1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
97 Permission is granted to copy, distribute and/or modify this document
98 under the terms of the GNU Free Documentation License, Version 1.1
99 or any later version published by the Free Software Foundation,
100 without Invariant Sections.
106 @c @everyheading @| @thispage @|
107 @c @evenheading @thispage @| @|
108 @c @oddheading @| @| @thispage @|
110 @include macros.itexi
115 @w{@expansion{}@strong{\word\}}@c
118 @expansion{}@ref{\word\, @strong{\word\}}@c
123 * Musical terms A-Z::
124 * Duration names notes and rests::
128 @node Musical terms A-Z
129 @chapter Musical terms A-Z
131 Languages in this order.
133 @item UK - British English (where it differs from American English)
159 * ancient minor scale::
164 * ascending interval::
165 * augmented interval::
200 * compound interval::
204 * conjunct movement::
217 * descending interval::
219 * diminished interval::
222 * disjunct movement::
224 * dissonant interval::
225 * dominant ninth chord::
226 * dominant seventh chord::
229 * dot (augmentation dot)::
231 * double appoggiatura::
233 * double dotted note::
236 * double time signature::
244 * ecclesiastical mode::
251 * equal temperament::
270 * functional harmony::
286 * inverted interval::
301 * long appoggiatura::
307 * meantone temperament::
313 * mensural notation::
316 * metronomic indication::
328 * multi-measure rest::
356 * polymetric time signature::
361 * Pythagorean comma::
389 * sixty-fourth note::
390 * sixty-fourth rest::
419 * thirty-second note::
420 * thirty-second rest::
427 * transposing instrument::
479 Abbreviated @samp{a2} or @samp{a 2}.
483 @item An indication in orchestral scores that a single part notated on a single
484 staff that normally carries parts for two players (e.g. first and second oboes)
485 is to be played by both players.
487 @item Or conversely, that two pitches or parts notated on a staff that normally
488 carries a single part (e.g. first violin) are to be played by different players,
489 or groups of players (@q{desks}).
508 FI: aksentti, korostus.
510 The stress of one tone over others.
524 ES: alteración accidental,
526 F: altération accidentelle,
527 D: Versetzungszeichen, Akzidenz,
528 NL: toevallig (verplaatsings)teken,
530 S: tillfälligt förtecken,
531 FI: tilapäinen etumerkki.
533 An accidental has the effect of an @ref{alteration} of a note. A
534 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
535 @ref{whole tone}, a flat lowers it by a semitone and a double flat
536 lowers it by a whole tone. A natural cancels the effect of a previous
537 accidental, or a sharp or flat in the key signature.
539 @lilypond[fragment,notime,line-width=13.0\cm]
540 \set Score.automaticBars = ##f
542 \context Staff \relative c'' {
543 \set Staff.extraNatural = ##f
544 gisis1 gis g! ges geses
547 \override Lyrics .LyricText #'self-alignment-X = #-1
548 "db. sharp" sharp natural flat "db. flat"
559 F: accelerando, en accélérant,
560 D: accelerando, schneller werden,
564 FI: accelerando, kiihdyttäen.
570 @section acciaccatura
572 A grace note which takes its time from the rest or note preceding the
573 principal note to which it is attached. The acciaccatura is drawn as a
574 small eighth note (quaver) with a line drawn through the flag and
579 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
592 FI: adagio, hitaasti.
594 It.@: comfortable, easy.
598 @item Slow tempo, slower -- especially in even meter -- than
599 @ref{andante} and faster than @ref{largo}.
601 @item A movement in slow tempo, especially the second (slow) movement
602 of @ref{sonata}s, symphonies, etc.
613 D: Allegro, Schnell, Fröhlich, Lustig,
617 FI: allegro, nopeasti.
619 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
620 tempo, especially the first and last movements of a @ref{sonata}.
630 NL: verhoging of verlaging,
635 An alteration is the modification, raising or lowering, of a note's
636 pitch. It is established by an @ref{accidental}.
649 FI: altto, matala naisääni.
651 A female voice of low range (@emph{contralto}). Originally the alto
652 was a high male voice (hence the name), which by the use of falsetto
653 reached the height of the female voice. This type of voice is also
654 known as @ref{counter tenor}.
660 ES: clave de do en tercera,
661 I: chiave di contralto,
662 F: clef d'ut troisième ligne,
663 D: Altschlüssel, Bratschenschlüssel,
669 C clef setting middle C on the middle line of the staff.
686 FI: ambitus, ääniala, soitinala.
688 The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
689 of pitches for a given voice in a part of music. It may also denote
690 the pitch range that a musical instrument is capable of playing.
705 An anacrusis (also known as pickup or upbeat) is an incomplete measure
706 of music before a section of music. It also refers to the initial
707 note(s) of a melody occurring in that incomplete measure.
711 @ref{measure}, @ref{meter}.
713 @lilypond[fragment,line-width=13.0\cm]
717 \partial 4 f4 | bes4. a8 bes4 c |
718 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
722 @node ancient minor scale
723 @section ancient minor scale
725 ES: escala menor antigua,
726 I: scala minore naturale,
727 F: forme du mode mineur ancien, troisème mode, mode hellénique,
728 D: reines Moll, natürliches Moll,
729 NL: authentieke mineurtoonladder,
732 FI: luonnollinen molliasteikko.
736 @ref{diatonic scale}.
738 @lilypond[fragment,notime,line-width=13.0\cm]
739 \set Score.automaticBars = ##f
757 Walking tempo/character.
761 @section appoggiatura
765 F: appoggiature, (port de voix),
766 D: Vorschlag, Vorhalt
770 FI: appoggiatura, etuhele.
772 Ornamental note, usually a second, that is melodically connected with
773 the main note following it. In music before the 19th century
774 appoggiature were usually performed on the beat, after that mostly
775 before the beat. While the short appoggiatura is performed as a short
776 note regardless of the duration of the main note the duration of the
777 long appoggiatura is proportional to that of the main note.
779 @lilypond[line-width=13.0\cm]
780 \context Voice \relative c'' {
784 %\override Score.TextScript #'font-style = #'large
785 <d a fis>4_"notation" r
786 { \override Stem #'flag-style = #'()
788 \revert Stem #'flag-style
791 { \override Stem #'flag-style = #'()
793 \revert Stem #'flag-style
796 \cadenzaOn a4 \bar "||" \cadenzaOff
798 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
799 \cadenzaOn a4 \bar "||" \cadenzaOff
803 An appoggiatura may have more notes preceding the main note.
805 @lilypond[line-width=13.0\cm]
809 % \override Score.TextScript #'font-style = #'large
810 \grace { bes16 } as8_"notation" as16 bes as8 g |
811 \grace { as16[( bes] } < c as >4-)
812 \grace { as16[( bes] } < c as >4-) \bar "||"
813 \grace { bes16 } as8_"performance" as16 bes as8 g |
814 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
815 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
827 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
829 DK: arpeggio, akkordbrydning,
831 FI: arpeggio, murtosointu.
833 @lilypond[fragment,line-width=13.0\cm]
834 \context PianoStaff <<
835 \context Staff = SA \relative c'' {
838 r8 g16 c e g, c e r8 g,16 c e g, c e |
839 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
840 \context Staff = SB \relative c' {
842 << \context Voice = va {
844 r16 e8. ( e4) r16 e8. ( e4) |
845 r16 d8. ( d4) r16 d8. ( d4) }
846 \context Voice = vb {
855 @section articulation
864 FI: artikulaatio, ilmaisu.
866 Articulation refers to notation which indicates how a note or notes
867 should be played. Slurs, accents, staccato, and legato are all
868 examples of articulation.
871 @node ascending interval
872 @section ascending interval
874 ES: intervalo ascendente,
875 I: intervallo ascendente,
876 F: intervalle ascendant,
877 D: steigendes Intervall,
878 NL: stijgend interval,
879 DK:@w{ }stigende interval,
880 S: stigande intervall,
881 FI: nouseva intervalli.
883 A distance between a starting lower note and a higher ending note.
886 @node augmented interval
887 @section augmented interval
889 ES: intervalo aumentado,
890 I: intervallo aumentato,
891 F: intervalle augmenté,
892 D: übermäßiges Intervall,
893 NL: overmatig interval,
894 DK: forstørret interval,
895 S: överstigande intervall,
896 FI: ylinouseva intervalli.
908 F: manuscrit, autographe
909 D: Autograph, Handschrift,
911 DK: håndskrift, autograf,
913 FI: käsinkirjoitettu nuotti.
917 @item A manuscript in the composer's own hand.
919 @item Music prepared for photoreproduction by freehand drawing, with
920 the aid of a straightedge ruler and T-square only, which attempts to
921 emulate engraving. This required more skill than did engraving.
962 ES: barra, línea divisoria,
963 I: stanghetta, barra (di divisione),
964 F: barre (de mesure),
982 FI: baritoni, keskikorkuinen miesääni.
984 The male voice intermediate between the @ref{bass} and the
987 @c F: clef de troisième ligne dropped
991 @section baritone clef
993 ES: clave de fa en tercera,
994 I: chiave di baritono,
995 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1002 C or F clef setting middle C on the upper staff line.
1006 @ref{C clef}, @ref{F clef}.
1012 ES: clave de fa en cuarta,
1014 F: clef de fa quatrième ligne,
1021 A clef setting with middle C on the first top ledger line.
1038 FI: basso, matala miesääni.
1042 @item The lowest male voice.
1044 @item Sometimes, especially in jazz music, used as an abbreviation for
1066 Line connecting a series of notes (shorter than a quarter note). The
1067 number of beams determines the note value of the connected notes.
1069 @lilypond[fragment,notime,line-width=13.0\cm]
1070 \set Score.automaticBars = ##f
1071 %\override TextScript #'font-style = #'large
1073 g8_"1/8"[ g g g] s16
1074 g16_"1/16"[ g g g] s16
1075 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1076 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1081 @ref{feathered beam}.
1087 ES: tiempo, parte (de compás)
1090 D: Takt, Taktschlag, Zeit (im Takt),
1096 Note value used for counting, most often half-, fourth-, and eighth
1097 notes. The base counting value and the number of them per measure is
1098 indicated at the start of the music.
1100 @lilypond[fragment,line-width=13.0\cm]
1103 \relative c'' { g4 c b a | g1 \bar "||"}
1105 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1120 ES: llave, corchete,
1123 D: Klammer, Akkolade,
1124 NL: accolade, teksthaak,
1127 FI: yhdistävä sulkumerkki.
1129 Symbol at the start of a system connecting staves.
1131 Curly braces are used for connecting piano staves, and sometimes for connecting
1132 the staves of like instruments in an orchestral score when written on different
1133 staves (e.g. first and second flutes):
1135 @lilypond[fragment,ragged-right]
1136 \context GrandStaff <<
1137 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1138 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1141 Angular brackets for connecting parts in an orchestral or choral score:
1143 @lilypond[fragment,ragged-right]
1144 \context StaffGroup <<
1145 % \set StaffGroup.minVerticalAlign = #12
1146 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1147 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1174 NL: koper (blazers),
1177 S: brassinstrument, mässingsinstrument,
1180 A family of blown musical instruments made of brass, all using a cup
1181 formed mouth piece. The brass instruments commonly used in a symphony
1182 orchestra are trumpet, trombone, french horn, and tube.
