1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2008 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2008 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rlearning{About the documentation}.
189 @w{@expansion{}@strong{\word\}}@c
192 @expansion{}@ref{\word\, @strong{\word\}}@c
197 * Musical terms A-Z::
198 * Duration names notes and rests::
203 @node Musical terms A-Z
204 @chapter Musical terms A-Z
206 Languages in this order.
208 @item UK - British English (where it differs from American English)
236 * ancient minor scale::
241 * ascending interval::
243 * augmented interval::
280 * compound interval::
284 * conjunct movement::
298 * descending interval::
301 * diminished interval::
305 * disjunct movement::
307 * dissonant interval::
311 * dominant ninth chord::
312 * dominant seventh chord::
314 * dot (augmentation dot)::
316 * double appoggiatura::
318 * double dotted note::
321 * double time signature::
328 * ecclesiastical mode::
335 * equal temperament::
356 * functional harmony::
376 * inverted interval::
391 * long appoggiatura::
397 * meantone temperament::
404 * mensural notation::
408 * metronomic indication::
421 * multi-measure rest::
451 * polymetric time signature::
456 * Pythagorean comma::
486 * sixty-fourth note::
487 * sixty-fourth rest::
518 * thirty-second note::
519 * thirty-second rest::
526 * transposing instrument::
581 Abbreviated @notation{a2} or @notation{a 2}.
585 @item An indication in orchestral scores that a single part notated on a single
586 staff that normally carries parts for two players (e.g. first and second oboes)
587 is to be played by both players.
589 @item Or conversely, that two pitches or parts notated on a staff that normally
590 carries a single part (e.g. first violin) are to be played by different players,
591 or groups of players (@q{desks}).
605 F: accelerando, en accélérant,
606 D: accelerando, schneller werden,
610 FI: accelerando, kiihdyttäen.
612 [Italian: @q{speed up, accelerate}.]
631 FI: aksentti, korostus.
633 The stress of one tone over others.
648 @section acciaccatura
650 A grace note which takes its time from the rest or note preceding the
651 principal note to which it is attached. The acciaccatura is drawn as a
652 small eighth note (quaver) with a line drawn through the flag and
657 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
663 ES: alteración accidental,
665 F: altération accidentelle,
666 D: Versetzungszeichen, Akzidenz,
667 NL: toevallig (verplaatsings)teken,
669 S: tillfälligt förtecken,
670 FI: tilapäinen etumerkki.
672 An accidental alters a note by:
676 @item Raising its pitch:
678 @item A @notation{double sharp}, by two semitones (a whole tone)
679 @item A @notation{sharp}, by one semitone
682 @item Lowering its pitch:
684 @item A @notation{flat}, by one semitone
685 @item A @notation{double flat}, by two semitones (a whole tone)
688 @item Canceling the effects of the key signature or previous accidentals.
691 @lilypond[fragment,notime,line-width=13.0\cm]
692 \set Score.automaticBars = ##f
694 \context Staff \relative c'' {
695 \set Staff.extraNatural = ##f
696 gisis1 gis g! ges geses
699 \override Lyrics .LyricText #'self-alignment-X = #-1
700 "db. sharp" sharp natural flat "db. flat"
707 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
720 FI: adagio, hitaasti.
722 [Italian: @q{comfortable, easy}.]
726 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
727 and faster than @notation{largo}.
729 @item A movement in slow tempo, especially the second (slow) movement
730 of sonatas, symphonies, etc.
736 @ref{andante}, @ref{largo}, @ref{sonata}.
749 FI: häviten olemattomiin.
751 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
752 that the sound should fade away to nothing.
754 @notation{Al niente} is indicated by circling the tip of the hairpin:
756 @lilypond[fragment,ragged-right]
758 \override Hairpin #'circled-tip = ##t
765 or with the actual phrase @notation{al niente}. This may be easier with
766 text markup, rather than as part of the @notation{decrescendo} text:
768 @lilypond[fragment,ragged-right]
773 c\!-\markup { \italic "al niente" }
777 Since one does not crescendo @emph{to} nothing, it is not correct to use
778 @notation{al niente} with @notation{crescendo}. Instead, one should use
779 @emph{dal niente} (@notation{@b{from} nothing}).
783 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
792 D: Allegro, Schnell, Fröhlich, Lustig,
796 FI: allegro, nopeasti.
798 [Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
799 tempo, especially the first and last movements of a sonata.
813 NL: verhoging of verlaging,
818 An alteration is the modification, raising or lowering, of a note's
819 pitch. It is established by an accidental.
836 FI: altto, matala naisääni.
838 A female voice of low range (@emph{contralto}). Originally the alto
839 was a high male voice (hence the name), which by the use of falsetto
840 reached the height of the female voice. This type of voice is also
841 known as countertenor.
851 ES: clave de do en tercera,
852 I: chiave di contralto,
853 F: clef d'ut troisième ligne,
854 D: Altschlüssel, Bratschenschlüssel,
860 C clef setting middle C on the middle line of the staff.
877 FI: ambitus, ääniala, soitinala.
879 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
880 Denotes a range of pitches for a given voice in a part of music. It may
881 also denote the pitch range that a musical instrument is capable of playing.
882 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
901 An anacrusis (also known as pickup or upbeat) is an incomplete measure
902 of music before a section of music. It also refers to the initial
903 note(s) of a melody occurring in that incomplete measure.
905 @lilypond[fragment,line-width=13.0\cm]
909 \partial 4 f4 | bes4. a8 bes4 c |
910 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
915 @ref{measure}, @ref{meter}.
918 @node ancient minor scale
919 @section ancient minor scale
921 ES: escala menor natural,
922 I: scala minore naturale,
923 F: forme du mode mineur ancien, troisème mode, mode hellénique,
924 D: reines Moll, natürliches Moll,
925 NL: authentieke mineurtoonladder,
928 FI: luonnollinen molliasteikko.
930 Also called @q{natural minor scale}.
932 @lilypond[fragment,notime,line-width=13.0\cm]
933 \set Score.automaticBars = ##f
940 @ref{diatonic scale}.
955 [Italian: present participle of @emph{andare}, @q{to walk}.]
957 Walking tempo/character.
965 @section appoggiatura
969 F: appoggiature, (port de voix),
970 D: Vorschlag, Vorhalt
974 FI: appoggiatura, etuhele.
976 Ornamental note, usually a second, that is melodically connected with
977 the main note following it. In music before the 19th century
978 appoggiature were usually performed on the beat, after that mostly
979 before the beat. While the short appoggiatura is performed as a short
980 note regardless of the duration of the main note the duration of the
981 long appoggiatura is proportional to that of the main note.
983 @lilypond[line-width=13.0\cm]
984 \context Voice \relative c'' {
988 %\override Score.TextScript #'font-style = #'large
989 <d a fis>4_"notation" r
990 { \override Stem #'flag-style = #'()
992 \revert Stem #'flag-style
995 { \override Stem #'flag-style = #'()
997 \revert Stem #'flag-style
1000 \cadenzaOn a4 \bar "||" \cadenzaOff
1002 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
1003 \cadenzaOn a4 \bar "||" \cadenzaOff
1007 An appoggiatura may have more notes preceding the main note.
1009 @lilypond[line-width=13.0\cm]
1013 % \override Score.TextScript #'font-style = #'large
1014 \grace { bes16 } as8_"notation" as16 bes as8 g |
1015 \grace { as16[( bes] } < c as >4-)
1016 \grace { as16[( bes] } < c as >4-) \bar "||"
1017 \grace { bes16 } as8_"performance" as16 bes as8 g |
1018 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
1019 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
1035 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1036 NL: gebroken akoord,
1037 DK: arpeggio, akkordbrydning,
1039 FI: arpeggio, murtosointu.
1041 [Italian: @q{harp-like, played like a harp}.]
1043 @lilypond[fragment,line-width=13.0\cm]
1044 \context PianoStaff <<
1045 \context Staff = SA \relative c'' {
1048 r8 g16 c e g, c e r8 g,16 c e g, c e |
1049 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
1050 \context Staff = SB \relative c' {
1052 << \context Voice = va {
1054 r16 e8. ( e4) r16 e8. ( e4) |
1055 r16 d8. ( d4) r16 d8. ( d4) }
1056 \context Voice = vb {
1069 @section articulation
1078 FI: artikulaatio, ilmaisu.
1080 Articulation refers to notation which indicates how a note or notes
1081 should be played. Slurs, accents, staccato, and legato are all
1082 examples of articulation.
1089 @node ascending interval
1090 @section ascending interval
1092 ES: intervalo ascendente,
1093 I: intervallo ascendente,
1094 F: intervalle ascendant,
1095 D: steigendes Intervall,
1096 NL: stijgend interval,
1097 DK: stigende interval,
1098 S: stigande intervall,
1099 FI: nouseva intervalli.
1101 A distance between a starting lower note and a higher ending note.
1108 @node augmented interval
1109 @section augmented interval
1111 ES: intervalo aumentado,
1112 I: intervallo aumentato,
1113 F: intervalle augmenté,
1114 D: übermäßiges Intervall,
1115 NL: overmatig interval,
1116 DK: forstørret interval,
1117 S: överstigande intervall,
1118 FI: ylinouseva intervalli.
1126 @section augmentation
1135 FI: aika-arvojen pidentäminen.
1137 @c TODO: add definition.
1139 This is a placeholder for augmentation (wrt mensural notation).
1143 @ref{diminution}, @ref{mensural notation}.
1151 F: manuscrit, autographe
1152 D: Autograph, Handschrift,
1154 DK: håndskrift, autograf,
1156 FI: käsinkirjoitettu nuotti.
1160 @item A manuscript written in the composer's own hand.
1162 @item Music prepared for photoreproduction by freehand drawing, with
1163 the aid of a straightedge ruler and T-square only, which attempts to
1164 emulate engraving. This required more skill than did engraving.
1189 @ref{H}, @ref{Pitch names}
1211 ES: barra, línea divisoria,
1212 I: stanghetta, barra (di divisione),
1213 F: barre (de mesure),
1220 A vertical line through the staff (or through multiple staves) that
1221 separates measures. Used very infrequently during the Renaissance (mostly
1222 in secular music, or in sacred music to indicate congruences between parts
1223 in otherwise-unmetered music).
1240 FI: baritoni, keskikorkuinen miesääni.
1242 The male voice intermediate in pitch between the bass and the tenor.
1244 @c F: clef de troisième ligne dropped
1248 @ref{bass}, @ref{tenor}.
1252 @section baritone clef
1254 ES: clave de fa en tercera,
1255 I: chiave di baritono,
1256 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1257 D: Baritonschlüssel,
1263 C or F clef setting middle C on the upper staff line.
1267 @ref{C clef}, @ref{F clef}.
1280 FI: basso, matala miesääni.
1284 @item The lowest male voice.
1286 @item Sometimes, especially in jazz music, used as an abbreviation for
1299 ES: clave de fa en cuarta,
1301 F: clef de fa quatrième ligne,
1308 A clef setting with middle C on the first top ledger line.
1327 Line connecting a series of notes (shorter than a quarter note). The
1328 number of beams determines the note value of the connected notes.
1330 @lilypond[fragment,notime,line-width=13.0\cm]
1331 \set Score.automaticBars = ##f
1332 %\override TextScript #'font-style = #'large
1334 g8_"1/8"[ g g g] s16
1335 g16_"1/16"[ g g g] s16
1336 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1337 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1342 @ref{feathered beam}.
1348 ES: tiempo, parte (de compás)
1351 D: Takt, Taktschlag, Zeit (im Takt),
1357 Note value used for counting, most often half-, fourth-, and eighth notes.
1358 The base counting value and the number of them in each measure is indicated
1359 at the start of the music by the @notation{time signature}.
1361 @lilypond[fragment,line-width=13.0\cm]
1364 \relative c'' { g4 c b a | g1 \bar "||"}
1366 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1371 @ref{time signature}.
1375 @section beat repeat
1379 @ref{percent repeat}.
1393 ES: llave, corchete,
1396 D: Klammer, Akkolade,
1397 NL: accolade, teksthaak,
1400 FI: yhdistävä sulkumerkki.
1402 Symbol at the start of a system connecting staves.
1404 Curly braces are used for connecting piano staves, and sometimes for connecting
1405 the staves of like instruments in an orchestral score when written on different
1406 staves (e.g. first and second flutes):
1408 @lilypond[fragment,ragged-right]
1409 \context GrandStaff <<
1410 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1411 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1414 Angular brackets for connecting parts in an orchestral or choral score:
1416 @lilypond[fragment,ragged-right]
1417 \context StaffGroup <<
1418 % \set StaffGroup.minVerticalAlign = #12
1419 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1420 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1451 NL: koper (blazers),
1454 S: brassinstrument, mässingsinstrument,
1457 A family of blown musical instruments made of brass, all using a cup
1458 formed mouth piece. The brass instruments commonly used in a symphony
1459 orchestra are trumpet, trombone, french horn, and tube.
1467 @section breath mark
1472 D: Atemzeichen, Trennungszeichen,
1473 NL: repercussieteken,
1474 DK: vejrtrækningstegn,
1478 Indication of where to breathe in vocal and wind instrument parts.
1489 @item US: breve, double-whole note,
1490 @item ES: cuadrada, breve,
1497 @item FI: brevis, kaksoiskokonuotti.
1500 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1501 The shortest note value generally used in white mensural notation, hence the
1502 name, which originally meant @q{of short duration}.
1504 @lilypond[fragment,notime,ragged-right]
1505 \set Score.automaticBars = ##f
1506 \relative c'' { g\breve }
1511 @ref{mensural notation}, @ref{note value}.
1545 Clef symbol indicating the position of the middle C. Used on all note
1548 @lilypond[fragment,notime,line-width=13.0\cm]
1549 \set Score.automaticBars = ##f
1550 \override Score.Clef #'full-size-change = ##t
1552 \context Staff \relative c' {
1554 \clef mezzosoprano c
1559 \context Lyrics \lyrics {
1560 \override Lyrics .LyricText #'self-alignment-X = #-1
1561 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1581 FI: kadenssi, lopuke.
1585 @ref{harmonic cadence}, @ref{functional harmony}.
1598 FI: kadenssi, lopuke.
1600 An extended, improvisatory style section inserted near the end of
1601 movement. The purpose of a cadenza is to give singers or players a
1602 chance to exhibit their technical skill and -- not last -- their
1603 ability to improvise. Since the middle of the 19th century, however,
1604 most cadenzas have been written down by the composer.
