1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
19 @author Christian Mondrup @c Original author of LilyPond glossary
21 @author François Pinard @c Original glossary of GNU music project,
23 @author Mats Bengtsson @c Swedish glossary
24 @author David González @c Spanish glossary
25 @author Bjoern Jacke @c German glossary
26 @author Neil Jerram @c English glossary translations
27 @author Heikki Junes @c Finnish glossary
28 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
29 @author Adrian Mariano @c Italian glossary
30 @author Han-Wen Nienhuys @c Dutch glossary
31 @author Jan Nieuwenhuizen @c Dutch glossary
33 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
34 @c Updates to the German translation by Till Rettig, 12/07
36 Copyright @copyright{} 1999--2009 by the authors
38 Permission is granted to copy, distribute and/or modify this document
39 under the terms of the GNU Free Documentation License, Version 1.1
40 or any later version published by the Free Software Foundation,
41 without Invariant Sections.
46 @c TODO: multiple omfcreators?
48 @omfcreator Christian Mondrup, Kurt Kroon
49 @omfdescription Glossary of musical terms with translations
51 @omfcategory Applications|Publishing
65 This document is also available as a
66 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as
67 @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
70 This document is also available as a
71 @uref{source/Documentation/user/music-glossary.pdf,PDF} and as a
72 @uref{source/Documentation/user/music-glossary/index.html,HTML indexed multiple pages}.
76 This glossary was brought you by:
80 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
81 @item @b{François Pinard}: Original glossary of GNU music project, French,
83 @item @b{Han-Wen Nienhuys}: Dutch,
84 @item @b{Jan Nieuwenhuizen}: Dutch,
86 @item @b{Neil Jerram}: English,
87 @item @b{Kurtis Kroon}: English,
89 @item @b{Heikki Junes}: Finnish,
91 @item @b{Bjoern Jacke}: German,
93 @item @b{Adrian Mariano}: Italian,
95 @item @b{David González}: Spanish,
97 @item @b{Mats Bengtsson}: Swedish,
101 with additional contributions: thanks to all who have contributed.
105 The list is rather long ...
111 @item Rune Zedeler, @emph{pace}
124 @item Andrew Hawryluk
126 @item Kieren MacMillan
127 @item Patrick McCarty
129 @item Carl D. Sorensen
135 @item Risto Vääräniemi
141 @item Reinhold Kainhofer
144 @item Thomas Scharkowski
159 @item Simon Dahlbacka
166 Copyright 1999--2009 by the authors
168 Permission is granted to copy, distribute and/or modify this document
169 under the terms of the GNU Free Documentation License, Version 1.1
170 or any later version published by the Free Software Foundation,
171 without Invariant Sections.
177 @c @everyheading @| @thispage @|
178 @c @evenheading @thispage @| @|
179 @c @oddheading @| @| @thispage @|
181 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
182 For more information about how this fits with the other
183 documentation, see @rlearning{About the documentation}.
189 @w{@expansion{}@strong{\word\}}@c
192 @expansion{}@ref{\word\, @strong{\word\}}@c
197 * Musical terms A-Z::
198 * Duration names notes and rests::
203 @node Musical terms A-Z
204 @chapter Musical terms A-Z
206 Languages in this order.
208 @item UK - British English (where it differs from American English)
237 * ancient minor scale::
242 * ascending interval::
244 * augmented interval::
281 * compound interval::
285 * conjunct movement::
300 * descending interval::
303 * diminished interval::
307 * disjunct movement::
309 * dissonant interval::
313 * dominant ninth chord::
314 * dominant seventh chord::
316 * dot (augmentation dot)::
318 * double appoggiatura::
320 * double dotted note::
323 * double time signature::
330 * ecclesiastical mode::
337 * equal temperament::
358 * functional harmony::
378 * inverted interval::
393 * long appoggiatura::
400 * meantone temperament::
407 * mensural notation::
412 * metronomic indication::
425 * multi-measure rest::
455 * polymetric time signature::
460 * Pythagorean comma::
491 * sixty-fourth note::
492 * sixty-fourth rest::
523 * thirty-second note::
524 * thirty-second rest::
531 * transposing instrument::
585 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores, @notation{a
590 @item A single part notated on a single staff that normally carries parts for
591 two players (e.g. first and second oboes) is to be played by both players.
593 @item Or conversely, that two pitches or parts notated on a staff that normally
594 carries a single part (e.g. first violin) are to be played by different players,
595 or groups of players (@q{desks}).
608 F: accelerando, en accélérant,
609 D: accelerando, schneller werden,
613 FI: accelerando, kiihdyttäen.
615 [Italian: @q{speed up, accelerate}]
633 FI: aksentti, korostus.
635 The stress of one tone over others.
649 @section acciaccatura
660 A grace note which takes its time from the rest or note preceding the
661 principal note to which it is attached. The acciaccatura is drawn as a
662 small eighth note (quaver) with a line drawn through the flag and
666 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
672 ES: alteración accidental,
674 F: altération accidentelle,
675 D: Versetzungszeichen, Akzidenz,
676 NL: toevallig (verplaatsings)teken,
678 S: tillfälligt förtecken,
679 FI: tilapäinen etumerkki.
681 An accidental alters a note by:
685 @item Raising its pitch:
687 @item By two semitones (a whole tone)—@notation{double sharp}
688 @item By one semitone—@notation{sharp}
691 @item Lowering its pitch:
693 @item By one semitone—@notation{flat}
694 @item By two semitones (a whole tone)—@notation{double flat}
697 @item Or canceling the effects of the key signature or previous accidentals.
700 @lilypond[quote,notime]
704 \set Staff.extraNatural = ##f
705 gisis1 gis g! ges geses
710 \center-column { double sharp }
716 \center-column { double flat }
722 \override SpacingSpanner
723 #'base-shortest-duration = #(ly:make-moment 1 32)
730 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
743 FI: adagio, hitaasti.
745 [Italian: @q{comfortable, easy}]
749 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
750 and faster than @notation{largo}.
752 @item A movement in slow tempo, especially the second (slow) movement
753 of sonatas, symphonies, etc.
758 @ref{andante}, @ref{largo}, @ref{sonata}.
771 FI: häviten olemattomiin.
773 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
774 that the sound should fade away to nothing.
776 @notation{Al niente} is indicated by circling the tip of the hairpin:
778 @lilypond[quote,relative=2]
779 \override Hairpin #'circled-tip = ##t
785 or with the actual phrase @notation{al niente}:
787 @lilypond[quote,relative=2]
789 \override DynamicTextSpanner #'(bound-details right text) =
790 \markup { \italic { al niente } }
796 Since one does not crescendo @emph{to} nothing, it is not correct to use
797 @notation{al niente} with @notation{crescendo}. Instead, one should use
798 @emph{dal niente} (@notation{@b{from} nothing}).
801 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
816 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
818 Also called @notation{in cut-time}. The name derives from mensural notation,
819 where the @notation{tactus} (or beat) is counted on the semibreve (the modern
820 whole note). Counting @q{on the breve} shifts the tactus to the next longest
821 note value, which (in modern usage) effectively halves all note values.
823 (In mensural notation, breves and semibreves can have a ternary relationship, in
824 which case @notation{alla breve} means thrice (not twice) as fast. In practice,
825 this complication may not have mattered, since Gaffurius's system of multiplex
826 proportions makes it easy to explicitly state which proportion is needed.)
829 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
830 @ref{proportion}, @ref{whole note}.
839 D: Allegro, Schnell, Fröhlich, Lustig,
843 FI: allegro, nopeasti.
845 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
846 quick tempo, especially the first and last movements of a sonata.
859 NL: verhoging of verlaging,
864 An alteration is the modification, raising or lowering, of a note's
865 pitch. It is established by an accidental.
867 @c TODO: add second meaning from mensural notation
883 FI: altto, matala naisääni.
885 A female voice of low range (@emph{contralto}). Originally the alto
886 was a high male voice (hence the name), which by the use of falsetto
887 reached the height of the female voice. This type of voice is also
888 known as countertenor.
897 ES: clave de do en tercera,
898 I: chiave di contralto,
899 F: clef d'ut troisième ligne,
900 D: Altschlüssel, Bratschenschlüssel,
906 C clef setting middle C on the middle line of the staff.
922 FI: ambitus, ääniala, soitinala.
924 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
925 Denotes a range of pitches for a given voice in a part of music. It may
926 also denote the pitch range that a musical instrument is capable of playing.
927 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
945 An anacrusis (also known as pickup or upbeat) is an incomplete measure
946 of music before a section of music. It also refers to the initial
947 note(s) of a melody occurring in that incomplete measure.
949 @lilypond[quote,relative=1]
960 @ref{measure}, @ref{meter}.
963 @node ancient minor scale
964 @section ancient minor scale
966 ES: escala menor natural,
967 I: scala minore naturale,
968 F: forme du mode mineur ancien, troisème mode, mode hellénique,
969 D: reines Moll, natürliches Moll,
970 NL: authentieke mineurtoonladder,
973 FI: luonnollinen molliasteikko.
975 Also called @q{natural minor scale}.
977 @lilypond[quote,notime,relative=2]
983 @ref{diatonic scale}.
998 [Italian: present participle of @emph{andare}, @q{to walk}]
1000 Walking tempo/character.
1003 No cross-references.
1007 @section appoggiatura
1011 F: appoggiature, (port de voix),
1012 D: Vorschlag, Vorhalt
1016 FI: appoggiatura, etuhele.
1018 Ornamental note, usually a second, that is melodically connected with
1019 the main note following it. In music before the 19th century
1020 appoggiature were usually performed on the beat, after that mostly
1021 before the beat. While the short appoggiatura is performed as a short
1022 note regardless of the duration of the main note the duration of the
1023 long appoggiatura is proportional to that of the main note.
1025 @lilypond[quote,relative=2]
1028 <d a fis>4_"notation" r
1035 \set Score.measurePosition = #ZERO-MOMENT
1036 <d, a fis>4_"performance" r
1042 An appoggiatura may have more notes preceding the main note.
1044 @lilypond[quote,relative=2]
1047 \grace bes16 as8-"notation" as16 bes as8 g |
1048 \grace { as16[( bes] } <c as>4)
1049 \grace { as16[( bes] } <c as>4) \bar "||"
1051 \grace bes16 as8-"performance" as16 bes as8 g |
1055 as32 bes c8. as32 bes c8.
1059 as16 ~ as8. as16 ~ as8.
1065 No cross-references.
1074 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1075 NL: gebroken akoord,
1076 DK: arpeggio, akkordbrydning,
1078 FI: arpeggio, murtosointu.
1080 [Italian: @q{harp-like, played like a harp}]
1082 @lilypond[quote,line-width=13\cm]
1084 \context Staff = "SA" {
1088 r8 g16 c e g, c e r8 g,16 c e g, c e
1089 r8 a,16 d f a, d f r8 a,16 d f a, d f
1093 \context Staff = "SB" {
1099 r16 e8. ( e4) r16 e8. ( e4)
1100 r16 d8. ( d4) r16 d8. ( d4)
1114 No cross-references.
1118 @section articulation
1127 FI: artikulaatio, ilmaisu.
1129 Articulation refers to notation which indicates how a note or notes
1130 should be played. Slurs, accents, staccato, and legato are all
1131 examples of articulation.
1134 No cross-references.
1137 @node ascending interval
1138 @section ascending interval
1140 ES: intervalo ascendente,
1141 I: intervallo ascendente,
1142 F: intervalle ascendant,
1143 D: steigendes Intervall,
1144 NL: stijgend interval,
1145 DK: stigende interval,
1146 S: stigande intervall,
1147 FI: nouseva intervalli.
1149 A distance between a starting lower note and a higher ending note.
1152 No cross-references.
1155 @node augmented interval
1156 @section augmented interval
1158 ES: intervalo aumentado,
1159 I: intervallo aumentato,
1160 F: intervalle augmenté,
1161 D: übermäßiges Intervall,
1162 NL: overmatig interval,
1163 DK: forstørret interval,
1164 S: överstigande intervall,
1165 FI: ylinouseva intervalli.
1172 @section augmentation
1181 FI: aika-arvojen pidentäminen.
1183 @c TODO: add definition.
1185 This is a placeholder for augmentation (wrt mensural notation).
1188 @ref{diminution}, @ref{mensural notation}.
1196 F: manuscrit, autographe
1197 D: Autograph, Handschrift,
1199 DK: håndskrift, autograf,
1201 FI: käsinkirjoitettu nuotti.
1205 @item A manuscript written in the composer's own hand.
1207 @item Music prepared for photoreproduction by freehand drawing, with
1208 the aid of a straightedge ruler and T-square only, which attempts to
1209 emulate engraving. This required more skill than did engraving.
1214 No cross-references.
1232 @ref{H}, @ref{Pitch names}
1252 ES: barra, línea divisoria,
1253 I: stanghetta, barra (di divisione),
1254 F: barre (de mesure),
1261 A vertical line through the staff (or through multiple staves) that
1262 separates measures. Used very infrequently during the Renaissance (mostly
1263 in secular music, or in sacred music to indicate congruences between parts
1264 in otherwise-unmetered music).
1280 FI: baritoni, keskikorkuinen miesääni.
1282 The male voice intermediate in pitch between the bass and the tenor.
1284 @c F: clef de troisième ligne dropped
1287 @ref{bass}, @ref{tenor}.
1291 @section baritone clef
1293 ES: clave de fa en tercera,
1294 I: chiave di baritono,
1295 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1296 D: Baritonschlüssel,
1302 C or F clef setting middle C on the upper staff line.
1305 @ref{C clef}, @ref{F clef}.
1318 FI: basso, matala miesääni.
1322 @item The lowest male voice.
1324 @item Sometimes, especially in jazz music, used as an abbreviation for
1336 ES: clave de fa en cuarta,
1338 F: clef de fa quatrième ligne,
1345 A clef setting with middle C on the first top ledger line.
1363 Line connecting a series of notes (shorter than a quarter note). The
1364 number of beams determines the note value of the connected notes.
1366 @lilypond[quote,notime,relative=2,line-width=13\cm]
1367 g8-"1/8"[ g g g] s16
1368 g16-"1/16"[ g g g] s
1369 g32-"1/32"[ s g s g s g] s16
1370 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1374 @ref{feathered beam}.
