1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (music-glossary). Glossary of music terms.
18 @author Christian Mondrup @c Original author of LilyPond glossary
20 @author François Pinard @c Original glossary of GNU music project,
22 @author Mats Bengtsson @c Swedish glossary
23 @author David González @c Spanish glossary
24 @author Bjoern Jacke @c German glossary
25 @author Neil Jerram @c English glossary translations
26 @author Heikki Junes @c Finnish glossary
27 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
28 @author Adrian Mariano @c Italian glossary
29 @author Han-Wen Nienhuys @c Dutch glossary
30 @author Jan Nieuwenhuizen @c Dutch glossary
32 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
33 @c Updates to the German translation by Till Rettig, 12/07
35 Copyright @copyright{} 1999--2009 by the authors
37 Permission is granted to copy, distribute and/or modify this document
38 under the terms of the GNU Free Documentation License, Version 1.1
39 or any later version published by the Free Software Foundation,
40 without Invariant Sections.
45 @c TODO: multiple omfcreators?
47 @omfcreator Christian Mondrup, Kurt Kroon
48 @omfdescription Glossary of musical terms with translations
50 @omfcategory Applications|Publishing
64 This document is also available as a
65 @uref{source/Documentation/music-glossary.pdf,PDF} and as
66 @uref{source/Documentation/music-glossary-big-page.html,one big page}.
69 This document is also available as a
70 @uref{source/Documentation/music-glossary.pdf,PDF} and as a
71 @uref{source/Documentation/music-glossary/index.html,HTML indexed multiple pages}.
75 This glossary was brought you by:
79 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
80 @item @b{François Pinard}: Original glossary of GNU music project, French,
82 @item @b{Han-Wen Nienhuys}: Dutch,
83 @item @b{Jan Nieuwenhuizen}: Dutch,
85 @item @b{Neil Jerram}: English,
86 @item @b{Kurtis Kroon}: English,
88 @item @b{Heikki Junes}: Finnish,
90 @item @b{Bjoern Jacke}: German,
92 @item @b{Adrian Mariano}: Italian,
94 @item @b{David González}: Spanish,
96 @item @b{Mats Bengtsson}: Swedish,
100 with additional contributions: thanks to all who have contributed.
104 The list is rather long ...
110 @item Rune Zedeler, @emph{pace}
123 @item Andrew Hawryluk
125 @item Kieren MacMillan
126 @item Patrick McCarty
128 @item Carl D. Sorensen
134 @item Risto Vääräniemi
140 @item Reinhold Kainhofer
143 @item Thomas Scharkowski
158 @item Simon Dahlbacka
165 Copyright 1999--2009 by the authors
167 Permission is granted to copy, distribute and/or modify this document
168 under the terms of the GNU Free Documentation License, Version 1.1
169 or any later version published by the Free Software Foundation,
170 without Invariant Sections.
176 @c @everyheading @| @thispage @|
177 @c @evenheading @thispage @| @|
178 @c @oddheading @| @| @thispage @|
180 This is the Music Glossary (MG) for LilyPond version @version{}.
181 For more information about how this fits with the other
184 @c @rlearning{About the documentation}.
190 @w{@expansion{}@strong{\word\}}@c
193 @expansion{}@ref{\word\, @strong{\word\}}@c
198 * Musical terms A-Z::
199 * Duration names notes and rests::
204 @node Musical terms A-Z
205 @chapter Musical terms A-Z
207 Languages in this order.
209 @item UK - British English (where it differs from American English)
238 * ancient minor scale::
243 * ascending interval::
245 * augmented interval::
282 * compound interval::
286 * conjunct movement::
301 * descending interval::
304 * diminished interval::
308 * disjunct movement::
310 * dissonant interval::
314 * dominant ninth chord::
315 * dominant seventh chord::
317 * dot (augmentation dot)::
319 * double appoggiatura::
321 * double dotted note::
324 * double time signature::
331 * ecclesiastical mode::
338 * equal temperament::
359 * functional harmony::
380 * inverted interval::
395 * long appoggiatura::
402 * meantone temperament::
409 * mensural notation::
414 * metronomic indication::
427 * multi-measure rest::
457 * polymetric time signature::
462 * Pythagorean comma::
493 * sixty-fourth note::
494 * sixty-fourth rest::
525 * thirty-second note::
526 * thirty-second rest::
533 * transposing instrument::
587 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
588 @notation{a due} indicates that:
592 @item A single part notated on a single staff that normally carries parts
593 for two players (e.g. first and second oboes) is to be played by both
596 @item Or conversely, that two pitches or parts notated on a staff that
597 normally carries a single part (e.g. first violin) are to be played by
598 different players, or groups of players (@q{desks}).
611 F: accelerando, en accélérant,
612 D: accelerando, schneller werden,
616 FI: accelerando, kiihdyttäen.
618 [Italian: @q{speed up, accelerate}]
636 FI: aksentti, korostus.
638 The stress of one tone over others.
652 @section acciaccatura
654 ES: mordente de una nota,
656 F: acciaccatura, appoggiature brève,
663 A grace note which takes its time from the rest or note preceding the
664 principal note to which it is attached. The acciaccatura is drawn as a
665 small eighth note (quaver) with a line drawn through the flag and stem.
668 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
674 ES: alteración accidental,
675 I: alterazione, accidente,
676 F: altération accidentelle,
677 D: Versetzungszeichen, Akzidenz,
678 NL: toevallig (verplaatsings)teken,
680 S: tillfälligt förtecken,
681 FI: tilapäinen etumerkki.
683 An accidental alters a note by:
687 @item Raising its pitch:
689 @item By two semitones—@notation{double sharp}
690 @item By one semitone—@notation{sharp}
693 @item Lowering its pitch:
695 @item By one semitone—@notation{flat}
696 @item By two semitones—@notation{double flat}
699 @item Or canceling the effects of the key signature or previous accidentals.
702 @lilypond[quote,notime]
706 \set Staff.extraNatural = ##f
707 gisis1 gis g! ges geses
712 \center-column { double sharp }
718 \center-column { double flat }
724 \override SpacingSpanner
725 #'base-shortest-duration = #(ly:make-moment 1 32)
732 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
745 FI: adagio, hitaasti.
747 [Italian: @q{comfortable, easy}]
751 @item Slow tempo, slower -- especially in even meter -- than
752 @notation{andante} and faster than @notation{largo}.
754 @item A movement in slow tempo, especially the second (slow) movement
755 of sonatas, symphonies, etc.
760 @ref{andante}, @ref{largo}, @ref{sonata}.
768 F: al niente, en mourant,
773 FI: häviten olemattomiin.
775 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
776 that the sound should fade away to nothing.
778 @notation{Al niente} is indicated by circling the tip of the hairpin:
780 @lilypond[quote,relative=2]
781 \override Hairpin #'circled-tip = ##t
787 or with the actual phrase @notation{al niente}:
789 @lilypond[quote,relative=2]
791 \override DynamicTextSpanner #'(bound-details right text) =
792 \markup { \italic { al niente } }
798 Since one does not crescendo @emph{to} nothing, it is not correct to use
799 @notation{al niente} with @notation{crescendo}. Instead, one should use
800 @emph{dal niente} (@notation{@b{from} nothing}).
803 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
811 F: alla breve, à la brève,
818 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
820 Also called @notation{in cut-time}. The name derives from mensural
821 notation, where the @notation{tactus} (or beat) is counted on the semibreve
822 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
823 next longest note value, which (in modern usage) effectively halves all note
826 In mensural notation, breves and semibreves can have a ternary relationship,
827 in which case @notation{alla breve} means thrice (not twice) as fast. In
828 practice, this complication may not have mattered, since Gaffurius's system
829 of multiplex proportions makes it easy to explicitly state which proportion
833 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
834 @ref{proportion}, @ref{whole note}.
842 F: allegro, gaiement,
843 D: Allegro, Schnell, Fröhlich, Lustig,
847 FI: allegro, nopeasti.
849 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
850 quick tempo, especially the first and last movements of a sonata.
863 NL: verhoging of verlaging,
868 An alteration is the modification, raising or lowering, of a note's
869 pitch. It is established by an accidental.
871 @c TODO: add second meaning from mensural notation
887 FI: altto, matala naisääni.
889 A female voice of low range (@emph{contralto}). Originally the alto was a
890 high male voice (hence the name), which by castration or the use of falsetto
891 reached the height of the natural female voice. This type of voice is also
892 known as countertenor.
901 ES: clave de do en tercera,
902 I: chiave di contralto,
903 F: clef d'ut troisième ligne,
904 D: Altschlüssel, Bratschenschlüssel,
910 C clef setting middle C on the middle line of the staff.
921 F: ambitus, tessiture,
926 FI: ambitus, ääniala, soitinala.
928 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
929 Denotes a range of pitches for a given voice in a part of music. It may
930 also denote the pitch range that a musical instrument is capable of playing.
931 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
949 An anacrusis (also known as pickup or upbeat) is an incomplete measure
950 of music before a section of music. It also refers to the initial
951 note(s) of a melody occurring in that incomplete measure.
953 @lilypond[quote,relative=1]
964 @ref{measure}, @ref{meter}.
967 @node ancient minor scale
968 @section ancient minor scale
970 ES: escala menor natural,
971 I: scala minore naturale,
972 F: forme du mode mineur ancien, troisème mode, mode hellénique,
973 D: reines Moll, natürliches Moll,
974 NL: authentieke mineurtoonladder,
977 FI: luonnollinen molliasteikko.
979 Also called @q{natural minor scale}.
981 @lilypond[quote,notime,relative=2]
987 @ref{diatonic scale}.
1000 FI: andante, käyden.
1002 [Italian: present participle of @emph{andare}, @q{to walk}]
1004 Walking tempo/character.
1007 No cross-references.
1011 @section appoggiatura
1015 F: appoggiature, (port de voix),
1016 D: Vorschlag, Vorhalt
1020 FI: appoggiatura, etuhele.
1022 Ornamental note, usually a second, that is melodically connected with
1023 the main note following it. In music before the 19th century
1024 appoggiature were usually performed on the beat, after that mostly
1025 before the beat. While the short appoggiatura is performed as a short
1026 note regardless of the duration of the main note the duration of the
1027 long appoggiatura is proportional to that of the main note.
1029 @lilypond[quote,relative=2]
1032 <d a fis>4_"notation" r
1039 \set Score.measurePosition = #ZERO-MOMENT
1040 <d, a fis>4_"performance" r
1046 An appoggiatura may have more notes preceding the main note.
1048 @lilypond[quote,relative=2]
1051 \grace bes16 as8-"notation" as16 bes as8 g |
1052 \grace { as16[( bes] } <c as>4)
1053 \grace { as16[( bes] } <c as>4) \bar "||"
1055 \grace bes16 as8-"performance" as16 bes as8 g |
1059 as32 bes c8. as32 bes c8.
1063 as16 ~ as8. as16 ~ as8.
1069 No cross-references.
1078 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1079 NL: gebroken akoord,
1080 DK: arpeggio, akkordbrydning,
1082 FI: arpeggio, murtosointu.
1084 [Italian: @q{harp-like, played like a harp}]
1086 @lilypond[quote,line-width=13\cm]
1088 \context Staff = "SA" {
1092 r8 g16 c e g, c e r8 g,16 c e g, c e
1093 r8 a,16 d f a, d f r8 a,16 d f a, d f
1097 \context Staff = "SB" {
1103 r16 e8. ( e4) r16 e8. ( e4)
1104 r16 d8. ( d4) r16 d8. ( d4)
1118 No cross-references.
1122 @section articulation
1131 FI: artikulaatio, ilmaisu.
1133 Articulation refers to notation which indicates how a note or notes
1134 should be played. Slurs, accents, staccato, and legato are all
1135 examples of articulation.
1138 No cross-references.
1141 @node ascending interval
1142 @section ascending interval
1144 ES: intervalo ascendente,
1145 I: intervallo ascendente,
1146 F: intervalle ascendant,
1147 D: steigendes Intervall,
1148 NL: stijgend interval,
1149 DK: stigende interval,
1150 S: stigande intervall,
1151 FI: nouseva intervalli.
1153 A distance between a starting lower note and a higher ending note.
1156 No cross-references.
1159 @node augmented interval
1160 @section augmented interval
1162 ES: intervalo aumentado,
1163 I: intervallo aumentato,
1164 F: intervalle augmenté,
1165 D: übermäßiges Intervall,
1166 NL: overmatig interval,
1167 DK: forstørret interval,
1168 S: överstigande intervall,
1169 FI: ylinouseva intervalli.
1176 @section augmentation
1185 FI: aika-arvojen pidentäminen.
1187 @c TODO: add definition.
1189 This is a placeholder for augmentation (wrt mensural notation).
1192 @ref{diminution}, @ref{mensural notation}.
1200 F: manuscrit, autographe
1201 D: Autograph, Handschrift,
1203 DK: håndskrift, autograf,
1205 FI: käsinkirjoitettu nuotti.
1209 @item A manuscript written in the composer's own hand.
1211 @item Music prepared for photoreproduction by freehand drawing, with
1212 the aid of a straightedge ruler and T-square only, which attempts to
1213 emulate engraving. This required more skill than did engraving.
1218 No cross-references.
1236 @ref{H}, @ref{Pitch names}
1256 ES: barra, línea divisoria,
1257 I: stanghetta, barra (di divisione),
1258 F: barre (de mesure),
1265 A vertical line through the staff (or through multiple staves) that
1266 separates measures. Used very infrequently during the Renaissance (mostly
1267 in secular music, or in sacred music to indicate congruences between parts
1268 in otherwise-unmetered music).
1284 FI: baritoni, keskikorkuinen miesääni.
1286 The male voice intermediate in pitch between the bass and the tenor.
1288 @c F: clef de troisième ligne dropped
1291 @ref{bass}, @ref{tenor}.
1295 @section baritone clef
1297 ES: clave de fa en tercera,
1298 I: chiave di baritono,
1299 F: clef d'ut cinquième ligne, clef de fa troisième,
1300 D: Baritonschlüssel,
1306 C or F clef setting middle C on the upper staff line.
1309 @ref{C clef}, @ref{F clef}.
1322 FI: basso, matala miesääni.
1326 @item The lowest male voice.
1328 @item Sometimes, especially in jazz music, used as an abbreviation for
1340 ES: clave de fa en cuarta,
1342 F: clef de fa quatrième ligne,
1349 A clef setting with middle C on the first top ledger line.
1358 ES: barra (de corcheas),
1360 F: ligature, barre (de croches),
1367 Line connecting a series of notes (shorter than a quarter note). The
1368 number of beams determines the note value of the connected notes.