1623 [Latin: from the supine of @emph{caedere} @q{to cut down}.]
1625 The break between two musical phrases, sometimes (but not always) marked by a
1626 rest or a breath mark.
1643 FI: kaanon, tarkka jäljittely.
1660 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1661 viritysjärjestelmässä.
1663 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1664 (1/100 of an equally tempered semitone).
1668 @ref{equal temperament}, @ref{semitone}.
1691 Three or more tones sounding simultaneously. In traditional European music
1692 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1693 (major + minor third) as well as @emph{minor} (minor + major third) chords
1694 may be extended with more thirds. Four-tone @emph{seventh chords} and
1695 five-tone @emph{ninth} major chords are most often used as dominants
1696 (functional harmony). Chords having no third above the lower notes to
1697 define their mood are a special case called @q{open chords}. The lack of
1698 the middle third means their quality is ambivalent -- neither major nor
1701 @lilypond[fragment,notime,line-width=13.0\cm]
1702 \set Score.automaticBars = ##f
1703 %\override TextScript #'font-style = #'large
1705 \context Staff \relative c'' {
1706 \set Staff.extraNatural = ##f
1727 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1731 @node chromatic scale
1732 @section chromatic scale
1734 ES: escala cromática,
1736 F: gamme chromatique,
1737 D: chro@-ma@-ti@-sche Tonleiter,
1738 NL: chromatische toonladder,
1739 DK: kromatisk skala,
1741 FI: kromaattinen asteikko.
1743 A scale consisting of all 12 semitones.
1745 @lilypond[fragment,notime,line-width=13.0\cm]
1746 \set Score.automaticBars = ##f
1747 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1756 @section chromaticism
1767 Using tones extraneous to a diatonic scale (minor, major).
1771 @ref{diatonic scale}.
1775 @section church mode
1777 ES: modo eclesiástico,
1778 I: modo ecclesiastico,
1779 F: mode ecclésiastique,
1784 FI: moodi, kirkkosävellaji.
1788 @ref{diatonic scale}.
1797 D: Schlüssel, Notenschlüssel,
1801 FI: avain, nuottiavain.
1803 The clef indicates which lines of the staff correspond to which
1804 pitches. The three clef symbols in common use are:
1806 @lilypond[ragged-right,quote]
1809 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1810 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1811 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1816 Imagine a large staff of 11 lines centered on middle C, sometimes
1817 called a @q{grand staff}, with the bottom line representing low G and
1818 the top line high F:
1820 @lilypond[ragged-right,quote]
1823 %-- Treble Staff --%
1825 % Allow this staff to be placed close to the others
1826 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1827 % Allow the treble clef to overlap the lower staves:
1828 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1829 \override Staff.Clef #'stencil = ##f % No clef required
1831 s1^\markup { "g," \transparent "g" }
1832 s^ \markup { "b," \transparent "g" }
1833 s^ \markup { "d" \transparent "g" }
1834 s^ \markup { "f" \transparent "g" }
1835 s^ \markup { "a" \transparent "g" }
1836 s^ \markup { \with-color #red c' \transparent "g"}
1837 e'^\markup { "e'" \transparent "g" }
1838 g'^\markup { "g'" \transparent "g" }
1839 b'^\markup { "b'" \transparent "g" }
1840 d''^\markup { "d''" \transparent "g" }
1841 f''^\markup { "f ''" \transparent "g" }
1844 %-- Alto Staff reduced to a single line on middle C --%
1846 \override Staff.StaffSymbol #'line-count = 1 % One line only
1847 \override Staff.StaffSymbol #'color = #red % Coloured red
1848 \override Staff.Clef #'stencil = ##f % No clef required
1851 % Allow this staff to be placed close to the others
1852 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1853 % Specify height to give correct spacing between treble and bass staves
1854 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1856 s1 s s s s % Space along to align horizonatally
1857 \override NoteHead #'color = #red
1859 s1 s s s s s % Keep staff (ie the red line) showing
1863 % Allow this staff to be placed close to the others
1864 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1865 \override Staff.Clef #'stencil = ##f % No clef required
1868 s s s s s s s % Keep staff showing
1872 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1873 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1875 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1876 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1878 % Remove all barlines
1879 \context { \Score \override BarLine #'stencil = ##f
1881 % Remove time signature from all staves
1882 \context { \Staff \remove Time_signature_engraver
1888 Staves of five lines are usually used, and the clef superimposed on
1889 them indicates which five lines have been selected from this
1890 @samp{grand staff}. For example, the treble or G clef indicates that
1891 the top five lines have been selected:
1893 @lilypond[ragged-right,quote]
1896 %-- Treble Staff --%
1898 % Allow this staff to be placed close to the others
1899 \override Staff.VerticalAxisGroup
1900 #'minimum-Y-extent = #'(0 . 0)
1901 % Allow the treble clef to overlap the lower staves:
1902 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1903 \override Staff.Clef #'stencil = ##f % No clef required here
1905 s1^\markup { "g," \transparent "g" }
1906 s^ \markup { "b," \transparent "g" }
1907 s^ \markup { "d" \transparent "g" }
1908 s^ \markup { "f" \transparent "g" }
1909 s^ \markup { "a" \transparent "g" }
1910 s^ \markup { \with-color #red c' \transparent "g"}
1911 \stopStaff \startStaff
1912 \clef "C" % Dummy to force next clef to be printed
1913 s % Need at least one note for \clef to take effect
1914 \revert Staff.Clef #'stencil % Clef now required
1915 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1917 e'^\markup { "e'" \transparent "g" }
1918 g'^\markup { "g'" \transparent "g" }
1919 b'^\markup { "b'" \transparent "g" }
1920 d''^\markup { "d''" \transparent "g" }
1921 f''^\markup { "f ''" \transparent "g" }
1923 %-- Alto Staff reduced to a single line on middle C --%
1925 \override Staff.StaffSymbol #'line-count = 1 % One line only
1926 \override Staff.StaffSymbol #'color = #red % Coloured red
1927 \override Staff.Clef #'stencil = ##f % No clef required
1930 % Allow this staff to be placed close to the others
1931 \override Staff.VerticalAxisGroup
1932 #'minimum-Y-extent = #'(0 . 0)
1933 % Specify height to give correct spacing between the staves
1934 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1936 s1 s s s s % Space along to align horizonatally
1937 \override NoteHead #'color = #red
1939 % s1 s s s s % Keep staff (ie the red line) showing
1943 % Allow this staff to be placed close to the others
1944 \override Staff.VerticalAxisGroup
1945 #'minimum-Y-extent = #'(0 . 0)
1946 \override Staff.Clef #'stencil = ##f % No clef required
1949 % s s s s s s % Keep staff showing
1953 % Reduce horizontal spacing so semibreves can be used
1954 % without exceeding 1 line
1955 \context { \Score \override SpacingSpanner
1956 #'base-shortest-duration = #(ly:make-moment 1 1)
1958 % Reduce apparent vertical size of note heads to
1959 % permit them to overlap other grobs vertically
1960 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1962 % Remove all barlines
1963 \context { \Score \override BarLine #'stencil = ##f
1965 % Remove time signature from all staves
1966 \context { \Staff \remove Time_signature_engraver
1972 The @q{curl} of the G clef is centered on the line that represents the
1975 In the same way, the bass or F clef indicates that the bottom five
1976 lines have been selected from the @samp{grand staff}, and the alto or
1977 C clef indicates the middle five lines have been selected. This
1978 relationship is shown below, where the notes show an arpeggio on a C
1981 @lilypond[ragged-right,quote]
1984 %-- Treble Staff --%
1985 \new Staff = "G" \with {
1986 \remove Time_signature_engraver
1989 % The following two overrides are required to make the two middle C's overlap
1990 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1991 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1993 \override Staff.Clef #'Y-extent = #'(0 . 0)
1995 s1 s s s s e' g' c''
1998 \new Staff = "C" \with {
1999 \remove Time_signature_engraver
2002 \override Staff.StaffSymbol #'line-count = 1
2003 \override Staff.StaffSymbol #'stencil = ##f
2004 \once \override Staff.Clef #'stencil = ##f
2005 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
2006 \override Score.BarLine #'stencil = ##f
2008 % The following two overrides are required to align the C staff to the G and F staves
2009 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2010 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2013 \stopStaff \startStaff
2014 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2015 \revert Staff.StaffSymbol #'stencil
2016 \override Staff.StaffSymbol #'color = #red
2017 b'1 % A frig. This really shows as a middle C in the score
2019 \stopStaff \startStaff
2020 \override Staff.StaffSymbol #'line-count = 5
2021 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
2022 \override Staff.Clef #'Y-extent = #'(0 . 0)
2023 \revert Staff.StaffSymbol #'color
2024 \stopStaff \startStaff
2026 s1 s s c e g c' e' g' c''
2029 \new Staff = "F" \with {
2030 \remove Time_signature_engraver
2033 \override Staff.Clef #'Y-extent = #'(0 . 0)
2034 % The following two overrides are required to make the two middle C's overlap
2035 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2036 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
2044 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
2047 \Score \override NoteHead #'Y-extent = #'(0 . 0)
2050 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
2058 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2071 FI: klusteri, cluster.
2073 A @emph{cluster} is a range of simultaneously sounding pitches that
2074 may change over time. The set of available pitches to apply usually
2075 depends on the acoustic source. Thus, in piano music, a cluster
2076 typically consists of a continuous range of the semitones as provided
2077 by the piano's fixed set of a chromatic scale. In choral music, each
2078 singer of the choir typically may sing an arbitrary pitch within the
2079 cluster's range that is not bound to any diatonic, chromatic or other
2080 scale. In electronic music, a cluster (theoretically) may even cover
2081 a continuous range of pitches, thus resulting in colored noise, such
2084 Clusters can be denoted in the context of ordinary staff notation by
2085 engraving simple geometrical shapes that replace ordinary notation of
2086 notes. Ordinary notes as musical events specify starting time and
2087 duration of pitches; however, the duration of a note is expressed by
2088 the shape of the note head rather than by the horizontal graphical
2089 extent of the note symbol. In contrast, the shape of a cluster
2090 geometrically describes the development of a range of pitches
2091 (vertical extent) over time (horizontal extent). Still, the
2092 geometrical shape of a cluster covers the area in which any single
2093 pitch contained in the cluster would be notated as an ordinary note.
2095 @lilypond[fragment,relative=2,ragged-right]
2096 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
2114 FI: komma, korvinkuultava ero äänenkorkeudessa.
2116 Difference in pitch between a note derived from pure tuning and the
2117 same note derived from some other tuning method.
2121 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2126 @section common meter
2128 Another name for @ref{common time}.
2131 @ref{common time}, @ref{meter}.
2135 @section common time
2146 4/4 time. The symbol, which resembles a capital letter C, comes from
2151 @ref{mensural notation}, @ref{meter}.
2157 ES: intervalo invertido,
2159 F: intervalle complémentaire,
2160 D: Komplementärintervall,
2161 NL: complementair interval,
2162 DK: komplementærinterval,
2163 S: komplementärintervall (?),
2164 FI: täydentävä intervalli.
2168 @ref{inverted interval}.
2171 @node compound interval
2172 @section compound interval
2174 ES: intervalo compuesto,
2175 I: intervallo composto,
2176 F: intervalle composé,
2177 D: weites Intervall,
2178 NL: samengesteld interval,
2179 DK: sammensat interval,
2180 S: sammansatt intervall,
2181 FI: oktaavia laajempi intervalli.
2183 Intervals larger than an octave.
2190 @node compound meter
2191 @section compound meter
2193 ES: compás compuesto, compás de subdivisión ternaria,
2200 FI: kolmijakoinen tahtilaji.
2202 A meter that includes a triplet subdivision within the beat, such as
2207 @ref{meter}, @ref{simple meter}.
2211 @section compound time
2213 ES: compás compuesto, compás de amalgama (def. 2),
2220 FI: yhdistetty tahtilajiosoitus.
2225 A meter that includes a triplet subdivision within the beat: see
2226 @ref{compound meter}.
2229 A time signature that additively combines two or more unequal meters, e.g.,
2230 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2232 @lilypond[fragment,line-width=13.0\cm]
2233 #(define (compound-time grob one two three num)
2234 (grob-interpret-markup grob
2236 #:override '(baseline-skip . 0)
2239 #:left-column (one num)
2241 #:left-column (two num)
2243 #:left-column (three num)))))
2247 #(set-time-signature 8 8 '(3 2 3))
2248 \override Staff.TimeSignature #'stencil = #(lambda (grob)
2249 (compound-time grob "3" "2" "3" "8"))
2250 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2251 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2263 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2267 @section concert pitch
2269 ES: en Do, afinación de concierto,
2276 FI: konserttikorkeus.
2278 The pitch at which the piano and other nontransposing instruments play: such
2279 instruments are said to be @q{in C}. The following list includes some (but not
2280 all) instruments that play in concert pitch:
2282 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2284 @multitable {alto trombone} {tenor trombone} {bass trombone}
2285 @headitem Woodwinds @tab Brass @tab Strings
2298 @item tenor trombone
2312 The trombones are a special case: although they are said to be @q{in F} (alto or
2313 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2314 their parts' transposition. (In fact, the trombones' parts are written at
2315 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2316 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2319 Instruments that play @q{in C} but in a different octave than what is written
2320 are, technically speaking, @emph{transposing instruments}:
2324 @item piccolo (plays an octave higher)
2325 @item celesta (plays an octave higher)
2326 @item double-bass (plays an octave lower)
2332 @ref{transposing instrument}.
2335 @node conjunct movement
2336 @section conjunct movement
2338 ES: movimiento conjunto,
2340 F: mouvement conjoint,
2341 D: schritt@-weise, stufenweise Bewegung,
2342 NL: stapsgewijze, trapsgewijze beweging,
2343 DK: trinvis bevægelse,
2345 FI: asteittainen liike.
2347 Progressing melodically by intervals of a second, as contrasted with
2348 @emph{disjunct movement}.
2350 @lilypond[fragment,line-width=13.0\cm]
2351 \key g \major \time 4/4
2352 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2357 @ref{disjunct movement}.