1380 ES: tiempo, parte (de compás)
1383 D: Takt, Taktschlag, Zeit (im Takt),
1389 Note value used for counting, most often half-, fourth-, and eighth notes.
1390 The base counting value and the number of them in each measure is indicated
1391 at the start of the music by the @notation{time signature}.
1393 @lilypond[quote,relative=2]
1396 g4 c b a | g1 \bar "||"
1398 g8 d' c | b c a | g4. \bar "||"
1402 @ref{time signature}.
1406 @section beat repeat
1409 @ref{percent repeat}.
1422 ES: llave, corchete,
1425 D: Klammer, Akkolade,
1426 NL: accolade, teksthaak,
1429 FI: yhdistävä sulkumerkki.
1431 Symbol at the start of a system connecting staves.
1433 Curly braces are used for connecting piano staves, and sometimes for connecting
1434 the staves of like instruments in an orchestral score when written on different
1435 staves (e.g. first and second flutes):
1439 \context Staff = "SA" {
1445 \context Staff = "SB" {
1455 Angular brackets for connecting parts in an orchestral or choral score:
1459 \context Staff = "SA" {
1465 \context Staff = "SB" {
1476 No cross-references.
1501 NL: koper (blazers),
1504 S: brassinstrument, mässingsinstrument,
1507 A family of blown musical instruments made of brass, all using a cup
1508 formed mouth piece. The brass instruments commonly used in a symphony
1509 orchestra are trumpet, trombone, french horn, and tuba.
1512 No cross-references.
1516 @section breath mark
1521 D: Atemzeichen, Trennungszeichen,
1522 NL: repercussieteken,
1523 DK: vejrtrækningstegn,
1527 Indication of where to breathe in vocal and wind instrument parts.
1537 @item US: breve, double-whole note
1538 @item ES: cuadrada, breve
1545 @item FI: brevis, kaksoiskokonuotti
1548 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1550 Mainly used in music from before 1650. In mensural notation, it was a note
1551 of fairly short duration—hence the name, which is Latin for @q{short} or
1552 @q{of short duration}.
1554 @lilypond[quote,notime,relative=2]
1559 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1592 Clef symbol indicating the position of the middle C. Used on all note
1595 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1597 \override Staff.Clef #'full-size-change = ##t
1599 \clef mezzosoprano c1
1605 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1606 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1611 No cross-references.
1624 FI: kadenssi, lopuke.
1627 @ref{harmonic cadence}, @ref{functional harmony}.
1640 FI: kadenssi, lopuke.
1642 An extended, improvisatory style section inserted near the end of
1643 movement. The purpose of a cadenza is to give singers or players a
1644 chance to exhibit their technical skill and -- not last -- their
1645 ability to improvise. Since the middle of the 19th century, however,
1646 most cadenzas have been written down by the composer.
1649 No cross-references.
1664 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1666 The break between two musical phrases, sometimes (but not always) marked by a
1667 rest or a breath mark.
1683 FI: kaanon, tarkka jäljittely.
1699 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1700 viritysjärjestelmässä.
1702 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1703 (1/100 of an equally tempered semitone).
1706 @ref{equal temperament}, @ref{semitone}.
1728 Three or more tones sounding simultaneously. In traditional European music
1729 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1730 (major + minor third) as well as @emph{minor} (minor + major third) chords
1731 may be extended with more thirds. Four-tone @emph{seventh chords} and
1732 five-tone @emph{ninth} major chords are most often used as dominants
1733 (functional harmony). Chords having no third above the lower notes to
1734 define their mood are a special case called @q{open chords}. The lack of
1735 the middle third means their quality is ambivalent -- neither major nor
1738 @lilypond[quote,notime,line-width=13.0\cm]
1742 \set Staff.extraNatural = ##f
1763 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1767 @node chromatic scale
1768 @section chromatic scale
1770 ES: escala cromática,
1772 F: gamme chromatique,
1773 D: chro@-ma@-ti@-sche Tonleiter,
1774 NL: chromatische toonladder,
1775 DK: kromatisk skala,
1777 FI: kromaattinen asteikko.
1779 A scale consisting of all 12 semitones.
1781 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1782 c1 cis d dis e f fis g gis a ais b c
1790 @section chromaticism
1801 Using tones extraneous to a diatonic scale (minor, major).
1804 @ref{diatonic scale}.
1808 @section church mode
1810 ES: modo eclesiástico,
1811 I: modo ecclesiastico,
1812 F: mode ecclésiastique,
1817 FI: moodi, kirkkosävellaji.
1820 @ref{diatonic scale}.
1829 D: Schlüssel, Notenschlüssel,
1833 FI: avain, nuottiavain.
1835 The clef indicates which lines of the staff correspond to which
1836 pitches. The three clef symbols in common use are:
1841 \line { The Treble or G clef: }
1843 \line { The Bass or F clef: }
1845 \line { The Alto or C clef: }
1849 \musicglyph #"clefs.G"
1851 \musicglyph #"clefs.F"
1853 \musicglyph #"clefs.C"
1858 Imagine a large staff of 11 lines centered on middle C, sometimes
1859 called a @q{grand staff}, with the bottom line representing low G and
1860 the top line high F:
1865 %-- Note names above treble staff --%
1867 \set printOctaveNames = ##t
1869 \once \override NoteName #'color = #red
1873 %-- Treble Staff --%
1875 \override Staff.Clef #'stencil = ##f
1881 %-- Alto Staff reduced to a single line on middle C --%
1883 \override Staff.StaffSymbol #'line-count = #1
1884 \override Staff.StaffSymbol #'color = #red
1885 \override Staff.Clef #'stencil = ##f
1888 \override NoteHead #'color = #red
1894 \override Staff.Clef #'stencil = ##f
1903 \override SpacingSpanner
1904 #'base-shortest-duration = #(ly:make-moment 1 1)
1905 \override NonMusicalPaperColumn
1906 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1907 \override BarLine #'stencil = ##f
1911 \remove "Time_signature_engraver"
1917 Staves of five lines are usually used, and the clef superimposed on
1918 them indicates which five lines have been selected from this
1919 @samp{grand staff}. For example, the treble or G clef indicates that
1920 the top five lines have been selected:
1925 %-- Note names above treble staff --%
1927 \set printOctaveNames = ##t
1929 \once \override NoteName #'color = #red
1934 %-- Treble Staff --%
1936 \once \override Staff.Clef #'stencil = ##f
1939 \override Staff.Clef #'full-size-change = ##t
1940 \set Staff.forceClef = ##t
1944 %-- Alto Staff reduced to a single line on middle C --%
1946 \override Staff.StaffSymbol #'line-count = #1
1947 \override Staff.StaffSymbol #'color = #red
1948 \override Staff.Clef #'stencil = ##f
1951 \override NoteHead #'color = #red
1956 \override Staff.Clef #'stencil = ##f
1964 \override SpacingSpanner
1965 #'base-shortest-duration = #(ly:make-moment 2 1)
1966 \override NonMusicalPaperColumn
1967 #'line-break-system-details = #'((alignment-offsets . (3 0 -3 -6)))
1968 \override BarLine #'stencil = ##f
1972 \remove "Time_signature_engraver"
1978 The @q{curl} of the G clef is centered on the line that represents the
1981 In the same way, the bass or F clef indicates that the bottom five
1982 lines have been selected from the @samp{grand staff}, and the alto or
1983 C clef indicates the middle five lines have been selected. This
1984 relationship is shown below, where the notes show an arpeggio on a C
1990 %-- Treble Staff --%
1998 \override Staff.StaffSymbol #'line-count = #1
1999 \once \override Staff.Clef #'stencil = ##f
2004 \revert Staff.StaffSymbol #'stencil
2005 \override Staff.StaffSymbol #'color = #red
2008 \stopStaff \startStaff
2009 \revert Staff.StaffSymbol #'line-count
2010 \revert Staff.StaffSymbol #'color
2011 \stopStaff \startStaff
2012 \override Staff.Clef #'full-size-change = ##t
2013 \set Staff.forceClef = ##t
2028 \override SpacingSpanner #'base-shortest-duration =
2029 #(ly:make-moment 2 1)
2030 \override NonMusicalPaperColumn
2031 #'line-break-system-details = #'((alignment-offsets . (0 -3 -6)))
2032 \override BarLine #'stencil = ##f
2036 \remove "Time_signature_engraver"
2043 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2056 FI: klusteri, cluster.
2058 A @emph{cluster} is a range of simultaneously sounding pitches that
2059 may change over time. The set of available pitches to apply usually
2060 depends on the acoustic source. Thus, in piano music, a cluster
2061 typically consists of a continuous range of the semitones as provided
2062 by the piano's fixed set of a chromatic scale. In choral music, each
2063 singer of the choir typically may sing an arbitrary pitch within the
2064 cluster's range that is not bound to any diatonic, chromatic or other
2065 scale. In electronic music, a cluster (theoretically) may even cover
2066 a continuous range of pitches, thus resulting in colored noise, such
2069 Clusters can be denoted in the context of ordinary staff notation by
2070 engraving simple geometrical shapes that replace ordinary notation of
2071 notes. Ordinary notes as musical events specify starting time and
2072 duration of pitches; however, the duration of a note is expressed by
2073 the shape of the note head rather than by the horizontal graphical
2074 extent of the note symbol. In contrast, the shape of a cluster
2075 geometrically describes the development of a range of pitches
2076 (vertical extent) over time (horizontal extent). Still, the
2077 geometrical shape of a cluster covers the area in which any single
2078 pitch contained in the cluster would be notated as an ordinary note.
2080 @lilypond[quote,relative=2]
2081 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
2085 No cross-references.
2098 FI: komma, korvinkuultava ero äänenkorkeudessa.
2100 Difference in pitch between a note derived from pure tuning and the
2101 same note derived from some other tuning method.
2104 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2109 @section common meter
2111 Another name for @ref{common time}.
2114 @ref{common time}, @ref{meter}.
2118 @section common time
2129 4/4 time. The symbol, which resembles a capital letter C, comes from
2133 @ref{mensural notation}, @ref{meter}.
2139 ES: intervalo invertido,
2141 F: intervalle complémentaire,
2142 D: Komplementärintervall,
2143 NL: complementair interval,
2144 DK: komplementærinterval,
2145 S: komplementärintervall (?),
2146 FI: täydentävä intervalli.
2149 @ref{inverted interval}.
2152 @node compound interval
2153 @section compound interval
2155 ES: intervalo compuesto,
2156 I: intervallo composto,
2157 F: intervalle composé,
2158 D: weites Intervall,
2159 NL: samengesteld interval,
2160 DK: sammensat interval,
2161 S: sammansatt intervall,
2162 FI: oktaavia laajempi intervalli.
2164 Intervals larger than an octave.
2170 @node compound meter
2171 @section compound meter
2173 ES: compás compuesto, compás de subdivisión ternaria,
2180 FI: kolmijakoinen tahtilaji.
2182 A meter that includes a triplet subdivision within the beat, such as
2186 @ref{meter}, @ref{simple meter}.
2190 @section compound time
2192 ES: compás compuesto, compás de amalgama (def. 2),
2199 FI: yhdistetty tahtilajiosoitus.
2204 A meter that includes a triplet subdivision within the beat: see
2205 @ref{compound meter}.
2208 A time signature that additively combines two or more unequal meters, e.g.,
2209 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2213 @lilypond[quote,line-width=13.0\cm]
2214 #(define ((compound-time one two three num) grob)
2215 (grob-interpret-markup grob
2217 #:override '(baseline-skip . 0)
2220 #:left-column (one num)
2222 #:left-column (two num)
2224 #:left-column (three num)))))
2228 #(set-time-signature 8 8 '(3 2 3))
2229 \override Staff.TimeSignature #'stencil =
2230 #(compound-time "3" "2" "3" "8")
2231 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2232 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2241 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2245 @section concert pitch
2247 ES: en Do, afinación de concierto,
2254 FI: konserttikorkeus.
2256 The pitch at which the piano and other nontransposing instruments play: such
2257 instruments are said to be @q{in C}. The following list includes some (but not
2258 all) instruments that play in concert pitch:
2260 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2262 @multitable {alto trombone} {tenor trombone} {bass trombone}
2263 @headitem Woodwinds @tab Brass @tab Strings
2276 @item tenor trombone
2290 The trombones are a special case: although they are said to be @q{in F} (alto or
2291 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2292 their parts' transposition. (In fact, the trombones' parts are written at
2293 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2294 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2297 Instruments that play @q{in C} but in a different octave than what is written
2298 are, technically speaking, @emph{transposing instruments}:
2302 @item piccolo (plays an octave higher)
2303 @item celesta (plays an octave higher)
2304 @item double bass (plays an octave lower)
2309 @ref{transposing instrument}.
2312 @node conjunct movement
2313 @section conjunct movement
2315 ES: movimiento conjunto,
2317 F: mouvement conjoint,
2318 D: schritt@-weise, stufenweise Bewegung,
2319 NL: stapsgewijze, trapsgewijze beweging,
2320 DK: trinvis bevægelse,
2322 FI: asteittainen liike.
2324 Progressing melodically by intervals of a second, as contrasted with
2325 @emph{disjunct movement}.
2327 @lilypond[quote,relative=2,line-width=13.0\cm]
2330 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2334 @ref{disjunct movement}.
2347 FI: konsonanssi, sopusointi.
2370 @section copying music
2372 A music copyist did fast freehand scores and parts on preprinted staff
2373 lines for performance. Some of their conventions (e.g., the placement
2374 of note heads on stems) varied slightly from those of engravers. Some
2375 of their working methods were superior and could well be adopted by
2378 @c Copying music required more skill than engraving. Flagged for NPOV
2381 No cross-references.
2385 @section counterpoint
2394 FI: kontrapunkti, ääni ääntä vastaan.
2396 From Latin @emph{punctus contra punctum}, note against note. The
2397 combination into a single musical fabric of lines or parts which have
2398 distinct melodic significance. A frequently used polyphonic technique
2399 is imitation, in its strictest form found in the canon needing only
2400 one part to be written down while the other parts are performed with a
2401 given displacement. Imitation is also the contrapuntal technique
2402 used in the @emph{fugue} which, since the music of the baroque era,
2403 has been one of the most popular polyphonic composition methods.