1370 @lilypond[quote,notime,relative=2,line-width=13\cm]
1371 g8-"1/8"[ g g g] s16
1372 g16-"1/16"[ g g g] s
1373 g32-"1/32"[ s g s g s g] s16
1374 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1378 @ref{feathered beam}.
1384 ES: tiempo, parte (de compás)
1387 D: Takt, Taktschlag, Zeit (im Takt),
1393 Note value used for counting, most often half-, fourth-, and eighth notes.
1394 The base counting value and the number of them in each measure is indicated
1395 at the start of the music by the @notation{time signature}.
1397 @lilypond[quote,relative=2]
1400 g4 c b a | g1 \bar "||"
1402 g8 d' c | b c a | g4. \bar "||"
1406 @ref{time signature}.
1410 @section beat repeat
1413 @ref{percent repeat}.
1426 ES: llave, corchete,
1429 D: Klammer, Akkolade,
1430 NL: accolade, teksthaak,
1433 FI: yhdistävä sulkumerkki.
1435 Symbol at the start of a system connecting staves.
1437 Curly braces are used for connecting piano staves, and sometimes for connecting
1438 the staves of like instruments in an orchestral score when written on different
1439 staves (e.g. first and second flutes):
1443 \context Staff = "SA" {
1449 \context Staff = "SB" {
1459 Angular brackets for connecting parts in an orchestral or choral score:
1463 \context Staff = "SA" {
1469 \context Staff = "SB" {
1480 No cross-references.
1487 I: parentesi quadra,
1505 NL: koper (blazers),
1508 S: brassinstrument, mässingsinstrument,
1511 A family of blown musical instruments made of brass, all using a cup
1512 formed mouth piece. The brass instruments commonly used in a symphony
1513 orchestra are trumpet, trombone, french horn, and tuba.
1516 No cross-references.
1520 @section breath mark
1525 D: Atemzeichen, Trennungszeichen,
1526 NL: repercussieteken,
1527 DK: vejrtrækningstegn,
1531 Indication of where to breathe in vocal and wind instrument parts.
1541 @item US: breve, double-whole note
1542 @item ES: cuadrada, breve
1549 @item FI: brevis, kaksoiskokonuotti
1552 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1554 Mainly used in music from before 1650. In mensural notation, it was a note
1555 of fairly short duration—hence the name, which is Latin for @q{short} or
1556 @q{of short duration}.
1558 @lilypond[quote,notime,relative=2]
1563 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1596 Clef symbol indicating the position of the middle C. Used on all note
1599 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1601 \override Staff.Clef #'full-size-change = ##t
1603 \clef mezzosoprano c1
1609 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1610 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1615 No cross-references.
1628 FI: kadenssi, lopuke.
1631 @ref{harmonic cadence}, @ref{functional harmony}.
1644 FI: kadenssi, lopuke.
1646 An extended, improvisatory style section inserted near the end of
1647 movement. The purpose of a cadenza is to give singers or players a
1648 chance to exhibit their technical skill and -- not last -- their
1649 ability to improvise. Since the middle of the 19th century, however,
1650 most cadenzas have been written down by the composer.
1653 No cross-references.
1668 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1670 The break between two musical phrases, sometimes (but not always) marked by a
1671 rest or a breath mark.
1687 FI: kaanon, tarkka jäljittely.
1703 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1704 viritysjärjestelmässä.
1706 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1707 an octave (1/100 of an equally tempered semitone).
1710 @ref{equal temperament}, @ref{semitone}.
1732 Three or more tones sounding simultaneously. In traditional European music
1733 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1734 (major + minor third) as well as @emph{minor} (minor + major third) chords
1735 may be extended with more thirds. Four-tone @emph{seventh chords} and
1736 five-tone @emph{ninth} major chords are most often used as dominants
1737 (functional harmony). Chords having no third above the lower notes to
1738 define their mood are a special case called @q{open chords}. The lack of
1739 the middle third means their quality is ambivalent -- neither major nor
1742 @lilypond[quote,notime,line-width=13.0\cm]
1746 \set Staff.extraNatural = ##f
1767 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1771 @node chromatic scale
1772 @section chromatic scale
1774 ES: escala cromática,
1776 F: gamme chromatique,
1777 D: chro@-ma@-ti@-sche Tonleiter,
1778 NL: chromatische toonladder,
1779 DK: kromatisk skala,
1781 FI: kromaattinen asteikko.
1783 A scale consisting of all 12 semitones.
1785 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1786 c1 cis d dis e f fis g gis a ais b c
1794 @section chromaticism
1805 Using tones extraneous to a diatonic scale (minor, major).
1808 @ref{diatonic scale}.
1812 @section church mode
1814 ES: modo eclesiástico,
1815 I: modo ecclesiastico,
1816 F: mode ecclésiastique, mode d'église,
1821 FI: moodi, kirkkosävellaji.
1824 @ref{diatonic scale}.
1833 D: Schlüssel, Notenschlüssel,
1837 FI: avain, nuottiavain.
1839 The clef indicates which lines of the staff correspond to which
1840 pitches. The three clef symbols in common use are:
1845 \line { The Treble or G clef: }
1847 \line { The Bass or F clef: }
1849 \line { The Alto or C clef: }
1853 \musicglyph #"clefs.G"
1855 \musicglyph #"clefs.F"
1857 \musicglyph #"clefs.C"
1862 Imagine a large staff of 11 lines centered on middle C, sometimes
1863 called a @q{grand staff}, with the bottom line representing low G and
1864 the top line high F:
1869 %-- Note names above treble staff --%
1871 \set printOctaveNames = ##t
1873 \once \override NoteName #'color = #red
1877 %-- Treble Staff --%
1879 \override Staff.Clef #'stencil = ##f
1885 %-- Alto Staff reduced to a single line on middle C --%
1887 \override Staff.StaffSymbol #'line-count = #1
1888 \override Staff.StaffSymbol #'color = #red
1889 \override Staff.Clef #'stencil = ##f
1892 \override NoteHead #'color = #red
1898 \override Staff.Clef #'stencil = ##f
1907 \override SpacingSpanner
1908 #'base-shortest-duration = #(ly:make-moment 1 1)
1909 \override NonMusicalPaperColumn
1910 #'line-break-system-details = #'((alignment-distances . (3 3)))
1911 \override BarLine #'stencil = ##f
1915 \remove "Time_signature_engraver"
1921 Staves of five lines are usually used, and the clef superimposed on them
1922 indicates which five lines have been selected from this @notation{grand
1923 staff}. For example, the treble or G clef indicates that the top five lines
1929 %-- Note names above treble staff --%
1931 \set printOctaveNames = ##t
1933 \once \override NoteName #'color = #red
1938 %-- Treble Staff --%
1940 \once \override Staff.Clef #'stencil = ##f
1943 \override Staff.Clef #'full-size-change = ##t
1944 \set Staff.forceClef = ##t
1948 %-- Alto Staff reduced to a single line on middle C --%
1950 \override Staff.StaffSymbol #'line-count = #1
1951 \override Staff.StaffSymbol #'color = #red
1952 \override Staff.Clef #'stencil = ##f
1955 \override NoteHead #'color = #red
1960 \override Staff.Clef #'stencil = ##f
1968 \override SpacingSpanner
1969 #'base-shortest-duration = #(ly:make-moment 2 1)
1970 \override NonMusicalPaperColumn
1971 #'line-break-system-details = #'((alignment-distances . (3 3)))
1972 \override BarLine #'stencil = ##f
1976 \remove "Time_signature_engraver"
1982 The @q{curl} of the G clef is centered on the line that represents the
1985 In the same way, the bass or F clef indicates that the bottom five lines
1986 have been selected from the @notation{grand staff}, and the alto or C clef
1987 indicates the middle five lines have been selected. This relationship is
1988 shown below, where the notes show an arpeggio on a C major chord.
1993 %-- Treble Staff --%
2001 \override Staff.StaffSymbol #'line-count = #1
2002 \once \override Staff.Clef #'stencil = ##f
2007 \revert Staff.StaffSymbol #'stencil
2008 \override Staff.StaffSymbol #'color = #red
2011 \stopStaff \startStaff
2012 \revert Staff.StaffSymbol #'line-count
2013 \revert Staff.StaffSymbol #'color
2014 \stopStaff \startStaff
2015 \override Staff.Clef #'full-size-change = ##t
2016 \set Staff.forceClef = ##t
2031 \override SpacingSpanner #'base-shortest-duration =
2032 #(ly:make-moment 2 1)
2033 \override NonMusicalPaperColumn
2034 #'line-break-system-details = #'((alignment-distances . (3 3)))
2035 \override BarLine #'stencil = ##f
2039 \remove "Time_signature_engraver"
2046 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2059 FI: klusteri, cluster.
2061 A @emph{cluster} is a range of simultaneously sounding pitches that
2062 may change over time. The set of available pitches to apply usually
2063 depends on the acoustic source. Thus, in piano music, a cluster
2064 typically consists of a continuous range of the semitones as provided
2065 by the piano's fixed set of a chromatic scale. In choral music, each
2066 singer of the choir typically may sing an arbitrary pitch within the
2067 cluster's range that is not bound to any diatonic, chromatic or other
2068 scale. In electronic music, a cluster (theoretically) may even cover
2069 a continuous range of pitches, thus resulting in colored noise, such
2072 Clusters can be denoted in the context of ordinary staff notation by
2073 engraving simple geometrical shapes that replace ordinary notation of
2074 notes. Ordinary notes as musical events specify starting time and
2075 duration of pitches; however, the duration of a note is expressed by
2076 the shape of the note head rather than by the horizontal graphical
2077 extent of the note symbol. In contrast, the shape of a cluster
2078 geometrically describes the development of a range of pitches
2079 (vertical extent) over time (horizontal extent). Still, the
2080 geometrical shape of a cluster covers the area in which any single
2081 pitch contained in the cluster would be notated as an ordinary note.
2083 @lilypond[quote,relative=2]
2084 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2088 No cross-references.
2101 FI: komma, korvinkuultava ero äänenkorkeudessa.
2103 Difference in pitch between a note derived from pure tuning and the
2104 same note derived from some other tuning method.
2107 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2112 @section common meter
2114 Another name for @ref{common time}.
2117 @ref{common time}, @ref{meter}.
2121 @section common time
2132 4/4 time. The symbol, which resembles a capital letter C, comes from
2136 @ref{mensural notation}, @ref{meter}.
2142 ES: intervalo invertido,
2144 F: intervalle complémentaire,
2145 D: Komplementärintervall,
2146 NL: complementair interval,
2147 DK: komplementærinterval,
2148 S: komplementärintervall (?),
2149 FI: täydentävä intervalli.
2152 @ref{inverted interval}.
2155 @node compound interval
2156 @section compound interval
2158 ES: intervalo compuesto,
2159 I: intervallo composto,
2160 F: intervalle composé,
2161 D: weites Intervall,
2162 NL: samengesteld interval,
2163 DK: sammensat interval,
2164 S: sammansatt intervall,
2165 FI: oktaavia laajempi intervalli.
2167 Intervals larger than an octave.
2173 @node compound meter
2174 @section compound meter
2176 ES: compás compuesto, compás de subdivisión ternaria,
2183 FI: kolmijakoinen tahtilaji.
2185 A meter that includes a triplet subdivision within the beat, such as
2189 @ref{meter}, @ref{simple meter}.
2193 @section compound time
2195 ES: compás compuesto, compás de amalgama (def. 2),
2202 FI: yhdistetty tahtilajiosoitus.
2207 A meter that includes a triplet subdivision within the beat: see
2208 @ref{compound meter}.
2211 A time signature that additively combines two or more unequal meters, e.g.,
2212 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2216 @lilypond[quote,line-width=13.0\cm]
2217 #(define ((compound-time one two three num) grob)
2218 (grob-interpret-markup grob
2220 #:override '(baseline-skip . 0)
2223 #:left-column (one num)
2225 #:left-column (two num)
2227 #:left-column (three num)))))
2231 #(set-time-signature 8 8 '(3 2 3))
2232 \override Staff.TimeSignature #'stencil =
2233 #(compound-time "3" "2" "3" "8")
2241 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2245 @section concert pitch
2247 ES: en Do, tono de concierto,
2248 I: intonazione reale,
2249 F: tonalité de concert, en ut,
2254 FI: konserttikorkeus.
2256 The pitch at which the piano and other nontransposing instruments play: such
2257 instruments are said to be @q{in C}. The following list includes some (but not
2258 all) instruments that play in concert pitch:
2260 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2262 @multitable {bassoon} {violoncello}
2263 @headitem Woodwinds @tab Strings
2282 @ignore This needs to be reworked.
2283 The trombones are a special case: although they are said to be @q{in F} (alto or
2284 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2285 their parts' transposition. (In fact, the trombones' parts are written at
2286 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2287 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2291 Instruments that play @q{in C} but in a different octave than what is written
2292 are, technically speaking, @emph{transposing instruments}:
2296 @item piccolo (plays an octave higher than written)
2297 @item celesta (plays an octave higher than written)
2298 @item classical guitar (plays an octave lower than written)
2299 @item double bass (plays an octave lower than written)
2304 @ref{transposing instrument}.
2307 @node conjunct movement
2308 @section conjunct movement
2310 ES: movimiento conjunto,
2312 F: mouvement conjoint,
2313 D: schritt@-weise, stufenweise Bewegung,
2314 NL: stapsgewijze, trapsgewijze beweging,
2315 DK: trinvis bevægelse,
2317 FI: asteittainen liike.
2319 Progressing melodically by intervals of a second, as contrasted with
2320 @emph{disjunct movement}.
2322 @lilypond[quote,relative=2,line-width=13.0\cm]
2325 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2329 @ref{disjunct movement}.
2342 FI: konsonanssi, sopusointi.
2365 @section copying music
2367 A music copyist did fast freehand scores and parts on preprinted staff
2368 lines for performance. Some of their conventions (e.g., the placement
2369 of note heads on stems) varied slightly from those of engravers. Some
2370 of their working methods were superior and could well be adopted by
2373 @c Copying music required more skill than engraving. Flagged for NPOV
2376 No cross-references.
2380 @section counterpoint
2389 FI: kontrapunkti, ääni ääntä vastaan.
2391 From Latin @emph{punctus contra punctum}, note against note. The
2392 combination into a single musical fabric of lines or parts which have
2393 distinct melodic significance. A frequently used polyphonic technique
2394 is imitation, in its strictest form found in the canon needing only
2395 one part to be written down while the other parts are performed with a
2396 given displacement. Imitation is also the contrapuntal technique
2397 used in the @emph{fugue} which, since the music of the baroque era,
2398 has been one of the most popular polyphonic composition methods.