2370 FI: konsonanssi, sopusointi.
2395 @section copying music
2397 A music copyist did fast freehand scores and parts on preprinted staff
2398 lines for performance. Some of their conventions (e.g., the placement
2399 of note heads on stems) varied slightly from those of engravers. Some
2400 of their working methods were superior and could well be adopted by
2403 @c Copying music required more skill than engraving. Flagged for NPOV
2411 @section counterpoint
2420 FI: kontrapunkti, ääni ääntä vastaan.
2422 From Latin @emph{punctus contra punctum}, note against note. The
2423 combination into a single musical fabric of lines or parts which have
2424 distinct melodic significance. A frequently used polyphonic technique
2425 is imitation, in its strictest form found in the canon needing only
2426 one part to be written down while the other parts are performed with a
2427 given displacement. Imitation is also the contrapunctal technique
2428 used in the @emph{fugue} which, since the music of the baroque era,
2429 has been one of the most popular polyphonic composition methods.
2431 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2432 \set Score.implicitTimeSignatureVisibility = #all-invisible
2433 \override Score.TimeSignature #'break-visibility = #all-invisible
2434 \context PianoStaff <<
2435 \context Staff = SA \relative c' {
2439 << \context Voice = rha {
2441 r1 | r2 r8 g'8 bes d, |
2442 cis4 d r8 e!16 f g8 f16 e |
2443 f8 g16 a bes8 a16 g a8
2445 \context Voice = rhb {
2451 \context Staff = SB \relative c' {
2454 << \context Voice = lha {
2456 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2457 r8 a16 g f8 g16 a bes8 g e! cis' |
2460 \context Voice = lhb {
2474 @section countertenor
2479 D: Countertenor, Kontratenor,
2482 S: kontratenor, counter tenor,
2496 D: Crescendo, lauter werden,
2500 FI: cresendo, voimistuen.
2502 Increasing volume. Indicated by a rightwards opening horizontal wedge
2503 (hairpin) or the abbreviation @notation{cresc.}.
2505 @lilypond[fragment,ragged-right]
2506 \key g \major \time 4/4
2507 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2512 @ref{decrescendo}, @ref{hairpin}.
2520 F: petites notes précédent l'entrée d'un instrument, réplique,
2527 In a separate part notes belonging to another part with the purpose of
2528 hinting when to start playing. Usually printed in a smaller type.
2541 D: Notenzeiger, Custos,
2547 A custos (plural: custodes) is a staff symbol that appears at the end of a
2548 staff line with monophonic musical contents (i.e., with a single voice). It
2549 anticipates the pitch of the first note of the following line and thus helps
2550 the player or singer to manage line breaks during performance, which
2551 enhances the readability of a score.
2553 Custodes were frequently used in music notation until the 16th century.
2554 There were different appearences for different notation styles. Nowadays,
2555 they have survived only in special forms of musical notation such as the
2556 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2561 % \override Staff.Custos #'neutral-position = #4
2562 \override Staff.Custos #'neutral-direction = #down
2563 \override Staff.Custos #'style = #'hufnagel
2571 \consists Custos_engraver
2607 F: da capo, depuis le commencement,
2608 D: da capo, von Anfang,
2612 FI: da capo, alusta.
2614 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2615 the beginning to the end or to a certain place marked @emph{fine}.
2632 FI: tyhjästä ilmaantuen.
2634 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2635 that the sound should gradually increase from nothing.
2647 F: dal segno, depuis le signe,
2648 D: dal segno, ab dem Zeichen,
2652 FI: dal segno, lähtien merkistä.
2654 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2655 another place frequently near the beginning marked by a sign
2658 @lilypond[fragment,ragged-right]
2659 %\override TextScript #'font-style = #'large
2660 \override TextScript #'font-shape = #'italic
2661 \key g \major \time 4/4
2666 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2677 @section decrescendo
2681 D: Decrescendo, leiser werden,
2685 FI: decresendo, hiljentyen.
2687 Decreasing tone volume. Indicated by a leftwards opening horizontal
2688 wedge (hairpin) or the abbreviation @notation{decresc.}.
2690 @lilypond[fragment,ragged-right]
2692 \key g \major \time 4/4
2693 d4 \> c b a | g1 \! \bar "|."
2699 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2702 @node descending interval
2703 @section descending interval
2705 ES: intervalo descendente,
2706 I: intervallo discendente,
2707 F: intervalle descendant,
2708 D: fallendes Intervall, absteigendes Intervall,
2709 NL: dalend interval,
2710 DK: faldende interval,
2711 S: fallande intervall,
2712 FI: laskeva intervalli.
2714 A distance between a starting higher note and a lower ending note.
2721 @node diatonic scale
2722 @section diatonic scale
2724 ES: escala diatónica,
2726 F: gamme diatonique,
2727 D: diatonische Tonleiter,
2728 NL: diatonische toonladder,
2729 DK: diatonisk skala,
2731 FI: diatoninen asteikko.
2733 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2734 played on the white keys of a piano keybord are diatonic. These scales
2735 are sometimes called, somewhat inaccurately, @q{church modes}).
2737 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2738 but also to some extent in newer jazz music.
2740 @lilypond[fragment,notime,ragged-right]
2741 \set Score.automaticBars = ##f
2742 %\override Score.LyricText #'font-style = #'large
2743 %\override Score.TextScript #'font-style = #'large
2745 \context Staff \relative c' {
2747 \override TextScript #'padding = #-4
2748 e^"~~ S" f g a b^"~~ S" c
2750 \context Lyrics \lyrics {
2756 @lilypond[fragment,notime,ragged-right]
2757 \set Score.automaticBars = ##f
2759 \context Staff \relative c' {
2761 \override TextScript #'padding = #-4
2762 e^"~~ S" f g a b^"~~ S" c d
2770 @lilypond[fragment,notime,ragged-right]
2771 \set Score.automaticBars = ##f
2774 \override TextScript #'padding = #-4
2775 e1^"~~ S" f g a b^"~~ S" c d e
2783 @lilypond[fragment,notime,ragged-right]
2784 \set Score.automaticBars = ##f
2788 \override TextScript #'padding = #-4
2789 b^"~~ S" c d e^"~~ S" f
2797 @lilypond[fragment,notime,ragged-right]
2798 \set Score.automaticBars = ##f
2802 \override TextScript #'padding = #-4
2803 b^"~~ S" c d e^"~~ S" f g }
2810 @lilypond[fragment,notime,ragged-right]
2811 \set Score.automaticBars = ##f
2812 %\override Score.LyricText #'font-style = #'large
2813 %\override Score.TextScript #'font-style = #'large
2817 \override TextScript #'padding = #-4
2818 b^"~~ S" c d e^"~~ S" f g a
2826 @lilypond[fragment,notime,ragged-right]
2827 \set Score.automaticBars = ##f
2828 %\override Score.LyricText #'font-style = #'large
2829 %\override Score.TextScript #'font-style = #'large
2832 \override TextScript #'padding = #-4
2833 b1^"~~ S" c d e^"~~ S" f g a b
2841 From the beginning of the 17th century the scales used in European
2842 compositional music are primarily the major and the minor scales. In
2843 the harmonic minor scale type an augmented second (A) occurs between
2844 the 6th and 7th tone.
2846 @lilypond[fragment,notime,ragged-right]
2847 \set Score.automaticBars = ##f
2851 \override TextScript #'padding = #-4
2852 e^"~~ S" f g a b^"~~ S" c
2860 @lilypond[fragment,notime,ragged-right]
2861 \set Score.automaticBars = ##f
2865 \override TextScript #'padding = #-4
2866 b^"~~ S" c d e^"~~ S" f g a
2869 "Ancient (or Natural) minor"
2874 @lilypond[fragment,notime,ragged-right]
2875 \set Score.automaticBars = ##f
2879 \override TextScript #'padding = #-4
2880 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2882 \context Lyrics \lyrics {
2888 @lilypond[fragment,notime,line-width=13.0\cm]
2889 \set Score.automaticBars = ##f
2890 %\override Score.LyricText #'font-style = #'large
2891 %\override Score.TextScript #'font-style = #'large
2895 \override TextScript #'padding = #-4
2896 b^"~~ S" c d e fis gis^"~~ S" a
2899 "Melodic minor ascending"
2904 @lilypond[fragment,notime,line-width=13.0\cm]
2905 \set Score.automaticBars = ##f
2906 %\override Score.LyricText #'font-style = #'large
2907 %\override Score.TextScript #'font-style = #'large
2911 \override TextScript #'padding = #-4
2912 a g! f!^"~~ S" e d c^"~~ S" b a
2915 "Melodic minor descending"
2922 @ref{semitone}, @ref{whole tone}.
2926 @section didymic comma
2930 @ref{syntonic comma}.
2933 @node diminished interval
2934 @section diminished interval
2936 ES: intervalo disminuido,
2937 I: intervallo diminuito,
2938 F: intervalle diminué,
2939 D: vermindertes Intervall,
2940 NL: verminderd interval,
2941 DK: formindsket interval,
2942 S: förminskat intervall,
2943 FI: vähennetty intervalli.
2960 FI: diminuendo, hiljentyen.
2977 FI: aika-arvojen tihennys.
2979 This is a stub for diminution (@emph{wrt} mensural notation).
2983 @ref{augmentation}, @ref{mensural notation}.
3003 @node disjunct movement
3004 @section disjunct movement
3006 ES: movimiento disjunto,
3008 F: mouvement disjoint,
3009 D: sprunghafte Bewegung,
3010 NL: sprongsgewijze beweging,
3011 DK: springende bevægelse,
3012 S: hoppande rörelse,
3013 FI: melodian hyppivä liike.
3015 Progressing melodically by intervals larger than a major second, as contrasted
3016 with conjunct movement.
3018 @lilypond[fragment,ragged-right]
3023 a4. gis8 b a e cis |
3024 fis2 d4. \bar "||" }
3029 @ref{conjunct movement}.
3035 Another name for @ref{dissonant interval}.
3039 @ref{dissonant interval}, @ref{harmony}.
3042 @node dissonant interval
3043 @section dissonant interval
3045 ES: intervalo disonante, disonancia,
3046 I: intervallo dissonante, dissonanza,
3049 NL: dissonant interval, dissonant,
3050 DK: dissonerende interval, dissonans,
3052 FI: dissonanssi, dissonoiva intervalli, riitasointi.
3071 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
3072 vertical stroke through part or all of the staff that serves to
3073 structure a chant into phrases and sections. There are four types:
3077 @item @emph{divisio minima}, a short pause
3079 @item @emph{divisio maior}, a medium pause
3081 @item @emph{divisio maxima}, a long pause
3083 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3084 section in a long antiphonal or responsorial chant.
3088 TODO: musical example here?
3107 Indicator for a indeterminately rising pitch bend. Compare with
3108 @emph{glissando}, which has determinate starting and ending pitches.
3112 @ref{fall}, @ref{glissando}.
3125 FI: dominantti, huippusointu.
3127 The fifth @emph{scale degree} in @emph{functional harmony}.
3131 @ref{functional harmony}, @ref{scale degree}.
3134 @node dominant ninth chord
3135 @section dominant ninth chord
3137 ES: acorde de novena de dominante,
3138 I: accordo di nona di dominante,
3139 F: accord de neuvième dominante,
3140 D: Domi@-nant@-nonen@-akkord,
3141 NL: dominant noon akkoord,
3142 DK: dominantnoneakkord,
3143 S: dominantnonackord,
3144 FI: dominanttinoonisointu.
3148 @ref{chord}, @ref{functional harmony}.
3151 @node dominant seventh chord
3152 @section dominant seventh chord
3154 ES: acorde de séptima de dominante,
3155 I: accordo di settima di dominante,
3156 F: accord de septième dominante,
3157 D: Dominantseptakkord,
3158 NL: dominant septiem akkoord,
3159 DK: dominantseptimakkord,
3160 S: dominantseptimackord,
3161 FI: dominanttiseptimisointu.
3165 @ref{chord}, @ref{functional harmony}.
3169 @section dorian mode
3174 D: dorisch, dorischer Kirchenton,
3175 NL: dorische toonladder,
3182 @ref{diatonic scale}.
3185 @node dot (augmentation dot)
3186 @section dot (augmentation dot)
3189 I: punto (di valore),
3191 D: Punkt (Verlängerungspunkt),
3199 @ref{dotted note}, @ref{note value}.
3203 @section dotted note
3205 ES: nota con puntillo,
3209 NL: gepuncteerde noot,
3212 FI: pisteellinen nuotti.
3219 @node double appoggiatura
3220 @section double appoggiatura
3222 ES: apoyatura doble,
3223 I: appoggiatura doppia,
3224 F: appoggiature double,
3225 D: doppelter Vorschlag,
3226 NL: dubbele voorslag,
3227 DK: dobbelt forslag,
3229 FI: kaksoisappogiatura, kaksoisetuhele.
3236 @node double bar line
3237 @section double bar line
3243 NL: dubbele maatstreep,
3246 FI: kaksoistahtiviiva.
3248 Indicates the end of a section within a movement.
3255 @node double dotted note
3256 @section double dotted note
3258 ES: nota con doble puntillo,
3259 I: nota doppiamente puntata,
3260 F: note doublement pointée,
3261 D: doppelt punktierte Note,
3262 NL: dubbelgepuncteerde noot,
3263 DK: dob@-belt@-punk@-te@-ret node,
3264 S: dub@-bel@-punk@-te@-rad not,
3265 FI: kaksoispisteellinen nuotti.
3273 @section double flat
3282 FI: kaksoisalennusmerkki.
3290 @section double sharp
3292 ES: doble sostenido,
3297 DK: dob@-belt@-kryds,
3299 FI: kaksoisylennysmerkki.
3306 @node double time signature
3307 @section double time signature
3316 FI: kaksois-aika-arvomerkintä.
3320 @ref{polymetric time signature}.
3324 @section double trill
3330 NL: dubbele triller,
3335 A simultaneous trill on two notes, usually in the distance of a third.
3343 @section duple meter
3348 D: in zwei, grader Takt,
3349 NL: tweedelige maatsoort,
3386 FI: kesto, aika-arvo.
3396 ES: dinámica, matices,
3399 D: Dynamik, Lautstärke,
3403 FI: äänen voimakkuusvaihtelu, dynamiikka.
3405 The aspect of music relating to degrees of loudness, or changes from
3406 one degree to another. The terms, abbreviations, and symbols used to
3407 indicate this information are called dynamic marks.