2405 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2407 \context Staff = SA \relative c' {
2411 << \context Voice = rha {
2413 r1 | r2 r8 g'8 bes d, |
2414 cis4 d r8 e!16 f g8 f16 e |
2415 f8 g16 a bes8 a16 g a8
2417 \context Voice = rhb {
2423 \context Staff = SB \relative c' {
2426 << \context Voice = lha {
2428 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2429 r8 a16 g f8 g16 a bes8 g e! cis' |
2432 \context Voice = lhb {
2441 No cross-references.
2445 @section countertenor
2450 D: Countertenor, Kontratenor,
2453 S: kontratenor, counter tenor,
2466 D: Crescendo, lauter werden,
2470 FI: cresendo, voimistuen.
2472 Increasing volume. Indicated by a rightwards opening horizontal wedge
2473 (hairpin) or the abbreviation @notation{cresc.}.
2475 @lilypond[quote,relative=2]
2478 g4\< a b c | d1\! \bar "|."
2482 @ref{decrescendo}, @ref{hairpin}.
2490 F: petites notes précédent l'entrée d'un instrument, réplique,
2497 In a separate part notes belonging to another part with the purpose of
2498 hinting when to start playing. Usually printed in a smaller type.
2501 No cross-references.
2510 D: Notenzeiger, Custos,
2516 A custos (plural: custodes) is a staff symbol that appears at the end of a
2517 staff line with monophonic musical contents (i.e., with a single voice). It
2518 anticipates the pitch of the first note of the following line and thus helps
2519 the player or singer to manage line breaks during performance, which
2520 enhances the readability of a score.
2522 Custodes were frequently used in music notation until the 16th century.
2523 There were different appearences for different notation styles. Nowadays,
2524 they have survived only in special forms of musical notation such as the
2525 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2527 @lilypond[quote,ragged-right]
2530 \override Staff.Custos #'neutral-direction = #DOWN
2531 \override Staff.Custos #'style = #'hufnagel
2538 \consists "Custos_engraver"
2545 No cross-references.
2578 F: da capo, depuis le commencement,
2579 D: da capo, von Anfang,
2583 FI: da capo, alusta.
2585 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2586 the beginning to the end or to a certain place marked @emph{fine}.
2589 No cross-references.
2602 FI: tyhjästä ilmaantuen.
2604 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2605 that the sound should gradually increase from nothing.
2616 F: dal segno, depuis le signe,
2617 D: dal segno, ab dem Zeichen,
2621 FI: dal segno, lähtien merkistä.
2623 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2624 another place frequently near the beginning marked by a sign
2627 @lilypond[quote,relative=2]
2635 \musicglyph #"scripts.segno"
2641 No cross-references.
2645 @section decrescendo
2649 D: Decrescendo, leiser werden,
2653 FI: decresendo, hiljentyen.
2655 Decreasing tone volume. Indicated by a leftwards opening horizontal
2656 wedge (hairpin) or the abbreviation @notation{decresc.}.
2658 @lilypond[quote,relative=2]
2661 d4\> c b a | g1 \! \bar "|."
2665 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2668 @node descending interval
2669 @section descending interval
2671 ES: intervalo descendente,
2672 I: intervallo discendente,
2673 F: intervalle descendant,
2674 D: fallendes Intervall, absteigendes Intervall,
2675 NL: dalend interval,
2676 DK: faldende interval,
2677 S: fallande intervall,
2678 FI: laskeva intervalli.
2680 A distance between a starting higher note and a lower ending note.
2683 No cross-references.
2686 @node diatonic scale
2687 @section diatonic scale
2689 ES: escala diatónica,
2691 F: gamme diatonique,
2692 D: diatonische Tonleiter,
2693 NL: diatonische toonladder,
2694 DK: diatonisk skala,
2696 FI: diatoninen asteikko.
2698 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2699 played on the white keys of a piano keybord are diatonic. These scales
2700 are sometimes called, somewhat inaccurately, @q{church modes}).
2702 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2703 but also to some extent in newer jazz music.
2705 @lilypond[quote,notime,relative=1]
2709 e^"~~ S" f g a b^"~~ S" c
2717 @lilypond[quote,notime,relative=1]
2721 e^"~~ S" f g a b^"~~ S" c d
2729 @lilypond[quote,notime,relative=1]
2732 e1^"~~ S" f g a b^"~~ S" c d e
2740 @lilypond[quote,notime,relative=1]
2744 b^"~~ S" c d e^"~~ S" f
2752 @lilypond[quote,notime,relative=2]
2756 b^"~~ S" c d e^"~~ S" f g
2764 @lilypond[quote,notime,relative=2]
2768 b^"~~ S" c d e^"~~ S" f g a
2776 @lilypond[quote,notime,relative=2]
2779 b1^"~~ S" c d e^"~~ S" f g a b
2787 From the beginning of the 17th century the scales used in European
2788 compositional music are primarily the major and the minor scales. In
2789 the harmonic minor scale type an augmented second (A) occurs between
2790 the 6th and 7th tone.
2792 @lilypond[quote,notime,relative=1]
2796 e^"~~ S" f g a b^"~~ S" c
2804 @lilypond[quote,notime,relative=2]
2808 b^"~~ S" c d e^"~~ S" f g a
2811 "Ancient (or Natural) minor"
2816 @lilypond[quote,notime,relative=2]
2820 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2828 @lilypond[quote,notime,relative=2]
2832 b^"~~ S" c d e fis gis^"~~ S" a
2835 "Melodic minor ascending"
2840 @lilypond[quote,notime,relative=3]
2844 g! f!^"~~ S" e d c^"~~ S" b a
2847 "Melodic minor descending"
2853 @ref{semitone}, @ref{whole tone}.
2857 @section didymic comma
2860 @ref{syntonic comma}.
2863 @node diminished interval
2864 @section diminished interval
2866 ES: intervalo disminuido,
2867 I: intervallo diminuito,
2868 F: intervalle diminué,
2869 D: vermindertes Intervall,
2870 NL: verminderd interval,
2871 DK: formindsket interval,
2872 S: förminskat intervall,
2873 FI: vähennetty intervalli.
2889 FI: diminuendo, hiljentyen.
2905 FI: aika-arvojen tihennys.
2907 This is a stub for diminution (@emph{wrt} mensural notation).
2910 @ref{augmentation}, @ref{mensural notation}.
2929 @node disjunct movement
2930 @section disjunct movement
2932 ES: movimiento disjunto,
2934 F: mouvement disjoint,
2935 D: sprunghafte Bewegung,
2936 NL: sprongsgewijze beweging,
2937 DK: springende bevægelse,
2938 S: hoppande rörelse,
2939 FI: melodian hyppivä liike.
2941 Progressing melodically by intervals larger than a major second, as contrasted
2942 with conjunct movement.
2944 @lilypond[quote,relative=1]
2948 a4. gis8 b a e cis |
2954 @ref{conjunct movement}.
2960 Another name for @ref{dissonant interval}.
2963 @ref{dissonant interval}, @ref{harmony}.
2966 @node dissonant interval
2967 @section dissonant interval
2969 ES: intervalo disonante, disonancia,
2970 I: intervallo dissonante, dissonanza,
2973 NL: dissonant interval, dissonant,
2974 DK: dissonerende interval, dissonans,
2976 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2994 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2995 vertical stroke through part or all of the staff that serves to
2996 structure a chant into phrases and sections. There are four types:
3000 @item @emph{divisio minima}, a short pause
3002 @item @emph{divisio maior}, a medium pause
3004 @item @emph{divisio maxima}, a long pause
3006 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3007 section in a long antiphonal or responsorial chant.
3011 TODO: musical example here?
3014 No cross-references.
3029 Indicator for a indeterminately rising pitch bend. Compare with
3030 @emph{glissando}, which has determinate starting and ending pitches.
3033 @ref{fall}, @ref{glissando}.
3046 FI: dominantti, huippusointu.
3048 The fifth @emph{scale degree} in @emph{functional harmony}.
3051 @ref{functional harmony}, @ref{scale degree}.
3054 @node dominant ninth chord
3055 @section dominant ninth chord
3057 ES: acorde de novena de dominante,
3058 I: accordo di nona di dominante,
3059 F: accord de neuvième dominante,
3060 D: Domi@-nant@-nonen@-akkord,
3061 NL: dominant noon akkoord,
3062 DK: dominantnoneakkord,
3063 S: dominantnonackord,
3064 FI: dominanttinoonisointu.
3067 @ref{chord}, @ref{functional harmony}.
3070 @node dominant seventh chord
3071 @section dominant seventh chord
3073 ES: acorde de séptima de dominante,
3074 I: accordo di settima di dominante,
3075 F: accord de septième dominante,
3076 D: Dominantseptakkord,
3077 NL: dominant septiem akkoord,
3078 DK: dominantseptimakkord,
3079 S: dominantseptimackord,
3080 FI: dominanttiseptimisointu.
3083 @ref{chord}, @ref{functional harmony}.
3087 @section dorian mode
3092 D: dorisch, dorischer Kirchenton,
3093 NL: dorische toonladder,
3099 @ref{diatonic scale}.
3102 @node dot (augmentation dot)
3103 @section dot (augmentation dot)
3106 I: punto (di valore),
3108 D: Punkt (Verlängerungspunkt),
3115 @ref{dotted note}, @ref{note value}.
3119 @section dotted note
3121 ES: nota con puntillo,
3125 NL: gepuncteerde noot,
3128 FI: pisteellinen nuotti.
3134 @node double appoggiatura
3135 @section double appoggiatura
3137 ES: apoyatura doble,
3138 I: appoggiatura doppia,
3139 F: appoggiature double,
3140 D: doppelter Vorschlag,
3141 NL: dubbele voorslag,
3142 DK: dobbelt forslag,
3144 FI: kaksoisappogiatura, kaksoisetuhele.
3150 @node double bar line
3151 @section double bar line
3157 NL: dubbele maatstreep,
3160 FI: kaksoistahtiviiva.
3162 Indicates the end of a section within a movement.
3165 No cross-references.
3168 @node double dotted note
3169 @section double dotted note
3171 ES: nota con doble puntillo,
3172 I: nota doppiamente puntata,
3173 F: note doublement pointée,
3174 D: doppelt punktierte Note,
3175 NL: dubbelgepuncteerde noot,
3176 DK: dob@-belt@-punk@-te@-ret node,
3177 S: dub@-bel@-punk@-te@-rad not,
3178 FI: kaksoispisteellinen nuotti.
3185 @section double flat
3194 FI: kaksoisalennusmerkki.
3201 @section double sharp
3203 ES: doble sostenido,
3208 DK: dob@-belt@-kryds,
3210 FI: kaksoisylennysmerkki.
3216 @node double time signature
3217 @section double time signature
3226 FI: kaksois-aika-arvomerkintä.
3229 @ref{polymetric time signature}.
3233 @section double trill
3239 NL: dubbele triller,
3244 A simultaneous trill on two notes, usually in the distance of a third.
3247 No cross-references.
3251 @section duple meter
3256 D: in zwei, grader Takt,
3257 NL: tweedelige maatsoort,
3292 FI: kesto, aika-arvo.
3301 ES: dinámica, matices,
3304 D: Dynamik, Lautstärke,
3308 FI: äänen voimakkuusvaihtelu, dynamiikka.
3310 The aspect of music relating to degrees of loudness, or changes from
3311 one degree to another. The terms, abbreviations, and symbols used to
3312 indicate this information are called dynamic marks.
3315 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3337 @node ecclesiastical mode
3338 @section ecclesiastical mode
3341 @ref{church mode}, @ref{diatonic scale}.
3345 @section eighth note
3352 @item D: Achtel, Achtelnote
3353 @item NL: achtste noot
3354 @item DK: ottendedelsnode
3355 @item S: åttondelsnot
3356 @item FI: kahdeksasosanuotti
3364 @section eighth rest
3367 @item UK: quaver rest
3368 @item ES: silencio de corchea
3369 @item I: pausa di croma
3370 @item F: demi-soupir
3371 @item D: Achtelpause
3372 @item NL: achtste rust
3373 @item DK: ottendedelspause
3374 @item S: åttonddelspaus
3375 @item FI: kahdeksasosatauko
3385 @c TODO: add languages
3394 FI: tavujen yhdistäminen yhteen ääneen.
3396 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3397 @emph{συναλοιφην} @q{to smear together}].
3399 The singing of several syllables on a single note. Elision may be indicated
3400 by a lyric tie, which looks like (and serves the same function) as a musical
3408 @section embellishment
3420 D: Notenstich, Notendruck
3426 Engraving means incising or etching a metal plate for printing.
3427 Photoengraving means drawing music with ink in a manner similar to
3428 drafting or engineering drawing, using similar tools.
3430 The traditional process of music printing is done through cutting in a
3431 plate of metal. Now also the term for the art of music typesetting.
3434 No cross-references.
3449 Two notes, intervals, or scales are enharmonic if they have different
3450 names but equal pitch.
3452 @lilypond[quote,notime,line-width=13.0\cm]
3456 gis1 as <des g,!> <cis g!>
3460 "g sharp " "a flat " "dim fifth " "augm fourth"
3466 No cross-references.
3469 @node equal temperament
3470 @section equal temperament
3472 ES: temperamento igual,
3473 I: temperamento equabile,
3474 F: tempérament égal,
3475 D: gleichschwebende Stimmung,
3476 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3477 DK: ligesvævende temperatur,
3478 S: liksvävande temperatur,
3481 A tuning system that divides the octave into 12 equal semitones (each of
3482 which is precisely equal to 100 cents).
3485 @ref{cent}, @ref{semitone}, @ref{temperament}.
3488 @node expression mark
3489 @section expression mark
3492 I: segno d'espressione,
3493 F: signe d'expression, indication de nuance,
3495 NL: voordrachtsteken,
3496 DK: foredragsbetegnelse,
3497 S: föredragsbeteckning,
3498 FI: nyanssiosoitus, esitysmerkki.
3500 Performance indications concerning:
3504 @item volume, dynamics (for example, @notation{forte},
3505 @notation{crescendo}),
3507 @item tempo (for example, @notation{andante}, @notation{allegro}).