1186 @section breath mark
1191 D: Atemzeichen, Trennungszeichen,
1192 NL: repercussieteken,
1193 DK: vejrtrækningstegn,
1197 Indication of where to breathe in vocal and wind instrument parts.
1203 ES: cuadrada, breve,
1212 @ref{note value}, twice as long as a whole note. Mainly used in
1213 pre-1650 music. The shortest note value generally used in white
1214 mensural notation, hence the name, which originally meant "of short
1217 @lilypond[fragment,notime,ragged-right]
1218 \set Score.automaticBars = ##f
1219 \relative c'' { g\breve }
1252 Clef symbol indicating the position of the middle C. Used on all note
1255 @lilypond[fragment,notime,line-width=13.0\cm]
1256 \set Score.automaticBars = ##f
1257 \override Score.Clef #'full-size-change = ##t
1259 \context Staff \relative c' {
1261 \clef mezzosoprano c
1266 \context Lyrics \lyrics {
1267 \override Lyrics .LyricText #'self-alignment-X = #-1
1268 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1284 FI: kadenssi, lopuke.
1288 @ref{harmonic cadence}, @ref{functional harmony}.
1301 FI: kadenssi, lopuke.
1303 An extended, improvisatory style section inserted near the end of
1304 movement. The purpose of a cadenza is to give singers or players a
1305 chance to exhibit their technical skill and -- not last -- their
1306 ability to improvise. Since the middle of the 19th century, however,
1307 most cadenzas have been written down by the composer.
1320 FI: kaanon, tarkka jäljittely.
1337 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1338 viritysjärjestelmässä.
1340 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1341 (1/100 of an equally tempered @ref{semitone}).
1345 @ref{equal temperament}.
1368 Three or more tones sounding simultaneously. In traditional European
1369 music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
1370 @emph{Major} (major + minor @ref{third}) as well as @emph{minor}
1371 (minor + major third) chords may be extended with more thirds.
1372 Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
1373 chords are most often used as dominants (@ref{functional harmony}). A
1374 special case is chords having no third above the lower notes to define
1375 their quality as major or minor. Such chords are denoted open chords
1377 @lilypond[fragment,notime,line-width=13.0\cm]
1378 \set Score.automaticBars = ##f
1379 %\override TextScript #'font-style = #'large
1381 \context Staff \relative c'' {
1382 \set Staff.extraNatural = ##f
1402 @node chromatic scale
1403 @section chromatic scale
1405 ES: escala cromática,
1407 F: gamme chromatique,
1408 D: chro@-ma@-ti@-sche Tonleiter,
1409 NL: chromatische toonladder,
1410 DK: kromatisk skala,
1412 FI: kromaattinen asteikko.
1414 A scale consisting of all 12 @ref{semitone}s.
1416 @lilypond[fragment,notime,line-width=13.0\cm]
1417 \set Score.automaticBars = ##f
1418 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1423 @section chromaticism
1434 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1438 @section church mode
1440 ES: modo eclesiástico,
1441 I: modo ecclesiastico,
1442 F: mode ecclésiastique,
1447 FI: moodi, kirkkosävellaji.
1451 @ref{diatonic scale}.
1460 D: Schlüssel, Notenschlüssel,
1464 FI: avain, nuottiavain.
1468 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1470 The clef indicates which lines of the staff correspond to which
1471 pitches. The three clef symbols in common use are:
1473 @lilypond[ragged-right,quote]
1476 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1477 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1478 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1483 Imagine a large staff of 11 lines centered on middle C, sometimes
1484 called a @q{grand staff}, with the bottom line representing low G and
1485 the top line high F:
1487 @lilypond[ragged-right,quote]
1490 %-- Treble Staff --%
1492 % Allow this staff to be placed close to the others
1493 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1494 % Allow the treble clef to overlap the lower staves:
1495 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1496 \override Staff.Clef #'stencil = ##f % No clef required
1498 s1^\markup { "g," \transparent "g" }
1499 s^ \markup { "b," \transparent "g" }
1500 s^ \markup { "d" \transparent "g" }
1501 s^ \markup { "f" \transparent "g" }
1502 s^ \markup { "a" \transparent "g" }
1503 s^ \markup { \with-color #red c' \transparent "g"}
1504 e'^\markup { "e'" \transparent "g" }
1505 g'^\markup { "g'" \transparent "g" }
1506 b'^\markup { "b'" \transparent "g" }
1507 d''^\markup { "d''" \transparent "g" }
1508 f''^\markup { "f ''" \transparent "g" }
1511 %-- Alto Staff reduced to a single line on middle C --%
1513 \override Staff.StaffSymbol #'line-count = 1 % One line only
1514 \override Staff.StaffSymbol #'color = #red % Coloured red
1515 \override Staff.Clef #'stencil = ##f % No clef required
1518 % Allow this staff to be placed close to the others
1519 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1520 % Specify height to give correct spacing between treble and bass staves
1521 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1523 s1 s s s s % Space along to align horizonatally
1524 \override NoteHead #'color = #red
1526 s1 s s s s s % Keep staff (ie the red line) showing
1530 % Allow this staff to be placed close to the others
1531 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1532 \override Staff.Clef #'stencil = ##f % No clef required
1535 s s s s s s s % Keep staff showing
1539 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1540 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1542 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1543 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1545 % Remove all barlines
1546 \context { \Score \override BarLine #'stencil = ##f
1548 % Remove time signature from all staves
1549 \context { \Staff \remove Time_signature_engraver
1555 Staves of five lines are usually used, and the clef superimposed on
1556 them indicates which five lines have been selected from this
1557 @samp{grand staff}. For example, the treble or G clef indicates that
1558 the top five lines have been selected:
1560 @lilypond[ragged-right,quote]
1563 %-- Treble Staff --%
1565 % Allow this staff to be placed close to the others
1566 \override Staff.VerticalAxisGroup
1567 #'minimum-Y-extent = #'(0 . 0)
1568 % Allow the treble clef to overlap the lower staves:
1569 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1570 \override Staff.Clef #'stencil = ##f % No clef required here
1572 s1^\markup { "g," \transparent "g" }
1573 s^ \markup { "b," \transparent "g" }
1574 s^ \markup { "d" \transparent "g" }
1575 s^ \markup { "f" \transparent "g" }
1576 s^ \markup { "a" \transparent "g" }
1577 s^ \markup { \with-color #red c' \transparent "g"}
1578 \stopStaff \startStaff
1579 \clef "C" % Dummy to force next clef to be printed
1580 s % Need at least one note for \clef to take effect
1581 \override Staff.Clef #'stencil = ##t % Clef now required
1582 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1584 e'^\markup { "e'" \transparent "g" }
1585 g'^\markup { "g'" \transparent "g" }
1586 b'^\markup { "b'" \transparent "g" }
1587 d''^\markup { "d''" \transparent "g" }
1588 f''^\markup { "f ''" \transparent "g" }
1590 %-- Alto Staff reduced to a single line on middle C --%
1592 \override Staff.StaffSymbol #'line-count = 1 % One line only
1593 \override Staff.StaffSymbol #'color = #red % Coloured red
1594 \override Staff.Clef #'stencil = ##f % No clef required
1597 % Allow this staff to be placed close to the others
1598 \override Staff.VerticalAxisGroup
1599 #'minimum-Y-extent = #'(0 . 0)
1600 % Specify height to give correct spacing between the staves
1601 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1603 s1 s s s s % Space along to align horizonatally
1604 \override NoteHead #'color = #red
1606 % s1 s s s s % Keep staff (ie the red line) showing
1610 % Allow this staff to be placed close to the others
1611 \override Staff.VerticalAxisGroup
1612 #'minimum-Y-extent = #'(0 . 0)
1613 \override Staff.Clef #'stencil = ##f % No clef required
1616 % s s s s s s % Keep staff showing
1620 % Reduce horizontal spacing so semibreves can be used
1621 % without exceeding 1 line
1622 \context { \Score \override SpacingSpanner
1623 #'base-shortest-duration = #(ly:make-moment 1 1)
1625 % Reduce apparent vertical size of note heads to
1626 % permit them to overlap other grobs vertically
1627 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1629 % Remove all barlines
1630 \context { \Score \override BarLine #'stencil = ##f
1632 % Remove time signature from all staves
1633 \context { \Staff \remove Time_signature_engraver
1639 The @q{curl} of the G clef in centered on the line that represents the
1642 In the same way, the bass or F clef indicates that the bottom five
1643 lines have been selected from the @samp{grand staff}, and the alto or
1644 C clef indicates the middle five lines have been selected. This
1645 relationship is shown below, where the notes show an arpeggio on a C
1648 @lilypond[ragged-right,quote]
1651 %-- Treble Staff --%
1652 \new Staff = "G" \with {
1653 \remove Time_signature_engraver
1656 % The following two overrides are required to make the two middle C's overlap
1657 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1658 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1660 \override Staff.Clef #'Y-extent = #'(0 . 0)
1662 s1 s s s s e' g' c''
1665 \new Staff = "C" \with {
1666 \remove Time_signature_engraver
1669 \override Staff.StaffSymbol #'line-count = 1
1670 \override Staff.StaffSymbol #'stencil = ##f
1671 \once \override Staff.Clef #'stencil = ##f
1672 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1673 \override Score.BarLine #'stencil = ##f
1675 % The following two overrides are required to align the C staff to the G and F staves
1676 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1677 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1680 \stopStaff \startStaff
1681 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1682 \revert Staff.StaffSymbol #'stencil
1683 \override Staff.StaffSymbol #'color = #red
1684 b'1 % A frig. This really shows as a middle C in the score
1686 \stopStaff \startStaff
1687 \override Staff.StaffSymbol #'line-count = 5
1688 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1689 \override Staff.Clef #'Y-extent = #'(0 . 0)
1690 \revert Staff.StaffSymbol #'color
1691 \stopStaff \startStaff
1693 s1 s s c e g c' e' g' c''
1696 \new Staff = "F" \with {
1697 \remove Time_signature_engraver
1700 \override Staff.Clef #'Y-extent = #'(0 . 0)
1701 % The following two overrides are required to make the two middle C's overlap
1702 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1703 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1711 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1714 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1717 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1734 FI: klusteri, cluster.
1736 A @emph{cluster} is a range of simultaneously sounding pitches that
1737 may change over time. The set of available pitches to apply usually
1738 depends on the acoustic source. Thus, in piano music, a cluster
1739 typically consists of a continuous range of the semitones as provided
1740 by the piano's fixed set of a chromatic scale. In choral music, each
1741 singer of the choir typically may sing an arbitrary pitch within the
1742 cluster's range that is not bound to any diatonic, chromatic or other
1743 scale. In electronic music, a cluster (theoretically) may even cover
1744 a continuous range of pitches, thus resulting in colored noise, such
1747 Clusters can be denoted in the context of ordinary staff notation by
1748 engraving simple geometrical shapes that replace ordinary notation of
1749 notes. Ordinary notes as musical events specify starting time and
1750 duration of pitches; however, the duration of a note is expressed by
1751 the shape of the note head rather than by the horizontal graphical
1752 extent of the note symbol. In contrast, the shape of a cluster
1753 geometrically describes the development of a range of pitches
1754 (vertical extent) over time (horizontal extent). Still, the
1755 geometrical shape of a cluster covers the area in which any single
1756 pitch contained in the cluster would be notated as an ordinary note.
1758 @lilypond[fragment,relative=2,ragged-right]
1759 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1773 FI: komma, korvinkuultava ero äänenkorkeudessa.
1775 Difference in pitch between a note derived from pure tuning and the
1776 same note derived from some other tuning method.
1784 @section common meter
1794 @section common time
1796 4/4 time. The symbol, which resembles a capital letter C derives from
1797 mensural notation (q.v.).