2400 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2402 \context Staff = SA \relative c' {
2406 << \context Voice = rha {
2408 r1 | r2 r8 g'8 bes d, |
2409 cis4 d r8 e!16 f g8 f16 e |
2410 f8 g16 a bes8 a16 g a8
2412 \context Voice = rhb {
2418 \context Staff = SB \relative c' {
2421 << \context Voice = lha {
2423 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2424 r8 a16 g f8 g16 a bes8 g e! cis' |
2427 \context Voice = lhb {
2436 No cross-references.
2440 @section countertenor
2445 D: Countertenor, Kontratenor,
2448 S: kontratenor, counter tenor,
2461 D: Crescendo, lauter werden,
2465 FI: cresendo, voimistuen.
2467 Increasing volume. Indicated by a rightwards opening horizontal wedge
2468 (hairpin) or the abbreviation @notation{cresc.}.
2470 @lilypond[quote,relative=2]
2473 g4\< a b c | d1\! \bar "|."
2477 @ref{decrescendo}, @ref{hairpin}.
2485 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2492 Notes belonging to one part printed in another to hint when to start
2493 playing. Usually printed in a smaller type.
2496 Compare: @ref{ossia}.
2505 D: Notenzeiger, Custos,
2511 A custos (plural: custodes) is a staff symbol that appears at the end of a
2512 staff line with monophonic musical contents (i.e., with a single voice). It
2513 anticipates the pitch of the first note of the following line and thus helps
2514 the player or singer to manage line breaks during performance, which
2515 enhances the readability of a score.
2517 Custodes were frequently used in music notation until the 16th century.
2518 There were different appearences for different notation styles. Nowadays,
2519 they have survived only in special forms of musical notation such as the
2520 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2522 @lilypond[quote,ragged-right]
2525 \override Staff.Custos #'neutral-direction = #DOWN
2526 \override Staff.Custos #'style = #'hufnagel
2533 \consists "Custos_engraver"
2540 No cross-references.
2573 F: da capo, depuis le commencement,
2574 D: da capo, von Anfang,
2578 FI: da capo, alusta.
2580 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2581 the beginning to the end or to a certain place marked @emph{fine}.
2584 No cross-references.
2590 ES: dal niente, de la nada,
2597 FI: tyhjästä ilmaantuen.
2599 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2600 that the sound should gradually increase from nothing.
2611 F: dal segno, depuis le signe,
2612 D: dal segno, ab dem Zeichen,
2616 FI: dal segno, lähtien merkistä.
2618 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2619 another place frequently near the beginning marked by a sign
2622 @lilypond[quote,relative=2]
2630 \musicglyph #"scripts.segno"
2636 No cross-references.
2640 @section decrescendo
2644 D: Decrescendo, leiser werden,
2648 FI: decresendo, hiljentyen.
2650 Decreasing tone volume. Indicated by a leftwards opening horizontal
2651 wedge (hairpin) or the abbreviation @notation{decresc.}.
2653 @lilypond[quote,relative=2]
2656 d4\> c b a | g1 \! \bar "|."
2660 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2663 @node descending interval
2664 @section descending interval
2666 ES: intervalo descendente,
2667 I: intervallo discendente,
2668 F: intervalle descendant,
2669 D: fallendes Intervall, absteigendes Intervall,
2670 NL: dalend interval,
2671 DK: faldende interval,
2672 S: fallande intervall,
2673 FI: laskeva intervalli.
2675 A distance between a starting higher note and a lower ending note.
2678 No cross-references.
2681 @node diatonic scale
2682 @section diatonic scale
2684 ES: escala diatónica,
2686 F: gamme diatonique,
2687 D: diatonische Tonleiter,
2688 NL: diatonische toonladder,
2689 DK: diatonisk skala,
2691 FI: diatoninen asteikko.
2693 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2694 played on the white keys of a piano keybord are diatonic. These scales
2695 are sometimes called, somewhat inaccurately, @q{church modes}).
2697 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2698 but also to some extent in newer jazz music.
2700 @lilypond[quote,notime,relative=1]
2704 e^"~~ S" f g a b^"~~ S" c
2712 @lilypond[quote,notime,relative=1]
2716 e^"~~ S" f g a b^"~~ S" c d
2724 @lilypond[quote,notime,relative=1]
2727 e1^"~~ S" f g a b^"~~ S" c d e
2735 @lilypond[quote,notime,relative=1]
2739 b^"~~ S" c d e^"~~ S" f
2747 @lilypond[quote,notime,relative=2]
2751 b^"~~ S" c d e^"~~ S" f g
2759 @lilypond[quote,notime,relative=2]
2763 b^"~~ S" c d e^"~~ S" f g a
2771 @lilypond[quote,notime,relative=2]
2774 b1^"~~ S" c d e^"~~ S" f g a b
2782 From the beginning of the 17th century the scales used in European
2783 compositional music are primarily the major and the minor scales. In
2784 the harmonic minor scale type an augmented second (A) occurs between
2785 the 6th and 7th tone.
2787 @lilypond[quote,notime,relative=1]
2791 e^"~~ S" f g a b^"~~ S" c
2799 @lilypond[quote,notime,relative=2]
2803 b^"~~ S" c d e^"~~ S" f g a
2806 "Ancient (or Natural) minor"
2811 @lilypond[quote,notime,relative=2]
2815 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2823 @lilypond[quote,notime,relative=2]
2827 b^"~~ S" c d e fis gis^"~~ S" a
2830 "Melodic minor ascending"
2835 @lilypond[quote,notime,relative=3]
2839 g! f!^"~~ S" e d c^"~~ S" b a
2842 "Melodic minor descending"
2848 @ref{semitone}, @ref{whole tone}.
2852 @section didymic comma
2855 @ref{syntonic comma}.
2858 @node diminished interval
2859 @section diminished interval
2861 ES: intervalo disminuido,
2862 I: intervallo diminuito,
2863 F: intervalle diminué,
2864 D: vermindertes Intervall,
2865 NL: verminderd interval,
2866 DK: formindsket interval,
2867 S: förminskat intervall,
2868 FI: vähennetty intervalli.
2879 F: diminuendo, en diminuant,
2884 FI: diminuendo, hiljentyen.
2900 FI: aika-arvojen tihennys.
2902 This is a stub for diminution (@emph{wrt} mensural notation).
2905 @ref{augmentation}, @ref{mensural notation}.
2924 @node disjunct movement
2925 @section disjunct movement
2927 ES: movimiento disjunto,
2929 F: mouvement disjoint,
2930 D: sprunghafte Bewegung,
2931 NL: sprongsgewijze beweging,
2932 DK: springende bevægelse,
2933 S: hoppande rörelse,
2934 FI: melodian hyppivä liike.
2936 Progressing melodically by intervals larger than a major second, as contrasted
2937 with conjunct movement.
2939 @lilypond[quote,relative=1]
2943 a4. gis8 b a e cis |
2949 @ref{conjunct movement}.
2955 Another name for @ref{dissonant interval}.
2958 @ref{dissonant interval}, @ref{harmony}.
2961 @node dissonant interval
2962 @section dissonant interval
2964 ES: intervalo disonante, disonancia,
2965 I: intervallo dissonante, dissonanza,
2966 F: intervalle dissonant, dissonance,
2968 NL: dissonant interval, dissonant,
2969 DK: dissonerende interval, dissonans,
2971 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2989 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2990 vertical stroke through part or all of the staff that serves to
2991 structure a chant into phrases and sections. There are four types:
2995 @item @emph{divisio minima}, a short pause
2997 @item @emph{divisio maior}, a medium pause
2999 @item @emph{divisio maxima}, a long pause
3001 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3002 section in a long antiphonal or responsorial chant.
3006 TODO: musical example here?
3009 No cross-references.
3015 ES: elevación [de tono],
3024 Indicator for a indeterminately rising pitch bend. Compare with
3025 @emph{glissando}, which has determinate starting and ending pitches.
3028 @ref{fall}, @ref{glissando}.
3041 FI: dominantti, huippusointu.
3043 The fifth @emph{scale degree} in @emph{functional harmony}.
3046 @ref{functional harmony}, @ref{scale degree}.
3049 @node dominant ninth chord
3050 @section dominant ninth chord
3052 ES: acorde de novena de dominante,
3053 I: accordo di nona di dominante,
3054 F: accord de neuvième de dominante,
3055 D: Domi@-nant@-nonen@-akkord,
3056 NL: dominant noon akkoord,
3057 DK: dominantnoneakkord,
3058 S: dominantnonackord,
3059 FI: dominanttinoonisointu.
3062 @ref{chord}, @ref{functional harmony}.
3065 @node dominant seventh chord
3066 @section dominant seventh chord
3068 ES: acorde de séptima de dominante,
3069 I: accordo di settima di dominante,
3070 F: accord de septième de dominante,
3071 D: Dominantseptakkord,
3072 NL: dominant septiem akkoord,
3073 DK: dominantseptimakkord,
3074 S: dominantseptimackord,
3075 FI: dominanttiseptimisointu.
3078 @ref{chord}, @ref{functional harmony}.
3082 @section dorian mode
3087 D: dorisch, dorischer Kirchenton,
3088 NL: dorische toonladder,
3094 @ref{diatonic scale}.
3097 @node dot (augmentation dot)
3098 @section dot (augmentation dot)
3101 I: punto (di valore),
3103 D: Punkt (Verlängerungspunkt),
3110 @ref{dotted note}, @ref{note value}.
3114 @section dotted note
3116 ES: nota con puntillo,
3120 NL: gepuncteerde noot,
3123 FI: pisteellinen nuotti.
3129 @node double appoggiatura
3130 @section double appoggiatura
3132 ES: apoyatura doble,
3133 I: appoggiatura doppia,
3134 F: appoggiature double,
3135 D: doppelter Vorschlag,
3136 NL: dubbele voorslag,
3137 DK: dobbelt forslag,
3139 FI: kaksoisappogiatura, kaksoisetuhele.
3145 @node double bar line
3146 @section double bar line
3152 NL: dubbele maatstreep,
3155 FI: kaksoistahtiviiva.
3157 Indicates the end of a section within a movement.
3160 No cross-references.
3163 @node double dotted note
3164 @section double dotted note
3166 ES: nota con doble puntillo,
3167 I: nota doppiamente puntata,
3168 F: note doublement pointée,
3169 D: doppelt punktierte Note,
3170 NL: dubbelgepuncteerde noot,
3171 DK: dob@-belt@-punk@-te@-ret node,
3172 S: dub@-bel@-punk@-te@-rad not,
3173 FI: kaksoispisteellinen nuotti.
3180 @section double flat
3189 FI: kaksoisalennusmerkki.
3196 @section double sharp
3198 ES: doble sostenido,
3203 DK: dob@-belt@-kryds,
3205 FI: kaksoisylennysmerkki.
3211 @node double time signature
3212 @section double time signature
3214 ES: compás polimétrico,
3221 FI: kaksois-aika-arvomerkintä.
3224 @ref{polymetric time signature}.
3228 @section double trill
3234 NL: dubbele triller,
3239 A simultaneous trill on two notes, usually in the distance of a third.
3242 No cross-references.
3246 @section duple meter
3250 F: métrique binaire,
3251 D: in zwei, grader Takt,
3252 NL: tweedelige maatsoort,
3287 FI: kesto, aika-arvo.
3296 ES: dinámica, matices,
3299 D: Dynamik, Lautstärke,
3303 FI: äänen voimakkuusvaihtelu, dynamiikka.
3305 The aspect of music relating to degrees of loudness, or changes from
3306 one degree to another. The terms, abbreviations, and symbols used to
3307 indicate this information are called dynamic marks.
3310 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3332 @node ecclesiastical mode
3333 @section ecclesiastical mode
3336 @ref{church mode}, @ref{diatonic scale}.
3340 @section eighth note
3347 @item D: Achtel, Achtelnote
3348 @item NL: achtste noot
3349 @item DK: ottendedelsnode
3350 @item S: åttondelsnot
3351 @item FI: kahdeksasosanuotti
3359 @section eighth rest
3362 @item UK: quaver rest
3363 @item ES: silencio de corchea
3364 @item I: pausa di croma
3365 @item F: demi-soupir
3366 @item D: Achtelpause
3367 @item NL: achtste rust
3368 @item DK: ottendedelspause
3369 @item S: åttonddelspaus
3370 @item FI: kahdeksasosatauko
3380 @c TODO: add languages
3389 FI: tavujen yhdistäminen yhteen ääneen.
3391 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3392 @emph{συναλοιφην} @q{to smear together}].
3394 The singing of several syllables on a single note. Elision may be indicated
3395 by a lyric tie, which looks like (and serves the same function) as a musical
3403 @section embellishment
3415 D: Notenstich, Notendruck
3421 Engraving means incising or etching a metal plate for printing.
3422 Photoengraving means drawing music with ink in a manner similar to
3423 drafting or engineering drawing, using similar tools.
3425 The traditional process of music printing is done through cutting in a
3426 plate of metal. Now also the term for the art of music typesetting.
3429 No cross-references.
3444 Two notes, intervals, or scales are enharmonic if they have different
3445 names but equal pitch.
3447 @lilypond[quote,notime,line-width=13.0\cm]
3451 gis1 as <des g,!> <cis g!>
3455 "g sharp " "a flat " "dim fifth " "augm fourth"
3461 No cross-references.
3464 @node equal temperament
3465 @section equal temperament
3467 ES: temperamento igual,
3468 I: temperamento equabile,
3469 F: tempérament égal,
3470 D: gleichschwebende Stimmung,
3471 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3472 DK: ligesvævende temperatur,
3473 S: liksvävande temperatur,
3476 A tuning system that divides the octave into 12 equal semitones (each of
3477 which is precisely equal to 100 cents).
3480 @ref{cent}, @ref{semitone}, @ref{temperament}.
3483 @node expression mark
3484 @section expression mark
3487 I: segno d'espressione,
3488 F: signe d'expression, indication de nuance,
3490 NL: voordrachtsteken,
3491 DK: foredragsbetegnelse,
3492 S: föredragsbeteckning,
3493 FI: nyanssiosoitus, esitysmerkki.
3495 Performance indications concerning:
3499 @item volume, dynamics (for example, @notation{forte},
3500 @notation{crescendo}),
3502 @item tempo (for example, @notation{andante}, @notation{allegro}).