3512 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3516 @section extender line
3518 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3520 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3527 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3528 extends text (without indicating the musical @emph{function} of that text).
3530 Used in many contexts, for example:
3534 @item In vocal music to indicate the syllable for a melisma. Called
3535 @q{extension} in the
3536 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3540 In figured bass to indicate that:
3544 @item The extended note should be held through a change in harmony, when applied
3545 to one figure --OR--
3546 @item The chord thus represented should be held above a moving bass line, when
3547 applied to more than one figure.
3548 @item These uses were not completely standardized, and some composers used a
3549 single extender line to indicate the latter case.
3554 In string music to indicate that all notes in the passage thus indicated should
3555 be played on the same string. On the violin, for example, a series of notes to
3556 be played on the G string would be indicated @notation{sul G}, another series to be
3557 played on the D string would be indicated @notation{sul D}, and so on.
3560 With an octave mark to indicate that a passage is to be played higher or lower
3561 by the given number of octaves.
3566 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3567 @ref{octave marking}.
3600 The position between the dots of the key symbol is the line of the F
3601 below central@w{ }C. Used on the third, fourth and fifth note line.
3602 A digit@w{ }8 above the clef symbol indicates that the notes must be
3603 played an octave higher (for example, bass recorder) while 8@w{ }below
3604 the clef symbol indicates playing an octave lower (for example, on the
3607 @lilypond[quote,notime,line-width=13.0\cm]
3610 \override Staff.Clef #'full-size-change = ##t
3633 @ref{baritone clef}, @ref{strings}.
3648 Indicator for a indeterminately falling pitch bend. Compare with
3649 @emph{glissando}, which has determinate starting and ending pitches.
3652 @ref{doit}, @ref{glissando}.
3655 @node feathered beam
3656 @section feathered beam
3660 F: liens de croches en soufflet,
3661 D: gespreizter Balken,
3667 A type of beam used to indicate that a small group of notes should be
3668 played at an increasing or decreasing tempo -- depending on the
3669 direction of @q{feathering} -- but without changing the overall tempo
3673 Internals Reference: @ruser{Manual beams}
3679 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3683 F: point d'orgue, point d'arrêt,
3688 FI: fermaatti, pidäke.
3690 Prolonged note or rest of indefinite duration.
3692 @lilypond[quote,relative=2]
3699 No cross-references.
3719 @section figured bass
3722 I: basso continuo, basso numerato,
3723 F: basse chiffrée, basse continue,
3724 D: Generalbass, bezifferter Bass,
3725 NL: basso continuo, becijferde bas
3728 FI: kenraalibasso, numeroitu basso.
3730 Also called @q{thorough bass}.
3732 A method of indicating an accompaniment part by the bass notes only,
3733 together with figures designating the chief intervals and chords to be
3734 played above the bass notes.
3736 @lilypond[quote,line-width=13.0\cm]
3738 \new Staff = "rh" \with {
3740 \override StaffSymbol #'staff-space = #(magstep -3)
3746 \context Voice = "rha" {
3751 \context Voice = "rhb" {
3753 <bes g>8 as <as f> g <g es> f <d f> es
3758 \new Staff = "lh" \relative c' {
3761 es8 c d bes c as bes16 as g f
3765 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3771 @ref{chord}, @ref{interval}.
3786 Figures to the side or above the note that methodically indicate which
3787 fingers to use while playing a passage.
3790 No cross-references.
3797 I: coda (uncinata), bandiera,
3805 Ornament at the end of the stem of a note used for notes with values less
3806 than a quarter note. The number of flags determines the note value.
3808 @lilypond[quote,notime,relative=2]
3831 An articulation for string players that means the note or passage is to
3832 be played in harmonics.
3838 @item A duct flute similar to the recorder.
3840 @item An organ stop of flute scale at 1' or 2' pitch.
3845 @ref{articulation}, @ref{harmonics}.
3881 FI: forte, voimakkaasti.
3885 Abbreviated @notation{@b{f}}. Variants include:
3888 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3889 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3893 No cross-references.
3912 @node Frenched score
3913 @section Frenched score
3915 ES: partitura a la francesa,
3922 FI: partituuri francesan tapaan.
3924 A @q{condensed} score, produced by omitting staves for instruments that are not
3925 playing at the moment, and by moving up additional systems from following pages
3926 to take up the space thus liberated, which reduces the total number of pages
3927 used to print the work.
3929 The specific rules for @q{frenching} a score differ from publisher to publisher.
3930 If you are producing scores for eventual publication by a commercial publisher,
3931 you may wish to procure a copy of their style manual.
3934 @ref{Frenched staff}.
3937 @node Frenched staff
3938 @section Frenched staff
3940 ES: pentagrama a la francesa,
3947 FI: karsittu nuotinnus.
3949 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3950 Frenched staff has unneeded measures or sections removed. This is useful
3951 for producing, for example, an @emph{ossia} staff.
3957 @node Frenched staves
3958 @section Frenched staves
3960 Plural of @ref{Frenched staff}.
3979 @node functional harmony
3980 @section functional harmony
3982 ES: armonía funcional,
3983 I: armonia funzionale,
3984 F: étude des functions,
3986 NL: functionele harmonie,
3987 DK: funktionsanalyse, funktionsharmonik,
3989 FI: harmoniajärjestelmä.
3991 A system of harmonic analysis.
3993 It is based on the idea that, in a given key, there are only three
3994 functionally different chords: tonic (T, the chord on the first note of the
3995 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3996 chord on the fifth note). Others are considered to be variants of the base
3999 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4001 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4004 <g e c>1 <a f d> <b g e>
4005 <c a f> <d b g> <e c a> <f d b>
4009 \markup { D \translate #'(-2 . 0) | }
4015 No cross-references.
4042 D: G-Schlüssel, Violinschlüssel,
4048 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4049 second note lines. A digit 8 above the clef symbol indicates that the notes
4050 must be played an octave higher while 8 below the clef symbol indicates
4051 playing or singing an octave lower (used most frequently to notate the tenor
4052 part in modern choral scores).
4054 @lilypond[quote,notime]
4056 \override Staff.Clef #'full-size-change = ##t
4057 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4068 "french violin clef"
4076 No cross-references.
4089 FI: glissando, liukuen.
4091 Letting the pitch slide fluently from one note to the other.
4094 No cross-references.
4098 @section grace notes
4100 ES: notas de adorno,
4103 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4109 Notes printed in small types to indicate that their time values are not
4110 counted in the rhythm of the bar.
4113 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4118 @section grand staff
4120 ES: sistema de piano,
4123 D: Akkolade, Klaviersystem,
4126 S: ackolad, böjd klammer,
4127 FI: kaksoisnuottiviivasto.
4129 A combination of two staves with a brace. Usually used for piano music.
4145 FI: grave, raskaasti.
4147 [Italian] Slow, solemn.
4150 No cross-references.
4174 Letter name used for @notation{B natural} in German and Scandinavian
4175 usage. In the standard usage of these countries, @notation{B} means
4179 @ref{Pitch names}, @ref{B}.
4185 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4188 @lilypond[quote,relative=2]
4195 @ref{crescendo}, @ref{decrescendo}.
4206 @item D: Halbe, halbe Note,
4207 @item NL: halve noot,
4210 @item FI: puolinuotti.
4221 @item UK: minim rest,
4222 @item ES: silencio de blanca,
4223 @item I: pausa di minima,
4224 @item F: demi-pause,
4225 @item D: halbe Pause,
4226 @item NL: halve, rust,
4227 @item DK: halvnodespause,
4229 @item FI: puolitauko.
4236 @node harmonic cadence
4237 @section harmonic cadence
4239 ES: cadencia (armónica),
4240 I: cadenza (armonica),
4241 F: cadence harmonique,
4243 NL: harmonische cadens,
4244 DK: harmonisk kadence,
4245 S: (harmonisk) kadens,
4246 FI: harmoninen kadenssi.
4248 A sequence of chords that terminates a musical phrase or section.
4252 \context Staff = "SA" \relative c'' {
4255 \partial 4 <c g e>4 |
4256 <c a f> <b g d> <c g e>2
4259 \context Staff = "SB" \relative c {
4261 \partial 4 c4 | f, g c2
4273 @ref{functional harmony}.
4279 ES: sonidos del flautín,
4281 F: flageolet, sons harmoniques,
4286 FI: harmoniset äänet, huiluäänet.
4288 The general class of pitches produced by sounding the second or higher
4289 harmonic of a tone producer: string, column of air, and so on.
4291 On stringed instruments, these pitches sound rather flute-like; hence,
4292 their name in languages other than English. They are produced by
4293 lightly touching the string at a node for the desired mode of vibration
4294 while it is being bowed or plucked.
4296 For instruments of the violin family, there are two types of harmonics:
4297 natural harmonics, which are those played on the open string; and
4298 artificial harmonics, which are produced on stopped strings.
4301 No cross-references.
4310 D: Harmonie, Zusammenklang,
4314 FI: harmonia, yhteissointi.
4316 Tones sounding simultaneously. Two note harmonies fall into the
4317 categories @emph{consonances} and @emph{dissonances}.
4321 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4333 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4334 <g a>1_"second " s s
4335 <g f'>_"seventh " s s
4339 For harmony that uses three or more notes, see @ref{chord}.
4357 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4359 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4360 time normally occupied by two. The resulting rhythm can be expressed in modern
4361 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4362 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4363 as a special effect (or @emph{affect}) at cadences.
4365 For example, this phrase in 6/4 time
4367 @lilypond[quote,relative=1,line-width=13.0\cm]
4370 c2. e | d2 c d | c1. \bar "||"
4373 may be thought of having alternating time signatures
4375 @lilypond[quote,relative=1,line-width=13.0\cm]
4385 and is therefore a polymeter (second definition) of considerable antiquity.
4388 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4401 FI: homofonia, yksiäänisyys.
4403 Music in which one voice leads melodically supported by the other voices in
4404 the same rhythm (more or less). In contrast to @emph{polyphony}.
4420 FI: säkeiden tavumäärät.
4422 A group or list of numbers that indicate the number of syllables in a line
4423 of a hymn's verse. Different hymnals have different ways of noting the hymn
4424 meter: for example, consider a hymn that has four lines in two couplets
4425 alternating regularly between eight and seven syllables. The @emph{English
4426 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4427 or 8@w{ }7@w{ }8@w{ }7.
4429 Some frequently-used hymn meters have traditional names:
4432 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4433 @item 86.86 is called Common Meter (CM or C.M.)
4434 @item 88.88 is called Long Meter (LM or L.M.)
4437 Some hymns and their tunes are doubled versions of a simpler meter: for
4438 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4439 87.87D. The traditional names above also have doubled versions:
4442 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4443 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4444 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4448 No cross-references.
4461 FI: intervalli, kahden sävelen korkeusero.
4463 Difference in pitch between two notes. Intervals may be diminished, minor,
4464 perfect, major, or augmented. The augmented fourth and the diminished fifth are
4465 identical (or @emph{enharmonic}) and are called @emph{tritonus} because they
4466 consist of three whole tones. The addition of such two intervals forms an
4469 @lilypond[quote,notime,line-width=13.0\cm]
4471 \context Voice \relative c'' {
4508 \context Lyrics \lyrics {
4510 "second " "second " "second " "second "
4511 "third " "third " "third " "third "
4512 "fourth " "fourth " "fourth "
4513 "fifth " "fifth " "fifth "
4514 "sixth " "sixth " "sixth " "sixth "
4515 "seventh" "seventh" "seventh" "seventh"
4516 "octave " "octave " "octave "
4522 @ref{enharmonic}, @ref{whole tone}.
4537 When a chord sounds with a bass note that differs from the root of the
4538 chord, it is said to be @emph{inverted}. The number of inversions that a
4539 chord can have is one fewer than the number of constituent notes. For
4540 example, triads (which have three constituent notes) can have three
4541 positions, two of which are inversions:
4545 The root note is in the bass, and above that are the third and the fifth. A
4546 triad built on the first scale degree, for example, is marked @notation{I}.
4548 @item First inversion
4549 The third is in the bass, and above it are the fifth and the root. This
4550 creates an interval of a sixth and a third above the bass note, and so is
4551 marked in figured Roman notation as @notation{6/3}. This is commonly
4552 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4553 characteristic interval of the inversion, and so always implies
4556 @item Second inversion
4557 The fifth is in the bass, and above it are the root and the third. This
4558 creates an interval of a sixth and a fourth above the bass note, and so is
4559 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4560 unstable chord position.
4564 No cross-references.
4567 @node inverted interval
4568 @section inverted interval
4570 ES: intervalo invertido,
4571 I: intervallo rivolto,
4572 F: intervalle reversé,
4573 D: umgekehrtes Intervall,
4574 NL: interval inversie,
4575 DK: omvendingsinterval,
4576 S: intervallets omvändning,
4577 FI: käänteisintervalli.
4579 The difference between an interval and an octave.
4581 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4582 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4583 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4584 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4588 No cross-references.
4591 @node just intonation
4592 @section just intonation
4594 ES: entonación justa,
4595 I: intonazione giusta,
4596 F: intonation juste,
4603 Tuning system in which the notes are obtained by adding and subtracting
4604 natural fifths and thirds.
4622 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4623 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4626 @ref{chromatic scale}, @ref{key signature}.
4630 @section key signature
4632 ES: armadura (de la clave),
4633 I: armatura di chiave,
4634 F: armure, armature [de la clé],
4635 D: Vorzeichen, Tonart,
4636 NL: toon@-soort (voortekens),
4639 FI: sävellajiosoitus.
4641 The sharps or flats appearing at the beginning of each staff indicating the
4648 @node laissez vibrer
4649 @section laissez vibrer
4660 [French: @q{Let vibrate}] Most frequently associated with harp
4661 parts. Marked @notation{l.v.} in the score.
4664 No cross-references.
4673 D: Largo, Langsam, Breit,
4677 FI: largo, hitaasti, leveästi.
4679 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4680 expressiveness. @emph{Larghetto} is less slow than largo.