1807 ES: intervalo invertido,
1809 F: intervalle complémentaire,
1810 D: Komplementärintervall,
1811 NL: complementair interval,
1812 DK: komplementærinterval,
1813 S: komplementärintervall (?),
1814 FI: täydentävä intervalli.
1818 @ref{inverted interval}.
1821 @node compound interval
1822 @section compound interval
1824 ES: intervalo compuesto,
1825 I: intervallo composto,
1826 F: intervalle composé,
1827 D: weites Intervall,
1828 NL: samengesteld interval,
1829 DK: sammensat interval,
1830 S: sammansatt intervall,
1831 FI: oktaavia laajempi intervalli.
1833 Intervals larger than an octave.
1840 @node compound meter
1841 @section compound meter
1852 A meter that includes a triplet subdivision within the beat, such as
1857 @ref{meter}, @ref{simple meter}.
1861 @section compound time
1872 @ref{compound meter}
1880 @section concert pitch
1891 The pitch at which the piano and other nontransposing instruments play: such
1892 instruments are said to be @q{in C}. The following list includes some (but not
1893 all) instruments that play in concert pitch:
1907 @item tenor trombone
1922 The trombones are a special case: although they are said to be @q{in F} (alto or
1923 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
1924 their parts' transposition. (In fact, the trombones' parts are written at
1925 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
1926 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
1929 Instruments that play @q{in C} but in a different octave than what is written
1930 are, technically speaking, @emph{transposing instruments}:
1934 @item piccolo (plays an octave higher)
1935 @item celesta (plays an octave higher)
1936 @item double-bass (plays an octave lower)
1942 @ref{transposing instrument}.
1945 @node conjunct movement
1946 @section conjunct movement
1948 ES: movimiento conjunto,
1950 F: mouvement conjoint,
1951 D: schritt@-weise, stufenweise Bewegung,
1952 NL: stapsgewijze, trapsgewijze beweging,
1953 DK: trinvis bevægelse,
1955 FI: asteittainen liike.
1957 Progressing melodically by intervals of a second. The opposite of a
1958 @ref{disjunct movement}.
1960 @lilypond[fragment,line-width=13.0\cm]
1961 \key g \major \time 4/4
1962 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1976 FI: konsonanssi, sopusointi.
2001 @section counterpoint
2010 FI: kontrapunkti, ääni ääntä vastaan.
2012 From Latin @emph{punctus contra punctum}, note against note. The
2013 combination into a single musical fabric of lines or parts which have
2014 distinct melodic significance. A frequently used polyphonic technique
2015 is imitation, in its strictest form found in the canon needing only
2016 one part to be written down while the other parts are performed with a
2017 given displacement. Imitation is also the contrapunctal technique
2018 used in the @emph{fugue} which, since the music of the baroque era,
2019 has been one of the most popular polyphonic composition methods.
2021 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2022 \set Score.implicitTimeSignatureVisibility = #all-invisible
2023 \override Score.TimeSignature #'break-visibility = #all-invisible
2024 \context PianoStaff <<
2025 \context Staff = SA \relative c' {
2029 << \context Voice = rha {
2031 r1 | r2 r8 g'8 bes d, |
2032 cis4 d r8 e!16 f g8 f16 e |
2033 f8 g16 a bes8 a16 g a8
2035 \context Voice = rhb {
2041 \context Staff = SB \relative c' {
2044 << \context Voice = lha {
2046 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2047 r8 a16 g f8 g16 a bes8 g e! cis' |
2050 \context Voice = lhb {
2060 @section counter tenor
2065 D: Countertenor, Kontratenor,
2068 S: kontratenor, counter tenor,
2077 @section copying music
2079 A music copyist did fast freehand scores and parts on preprinted staff
2080 lines for performance. Some of their conventions (e.g., the placement
2081 of note heads on stems) varied slightly from those of engravers. Some
2082 of their working methods were superior and could well be adopted by
2083 music typesetters. Copying music required more skill than engraving.
2092 D: Crescendo, lauter werden,
2096 FI: cresendo, voimistuen.
2098 Increasing volume. Indicated by a rightwards opening horizontal wedge
2099 or the abbreviation @samp{cresc.}.
2101 @lilypond[fragment,ragged-right]
2102 \key g \major \time 4/4
2103 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2112 F: petites notes précédent l'entrée d'un instrument, réplique,
2119 In a separate part notes belonging to another part with the purpose of
2120 hinting when to start playing. Usually printed in a smaller type.
2129 D: Notenzeiger, Custos,
2135 A custos (plural: custodes) is a staff symbol that appears at the end
2136 of a staff line with monophonic musical contents (i.e., with a single
2137 voice). It anticipates the pitch of the first note of the following
2138 line and thus helps the player or singer to manage line breaks during
2139 performance, thus enhancing readability of a score.
2141 Custodes were frequently used in music notation until the 16th
2142 century. There were different appearences for different notation
2143 styles. Nowadays, they have survived only in special forms of musical
2144 notation such as via the Editio Vaticana dating back to the beginning
2150 % \override Staff.Custos #'neutral-position = #4
2151 \override Staff.Custos #'neutral-direction = #down
2152 \override Staff.Custos #'style = #'hufnagel
2160 \consists Custos_engraver
2190 F: da capo, depuis le commencement,
2191 D: da capo, von Anfang,
2195 FI: da capo, alusta.
2197 The term indicates repetition of the piece from the beginning to the
2198 end or to a certain place marked @emph{fine}. Usually abbreviated as
2207 F: dal segno, depuis le signe,
2208 D: dal segno, ab dem Zeichen,
2212 FI: dal segno, lähtien merkistä.
2214 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2215 another place frequently near the beginning marked by a sign:
2217 @lilypond[fragment,ragged-right]
2218 %\override TextScript #'font-style = #'large
2219 \override TextScript #'font-shape = #'italic
2220 \key g \major \time 4/4
2225 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2232 @section decrescendo
2236 D: Decrescendo, leiser werden,
2240 FI: decresendo, hiljentyen.
2242 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2243 or the abbreviation @samp{decresc.}.
2245 @lilypond[fragment,ragged-right]
2247 \key g \major \time 4/4
2248 d4 \> c b a | g1 \! \bar "|."
2253 @node descending interval
2254 @section descending interval
2256 ES: intervalo descendente,
2257 I: intervallo discendente,
2258 F: intervalle descendant,
2259 D: fallendes Intervall, absteigendes Intervall,
2260 NL: dalend interval,
2261 DK: faldende interval,
2262 S: fallande intervall,
2263 FI: laskeva intervalli.
2265 A distance between a starting higher note and a lower ending note.
2268 @node diatonic scale
2269 @section diatonic scale
2271 ES: escala diatónica,
2273 F: gamme diatonique,
2274 D: diatonische Tonleiter,
2275 NL: diatonische toonladder,
2276 DK: diatonisk skala,
2278 FI: diatoninen asteikko.
2280 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
2281 }@ref{semitone}s (S). Scales played on the white keys of a piano
2282 keybord are diatonic.
2284 The church modes are used in gregorian chant and in pre-baroque early
2285 music but also to some extent in newer jazz music.
2287 @lilypond[fragment,notime,ragged-right]
2288 \set Score.automaticBars = ##f
2289 %\override Score.LyricText #'font-style = #'large
2290 %\override Score.TextScript #'font-style = #'large
2292 \context Staff \relative c' {
2294 \override TextScript #'padding = #-4
2295 e^"~~ S" f g a b^"~~ S" c
2297 \context Lyrics \lyrics {
2303 @lilypond[fragment,notime,ragged-right]
2304 \set Score.automaticBars = ##f
2306 \context Staff \relative c' {
2308 \override TextScript #'padding = #-4
2309 e^"~~ S" f g a b^"~~ S" c d
2317 @lilypond[fragment,notime,ragged-right]
2318 \set Score.automaticBars = ##f
2321 \override TextScript #'padding = #-4
2322 e1^"~~ S" f g a b^"~~ S" c d e
2330 @lilypond[fragment,notime,ragged-right]
2331 \set Score.automaticBars = ##f
2335 \override TextScript #'padding = #-4
2336 b^"~~ S" c d e^"~~ S" f
2344 @lilypond[fragment,notime,ragged-right]
2345 \set Score.automaticBars = ##f
2349 \override TextScript #'padding = #-4
2350 b^"~~ S" c d e^"~~ S" f g }
2357 @lilypond[fragment,notime,ragged-right]
2358 \set Score.automaticBars = ##f
2359 %\override Score.LyricText #'font-style = #'large
2360 %\override Score.TextScript #'font-style = #'large
2364 \override TextScript #'padding = #-4
2365 b^"~~ S" c d e^"~~ S" f g a
2373 From the beginning of the 17th century the scales used in European
2374 compositional music are primarily the major and the minor scales. In
2375 the harmonic minor scale type an augmented second (A) occurs between
2376 the 6th and 7th tone.
2378 @lilypond[fragment,notime,ragged-right]
2379 \set Score.automaticBars = ##f
2383 \override TextScript #'padding = #-4
2384 e^"~~ S" f g a b^"~~ S" c
2392 @lilypond[fragment,notime,ragged-right]
2393 \set Score.automaticBars = ##f
2397 \override TextScript #'padding = #-4
2398 b^"~~ S" c d e^"~~ S" f g a
2406 @lilypond[fragment,notime,ragged-right]
2407 \set Score.automaticBars = ##f
2411 \override TextScript #'padding = #-4
2412 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2414 \context Lyrics \lyrics {
2420 @lilypond[fragment,notime,line-width=13.0\cm]
2421 \set Score.automaticBars = ##f
2422 %\override Score.LyricText #'font-style = #'large
2423 %\override Score.TextScript #'font-style = #'large
2427 \override TextScript #'padding = #-4
2428 b^"~~ S" c d e fis gis^"~~ S"
2429 a g! f!^"~~ S" e d c^"~~ S" b a
2438 @node diminished interval
2439 @section diminished interval
2441 ES: intervalo disminuido,
2442 I: intervallo diminuito,
2443 F: intervalle diminué,
2444 D: vermindertes Intervall,
2445 NL: verminderd interval,
2446 DK: formindsket interval,
2447 S: förminskat intervall,
2448 FI: vähennetty intervalli.
2465 FI: diminuendo, hiljentyen.
2489 @node disjunct movement
2490 @section disjunct movement
2492 ES: movimiento disjunto,
2494 F: mouvement disjoint,
2495 D: sprunghafte Bewegung,
2496 NL: sprongsgewijze beweging,
2497 DK: springende bevægelse,
2498 S: hoppande rörelse,
2499 FI: melodian hyppivä liike.
2501 Progressing melodically by intervals larger than a major second, as
2502 opposed to @ref{conjunct movement}.
2504 @lilypond[fragment,ragged-right]
2509 a4. gis8 b a e cis |
2510 fis2 d4. \bar "||" }
2517 @ref{dissonant interval}.
2520 @node dissonant interval
2521 @section dissonant interval
2523 ES: intervalo disonante, disonancia,
2524 I: intervallo dissonante, dissonanza,
2527 NL: dissonant interval, dissonant,
2528 DK: dissonerende interval, dissonans,
2530 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2537 @node dominant ninth chord
2538 @section dominant ninth chord
2540 ES: acorde de novena de dominante,
2541 I: accordo di nona di dominante,
2542 F: accord de neuvième dominante,
2543 D: Domi@-nant@-nonen@-akkord,
2544 NL: dominant noon akkoord,
2545 DK: dominantnoneakkord,
2546 S: dominantnonackord,
2547 FI: dominanttinoonisointu.
2551 @ref{chord}, @ref{functional harmony}.