3507 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3511 @section extender line
3513 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3514 I: linea di estensione,
3515 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3522 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3523 extends text (without indicating the musical @emph{function} of that text).
3525 Used in many contexts, for example:
3529 @item In vocal music to indicate the syllable for a melisma. Called
3530 @q{extension} in the
3531 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3535 In figured bass to indicate that:
3539 @item The extended note should be held through a change in harmony, when applied
3540 to one figure --OR--
3541 @item The chord thus represented should be held above a moving bass line, when
3542 applied to more than one figure.
3543 @item These uses were not completely standardized, and some composers used a
3544 single extender line to indicate the latter case.
3549 In string music to indicate that all notes in the passage thus indicated should
3550 be played on the same string. On the violin, for example, a series of notes to
3551 be played on the G string would be indicated @notation{sul G}, another series to be
3552 played on the D string would be indicated @notation{sul D}, and so on.
3555 With an octave mark to indicate that a passage is to be played higher or lower
3556 by the given number of octaves.
3561 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3562 @ref{octave marking}.
3595 The position between the dots of the key symbol is the line of the F
3596 below central@w{ }C. Used on the third, fourth and fifth note line.
3597 A digit@w{ }8 above the clef symbol indicates that the notes must be
3598 played an octave higher (for example, bass recorder) while 8@w{ }below
3599 the clef symbol indicates playing an octave lower (for example, on the
3602 @lilypond[quote,notime,line-width=13.0\cm]
3605 \override Staff.Clef #'full-size-change = ##t
3628 @ref{baritone clef}, @ref{strings}.
3634 ES: caída [de tono],
3643 Indicator for a indeterminately falling pitch bend. Compare with
3644 @emph{glissando}, which has determinate starting and ending pitches.
3647 @ref{doit}, @ref{glissando}.
3650 @node feathered beam
3651 @section feathered beam
3653 ES: barra progresiva,
3655 F: ligature en soufflet, lien de croches en soufflet,
3656 D: gespreizter Balken,
3662 A type of beam used to indicate that a small group of notes should be
3663 played at an increasing or decreasing tempo -- depending on the
3664 direction of @q{feathering} -- but without changing the overall tempo
3668 Internals Reference: @ruser{Manual beams}
3674 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3678 F: point d'orgue, point d'arrêt,
3683 FI: fermaatti, pidäke.
3685 Prolonged note or rest of indefinite duration.
3687 @lilypond[quote,relative=2]
3694 No cross-references.
3714 @section figured bass
3717 I: basso continuo, basso numerato,
3718 F: basse chiffrée, basse continue,
3719 D: Generalbass, bezifferter Bass,
3720 NL: basso continuo, becijferde bas
3723 FI: kenraalibasso, numeroitu basso.
3725 Also called @q{thorough bass}.
3727 A method of indicating an accompaniment part by the bass notes only,
3728 together with figures designating the chief intervals and chords to be
3729 played above the bass notes.
3731 @lilypond[quote,line-width=13.0\cm]
3733 \new Staff = "rh" \with {
3735 \override StaffSymbol #'staff-space = #(magstep -3)
3741 \context Voice = "rha" {
3746 \context Voice = "rhb" {
3748 <bes g>8 as <as f> g <g es> f <d f> es
3753 \new Staff = "lh" \relative c' {
3756 es8 c d bes c as bes16 as g f
3760 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3766 @ref{chord}, @ref{interval}.
3781 Figures to the side or above the note that methodically indicate which
3782 fingers to use while playing a passage.
3785 No cross-references.
3792 I: coda (uncinata), bandiera,
3800 Ornament at the end of the stem of a note used for notes with values less
3801 than a quarter note. The number of flags determines the note value.
3803 @lilypond[quote,notime,relative=2]
3826 An articulation for string players that means the note or passage is to
3827 be played in harmonics.
3833 @item A duct flute similar to the recorder.
3835 @item An organ stop of flute scale at 1' or 2' pitch.
3840 @ref{articulation}, @ref{harmonics}.
3876 FI: forte, voimakkaasti.
3880 Abbreviated @notation{@b{f}}. Variants include:
3883 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3884 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3888 No cross-references.
3907 @node Frenched score
3908 @section Frenched score
3910 ES: partitura a la francesa,
3917 FI: partituuri francesan tapaan.
3919 A @q{condensed} score, produced by omitting staves for instruments that are not
3920 playing at the moment, and by moving up additional systems from following pages
3921 to take up the space thus liberated, which reduces the total number of pages
3922 used to print the work.
3924 The specific rules for @q{frenching} a score differ from publisher to publisher.
3925 If you are producing scores for eventual publication by a commercial publisher,
3926 you may wish to procure a copy of their style manual.
3929 @ref{Frenched staff}.
3932 @node Frenched staff
3933 @section Frenched staff
3935 ES: pentagrama a la francesa,
3942 FI: karsittu nuotinnus.
3944 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3945 Frenched staff has unneeded measures or sections removed. This is useful
3946 for producing, for example, an @emph{ossia} staff.
3952 @node Frenched staves
3953 @section Frenched staves
3955 Plural of @ref{Frenched staff}.
3974 @node functional harmony
3975 @section functional harmony
3977 ES: armonía funcional,
3978 I: armonia funzionale,
3979 F: étude des functions,
3981 NL: functionele harmonie,
3982 DK: funktionsanalyse, funktionsharmonik,
3984 FI: harmoniajärjestelmä.
3986 A system of harmonic analysis.
3988 It is based on the idea that, in a given key, there are only three
3989 functionally different chords: tonic (T, the chord on the first note of the
3990 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3991 chord on the fifth note). Others are considered to be variants of the base
3994 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3996 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3999 <g e c>1 <a f d> <b g e>
4000 <c a f> <d b g> <e c a> <f d b>
4004 \markup { D \translate #'(-2 . 0) | }
4010 No cross-references.
4037 D: G-Schlüssel, Violinschlüssel,
4043 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4044 second note lines. A digit 8 above the clef symbol indicates that the notes
4045 must be played an octave higher while 8 below the clef symbol indicates
4046 playing or singing an octave lower (used most frequently to notate the tenor
4047 part in modern choral scores).
4049 @lilypond[quote,notime]
4051 \override Staff.Clef #'full-size-change = ##t
4052 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4063 "french violin clef"
4071 No cross-references.
4084 FI: glissando, liukuen.
4086 Letting the pitch slide fluently from one note to the other.
4089 No cross-references.
4093 @section grace notes
4095 ES: notas de adorno,
4097 F: ornement, fioriture,
4098 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4104 Notes printed in small types to indicate that their time values are not
4105 counted in the rhythm of the bar.
4108 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4113 @section grand staff
4115 ES: sistema de piano,
4117 F: système [de portées], accolade,
4118 D: Akkolade, Klaviersystem,
4121 S: ackolad, böjd klammer,
4122 FI: kaksoisnuottiviivasto.
4124 A combination of two staves with a brace. Usually used for piano music.
4140 FI: grave, raskaasti.
4142 [Italian] Slow, solemn.
4145 No cross-references.
4169 Letter name used for @notation{B natural} in German and Scandinavian
4170 usage. In the standard usage of these countries, @notation{B} means
4174 @ref{Pitch names}, @ref{B}.
4180 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4183 @lilypond[quote,relative=2]
4190 @ref{crescendo}, @ref{decrescendo}.
4201 @item D: Halbe, halbe Note,
4202 @item NL: halve noot,
4205 @item FI: puolinuotti.
4216 @item UK: minim rest,
4217 @item ES: silencio de blanca,
4218 @item I: pausa di minima,
4219 @item F: demi-pause,
4220 @item D: halbe Pause,
4221 @item NL: halve, rust,
4222 @item DK: halvnodespause,
4224 @item FI: puolitauko.
4231 @node harmonic cadence
4232 @section harmonic cadence
4234 ES: cadencia (armónica),
4235 I: cadenza (armonica),
4236 F: cadence harmonique,
4238 NL: harmonische cadens,
4239 DK: harmonisk kadence,
4240 S: (harmonisk) kadens,
4241 FI: harmoninen kadenssi.
4243 A sequence of chords that terminates a musical phrase or section.
4247 \context Staff = "SA" \relative c'' {
4250 \partial 4 <c g e>4 |
4251 <c a f> <b g d> <c g e>2
4254 \context Staff = "SB" \relative c {
4256 \partial 4 c4 | f, g c2
4268 @ref{functional harmony}.
4274 ES: armónicos, sonidos aflautados,
4276 F: flageolet, sons harmoniques,
4281 FI: harmoniset äänet, huiluäänet.
4283 The general class of pitches produced by sounding the second or higher
4284 harmonic of a tone producer: string, column of air, and so on.
4286 On stringed instruments, these pitches sound rather flute-like; hence,
4287 their name in languages other than English. They are produced by
4288 lightly touching the string at a node for the desired mode of vibration
4289 while it is being bowed or plucked.
4291 For instruments of the violin family, there are two types of harmonics:
4292 natural harmonics, which are those played on the open string; and
4293 artificial harmonics, which are produced on stopped strings.
4296 No cross-references.
4305 D: Harmonie, Zusammenklang,
4309 FI: harmonia, yhteissointi.
4311 Tones sounding simultaneously. Two note harmonies fall into the
4312 categories @emph{consonances} and @emph{dissonances}.
4316 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4328 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4329 <g a>1_"second " s s
4330 <g f'>_"seventh " s s
4334 For harmony that uses three or more notes, see @ref{chord}.
4344 I: emiolia, (rarely hemiola or emiola),
4352 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4354 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4355 time normally occupied by two. The resulting rhythm can be expressed in modern
4356 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4357 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4358 as a special effect (or @emph{affect}) at cadences.
4360 For example, this phrase in 6/4 time
4362 @lilypond[quote,relative=1,line-width=13.0\cm]
4365 c2. e | d2 c d | c1. \bar "||"
4368 may be thought of having alternating time signatures
4370 @lilypond[quote,relative=1,line-width=13.0\cm]
4380 and is therefore a polymeter (second definition) of considerable antiquity.
4383 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4396 FI: homofonia, yksiäänisyys.
4398 Music in which one voice leads melodically supported by the other voices in
4399 the same rhythm (more or less). In contrast to @emph{polyphony}.
4422 FI: säkeiden tavumäärät.
4424 A group or list of numbers that indicate the number of syllables in a line
4425 of a hymn's verse. Different hymnals have different ways of noting the hymn
4426 meter: for example, consider a hymn that has four lines in two couplets
4427 alternating regularly between eight and seven syllables. The @emph{English
4428 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4429 or 8@w{ }7@w{ }8@w{ }7.
4431 Some frequently-used hymn meters have traditional names:
4434 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4435 @item 86.86 is called Common Meter (CM or C.M.)
4436 @item 88.88 is called Long Meter (LM or L.M.)
4439 Some hymns and their tunes are doubled versions of a simpler meter: for
4440 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4441 87.87D. The traditional names above also have doubled versions:
4444 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4445 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4446 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4450 No cross-references.
4463 FI: intervalli, kahden sävelen korkeusero.
4465 Difference in pitch between two notes. Intervals may be diminished, minor,
4466 perfect, major, or augmented. The augmented fourth and the diminished fifth
4467 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4468 and are called @emph{tritonus} because they consist of three whole tones.
4469 The addition of such two intervals forms an octave.
4471 @lilypond[quote,notime,line-width=13.0\cm]
4473 \context Voice \relative c'' {
4510 \context Lyrics \lyrics {
4512 "second " "second " "second " "second "
4513 "third " "third " "third " "third "
4514 "fourth " "fourth " "fourth "
4515 "fifth " "fifth " "fifth "
4516 "sixth " "sixth " "sixth " "sixth "
4517 "seventh" "seventh" "seventh" "seventh"
4518 "octave " "octave " "octave "
4524 @ref{enharmonic}, @ref{whole tone}.
4539 When a chord sounds with a bass note that differs from the root of the
4540 chord, it is said to be @emph{inverted}. The number of inversions that a
4541 chord can have is one fewer than the number of constituent notes. For
4542 example, triads (which have three constituent notes) can have three
4543 positions, two of which are inversions:
4547 The root note is in the bass, and above that are the third and the fifth. A
4548 triad built on the first scale degree, for example, is marked @notation{I}.
4550 @item First inversion
4551 The third is in the bass, and above it are the fifth and the root. This
4552 creates an interval of a sixth and a third above the bass note, and so is
4553 marked in figured Roman notation as @notation{6/3}. This is commonly
4554 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4555 characteristic interval of the inversion, and so always implies
4558 @item Second inversion
4559 The fifth is in the bass, and above it are the root and the third. This
4560 creates an interval of a sixth and a fourth above the bass note, and so is
4561 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4562 unstable chord position.
4566 No cross-references.
4569 @node inverted interval
4570 @section inverted interval
4572 ES: intervalo invertido,
4573 I: intervallo rivolto,
4574 F: intervalle renversé,
4575 D: umgekehrtes Intervall,
4576 NL: interval inversie,
4577 DK: omvendingsinterval,
4578 S: intervallets omvändning,
4579 FI: käänteisintervalli.
4581 The difference between an interval and an octave.
4583 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4584 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4585 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4586 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4590 No cross-references.
4593 @node just intonation
4594 @section just intonation
4596 ES: entonación justa,
4597 I: intonazione giusta,
4598 F: intonation juste,
4605 Tuning system in which the notes are obtained by adding and subtracting
4606 natural fifths and thirds.
4624 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4625 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4628 @ref{chromatic scale}, @ref{key signature}.
4632 @section key signature
4634 ES: armadura (de la clave),
4635 I: armatura di chiave,
4636 F: armure, armature [de la clé],
4637 D: Vorzeichen, Tonart,
4638 NL: toon@-soort (voortekens),
4641 FI: sävellajiosoitus.
4643 The sharps or flats appearing at the beginning of each staff indicating the
4650 @node laissez vibrer
4651 @section laissez vibrer
4662 [French: @q{Let vibrate}] Most frequently associated with harp
4663 parts. Marked @notation{l.v.} in the score.
4666 No cross-references.
4674 F: largo, large, ample,
4675 D: Largo, Langsam, Breit,
4679 FI: largo, hitaasti, leveästi.
4681 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4682 expressiveness. @emph{Larghetto} is less slow than largo.