3411 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3434 @node ecclesiastical mode
3435 @section ecclesiastical mode
3439 @ref{church mode}, @ref{diatonic scale}.
3443 @section eighth note
3450 @item D: Achtel, Achtelnote
3451 @item NL: achtste noot
3452 @item DK: ottendedelsnode
3453 @item S: åttondelsnot
3454 @item FI: kahdeksasosanuotti
3463 @section eighth rest
3466 @item UK: quaver rest
3467 @item ES: silencio de corchea
3468 @item I: pausa di croma
3469 @item F: demi-soupir
3470 @item D: Achtelpause
3471 @item NL: achtste rust
3472 @item DK: ottendedelspause
3473 @item S: åttonddelspaus
3474 @item FI: kahdeksasosatauko
3485 @c TODO: add languages
3494 FI: tavujen yhdistäminen yhteen ääneen.
3496 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3497 @emph{συναλοιφην} @q{to smear together}].
3499 The singing of several syllables on a single note. Elision may be indicated
3500 by a lyric tie, which looks like (and serves the same function) as a musical
3509 @section embellishment
3522 D: Notenstich, Notendruck
3528 Engraving means incising or etching a metal plate for printing.
3529 Photoengraving means drawing music with ink in a manner similar to
3530 drafting or engineering drawing, using similar tools.
3532 The traditional process of music printing is done through cutting in a
3533 plate of metal. Now also the term for the art of music typesetting.
3552 Two notes, intervals, or scales are enharmonic if they have different
3553 names but equal pitch.
3555 @lilypond[fragment,notime,line-width=13.0\cm]
3556 \set Score.automaticBars = ##f
3558 \context Staff \relative c'' {
3559 gis1 as <des g,!> <cis g!>
3561 \context Lyrics \lyrics {
3562 \override Lyrics .LyricText #'self-alignment-X = #-1
3563 "g sharp " "a flat " "dim fifth " "augm fourth"
3573 @node equal temperament
3574 @section equal temperament
3576 ES: temperamento igual,
3577 I: temperamento equabile,
3578 F: tempérament égal,
3579 D: gleichschwebende Stimmung,
3580 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3581 DK: ligesvævende temperatur,
3582 S: liksvävande temperatur,
3585 A tuning system that divides the octave into 12 equal semitones (each of
3586 which is precisely equal to 100 cents).
3590 @ref{cent}, @ref{semitone}, @ref{temperament}.
3593 @node expression mark
3594 @section expression mark
3597 I: segno d'espressione,
3598 F: signe d'expression, indication de nuance,
3600 NL: voordrachtsteken,
3601 DK: foredragsbetegnelse,
3602 S: föredragsbeteckning,
3603 FI: nyanssiosoitus, esitysmerkki.
3605 Performance indications concerning:
3609 @item volume, dynamics (for example, @notation{forte},
3610 @notation{crescendo}),
3612 @item tempo (for example, @notation{andante}, @notation{allegro}).
3618 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3622 @section extender line
3624 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3626 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3633 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3634 extends text (without indicating the musical @emph{function} of that text).
3636 Used in many contexts, for example:
3640 @item In vocal music to indicate the syllable for a melisma. Called
3641 @q{extension} in the
3642 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3646 In figured bass to indicate that:
3650 @item The extended note should be held through a change in harmony, when applied
3651 to one figure --OR--
3652 @item The chord thus represented should be held above a moving bass line, when
3653 applied to more than one figure.
3654 @item These uses were not completely standardized, and some composers used a
3655 single extender line to indicate the latter case.
3660 In string music to indicate that all notes in the passage thus indicated should
3661 be played on the same string. On the violin, for example, a series of notes to
3662 be played on the G string would be indicated @notation{sul G}, another series to be
3663 played on the D string would be indicated @notation{sul D}, and so on.
3666 With an octave mark to indicate that a passage is to be played higher or lower
3667 by the given number of octaves.
3673 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3674 @ref{octave marking}.
3708 The position between the dots of the key symbol is the line of the F
3709 below central@w{ }C. Used on the third, fourth and fifth note line.
3710 A digit@w{ }8 above the clef symbol indicates that the notes must be
3711 played an octave higher (for example, bass recorder) while 8@w{ }below
3712 the clef symbol indicates playing an octave lower (for example, on the
3715 @lilypond[fragment,notime,line-width=13.0\cm]
3716 \set Score.automaticBars = ##f
3717 \override Staff.Clef #'full-size-change = ##t
3743 @ref{baritone clef}, @ref{strings}.
3758 Indicator for a indeterminately falling pitch bend. Compare with
3759 @emph{glissando}, which has determinate starting and ending pitches.
3763 @ref{doit}, @ref{glissando}.
3766 @node feathered beam
3767 @section feathered beam
3771 F: liens de croches en soufflet,
3772 D: gespreizter Balken,
3778 A type of beam used to indicate that a small group of notes should be
3779 played at an increasing or decreasing tempo -- depending on the
3780 direction of @q{feathering} -- but without changing the overall tempo
3785 Internals Reference: @ruser{Manual beams}
3791 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3795 F: point d'orgue, point d'arrêt,
3800 FI: fermaatti, pidäke.
3802 Prolonged note or rest of indefinite duration.
3804 @lilypond[fragment,ragged-right]
3807 a4 b c2^\fermata \bar "|."
3834 @section figured bass
3837 I: basso continuo, basso numerato,
3838 F: basse chiffrée, basse continue,
3839 D: Generalbass, bezifferter Bass,
3840 NL: basso continuo, becijferde bas
3843 FI: kenraalibasso, numeroitu basso.
3845 Also called @q{thorough bass}.
3847 A method of indicating an accompaniment part by the bass notes only,
3848 together with figures designating the chief intervals and chords to be
3849 played above the bass notes.
3851 TODO: Make the upper clef smaller, since it's usually "realized" in performance.
3853 @lilypond[fragment,line-width=13.0\cm]
3854 \context GrandStaff <<
3855 \context Staff = lh \relative c'' {
3859 << \context Voice = rha {
3862 \context Voice = rhb {
3864 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3868 \context Staff = rh \relative c' {
3871 es8 c d bes c as bes16 as g f | es4
3873 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3880 @ref{chord}, @ref{interval}.
3895 Figures to the side or above the note that methodically indicate which
3896 fingers to use while playing a passage.
3907 I: coda (uncinata), bandiera,
3915 Ornament at the end of the stem of a note used for notes with values less
3916 than a quarter note. The number of flags determines the note value.
3918 @lilypond[fragment,notime,ragged-right]
3919 \set Score.automaticBars = ##f
3920 %\override Score.TextScript #'font-style = #'large
3946 An articulation for string players that means the note or passage is to
3947 be played in harmonics.
3953 @item A duct flute similar to the recorder.
3955 @item An organ stop of flute scale at 1' or 2' pitch.
3961 @ref{articulation}, @ref{harmonics}.
3999 FI: forte, voimakkaasti.
4001 [Italian: @q{loud}.]
4003 Abbreviated @notation{@b{f}}. Variants include:
4006 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
4007 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
4032 @node Frenched score
4033 @section Frenched score
4035 ES: partitura a la francesa,
4042 FI: partituuri francesan tapaan.
4044 A @q{condensed} score, produced by omitting staves for instruments that are not
4045 playing at the moment, and by moving up additional systems from following pages
4046 to take up the space thus liberated, which reduces the total number of pages
4047 used to print the work.
4049 The specific rules for @q{frenching} a score differ from publisher to publisher.
4050 If you are producing scores for eventual publication by a commercial publisher,
4051 you may wish to procure a copy of their style manual.
4055 @ref{Frenched staff}.
4058 @node Frenched staff
4059 @section Frenched staff
4061 ES: pentagrama a la francesa,
4068 FI: karsittu nuotinnus.
4070 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
4071 Frenched staff has unneeded measures or sections removed. This is useful
4072 for producing, for example, an @emph{ossia} staff.
4079 @node Frenched staves
4080 @section Frenched staves
4082 Plural of @ref{Frenched staff}.
4102 @node functional harmony
4103 @section functional harmony
4105 ES: armonía funcional,
4106 I: armonia funzionale,
4107 F: étude des functions,
4109 NL: functionele harmonie,
4110 DK: funktionsanalyse, funktionsharmonik,
4112 FI: harmoniajärjestelmä.
4114 A system of harmonic analysis.
4116 It is based on the idea that, in a given key, there are only three
4117 functionally different chords: tonic (T, the chord on the first note of the
4118 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4119 chord on the fifth note). Others are considered to be variants of the base
4122 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4124 @lilypond[fragment,notime,line-width=13.0\cm]
4125 \set Score.automaticBars = ##f
4127 \context Voice \relative c'' {
4128 <g e c >1 < a f d > < b g e >
4129 <c a f > < d b g > < e c a > < f d b > }
4130 \context Lyrics \lyrics {
4131 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
4165 D: G-Schlüssel, Violinschlüssel,
4171 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4172 second note lines. A digit 8 above the clef symbol indicates that the notes
4173 must be played an octave higher while 8 below the clef symbol indicates
4174 playing or singing an octave lower (used most frequently to notate the tenor
4175 part in modern choral scores).
4177 @lilypond[fragment,notime,ragged-right]
4179 \set Score.automaticBars = ##f
4180 \override Staff.Clef #'full-size-change = ##t
4183 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4193 \context Lyrics \lyrics {
4194 \override Lyrics . LyricText #'X-offset = #-5
4195 "french violin clef"
4218 FI: glissando, liukuen.
4220 Letting the pitch slide fluently from one note to the other.
4228 @section grace notes
4230 ES: notas de adorno,
4233 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4239 Notes printed in small types to indicate that their time values are not
4240 counted in the rhythm of the bar.
4244 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4249 @section grand staff
4251 ES: sistema de piano,
4254 D: Akkolade, Klaviersystem,
4257 S: ackolad, böjd klammer,
4258 FI: kaksoisnuottiviivasto.
4260 A combination of two staves with a brace. Usually used for piano music.
4277 FI: grave, raskaasti.
4279 [Italian] Slow, solemn.
4308 Letter name used for @notation{B natural} in German and Scandinavian
4309 usage. In the standard usage of these countries, @notation{B} means
4314 @ref{Pitch names}, @ref{B}.
4320 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4323 @lilypond[fragment,ragged-right]
4333 @ref{crescendo}, @ref{decrescendo}.
4344 @item D: Halbe, halbe Note,
4345 @item NL: halve noot,
4348 @item FI: puolinuotti.
4360 @item UK: minim rest,
4361 @item ES: silencio de blanca,
4362 @item I: pausa di minima,
4363 @item F: demi-pause,
4364 @item D: halbe Pause,
4365 @item NL: halve, rust,
4366 @item DK: halvnodespause,
4368 @item FI: puolitauko.
4376 @node harmonic cadence
4377 @section harmonic cadence
4379 ES: cadencia (armónica),
4380 I: cadenza (armonica),
4381 F: cadence harmonique,
4383 NL: harmonische cadens,
4384 DK: harmonisk kadence,
4385 S: (harmonisk) kadens,
4386 FI: harmoninen kadenssi.
4388 A sequence of chords that terminates a musical phrase or section.
4390 @lilypond[fragment,ragged-right]
4391 \context PianoStaff <<
4392 \context Staff = SA \relative c'' {
4396 \partial 4 < c g e >4 |
4397 < c a f > < b g d > < c g e >2
4400 \context Staff = SB \relative c {
4402 \partial 4 c4 | f, g c2
4415 @ref{functional harmony}.
4421 ES: sonidos del flautín,
4423 F: flageolet, sons harmoniques,
4428 FI: harmoniset äänet, huiluäänet.
4430 The general class of pitches produced by sounding the second or higher
4431 harmonic of a tone producer: string, column of air, and so on.
4433 On stringed instruments, these pitches sound rather flute-like; hence,
4434 their name in languages other than English. They are produced by
4435 lightly touching the string at a node for the desired mode of vibration
4436 while it is being bowed or plucked.
4438 For instruments of the violin family, there are two types of harmonics:
4439 natural harmonics, which are those played on the open string; and
4440 artificial harmonics, which are produced on stopped strings.
4453 D: Harmonie, Zusammenklang,
4457 FI: harmonia, yhteissointi.
4459 Tones sounding simultaneously. Two note harmonies fall into the
4460 categories @emph{consonances} and @emph{dissonances}.
4464 @lilypond[fragment,notime,line-width=13.0\cm]
4465 \set Score.automaticBars = ##f
4466 %\override Score.TextScript #'font-style = #'large
4467 \context Voice \relative c'' {
4480 @lilypond[fragment,notime,line-width=13.0\cm]
4481 \set Score.automaticBars = ##f
4482 %\override Score.TextScript #'font-style = #'large
4483 \context Voice \relative c'' {
4484 <g a>1_"second " s s
4485 <g f'>_"seventh " s s
4490 For harmony that uses three or more notes, see @ref{chord}.
4509 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4511 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4512 time normally occupied by two. The resulting rhythm can be expressed in modern
4513 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4514 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4515 as a special effect (or @emph{affect}) at cadences.
4517 For example, this phrase in 6/4 time
4519 @lilypond[fragment,line-width=13.0\cm]
4523 c2. e | d2 c d | c1. \bar "||" }
4526 may be thought of having alternating time signatures
4528 @lilypond[fragment,line-width=13.0\cm]
4532 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4535 and is therefore a polymeter (second definition) of considerable antiquity.
4539 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4552 FI: homofonia, yksiäänisyys.
4554 Music in which one voice leads melodically supported by the other voices in
4555 the same rhythm (more or less). In contrast to @emph{polyphony}.
4571 FI: säkeiden tavumäärät.
4573 A group or list of numbers that indicate the number of syllables in a line
4574 of a hymn's verse. Different hymnals have different ways of noting the hymn
4575 meter: for example, consider a hymn that has four lines in two couplets
4576 alternating regularly between eight and seven syllables. The @emph{English
4577 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4578 or 8@w{ }7@w{ }8@w{ }7.
4580 Some frequently-used hymn meters have traditional names:
4583 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4584 @item 86.86 is called Common Meter (CM or C.M.)
4585 @item 88.88 is called Long Meter (LM or L.M.)
4588 Some hymns and their tunes are doubled versions of a simpler meter: for
4589 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4590 87.87D. The traditional names above also have doubled versions:
4593 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4594 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4595 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4613 FI: intervalli, kahden sävelen korkeusero.