2554 @node dominant seventh chord
2555 @section dominant seventh chord
2557 ES: acorde de séptima de dominante,
2558 I: accordo di settima di dominante,
2559 F: accord de septième dominante,
2560 D: Dominantseptakkord,
2561 NL: dominant septiem akkoord,
2562 DK: dominantseptimakkord,
2563 S: dominantseptimackord,
2564 FI: dominanttiseptimisointu.
2568 @ref{chord}, @ref{functional harmony}.
2581 FI: dominantti, huippusointu.
2583 The fifth @ref{scale degree} in @ref{functional harmony}.
2587 @section dorian mode
2592 D: dorisch, dorischer Kirchenton,
2593 NL: dorische toonladder,
2600 @ref{diatonic scale}.
2603 @node dot (augmentation dot)
2604 @section dot (augmentation dot)
2607 I: punto (di valore),
2609 D: Punkt (Verlängerungspunkt),
2617 @ref{dotted note}, @ref{note value}.
2621 @section dotted note
2623 ES: nota con puntillo,
2627 NL: gepuncteerde noot,
2630 FI: pisteellinen nuotti.
2637 @node double appoggiatura
2638 @section double appoggiatura
2640 ES: apoyatura doble,
2641 I: appoggiatura doppia,
2642 F: appoggiature double,
2643 D: doppelter Vorschlag,
2644 NL: dubbele voorslag,
2645 DK: dobbelt forslag,
2647 FI: kaksoisappogiatura, kaksoisetuhele.
2654 @node double bar line
2655 @section double bar line
2661 NL: dubbele maatstreep,
2664 FI: kaksoistahtiviiva.
2666 Indicates the end of a section within a movement.
2669 @node double dotted note
2670 @section double dotted note
2672 ES: nota con doble puntillo,
2673 I: nota doppiamente puntata,
2674 F: note doublement pointée,
2675 D: doppelt punktierte Note,
2676 NL: dubbelgepuncteerde noot,
2677 DK: dob@-belt@-punk@-te@-ret node,
2678 S: dub@-bel@-punk@-te@-rad not,
2679 FI: kaksoispisteellinen nuotti.
2687 @section double flat
2696 FI: kaksoisalennusmerkki.
2704 @section double sharp
2706 ES: doble sostenido,
2711 DK: dob@-belt@-kryds,
2713 FI: kaksoisylennysmerkki.
2720 @node double time signature
2721 @section double time signature
2734 @ref{polymetric time signature}.
2738 @section double trill
2744 NL: dubbele triller,
2749 A simultaneous trill on two notes, usually in the distance of a third.
2753 @section duple meter
2758 D: in zwei, grader Takt,
2759 NL: tweedelige maatsoort,
2796 FI: kesto, aika-arvo.
2804 @section dydimic comma
2808 @ref{syntonic comma}.
2817 D: Dynamik, Lautstärke,
2823 The aspect of music relating to degrees of loudness, or changes from
2824 one degree to another. The terms, abbreviations, and symbols used to
2825 indicate this information are called dynamic marks.
2829 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2850 @node ecclesiastical mode
2851 @section ecclesiastical mode
2859 @section eighth note
2865 D: Achtel, Achtelnote,
2867 DK: ottendedelsnode,
2869 FI: kahdeksasosanuotti.
2877 @section eighth rest
2880 ES: silencio de corchea,
2885 DK: ottendedelspause,
2887 FI: kahdeksasosatauko.
2897 @c TODO: add languages
2908 @c TODO definition -- referenced from lyric tie
2912 @section embellishment
2925 D: Notenstich, Notendruck
2931 Engraving means incising or etching a metal plate for printing.
2932 Photoengraving means drawing music with ink in a manner similar to
2933 drafting or engineering drawing, using similar tools.
2935 The traditional process of music printing is done through cutting in a
2936 plate of metal. Now also the term for the art of music typesetting.
2951 Two notes, intervals, or scales are enharmonic if they have different
2952 names but equal pitch.
2954 @lilypond[fragment,notime,line-width=13.0\cm]
2955 \set Score.automaticBars = ##f
2957 \context Staff \relative c'' {
2958 gis1 as <des g,!> <cis g!>
2960 \context Lyrics \lyrics {
2961 \override Lyrics .LyricText #'self-alignment-X = #-1
2962 "g sharp " "a flat " "dim fifth " "augm fourth"
2968 @node equal temperament
2969 @section equal temperament
2971 ES: temperamento igual,
2972 I: temperamento equabile,
2973 F: tempérament égal,
2974 D: gleichschwebende Stimmung,
2975 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2976 DK: ligesvævende temperatur,
2977 S: liksvävande temperatur,
2980 Tuning system dividing the octave into 12 equal @ref{semitone}s
2981 (precisely 100 @ref{cent}s).
2988 @node expression mark
2989 @section expression mark
2992 I: segno d'espressione,
2993 F: signe d'expression, indication de nuance,
2995 NL: voordrachtsteken,
2996 DK: foredragsbetegnelse,
2997 S: föredragsbeteckning,
2998 FI: nyanssiosoitus, esitysmerkki.
3000 Performance indications concerning:
3004 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3006 @item tempo (for example @ref{andante}, @ref{allegro}).
3012 @section extender line
3014 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3016 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3023 The generic term for a line (or dash) of arbitrary length that extends
3024 text (without indicating the musical @emph{function} of that text).
3026 Used in many contexts, for example:
3030 @item In vocal music to indicate the syllable for a melisma. Called
3031 @q{extension} in the
3032 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3036 In figured (or thorough) bass to indicate that:
3040 @item The extended note should be held through a change in
3041 harmony, when applied to one figure --OR--
3043 @item The chord thus represented should be held above a moving
3044 bass line, when applied to more than one figure.
3046 @item These uses were not completely standardized, and some
3047 composers used a single extender line to indicate the
3053 In string music to indicate that all notes in the passage thus
3054 indicated should be played on the same string. On the violin, for
3055 example, a series of notes to be played on the G string would be
3056 indicated @samp{sul G}, another series to be played on the D string
3057 would be indicated @samp{sul D}, and so on.
3060 With an octave indication (also called @emph{octavation}, q.v.) to indicate that
3061 a passage is to be played higher or lower by the given number of octaves.
3067 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
3099 The position between the dots of the key symbol is the line of the F
3100 below central@w{ }C. Used on the third, fourth and fifth note line.
3101 A digit@w{ }8 above the clef symbol indicates that the notes must be
3102 played an octave higher (for example, bass recorder) while 8@w{ }below
3103 the clef symbol indicates playing an octave lower (for example, on
3104 double bass @ref{strings}).
3106 @lilypond[fragment,notime,line-width=13.0\cm]
3107 \set Score.automaticBars = ##f
3108 \override Staff.Clef #'full-size-change = ##t
3136 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3139 @node feathered beam
3140 @section feathered beam
3144 F: liens de croches en soufflet,
3145 D: gespreizter Balken,
3151 A type of beam used to indicate that a small group of notes should be
3152 played at an increasing or decreasing tempo -- depending on the
3153 direction of @q{feathering} -- but without changing the overall tempo
3158 Internals Reference: @ruser{Manual beams}
3166 F: point d'orgue, point d'arrêt,
3171 FI: fermaatti, pidäke.
3173 Prolonged note or rest of indefinite duration.
3175 @lilypond[fragment,ragged-right]
3178 a4 b c2^\fermata \bar "|."
3201 @section figured bass
3205 @ref{thorough bass}.
3220 The methodical use of fingers in the playing of instruments.
3227 I: coda (uncinata), bandiera,
3235 Ornament at the end of the stem of a note used for notes with values
3236 less than a quarter note. The number of flags determines the
3239 @lilypond[fragment,notime,ragged-right]
3240 \set Score.automaticBars = ##f
3241 %\override Score.TextScript #'font-style = #'large
3286 FI: forte, voimakkaasti.
3288 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3289 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3309 @node Frenched score
3310 @section Frenched score
3321 A @q{condensed} score, produced by omitting staves for instruments that are not
3322 playing at the moment, and by moving up additional systems from following pages
3323 to take up the space thus liberated, which reduces the total number of pages
3324 used to print the work.
3326 The specific rules for @q{frenching} a score differ from publisher to publisher.
3327 If you are producing scores for eventual publication by a commercial publisher,
3328 you may wish to procure a copy of their style manual.
3332 @ref{Frenched staff}.
3335 @node Frenched staff
3336 @section Frenched staff
3347 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3348 measures or sections removed. This would be useful for producing, for example,
3349 an @emph{ossia} staff.
3356 @node Frenched staves
3357 @section Frenched staves
3368 The plural of @ref{Frenched staff}, @emph{q.v.}.
3388 @node functional harmony
3389 @section functional harmony
3391 ES: armonía funcional,
3392 I: armonia funzionale,
3393 F: étude des functions,
3395 NL: functionele harmonie,
3396 DK: funktionsanalyse, funktionsharmonik,
3398 FI: harmoniajärjestelmä.
3400 A system of harmonic analysis. It is based on the idea that, in a
3401 given key, there are only three functionally different chords: tonic
3402 (T, the chord on the first note of the scale), subdominant (S, the
3403 chord on the fourth note), and dominant (D, the chord on the fifth
3404 note). Others are considered to be variants of the base chords.
3406 @lilypond[fragment,notime,line-width=13.0\cm]
3407 \set Score.automaticBars = ##f
3409 \context Voice \relative c'' {
3410 <g e c >1 < a f d > < b g e >
3411 <c a f > < d b g > < e c a > < f d b > }
3412 \context Lyrics \lyrics {
3413 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3441 D: G-Schlüssel, Violinschlüssel,
3447 A clef symbol indicating the G above middle@w{ }C. Used on the first
3448 and second note lines. A digit 8 above the clef symbol indicates that
3449 the notes must be played an octave higher while 8 below the clef
3450 symbol indicates playing or singing an octave lower (most tenor parts
3451 in choral scores are notated like that).
3453 @lilypond[fragment,notime,ragged-right]
3455 \set Score.automaticBars = ##f
3456 \override Staff.Clef #'full-size-change = ##t
3459 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3469 \context Lyrics \lyrics {
3470 \override Lyrics . LyricText #'X-offset = #-5
3471 "french violin clef"
3490 FI: glissando, liukuen.
3492 Letting the pitch slide fluently from one note to the other.
3496 @section grace notes
3498 ES: notas de adorno,
3501 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3507 Notes printed in small types to indicate that their time values are not
3508 counted in the rhythm of the bar.
3512 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3517 @section grand staff
3519 ES: sistema de piano,
3522 D: Akkolade, Klaviersystem,
3525 S: ackolad, böjd klammer,
3526 FI: kaksoisnuottiviivasto.
3528 A combination of two staves with a brace. Usually used for piano music.
3545 FI: grave, raskaasti.
3570 Letter name used for @samp{B natural} in German and Scandinavian
3571 usage. In the standard usage of these countries, @samp{B} means
3576 @ref{Pitch names}, @ref{B}
3586 D: Halbe, halbe Note,
3601 ES: silencio de blanca,
3615 @node harmonic cadence
3616 @section harmonic cadence
3618 ES: cadencia (armónica),
3619 I: cadenza (armonica),
3620 F: cadence harmonique,
3622 NL: harmonische cadens,
3623 DK: harmonisk kadence,
3624 S: (harmonisk) kadens,
3625 FI: harmoninen kadenssi.
3627 A sequence of chords that terminates a musical phrase or section.
3629 @ref{functional harmony}.