4684 @section leading note
4695 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4696 called because of its strong tendency to @q{lead up} (resolve upwards)
4697 to the tonic scale degree.
4700 @ref{scale degree, @ref{semitone}.
4704 @section ledger line
4706 ES: línea adicional,
4707 I: tagli addizionali,
4708 F: ligne supplémentaire,
4715 A ledger line is an extension of the staff.
4717 @lilypond[quote,notime,relative=2]
4724 No cross-references.
4733 D: legato, gebunden,
4739 To be performed (a) without any perceptible interruption between the
4740 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4741 @notation{portato}, or (d) @notation{staccato}.
4743 @lilypond[quote,notime,line-width=13.0\cm]
4745 \context Staff \relative c'' {
4746 c4-( d e-) \bar "||"
4747 c4-- d-- e-- \bar "||"
4748 c4-.-( d-. e-.-) \bar "||"
4749 c4-. d-. e-. \bar "||"
4765 @section legato curve
4768 @ref{slur}, @ref{legato}.
4790 A ligature is a coherent graphical symbol that represents at least two
4791 distinct notes. Ligatures originally appeared in the manuscripts of
4792 Gregorian chant notation around the 9th century to denote ascending or
4793 descending sequences of notes. In early notation, ligatures were used for
4794 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4795 performance in the sense of articulation. With the invention of the metric
4796 system of the white mensural notation, the need for ligatures to denote such
4797 patterns disappeared.
4800 @ref{mensural notation}.
4807 ES: estanque de nenúfares,
4808 I: stagno del giglio,
4809 F: étang de nénuphars, étang de nymphéas,
4811 NL: le@-lie@-vij@-ver,
4816 A pond with lilies floating in it.
4818 Also, the name of a music typesetting program.
4821 No cross-references.
4830 D: Linie, Notenlinie,
4834 FI: viiva, nuottiviiva.
4850 FI: kirjoitetussa äänenkorkeudessa.
4852 [Italian: @q{place}] Instruction to play the following passage at the
4853 written pitch. Cancels octave mark (q.v.).
4856 @ref{octave mark}, @ref{octave marking}.
4859 @node long appoggiatura
4860 @section long appoggiatura
4862 ES: apoyatura larga,
4863 I: appoggiatura lunga,
4864 F: appoggiature longue,
4869 FI: pitkä appoggiatura, pitkä etuhele.
4879 @item US: long, longa,
4890 Note value: twice the length of a @notation{breve}.
4892 @lilypond[quote,notime,relative=2]
4893 \override NoteHead #'style = #'mensural
4898 @ref{breve}, @ref{note value}.
4904 ES: ligadura de letra,
4911 FI: sidonta sanoituksessa.
4913 @c TODO: add languages
4922 ES: letra (de la canción),
4925 D: Liedtext, Gesangtext,
4934 No cross-references.
4950 @ref{diatonic scale}.
4953 @node major interval
4954 @section major interval
4956 ES: intervalo mayor,
4957 I: intervallo maggiore,
4958 F: intervalle majeur,
4959 D: großes Intervall,
4963 FI: suuri intervalli.
4981 Note value: twice the length of a @notation{longa}.
4983 The maxima is the largest duration in use during the 15th and 16th centuries.
4984 Like the longa, the maxima can be either two or three times as long as the
4985 @notation{longa} (called @notation{binary} and @notation{ternary},
4986 respectively). By the late 15th century, most composers used the smaller
4987 proportion by default.
4990 @ref{Duration names notes and rests}, @ref{longa}, @ref{note values}.
4993 @node meantone temperament
4994 @section meantone temperament
4996 ES: afinación mesotónica,
4997 I: accordatura mesotonica,
4998 F: tempérament mésotonique,
4999 D: mitteltönige Stimmung,
5000 NL: middenstemming, middentoonstemming,
5001 DK: middeltonetemperatur,
5002 S: medeltonstemperatur,
5003 FI: keskisävelviritys.
5005 Temperament yielding acoustically pure thirds by decreasing the natural
5006 fifth by 16@w{ }cents. Due to the non-circular character of this
5007 temperament only a limited set of keys are playable. Used for tuning
5008 keyboard instruments for performance of pre-1650 music.
5011 @ref{cent}, @ref{temperament}.
5026 A group of beats (units of musical time) the first of which bears an accent.
5027 Such groups in numbers of two or more recur consistently throughout the
5028 composition and are separated from each other by bar lines.
5031 @ref{bar line}, @ref{beat}, @ref{meter}.
5034 @node measure repeat
5035 @section measure repeat
5038 @ref{percent repeat}.
5045 I: mediante, modale,
5055 @item The third @b{scale degree}.
5057 @item A @emph{chord} having its base tone a third from that of another
5058 chord. For example, the tonic chord may be replaced by its lower
5059 mediant (variant tonic).
5064 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5077 FI: melisma, laulettavan tavun sävelkuvio.
5079 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5080 on one syllable, especially as applied to liturgical chant.
5083 No cross-references.
5087 @section melisma line
5089 @c TODO: add languages
5091 ES: línea de melisma,
5101 @ref{extender line}.
5104 @node melodic cadence
5105 @section melodic cadence
5111 @node mensural notation
5112 @section mensural notation
5114 @c TODO: add languages
5116 ES: notación mensural,
5123 FI: mensuraalinuotinnus.
5125 A system of duration notation whose principles were first established in the
5126 mid-13th century, and that (with various changes) remained in use until about
5127 1600. As such, it is the basis for the notation of rhythms in Western musical
5130 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5131 of the notation's principles, so the notation of this earliest period is called
5132 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5133 and semibreve -- each of which was normally equivalent to three of the next
5136 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5137 added several note values (the minim, semiminim and fusa) and extended Franco's
5138 principles to govern the relationship between these values. They also put the
5139 duple division of note values on an equal footing with the earlier (preferred)
5142 TODO: continue description of French and Italian black notation, and the
5143 relationship betwixt them.
5145 @b{White or void mensural notation}
5147 In the 15th century, hollow (or void) notes began to substitute for the earlier
5148 solid black ones, which were then free to assume the function of red (or
5149 colored) notes in the earlier notation. ...
5151 TODO: add to definition (including summary info on proportional notation)
5154 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5155 @c TODO: more cross-references?
5158 @node mensuration sign
5159 @section mensuration sign
5161 @c TODO: add languages
5172 The ancestor of the time signature, mensuration signs were used to indicate the
5173 relationship between two sets of note durations—specifically, the ratio of
5174 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5175 (called @notation{prolatio}).
5177 Each ratio was represented with a single single sign, and was either
5178 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5179 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5180 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5181 represented by a complete circle; applied to the @emph{prolatio}, it was called
5182 @emph{major} and was represented by a dot in the middle of the sign. The binary
5183 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5184 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5185 @emph{minor} and was represented by the lack of an internal dot. There are four
5186 possible combinations, which can be represented in modern time signatures with
5187 and without reduction of note values. (These signs are hard-coded in LilyPond
5191 @item perfect @emph{tempus} with major @emph{prolatio}
5192 Indicated by a complete circle with an internal dot. In modern time signatures,
5195 @item 9/4, with reduction or
5196 @item 9/2, without reduction
5199 @item perfect @emph{tempus} and minor @emph{prolatio}
5200 Indicated by a complete circle without an internal dot. In modern time
5201 signatures, this equals:
5203 @item 3/2, with reduction or
5204 @item 3/1, without reduction
5207 @item imperfect @emph{tempus} and major @emph{prolatio}
5208 Indicated by an incomplete circle with an internal dot. In modern time
5209 signatures, this equals:
5211 @item 6/4, with reduction or
5212 @item 6/2, without reduction
5215 @item imperfect @emph{tempus} and minor @emph{prolatio}
5216 Indicated by an incomplete circle without an internal dot. In modern time
5217 signatures, this equals:
5219 @item 4/4, with reduction or
5220 @item 2/1, without reduction
5224 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5225 with note values reduced from the original semibreve to a modern quarter note.
5226 Being doubly imperfect, this sign represented the (theoretically)
5227 least-preferred mensuration, but it was actually used fairly often.
5229 This system extended to the ratio of longer note values to each other:
5233 @item maxima to longa, called:
5237 @item @notation{modus maximorum},
5238 @item @notation{modus major}, or
5239 @item @notation{maximodus})
5243 @item longa to breve, called:
5247 @item @notation{modus longarum},
5248 @item @notation{modus minor}, or
5249 @item @notation{modus}
5255 In the absence of any other indication, these modes were assumed to be
5256 binary. The mensuration signs only indicated tempus and prolatio, so
5257 composers needed another way to indicate these longer ratios (called modes.
5258 Around the middle of the 15th century started to use groups of rests at the
5259 beginning of the staff, preceding the mensuration sign.
5262 Two mensuration signs have survived to the present day: the C-shaped sign,
5263 which originally designated @notation{tempus imperfectum} and
5264 @notation{prolatio minor} now stands for @notation{common time}; and the
5265 slashed C, which designated the same with @notation{diminution} now stands
5266 for @notation{cut-time} (essentially, it has not lost its original meaning).
5269 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5270 @c TODO: more cross-references?
5278 F: indication de mesure, mesure,
5285 The pattern of note values and accents in a composition or a section thereof.
5286 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5287 by grouping beats and by subdividing the primary beat.
5289 @b{By grouping beats}:
5293 @item @b{duple}: groups of two.
5294 @item @b{triple}: groups of three.
5295 @item @b{quadruple}: groups of four. A special case of duple meter.
5296 @item @b{quintuple}: groups of five beats.
5297 @item @b{sextuple} meter: groups of six. A special case of:
5301 @item duple meter, subdivided in three; or
5302 @item triple meter, subdivided in two.
5306 @item @b{septuple} meter: groups of seven.
5311 Other than triple meter and its subdivided variants (see below), meters that
5312 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5313 frequently used prior to the 20th Century.
5315 @b{By subdividing the primary beat}:
5319 @item simple: subdivided in groups of two.
5323 @item duple: 2/2, 2/4, 2/8
5324 @item triple: 3/2, 3/4, 3/8
5325 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5329 @item compound: subdivided in groups of three.
5335 @item quadruple: 12/8
5341 Time signatures are placed at the beginning of a composition (or section) to
5342 indicate the meter. For instance, a piece written in simple triple meter with a
5343 beat on each quarter note is conventionally written with a time signature of
5344 3/4. Here are some combinations of the two classifications above:
5346 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5348 @lilypond[quote,line-width=13.0\cm]
5352 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5355 Simple triple meter:
5357 @lilypond[quote,line-width=13.0\cm]
5361 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5364 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5366 @lilypond[quote,line-width=13.0\cm]
5370 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5373 Simple quintuple meter (B. Marcello, 1686-1739):
5375 @lilypond[quote,line-width=13.0\cm]
5379 r4 cis8 bis ais4 dis c8 ais |
5380 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5383 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5384 the source, with sharps in the accompaniment where the voice has flats and
5387 Compound duple meter (unknown):
5389 @lilypond[quote,line-width=13.0\cm]
5393 f8 f g a bes16 a g f |
5394 g8 g bes a c16 a bes g
5398 Compound triple meter (J.S. Bach, 1685-1750):
5400 @lilypond[quote,line-width=13.0\cm]
5404 r8 g'( a) b( d c) c( e d) |
5405 d( g fis) g( d b) g( a b)
5409 Compound quadruple meter (P. Yon, 1886-1943):
5411 @lilypond[quote,line-width=13.0\cm]
5415 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5416 e4 e8 fis( gis) a b4.~ b4 b8
5420 @b{@q{Monometer} vs Polymeter}
5422 TODO: add information from discussion on lilypond-user related to polymeter.
5425 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5440 Device used to indicate the exact tempo of a piece.
5442 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5443 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5444 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5445 followed acknowledged Winkler as the creator, but by then Mälzel had already
5446 sold many of them, and people had taken to calling it a Mälzel Metronome.
5449 @ref{metronome mark}.
5452 @node metronome mark
5453 @section metronome mark
5455 ES: indicación metronómica,
5456 I: indicazione metronomica,
5457 F: indication métronomique,
5459 NL: metronoom aanduiding,
5461 S: metronomangivelse,
5462 FI: metronomiosoitus.
5464 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5465 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5472 @node metronomic indication
5473 @section metronomic indication
5476 @ref{metronome mark}
5489 FI: kohtalaisen, melko.
5491 [Italian: @q{medium}]
5493 Used to qualify other indications, such as:
5499 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5501 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5507 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5514 No cross-references.
5518 @section mezzo-soprano
5529 The female voice between soprano and contralto.
5532 @ref{soprano}, @ref{contralto}.
5541 D: eingestrichenes@w{ }c,
5543 DK: enstreget@w{ }c,
5544 S: ettstruket@w{ }c,
5547 First C below the 440 Hz A.
5549 @lilypond[quote,notime,relative=1]
5550 \override Staff.Clef #'full-size-change = ##t
5557 No cross-references.
5573 @ref{diatonic scale}.
5576 @node minor interval
5577 @section minor interval
5579 ES: intervalo menor,
5580 I: intervallo minore,
5581 F: intervalle mineur,
5582 D: kleines Intervall,
5586 FI: pieni intervalli.
5592 @node mixolydian mode
5593 @section mixolydian mode
5596 @ref{diatonic scale}.
5605 D: Kirchentonart, Modus,
5609 FI: moodi, kirkkosävelasteikko.
5612 @ref{church mode}, @ref{diatonic scale}.
5625 FI: modulaatio, sävellajin vaihdos.
5627 Moving from one @ref{key} to another. For example, the second subject
5628 of a @ref{sonata form} movement modulates to the dominant key if the
5629 key is major and to the @ref{relative key} if the key is minor.
5632 No cross-references.
5644 FI: mordent, korukuvio.
5667 FI: teema, sävelaihe.
5669 The briefest intelligible and self-contained fragment of a musical
5672 @lilypond[quote,line-width=13.0\cm]
5675 \set Score.implicitTimeSignatureVisibility = #all-invisible
5676 \override Score.TimeSignature #'break-visibility = #all-invisible
5679 \partial 8 g16\startGroup fis |
5680 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5681 g8 g,16 a b8 cis d16 s
5685 \Staff \consists "Horizontal_bracket_engraver"
5691 No cross-references.
5706 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5707 several -- more or less -- independent pieces called movements.