4615 Difference in pitch between two notes. Intervals may be perfect, minor,
4616 major, diminished, or augmented. The augmented fourth and the diminished
4617 fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
4618 because they consist of three whole tones. The addition of such two
4619 intervals forms an octave.
4621 @lilypond[fragment,notime,line-width=13.0\cm]
4622 \set Score.automaticBars = ##f
4624 \context Voice \relative c'' {
4634 \context Lyrics \lyrics {
4635 "unison " "second " "second " "second "
4636 "third " "third " "third " "third"
4641 @lilypond[fragment,notime,line-width=13.0\cm]
4642 \set Score.automaticBars = ##f
4644 \context Staff \relative c'' {
4655 "fourth " "fourth " "fifth " "fifth "
4656 "sixth " "sixth " "sixth " "sixth"
4661 @lilypond[fragment,notime,line-width=13.0\cm]
4662 \set Score.automaticBars = ##f
4664 \context Staff \relative c'' {
4665 < gis f'! >1^"dimin"
4674 \context Lyrics \lyrics {
4675 "seventh " "seventh " "seventh " "octave "
4676 "ninth " "ninth " "tenth " "tenth"
4683 @ref{enharmonic}, @ref{whole tone}.
4698 When a chord sounds with a bass note that differs from the root of the
4699 chord, it is said to be @emph{inverted}. The number of inversions that a
4700 chord can have is one fewer than the number of constituent notes. For
4701 example, triads (which have three constituent notes) can have three
4702 positions, two of which are inversions:
4706 The root note is in the bass, and above that are the third and the fifth. A
4707 triad built on the first scale degree, for example, is marked @notation{I}.
4709 @item First inversion
4710 The third is in the bass, and above it are the fifth and the root. This
4711 creates an interval of a sixth and a third above the bass note, and so is
4712 marked in figured Roman notation as @notation{6/3}. This is commonly
4713 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4714 characteristic interval of the inversion, and so always implies
4717 @item Second inversion
4718 The fifth is in the bass, and above it are the root and the third. This
4719 creates an interval of a sixth and a fourth above the bass note, and so is
4720 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4721 unstable chord position.
4729 @node inverted interval
4730 @section inverted interval
4732 ES: intervalo invertido,
4733 I: intervallo rivolto,
4734 F: intervalle reversé,
4735 D: umgekehrtes Intervall,
4736 NL: interval inversie,
4737 DK: omvendingsinterval,
4738 S: intervallets omvändning,
4739 FI: käänteisintervalli.
4741 The difference between an interval and an octave.
4743 @lilypond[fragment,notime,line-width=13.0\cm]
4744 \set Score.automaticBars = ##f
4745 %\override Score.TextScript #'font-style = #'large
4746 \context Staff \relative c'' {
4747 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4748 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4749 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4758 @node just intonation
4759 @section just intonation
4761 ES: entonación justa,
4762 I: intonazione giusta,
4763 F: intonation juste,
4770 Tuning system in which the notes are obtained by adding and subtracting
4771 natural fifths and thirds.
4790 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4791 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4795 @ref{chromatic scale}, @ref{key signature}.
4799 @section key signature
4801 ES: armadura (de la clave),
4802 I: armatura di chiave,
4803 F: armure, armature [de la clé],
4804 D: Vorzeichen, Tonart,
4805 NL: toon@-soort (voortekens),
4808 FI: sävellajiosoitus.
4810 The sharps or flats appearing at the beginning of each staff indicating the
4818 @node laissez vibrer
4819 @section laissez vibrer
4830 [French: @q{Let vibrate}.] Most frequently associated with harp
4831 parts. Marked @notation{l.v.} in the score.
4844 D: Largo, Langsam, Breit,
4848 FI: largo, hitaasti, leveästi.
4850 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4851 expressiveness. @emph{Larghetto} is less slow than largo.
4855 @section leading note
4866 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4867 called because of its strong tendency to @q{lead up} (resolve upwards)
4868 to the tonic scale degree.
4872 @ref{scale degree}, @ref{semitone}.
4876 @section ledger line
4878 ES: línea adicional,
4879 I: tagli addizionali,
4880 F: ligne supplémentaire,
4887 A ledger line is an extension of the staff.
4889 @lilypond[fragment,notime,ragged-right]
4890 \set Score.automaticBars = ##f
4891 \relative c'' { a,1 s c'' }
4905 D: legato, gebunden,
4911 To be performed (a) without any perceptible interruption between the
4912 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4913 @notation{portato}, or (d) @notation{staccato}.
4915 @lilypond[fragment,notime,line-width=13.0\cm]
4916 \set Score.automaticBars = ##f
4918 \context Staff \relative c'' {
4919 c4-( d e-) \bar "||"
4920 c4-- d-- e-- \bar "||"
4921 c4-.-( d-. e-.-) \bar "||"
4922 c4-. d-. e-. \bar "||"
4939 @section legato curve
4943 @ref{slur}, @ref{legato}.
4966 A ligature is a coherent graphical symbol that represents at least two
4967 distinct notes. Ligatures originally appeared in the manuscripts of
4968 Gregorian chant notation around the 9th century to denote ascending or
4969 descending sequences of notes. In early notation, ligatures were used for
4970 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4971 performance in the sense of articulation. With the invention of the metric
4972 system of the white mensural notation, the need for ligatures to denote such
4973 patterns disappeared.
4977 @ref{mensural notation}.
4984 ES: estanque de nenúfares,
4985 I: stagno del giglio,
4986 F: étang de nénuphars, étang de nymphéas,
4988 NL: le@-lie@-vij@-ver,
4993 A pond with lilies floating in it.
4995 Also, the name of a music typesetting program.
5008 D: Linie, Notenlinie,
5012 FI: viiva, nuottiviiva.
5029 FI: kirjoitetussa äänenkorkeudessa.
5031 [Italian: @q{place}.] Instruction to play the following passage at the
5032 written pitch. Cancels octave mark (q.v.).
5036 @ref{octave mark}, @ref{octave marking}.
5039 @node long appoggiatura
5040 @section long appoggiatura
5042 ES: apoyatura larga,
5043 I: appoggiatura lunga,
5044 F: appoggiature longue,
5049 FI: pitkä appoggiatura, pitkä etuhele.
5060 @item US: long, longa,
5071 Note value: double length of @notation{breve}.
5073 @lilypond[fragment,notime,ragged-right]
5074 \set Score.automaticBars = ##f
5076 \override NoteHead #'style = #'mensural
5083 @ref{breve}, @ref{note value}.
5089 ES: ligadura de letra,
5096 FI: sidonta sanoituksessa.
5098 @c TODO: add languages
5108 ES: letra (de la canción),
5111 D: Liedtext, Gesangtext,
5138 @ref{diatonic scale}.
5141 @node major interval
5142 @section major interval
5144 ES: intervalo mayor,
5145 I: intervallo maggiore,
5146 F: intervalle majeur,
5147 D: großes Intervall,
5151 FI: suuri intervalli.
5158 @node meantone temperament
5159 @section meantone temperament
5161 ES: afinación mesotónica,
5162 I: accordatura mesotonica,
5163 F: tempérament mésotonique,
5164 D: mitteltönige Stimmung,
5165 NL: middenstemming, middentoonstemming,
5166 DK: middeltonetemperatur,
5167 S: medeltonstemperatur,
5168 FI: keskisävelviritys.
5170 Temperament yielding acoustically pure thirds by decreasing the natural
5171 fifth by 16@w{ }cents. Due to the non-circular character of this
5172 temperament only a limited set of keys are playable. Used for tuning
5173 keyboard instruments for performance of pre-1650 music.
5177 @ref{cent}, @ref{temperament}.
5192 A group of beats (units of musical time) the first of which bears an accent.
5193 Such groups in numbers of two or more recur consistently throughout the
5194 composition and are separated from each other by bar lines.
5198 @ref{bar line}, @ref{beat}, @ref{meter}.
5201 @node measure repeat
5202 @section measure repeat
5206 @ref{percent repeat}.
5213 I: mediante, modale,
5223 @item The third @b{scale degree}.
5225 @item A @emph{chord} having its base tone a third from that of another
5226 chord. For example, the tonic chord may be replaced by its lower
5227 mediant (variant tonic).
5233 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5246 FI: melisma, laulettavan tavun sävelkuvio.
5248 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5249 on one syllable, especially as applied to liturgical chant.
5257 @section melisma line
5259 @c TODO: add languages
5261 ES: línea de melisma,
5272 @ref{extender line}.
5275 @node melodic cadence
5276 @section melodic cadence
5283 @node mensural notation
5284 @section mensural notation
5286 @c TODO: add languages
5288 ES: notación mensural,
5295 FI: mensuraalinuotinnus.
5297 A system of duration notation whose principles were first established in the
5298 mid-13th century, and that (with various changes) remained in use until about
5299 1600. As such, it is the basis for the notation of rhythms in Western musical
5302 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5303 of the notation's principles, so the notation of this earliest period is called
5304 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5305 and semibreve -- each of which was normally equivalent to three of the next
5308 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5309 added several note values (the minim, semiminim and fusa) and extended Franco's
5310 principles to govern the relationship between these values. They also put the
5311 duple division of note values on an equal footing with the earlier (preferred)
5314 TODO: continue description of French and Italian black notation, and the
5315 relationship betwixt them.
5317 @b{White or void mensural notation}
5319 In the 15th century, hollow (or void) notes began to substitute for the earlier
5320 solid black ones, which were then free to assume the function of red (or
5321 colored) notes in the earlier notation. ...
5323 TODO: add to definition (including summary info on proportional notation)
5327 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5328 @c TODO: more cross-references?
5336 F: indication de mesure, mesure,
5343 The pattern of note values and accents in a composition or a section thereof.
5344 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5345 by grouping beats and by subdividing the primary beat.
5347 @b{By grouping beats}:
5351 @item @b{duple}: groups of two.
5352 @item @b{triple}: groups of three.
5353 @item @b{quadruple}: groups of four. A special case of duple meter.
5354 @item @b{quintuple}: groups of five beats.
5355 @item @b{sextuple} meter: groups of six. A special case of:
5359 @item duple meter, subdivided in three; or
5360 @item triple meter, subdivided in two.
5364 @item @b{septuple} meter: groups of seven.
5369 Other than triple meter and its subdivided variants (see below), meters that
5370 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5371 frequently used prior to the 20th Century.
5373 @b{By subdividing the primary beat}:
5377 @item simple: subdivided in groups of two.
5381 @item duple: 2/2, 2/4, 2/8
5382 @item triple: 3/2, 3/4, 3/8
5383 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5387 @item compound: subdivided in groups of three.
5393 @item quadruple: 12/8
5399 Time signatures are placed at the beginning of a composition (or section) to
5400 indicate the meter. For instance, a piece written in simple triple meter with a
5401 beat on each quarter note is conventionally written with a time signature of
5402 3/4. Here are some combinations of the two classifications above:
5404 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5406 @lilypond[fragment,line-width=13.0\cm]
5410 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5413 Simple triple meter:
5415 @lilypond[fragment,line-width=13.0\cm]
5419 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5422 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5424 @lilypond[fragment,line-width=13.0\cm]
5428 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5431 Simple quintuple meter (B. Marcello, 1686-1739):
5433 @lilypond[fragment,line-width=13.0\cm]
5437 r4 cis8 bis ais4 dis c8 ais |
5438 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5441 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5442 the source, with sharps in the accompaniment where the voice has flats and
5446 Compound duple meter (unknown):
5448 @lilypond[fragment,line-width=13.0\cm]
5452 f8 f g a bes16 a g f |
5453 g8 g bes a c16 a bes g
5457 Compound triple meter (J.S. Bach, 1685-1750):
5459 @lilypond[fragment,line-width=13.0\cm]
5463 r8 g'( a) b( d c) c( e d) |
5464 d( g fis) g( d b) g( a b)
5468 Compound quadruple meter (P. Yon, 1886-1943):
5470 @lilypond[fragment,line-width=13.0\cm]
5474 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5475 e4 e8 fis( gis) a b4.~ b4 b8
5479 @b{@q{Monometer} vs Polymeter}
5481 TODO: add information from discussion on lilypond-user related to polymeter.
5485 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5500 Device used to indicate the exact tempo of a piece.
5502 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5503 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5504 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5505 followed acknowledged Winkler as the creator, but by then Mälzel had already
5506 sold many of them, and people had taken to calling it a Mälzel Metronome.
5510 @ref{metronome mark}.
5513 @node metronome mark
5514 @section metronome mark
5516 ES: indicación metronómica,
5517 I: indicazione metronomica,
5518 F: indication métronomique,
5520 NL: metronoom aanduiding,
5522 S: metronomangivelse,
5523 FI: metronomiosoitus.
5525 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5526 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5534 @node metronomic indication
5535 @section metronomic indication
5539 @ref{metronome mark}
5552 FI: kohtalaisen, melko.
5554 [Italian: @q{medium}.]
5556 Used to qualify other indications, such as:
5562 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5564 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5570 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5582 @section mezzo-soprano
5593 The female voice between soprano and contralto.
5597 @ref{soprano}, @ref{contralto}.
5606 D: eingestrichenes@w{ }c,
5608 DK: enstreget@w{ }c,
5609 S: ettstruket@w{ }c,
5612 First C below the 440 Hz A.
5614 @lilypond[fragment,notime,ragged-right]
5615 \set Score.automaticBars = ##f
5616 \override Staff.Clef #'full-size-change = ##t
5643 @ref{diatonic scale}.
5646 @node minor interval
5647 @section minor interval
5649 ES: intervalo menor,
5650 I: intervallo minore,
5651 F: intervalle mineur,
5652 D: kleines Intervall,
5656 FI: pieni intervalli.
5663 @node mixolydian mode
5664 @section mixolydian mode
5668 @ref{diatonic scale}.
5677 D: Kirchentonart, Modus,
5681 FI: moodi, kirkkosävelasteikko.
5685 @ref{church mode}, @ref{diatonic scale}.
5698 FI: modulaatio, sävellajin vaihdos.
5700 Moving from one @ref{key} to another. For example, the second subject
5701 of a @ref{sonata form} movement modulates to the dominant key if the
5702 key is major and to the @ref{relative key} if the key is minor.