3631 @lilypond[fragment,ragged-right]
3632 \context PianoStaff <<
3633 \context Staff = SA \relative c'' {
3637 \partial 4 < c g e >4 |
3638 < c a f > < b g d > < c g e >2
3641 \context Staff = SB \relative c {
3643 \partial 4 c4 | f, g c2
3661 D: Harmonie, Zusammenklang,
3665 FI: harmonia, yhteissointi.
3667 Tones sounding simultaneously. Two note harmonies fall into the
3668 categories @emph{consonances} and @emph{dissonances}.
3672 @lilypond[fragment,notime,line-width=13.0\cm]
3673 \set Score.automaticBars = ##f
3674 %\override Score.TextScript #'font-style = #'large
3675 \context Voice \relative c'' {
3688 @lilypond[fragment,notime,line-width=13.0\cm]
3689 \set Score.automaticBars = ##f
3690 %\override Score.TextScript #'font-style = #'large
3691 \context Voice \relative c'' {
3692 <g a>1_"second " s s
3693 <g f'>_"seventh " s s
3698 Three note harmony @ref{chord}.
3713 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3714 the use of three notes of equal value in the time normally occupied by
3715 of two notes of equal value. The resulting rhythm can be expressed in
3716 modern terms as a substitution (for example) of a bar in 3/2 for one
3717 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3718 hemiola is most frequently as a special effect (or @emph{affect}) at
3721 @c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
3722 @c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
3726 @ref{mensural notation}, @ref{meter}
3739 FI: homofonia, yksiäänisyys.
3741 Music in which one voice leads melodically followed by the other
3742 voices more or less in the same rhythm. In contrast to
3756 FI: intervalli, kahden sävelen korkeusero.
3758 Difference in pitch between two notes. Intervals may be perfect,
3759 minor, major, diminished, or augmented. The augmented fourth and the
3760 diminished fifth are identical (@ref{enharmonic}) and are called
3761 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3762 addition of such two intervals forms an octave.
3764 @lilypond[fragment,notime,line-width=13.0\cm]
3765 \set Score.automaticBars = ##f
3767 \context Voice \relative c'' {
3777 \context Lyrics \lyrics {
3778 "unison " "second " "second " "second "
3779 "third " "third " "third " "third"
3784 @lilypond[fragment,notime,line-width=13.0\cm]
3785 \set Score.automaticBars = ##f
3787 \context Staff \relative c'' {
3798 "fourth " "fourth " "fifth " "fifth "
3799 "sixth " "sixth " "sixth " "sixth"
3804 @lilypond[fragment,notime,line-width=13.0\cm]
3805 \set Score.automaticBars = ##f
3807 \context Staff \relative c'' {
3808 < gis f'! >1^"dimin"
3817 \context Lyrics \lyrics {
3818 "seventh " "seventh " "seventh " "octave "
3819 "ninth " "ninth " "tenth " "tenth"
3825 @node inverted interval
3826 @section inverted interval
3828 ES: intervalo invertido,
3829 I: intervallo rivolto,
3830 F: intervalle reversé,
3831 D: umgekehrtes Intervall,
3832 NL: interval inversie,
3833 DK: omvendingsinterval,
3834 S: intervallets omvändning,
3835 FI: käänteisintervalli.
3837 The difference between an interval and an octave.
3839 @lilypond[fragment,notime,line-width=13.0\cm]
3840 \set Score.automaticBars = ##f
3841 %\override Score.TextScript #'font-style = #'large
3842 \context Staff \relative c'' {
3843 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3844 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3845 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3850 @node just intonation
3851 @section just intonation
3853 ES: entonación justa,
3854 I: intonazione giusta,
3855 F: intonation juste,
3862 Tuning system in which the notes are obtained by adding and subtracting
3863 natural fifths and thirds.
3880 According to the 12@w{ }tones of the @ref{chromatic scale}
3881 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3885 @ref{key signature}.
3889 @section key signature
3891 ES: armadura (de la clave),
3892 I: armatura di chiave,
3893 F: armure, armature [de la clé],
3894 D: Vorzeichen, Tonart,
3895 NL: toon@-soort (voortekens),
3898 FI: sävellajiosoitus.
3900 The sharps or flats appearing at the beginning of each staff indicating the
3906 @node laissez vibrer
3907 @section laissez vibrer
3918 [From French] "Let vibrate". Most frequently associated with harp
3919 parts. Marked @samp{l.v.} in the score.
3928 D: Largo, Langsam, Breit,
3932 FI: largo, hitaasti, leveästi.
3934 Very slow in tempo, usually combined with great
3935 expressiveness. @emph{Larghetto} is less slow than largo.
3939 @section leading note
3950 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
3951 called because of its strong tendency to @q{lead up} (resolve upwards)
3952 to the tonic scale degree.
3956 @section ledger line
3958 ES: línea adicional,
3959 I: tagli addizionali,
3960 F: ligne supplémentaire,
3967 A ledger line is an extension of the staff.
3969 @lilypond[fragment,notime,ragged-right]
3970 \set Score.automaticBars = ##f
3971 \relative c'' { a,1 s c'' }
3981 D: legato, gebunden,
3987 To be performed (a) without any perceptible interruption between the
3988 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
3989 @emph{portato}, and (d) @ref{staccato}.
3991 @lilypond[fragment,notime,line-width=13.0\cm]
3992 \set Score.automaticBars = ##f
3994 \context Staff \relative c'' {
3995 c4-( d e-) \bar "||"
3996 c4-- d-- e-- \bar "||"
3997 c4-.-( d-. e-.-) \bar "||"
3998 c4-. d-. e-. \bar "||"
4011 @section legato curve
4015 @ref{slur}, @ref{legato}.
4030 ES: estanque de nenúfares,
4031 I: stagno del giglio,
4032 F: étang de nénuphars, étang de nymphéas,
4034 NL: le@-lie@-vij@-ver,
4039 A pond with lilies floating in it, also the name of a music typesetter.
4054 A ligature is a coherent graphical symbol that represents at least two
4055 distinct notes. Ligatures originally appeared in the manuscripts of
4056 Gregorian chant notation roughly since the 9th century to denote
4057 ascending or descending sequences of notes. In early notation,
4058 ligatures were used for monophonic tunes (Gregorian chant) and very
4059 soon denoted also the way of performance in the sense of articulation.
4060 With the invention of the metric system of the white mensural
4061 notation, the need for ligatures to denote such patterns disappeared.
4070 D: Linie, Notenlinie,
4074 FI: viiva, nuottiviiva.
4093 [From Italian, @q{place}]. Instruction to play the following passage at the
4094 written pitch. Cancels octavation (q.v.).
4101 @node long appoggiatura
4102 @section long appoggiatura
4104 ES: apoyatura larga,
4105 I: appoggiatura lunga,
4106 F: appoggiature longue,
4111 FI: pitkä appoggiatura, pitkä etuhele.
4130 Note value: double length of @ref{breve}.
4132 @lilypond[fragment,notime,ragged-right]
4133 \set Score.automaticBars = ##f
4135 \override NoteHead #'style = #'mensural
4148 ES: letra (de la canción),
4151 D: Liedtext, Gesangtext,
4170 @c TODO: add languages
4177 @node major interval
4178 @section major interval
4180 ES: intervalo mayor,
4181 I: intervallo maggiore,
4182 F: intervalle majeur,
4183 D: großes Intervall,
4187 FI: suuri intervalli.
4208 @ref{diatonic scale}.
4211 @node meantone temperament
4212 @section meantone temperament
4214 ES: afinación mesotónica,
4215 I: accordatura mesotonica,
4216 F: tempérament mésotonique,
4217 D: mitteltönige Stimmung,
4218 NL: middenstemming, middentoonstemming,
4219 DK: middeltonetemperatur,
4220 S: medeltonstemperatur,
4221 FI: keskisävelviritys.
4223 Temperament yielding acoustically pure thirds by decreasing the
4224 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4225 character of this @ref{temperament} only a limited set of keys are
4226 playable. Used for tuning keyboard instruments for performance of
4242 A group of @ref{beat}s (units of musical time) the first of which
4243 bears an accent. Such groups in numbers of two or more recur
4244 consistently throughout the composition and are marked from each other
4254 I: mediante, modale,
4264 @item The third @b{scale degree}.
4266 @item A @ref{chord} having its base tone a third from that of another
4267 chord. For example, the tonic chord may be replaced by its lower
4268 mediant (variant tonic).
4273 @ref{functional harmony}, @ref{relative key}.
4286 FI: melisma, laulettavan tavun sävelkuvio.
4288 A melisma (plural, from Greek: melismata) is a group of notes or tones
4289 sung on one syllable, especially as applied to liturgical chant.
4293 @section melisma line
4295 @c TODO: add languages
4308 @ref{extender line}.
4311 @node melodic cadence
4312 @section melodic cadence
4319 @node mensural notation
4320 @section mensural notation
4322 @c TODO: add languages
4333 @c TODO: add definition (inc. info on proportional notation)
4335 @c TODO: add cross-references.
4343 F: indication de mesure, mesure,
4350 The basic pattern of @ref{note value}s and @ref{accent}s that remains
4351 unaltered throughout a composition or a section of it. Meters can be
4352 @emph{duple} or @emph{triple} depending on how the beat is grouped in
4353 the composition (or in sections thereof):
4357 @item In duple meters, the beat recurs in groups of two.
4359 @item In triple meters, the beat recurs in groups of three.
4363 Other recurrence patterns are possible:
4367 @item Quadruple meter: groups of four. A special case of duple meter.
4369 @item Quintuple meter: groups of five
4371 @item Sextuple meter: groups of six. A special case of:
4374 @item Duple meter, subdivided in three (less frequent); or
4375 @item Triple meter, subdivided in two (more frequent).
4378 @item Septuple meter: groups of seven.
4384 Other than quadruple and sextuple meters, these other recurrence
4385 patterns were not frequently used prior to the 20th Century.
4387 In addition to classification by primary beat grouping, meters can be further
4388 classified by how the primary beat is subdivided: if in two, the meter is
4389 @emph{simple}; if in three, the meter is @emph{compound}.
4396 @item duple: 2/2, 2/4, 2/8
4397 @item triple: 3/2, 3/4, 3/8
4398 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4401 @item Compound meter
4406 @item quadruple: 12/8
4411 Time signatures are placed at the beginning of a composition (or
4412 section) to indicate the meter. For instance, a piece written in
4413 simple triple meter with a beat on each quarter note has a time
4418 @lilypond[fragment,line-width=13.0\cm]
4422 c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
4425 Simple triple meter:
4427 @lilypond[fragment,line-width=13.0\cm]
4431 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4434 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4436 @lilypond[fragment,line-width=13.0\cm]
4440 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4443 Simple quintuple meter (B. Marcello, 1686-1739):
4445 @lilypond[fragment,line-width=13.0\cm]
4449 r4 cis8 bis ais4 dis c8 ais |
4450 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4453 Compound duple meter (unknown):
4455 @lilypond[fragment,line-width=13.0\cm]
4459 f8 f g a bes16 a g f |
4460 g8 g bes a c16 a bes g
4464 Compound triple meter (J.S. Bach, 1685-1750):
4466 @lilypond[fragment,line-width=13.0\cm]
4470 r8 g( a) b( d c) c( e d) |
4471 d( c fis) g( d b) g( a b)
4475 Compound quadruple meter (P. Yon, 1886-1943):
4477 @lilypond[fragment,line-width=13.0\cm]
4481 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4482 e4 e8 fis( gis) a b4.~ b4 b8
4488 @ref{hemiola}, @ref{time signature}
4503 Device indicating the exact tempo of a piece.
4505 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4506 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4507 divisions, and patented it as a "metronome". The inevitable lawsuit that
4508 followed acknowledged Winkler as the creator, but by then Mälzel had already
4509 sold many of them, and people had taken to calling it a Mälzel Metronome.