4686 @section leading note
4697 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4698 called because of its strong tendency to @q{lead up} (resolve upwards)
4699 to the tonic scale degree.
4702 @ref{scale degree}, @ref{semitone}.
4706 @section ledger line
4708 ES: línea adicional,
4709 I: tagli addizionali,
4710 F: ligne supplémentaire,
4717 A ledger line is an extension of the staff.
4719 @lilypond[quote,notime,relative=2]
4726 No cross-references.
4735 D: legato, gebunden,
4741 To be performed (a) without any perceptible interruption between the
4742 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4743 @notation{portato}, or (d) @notation{staccato}.
4745 @lilypond[quote,notime,line-width=13.0\cm]
4747 \context Staff \relative c'' {
4748 c4-( d e-) \bar "||"
4749 c4-- d-- e-- \bar "||"
4750 c4-.-( d-. e-.-) \bar "||"
4751 c4-. d-. e-. \bar "||"
4767 @section legato curve
4770 @ref{slur}, @ref{legato}.
4792 A ligature is a coherent graphical symbol that represents at least two
4793 distinct notes. Ligatures originally appeared in the manuscripts of
4794 Gregorian chant notation around the 9th century to denote ascending or
4795 descending sequences of notes. In early notation, ligatures were used for
4796 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4797 performance in the sense of articulation. With the invention of the metric
4798 system of the white mensural notation, the need for ligatures to denote such
4799 patterns disappeared.
4802 @ref{mensural notation}.
4809 ES: estanque de nenúfares,
4810 I: stagno del giglio,
4811 F: étang de nénuphars, étang de nymphéas,
4813 NL: le@-lie@-vij@-ver,
4818 A pond with lilies floating in it.
4820 Also, the name of a music typesetting program.
4823 No cross-references.
4832 D: Linie, Notenlinie,
4836 FI: viiva, nuottiviiva.
4852 FI: kirjoitetussa äänenkorkeudessa.
4854 [Italian: @q{place}] Instruction to play the following passage at the
4855 written pitch. Cancels octave mark (q.v.).
4858 @ref{octave mark}, @ref{octave marking}.
4861 @node long appoggiatura
4862 @section long appoggiatura
4864 ES: apoyatura larga,
4865 I: appoggiatura lunga,
4866 F: appoggiature longue,
4871 FI: pitkä appoggiatura, pitkä etuhele.
4881 @item US: long, longa,
4884 @item F: longa, longue,
4892 Note value: twice the length of a @notation{breve}.
4894 @lilypond[quote,notime,relative=2]
4895 \override NoteHead #'style = #'mensural
4900 @ref{breve}, @ref{note value}.
4906 ES: ligadura de letra,
4908 F: ligature de mots,
4913 FI: sidonta sanoituksessa.
4915 @c TODO: add languages
4924 ES: letra (de la canción),
4927 D: Liedtext, Gesangtext,
4936 No cross-references.
4952 @ref{diatonic scale}.
4955 @node major interval
4956 @section major interval
4958 ES: intervalo mayor,
4959 I: intervallo maggiore,
4960 F: intervalle majeur,
4961 D: großes Intervall,
4965 FI: suuri intervalli.
4983 Note value: twice the length of a @notation{longa}.
4985 The maxima is the largest duration in use during the 15th and 16th centuries.
4986 Like the longa, the maxima can be either two or three times as long as the
4987 @notation{longa} (called @notation{binary} and @notation{ternary},
4988 respectively). By the late 15th century, most composers used the smaller
4989 proportion by default.
4992 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4995 @node meantone temperament
4996 @section meantone temperament
4998 ES: afinación mesotónica,
4999 I: accordatura mesotonica,
5000 F: tempérament mésotonique,
5001 D: mitteltönige Stimmung,
5002 NL: middenstemming, middentoonstemming,
5003 DK: middeltonetemperatur,
5004 S: medeltonstemperatur,
5005 FI: keskisävelviritys.
5007 Temperament yielding acoustically pure thirds by decreasing the natural
5008 fifth by 16@w{ }cents. Due to the non-circular character of this
5009 temperament only a limited set of keys are playable. Used for tuning
5010 keyboard instruments for performance of pre-1650 music.
5013 @ref{cent}, @ref{temperament}.
5028 A group of beats (units of musical time) the first of which bears an accent.
5029 Such groups in numbers of two or more recur consistently throughout the
5030 composition and are separated from each other by bar lines.
5033 @ref{bar line}, @ref{beat}, @ref{meter}.
5036 @node measure repeat
5037 @section measure repeat
5040 @ref{percent repeat}.
5047 I: mediante, modale,
5057 @item The third @b{scale degree}.
5059 @item A @emph{chord} having its base tone a third from that of another
5060 chord. For example, the tonic chord may be replaced by its lower
5061 mediant (variant tonic).
5066 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5079 FI: melisma, laulettavan tavun sävelkuvio.
5081 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5082 on one syllable, especially as applied to liturgical chant.
5085 No cross-references.
5089 @section melisma line
5091 @c TODO: add languages
5093 ES: línea de melisma,
5094 I: linea del melisma,
5095 F: trait de mélisme, trait de tenue,
5103 @ref{extender line}.
5106 @node melodic cadence
5107 @section melodic cadence
5113 @node mensural notation
5114 @section mensural notation
5116 @c TODO: add languages
5118 ES: notación mensural,
5119 I: notazione mensurale,
5120 F: notation mensurale,
5125 FI: mensuraalinuotinnus.
5127 A system of duration notation whose principles were first established in the
5128 mid-13th century, and that (with various changes) remained in use until about
5129 1600. As such, it is the basis for the notation of rhythms in Western musical
5132 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5133 of the notation's principles, so the notation of this earliest period is called
5134 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5135 and semibreve -- each of which was normally equivalent to three of the next
5138 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5139 added several note values (the minim, semiminim and fusa) and extended Franco's
5140 principles to govern the relationship between these values. They also put the
5141 duple division of note values on an equal footing with the earlier (preferred)
5144 TODO: continue description of French and Italian black notation, and the
5145 relationship betwixt them.
5147 @b{White or void mensural notation}
5149 In the 15th century, hollow (or void) notes began to substitute for the earlier
5150 solid black ones, which were then free to assume the function of red (or
5151 colored) notes in the earlier notation. ...
5153 TODO: add to definition (including summary info on proportional notation)
5156 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5157 @c TODO: more cross-references?
5160 @node mensuration sign
5161 @section mensuration sign
5163 @c TODO: add languages
5165 ES: signo de mensuración,
5167 F: signe de mensuration,
5174 The ancestor of the time signature, mensuration signs were used to indicate the
5175 relationship between two sets of note durations—specifically, the ratio of
5176 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5177 (called @notation{prolatio}).
5179 Each ratio was represented with a single single sign, and was either
5180 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5181 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5182 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5183 represented by a complete circle; applied to the @emph{prolatio}, it was called
5184 @emph{major} and was represented by a dot in the middle of the sign. The binary
5185 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5186 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5187 @emph{minor} and was represented by the lack of an internal dot. There are four
5188 possible combinations, which can be represented in modern time signatures with
5189 and without reduction of note values. (These signs are hard-coded in LilyPond
5193 @item perfect @emph{tempus} with major @emph{prolatio}
5194 Indicated by a complete circle with an internal dot. In modern time signatures,
5197 @item 9/4, with reduction or
5198 @item 9/2, without reduction
5201 @item perfect @emph{tempus} and minor @emph{prolatio}
5202 Indicated by a complete circle without an internal dot. In modern time
5203 signatures, this equals:
5205 @item 3/2, with reduction or
5206 @item 3/1, without reduction
5209 @item imperfect @emph{tempus} and major @emph{prolatio}
5210 Indicated by an incomplete circle with an internal dot. In modern time
5211 signatures, this equals:
5213 @item 6/4, with reduction or
5214 @item 6/2, without reduction
5217 @item imperfect @emph{tempus} and minor @emph{prolatio}
5218 Indicated by an incomplete circle without an internal dot. In modern time
5219 signatures, this equals:
5221 @item 4/4, with reduction or
5222 @item 2/1, without reduction
5226 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5227 with note values reduced from the original semibreve to a modern quarter note.
5228 Being doubly imperfect, this sign represented the (theoretically)
5229 least-preferred mensuration, but it was actually used fairly often.
5231 This system extended to the ratio of longer note values to each other:
5235 @item maxima to longa, called:
5239 @item @notation{modus maximorum},
5240 @item @notation{modus major}, or
5241 @item @notation{maximodus})
5245 @item longa to breve, called:
5249 @item @notation{modus longarum},
5250 @item @notation{modus minor}, or
5251 @item @notation{modus}
5257 In the absence of any other indication, these modes were assumed to be
5258 binary. The mensuration signs only indicated tempus and prolatio, so
5259 composers needed another way to indicate these longer ratios (called modes.
5260 Around the middle of the 15th century started to use groups of rests at the
5261 beginning of the staff, preceding the mensuration sign.
5264 Two mensuration signs have survived to the present day: the C-shaped sign,
5265 which originally designated @notation{tempus imperfectum} and
5266 @notation{prolatio minor} now stands for @notation{common time}; and the
5267 slashed C, which designated the same with @notation{diminution} now stands
5268 for @notation{cut-time} (essentially, it has not lost its original meaning).
5271 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5272 @c TODO: more cross-references?
5280 F: indication de mesure, mesure,
5287 The pattern of note values and accents in a composition or a section thereof.
5288 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5289 by grouping beats and by subdividing the primary beat.
5291 @b{By grouping beats}:
5295 @item @b{duple}: groups of two.
5296 @item @b{triple}: groups of three.
5297 @item @b{quadruple}: groups of four. A special case of duple meter.
5298 @item @b{quintuple}: groups of five beats.
5299 @item @b{sextuple} meter: groups of six. A special case of:
5303 @item duple meter, subdivided in three; or
5304 @item triple meter, subdivided in two.
5308 @item @b{septuple} meter: groups of seven.
5313 Other than triple meter and its subdivided variants (see below), meters that
5314 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5315 frequently used prior to the 20th Century.
5317 @b{By subdividing the primary beat}:
5321 @item simple: subdivided in groups of two.
5325 @item duple: 2/2, 2/4, 2/8
5326 @item triple: 3/2, 3/4, 3/8
5327 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5331 @item compound: subdivided in groups of three.
5337 @item quadruple: 12/8
5343 Time signatures are placed at the beginning of a composition (or section) to
5344 indicate the meter. For instance, a piece written in simple triple meter with a
5345 beat on each quarter note is conventionally written with a time signature of
5346 3/4. Here are some combinations of the two classifications above:
5348 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5350 @lilypond[quote,line-width=13.0\cm]
5354 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5357 Simple triple meter:
5359 @lilypond[quote,line-width=13.0\cm]
5363 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5366 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5368 @lilypond[quote,line-width=13.0\cm]
5372 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5375 Simple quintuple meter (B. Marcello, 1686-1739):
5377 @lilypond[quote,line-width=13.0\cm]
5381 r4 cis8 bis ais4 dis c8 ais |
5382 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5385 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5386 the source, with sharps in the accompaniment where the voice has flats and
5389 Compound duple meter (unknown):
5391 @lilypond[quote,line-width=13.0\cm]
5395 f8 f g a bes16 a g f |
5396 g8 g bes a c16 a bes g
5400 Compound triple meter (J.S. Bach, 1685-1750):
5402 @lilypond[quote,line-width=13.0\cm]
5406 r8 g'( a) b( d c) c( e d) |
5407 d( g fis) g( d b) g( a b)
5411 Compound quadruple meter (P. Yon, 1886-1943):
5413 @lilypond[quote,line-width=13.0\cm]
5417 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5418 e4 e8 fis( gis) a b4.~ b4 b8
5423 @b{@q{Monometer} vs Polymeter}
5425 TODO: add information from discussion on lilypond-user related to polymeter.
5429 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5444 Device used to indicate the exact tempo of a piece.
5446 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5447 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5448 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5449 followed acknowledged Winkler as the creator, but by then Mälzel had already
5450 sold many of them, and people had taken to calling it a Mälzel Metronome.
5453 @ref{metronome mark}.
5456 @node metronome mark
5457 @section metronome mark
5459 ES: indicación metronómica,
5460 I: indicazione metronomica,
5461 F: indication métronomique,
5463 NL: metronoom aanduiding,
5465 S: metronomangivelse,
5466 FI: metronomiosoitus.
5468 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5469 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5476 @node metronomic indication
5477 @section metronomic indication
5480 @ref{metronome mark}
5493 FI: kohtalaisen, melko.
5495 [Italian: @q{medium}]
5497 Used to qualify other indications, such as:
5503 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5505 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5511 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5518 No cross-references.
5522 @section mezzo-soprano
5533 The female voice between soprano and contralto.
5536 @ref{soprano}, @ref{contralto}.
5545 D: eingestrichenes@w{ }c,
5547 DK: enstreget@w{ }c,
5548 S: ettstruket@w{ }c,
5551 First C below the 440 Hz A.
5553 @lilypond[quote,notime,relative=1]
5554 \override Staff.Clef #'full-size-change = ##t
5561 No cross-references.
5577 @ref{diatonic scale}.
5580 @node minor interval
5581 @section minor interval
5583 ES: intervalo menor,
5584 I: intervallo minore,
5585 F: intervalle mineur,
5586 D: kleines Intervall,
5590 FI: pieni intervalli.
5596 @node mixolydian mode
5597 @section mixolydian mode
5600 @ref{diatonic scale}.
5609 D: Kirchentonart, Modus,
5613 FI: moodi, kirkkosävelasteikko.
5616 @ref{church mode}, @ref{diatonic scale}.
5629 FI: modulaatio, sävellajin vaihdos.
5631 Moving from one @ref{key} to another. For example, the second subject
5632 of a @ref{sonata form} movement modulates to the dominant key if the
5633 key is major and to the @ref{relative key} if the key is minor.
5636 No cross-references.
5648 FI: mordent, korukuvio.
5671 FI: teema, sävelaihe.
5673 The briefest intelligible and self-contained fragment of a musical
5676 @lilypond[quote,line-width=13.0\cm]
5679 \set Score.implicitTimeSignatureVisibility = #all-invisible
5680 \override Score.TimeSignature #'break-visibility = #all-invisible
5683 \partial 8 g16\startGroup fis |
5684 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5685 g8 g,16 a b8 cis d16 s
5689 \Staff \consists "Horizontal_bracket_engraver"
5695 No cross-references.
5710 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5711 several -- more or less -- independent pieces called movements.