5718 FI: mordent, korukuvio.
5743 FI: teema, sävelaihe.
5745 The briefest intelligible and self-contained fragment of a musical
5748 @lilypond[line-width=13.0\cm]
5751 \set Score.implicitTimeSignatureVisibility = #all-invisible
5752 \override Score.TimeSignature #'break-visibility = #all-invisible
5755 \partial 8 g16\startGroup fis |
5756 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5757 g8 g,16 a b8 cis d16 s
5761 \Staff \consists "Horizontal_bracket_engraver"
5783 Greater musical works like @ref{symphony} and @ref{sonata} most often
5784 consist of several -- more or less -- independant pieces called
5792 @node multi-measure rest
5793 @section multi-measure rest
5795 ES: compases de espera,
5799 D: mehrtaktige Pause, Kirchenpause,
5802 FI: usean tahdin mittainen tauko.
5804 Multi-measure rests are conventionally typeset with a combination of
5805 longa, breve and whole rests for shorter and a long horizontal bar for
5806 longer spans of rest, with a number above to indicate the duration (in
5807 measures) of the rest. The former style is called @q{Kirchenpausen} in
5808 German, as a reminiscence of its use in Renaissance vocal polyphony.
5810 @lilypond[fragment,ragged-right]
5813 \set Score.skipBars = ##t R1*3
5815 \set Score.skipBars = ##t R1*122
5822 @ref{longa}, @ref{breve}.
5831 D: Auflösungszeichen,
5832 NL: herstellingsteken,
5833 DK: op@-løsningstegn,
5834 S: återställningstecken,
5842 @node neighbor tones
5843 @section neighbor tones
5847 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5888 Notes are signs by means of which music is fixed in writing. The term is also
5889 used for the sound indicated by a note, and even for the key of the piano
5890 which produces the sound. However, a clear distinction between the terms tone
5891 and @ref{note} is strongly recommended. Briefly, one sees a note,
5903 I: testa, testina, capocchia,
5911 A head-like sign which indicates pitch by its position on a @notation{staff}
5912 provided with a @notation{clef}, and duration by a variety of shapes such as
5913 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5914 For percussion instruments (often having no defined pitch) the note head may
5915 indicate the instrument.
5919 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5933 ES: valor (duración),
5935 F: durée, valeur (d'une note),
5940 FI: nuotin aika-arvo.
5942 Note values (durations) are measured as fractions -- normally half -- of the
5943 next higher note value. The longest duration in current use is the
5944 @emph{breve}, but sometimes (especially music from the Baroque or earlier) the
5945 double-length note value @emph{longa} or the quadruple-length note value
5946 @emph{maxima} are used.
5948 @c TODO -- add maxima to this example, in a way that doesn't break it.
5950 @lilypond[fragment,notime,line-width=13.0\cm]
5951 %\override Score.TextScript #'font-style = #'large
5952 \set Score.automaticBars = ##f
5954 \override NoteHead #'style = #'mensural
5955 a\longa_"longa" a\breve_"breve"
5956 \revert NoteHead #'style
5957 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5958 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5961 @c TODO -- add maxima rest to this example
5963 @lilypond[fragment,notime,line-width=13.0\cm]
5964 %\override Score.TextScript #'font-style = #'large
5965 \set Score.automaticBars = ##f
5967 r\longa_"longa" r\breve_"breve"
5968 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5969 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5972 An augmentation dot after a note multiplies the duration by one and a
5973 half. Another dot adds yet a fourth of the duration.
5975 @lilypond[fragment,line-width=13.0\cm]
5976 %\override Score.TextScript #'font-style = #'large
5979 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5980 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5983 Alternatively note values may be subdivided by other ratios. Most common is
5984 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5985 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5986 dotted notes are also frequently used.
5988 @lilypond[fragment,line-width=13.0\cm]
5989 %\override Score.TextScript #'font-style = #'large
5992 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5993 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5997 @lilypond[fragment,line-width=13.0\cm]
6000 \times 3/2 {g4_"duplets" g} |
6002 \times 6/4 {g8_"quadruplets" g g g} |
6003 g8 g g g g4 \bar "||"
6017 @ref{octave marking}.
6032 The interval of an octave, sometimes abbreviated @notation{8ve}.
6034 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
6035 bracket, or @notation{loco} see octave marking.
6039 @ref{interval}, @ref{octave marking}.
6043 @section octave mark
6045 ES: indicación de octava,
6054 The phrase, abbreviation, or other mark used (with or without an extender line
6055 or bracket) to indicate that the music is to be played in a different octave:
6059 @item @notation{15ma}: play two octaves higher
6060 @item @notation{8va}: play one octave higher
6061 @item @notation{8vb}: play one octave lower
6062 @item @notation{8va} (written below the passage): unusual, same as
6064 @item @notation{15vb}: play two octaves lower
6065 @item @notation{15va} (written below the passage): unusual, same as
6070 For longer passages, it may be more practical to mark the octave change at the
6071 beginning with a phrase (see the list below for examples), but without a bracket
6072 or extender line. Then, when the music returns to the written pitch, the octave
6073 change is cancelled with the word @notation{loco} (q.v.).
6075 To parallel the list above:
6079 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6080 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6081 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6082 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6086 In the phrases above, @notation{quindicesima} is sometimes replaced with
6087 @notation{quindecima}, which is Latin.
6089 Finally, the music on an entire staff can be marked to be played in a
6090 different octave by putting a small 8 or 15 above or below the clef at the
6091 beginning. This octave mark can be applied to any clef, but it is most
6092 frequently used with the G and F clefs.
6096 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6099 @node octave marking
6100 @section octave marking
6109 FI: oktaavamerkintä.
6111 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6112 that it is to be played in a different octave. If applied to the clef at the
6113 beginning of the staff, all music on that staff is to played at the indicated
6116 For a list of the specific marks used, see @ref{octave mark}.
6120 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6124 @section octave sign
6135 I: abbellimento, fioriture,
6136 F: agrément, ornement,
6137 D: Verzierung, Ornament,
6143 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6144 with the diatonic @ref{second} above it. In the music from the
6145 middle of the 19th century and onwards the trill is performed with the main
6146 note first while in the music from the preceding baroque and classic periods
6147 the upper note is played first.
6149 @lilypond[fragment,line-width=13.0\cm]
6151 \context Staff = sa {
6152 % \override Score.TextScript #'font-style = #'large
6154 c2._"pre-1850" b4\trill | c1 \bar "||"
6155 c2._"post-1850" b4\trill | c1 \bar "||"
6159 c2. c32 b c b c b c b | c1
6160 c2. b32 c b c \times 4/5 { b c b c b } | c1
6165 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6167 @emph{prall} (inverted mordent).
6169 @lilypond[fragment,line-width=13.0\cm]
6171 \context Staff = sa {
6172 % \override Score.TextScript #'font-style = #'large
6174 a4_"turn" b\turn c2 \bar "||"
6175 g4_"mordent" a b\mordent a \bar "||"
6176 e'4_"prall" d\prall c2 \bar "||"
6182 e'4 e32[ d e d ~ d8] c2
6189 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6202 FI: ossia, vaihtoehtoinen esitystapa.
6204 Ossia (otherwise) marks an alternative. It is an added staff or piano
6205 score, usually only a few measures long, which presents another version
6206 of the music, for example for small hands.
6223 FI: stemma, instrumenttiosuus.
6227 @item In instrumental or choral music, the music for a single
6228 instrument or voice.
6230 @item in contrapuntal music, a single melodic line in the contrapuntal
6256 @node percent repeat
6257 @section percent repeat
6259 LilyPond-specific term to indicate the repetition of a musical expression on a
6260 single staff, as opposed to the more usual definition of repeat, which affects
6261 all parts. The musical expression can be anything from a single note or note
6262 pattern to one or more measures. There are other names for this symbol:
6267 @item slash mark, or slash repeat
6269 @item measure (or multi-measure) repeat
6273 @lilypond[fragment,line-width=13.0\cm]
6276 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6277 \repeat percent 2 { c4 e g b_"Measure repeat" }
6278 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6285 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6286 Vermont Music Dictionary}.
6295 D: Schlagzeug, Schlagwerk,
6301 A family of musical instruments which are played on by striking or
6302 shaking. Percussion instruments commonly used in a symphony orchestra are
6303 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6304 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6312 @node perfect interval
6313 @section perfect interval
6315 ES: intervalo justo,
6316 I: intervallo giusto,
6317 F: intervalle juste,
6318 D: reines Intervall,
6322 FI: puhdas intervalli.
6341 A natural division of the melodic line, comparable to a sentence of speech.
6358 FI: fraseeraus, jäsentäminen.
6360 The clear rendering in musical performance of the @notation{phrases} of the
6361 melody. Phrasing may be indicated by a @notation{slur}.
6365 @ref{phrase}, @ref{slur}.
6380 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6381 @emph{mezzo piano} (@b{mp}) medium soft.
6393 F: anacrouse, levée,
6419 @item The perceived quality of a sound that is primarily a function of its
6420 fundamental frequency.
6422 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6424 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6425 association of a particular frequency with a particular pitch name, e.g., c' =
6442 NL: pizzicato, getokkeld,
6445 FI: pizzicato, näppäillen.
6447 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6458 ES: compás polimétrico,
6465 FI: monia tahtiosoituksia sisältävä.
6469 @item The @emph{simultaneous} use of two or more meters, in two or more
6472 @item The @emph{successive} use of different meters in one or more parts.
6478 @ref{polymetric} (adj.)
6491 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6493 Characterized by @emph{polymeter}: using two or more metric frameworks
6494 simultaneously or in alternation.
6498 @ref{polymeter} (noun)
6501 @node polymetric time signature
6502 @section polymetric time signature
6504 ES: compás polimétrico,
6511 FI: vaihtelevan tahtiosoitusmerkintä.
6513 A time signature that indicates regularly alternating polymetric time.
6526 D: Polyphonie, Mehrstimmigkeit,
6530 FI: polyfonia, moniäänisyys.
6532 Music written in a combination of several simultaneous voices (parts)
6533 of a more or less pronounced individuality.
6543 [Italian: past participle of @emph{portare}, @q{to carry}]
6545 A stroke in which each of several notes is separated slightly within a slur,
6546 without changing the bow's direction. It is used for passages of a
6547 @notation{cantabile} character.
6560 D: Presto, Sehr schnell,
6561 NL: presto, Sehr schnell,
6564 FI: presto, hyvin nopeasti.
6568 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6569 denotes the highest possible degree of speed.
6588 [Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
6589 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6594 @item A ratio that expresses the relationship between the note values that
6595 follow with those that precede;
6597 @item A ratio between the note values of a passage and the @q{normal}
6598 relationship of note values to the metrical pulse. (A special case of the
6603 The most common proportions are:
6606 @item 2:1 (or simply 2), expressed by a vertical line through the
6607 mensuration sign (the origin of the @q{cut-time} time signature), or by
6608 turning the sign backwards
6609 @item 3:1 (or simply 3)
6610 @item 3:2 (@emph{sesquialtera})
6613 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6616 @item 1:2 cancels 2:1
6617 @item 1:3 cancels 3:1
6618 @item 2:3 cancels 3:2
6622 Gaffurius enumerates five basic types of major:minor proportions and their
6626 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6627 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6629 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6630 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6631 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6633 @item Superpartiens, if the major number is one less than twice the minor
6634 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6636 @item Multiplexsuperparticular, if the major number is one more than twice the
6637 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6640 @item Multiplexsuperpartiens, if the major number is one less than some other
6641 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6642 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6646 He then continues to subdivide each type in various ways. For the multiplex
6647 proportions, for example, he indicates how many times greater the major number
6652 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6653 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6655 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6658 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6659 Example: 4:1, 8:2, and 12:3
6663 Other proportions were possible, but whether they were frequently used is
6668 @item 33:9, @emph{triplasuperbipartientetertias}
6669 @item 51:15, @emph{triplasuperbipartientequintas}
6673 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6677 @ref{mensural notation}.
6680 @node Pythagorean comma
6681 @section Pythagorean comma
6683 ES: coma pitagórica,
6684 I: comma pitagorico,
6685 F: comma pythagoricien,
6686 D: Pythagoräisches Komma,
6687 NL: komma van Pythagoras,
6688 DK: pythagoræisk komma,
6689 S: pytagoreiskt komma,
6690 FI: pytagorinen komma.
6692 Originally, the interval by which the sum of six whole tones exceeds the octave
6693 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6695 Modern acoustical theory defines it as the interval by which twelve fifths
6696 exceed seven octaves. To put it another way: A sequence of fifths that starts
6697 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6698 than the C obtained by adding 7 octaves. The difference between those two
6699 pitches is the Pythagorean comma.
6703 @ref{cent}, @ref{temperament}.
6735 The quality of a triad is determined by the precise arrangement of its
6736 intervals. Tertian triads can be described as a series of three notes. The
6737 first element is the root note (or simply @q{root}) of the chord, the second
6738 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6739 the chord. These are described below:
6741 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6742 @headitem Chord name
6743 @tab Component intervals
6746 @item major triad @tab major third/perfect fifth
6748 @tab C, CM, Cma, Cmaj, CΔ
6749 @item minor triad @tab minor third/perfect fifth
6751 @tab Cm, Cmi, Cmin, C-
6752 @item augmented triad @tab major third/augmented fifth
6755 @item diminished triad @tab minor third/diminished fifth
6757 @tab Cm(♭5), Cº, Cdim
6760 There are various types of seventh chords depending on the quality of the
6761 original chord and the quality of the seventh added.
6763 Five common types of seventh chords have standard symbols. The chord quality
6764 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6765 and D^m7 are all identical). The last three chords are not commonly used
6774 @section quarter note
6779 @item I: semiminima, nera
6781 @item D: Viertel, Viertelnote
6783 @item DK: fjerdedelsnode
6784 @item S: fjärdedelsnot
6785 @item FI: neljäsosanuotti
6794 @section quarter rest
6797 @item UK: crotchet rest
6798 @item ES: silencio de negra
6799 @item I: pausa di semiminima
6801 @item D: Viertelpause
6803 @item DK: fjerdedelspause
6804 @item S: fjärdedelspaus
6805 @item FI: neljäsosatauko
6814 @section quarter tone
6816 ES: cuarto de tonno,
6823 FI: neljännessävelaskel.
6825 An interval equal to half a semitone.
6835 ES: cinquillo, quintillo.
6850 @section rallentando
6855 D: rallentando, langsamer werden,
6859 FI: rallerdando, hidastuen.
6861 [Italian] A performance indication, abbreviated "rall.".
