language-specific
8516 abbreviation for a duration name. If you know of one that I missed, please
8517 send it to me, care of the lilypond-user discussion list.
8519 @multitable @columnfractions .10 .35 .35 .20
8521 @headitem Lang. @tab Note name
8524 @item @strong{US} @tab sixteenth note
8527 @item @strong{UK} @tab semiquaver
8528 @tab semiquaver rest
8530 @item @strong{ES} @tab semicorchea
8531 @tab silencio de semicorchea
8533 @item @strong{IT} @tab semicroma
8534 @tab pausa di semicroma
8536 @item @strong{FR} @tab double croche
8537 @tab quart de soupir
8539 @item @strong{DE} @tab Sechzehntelnote
8540 @tab Sechzehntelpause
8542 @item @strong{NL} @tab zes@-ti@-ende noot
8543 @tab zes@-ti@-ende rust
8545 @item @strong{DK} @tab sekstendedelsnode
8546 @tab sekstendedelspause
8548 @item @strong{SE} @tab sextondelsnot
8551 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8552 @tab kuudes@-toistaosa@-tauko
8557 @multitable @columnfractions .10 .35 .35 .20
8559 @headitem Lang. @tab Note name
8562 @item @strong{US} @tab thirty-second note
8563 @tab thirty-second rest
8565 @item @strong{UK} @tab demisemiquaver
8566 @tab demisemiquaver rest
8568 @item @strong{ES} @tab fusa
8569 @tab silencio de fusa
8571 @item @strong{IT} @tab biscroma
8572 @tab pausa di biscroma
8574 @item @strong{FR} @tab triple croche
8575 @tab huitième de soupir
8577 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8578 @tab Zweiunddreißig@-stelpause
8580 @item @strong{NL} @tab twee@-endertigste noot
8581 @tab twee@-endertigste rust
8583 @item @strong{DK} @tab toogtredivtedelsnode
8584 @tab toogtredivtedelspause
8586 @item @strong{SE} @tab trettio@-tvåondelsnot
8587 @tab trettio@-tvåondelspaus
8589 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8590 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8595 @multitable @columnfractions .10 .35 .35 .20
8597 @headitem Lang. @tab Note name
8600 @item @strong{US} @tab sixty-fourth note
8601 @tab sixty-fourth rest
8603 @item @strong{UK} @tab hemidemisemiquaver
8604 @tab hemidemisemiquaver rest
8606 @item @strong{ES} @tab semifusa
8607 @tab silencio de semifusa
8609 @item @strong{IT} @tab semibiscroma
8610 @tab pausa di semibiscroma
8612 @item @strong{FR} @tab quadruple croche
8613 @tab seizième de soupir
8615 @item @strong{DE} @tab Vierundsechzigstelnote
8616 @tab Vierundsechzigstelpause
8618 @item @strong{NL} @tab vierenzestigste noot
8619 @tab vierenzestigste rust
8621 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8622 @tab fireog@-tredsindstyven@-dedelspause
8624 @item @strong{SE} @tab sextiofjärdedelsnot
8625 @tab sextiofjärdedelspaus
8627 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8628 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8633 @multitable @columnfractions .10 .35 .35 .20
8635 @headitem Lang. @tab Note name
8638 @item @strong{US} @tab one-hundred-twenty-eighth note
8639 @tab one-hundred-twenty-eighth rest
8641 @item @strong{UK} @tab semihemidemisemiquaver
8642 @tab semihemidemisemiquaver rest
8644 @item @strong{ES} @tab garrapatea
8645 @tab silencio de garrapatea
8647 @item @strong{IT} @tab fusa
8650 @item @strong{FR} @tab quintuple croche
8651 @tab trente-deuxième de soupir @tab -
8652 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8653 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8654 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8655 @tab honderd@-acht@-en@-twintigste rust
8657 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8658 @tab hundrede@-otte@-og@-tyvendedels@-pause
8660 @item @strong{SE} @tab hundratjugoåttondelsnot
8661 @tab hundratjugoåttondelspaus
8663 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8664 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8669 @multitable @columnfractions .10 .35 .35 .20
8671 @headitem Lang. @tab Note name
8674 @item @strong{US} @tab two-hundred-fifty-sixth note
8675 @tab two-hundred-fifty-sixth rest
8677 @item @strong{UK} @tab demisemihemidemisemiquaver
8678 @tab demisemihemidemisemiquaver rest
8680 @item @strong{ES} @tab semigarrapatea
8681 @tab silencio de semigarrapatea @tab -
8682 @item @strong{IT} @tab semifusa
8683 @tab pausa di semifusa
8685 @item @strong{FR} @tab sextuple croche
8686 @tab soixante-quatrième de soupir @tab -
8687 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8688 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8689 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8690 @tab tweehonderd@-zesenvijftigste rust
8692 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8693 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8695 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8696 @tab tvåhundra@-femtiosjättedelspaus
8698 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8699 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8705 @ref{mensural notation}
8709 @chapter Pitch names
8712 -is/-es endings for Danish per Rune Zedeler, pace,
8713 and for Finnish per Risto Vääräniemi;
8714 -iss/-ess endings for Swedish per Mats Bengtsson
8715 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8717 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8718 multiple lines -- as texinfo needs it to allow enough space for the
8719 table entries. (For the curious, it's a list of the widest items in
8720 each column of the table. Romance pitch names are two characters,
8721 except for g (sol) ... so there you go.)
8724 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8725 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8726 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8727 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8728 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8729 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8730 @tab des @tab des @tab dess @tab des
8731 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8732 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8733 @tab dis @tab dis @tab diss @tab dis
8734 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8735 @tab es @tab es @tab ess @tab es
8736 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8737 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8738 @tab Fes @tab fes @tab fes @tab fess @tab fes
8739 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8740 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8741 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8742 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8743 @tab fis @tab fis @tab fiss @tab fis
8744 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8745 @tab ges @tab ges @tab gess @tab ges
8746 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8747 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8748 @tab Gis @tab gis @tab gis @tab giss @tab gis
8749 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8750 @tab as @tab as @tab ass @tab as
8751 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8752 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8753 @tab ais @tab ais @tab aiss @tab ais
8754 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8755 @tab bes @tab b @tab b @tab b
8756 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8757 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8758 @tab ces @tab ces @tab cess @tab ces
8759 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8760 @tab His @tab bis @tab his @tab hiss @tab his
8764 @node Literature used
8765 @appendix Literature used
8768 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8769 Cambridge: Belknap Press (Harvard University Press), 1944.
8771 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8774 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8775 Terminologie}. Kassel, 1980.
8777 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8778 Current English}, 3rd ed. London: Oxford University Press, 1974.
8780 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8781 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8783 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8784 Cambridge: Belknap Press (Harvard University Press), 1986.
8786 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
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