5714 No cross-references.
5717 @node multi-measure rest
5718 @section multi-measure rest
5720 ES: compases de espera, silencio multicompás,
5722 F: pause multiple, mesure à compter,
5724 D: mehrtaktige Pause, Kirchenpause,
5727 FI: usean tahdin mittainen tauko.
5729 Multi-measure rests are conventionally typeset with a combination of
5730 longa, breve and whole rests for shorter and a long horizontal bar for
5731 longer spans of rest, with a number above to indicate the duration (in
5732 measures) of the rest. The former style is called @q{Kirchenpausen} in
5733 German, as a reminiscence of its use in Renaissance vocal polyphony.
5735 @lilypond[quote,relative=2]
5737 \set Score.skipBars = ##t
5740 \set Score.skipBars = ##t
5746 @ref{longa}, @ref{breve}.
5755 D: Auflösungszeichen,
5756 NL: herstellingsteken,
5757 DK: op@-løsningstegn,
5758 S: återställningstecken,
5765 @node neighbor tones
5766 @section neighbor tones
5768 @c TODO: add definition.
5780 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5819 Notes are signs by means of which music is fixed in writing. The term is also
5820 used for the sound indicated by a note, and even for the key of the piano
5821 which produces the sound. However, a clear distinction between the terms tone
5822 and @ref{note} is strongly recommended. Briefly, one sees a note,
5826 No cross-references.
5833 I: testa, testina, capocchia,
5841 A head-like sign which indicates pitch by its position on a @notation{staff}
5842 provided with a @notation{clef}, and duration by a variety of shapes such as
5843 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5844 For percussion instruments (often having no defined pitch) the note head may
5845 indicate the instrument.
5848 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5861 ES: valor, duración,
5863 F: durée, valeur (d'une note),
5868 FI: nuotin aika-arvo.
5870 Note values (durations) are measured as fractions—in modern usage, one-half—of
5871 the next higher note value. The longest duration in current use is the
5872 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5873 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5874 or @notation{maxima} (eight whole notes) may be found.
5876 As used in mensural notation, this fraction was more flexible: it could also
5877 be one-third the higher note value. Composers indicated which proportions
5878 to use with various signs—two of which survive to the present day: the
5879 C-shaped sign for @notation{common time}, and the slashed C for
5880 @notation{alla breve} or @notation{cut-time}.
5882 @c TODO -- add maxima to this example, in a way that doesn't break it.
5884 @lilypond[quote,notime,line-width=13.0\cm]
5886 \override NoteHead #'style = #'mensural
5887 a\longa_"longa" a\breve_"breve"
5888 \revert NoteHead #'style
5889 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5890 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5893 @c TODO -- add maxima rest to this example
5895 @lilypond[quote,notime,line-width=13.0\cm]
5897 r\longa_"longa" r\breve_"breve"
5898 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5899 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5902 An augmentation dot after a note increases its duration by half; a second dot
5903 increases it by half of the first addition (that is, by a fourth of the original
5904 duration). More dots can be used to add further halved fractions of the
5905 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5907 @lilypond[quote,line-width=13.0\cm]
5910 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5911 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5914 Alternatively note values may be subdivided by other ratios. Most common is
5915 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5916 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5917 dotted notes are also frequently used.
5919 @lilypond[quote,line-width=13.0\cm]
5922 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5923 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5927 @lilypond[quote,line-width=13.0\cm]
5930 \times 3/2 {g4_"duplets" g} |
5932 \times 6/4 {g8_"quadruplets" g g g} |
5933 g8 g g g g4 \bar "||"
5945 @ref{octave marking}.
5960 The interval of an octave, sometimes abbreviated @notation{8ve}.
5962 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5963 bracket, or @notation{loco} see octave marking.
5966 @ref{interval}, @ref{octave marking}.
5970 @section octave mark
5972 ES: indicación de octava,
5974 F: indication d'octave,
5981 The phrase, abbreviation, or other mark used (with or without an extender line
5982 or bracket) to indicate that the music is to be played in a different octave:
5986 @item @notation{15ma}: play two octaves higher
5987 @item @notation{8va}: play one octave higher
5988 @item @notation{8vb}: play one octave lower
5989 @item @notation{8va} (written below the passage): unusual, same as
5991 @item @notation{15vb}: play two octaves lower
5992 @item @notation{15va} (written below the passage): unusual, same as
5997 For longer passages, it may be more practical to mark the octave change at the
5998 beginning with a phrase (see the list below for examples), but without a bracket
5999 or extender line. Then, when the music returns to the written pitch, the octave
6000 change is cancelled with the word @notation{loco} (q.v.).
6002 To parallel the list above:
6006 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6007 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6008 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6009 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6013 In the phrases above, @notation{quindicesima} is sometimes replaced with
6014 @notation{quindecima}, which is Latin.
6016 The music on an entire staff can be marked to be played in a different octave by
6017 putting a small 8 or 15 above or below the clef at the beginning. This octave
6018 mark can be applied to any clef, but it is most frequently used with the G and F
6022 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6025 @node octave marking
6026 @section octave marking
6035 FI: oktaavamerkintä.
6037 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6038 that it is to be played in a different octave. If applied to the clef at the
6039 beginning of the staff, all music on that staff is to played at the indicated
6042 For a list of the specific marks used, see @ref{octave mark}.
6045 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6049 @section octave sign
6059 I: abbellimento, fioriture,
6060 F: agrément, ornement,
6061 D: Verzierung, Ornament,
6067 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6068 with the diatonic @ref{second} above it. In the music from the
6069 middle of the 19th century and onwards the trill is performed with the main
6070 note first while in the music from the preceding baroque and classic periods
6071 the upper note is played first.
6073 @lilypond[quote,line-width=13.0\cm]
6075 \context Staff = sa {
6077 c2._"pre-1850" b4\trill | c1 \bar "||"
6078 c2._"post-1850" b4\trill | c1 \bar "||"
6082 c2. c32 b c b c b c b | c1
6083 c2. b32 c b c \times 4/5 { b c b c b } | c1
6088 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6089 the @emph{prall} (inverted mordent).
6091 @lilypond[quote,line-width=13.0\cm]
6093 \context Staff = sa {
6095 a4_"turn" b\turn c2 \bar "||"
6096 g4_"mordent" a b\mordent a \bar "||"
6097 e'4_"prall" d\prall c2 \bar "||"
6103 e'4 e32[ d e d ~ d8] c2
6109 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6117 F: ossia, alternative,
6122 FI: ossia, vaihtoehtoinen esitystapa.
6124 Ossia (otherwise) marks an alternative. It is an added staff or piano
6125 score, usually only a few measures long, which presents another version
6126 of the music, for example for small hands.
6129 Compare: @ref{cue-notes}.
6135 ES: parte, particella,
6142 FI: stemma, instrumenttiosuus.
6146 @item In instrumental or choral music, the music for a single
6147 instrument or voice.
6149 @item in contrapuntal music, a single melodic line in the contrapuntal
6172 @node percent repeat
6173 @section percent repeat
6175 LilyPond-specific term to indicate the repetition of a musical expression on a
6176 single staff, as opposed to the more usual definition of repeat, which affects
6177 all parts. The musical expression can be anything from a single note or note
6178 pattern to one or more measures. There are other names for this symbol:
6183 @item slash mark, or slash repeat
6185 @item measure (or multi-measure) repeat
6189 @lilypond[quote,relative=2,line-width=13.0\cm]
6191 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6192 \repeat percent 2 { c4 e g b_"Measure repeat" }
6193 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6198 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6199 Vermont Music Dictionary}.
6208 D: Schlagzeug, Schlagwerk,
6214 A family of musical instruments which are played on by striking or
6215 shaking. Percussion instruments commonly used in a symphony orchestra are
6216 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6217 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6221 No cross-references.
6224 @node perfect interval
6225 @section perfect interval
6227 ES: intervalo justo,
6228 I: intervallo giusto,
6229 F: intervalle juste,
6230 D: reines Intervall,
6234 FI: puhdas intervalli.
6252 A natural division of the melodic line, comparable to a sentence of speech.
6268 FI: fraseeraus, jäsentäminen.
6270 The clear rendering in musical performance of the @notation{phrases} of the
6271 melody. Phrasing may be indicated by a @notation{slur}.
6274 @ref{phrase}, @ref{slur}.
6289 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6290 @emph{mezzo piano} (@b{mp}) medium soft.
6293 No cross-references.
6301 F: anacrouse, levée,
6326 @item The perceived quality of a sound that is primarily a function of its
6327 fundamental frequency.
6329 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6331 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6332 association of a particular frequency with a particular pitch name, e.g., c' =
6348 NL: pizzicato, getokkeld,
6351 FI: pizzicato, näppäillen.
6353 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6357 No cross-references.
6363 ES: compás polimétrico,
6370 FI: monia tahtiosoituksia sisältävä.
6374 @item The @emph{simultaneous} use of two or more meters, in two or more
6377 @item The @emph{successive} use of different meters in one or more parts.
6382 @ref{polymetric} (adj.)
6395 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6397 Characterized by @emph{polymeter}: using two or more metric frameworks
6398 simultaneously or in alternation.
6401 @ref{polymeter} (noun)
6404 @node polymetric time signature
6405 @section polymetric time signature
6407 ES: indicación de compás polimétrico,
6408 I: tempo polimetrico,
6414 FI: vaihtelevan tahtiosoitusmerkintä.
6416 A time signature that indicates regularly alternating polymetric time.
6428 D: Polyphonie, Mehrstimmigkeit,
6432 FI: polyfonia, moniäänisyys.
6434 Music written in a combination of several simultaneous voices (parts)
6435 of a more or less pronounced individuality.
6444 [Italian: past participle of @emph{portare}, @q{to carry}]
6446 A stroke in which each of several notes is separated slightly within a slur,
6447 without changing the bow's direction. It is used for passages of a
6448 @notation{cantabile} character.
6457 ES: presto, muy rápido,
6459 F: presto, très rapide, enlevé,
6460 D: Presto, Sehr schnell,
6461 NL: presto, Sehr schnell,
6464 FI: presto, hyvin nopeasti.
6468 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6469 denotes the highest possible degree of speed.
6472 No cross-references.
6487 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6488 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6493 @item A ratio that expresses the relationship between the note values that
6494 follow with those that precede;
6496 @item A ratio between the note values of a passage and the @q{normal}
6497 relationship of note values to the metrical pulse. (A special case of the
6502 The most common proportions are:
6505 @item 2:1 (or simply 2), expressed by a vertical line through the
6506 mensuration sign (the origin of the @notation{alla breve} time signature),
6507 or by turning the sign backwards
6508 @item 3:1 (or simply 3)
6509 @item 3:2 (@emph{sesquialtera})
6512 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6515 @item 1:2 cancels 2:1
6516 @item 1:3 cancels 3:1
6517 @item 2:3 cancels 3:2
6521 Gaffurius enumerates five basic types of major:minor proportions and their
6525 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6526 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6528 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6529 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6530 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6532 @item Superpartiens, if the major number is one less than twice the minor
6533 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6535 @item Multiplexsuperparticular, if the major number is one more than twice the
6536 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6539 @item Multiplexsuperpartiens, if the major number is one less than some other
6540 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6541 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6545 He then continues to subdivide each type in various ways. For the multiplex
6546 proportions, for example, he indicates how many times greater the major number
6551 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6552 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6554 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6557 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6558 Example: 4:1, 8:2, and 12:3
6562 Other proportions were possible, but whether they were frequently used is
6567 @item 33:9, @emph{triplasuperbipartientetertias}
6568 @item 51:15, @emph{triplasuperbipartientequintas}
6572 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6575 @ref{mensural notation}.
6578 @node Pythagorean comma
6579 @section Pythagorean comma
6581 ES: coma pitagórica,
6582 I: comma pitagorico,
6583 F: comma pythagoricien,
6584 D: Pythagoräisches Komma,
6585 NL: komma van Pythagoras,
6586 DK: pythagoræisk komma,
6587 S: pytagoreiskt komma,
6588 FI: pytagorinen komma.
6590 Originally, the interval by which the sum of six whole tones exceeds the octave
6591 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6593 Modern acoustical theory defines it as the interval by which twelve fifths
6594 exceed seven octaves. To put it another way: A sequence of fifths that starts
6595 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6596 than the C obtained by adding 7 octaves. The difference between those two
6597 pitches is the Pythagorean comma.
6600 @ref{cent}, @ref{temperament}.
6622 ES: variante [de acorde o intervalo],
6631 The quality of a triad is determined by the precise arrangement of its
6632 intervals. Tertian triads can be described as a series of three notes. The
6633 first element is the root note (or simply @q{root}) of the chord, the second
6634 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6635 the chord. These are described below:
6637 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6638 @headitem Chord name
6639 @tab Component intervals
6642 @item major triad @tab major third/perfect fifth
6644 @tab C, CM, Cma, Cmaj, CΔ
6645 @item minor triad @tab minor third/perfect fifth
6647 @tab Cm, Cmi, Cmin, C-
6648 @item augmented triad @tab major third/augmented fifth
6651 @item diminished triad @tab minor third/diminished fifth
6653 @tab Cm(♭5), Cº, Cdim
6656 There are various types of seventh chords depending on the quality of the
6657 original chord and the quality of the seventh added.
6659 Five common types of seventh chords have standard symbols. The chord quality
6660 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6661 and D^m7 are all identical). The last three chords are not commonly used
6669 @section quarter note
6674 @item I: semiminima, nera
6676 @item D: Viertel, Viertelnote
6678 @item DK: fjerdedelsnode
6679 @item S: fjärdedelsnot
6680 @item FI: neljäsosanuotti
6688 @section quarter rest
6691 @item UK: crotchet rest
6692 @item ES: silencio de negra
6693 @item I: pausa di semiminima
6695 @item D: Viertelpause
6697 @item DK: fjerdedelspause
6698 @item S: fjärdedelspaus
6699 @item FI: neljäsosatauko
6707 @section quarter tone
6716 FI: neljännessävelaskel.
6718 An interval equal to half a semitone.
6727 ES: cinquillo, quintillo,
6741 @section rallentando
6745 F: rallentando, en ralentissant,
6746 D: rallentando, langsamer werden,
6750 FI: rallerdando, hidastuen.
6752 [Italian] A performance indication, abbreviated @notation{rall.}.