6869 @section relative key
6872 I: tonalità relativa,
6873 F: tonalité relative,
6875 NL: paralleltoonsoort,
6876 DK: paralleltoneart,
6878 FI: rinnakkaissävellaji.
6880 Major and minor keys that have the same key signature.
6882 @lilypond[fragment,notime,line-width=13.0\cm]
6883 \set Score.automaticBars = ##f
6884 %\override Score.TextScript #'font-style = #'large
6887 es1_"e flat major" f g as bes c d es
6892 @lilypond[fragment,notime,line-width=13.0\cm]
6893 \set Score.automaticBars = ##f
6894 %\override Score.TextScript #'font-style = #'large
6897 c1_"c minor" d es f g a! b! c \bar "||"
6903 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6911 F: barre de reprise,
6914 DK: gen@-ta@-gel@-se,
6918 @lilypond[fragment,line-width=13.0\cm]
6922 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6943 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6944 @c specify the rest's value.
6965 @item Metrical rhythm in which every time value is a multiple or
6966 fraction of a fixed unit of time, called @ref{beat}, and in which the
6967 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6968 The basic scheme of time values is called @ref{meter}.
6970 @item Measured rhythm which lacks regularly recurrent accent. In
6971 modern notation such music appears as a free alternation of different
6974 @item Free rhythm, i.e., the use of temporal values having no common
6975 metrical unit (beat).
6990 D: ritardando, langsamer werden,
6994 FI: ritardando, hidastuen,
6996 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
7013 FI: ritenuto, hidastaen.
7015 Immediate reduction of speed.
7032 FI: asteikko, sävelasteikko.
7036 @ref{diatonic scale}.
7040 @section scale degree
7042 ES: grado (de la escala),
7043 I: grado della scala,
7044 F: degré [de la gamme],
7046 NL: trap [van de toonladder],
7049 FI: sävelaste, asteikon sävel.
7051 Names and symbols used in harmonic analysis to denote tones of the
7052 scale as roots of chords. The most important are degrees I = tonic
7053 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
7055 @lilypond[fragment,notime,line-width=13.0\cm]
7056 \set Score.automaticBars = ##f
7058 \context Staff \relative c' {
7062 << { I II III IV V VI VII I }
7070 @ref{functional harmony}.
7078 F: à cordes ravallées,
7083 FI: epätavallinen viritys.
7085 [Italian: @emph{scordare}, @q{to mistune}.] Unconventional
7086 tuning of stringed instruments, particularly lutes or violins. Used
7091 @item facilitate pitch combinations that would otherwise be difficult
7094 @item alter the characteristic timbre of the instrument, for example,
7095 to increase brilliance
7097 @item reinforce certain sonorities or tonalities by making them
7098 available on open strings
7100 @item imitate other instruments
7106 Tunings that could be called @var{scordatura} first appeared early in
7107 the 16th Century and became commonplace in the 17th.
7120 D: Partitur (full score), Klavierauszug (vocal score),
7126 A copy of orchestral, choral, or chamber music showing what each
7127 instrument is to play, each voice to sing, having each part arranged
7128 one underneath the other on different staves @ref{staff}.
7147 The @ref{interval} between two neigbouring tones of a scale. A
7148 @ref{diatonic scale} consists of alternating @ref{semitone}s and
7149 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
7150 degrees in question.
7169 The interval of a minor second. The (usually) smallest interval in European
7170 composed music. The interval between two neighbouring tones on the piano
7171 keyboard -- including black and white keys -- is a semitone. An octave may
7172 be divided into 12@w{ }semitones.
7174 @lilypond[fragment,notime,line-width=13.0\cm]
7175 \set Score.automaticBars = ##f
7176 \relative c'' { g1 gis s a bes s b! c }
7181 @ref{interval}, @ref{chromatic scale}.
7206 @ref{sextuplet}, @ref{note value}.
7263 [Italian: @q{in the same manner}.] Performance direction: the music thus marked
7264 is to be played in the same manner (i.e. with the same articulations, dynamics,
7265 etc.) as the music that precedes it.
7269 TODO: Where else could I refer the reader?
7273 @section simple meter
7275 ES: compás simple, compás de subdivisión binaria,
7282 FI: kaksijakoinen tahtiosoitus.
7284 A meter in which the basic beat is subdivided in two: that is, a meter
7285 that does not include triplet subdivision of the beat.
7289 @ref{compound meter}, @ref{meter}.
7292 @node sixteenth note
7293 @section sixteenth note
7296 @item UK: semiquaver
7297 @item ES: semicorchea
7299 @item F: double croche
7300 @item D: Sechzehntel, Sechzehntelnote
7301 @item NL: zestiende noot
7302 @item DK: sekstendedelsnode
7303 @item S: sextondelsnot
7304 @item FI: kuudestoistaosanuotti
7312 @node sixteenth rest
7313 @section sixteenth rest
7316 @item UK: semiquaver rest
7317 @item ES: silencio de semicorchea
7318 @item I: pausa di semicroma
7319 @item F: quart de soupir
7320 @item D: Sechzehntelpause
7321 @item NL: zestiende rust
7322 @item DK: sekstendedelspause
7323 @item S: sextondelspaus
7324 @item FI: kuudestoistaosatauko
7349 @node sixty-fourth note
7350 @section sixty-fourth note
7353 @item UK: hemidemisemiquaver
7355 @item I: semibiscroma
7356 @item F: quadruple croche
7357 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7358 @item NL: vierenzestigste noot
7359 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7360 @item S: sextiofjärdedelsnot
7361 @item FI: kuudeskymmenesneljäsosanuotti
7369 @node sixty-fourth rest
7370 @section sixty-fourth rest
7373 @item UK: hemidemisemiquaver rest
7374 @item ES: silencio de semifusa
7375 @item I: pausa di semibiscroma
7376 @item F: seizième de soupir
7377 @item D: Vierundsechzigstelpause
7378 @item NL: vierenzestigste rust
7379 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7380 @item S: sextiofjärdedelspaus
7381 @item FI: kuudeskymmenesneljäsosatauko
7390 @section slash repeat
7394 @ref{percent repeat}.
7400 ES: ligadura (de expresión),
7401 I: legatura (di portamento or espressiva),
7403 D: Bogen (Legatobogen, Phrasierungsbogen),
7404 NL: fraseringsboog, legatoboog, streekboog,
7405 DK: legatobue, fraseringsbue,
7409 A slur above or below a group of notes indicates that they are to be
7410 played @ref{legato}, e.g., with one stroke of the violin bow or with
7411 one breath in singing.
7419 @section solmization
7428 FI: suhteelliset laulunimet.
7430 General term for systems of designating the degrees of the
7431 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7432 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7437 @ref{scale}, @ref{scale degree}.
7452 In its present-day meaning a sonata denotes an instrumental
7453 composition for piano or for some other instrument with piano
7454 accompaniment, which consists of three or four independant pieces,
7463 @section sonata form
7467 F: [en] forme de sonate,
7469 NL: hoofdvorm, sonatevorm,
7474 A form used frequently for single movements of the @emph{sonata},
7475 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7476 three sections called @notation{exposition}, @notation{development} and
7477 @notation{recapitulation}. In the exposition the composer introduces some
7478 musical ideas, consisting of a number of themes; in the development section the
7479 composer @emph{develops} this material, and in the recapitulation the composer
7480 repeats the exposition, with certain modifications. The exposition contains a
7481 number of themes that fall into two groups, often called first and second
7482 subject. Other melodies occurring in each group are considered as continuations
7483 of these two. The second theme is in another key, normally in the key of the
7484 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7485 @notation{relative key} if the tonic is @notation{minor}.
7489 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7490 @ref{symphony}, @ref{tonic}.
7511 FI: sopraano, korkea naisääni.
7513 The highest female voice.
7525 F: staccato, piqué, détaché,
7530 FI: staccato, lyhyesti, terävästi.
7532 Playing the note(s) short. Staccato is indicated by a dot above or
7533 below the note head.
7535 @lilypond[fragment,ragged-right]
7540 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7554 I: pentagramma, rigo (musicale),
7556 D: Notensystem, Notenzeile,
7557 NL: (noten)balk, partij,
7562 A staff (plural: staves) is a series of (normally five) horizontal
7563 lines upon and between which the musical notes are written, thus
7564 indicating (in connection with a @ref{clef}) their pitch. Staves for
7565 @ref{percussion} instruments may have fewer lines.
7586 D: Hals, Notenhals, Stiel,
7592 Vertical line above or below a @ref{note head} shorter than a
7597 @lilypond[fragment,notime,line-width=13.0\cm]
7598 \set Score.autoBeaming = ##f
7599 \set Score.automaticBars = ##f
7600 %\override Score.TextScript #'font-style = #'large
7624 FI: kiihdyttäen, nopeuttaen.
7626 [Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
7646 A family of stringed musical instruments played with a bow. Strings
7647 commonly used in a symphony orchestra are violin, viola, violoncello,
7656 @section strong beat
7661 D: betonter Taktteil oder Taktschlag,
7663 D: betonet taktslag,
7664 S: betonat taktslag,
7665 FI: tahdin vahva isku.
7669 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7673 @section subdominant
7682 FI: subdominantti, alidominantti.
7684 The fourth @notation{scale degree}.
7688 @ref{functional harmony}, @ref{scale degree}.
7703 The sixth @notation{scale degree}.
7707 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7720 FI: subtoonika, alitoonika.
7722 The seventh @ref{scale degree}.
7726 @ref{functional harmony}, @ref{scale degree}.
7732 ES: sobre la cuerda de Sol,
7735 D: auf G, auf der G-Saite,
7741 Indicates that the indicated passage (or note) should be played on the
7750 @section superdominant
7761 The sixth @ref{scale degree}.
7765 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7780 The second @ref{scale degree}.
7784 @ref{functional harmony}, @ref{scale degree}.
7793 D: Sinfonie, Symphonie,
7799 A symphony may be defined as a @emph{sonata} for orchestra.
7808 @section syncopation
7819 Any deliberate upsetting of the normal pulse of @ref{meter},
7820 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7821 rhythm rests upon the grouping of equal beats into groups of two or
7822 three, with a regularly recurrent accent on the first beat of each
7823 group. Any deviation from this scheme is felt as a disturbance or
7824 contradiction between the underlaying (normal) pulse and the actual
7827 @lilypond[fragment,ragged-right]
7832 e c'4 e,8 c'4 e,8 c' ( | c2)
7841 @node syntonic comma
7842 @section syntonic comma
7844 ES: coma sintónica, coma de Dídimo,
7845 I: comma sintonico (o didimico),
7846 F: comma syntonique,
7847 D: syntonisches Komma,
7848 NL: syntonische komma,
7849 DK: syntonisk komma,
7850 S: syntoniskt komma,
7851 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7852 Pytagorisessa viritysjärjestelmässä.
7854 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7855 by which the ditone exceeds the pure major third obtained by Pythagorean
7856 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7858 Modern acoustical theory defines it as the interval by which four fifths exceed
7859 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7861 This comma is also known as the comma of Didymus, or didymic comma.
7865 @ref{Pythagorean comma}
7874 D: Notensystem, Partitur,
7878 FI: nuottijärjestelmä.
7880 The collection of staves (@notation{staff}), two or more, as used for writing
7881 down of keyboard, chamber, choral, or orchestral music.
7889 @section temperament
7894 D: Stimmung, Tem@-pe@-ra@-tur,
7895 NL: stemming, temperatuur,
7898 FI: viritysjärjestelmä.
7900 Systems of tuning in which the intervals deviate from the acoustically
7905 @ref{meantone temperament}, @ref{equal temperament}.
7908 @node tempo indication
7909 @section tempo indication
7911 ES: indicación de tempo,
7912 I: indicazione di tempo,
7913 F: indication de tempo,
7914 D: Zeitmaß, Tempobezeichnung,
7915 NL: tempo aanduiding,
7920 The rate of speed of a composition or a section thereof, ranging from the
7921 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7922 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7927 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7941 FI: tenori, korkea miesääni.
7943 The highest @q{natural} male voice (apart from @notation{countertenor}).
7970 ES: subrayado (tenuto),
7979 An indication that a particular note should be held for the whole
7980 length, although this can vary depending on the composer and era.
8004 @node thirty-second note
8005 @section thirty-second note
8008 @item UK: demisemiquaver
8011 @item F: triple croche
8012 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
8013 @item NL: twee@-endertig@-ste (32e) noot
8014 @item DK: toogtredivtedelsnode
8015 @item S: trettiotvåondelsnot
8016 @item FI: kolmaskymmeneskahdesosanuotti
8024 @node thirty-second rest
8025 @section thirty-second rest
8028 @item UK: demisemiquaver rest
8029 @item ES: silencio de fusa
8030 @item I: pausa di biscroma
8031 @item F: huitième de soupir
8032 @item D: Zweiunddreissigstel@-pause
8033 @item NL: twee@-endertig@-ste (32e) rust
8034 @item DK: toogtredivtedelspause
8035 @item S: trettiotvåondelspaus
8036 @item FI: kolmaskymmeneskahdesosatauko
8045 @section thorough bass
8055 ES: ligadura de prolongación, ligadura de unión,
8056 I: legatura (di valore),
8058 D: Haltebogen, Bindebogen,
8059 NL: overbinding, bindingsboog,
8061 S: bindebåge, överbindning,
8064 A curved line, identical in appearance with the @ref{slur}, which
8065 connects two succesive notes of the same pitch, and which has the
8066 function of uniting them into a single sound (tone) equal to the
8069 @lilypond[fragment,notime,ragged-right]
8070 \set Score.automaticBars = ##f
8071 \relative c'' { g2 ~ g4. }
8083 @node time signature
8084 @section time signature
8086 ES: indicación de compás,
8088 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
8089 D: Taktangabe, Angabe der Taktart,
8092 S: taktartssignatur,
8095 The sign placed at the beginning of a composition to indicate its
8096 meter. It most often takes the form of a fraction, but a few signs
8097 derived from mensural notation and proportions are also employed.
8101 @ref{mensural notation}, @ref{meter}.
8116 A sound of definite pitch and duration, as distinct from @emph{noise}.
8117 Tone is a primary building material of music.
8119 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
8138 The first @notation{scale degree}.
8142 @ref{functional harmony}, @ref{scale degree}.