5710 No cross-references.
5713 @node multi-measure rest
5714 @section multi-measure rest
5716 ES: compases de espera,
5720 D: mehrtaktige Pause, Kirchenpause,
5723 FI: usean tahdin mittainen tauko.
5725 Multi-measure rests are conventionally typeset with a combination of
5726 longa, breve and whole rests for shorter and a long horizontal bar for
5727 longer spans of rest, with a number above to indicate the duration (in
5728 measures) of the rest. The former style is called @q{Kirchenpausen} in
5729 German, as a reminiscence of its use in Renaissance vocal polyphony.
5731 @lilypond[quote,relative=2]
5733 \set Score.skipBars = ##t
5736 \set Score.skipBars = ##t
5742 @ref{longa}, @ref{breve}.
5751 D: Auflösungszeichen,
5752 NL: herstellingsteken,
5753 DK: op@-løsningstegn,
5754 S: återställningstecken,
5761 @node neighbor tones
5762 @section neighbor tones
5765 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5804 Notes are signs by means of which music is fixed in writing. The term is also
5805 used for the sound indicated by a note, and even for the key of the piano
5806 which produces the sound. However, a clear distinction between the terms tone
5807 and @ref{note} is strongly recommended. Briefly, one sees a note,
5811 No cross-references.
5818 I: testa, testina, capocchia,
5826 A head-like sign which indicates pitch by its position on a @notation{staff}
5827 provided with a @notation{clef}, and duration by a variety of shapes such as
5828 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5829 For percussion instruments (often having no defined pitch) the note head may
5830 indicate the instrument.
5833 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5846 ES: valor (duración),
5848 F: durée, valeur (d'une note),
5853 FI: nuotin aika-arvo.
5855 Note values (durations) are measured as fractions—in modern usage, one-half—of
5856 the next higher note value. The longest duration in current use is the
5857 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5858 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5859 or @notation{maxima} (eight whole notes) may be found.
5861 As used in mensural notation, this fraction was more flexible: it could also
5862 be one-third the higher note value. Composers indicated which proportions
5863 to use with various signs—two of which survive to the present day: the
5864 C-shaped sign for @notation{common time}, and the slashed C for
5865 @notation{alla breve} or @notation{cut-time}.
5867 @c TODO -- add maxima to this example, in a way that doesn't break it.
5869 @lilypond[quote,notime,line-width=13.0\cm]
5871 \override NoteHead #'style = #'mensural
5872 a\longa_"longa" a\breve_"breve"
5873 \revert NoteHead #'style
5874 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5875 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5878 @c TODO -- add maxima rest to this example
5880 @lilypond[quote,notime,line-width=13.0\cm]
5882 r\longa_"longa" r\breve_"breve"
5883 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5884 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5887 An augmentation dot after a note increases its duration by half; a second dot
5888 increases it by half of the first addition (that is, by a fourth of the original
5889 duration). More dots can be used to add further halved fractions of the
5890 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5892 @lilypond[quote,line-width=13.0\cm]
5895 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5896 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5899 Alternatively note values may be subdivided by other ratios. Most common is
5900 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5901 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5902 dotted notes are also frequently used.
5904 @lilypond[quote,line-width=13.0\cm]
5907 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5908 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5912 @lilypond[quote,line-width=13.0\cm]
5915 \times 3/2 {g4_"duplets" g} |
5917 \times 6/4 {g8_"quadruplets" g g g} |
5918 g8 g g g g4 \bar "||"
5930 @ref{octave marking}.
5945 The interval of an octave, sometimes abbreviated @notation{8ve}.
5947 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5948 bracket, or @notation{loco} see octave marking.
5951 @ref{interval}, @ref{octave marking}.
5955 @section octave mark
5957 ES: indicación de octava,
5966 The phrase, abbreviation, or other mark used (with or without an extender line
5967 or bracket) to indicate that the music is to be played in a different octave:
5971 @item @notation{15ma}: play two octaves higher
5972 @item @notation{8va}: play one octave higher
5973 @item @notation{8vb}: play one octave lower
5974 @item @notation{8va} (written below the passage): unusual, same as
5976 @item @notation{15vb}: play two octaves lower
5977 @item @notation{15va} (written below the passage): unusual, same as
5982 For longer passages, it may be more practical to mark the octave change at the
5983 beginning with a phrase (see the list below for examples), but without a bracket
5984 or extender line. Then, when the music returns to the written pitch, the octave
5985 change is cancelled with the word @notation{loco} (q.v.).
5987 To parallel the list above:
5991 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5992 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5993 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5994 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5998 In the phrases above, @notation{quindicesima} is sometimes replaced with
5999 @notation{quindecima}, which is Latin.
6001 The music on an entire staff can be marked to be played in a different octave by
6002 putting a small 8 or 15 above or below the clef at the beginning. This octave
6003 mark can be applied to any clef, but it is most frequently used with the G and F
6007 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6010 @node octave marking
6011 @section octave marking
6020 FI: oktaavamerkintä.
6022 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6023 that it is to be played in a different octave. If applied to the clef at the
6024 beginning of the staff, all music on that staff is to played at the indicated
6027 For a list of the specific marks used, see @ref{octave mark}.
6030 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6034 @section octave sign
6044 I: abbellimento, fioriture,
6045 F: agrément, ornement,
6046 D: Verzierung, Ornament,
6052 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6053 with the diatonic @ref{second} above it. In the music from the
6054 middle of the 19th century and onwards the trill is performed with the main
6055 note first while in the music from the preceding baroque and classic periods
6056 the upper note is played first.
6058 @lilypond[quote,line-width=13.0\cm]
6060 \context Staff = sa {
6062 c2._"pre-1850" b4\trill | c1 \bar "||"
6063 c2._"post-1850" b4\trill | c1 \bar "||"
6067 c2. c32 b c b c b c b | c1
6068 c2. b32 c b c \times 4/5 { b c b c b } | c1
6073 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6075 @emph{prall} (inverted mordent).
6077 @lilypond[quote,line-width=13.0\cm]
6079 \context Staff = sa {
6081 a4_"turn" b\turn c2 \bar "||"
6082 g4_"mordent" a b\mordent a \bar "||"
6083 e'4_"prall" d\prall c2 \bar "||"
6089 e'4 e32[ d e d ~ d8] c2
6095 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6108 FI: ossia, vaihtoehtoinen esitystapa.
6110 Ossia (otherwise) marks an alternative. It is an added staff or piano
6111 score, usually only a few measures long, which presents another version
6112 of the music, for example for small hands.
6115 No cross-references.
6128 FI: stemma, instrumenttiosuus.
6132 @item In instrumental or choral music, the music for a single
6133 instrument or voice.
6135 @item in contrapuntal music, a single melodic line in the contrapuntal
6158 @node percent repeat
6159 @section percent repeat
6161 LilyPond-specific term to indicate the repetition of a musical expression on a
6162 single staff, as opposed to the more usual definition of repeat, which affects
6163 all parts. The musical expression can be anything from a single note or note
6164 pattern to one or more measures. There are other names for this symbol:
6169 @item slash mark, or slash repeat
6171 @item measure (or multi-measure) repeat
6175 @lilypond[quote,relative=2,line-width=13.0\cm]
6177 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6178 \repeat percent 2 { c4 e g b_"Measure repeat" }
6179 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6184 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6185 Vermont Music Dictionary}.
6194 D: Schlagzeug, Schlagwerk,
6200 A family of musical instruments which are played on by striking or
6201 shaking. Percussion instruments commonly used in a symphony orchestra are
6202 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6203 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6207 No cross-references.
6210 @node perfect interval
6211 @section perfect interval
6213 ES: intervalo justo,
6214 I: intervallo giusto,
6215 F: intervalle juste,
6216 D: reines Intervall,
6220 FI: puhdas intervalli.
6238 A natural division of the melodic line, comparable to a sentence of speech.
6254 FI: fraseeraus, jäsentäminen.
6256 The clear rendering in musical performance of the @notation{phrases} of the
6257 melody. Phrasing may be indicated by a @notation{slur}.
6260 @ref{phrase}, @ref{slur}.
6275 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6276 @emph{mezzo piano} (@b{mp}) medium soft.
6279 No cross-references.
6287 F: anacrouse, levée,
6312 @item The perceived quality of a sound that is primarily a function of its
6313 fundamental frequency.
6315 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6317 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6318 association of a particular frequency with a particular pitch name, e.g., c' =
6334 NL: pizzicato, getokkeld,
6337 FI: pizzicato, näppäillen.
6339 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6343 No cross-references.
6349 ES: compás polimétrico,
6356 FI: monia tahtiosoituksia sisältävä.
6360 @item The @emph{simultaneous} use of two or more meters, in two or more
6363 @item The @emph{successive} use of different meters in one or more parts.
6368 @ref{polymetric} (adj.)
6381 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6383 Characterized by @emph{polymeter}: using two or more metric frameworks
6384 simultaneously or in alternation.
6387 @ref{polymeter} (noun)
6390 @node polymetric time signature
6391 @section polymetric time signature
6393 ES: compás polimétrico,
6400 FI: vaihtelevan tahtiosoitusmerkintä.
6402 A time signature that indicates regularly alternating polymetric time.
6414 D: Polyphonie, Mehrstimmigkeit,
6418 FI: polyfonia, moniäänisyys.
6420 Music written in a combination of several simultaneous voices (parts)
6421 of a more or less pronounced individuality.
6430 [Italian: past participle of @emph{portare}, @q{to carry}]
6432 A stroke in which each of several notes is separated slightly within a slur,
6433 without changing the bow's direction. It is used for passages of a
6434 @notation{cantabile} character.
6446 D: Presto, Sehr schnell,
6447 NL: presto, Sehr schnell,
6450 FI: presto, hyvin nopeasti.
6454 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6455 denotes the highest possible degree of speed.
6458 No cross-references.
6473 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6474 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6479 @item A ratio that expresses the relationship between the note values that
6480 follow with those that precede;
6482 @item A ratio between the note values of a passage and the @q{normal}
6483 relationship of note values to the metrical pulse. (A special case of the
6488 The most common proportions are:
6491 @item 2:1 (or simply 2), expressed by a vertical line through the
6492 mensuration sign (the origin of the @notation{alla breve} time signature),
6493 or by turning the sign backwards
6494 @item 3:1 (or simply 3)
6495 @item 3:2 (@emph{sesquialtera})
6498 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6501 @item 1:2 cancels 2:1
6502 @item 1:3 cancels 3:1
6503 @item 2:3 cancels 3:2
6507 Gaffurius enumerates five basic types of major:minor proportions and their
6511 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6512 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6514 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6515 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6516 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6518 @item Superpartiens, if the major number is one less than twice the minor
6519 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6521 @item Multiplexsuperparticular, if the major number is one more than twice the
6522 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6525 @item Multiplexsuperpartiens, if the major number is one less than some other
6526 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6527 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6531 He then continues to subdivide each type in various ways. For the multiplex
6532 proportions, for example, he indicates how many times greater the major number
6537 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6538 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6540 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6543 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6544 Example: 4:1, 8:2, and 12:3
6548 Other proportions were possible, but whether they were frequently used is
6553 @item 33:9, @emph{triplasuperbipartientetertias}
6554 @item 51:15, @emph{triplasuperbipartientequintas}
6558 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6561 @ref{mensural notation}.
6564 @node Pythagorean comma
6565 @section Pythagorean comma
6567 ES: coma pitagórica,
6568 I: comma pitagorico,
6569 F: comma pythagoricien,
6570 D: Pythagoräisches Komma,
6571 NL: komma van Pythagoras,
6572 DK: pythagoræisk komma,
6573 S: pytagoreiskt komma,
6574 FI: pytagorinen komma.
6576 Originally, the interval by which the sum of six whole tones exceeds the octave
6577 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6579 Modern acoustical theory defines it as the interval by which twelve fifths
6580 exceed seven octaves. To put it another way: A sequence of fifths that starts
6581 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6582 than the C obtained by adding 7 octaves. The difference between those two
6583 pitches is the Pythagorean comma.
6586 @ref{cent}, @ref{temperament}.
6617 The quality of a triad is determined by the precise arrangement of its
6618 intervals. Tertian triads can be described as a series of three notes. The
6619 first element is the root note (or simply @q{root}) of the chord, the second
6620 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6621 the chord. These are described below:
6623 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6624 @headitem Chord name
6625 @tab Component intervals
6628 @item major triad @tab major third/perfect fifth
6630 @tab C, CM, Cma, Cmaj, CΔ
6631 @item minor triad @tab minor third/perfect fifth
6633 @tab Cm, Cmi, Cmin, C-
6634 @item augmented triad @tab major third/augmented fifth
6637 @item diminished triad @tab minor third/diminished fifth
6639 @tab Cm(♭5), Cº, Cdim
6642 There are various types of seventh chords depending on the quality of the
6643 original chord and the quality of the seventh added.
6645 Five common types of seventh chords have standard symbols. The chord quality
6646 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6647 and D^m7 are all identical). The last three chords are not commonly used
6655 @section quarter note
6660 @item I: semiminima, nera
6662 @item D: Viertel, Viertelnote
6664 @item DK: fjerdedelsnode
6665 @item S: fjärdedelsnot
6666 @item FI: neljäsosanuotti
6674 @section quarter rest
6677 @item UK: crotchet rest
6678 @item ES: silencio de negra
6679 @item I: pausa di semiminima
6681 @item D: Viertelpause
6683 @item DK: fjerdedelspause
6684 @item S: fjärdedelspaus
6685 @item FI: neljäsosatauko
6693 @section quarter tone
6695 ES: cuarto de tonno,
6702 FI: neljännessävelaskel.
6704 An interval equal to half a semitone.
6713 ES: cinquillo, quintillo.
6727 @section rallentando
6732 D: rallentando, langsamer werden,
6736 FI: rallerdando, hidastuen.
6738 [Italian] A performance indication, abbreviated "rall.".