4513 @ref{metronome mark}.
4516 @node metronomic indication
4517 @section metronomic indication
4521 @ref{metronome mark}
4524 @node metronome mark
4525 @section metronome mark
4527 ES: indicación metronómica,
4528 I: indicazione metronomica,
4529 F: indication métronomique,
4531 NL: metronoom aanduiding,
4533 S: metronomangivelse,
4534 FI: metronomiosoitus.
4536 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4537 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4546 @section mezzo-soprano
4557 The female voice between @ref{soprano} and @ref{contralto}.
4566 D: eingestrichenes@w{ }c,
4568 DK: enstreget@w{ }c,
4569 S: ettstruket@w{ }c,
4572 First C below the 440 Hz A.
4574 @lilypond[fragment,notime,ragged-right]
4575 \set Score.automaticBars = ##f
4576 \override Staff.Clef #'full-size-change = ##t
4599 @ref{diatonic scale}.
4602 @node minor interval
4603 @section minor interval
4605 ES: intervalo menor,
4606 I: intervallo minore,
4607 F: intervalle mineur,
4608 D: kleines Intervall,
4612 FI: pieni intervalli.
4625 D: Kirchentonart, Modus,
4629 FI: moodi, kirkkosävelasteikko.
4633 @ref{church mode}, @ref{diatonic scale}.
4646 FI: modulaatio, sävellajin vaihdos.
4648 Moving from one @ref{key} to another. For example, the second subject
4649 of a @ref{sonata form} movement modulates to the dominant key if the
4650 key is major and to the @ref{relative key} if the key is minor.
4662 FI: mordent, korukuvio.
4687 FI: teema, sävelaihe.
4689 The briefest intelligible and self-contained fragment of a musical
4692 @lilypond[line-width=13.0\cm]
4695 \set Score.implicitTimeSignatureVisibility = #all-invisible
4696 \override Score.TimeSignature #'break-visibility = #all-invisible
4699 \partial 8 g16\startGroup fis |
4700 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4701 g8 g,16 a b8 cis d16 s
4705 \Staff \consists "Horizontal_bracket_engraver"
4723 Greater musical works like @ref{symphony} and @ref{sonata} most often
4724 consist of several -- more or less -- independant pieces called
4728 @node multi-measure rest
4729 @section multi-measure rest
4731 ES: compases de espera,
4735 D: mehrtaktige Pause, Kirchenpause,
4738 FI: usean tahdin mittainen tauko.
4740 Multi-measure rests are conventionally typeset with a combination of
4741 longa, breve and whole rests for shorter and a long horizontal bar for
4742 longer spans of rest, with a number above to indicate the duration (in
4743 measures) of the rest. The former style is called @q{Kirchenpausen} in
4744 German, as a reminiscence of its use in Renaissance vocal polyphony.
4746 @lilypond[fragment,ragged-right]
4749 \set Score.skipBars = ##t R1*3
4751 \set Score.skipBars = ##t R1*122
4758 @ref{longa}, @ref{breve}.
4761 @node mixolydian mode
4762 @section mixolydian mode
4766 @ref{diatonic scale}.
4775 D: Auflösungszeichen,
4776 NL: herstellingsteken,
4777 DK: op@-løsningstegn,
4778 S: återställningstecken,
4786 @node neighbour tones
4787 @section neighbour tones
4791 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4832 Notes are signs by means of which music is fixed in writing. The term is also
4833 used for the sound indicated by a note, and even for the key of the piano
4834 which produces the sound. However, a clear distinction between the terms tone
4835 and @ref{note} is strongly recommended. Briefly, one sees a note,
4843 I: testa, testina, capocchia,
4851 A head-like sign which indicates pitch by its position on a
4852 @ref{staff} provided with a @ref{clef}, and duration
4853 by a variety of shapes such as hollow or black heads with or without
4854 @ref{stem}s, @ref{flag}s, etc. For percussion
4855 instruments (often having no defined pitch) the note head may indicate the
4870 ES: valor (duración),
4872 F: durée, valeur (d'une note),
4877 FI: nuotin aika-arvo.
4879 Note values (durations) are measured as fractions, normally 1/2, of
4880 the next higher note value. The longest duration normally used is
4881 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4882 double-length note value @emph{longa} or the quadruple-length note
4883 value @emph{maxima} are used.
4885 @c TODO -- add maxima to this example, in a way that doesn't break it.
4887 @lilypond[fragment,notime,line-width=13.0\cm]
4888 %\override Score.TextScript #'font-style = #'large
4889 \set Score.automaticBars = ##f
4891 \override NoteHead #'style = #'mensural
4892 a\longa_"longa" a\breve_"breve"
4893 \revert NoteHead #'style
4894 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4895 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4898 @c TODO -- add maxima rest to this example
4900 @lilypond[fragment,notime,line-width=13.0\cm]
4901 %\override Score.TextScript #'font-style = #'large
4902 \set Score.automaticBars = ##f
4904 r\longa_"longa" r\breve_"breve"
4905 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4906 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4909 An augmentation dot after a note multiplies the duration by one and a
4910 half. Another dot adds yet a fourth of the duration.
4912 @lilypond[fragment,line-width=13.0\cm]
4913 %\override Score.TextScript #'font-style = #'large
4916 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4917 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4920 Alternatively note values may be subdivided by other ratios. Most common is
4921 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4922 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4923 dotted notes are also frequently used.
4925 @lilypond[fragment,line-width=13.0\cm]
4926 %\override Score.TextScript #'font-style = #'large
4929 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4930 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4934 @lilypond[fragment,line-width=13.0\cm]
4937 \times 3/2 {g4_"duplets" g} |
4939 \times 6/4 {g8_"quadruplets" g g g} |
4940 g8 g g g g4 \bar "||"
4957 The use of a phrase or abbreviation with an extender line or bracket to indicate
4958 that a passage is to be played in a different octave:
4962 @item @samp{15ma}: play two octaves higher
4963 @item @samp{8va}: play one octave higher
4964 @item @samp{8vb}: play one octave lower
4965 @item @samp{8va} written below the passage: same as @samp{8vb}
4966 @item @samp{15vb}: play two octaves lower
4967 @item @samp{15va} written below the passage: same as @samp{15vb}
4971 Another practice, which may be useful for longer passages, is to indicate the
4972 different octave with a phrase at the beginning (see below). When the music
4973 returns to the written pitch, the octavation is cancelled with the word
4976 To parallel the list above:
4980 @item @samp{15ma}: @emph{alla quindicesima (alta)}
4981 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
4982 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
4983 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
4987 @emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
4991 @ref{interval}, @ref{loco}, @ref{octave}.
4995 @section octave sign
5006 Putting 8 or 15 above or below the clef to indicate that the entire part is
5007 played in the indicated octave: a clef-wide octavation. An octave sign can be
5008 applied to any clef, though it is most frequently used with the G and F clefs.
5012 @ref{G clef}, @ref{F clef}.
5027 The interval of an octave, sometimes abbreviated @samp{8ve}.
5029 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5030 bracket, or @samp{loco} see octavation.
5034 @ref{interval}, @ref{octavation}.
5041 I: abbellimento, fioriture,
5042 F: agrément, ornement,
5043 D: Verzierung, Ornament,
5049 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5050 with the diatonic @ref{second} above it. In the music from the
5051 middle of the 19th century and onwards the trill is performed with the main
5052 note first while in the music from the preceding baroque and classic periods
5053 the upper note is played first.
5055 @lilypond[fragment,line-width=13.0\cm]
5057 \context Staff = sa {
5058 % \override Score.TextScript #'font-style = #'large
5060 c2._"pre-1850" b4\trill | c1 \bar "||"
5061 c2._"post-1850" b4\trill | c1 \bar "||"
5065 c2. c32 b c b c b c b | c1
5066 c2. b32 c b c \times 4/5 { b c b c b } | c1
5071 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5073 @emph{prall} (inverted mordent).
5075 @lilypond[fragment,line-width=13.0\cm]
5077 \context Staff = sa {
5078 % \override Score.TextScript #'font-style = #'large
5080 a4_"turn" b\turn c2 \bar "||"
5081 g4_"mordent" a b\mordent a \bar "||"
5082 e'4_"prall" d\prall c2 \bar "||"
5088 e'4 e32[ d e d ~ d8] c2
5095 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5108 FI: ossia, vaihtoehtoinen esitystapa.
5110 Ossia (otherwise) marks an alternative. It is an added staff or piano
5111 score, usually only a few measures long, which presents another version
5112 of the music, for example for small hands.
5125 FI: stemma, instrumenttiosuus.
5129 @item In instrumental or choral music, the music for a single
5130 instrument or voice.
5132 @item in contrapuntal music, a single melodic line in the contrapuntal
5164 D: Schlagzeug, Schlagwerk,
5170 A family of musical instruments which are played on by striking or
5171 shaking. Percussion instruments commonly used in a symphony orchestra are
5172 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5173 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5177 @node perfect interval
5178 @section perfect interval
5180 ES: intervalo justo,
5181 I: intervallo giusto,
5182 F: intervalle juste,
5183 D: reines Intervall,
5187 FI: puhdas intervalli.
5206 A natural division of the melodic line, comparable to a sentence of speech.
5219 FI: fraseeraus, jäsentäminen.
5221 The clear rendering in musical performance of the @ref{phrase}s of
5222 the melody. Phrasing may be indicated by a @ref{slur}.
5230 F: anacrouse, levée,
5254 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5255 @emph{mezzo piano} (@b{mp}) medium soft.
5278 NL: pizzicato, getokkeld,
5281 FI: pizzicato, näppäillen.
5283 Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
5284 stringed instruments.)
5299 The simultaneous use of two or more meters. The term is sometimes
5300 applied to the @emph{successive} use of different meters in one or
5305 @ref{polymetric} (adj.)
5320 Using two or more metric frameworks simultaneously or in regular
5325 @ref{polymeter} (noun)
5328 @node polymetric time signature
5329 @section polymetric time signature
5340 Time signature indicating regularly alternating polymetric time.
5353 D: Polyphonie, Mehrstimmigkeit,
5357 FI: polyfonia, moniäänisyys.
5359 Music written in a combination of several simultaneous voices (parts)
5360 of a more or less pronounced individuality.
5379 D: Presto, Sehr schnell,
5380 NL: presto, Sehr schnell,
5383 FI: presto, hyvin nopeasti.
5385 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5386 denotes the highest possible degree of speed.
5401 [From Latin @emph{proportio}] In mensural notation, a ratio that
5402 expresses the relationship between the note values that follow with
5403 those that precede; or between the note values of a passage and an
5404 assumed @q{normal} relationship of note values to the metrical pulse.