8145 @node transposing instrument
8146 @section transposing instrument
8148 ES: instrumento transpositor,
8155 FI: transponoitava soitin.
8157 Instruments whose notated pitch is different from their sounded pitch. Except
8158 for those whose notated and sounding pitches differ by one or more octaves (to
8159 reduce the number of ledger lines needed), most such instruments are identified
8160 by the letter name of the pitch class of their fundamental. The pitch class is
8161 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8162 the instrument plays a notated C.
8164 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8165 the B-flat one tone lower. If played on the A clarinet, the same written
8166 note sounds the A (one and half tones -- a minor third -- lower).
8168 Not all transposing instruments include the pitch class in their name:
8172 @item English horn (in F)
8174 @item Alto flute (in G)
8180 @ref{concert pitch}.
8184 @section transposition
8195 Shifting a melody up or down in pitch, while keeping the same
8198 @lilypond[fragment,line-width=13.0\cm]
8203 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8208 @lilypond[fragment,line-width=13.0\cm]
8211 \transpose c bes \relative c'' {
8213 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8224 @section treble clef
8227 I: chiave di violino,
8229 D: Violinschlüssel, Sopranschlüssel,
8252 On stringed instruments:
8256 @item The quick reiteration of the same tone, produced by a rapid
8257 up-and-down movement of the bow.
8259 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8260 in the distance of a third (@ref{interval}).
8264 @lilypond[fragment,notime,ragged-right]
8265 \set Score.automaticBars = ##f
8266 %\override Score.TextScript #'font-style = #'large
8269 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8270 \repeat tremolo 8 { e32_"b" g }
8284 F: triade, accord parfait, accord de trois sons,
8301 F: trille, tremblement, battement (cadence),
8314 @section triple meter
8316 ES: compás ternario,
8319 D: in drei, ungerader Takt,
8320 NL: driedelige maatsoort,
8365 @section tuning fork
8367 ES: diapasón, horquilla de afinación,
8368 I: diapason, corista,
8376 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8377 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8378 standard. Tuning forks for other pitches are available.
8388 A non-standard subdivision of a beat or part of a beat, usually
8389 indicated with a bracket and a number indicating the number of
8394 @ref{triplet}, @ref{note value}.
8400 ES: grupeto (circular),
8424 FI: unisono, yksiäänisesti.
8426 Playing of the same notes or the same melody by various instruments
8427 (voices) or by the whole orchestra (choir), either at exactly the same
8428 pitch or in a different octave.
8440 F: anacrouse, levée,
8462 FI: ääni, lauluääni.
8470 @item @ref{mezzo-soprano}
8471 @item @ref{contralto}
8473 @item @ref{baritone}
8477 @item A melodic layer or part of a polyphonic composition.
8489 ES: vez, primera y segunda vez,
8496 FI: yksi kertauksen maaleista.
8498 [Italian: @q{time} (instance, not duration).] An ending, such as a first
8499 or second ending. LilyPond extends this idea to any number, and allows any text
8500 (not just a number) -- to serve as the @notation{volta} text.
8511 I: tempo debole, arsi,
8513 D: unbetonter Taktteil oder Taktschlag,
8515 DK: ubetonet taktslag,
8516 S: obetonat taktslag,
8517 FI: tahdin heikko isku.
8521 @ref{beat}, @ref{measure}, @ref{rhythm}.
8532 @item D: Ganze, ganze Note
8536 @item FI: kokonuotti
8548 @item UK: semibreve rest
8549 @item ES: silencio de redonda
8550 @item I: pausa di semibreve
8552 @item D: ganze Pause, ganztaktige Pause
8554 @item DK: helnodespause
8576 The interval of a major second. The interval between two tones
8577 on the piano keyboard with exactly one key between them -- including
8578 black and white keys -- is a whole tone.
8597 A family of blown wooden musical instruments. Today some of these
8598 instruments are actually made from metal. The woodwind instruments
8599 commonly used in a symphony orchestra are flute, oboe, clarinet,
8600 saxophone, and bassoon.
8607 @node Duration names notes and rests
8608 @chapter Duration names notes and rests
8610 @multitable @columnfractions .12 .22 .22 .22 .22
8612 @headitem Lang. @tab note name
8616 @item @strong{US} @tab long
8620 @item @strong{UK} @tab longa
8624 @item @strong{ES} @tab longa
8625 @tab silencio de longa
8627 @tab silencio de cuadrada
8628 @item @strong{IT} @tab longa
8632 @item @strong{FR} @tab longa
8633 @tab quadruple-pause
8636 @item @strong{DE} @tab Longa
8640 @item @strong{NL} @tab longa
8644 @item @strong{DK} @tab longa
8645 @tab longanodespause
8647 @tab brevis(nodes)pause
8648 @item @strong{SE} @tab longa
8652 @item @strong{FI} @tab longa-nuotti
8654 @tab brevis-nuotti, kaksoiskoko@-nuotti
8655 @tab brevis-tauko, kaksoiskoko@-tauko
8659 @multitable @columnfractions .12 .22 .22 .22 .22
8661 @headitem Lang. @tab note name
8665 @item @strong{US} @tab whole note
8669 @item @strong{UK} @tab semibreve
8673 @item @strong{ES} @tab redonda
8674 @tab silencio de redonda
8676 @tab silencio de blanca
8677 @item @strong{IT} @tab semibreve
8678 @tab pause di semibreve
8680 @tab pausa di minima
8681 @item @strong{FR} @tab ronde
8685 @item @strong{DE} @tab ganze Note
8689 @item @strong{NL} @tab hele noot
8693 @item @strong{DK} @tab helnode
8697 @item @strong{SE} @tab helnot
8701 @item @strong{FI} @tab kokonuotti
8708 @multitable @columnfractions .12 .22 .22 .22 .22
8710 @headitem Lang. @tab note name
8714 @item @strong{US} @tab quarter note
8718 @item @strong{UK} @tab crotchet
8722 @item @strong{ES} @tab negra
8723 @tab silencio de negra
8725 @tab silencio de corchea
8726 @item @strong{IT} @tab semiminima, nera
8727 @tab pausa di semiminima, pausa di nera
8730 @item @strong{FR} @tab noire
8734 @item @strong{DE} @tab Viertelnote
8738 @item @strong{NL} @tab kwartnoot
8742 @item @strong{DK} @tab fjerdedelsnode
8743 @tab fjerdedelspause
8744 @tab ottendedelsnode
8745 @tab ottendedelspause
8746 @item @strong{SE} @tab fjärdedelsnot
8750 @item @strong{FI} @tab neljäsosa@-nuotti
8751 @tab neljäsosa@-tauko
8752 @tab kahdeksasosa@-nuotti
8753 @tab kahdeksasosa@-tauko
8757 * About the French naming system: @emph{croche} refers to the note's "hook".
8758 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8759 hook}, @q{trebled hook}, and so on.
8761 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8762 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8763 a @emph{soupir}, and so on.
8765 Each of the following tables contains one type of note and its matching rest,
8766 with abbreviations that apply to both notes and rests. Just switch the part
8767 that means @q{note} with the part that means @q{rest}, for example:
8771 @item English: 16th @strong{note}, 16th @strong{rest}
8772 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8773 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8777 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8778 duration name. If you know of one that I missed, please send it to me, care of
8779 the lilypond-user discussion list.
8781 @multitable @columnfractions .10 .35 .35 .20
8783 @headitem Lang. @tab Note name
8786 @item @strong{US} @tab sixteenth note
8789 @item @strong{UK} @tab semiquaver
8790 @tab semiquaver rest
8792 @item @strong{ES} @tab semicorchea
8793 @tab silencio de semicorchea
8795 @item @strong{IT} @tab semicroma
8796 @tab pausa di semicroma
8798 @item @strong{FR} @tab double croche
8799 @tab quart de soupir
8801 @item @strong{DE} @tab Sechzehntelnote
8802 @tab Sechzehntelpause
8804 @item @strong{NL} @tab zes@-ti@-ende noot
8805 @tab zes@-ti@-ende rust
8807 @item @strong{DK} @tab sekstendedelsnode
8808 @tab sekstendedelspause
8810 @item @strong{SE} @tab sextondelsnot
8813 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8814 @tab kuudes@-toistaosa@-tauko
8819 @multitable @columnfractions .10 .35 .35 .20
8821 @headitem Lang. @tab Note name
8824 @item @strong{US} @tab thirty-second note
8825 @tab thirty-second rest
8827 @item @strong{UK} @tab demisemiquaver
8828 @tab demisemiquaver rest
8830 @item @strong{ES} @tab fusa
8831 @tab silencio de fusa
8833 @item @strong{IT} @tab biscroma
8834 @tab pausa di biscroma
8836 @item @strong{FR} @tab triple croche
8837 @tab huitième de soupir
8839 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8840 @tab Zweiunddreißig@-stelpause
8842 @item @strong{NL} @tab twee@-endertigste noot
8843 @tab twee@-endertigste rust
8845 @item @strong{DK} @tab toogtredivtedelsnode
8846 @tab toogtredivtedelspause
8848 @item @strong{SE} @tab trettio@-tvåondelsnot
8849 @tab trettio@-tvåondelspaus
8851 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8852 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8857 @multitable @columnfractions .10 .35 .35 .20
8859 @headitem Lang. @tab Note name
8862 @item @strong{US} @tab sixty-fourth note
8863 @tab sixty-fourth rest
8865 @item @strong{UK} @tab hemidemisemiquaver
8866 @tab hemidemisemiquaver rest
8868 @item @strong{ES} @tab semifusa
8869 @tab silencio de semifusa
8871 @item @strong{IT} @tab semibiscroma
8872 @tab pausa di semibiscroma
8874 @item @strong{FR} @tab quadruple croche
8875 @tab seizième de soupir
8877 @item @strong{DE} @tab Vierundsechzigstelnote
8878 @tab Vierundsechzigstelpause
8880 @item @strong{NL} @tab vierenzestigste noot
8881 @tab vierenzestigste rust
8883 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8884 @tab fireog@-tredsindstyven@-dedelspause
8886 @item @strong{SE} @tab sextiofjärdedelsnot
8887 @tab sextiofjärdedelspaus
8889 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8890 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8895 @multitable @columnfractions .10 .35 .35 .20
8897 @headitem Lang. @tab Note name
8900 @item @strong{US} @tab one-hundred-twenty-eighth note
8901 @tab one-hundred-twenty-eighth rest
8903 @item @strong{UK} @tab semihemidemisemiquaver
8904 @tab semihemidemisemiquaver rest
8906 @item @strong{ES} @tab garrapatea
8907 @tab silencio de garrapatea
8909 @item @strong{IT} @tab fusa
8912 @item @strong{FR} @tab quintuple croche
8913 @tab trente-deuxième de soupir @tab -
8914 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8915 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8916 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8917 @tab honderd@-acht@-en@-twintigste rust
8919 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8920 @tab hundrede@-otte@-og@-tyvendedels@-pause
8922 @item @strong{SE} @tab hundratjugoåttondelsnot
8923 @tab hundratjugoåttondelspaus
8925 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8926 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8931 @multitable @columnfractions .10 .35 .35 .20
8933 @headitem Lang. @tab Note name
8936 @item @strong{US} @tab two-hundred-fifty-sixth note
8937 @tab two-hundred-fifty-sixth rest
8939 @item @strong{UK} @tab demisemihemidemisemiquaver
8940 @tab demisemihemidemisemiquaver rest
8942 @item @strong{ES} @tab semigarrapatea
8943 @tab silencio de semigarrapatea @tab -
8944 @item @strong{IT} @tab semifusa
8945 @tab pausa di semifusa
8947 @item @strong{FR} @tab sextuple croche
8948 @tab soixante-quatrième de soupir @tab -
8949 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8950 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8951 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8952 @tab tweehonderd@-zesenvijftigste rust
8954 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8955 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8957 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8958 @tab tvåhundra@-femtiosjättedelspaus
8960 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8961 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8968 @ref{mensural notation}
8972 @chapter Pitch names
8974 @c -is/-es endings for Danish per Rune Zedeler, pace
8975 @c and for Finnish per Risto Vääräniemi
8976 @c -iss/-ess endings for Swedish per Mats Bengtsson
8977 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8979 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8981 @tab ES @tab I @tab F @tab D
8982 @tab NL @tab DK @tab S @tab FI
8983 @item @strong{c} @tab do @tab do @tab ut @tab C
8984 @tab c @tab c @tab c @tab c
8985 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8986 @tab cis @tab cis @tab ciss @tab cis
8987 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8988 @tab des @tab des @tab dess @tab des
8989 @item @strong{d} @tab re @tab re @tab ré @tab D
8990 @tab d @tab d @tab d @tab d
8991 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8992 @tab dis @tab dis @tab diss @tab dis
8993 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8994 @tab es @tab es @tab ess @tab es
8995 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8996 @tab e @tab e @tab e @tab e
8997 @item @strong{f-flat} = e
8998 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8999 @tab fes @tab fes @tab fess @tab fes
9000 @item @strong{f} @tab fa @tab fa @tab fa @tab F
9001 @tab f @tab f @tab f @tab f
9002 @item @strong{e-sharp} = f
9003 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
9004 @tab eis @tab eis @tab eiss @tab eis
9005 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
9006 @tab fis @tab fis @tab fiss @tab fis
9007 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
9008 @tab ges @tab ges @tab gess @tab ges
9009 @item @strong{g} @tab sol @tab sol @tab sol @tab G
9010 @tab g @tab g @tab g @tab g
9011 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
9012 @tab gis @tab gis @tab giss @tab gis
9013 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
9014 @tab as @tab as @tab ass @tab as
9015 @item @strong{a} @tab la @tab la @tab la @tab A
9016 @tab a @tab a @tab a @tab a
9017 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
9018 @tab ais @tab ais @tab aiss @tab ais
9019 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
9020 @tab bes @tab b @tab b @tab b
9021 @item @strong{b} @tab si @tab si @tab si @tab H
9022 @tab b @tab h @tab h @tab h
9030 @node Literature used
9031 @unnumberedsec Literature used
9034 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
9035 Cambridge: Belknap Press (Harvard University Press), 1944.
9037 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
9040 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
9041 Terminologie}. Kassel, 1980.
9043 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
9044 Current English}, 3rd ed. London: Oxford University Press, 1974.
9046 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
9047 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
9049 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
9050 Cambridge: Belknap Press (Harvard University Press), 1986.
9052 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.