6759 @section relative key
6762 I: tonalità relativa,
6763 F: tonalité relative,
6765 NL: paralleltoonsoort,
6766 DK: paralleltoneart,
6768 FI: rinnakkaissävellaji.
6770 Major and minor keys that have the same key signature.
6772 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6774 es1_"e flat major" f g as bes c d es
6778 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6780 c1_"c minor" d es f g a! b! c
6785 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6793 F: barre de reprise,
6796 DK: gen@-ta@-gel@-se,
6800 @lilypond[quote,relative=2,line-width=13.0\cm]
6812 No cross-references.
6827 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6828 @c specify the rest's value.
6848 @item Metrical rhythm in which every time value is a multiple or
6849 fraction of a fixed unit of time, called @emph{beat}, and in which the
6850 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6851 The basic scheme of time values is called @emph{meter}.
6853 @item Measured rhythm which lacks regularly recurrent accent. In
6854 modern notation such music appears as a free alternation of different
6857 @item Free rhythm, i.e., the use of temporal values having no common
6858 metrical unit (beat).
6863 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6869 ES: ritardando, retardando,
6871 F: ritardando, en ralentissant,
6872 D: ritardando, langsamer werden,
6876 FI: ritardando, hidastuen,
6878 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6882 No cross-references.
6888 ES: ritenuto, reteniendo,
6890 F: ritenuto, en retenant,
6895 FI: ritenuto, hidastaen.
6897 Immediate reduction of speed.
6900 No cross-references.
6913 FI: asteikko, sävelasteikko.
6916 @ref{diatonic scale}.
6920 @section scale degree
6922 ES: grado (de la escala),
6923 I: grado della scala,
6924 F: degré [de la gamme],
6926 NL: trap [van de toonladder],
6929 FI: sävelaste, asteikon sävel.
6931 Names and symbols used in harmonic analysis to denote tones of the
6932 scale as roots of chords. The most important are degrees I = tonic
6933 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6935 @lilypond[quote,notime,line-width=13.0\cm]
6937 \new Staff \relative c' {
6941 << { I II III IV V VI VII I }
6948 @ref{functional harmony}.
6956 F: à cordes ravallées,
6961 FI: epätavallinen viritys.
6963 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6964 tuning of stringed instruments, particularly lutes or violins. Used
6969 @item facilitate pitch combinations that would otherwise be difficult
6972 @item alter the characteristic timbre of the instrument, for example,
6973 to increase brilliance
6975 @item reinforce certain sonorities or tonalities by making them
6976 available on open strings
6978 @item imitate other instruments
6984 Tunings that could be called @var{scordatura} first appeared early in
6985 the 16th Century and became commonplace in the 17th.
6988 No cross-references.
6996 F: partition, conducteur (full score),
6997 D: Partitur (full score), Klavierauszug (vocal score),
7003 A copy of orchestral, choral, or chamber music showing what each
7004 instrument is to play, each voice to sing, having each part arranged
7005 one underneath the other on different staves @ref{staff}.
7008 No cross-references.
7023 The interval between two neighboring tones of a scale. A diatonic scale
7024 consists of alternating semitones and whole tones, hence the size of a
7025 second depends on the scale degrees in question.
7028 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7035 @item US: whole note,
7039 @item D: Ganze, ganze Note,
7040 @item NL: hele noot,
7043 @item FI: kokonuotti.
7046 Note value: called @notation{whole note} in the US.
7048 The semibreve is the basis for the @notation{tactus} in mensural notation
7049 (i.e. music written before ca. 1600).
7052 @ref{mensural notation}, @ref{note value}.
7067 The interval of a minor second. The (usually) smallest interval in European
7068 composed music. The interval between two neighboring tones on the piano
7069 keyboard -- including black and white keys -- is a semitone. An octave may
7070 be divided into 12@w{ }semitones.
7072 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7073 g1 gis s a bes s b! c
7077 @ref{interval}, @ref{chromatic scale}.
7100 @ref{sextuplet}, @ref{note value}.
7145 ES: simile, similar,
7154 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7155 is to be played in the same manner (i.e. with the same articulations, dynamics,
7156 etc.) as the music that precedes it.
7159 TODO: Where else could I refer the reader?
7163 @section simple meter
7165 ES: compás simple, compás de subdivisión binaria,
7172 FI: kaksijakoinen tahtiosoitus.
7174 A meter in which the basic beat is subdivided in two: that is, a meter
7175 that does not include triplet subdivision of the beat.
7178 @ref{compound meter}, @ref{meter}.
7181 @node sixteenth note
7182 @section sixteenth note
7185 @item UK: semiquaver
7186 @item ES: semicorchea
7188 @item F: double croche
7189 @item D: Sechzehntel, Sechzehntelnote
7190 @item NL: zestiende noot
7191 @item DK: sekstendedelsnode
7192 @item S: sextondelsnot
7193 @item FI: kuudestoistaosanuotti
7200 @node sixteenth rest
7201 @section sixteenth rest
7204 @item UK: semiquaver rest
7205 @item ES: silencio de semicorchea
7206 @item I: pausa di semicroma
7207 @item F: quart de soupir
7208 @item D: Sechzehntelpause
7209 @item NL: zestiende rust
7210 @item DK: sekstendedelspause
7211 @item S: sextondelspaus
7212 @item FI: kuudestoistaosatauko
7235 @node sixty-fourth note
7236 @section sixty-fourth note
7239 @item UK: hemidemisemiquaver
7241 @item I: semibiscroma
7242 @item F: quadruple croche
7243 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7244 @item NL: vierenzestigste noot
7245 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7246 @item S: sextiofjärdedelsnot
7247 @item FI: kuudeskymmenesneljäsosanuotti
7254 @node sixty-fourth rest
7255 @section sixty-fourth rest
7258 @item UK: hemidemisemiquaver rest
7259 @item ES: silencio de semifusa
7260 @item I: pausa di semibiscroma
7261 @item F: seizième de soupir
7262 @item D: Vierundsechzigstelpause
7263 @item NL: vierenzestigste rust
7264 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7265 @item S: sextiofjärdedelspaus
7266 @item FI: kuudeskymmenesneljäsosatauko
7274 @section slash repeat
7277 @ref{percent repeat}.
7283 ES: ligadura de expresión,
7284 I: legatura (di portamento o espressiva),
7286 D: Bogen (Legatobogen, Phrasierungsbogen),
7287 NL: fraseringsboog, legatoboog, streekboog,
7288 DK: legatobue, fraseringsbue,
7292 A slur above or below a group of notes indicates that they are to be
7293 played @ref{legato}, e.g., with one stroke of the violin bow or with
7294 one breath in singing.
7297 No cross-references.
7301 @section solmization
7310 FI: suhteelliset laulunimet.
7312 General term for systems of designating the degrees of the
7313 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7314 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7318 @ref{scale}, @ref{scale degree}.
7333 In its present-day meaning a sonata denotes an instrumental
7334 composition for piano or for some other instrument with piano
7335 accompaniment, which consists of three or four independant pieces,
7339 No cross-references.
7343 @section sonata form
7347 F: [en] forme de sonate,
7349 NL: hoofdvorm, sonatevorm,
7354 A form used frequently for single movements of the @emph{sonata},
7355 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7356 three sections called @notation{exposition}, @notation{development} and
7357 @notation{recapitulation}. In the exposition the composer introduces some
7358 musical ideas, consisting of a number of themes; in the development section the
7359 composer @emph{develops} this material, and in the recapitulation the composer
7360 repeats the exposition, with certain modifications. The exposition contains a
7361 number of themes that fall into two groups, often called first and second
7362 subject. Other melodies occurring in each group are considered as continuations
7363 of these two. The second theme is in another key, normally in the key of the
7364 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7365 @notation{relative key} if the tonic is @notation{minor}.
7368 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7369 @ref{symphony}, @ref{tonic}.
7389 FI: sopraano, korkea naisääni.
7391 The highest female voice.
7394 No cross-references.
7402 F: staccato, piqué, détaché,
7407 FI: staccato, lyhyesti, terävästi.
7409 Playing the note(s) short. Staccato is indicated by a dot above or
7410 below the note head.
7412 @lilypond[quote,relative=2]
7416 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7422 No cross-references.
7429 ES: pentagrama, pauta,
7430 I: pentagramma, rigo (musicale),
7432 D: Notensystem, Notenzeile,
7433 NL: (noten)balk, partij,
7438 A staff (plural: staves) is a series of (normally five) horizontal
7439 lines upon and between which the musical notes are written, thus
7440 indicating (in connection with a @ref{clef}) their pitch. Staves for
7441 @ref{percussion} instruments may have fewer lines.
7444 No cross-references.
7460 D: Hals, Notenhals, Stiel,
7466 Vertical line above or below a @ref{note head} shorter than a
7469 @lilypond[quote,notime,relative=2]
7470 \set Score.autoBeaming = ##f
7484 ES: stringendo, acelerando,
7486 F: stringendo, en accélérant,
7491 FI: kiihdyttäen, nopeuttaen.
7493 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7512 A family of stringed musical instruments played with a bow. Strings
7513 commonly used in a symphony orchestra are violin, viola, violoncello,
7517 No cross-references.
7521 @section strong beat
7526 D: betonter Taktteil oder Taktschlag,
7528 D: betonet taktslag,
7529 S: betonat taktslag,
7530 FI: tahdin vahva isku.
7533 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7537 @section subdominant
7546 FI: subdominantti, alidominantti.
7548 The fourth @notation{scale degree}.
7551 @ref{functional harmony}, @ref{scale degree}.
7566 The sixth @notation{scale degree}.
7569 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7582 FI: subtoonika, alitoonika.
7584 The seventh @ref{scale degree}.
7587 @ref{functional harmony}, @ref{scale degree}.
7593 ES: sobre la cuerda de Sol,
7596 D: auf G, auf der G-Saite,
7602 Indicates that the indicated passage (or note) should be played on the
7606 No cross-references.
7610 @section superdominant
7621 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7624 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7639 The second @ref{scale degree}.
7642 @ref{functional harmony}, @ref{scale degree}.
7651 D: Sinfonie, Symphonie,
7657 A symphony may be defined as a @emph{sonata} for orchestra.
7664 @section syncopation
7675 Any deliberate upsetting of the normal pulse of @ref{meter},
7676 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7677 rhythm rests upon the grouping of equal beats into groups of two or
7678 three, with a regularly recurrent accent on the first beat of each
7679 group. Any deviation from this scheme is felt as a disturbance or
7680 contradiction between the underlaying (normal) pulse and the actual
7683 @lilypond[quote,relative=1]
7686 e16 c'8 e,16 c'8 e,16 c' ~
7691 No cross-references.
7694 @node syntonic comma
7695 @section syntonic comma
7697 ES: coma sintónica, coma de Dídimo,
7698 I: comma sintonico (o didimico),
7699 F: comma syntonique,
7700 D: syntonisches Komma,
7701 NL: syntonische komma,
7702 DK: syntonisk komma,
7703 S: syntoniskt komma,
7704 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7705 Pytagorisessa viritysjärjestelmässä.
7707 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7708 by which the ditone exceeds the pure major third obtained by Pythagorean
7709 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7711 Modern acoustical theory defines it as the interval by which four fifths exceed
7712 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7714 This comma is also known as the comma of Didymus, or didymic comma.
7717 @ref{Pythagorean comma}
7726 D: Notensystem, Partitur,
7730 FI: nuottijärjestelmä.
7732 The collection of staves (@notation{staff}), two or more, as used for writing
7733 down of keyboard, chamber, choral, or orchestral music.
7740 @section temperament
7745 D: Stimmung, Tem@-pe@-ra@-tur,
7746 NL: stemming, temperatuur,
7749 FI: viritysjärjestelmä.
7751 Systems of tuning in which the intervals deviate from the acoustically
7755 @ref{meantone temperament}, @ref{equal temperament}.
7758 @node tempo indication
7759 @section tempo indication
7761 ES: indicación de tempo,
7762 I: indicazione di tempo,
7763 F: indication de tempo,
7764 D: Zeitmaß, Tempobezeichnung,
7765 NL: tempo aanduiding,
7770 The rate of speed of a composition or a section thereof, ranging from the
7771 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7772 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7776 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7790 FI: tenori, korkea miesääni.
7792 The highest @q{natural} male voice (apart from @notation{countertenor}).
7817 ES: subrayado (tenuto),
7826 An indication that a particular note should be held for the whole
7827 length, although this can vary depending on the composer and era.
7830 No cross-references.
7849 @node thirty-second note
7850 @section thirty-second note
7853 @item UK: demisemiquaver
7856 @item F: triple croche
7857 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7858 @item NL: twee@-endertig@-ste (32e) noot
7859 @item DK: toogtredivtedelsnode
7860 @item S: trettiotvåondelsnot
7861 @item FI: kolmaskymmeneskahdesosanuotti
7868 @node thirty-second rest
7869 @section thirty-second rest
7872 @item UK: demisemiquaver rest
7873 @item ES: silencio de fusa
7874 @item I: pausa di biscroma
7875 @item F: huitième de soupir
7876 @item D: Zweiunddreissigstel@-pause
7877 @item NL: twee@-endertig@-ste (32e) rust
7878 @item DK: toogtredivtedelspause
7879 @item S: trettiotvåondelspaus
7880 @item FI: kolmaskymmeneskahdesosatauko
7888 @section thorough bass
7897 ES: ligadura de unión (o de prolongación),
7898 I: legatura (di valore),
7899 F: liaison (de tenue),
7900 D: Haltebogen, Bindebogen,
7901 NL: overbinding, bindingsboog,
7903 S: bindebåge, överbindning,
7906 A curved line, identical in appearance with the @ref{slur}, which
7907 connects two succesive notes of the same pitch, and which has the
7908 function of uniting them into a single sound (tone) equal to the
7911 @lilypond[quote,notime,relative=2]
7923 @node time signature
7924 @section time signature
7926 ES: indicación de compás,
7928 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7929 D: Taktangabe, Angabe der Taktart,
7932 S: taktartssignatur,
7935 The sign placed at the beginning of a composition to indicate its
7936 meter. It most often takes the form of a fraction, but a few signs
7937 derived from mensural notation and proportions are also employed.
7940 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7955 A sound of definite pitch and duration, as distinct from @emph{noise}.
7956 Tone is a primary building material of music.
7958 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7961 No cross-references.
7976 The first @notation{scale degree}.
7979 @ref{functional harmony}, @ref{scale degree}.