5406 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5410 @ref{mensural notation}
5413 @node Pythagorean comma
5414 @section Pythagorean comma
5416 ES: coma pitagórica,
5417 I: comma pitagorico,
5418 F: comma pythagoricien,
5419 D: Pythagoräisches Komma,
5420 NL: komma van Pythagoras,
5421 DK: pythagoræisk komma,
5422 S: pytagoreiskt komma,
5423 FI: pytagorinen komma.
5425 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
5426 but this@w{ }C, obtained by adding 12@w{ }fifths, is
5427 24 @ref{cent}s higher than the@w{ }C obtained by adding
5428 7@w{ }octaves. The difference between those two pitches is called the
5450 @section quarter note
5454 I: semiminima, nera,
5456 D: Viertel, Viertelnote,
5460 FI: neljännesosanuotti.
5468 @section quarter rest
5471 ES: silencio de negra,
5472 I: pausa di semiminima,
5476 DK:@w{ }fjerdedelspause,
5478 FI: neljännesosatauko.
5486 @section quarter tone
5497 An interval equal to half a semitone.
5507 ES: cinquillo, quintillo.
5522 @section rallentando
5527 D: rallentando, langsamer werden,
5531 FI: rallerdando, hidastuen.
5533 Abbreviation "rall.".
5539 @section relative key
5542 I: tonalità relativa,
5543 F: tonalité relative,
5545 NL: paralleltoonsoort,
5546 DK: paralleltoneart,
5548 FI: rinnakkaissävellaji.
5550 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5552 @lilypond[fragment,notime,line-width=13.0\cm]
5553 \set Score.automaticBars = ##f
5554 %\override Score.TextScript #'font-style = #'large
5557 es1_"e flat major" f g as bes c d es
5562 @lilypond[fragment,notime,line-width=13.0\cm]
5563 \set Score.automaticBars = ##f
5564 %\override Score.TextScript #'font-style = #'large
5567 c1_"c minor" d es f g a! b! c \bar "||"
5577 F: barre de reprise,
5580 DK: gen@-ta@-gel@-se,
5584 @lilypond[fragment,line-width=13.0\cm]
5588 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5605 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5606 @c specify the rest's value.
5627 @item Metrical rhythm in which every time value is a multiple or
5628 fraction of a fixed unit of time, called @ref{beat}, and in which the
5629 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5630 The basic scheme of time values is called @ref{meter}.
5632 @item Measured rhythm which lacks regularly recurrent accent. In
5633 modern notation such music appears as a free alternation of different
5636 @item Free rhythm, i.e., the use of temporal values having no common
5637 metrical unit (beat).
5648 D: ritardando, langsamer werden,
5652 FI: ritardando, hidastuen,
5654 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5667 FI: ritenuto, hidastaen.
5669 Immediate reduction of speed.
5682 FI: asteikko, sävelasteikko.
5686 @ref{diatonic scale}.
5690 @section scale degree
5692 ES: grado (de la escala),
5693 I: grado della scala,
5694 F: degré [de la gamme],
5696 NL: trap [van de toonladder],
5699 FI: sävelaste, asteikon sävel.
5701 Names and symbols used in harmonic analysis to denote tones of the
5702 scale as roots of chords. The most important are degrees I = tonic
5703 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5705 @lilypond[fragment,notime,line-width=13.0\cm]
5706 \set Score.automaticBars = ##f
5708 \context Staff \relative c' {
5712 << { I II III IV V VI VII I }
5720 @ref{functional harmony}.
5728 F: à cordes ravallées,
5735 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5736 tuning of stringed instruments, particularly lutes or violins. Used
5741 @item facilitate pitch combinations that would otherwise be difficult
5744 @item alter the characteristic timbre of the instrument, for example,
5745 to increase brilliance)
5747 @item reinforce certain sonorities or tonalities by making them
5748 available on open strings
5750 @item imitate other instruments
5756 Tunings that could be called @var{scordatura} first appeared early in
5757 the 16th Century and became commonplace in the 17th.
5766 D: Partitur (full score), Klavierauszug (vocal score),
5772 A copy of orchestral, choral, or chamber music showing what each
5773 instrument is to play, each voice to sing, having each part arranged
5774 one underneath the other on different staves @ref{staff}.
5789 The @ref{interval} between two neigbouring tones of a scale. A
5790 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5791 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5792 degrees in question.
5807 The @ref{interval} of a minor second. The (usually) smallest interval
5808 in European composed music. The interval between two neighbouring
5809 tones on the piano keyboard -- including black and white keys -- is a
5810 semitone. An octave may be divided into 12@w{ }semitones.
5811 @ref{interval}, @ref{chromatic scale}.
5813 @lilypond[fragment,notime,line-width=13.0\cm]
5814 \set Score.automaticBars = ##f
5815 \relative c'' { g1 gis s a bes s b! c }
5841 @ref{sextuplet}, @ref{note value}.
5887 @section simple meter
5898 A meter in which the basic beat is subdivided in two: that is, a meter
5899 that does not include triplet subdivision of the beat.
5903 @ref{compound meter}, @ref{meter}.
5906 @node sixteenth note
5907 @section sixteenth note
5913 D: Sechzehntel, Sechzehntelnote,
5914 NL: zes@-ti@-ende noot,
5915 DK: sekstendedelsnode,
5917 FI: kuudestoistaosanuotti.
5924 @node sixteenth rest
5925 @section sixteenth rest
5927 UK: semiquaver rest,
5928 ES: silencio de semicorchea,
5929 I: pausa di semicroma,
5931 D: Sechzehntelpause,
5933 DK: sekstendedelspause,
5959 @node sixty-fourth note
5960 @section sixty-fourth note
5962 UK: hemidemisemiquaver,
5965 F: quadruple croche,
5966 D: Vierundsechzigstel, Vierundsechzigstelnote,
5967 NL: vierenzestigste noot,
5968 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5969 S: sextiofjärdedelsnot,
5970 FI: kuudeskymmenesneljäsosanuotti.
5977 @node sixty-fourth rest
5978 @section sixty-fourth rest
5980 UK: hemidemisemiquaver rest,
5981 ES: silencio de semifusa,
5982 I: pausa di semibiscroma,
5983 F: seizième de soupir,
5984 D: Vierundsechzigstelpause,
5985 NL: vierenzestigste rust,
5986 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5987 S: sextiofjärdedelspaus,
5988 FI: kuudeskymmenesneljäsosatauko.
5998 ES: ligadura (de expresión),
5999 I: legatura (di portamento or espressiva),
6001 D: Bogen (Legatobogen, Phrasierungsbogen),
6002 NL: fraseringsboog, legatoboog, streekboog,
6003 DK: legatobue, fraseringsbue,
6007 A slur above or below a group of notes indicates that they are to be
6008 played @ref{legato}, e.g., with one stroke of the violin bow or with
6009 one breath in singing.
6013 @section solmization
6022 FI: suhteelliset laulunimet.
6024 General term for systems of designating the degrees of the
6025 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6026 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6044 In its present-day meaning a sonata denotes an instrumental
6045 composition for piano or for some other instrument with piano
6046 accompaniment, which consists of three or four independant pieces,
6051 @section sonata form
6055 F: [en] forme de sonate,
6057 NL: hoofdvorm, sonatevorm,
6062 A form used frequently for single movements of the @ref{sonata},
6063 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6064 into three sections called @emph{exposition}, @emph{development} and
6065 @emph{recapitulation}. In the exposition the composer introduces some
6066 musical ideas, consisting of a number of themes; in the development
6067 section the composer @q{develops} this material, and in the
6068 recapitulation the composer repeats the exposition, with certain
6069 modifications. The exposition contains a number of themes that fall
6070 into two groups, often called first and second subject. Other
6071 melodies occurring in each group are considered as continuations of
6072 these two. The second theme is in another key, normally in the key of
6073 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6074 @ref{relative key} if the tonic is @ref{minor}.
6095 FI: sopraano, korkea naisääni.
6097 The highest female voice.
6105 F: staccato, piqué, détaché,
6110 FI: staccato, lyhyesti, terävästi.
6112 Playing the note(s) short. Staccato is indicated by a dot above or
6113 below the note head.
6115 @lilypond[fragment,ragged-right]
6120 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6130 I: pentagramma, rigo (musicale),
6132 D: Notensystem, Notenzeile,
6133 NL: (noten)balk, partij,
6138 A staff (plural: staves) is a series of (normally five) horizontal
6139 lines upon and between which the musical notes are written, thus
6140 indicating (in connection with a @ref{clef}) their pitch. Staves for
6141 @ref{percussion} instruments may have fewer lines.
6158 D: Hals, Notenhals, Stiel,
6164 Vertical line above or below a @ref{note head} shorter than a
6169 @lilypond[fragment,notime,line-width=13.0\cm]
6170 \set Score.autoBeaming = ##f
6171 \set Score.automaticBars = ##f
6172 %\override Score.TextScript #'font-style = #'large
6194 A family of stringed musical instruments played with a bow. Strings
6195 commonly used in a symphony orchestra are violin, viola, violoncello,
6200 @section strong beat
6205 D: betonter Taktteil oder Taktschlag,
6207 D: betonet taktslag,
6208 S: betonat taktslag,
6209 FI: tahdin vahva isku.
6213 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6217 @section subdominant
6226 FI: subdominantti, alidominantti.
6228 The fourth @ref{scale degree}.
6230 @ref{functional harmony}.
6245 The sixth @ref{scale degree}.
6258 FI: subtoonika, alitoonika.
6260 The seventh @ref{scale degree}.
6269 D: auf G, auf der G-Saite,
6275 Indicates that the indicated passage (or note) should be played on the
6280 @section superdominant
6291 The sixth @ref{scale degree}.
6306 The second @ref{scale degree}.
6315 D: Sinfonie, Symphonie,
6321 A symphony may be defined as a @ref{sonata} for orchestra.
6325 @section syncopation
6336 Any deliberate upsetting of the normal pulse of @ref{meter},
6337 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6338 rhythm rests upon the grouping of equal beats into groups of two or
6339 three, with a regularly recurrent accent on the first beat of each
6340 group. Any deviation from this scheme is felt as a disturbance or
6341 contradiction between the underlaying (normal) pulse and the actual
6344 @lilypond[fragment,ragged-right]
6349 e c'4 e,8 c'4 e,8 c' ( | c2)
6354 @node syntonic comma
6355 @section syntonic comma
6358 I: comma sintonico (o didimico),
6359 F: comma syntonique,
6360 D: syntonisches Komma,
6361 NL: syntonische komma,
6362 DK: syntonisk komma,
6363 S: syntoniskt komma,
6364 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6365 Pytagorisessa viritysjärjestelmässä.
6367 Difference between the natural third and the third obtained by
6368 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6377 D: Notensystem, Partitur,
6381 FI: nuottijärjestelmä.
6383 The collection of staves (@ref{staff}), two or more, as used for writing
6384 down of keyboard, chamber, choral, or orchestral music.
6388 @section temperament
6393 D: Stimmung, Tem@-pe@-ra@-tur,
6394 NL: stemming, temperatuur,
6397 FI: viritysjärjestelmä.
6399 Systems of tuning in which the intervals deviate from the acoustically
6402 @ref{meantone temperament}, @ref{equal temperament}.
6405 @node tempo indication
6406 @section tempo indication
6408 ES: indicación de tempo,
6409 I: indicazione di tempo,
6410 F: indication de tempo,
6411 D: Zeitmaß, Tempobezeichnung,
6412 NL: tempo aanduiding,
6417 The rate of speed of a composition or a section thereof, ranging from
6418 the slowest to the quickest, as is indicated by tempo marks as
6419 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6433 FI: tenori, korkea miesääni.
6435 The highest male voice (apart from @ref{counter tenor}).
6458 ES: subrayado (tenuto),
6467 An indication that a particular note should be held for the whole
6468 length, although this can vary depending on the composer and era.