6745 @section relative key
6748 I: tonalità relativa,
6749 F: tonalité relative,
6751 NL: paralleltoonsoort,
6752 DK: paralleltoneart,
6754 FI: rinnakkaissävellaji.
6756 Major and minor keys that have the same key signature.
6758 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6760 es1_"e flat major" f g as bes c d es
6764 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6766 c1_"c minor" d es f g a! b! c
6771 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6779 F: barre de reprise,
6782 DK: gen@-ta@-gel@-se,
6786 @lilypond[quote,relative=2,line-width=13.0\cm]
6798 No cross-references.
6813 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6814 @c specify the rest's value.
6834 @item Metrical rhythm in which every time value is a multiple or
6835 fraction of a fixed unit of time, called @ref{beat}, and in which the
6836 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6837 The basic scheme of time values is called @ref{meter}.
6839 @item Measured rhythm which lacks regularly recurrent accent. In
6840 modern notation such music appears as a free alternation of different
6843 @item Free rhythm, i.e., the use of temporal values having no common
6844 metrical unit (beat).
6849 No cross-references.
6858 D: ritardando, langsamer werden,
6862 FI: ritardando, hidastuen,
6864 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6867 No cross-references.
6880 FI: ritenuto, hidastaen.
6882 Immediate reduction of speed.
6885 No cross-references.
6898 FI: asteikko, sävelasteikko.
6901 @ref{diatonic scale}.
6905 @section scale degree
6907 ES: grado (de la escala),
6908 I: grado della scala,
6909 F: degré [de la gamme],
6911 NL: trap [van de toonladder],
6914 FI: sävelaste, asteikon sävel.
6916 Names and symbols used in harmonic analysis to denote tones of the
6917 scale as roots of chords. The most important are degrees I = tonic
6918 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6920 @lilypond[quote,notime,line-width=13.0\cm]
6922 \new Staff \relative c' {
6926 << { I II III IV V VI VII I }
6933 @ref{functional harmony}.
6941 F: à cordes ravallées,
6946 FI: epätavallinen viritys.
6948 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6949 tuning of stringed instruments, particularly lutes or violins. Used
6954 @item facilitate pitch combinations that would otherwise be difficult
6957 @item alter the characteristic timbre of the instrument, for example,
6958 to increase brilliance
6960 @item reinforce certain sonorities or tonalities by making them
6961 available on open strings
6963 @item imitate other instruments
6969 Tunings that could be called @var{scordatura} first appeared early in
6970 the 16th Century and became commonplace in the 17th.
6973 No cross-references.
6982 D: Partitur (full score), Klavierauszug (vocal score),
6988 A copy of orchestral, choral, or chamber music showing what each
6989 instrument is to play, each voice to sing, having each part arranged
6990 one underneath the other on different staves @ref{staff}.
6993 No cross-references.
7008 The interval between two neighboring tones of a scale. A diatonic scale
7009 consists of alternating semitones and whole tones, hence the size of a
7010 second depends on the scale degrees in question.
7013 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
7020 @item US: whole note,
7024 @item D: Ganze, ganze Note,
7025 @item NL: hele noot,
7028 @item FI: kokonuotti.
7031 Note value: called @notation{whole note} in the US.
7033 The semibreve is the basis for the @notation{tactus} in mensural notation
7034 (i.e. music written before ca. 1600).
7037 @ref{mensural notation}, @ref{note value}.
7052 The interval of a minor second. The (usually) smallest interval in European
7053 composed music. The interval between two neighboring tones on the piano
7054 keyboard -- including black and white keys -- is a semitone. An octave may
7055 be divided into 12@w{ }semitones.
7057 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
7058 g1 gis s a bes s b! c
7062 @ref{interval}, @ref{chromatic scale}.
7085 @ref{sextuplet}, @ref{note value}.
7139 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7140 is to be played in the same manner (i.e. with the same articulations, dynamics,
7141 etc.) as the music that precedes it.
7144 TODO: Where else could I refer the reader?
7148 @section simple meter
7150 ES: compás simple, compás de subdivisión binaria,
7157 FI: kaksijakoinen tahtiosoitus.
7159 A meter in which the basic beat is subdivided in two: that is, a meter
7160 that does not include triplet subdivision of the beat.
7163 @ref{compound meter}, @ref{meter}.
7166 @node sixteenth note
7167 @section sixteenth note
7170 @item UK: semiquaver
7171 @item ES: semicorchea
7173 @item F: double croche
7174 @item D: Sechzehntel, Sechzehntelnote
7175 @item NL: zestiende noot
7176 @item DK: sekstendedelsnode
7177 @item S: sextondelsnot
7178 @item FI: kuudestoistaosanuotti
7185 @node sixteenth rest
7186 @section sixteenth rest
7189 @item UK: semiquaver rest
7190 @item ES: silencio de semicorchea
7191 @item I: pausa di semicroma
7192 @item F: quart de soupir
7193 @item D: Sechzehntelpause
7194 @item NL: zestiende rust
7195 @item DK: sekstendedelspause
7196 @item S: sextondelspaus
7197 @item FI: kuudestoistaosatauko
7220 @node sixty-fourth note
7221 @section sixty-fourth note
7224 @item UK: hemidemisemiquaver
7226 @item I: semibiscroma
7227 @item F: quadruple croche
7228 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7229 @item NL: vierenzestigste noot
7230 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7231 @item S: sextiofjärdedelsnot
7232 @item FI: kuudeskymmenesneljäsosanuotti
7239 @node sixty-fourth rest
7240 @section sixty-fourth rest
7243 @item UK: hemidemisemiquaver rest
7244 @item ES: silencio de semifusa
7245 @item I: pausa di semibiscroma
7246 @item F: seizième de soupir
7247 @item D: Vierundsechzigstelpause
7248 @item NL: vierenzestigste rust
7249 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7250 @item S: sextiofjärdedelspaus
7251 @item FI: kuudeskymmenesneljäsosatauko
7259 @section slash repeat
7262 @ref{percent repeat}.
7268 ES: ligadura (de expresión),
7269 I: legatura (di portamento or espressiva),
7271 D: Bogen (Legatobogen, Phrasierungsbogen),
7272 NL: fraseringsboog, legatoboog, streekboog,
7273 DK: legatobue, fraseringsbue,
7277 A slur above or below a group of notes indicates that they are to be
7278 played @ref{legato}, e.g., with one stroke of the violin bow or with
7279 one breath in singing.
7282 No cross-references.
7286 @section solmization
7295 FI: suhteelliset laulunimet.
7297 General term for systems of designating the degrees of the
7298 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7299 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7303 @ref{scale}, @ref{scale degree}.
7318 In its present-day meaning a sonata denotes an instrumental
7319 composition for piano or for some other instrument with piano
7320 accompaniment, which consists of three or four independant pieces,
7324 No cross-references.
7328 @section sonata form
7332 F: [en] forme de sonate,
7334 NL: hoofdvorm, sonatevorm,
7339 A form used frequently for single movements of the @emph{sonata},
7340 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7341 three sections called @notation{exposition}, @notation{development} and
7342 @notation{recapitulation}. In the exposition the composer introduces some
7343 musical ideas, consisting of a number of themes; in the development section the
7344 composer @emph{develops} this material, and in the recapitulation the composer
7345 repeats the exposition, with certain modifications. The exposition contains a
7346 number of themes that fall into two groups, often called first and second
7347 subject. Other melodies occurring in each group are considered as continuations
7348 of these two. The second theme is in another key, normally in the key of the
7349 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7350 @notation{relative key} if the tonic is @notation{minor}.
7353 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7354 @ref{symphony}, @ref{tonic}.
7374 FI: sopraano, korkea naisääni.
7376 The highest female voice.
7379 No cross-references.
7387 F: staccato, piqué, détaché,
7392 FI: staccato, lyhyesti, terävästi.
7394 Playing the note(s) short. Staccato is indicated by a dot above or
7395 below the note head.
7397 @lilypond[quote,relative=2]
7401 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7407 No cross-references.
7415 I: pentagramma, rigo (musicale),
7417 D: Notensystem, Notenzeile,
7418 NL: (noten)balk, partij,
7423 A staff (plural: staves) is a series of (normally five) horizontal
7424 lines upon and between which the musical notes are written, thus
7425 indicating (in connection with a @ref{clef}) their pitch. Staves for
7426 @ref{percussion} instruments may have fewer lines.
7429 No cross-references.
7445 D: Hals, Notenhals, Stiel,
7451 Vertical line above or below a @ref{note head} shorter than a
7454 @lilypond[quote,notime,relative=2]
7455 \set Score.autoBeaming = ##f
7476 FI: kiihdyttäen, nopeuttaen.
7478 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7497 A family of stringed musical instruments played with a bow. Strings
7498 commonly used in a symphony orchestra are violin, viola, violoncello,
7502 No cross-references.
7506 @section strong beat
7511 D: betonter Taktteil oder Taktschlag,
7513 D: betonet taktslag,
7514 S: betonat taktslag,
7515 FI: tahdin vahva isku.
7518 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7522 @section subdominant
7531 FI: subdominantti, alidominantti.
7533 The fourth @notation{scale degree}.
7536 @ref{functional harmony}, @ref{scale degree}.
7551 The sixth @notation{scale degree}.
7554 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7567 FI: subtoonika, alitoonika.
7569 The seventh @ref{scale degree}.
7572 @ref{functional harmony}, @ref{scale degree}.
7578 ES: sobre la cuerda de Sol,
7581 D: auf G, auf der G-Saite,
7587 Indicates that the indicated passage (or note) should be played on the
7591 No cross-references.
7595 @section superdominant
7606 The sixth @ref{scale degree}.
7609 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7624 The second @ref{scale degree}.
7627 @ref{functional harmony}, @ref{scale degree}.
7636 D: Sinfonie, Symphonie,
7642 A symphony may be defined as a @emph{sonata} for orchestra.
7650 @section syncopation
7661 Any deliberate upsetting of the normal pulse of @ref{meter},
7662 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7663 rhythm rests upon the grouping of equal beats into groups of two or
7664 three, with a regularly recurrent accent on the first beat of each
7665 group. Any deviation from this scheme is felt as a disturbance or
7666 contradiction between the underlaying (normal) pulse and the actual
7669 @lilypond[quote,relative=1]
7672 e16 c'8 e,16 c'8 e,16 c' ~
7677 No cross-references.
7680 @node syntonic comma
7681 @section syntonic comma
7683 ES: coma sintónica, coma de Dídimo,
7684 I: comma sintonico (o didimico),
7685 F: comma syntonique,
7686 D: syntonisches Komma,
7687 NL: syntonische komma,
7688 DK: syntonisk komma,
7689 S: syntoniskt komma,
7690 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7691 Pytagorisessa viritysjärjestelmässä.
7693 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7694 by which the ditone exceeds the pure major third obtained by Pythagorean
7695 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7697 Modern acoustical theory defines it as the interval by which four fifths exceed
7698 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7700 This comma is also known as the comma of Didymus, or didymic comma.
7703 @ref{Pythagorean comma}
7712 D: Notensystem, Partitur,
7716 FI: nuottijärjestelmä.
7718 The collection of staves (@notation{staff}), two or more, as used for writing
7719 down of keyboard, chamber, choral, or orchestral music.
7726 @section temperament
7731 D: Stimmung, Tem@-pe@-ra@-tur,
7732 NL: stemming, temperatuur,
7735 FI: viritysjärjestelmä.
7737 Systems of tuning in which the intervals deviate from the acoustically
7741 @ref{meantone temperament}, @ref{equal temperament}.
7744 @node tempo indication
7745 @section tempo indication
7747 ES: indicación de tempo,
7748 I: indicazione di tempo,
7749 F: indication de tempo,
7750 D: Zeitmaß, Tempobezeichnung,
7751 NL: tempo aanduiding,
7756 The rate of speed of a composition or a section thereof, ranging from the
7757 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7758 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7762 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7776 FI: tenori, korkea miesääni.
7778 The highest @q{natural} male voice (apart from @notation{countertenor}).
7803 ES: subrayado (tenuto),
7812 An indication that a particular note should be held for the whole
7813 length, although this can vary depending on the composer and era.
7816 No cross-references.
7835 @node thirty-second note
7836 @section thirty-second note
7839 @item UK: demisemiquaver
7842 @item F: triple croche
7843 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7844 @item NL: twee@-endertig@-ste (32e) noot
7845 @item DK: toogtredivtedelsnode
7846 @item S: trettiotvåondelsnot
7847 @item FI: kolmaskymmeneskahdesosanuotti
7854 @node thirty-second rest
7855 @section thirty-second rest
7858 @item UK: demisemiquaver rest
7859 @item ES: silencio de fusa
7860 @item I: pausa di biscroma
7861 @item F: huitième de soupir
7862 @item D: Zweiunddreissigstel@-pause
7863 @item NL: twee@-endertig@-ste (32e) rust
7864 @item DK: toogtredivtedelspause
7865 @item S: trettiotvåondelspaus
7866 @item FI: kolmaskymmeneskahdesosatauko
7874 @section thorough bass
7883 ES: ligadura de prolongación, ligadura de unión,
7884 I: legatura (di valore),
7886 D: Haltebogen, Bindebogen,
7887 NL: overbinding, bindingsboog,
7889 S: bindebåge, överbindning,
7892 A curved line, identical in appearance with the @ref{slur}, which
7893 connects two succesive notes of the same pitch, and which has the
7894 function of uniting them into a single sound (tone) equal to the
7897 @lilypond[quote,notime,relative=2]
7909 @node time signature
7910 @section time signature
7912 ES: indicación de compás,
7914 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7915 D: Taktangabe, Angabe der Taktart,
7918 S: taktartssignatur,
7921 The sign placed at the beginning of a composition to indicate its
7922 meter. It most often takes the form of a fraction, but a few signs
7923 derived from mensural notation and proportions are also employed.
7926 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7941 A sound of definite pitch and duration, as distinct from @emph{noise}.
7942 Tone is a primary building material of music.
7944 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7947 No cross-references.
7962 The first @notation{scale degree}.
7965 @ref{functional harmony}, @ref{scale degree}.