7982 @node transposing instrument
7983 @section transposing instrument
7985 ES: instrumento transpositor,
7986 I: strumento traspositore,
7987 F: instrument transpositeur,
7992 FI: transponoitava soitin.
7994 Instruments whose notated pitch is different from their sounded pitch. Except
7995 for those whose notated and sounding pitches differ by one or more octaves (to
7996 reduce the number of ledger lines needed), most such instruments are identified
7997 by the letter name of the pitch class of their fundamental. The pitch class is
7998 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7999 the instrument plays a notated C.
8001 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8002 the B-flat one tone lower. If played on the A clarinet, the same written
8003 note sounds the A (one and half tones -- a minor third -- lower).
8005 Not all transposing instruments include the pitch class in their name:
8008 @item Alto flute (in G)
8009 @item English horn (in F)
8010 @item Saxophones (in B-flat or E-flat)
8013 @ignore Can we do better?
8015 To make matters more complex, some instruments are transposing instruments,
8016 but their players play from parts written at concert pitch. This is the
8017 case for orchestral trombone and tuba players—whereas trombone players in
8018 brass bands treat their parts as if written for a true transposing
8019 instrument in B-flat.
8024 @ref{concert pitch}.
8028 @section transposition
8030 ES: transporte, transposición,
8039 Shifting a melody up or down in pitch, while keeping the same
8042 @lilypond[quote,line-width=13.0\cm]
8047 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8052 @lilypond[quote,line-width=13.0\cm]
8055 \transpose c bes \relative c'' {
8057 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8063 No cross-references.
8067 @section treble clef
8069 ES: clave de sol en segunda,
8070 I: chiave di violino,
8072 D: Violinschlüssel, Sopranschlüssel,
8094 On stringed instruments:
8098 @item The quick reiteration of the same tone, produced by a rapid
8099 up-and-down movement of the bow.
8101 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8102 in the distance of a third (@ref{interval}).
8106 @lilypond[quote,notime,relative=1]
8108 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8109 \repeat tremolo 8 { e32_"b" g }
8121 F: triade, accord parfait, accord de trois sons,
8137 F: trille, tremblement, battement (cadence),
8149 @section triple meter
8151 ES: compás ternario,
8154 D: in drei, ungerader Takt,
8155 NL: driedelige maatsoort,
8197 @section tuning fork
8199 ES: diapasón [de horquilla],
8200 I: diapason, corista,
8208 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8209 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8210 standard. Tuning forks for other pitches are available.
8219 ES: grupo de valoración especial,
8220 I: gruppi irregolari,
8228 A non-standard subdivision of a beat or part of a beat, usually
8229 indicated with a bracket and a number indicating the number of
8233 @ref{triplet}, @ref{note value}.
8239 ES: grupeto (circular),
8262 FI: unisono, yksiäänisesti.
8264 Playing of the same notes or the same melody by various instruments
8265 (voices) or by the whole orchestra (choir), either at exactly the same
8266 pitch or in a different octave.
8269 No cross-references.
8277 F: anacrouse, levée,
8298 FI: ääni, lauluääni.
8306 @item @ref{mezzo-soprano}
8307 @item @ref{contralto}
8309 @item @ref{baritone}
8313 @item A melodic layer or part of a polyphonic composition.
8318 No cross-references.
8324 ES: vez, primera y segunda vez,
8331 FI: yksi kertauksen maaleista.
8333 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8334 or second ending. LilyPond extends this idea to any number, and allows any text
8335 (not just a number) -- to serve as the @notation{volta} text.
8338 No cross-references.
8345 I: tempo debole, arsi,
8347 D: unbetonter Taktteil oder Taktschlag,
8349 DK: ubetonet taktslag,
8350 S: obetonat taktslag,
8351 FI: tahdin heikko isku.
8354 @ref{beat}, @ref{measure}, @ref{rhythm}.
8365 @item D: Ganze, ganze Note
8369 @item FI: kokonuotti
8380 @item UK: semibreve rest
8381 @item ES: silencio de redonda
8382 @item I: pausa di semibreve
8384 @item D: ganze Pause, ganztaktige Pause
8386 @item DK: helnodespause
8407 The interval of a major second. The interval between two tones
8408 on the piano keyboard with exactly one key between them -- including
8409 black and white keys -- is a whole tone.
8427 A family of blown wooden musical instruments. Today some of these
8428 instruments are actually made from metal. The woodwind instruments
8429 commonly used in a symphony orchestra are flute, oboe, clarinet,
8430 saxophone, and bassoon.
8433 No cross-references.
8436 @node Duration names notes and rests
8437 @chapter Duration names notes and rests
8439 @multitable @columnfractions .12 .22 .22 .22 .22
8441 @headitem Lang. @tab note name
8445 @item @strong{US} @tab long
8449 @item @strong{UK} @tab longa
8453 @item @strong{ES} @tab longa
8454 @tab silencio de longa
8456 @tab silencio de cuadrada
8457 @item @strong{IT} @tab longa
8461 @item @strong{FR} @tab longa
8462 @tab quadruple-pause
8465 @item @strong{DE} @tab Longa
8469 @item @strong{NL} @tab longa
8473 @item @strong{DK} @tab longa
8474 @tab longanodespause
8476 @tab brevis(nodes)pause
8477 @item @strong{SE} @tab longa
8481 @item @strong{FI} @tab longa-nuotti
8483 @tab brevis-nuotti, kaksoiskoko@-nuotti
8484 @tab brevis-tauko, kaksoiskoko@-tauko
8488 @multitable @columnfractions .12 .22 .22 .22 .22
8490 @headitem Lang. @tab note name
8494 @item @strong{US} @tab whole note
8498 @item @strong{UK} @tab semibreve
8502 @item @strong{ES} @tab redonda
8503 @tab silencio de redonda
8505 @tab silencio de blanca
8506 @item @strong{IT} @tab semibreve
8507 @tab pause di semibreve
8509 @tab pausa di minima
8510 @item @strong{FR} @tab ronde
8514 @item @strong{DE} @tab ganze Note
8518 @item @strong{NL} @tab hele noot
8522 @item @strong{DK} @tab helnode
8526 @item @strong{SE} @tab helnot
8530 @item @strong{FI} @tab kokonuotti
8537 @multitable @columnfractions .12 .22 .22 .22 .22
8539 @headitem Lang. @tab note name
8543 @item @strong{US} @tab quarter note
8547 @item @strong{UK} @tab crotchet
8551 @item @strong{ES} @tab negra
8552 @tab silencio de negra
8554 @tab silencio de corchea
8555 @item @strong{IT} @tab semiminima, nera
8556 @tab pausa di semiminima, pausa di nera
8559 @item @strong{FR} @tab noire
8563 @item @strong{DE} @tab Viertelnote
8567 @item @strong{NL} @tab kwartnoot
8571 @item @strong{DK} @tab fjerdedelsnode
8572 @tab fjerdedelspause
8573 @tab ottendedelsnode
8574 @tab ottendedelspause
8575 @item @strong{SE} @tab fjärdedelsnot
8579 @item @strong{FI} @tab neljäsosa@-nuotti
8580 @tab neljäsosa@-tauko
8581 @tab kahdeksasosa@-nuotti
8582 @tab kahdeksasosa@-tauko
8586 * About the French naming system: @notation{croche} refers to the note's
8587 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8588 @q{doubled hook}, @q{trebled hook}, and so on.
8590 The rest names are based on the @notation{soupir}, or quarter rest.
8591 Subsequent rests are expressed as fractions thereof: half a
8592 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8594 Each of the following tables contains one type of note and its matching rest,
8595 with abbreviations that apply to both notes and rests. Just switch the part
8596 that means @q{note} with the part that means @q{rest}, for example:
8600 @item English: 16th @strong{note}, 16th @strong{rest}
8601 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8602 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8606 Editor's note: I put a dash @q{-} when I could not find a language-specific
8607 abbreviation for a duration name. If you know of one that I missed, please
8608 send it to me, care of the lilypond-user discussion list.
8610 @multitable @columnfractions .10 .35 .35 .20
8612 @headitem Lang. @tab Note name
8615 @item @strong{US} @tab sixteenth note
8618 @item @strong{UK} @tab semiquaver
8619 @tab semiquaver rest
8621 @item @strong{ES} @tab semicorchea
8622 @tab silencio de semicorchea
8624 @item @strong{IT} @tab semicroma
8625 @tab pausa di semicroma
8627 @item @strong{FR} @tab double croche
8628 @tab quart de soupir
8630 @item @strong{DE} @tab Sechzehntelnote
8631 @tab Sechzehntelpause
8633 @item @strong{NL} @tab zes@-ti@-ende noot
8634 @tab zes@-ti@-ende rust
8636 @item @strong{DK} @tab sekstendedelsnode
8637 @tab sekstendedelspause
8639 @item @strong{SE} @tab sextondelsnot
8642 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8643 @tab kuudes@-toistaosa@-tauko
8648 @multitable @columnfractions .10 .35 .35 .20
8650 @headitem Lang. @tab Note name
8653 @item @strong{US} @tab thirty-second note
8654 @tab thirty-second rest
8656 @item @strong{UK} @tab demisemiquaver
8657 @tab demisemiquaver rest
8659 @item @strong{ES} @tab fusa
8660 @tab silencio de fusa
8662 @item @strong{IT} @tab biscroma
8663 @tab pausa di biscroma
8665 @item @strong{FR} @tab triple croche
8666 @tab huitième de soupir
8668 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8669 @tab Zweiunddreißig@-stelpause
8671 @item @strong{NL} @tab twee@-endertigste noot
8672 @tab twee@-endertigste rust
8674 @item @strong{DK} @tab toogtredivtedelsnode
8675 @tab toogtredivtedelspause
8677 @item @strong{SE} @tab trettio@-tvåondelsnot
8678 @tab trettio@-tvåondelspaus
8680 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8681 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8686 @multitable @columnfractions .10 .35 .35 .20
8688 @headitem Lang. @tab Note name
8691 @item @strong{US} @tab sixty-fourth note
8692 @tab sixty-fourth rest
8694 @item @strong{UK} @tab hemidemisemiquaver
8695 @tab hemidemisemiquaver rest
8697 @item @strong{ES} @tab semifusa
8698 @tab silencio de semifusa
8700 @item @strong{IT} @tab semibiscroma
8701 @tab pausa di semibiscroma
8703 @item @strong{FR} @tab quadruple croche
8704 @tab seizième de soupir
8706 @item @strong{DE} @tab Vierundsechzigstelnote
8707 @tab Vierundsechzigstelpause
8709 @item @strong{NL} @tab vierenzestigste noot
8710 @tab vierenzestigste rust
8712 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8713 @tab fireog@-tredsindstyven@-dedelspause
8715 @item @strong{SE} @tab sextiofjärdedelsnot
8716 @tab sextiofjärdedelspaus
8718 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8719 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8724 @multitable @columnfractions .10 .35 .35 .20
8726 @headitem Lang. @tab Note name
8729 @item @strong{US} @tab one-hundred-twenty-eighth note
8730 @tab one-hundred-twenty-eighth rest
8732 @item @strong{UK} @tab semihemidemisemiquaver
8733 @tab semihemidemisemiquaver rest
8735 @item @strong{ES} @tab garrapatea
8736 @tab silencio de garrapatea
8738 @item @strong{IT} @tab fusa
8741 @item @strong{FR} @tab quintuple croche
8742 @tab trente-deuxième de soupir @tab -
8743 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8744 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8745 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8746 @tab honderd@-acht@-en@-twintigste rust
8748 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8749 @tab hundrede@-otte@-og@-tyvendedels@-pause
8751 @item @strong{SE} @tab hundratjugoåttondelsnot
8752 @tab hundratjugoåttondelspaus
8754 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8755 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8760 @multitable @columnfractions .10 .35 .35 .20
8762 @headitem Lang. @tab Note name
8765 @item @strong{US} @tab two-hundred-fifty-sixth note
8766 @tab two-hundred-fifty-sixth rest
8768 @item @strong{UK} @tab demisemihemidemisemiquaver
8769 @tab demisemihemidemisemiquaver rest
8771 @item @strong{ES} @tab semigarrapatea
8772 @tab silencio de semigarrapatea @tab -
8773 @item @strong{IT} @tab semifusa
8774 @tab pausa di semifusa
8776 @item @strong{FR} @tab sextuple croche
8777 @tab soixante-quatrième de soupir @tab -
8778 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8779 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8780 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8781 @tab tweehonderd@-zesenvijftigste rust
8783 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8784 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8786 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8787 @tab tvåhundra@-femtiosjättedelspaus
8789 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8790 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8796 @ref{mensural notation}
8800 @chapter Pitch names
8803 -is/-es endings for Danish per Rune Zedeler, pace,
8804 and for Finnish per Risto Vääräniemi;
8805 -iss/-ess endings for Swedish per Mats Bengtsson
8806 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8808 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8809 multiple lines -- as texinfo needs it to allow enough space for the
8810 table entries. (For the curious, it's a list of the widest items in
8811 each column of the table. Romance pitch names are two characters,
8812 except for g (sol) ... so there you go.)
8815 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8816 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8817 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8818 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8819 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8820 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8821 @tab des @tab des @tab dess @tab des
8822 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8823 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8824 @tab dis @tab dis @tab diss @tab dis
8825 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8826 @tab es @tab es @tab ess @tab es
8827 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8828 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8829 @tab Fes @tab fes @tab fes @tab fess @tab fes
8830 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8831 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8832 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8833 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8834 @tab fis @tab fis @tab fiss @tab fis
8835 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8836 @tab ges @tab ges @tab gess @tab ges
8837 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8838 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8839 @tab Gis @tab gis @tab gis @tab giss @tab gis
8840 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8841 @tab as @tab as @tab ass @tab as
8842 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8843 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8844 @tab ais @tab ais @tab aiss @tab ais
8845 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8846 @tab bes @tab b @tab b @tab b
8847 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8848 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8849 @tab ces @tab ces @tab cess @tab ces
8850 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8851 @tab His @tab bis @tab his @tab hiss @tab his
8859 @node Literature used
8860 @unnumberedsec Literature used
8863 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8864 Cambridge: Belknap Press (Harvard University Press), 1944.
8866 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8869 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8870 Terminologie}. Kassel, 1980.
8872 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8873 Current English}, 3rd ed. London: Oxford University Press, 1974.
8875 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8876 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8878 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8879 Cambridge: Belknap Press (Harvard University Press), 1986.
8881 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.