6488 @node thirty-second note
6489 @section thirty-second note
6495 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
6496 NL: twee-endertig@-ste noot,
6497 DK: toogtredivtedelsnode,
6498 S: trettiotvåondelsnot,
6499 FI: kolmanneskymmeneskahdesosanuotti.
6506 @node thirty-second rest
6507 @section thirty-second rest
6509 UK: demisemiquaver rest,
6510 ES: silencio de fusa,
6511 I: pausa di biscroma,
6512 F: huitième de soupir,
6513 D: Zweiunddreissigstel@-pause,
6515 DK: toogtredivtedelspause,
6516 S: trettiotvåondelspaus,
6517 FI: kolmanneskymmeneskahdesosatauko.
6525 @section thorough bass
6528 I: basso continuo, basso numerato,
6529 F: basse chiffrée, basse continue,
6530 D: Generalbass, bezifferter Bass,
6531 NL: basso continuo, becijferde bas
6534 FI: kenraalibasso, numeroitu basso.
6536 A method of indicating an accompaniment part by the bass notes only,
6537 together with figures designating the chief @ref{interval}s and
6538 @ref{chord}s to be played above the bass notes.
6540 @lilypond[fragment,line-width=13.0\cm]
6541 \context GrandStaff <<
6542 \context Staff = lh \relative c'' {
6546 << \context Voice = rha {
6549 \context Voice = rhb {
6551 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6555 \context Staff = rh \relative c' {
6558 es8 c d bes c as bes16 as g f | es4
6560 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6569 ES: ligadura de prolongación,
6570 I: legatura (di valore),
6572 D: Haltebogen, Bindebogen,
6573 NL: overbinding, bindingsboog,
6575 S: bindebåge, överbindning,
6578 A curved line, identical in appearance with the @ref{slur}, which
6579 connects two succesive notes of the same pitch, and which has the
6580 function of uniting them into a single sound (tone) equal to the
6583 @lilypond[fragment,notime,ragged-right]
6584 \set Score.automaticBars = ##f
6585 \relative c'' { g2 ~ g4. }
6597 @node time signature
6598 @section time signature
6600 ES: indicación de compás,
6602 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6603 D: Taktangabe, Angabe der Taktart,
6606 S: taktartssignatur,
6609 The sign placed at the beginning of a composition to indicate its
6610 meter. It most often takes the form of a fraction, but a few signs
6611 derived from mensural notation and proportions are also employed.
6615 @ref{mensural notation}, @ref{meter}.
6630 A sound of definite pitch and duration, as distinct from @emph{noise}.
6631 Tone is a primary building material of music.
6633 Music from the 20th century may be based on atonal sounds.
6648 The first @ref{scale degree}.
6652 @ref{functional harmony}.
6655 @node transposing instrument
6656 @section transposing instrument
6667 Instruments whose notated pitch is different from their sounded pitch. Except
6668 for those whose notated and sounding pitches differ by one or more octaves (to
6669 reduce the number of ledger lines needed), most such instruments are identified
6670 by the letter name of the pitch class of their fundamental. The pitch class is
6671 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6672 the instrument plays a notated C.
6674 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6675 the B-flat one tone lower. If played on the A clarinet, the same written
6676 note sounds the A (one and half tones -- a minor third -- lower).
6678 Not all transposing instruments include the pitch class in their name:
6681 @item English horn (in F)
6682 @item Alto flute (in G)
6687 @ref{concert pitch}.
6691 @section transposition
6702 Shifting a melody up or down in pitch, while keeping the same
6705 @lilypond[fragment,line-width=13.0\cm]
6710 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6715 @lilypond[fragment,line-width=13.0\cm]
6718 \transpose c bes \relative c'' {
6720 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6727 @section treble clef
6730 I: chiave di violino,
6732 D: Violinschlüssel, Sopranschlüssel,
6734 DK:@w{ }diskantnøgle,
6755 On stringed instruments (@ref{strings}) the quick reiteration of the
6756 same tone, produced by a rapid up-and-down movement of the bow (a).
6757 The term is also used for the rapid alternation (b) between two notes
6758 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
6760 @lilypond[fragment,notime,ragged-right]
6761 \set Score.automaticBars = ##f
6762 %\override Score.TextScript #'font-style = #'large
6765 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6766 \repeat tremolo 8 { e32_"b" g }
6776 F: triade, accord parfait, accord de trois sons,
6793 F: trille, tremblement, battement (cadence),
6806 @section triple meter
6808 ES: compás ternario,
6811 D: in drei, ungerader Takt,
6812 NL: driedelige maatsoort,
6857 @section tuning fork
6860 I: diapason, corista,
6868 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6869 forks give the international pitch for the tone @emph{a} (440
6870 vibrations per second).
6876 A non-standard subdivision of a beat or part of a beat, usually
6877 indicated with a bracket and a number indicating the number of
6882 @ref{triplet}, @ref{note value}.
6912 FI: unisono, yksiäänisesti.
6914 Playing of the same notes or the same melody by various instruments
6915 (voices) or by the whole orchestra (choir), either at exactly the same
6916 pitch or in a different octave.
6924 F: anacrouse, levée,
6946 FI: ääni, lauluääni.
6950 @item Human voices: @ref{soprano}, @ref{mezzo-soprano},
6951 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6953 @item A melodic layer or part of a polyphonic composition.
6962 I: tempo debole, arsi,
6964 D: unbetonter Taktteil oder Taktschlag,
6966 DK: ubetonet taktslag,
6967 S: obetonat taktslag,
6968 FI: tahdin heikko isku.
6972 @ref{beat}, @ref{measure}, @ref{rhythm}.
6982 D: Ganze, ganze Note,
6997 ES: silencio de redonda,
6998 I: pausa di semibreve,
7000 D: ganze Pause, ganztaktige Pause,
7023 The @ref{interval} of a major second. The interval between two tones
7024 on the piano keyboard with exactly one key between them -- including
7025 black and white keys -- is a whole tone.
7040 A family of blown wooden musical instruments. Today some of these
7041 instruments are actually made from metal. The woodwind instruments
7042 commonly used in a symphony orchestra are flute, oboe, clarinet,
7043 saxophone, and bassoon.
7046 @node Duration names notes and rests
7047 @chapter Duration names notes and rests
7049 @multitable @columnfractions .07 .23 .23 .23 .24
7051 @headitem @strong{US}
7073 @tab brève / double-pause
7075 @tab blanche / demi-pause
7099 @tab koko@-nuotti/@w{-tauko}
7100 @tab puoli@-nuotti/@w{-tauko}
7104 @multitable @columnfractions .07 .31 .31 .31
7106 @headitem @strong{US}
7124 @tab croche / demi-soupir
7125 @tab double* croche / quart de soupir
7143 @tab neljännesosa@-nuotti/@w{-tauko}
7144 @tab kahdeksasosa@-nuotti/@w{-tauko}
7145 @tab kuudestoistaosa@-nuotti/@w{-tauko}
7149 * About the French naming system: the word @emph{croche} refers to the
7150 note's "hook". Therefore, from the eighth note on, the note names mean
7151 @q{hook}, @q{doubled hook}, @q{trebled hook}, and so on.
7153 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7154 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7155 a @emph{soupir}, and so on.
7157 @multitable @columnfractions .07 .46 .47
7159 @headitem @strong{US}
7164 @tab hemidemisemiquaver
7172 @tab triple croche / huitième de soupir
7173 @tab quadruple croche / seizième de soupir
7175 @tab Zweiunddreissigstel
7176 @tab Vierundsechzigstel
7178 @tab tweeendertigste
7179 @tab vierenzestigste
7181 @tab toogtredivtedel
7182 @tab fireogtred@-sindstyvendedel
7184 @tab trettiotvåondel
7185 @tab sextiofjärdedel
7187 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
7188 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
7192 @multitable @columnfractions .07 .46 .47
7194 @headitem @strong{US} @tab one-hundred-twenty-eighth
7195 @tab two-hundred-fifty-sixth@item @strong{UK}
7196 @tab semihemidemisemiquaver or
7197 quasihemidemisemiquaver @tab demisemihemidemisemiquaver (?)
7202 @tab garrapatea @tab semigarrapatea@item @strong{FR}
7203 @tab quintuple croche / trente-deuxième de soupir @tab sextuple croche / soixante-quatrième de soupir@item @strong{DE}
7204 @tab Hundertundachtundzwanzigstel @tab Zweihundertundsechsundfünfzigstel@item @strong{NL}
7219 * The terms @emph{fusa} and @emph{semifusa}, which derive from mensural notation
7220 (q.v), are used as note durations by the Italians and the Spanish, but for notes
7221 of different durations.
7225 @ref{mensural notation}
7229 @chapter Pitch names
7231 @c -is/-es endings for Danish per Rune Zedeler
7232 @c and for Finnish per Risto Vääräniemi
7233 @c -iss/-ess endings for Swedish per Mats Bengtsson
7234 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7236 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7238 @tab ES @tab I @tab F @tab D
7239 @tab NL @tab DK @tab S @tab FI
7241 @tab do @tab do @tab ut @tab C
7242 @tab c @tab c @tab c @tab c
7243 @item @strong{c-sharp}
7244 @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7245 @tab cis @tab cis @tab ciss @tab cis
7246 @item @strong{d-flat}
7247 @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7248 @tab des @tab des @tab dess @tab des
7250 @tab re @tab re @tab ré @tab D
7251 @tab d @tab d @tab d @tab d
7252 @item @strong{d-sharp}
7253 @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7254 @tab dis @tab dis @tab diss @tab dis
7255 @item @strong{e-flat}
7256 @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7257 @tab es @tab es @tab ess @tab es
7259 @tab mi @tab mi @tab mi @tab E
7260 @tab e @tab e @tab e @tab e
7261 @item @strong{f-flat} = e
7262 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7263 @tab fes @tab fes @tab fess @tab fes
7265 @tab fa @tab fa @tab fa @tab F
7266 @tab f @tab f @tab f @tab f
7267 @item @strong{e-sharp} = f
7268 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7269 @tab eis @tab eis @tab eiss @tab eis
7270 @item @strong{f-sharp}
7271 @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7272 @tab fis @tab fis @tab fiss @tab fis
7273 @item @strong{g-flat}
7274 @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7275 @tab ges @tab ges @tab gess @tab ges
7277 @tab sol @tab sol @tab sol @tab G
7278 @tab g @tab g @tab g @tab g
7279 @item @strong{g-sharp}
7280 @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7281 @tab gis @tab gis @tab giss @tab gis
7282 @item @strong{a-flat}
7283 @tab la bemol @tab la bemolle @tab la bémol @tab As
7284 @tab as @tab as @tab ass @tab as
7286 @tab la @tab la @tab la @tab A
7287 @tab a @tab a @tab a @tab a
7288 @item @strong{a-sharp}
7289 @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7290 @tab ais @tab ais @tab aiss @tab ais
7291 @item @strong{b-flat}
7292 @tab si bemol @tab si bemolle @tab si bémol @tab B
7293 @tab bes @tab b @tab b @tab b
7295 @tab si @tab si @tab si @tab H
7296 @tab b @tab h @tab h @tab h
7304 @node Literature used
7305 @unnumberedsec Literature used
7308 @item The Harvard Dictionary of Music, London 1944. Many
7309 more or less literal quotes from its articles have been included into
7310 the item explanation texts.
7312 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7314 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7317 @item Oxford Advanced Learner's Dictionary of Current English, Third
7320 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7322 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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