7968 @node transposing instrument
7969 @section transposing instrument
7971 ES: instrumento transpositor,
7978 FI: transponoitava soitin.
7980 Instruments whose notated pitch is different from their sounded pitch. Except
7981 for those whose notated and sounding pitches differ by one or more octaves (to
7982 reduce the number of ledger lines needed), most such instruments are identified
7983 by the letter name of the pitch class of their fundamental. The pitch class is
7984 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7985 the instrument plays a notated C.
7987 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7988 the B-flat one tone lower. If played on the A clarinet, the same written
7989 note sounds the A (one and half tones -- a minor third -- lower).
7991 Not all transposing instruments include the pitch class in their name:
7995 @item English horn (in F)
7997 @item Alto flute (in G)
8002 @ref{concert pitch}.
8006 @section transposition
8017 Shifting a melody up or down in pitch, while keeping the same
8020 @lilypond[quote,line-width=13.0\cm]
8025 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8030 @lilypond[quote,line-width=13.0\cm]
8033 \transpose c bes \relative c'' {
8035 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8041 No cross-references.
8045 @section treble clef
8048 I: chiave di violino,
8050 D: Violinschlüssel, Sopranschlüssel,
8072 On stringed instruments:
8076 @item The quick reiteration of the same tone, produced by a rapid
8077 up-and-down movement of the bow.
8079 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8080 in the distance of a third (@ref{interval}).
8084 @lilypond[quote,notime,relative=1]
8086 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8087 \repeat tremolo 8 { e32_"b" g }
8099 F: triade, accord parfait, accord de trois sons,
8115 F: trille, tremblement, battement (cadence),
8127 @section triple meter
8129 ES: compás ternario,
8132 D: in drei, ungerader Takt,
8133 NL: driedelige maatsoort,
8175 @section tuning fork
8177 ES: diapasón, horquilla de afinación,
8178 I: diapason, corista,
8186 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8187 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8188 standard. Tuning forks for other pitches are available.
8197 A non-standard subdivision of a beat or part of a beat, usually
8198 indicated with a bracket and a number indicating the number of
8202 @ref{triplet}, @ref{note value}.
8208 ES: grupeto (circular),
8231 FI: unisono, yksiäänisesti.
8233 Playing of the same notes or the same melody by various instruments
8234 (voices) or by the whole orchestra (choir), either at exactly the same
8235 pitch or in a different octave.
8238 No cross-references.
8246 F: anacrouse, levée,
8267 FI: ääni, lauluääni.
8275 @item @ref{mezzo-soprano}
8276 @item @ref{contralto}
8278 @item @ref{baritone}
8282 @item A melodic layer or part of a polyphonic composition.
8287 No cross-references.
8293 ES: vez, primera y segunda vez,
8300 FI: yksi kertauksen maaleista.
8302 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8303 or second ending. LilyPond extends this idea to any number, and allows any text
8304 (not just a number) -- to serve as the @notation{volta} text.
8307 No cross-references.
8314 I: tempo debole, arsi,
8316 D: unbetonter Taktteil oder Taktschlag,
8318 DK: ubetonet taktslag,
8319 S: obetonat taktslag,
8320 FI: tahdin heikko isku.
8323 @ref{beat}, @ref{measure}, @ref{rhythm}.
8334 @item D: Ganze, ganze Note
8338 @item FI: kokonuotti
8349 @item UK: semibreve rest
8350 @item ES: silencio de redonda
8351 @item I: pausa di semibreve
8353 @item D: ganze Pause, ganztaktige Pause
8355 @item DK: helnodespause
8376 The interval of a major second. The interval between two tones
8377 on the piano keyboard with exactly one key between them -- including
8378 black and white keys -- is a whole tone.
8396 A family of blown wooden musical instruments. Today some of these
8397 instruments are actually made from metal. The woodwind instruments
8398 commonly used in a symphony orchestra are flute, oboe, clarinet,
8399 saxophone, and bassoon.
8402 No cross-references.
8405 @node Duration names notes and rests
8406 @chapter Duration names notes and rests
8408 @multitable @columnfractions .12 .22 .22 .22 .22
8410 @headitem Lang. @tab note name
8414 @item @strong{US} @tab long
8418 @item @strong{UK} @tab longa
8422 @item @strong{ES} @tab longa
8423 @tab silencio de longa
8425 @tab silencio de cuadrada
8426 @item @strong{IT} @tab longa
8430 @item @strong{FR} @tab longa
8431 @tab quadruple-pause
8434 @item @strong{DE} @tab Longa
8438 @item @strong{NL} @tab longa
8442 @item @strong{DK} @tab longa
8443 @tab longanodespause
8445 @tab brevis(nodes)pause
8446 @item @strong{SE} @tab longa
8450 @item @strong{FI} @tab longa-nuotti
8452 @tab brevis-nuotti, kaksoiskoko@-nuotti
8453 @tab brevis-tauko, kaksoiskoko@-tauko
8457 @multitable @columnfractions .12 .22 .22 .22 .22
8459 @headitem Lang. @tab note name
8463 @item @strong{US} @tab whole note
8467 @item @strong{UK} @tab semibreve
8471 @item @strong{ES} @tab redonda
8472 @tab silencio de redonda
8474 @tab silencio de blanca
8475 @item @strong{IT} @tab semibreve
8476 @tab pause di semibreve
8478 @tab pausa di minima
8479 @item @strong{FR} @tab ronde
8483 @item @strong{DE} @tab ganze Note
8487 @item @strong{NL} @tab hele noot
8491 @item @strong{DK} @tab helnode
8495 @item @strong{SE} @tab helnot
8499 @item @strong{FI} @tab kokonuotti
8506 @multitable @columnfractions .12 .22 .22 .22 .22
8508 @headitem Lang. @tab note name
8512 @item @strong{US} @tab quarter note
8516 @item @strong{UK} @tab crotchet
8520 @item @strong{ES} @tab negra
8521 @tab silencio de negra
8523 @tab silencio de corchea
8524 @item @strong{IT} @tab semiminima, nera
8525 @tab pausa di semiminima, pausa di nera
8528 @item @strong{FR} @tab noire
8532 @item @strong{DE} @tab Viertelnote
8536 @item @strong{NL} @tab kwartnoot
8540 @item @strong{DK} @tab fjerdedelsnode
8541 @tab fjerdedelspause
8542 @tab ottendedelsnode
8543 @tab ottendedelspause
8544 @item @strong{SE} @tab fjärdedelsnot
8548 @item @strong{FI} @tab neljäsosa@-nuotti
8549 @tab neljäsosa@-tauko
8550 @tab kahdeksasosa@-nuotti
8551 @tab kahdeksasosa@-tauko
8555 * About the French naming system: @emph{croche} refers to the note's "hook".
8556 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8557 hook}, @q{trebled hook}, and so on.
8559 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8560 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8561 a @emph{soupir}, and so on.
8563 Each of the following tables contains one type of note and its matching rest,
8564 with abbreviations that apply to both notes and rests. Just switch the part
8565 that means @q{note} with the part that means @q{rest}, for example:
8569 @item English: 16th @strong{note}, 16th @strong{rest}
8570 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8571 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8575 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8576 duration name. If you know of one that I missed, please send it to me, care of
8577 the lilypond-user discussion list.
8579 @multitable @columnfractions .10 .35 .35 .20
8581 @headitem Lang. @tab Note name
8584 @item @strong{US} @tab sixteenth note
8587 @item @strong{UK} @tab semiquaver
8588 @tab semiquaver rest
8590 @item @strong{ES} @tab semicorchea
8591 @tab silencio de semicorchea
8593 @item @strong{IT} @tab semicroma
8594 @tab pausa di semicroma
8596 @item @strong{FR} @tab double croche
8597 @tab quart de soupir
8599 @item @strong{DE} @tab Sechzehntelnote
8600 @tab Sechzehntelpause
8602 @item @strong{NL} @tab zes@-ti@-ende noot
8603 @tab zes@-ti@-ende rust
8605 @item @strong{DK} @tab sekstendedelsnode
8606 @tab sekstendedelspause
8608 @item @strong{SE} @tab sextondelsnot
8611 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8612 @tab kuudes@-toistaosa@-tauko
8617 @multitable @columnfractions .10 .35 .35 .20
8619 @headitem Lang. @tab Note name
8622 @item @strong{US} @tab thirty-second note
8623 @tab thirty-second rest
8625 @item @strong{UK} @tab demisemiquaver
8626 @tab demisemiquaver rest
8628 @item @strong{ES} @tab fusa
8629 @tab silencio de fusa
8631 @item @strong{IT} @tab biscroma
8632 @tab pausa di biscroma
8634 @item @strong{FR} @tab triple croche
8635 @tab huitième de soupir
8637 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8638 @tab Zweiunddreißig@-stelpause
8640 @item @strong{NL} @tab twee@-endertigste noot
8641 @tab twee@-endertigste rust
8643 @item @strong{DK} @tab toogtredivtedelsnode
8644 @tab toogtredivtedelspause
8646 @item @strong{SE} @tab trettio@-tvåondelsnot
8647 @tab trettio@-tvåondelspaus
8649 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8650 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8655 @multitable @columnfractions .10 .35 .35 .20
8657 @headitem Lang. @tab Note name
8660 @item @strong{US} @tab sixty-fourth note
8661 @tab sixty-fourth rest
8663 @item @strong{UK} @tab hemidemisemiquaver
8664 @tab hemidemisemiquaver rest
8666 @item @strong{ES} @tab semifusa
8667 @tab silencio de semifusa
8669 @item @strong{IT} @tab semibiscroma
8670 @tab pausa di semibiscroma
8672 @item @strong{FR} @tab quadruple croche
8673 @tab seizième de soupir
8675 @item @strong{DE} @tab Vierundsechzigstelnote
8676 @tab Vierundsechzigstelpause
8678 @item @strong{NL} @tab vierenzestigste noot
8679 @tab vierenzestigste rust
8681 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8682 @tab fireog@-tredsindstyven@-dedelspause
8684 @item @strong{SE} @tab sextiofjärdedelsnot
8685 @tab sextiofjärdedelspaus
8687 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8688 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8693 @multitable @columnfractions .10 .35 .35 .20
8695 @headitem Lang. @tab Note name
8698 @item @strong{US} @tab one-hundred-twenty-eighth note
8699 @tab one-hundred-twenty-eighth rest
8701 @item @strong{UK} @tab semihemidemisemiquaver
8702 @tab semihemidemisemiquaver rest
8704 @item @strong{ES} @tab garrapatea
8705 @tab silencio de garrapatea
8707 @item @strong{IT} @tab fusa
8710 @item @strong{FR} @tab quintuple croche
8711 @tab trente-deuxième de soupir @tab -
8712 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8713 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8714 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8715 @tab honderd@-acht@-en@-twintigste rust
8717 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8718 @tab hundrede@-otte@-og@-tyvendedels@-pause
8720 @item @strong{SE} @tab hundratjugoåttondelsnot
8721 @tab hundratjugoåttondelspaus
8723 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8724 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8729 @multitable @columnfractions .10 .35 .35 .20
8731 @headitem Lang. @tab Note name
8734 @item @strong{US} @tab two-hundred-fifty-sixth note
8735 @tab two-hundred-fifty-sixth rest
8737 @item @strong{UK} @tab demisemihemidemisemiquaver
8738 @tab demisemihemidemisemiquaver rest
8740 @item @strong{ES} @tab semigarrapatea
8741 @tab silencio de semigarrapatea @tab -
8742 @item @strong{IT} @tab semifusa
8743 @tab pausa di semifusa
8745 @item @strong{FR} @tab sextuple croche
8746 @tab soixante-quatrième de soupir @tab -
8747 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8748 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8749 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8750 @tab tweehonderd@-zesenvijftigste rust
8752 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8753 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8755 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8756 @tab tvåhundra@-femtiosjättedelspaus
8758 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8759 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8765 @ref{mensural notation}
8769 @chapter Pitch names
8771 @c -is/-es endings for Danish per Rune Zedeler, pace
8772 @c and for Finnish per Risto Vääräniemi
8773 @c -iss/-ess endings for Swedish per Mats Bengtsson
8774 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8776 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8778 @tab ES @tab I @tab F @tab D
8779 @tab NL @tab DK @tab S @tab FI
8780 @item @strong{c} @tab do @tab do @tab ut @tab C
8781 @tab c @tab c @tab c @tab c
8782 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8783 @tab cis @tab cis @tab ciss @tab cis
8784 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8785 @tab des @tab des @tab dess @tab des
8786 @item @strong{d} @tab re @tab re @tab ré @tab D
8787 @tab d @tab d @tab d @tab d
8788 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8789 @tab dis @tab dis @tab diss @tab dis
8790 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8791 @tab es @tab es @tab ess @tab es
8792 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8793 @tab e @tab e @tab e @tab e
8794 @item @strong{f-flat} = e
8795 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8796 @tab fes @tab fes @tab fess @tab fes
8797 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8798 @tab f @tab f @tab f @tab f
8799 @item @strong{e-sharp} = f
8800 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8801 @tab eis @tab eis @tab eiss @tab eis
8802 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8803 @tab fis @tab fis @tab fiss @tab fis
8804 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8805 @tab ges @tab ges @tab gess @tab ges
8806 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8807 @tab g @tab g @tab g @tab g
8808 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8809 @tab gis @tab gis @tab giss @tab gis
8810 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8811 @tab as @tab as @tab ass @tab as
8812 @item @strong{a} @tab la @tab la @tab la @tab A
8813 @tab a @tab a @tab a @tab a
8814 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8815 @tab ais @tab ais @tab aiss @tab ais
8816 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8817 @tab bes @tab b @tab b @tab b
8818 @item @strong{b} @tab si @tab si @tab si @tab H
8819 @tab b @tab h @tab h @tab h
8827 @node Literature used
8828 @unnumberedsec Literature used
8831 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8832 Cambridge: Belknap Press (Harvard University Press), 1944.
8834 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8837 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8838 Terminologie}. Kassel, 1980.
8840 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8841 Current English}, 3rd ed. London: Oxford University Press, 1974.
8843 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8844 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8846 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8847 Cambridge: Belknap Press (Harvard University Press), 1986.
8849 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.