1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2007 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2007 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@expansion{}@strong{\word\}}@c
114 @expansion{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
154 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
211 * disjunct movement::
213 * dissonant interval::
214 * dominant ninth chord::
215 * dominant seventh chord::
218 * dot (augmentation dot)::
220 * double appoggiatura::
222 * double dotted note::
231 * ecclesiastical mode::
238 * equal temperament::
253 * functional harmony::
267 * inverted interval::
280 * long appoggiatura::
286 * meantone temperament::
294 * metronomic indication::
331 * Pythagorean comma::
353 * short appoggiatura::
357 * sixty-fourth note::
358 * sixty-fourth rest::
386 * thirty-second note::
387 * thirty-second rest::
436 FI: aksentti, korostus.
438 The stress of one tone over others.
448 ES: alteración accidental,
450 F: altération accidentelle,
451 D: Vorzeichen, Versetzungszeichen, Akzidenz,
452 NL: toevallig (verplaatsings)teken,
454 S: tillfälligt förtecken,
455 FI: tilapäinen etumerkki.
457 An accidental has the effect of an @aref{alteration} of a note. A
458 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
459 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
460 lowers it by a whole tone. A natural cancels the effect of a previous
463 @lilypond[fragment,notime,line-width=13.0\cm]
464 \set Score.automaticBars = ##f
466 \context Staff \relative c'' {
467 \set Staff.extraNatural = ##f
468 gis1 gisis ges geses g!
471 \override Lyrics .LyricText #'self-alignment-X = #-1
472 sharp "db. sharp" flat "db. flat" natural
482 F: accelerando, en accélérant,
483 D: accelerando, schneller werden,
487 FI: accelerando, kiihdyttäen.
501 FI: adagio, hitaasti.
503 It.@: comfortable, easy.
504 1.@tie{}Slow tempo, slower -- especially in even meter -- than
505 @aref{andante} and faster than @aref{largo}.
506 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
507 @aref{sonata}s, symphonies, etc.
515 D: Allegro, Schnell, Fröhlich, Lustig,
519 FI: allegro, nopeasti.
521 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
522 tempo, especially the first and last movements of a @aref{sonata}.
531 NL: verhoging of verlaging,
536 An alteration is the modification, raising or lowering, of a note's
537 pitch. It is established by an @aref{accidental}.
549 FI: altto, matala naisääni.
551 A female voice of low range (@emph{contralto}). Originally the alto was a
552 high male voice (hence the name), which by the use of falsetto reached the
553 height of the female voice. This type of voice is also known as
554 @aref{counter tenor}.
559 ES: clave de do en tercera,
560 I: chiave di contralto,
561 F: clef d'ut troisième ligne,
562 D: Altschlüssel, Bratschenschlüssel,
568 C clef setting middle C on the middle line of the staff
581 FI: ambitus, ääniala, soitinala.
583 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
584 of pitches for a given voice in a part of music. It may also denote
585 the pitch range that a musical instrument is capable of playing.
590 @c TODO: add more languages for anacrusis
594 An anacrusis (also known as pickup or upbeat) is an incomplete measure
595 of music before a section of music.
597 @node ancient minor scale
598 @section ancient minor scale
600 ES: escala menor antigua,
601 I: scala minore naturale,
602 F: forme du mode mineur ancien, troisème mode, mode hellénique
604 NL: authentieke mineurtoonladder,
607 FI: luonnollinen molliasteikko.
609 @aref{diatonic scale}.
611 @lilypond[fragment,notime,line-width=13.0\cm]
612 \set Score.automaticBars = ##f
629 Walking tempo/character.
632 @section appoggiatura
636 F: appoggiature, (port de voix),
641 FI: appoggiatura, etuhele.
643 Ornamental note, usually a second, that is melodically connected with the
644 main note following it. In music before the 19th century a.@: were usually
645 performed on the beat, after that mostly before the beat. While the short
646 a.@: is performed as a short note regardless of the duration of the main note
647 the duration of the long a.@: is proportional to that of the main note.
649 @lilypond[line-width=13.0\cm]
650 \context Voice \relative c'' {
654 %\override Score.TextScript #'font-style = #'large
655 <d a fis>4_"notation" r
656 { \override Stem #'flag-style = #'()
658 \revert Stem #'flag-style
661 { \override Stem #'flag-style = #'()
663 \revert Stem #'flag-style
666 \cadenzaOn a4 \bar "||" \cadenzaOff
668 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
669 \cadenzaOn a4 \bar "||" \cadenzaOff
673 An appoggiatura may have more notes preceding the main note.
675 @lilypond[line-width=13.0\cm]
679 % \override Score.TextScript #'font-style = #'large
680 \grace { bes16 } as8_"notation" as16 bes as8 g |
681 \grace { as16[( bes] } < c as >4-)
682 \grace { as16[( bes] } < c as >4-) \bar "||"
683 \grace { bes16 } as8_"performance" as16 bes as8 g |
684 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
685 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
696 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
698 DK: arpeggio, akkordbrydning,
700 FI: arpeggio, murtosointu.
702 @lilypond[fragment,line-width=13.0\cm]
703 \context PianoStaff <<
704 \context Staff = SA \relative c'' {
707 r8 g16 c e g, c e r8 g,16 c e g, c e |
708 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
709 \context Staff = SB \relative c' {
711 << \context Voice = va {
713 r16 e8. ( e4) r16 e8. ( e4) |
714 r16 d8. ( d4) r16 d8. ( d4) }
715 \context Voice = vb {
723 @section articulation
725 @c TODO: add languages for articulation.
726 Articulation refers to notation which indicates how a note or notes should
727 be played. Slurs, accents, staccato, and legato are all examples of
731 @node ascending interval
732 @section ascending interval
734 ES: intervalo ascendente,
735 I: intervallo ascendente,
736 F: intervalle ascendant,
737 D: steigendes Intervall,
738 NL: stijgend interval,
739 DK:@w{ }stigende interval,
740 S: stigande intervall,
741 FI: nouseva intervalli.
743 A distance between a starting lower note and a higher ending note.
745 @node augmented interval
746 @section augmented interval
748 ES: intervalo aumentado,
749 I: intervallo aumentato,
750 F: intervalle augmenté,
751 D: übermäßiges Intervall,
752 NL: overmatig interval,
753 DK: forstørret interval,
754 S: överstigande intervall,
755 FI: ylinouseva intervalli.
764 F: manuscrit, autographe
765 D: Autograph, Handschrift,
767 DK: håndskrift, autograf,
769 FI: käsinkirjoitettu nuotti.
771 1.@tie{}A manuscript in the composer's own hand.
772 2.@tie{}Music prepared for photoreproduction by freehand drawing,
773 with the aid of a straightedge ruler and T-square only,
774 which attempts to emulate engraving.
775 This required more skill than did engraving.
802 ES: barra, línea divisoria,
803 I: stanghetta, barra (di divisione),
804 F: barre (de mesure),
821 FI: baritoni, keskikorkuinen miesääni.
823 The male voice intermediate between the @aref{bass} and the
826 @c F: clef de troisième ligne dropped
829 @section baritone clef
831 ES: clave de fa en tercera,
832 I: chiave di baritono,
833 F: clef d' Ut cinquième ligne, clef de Fa troisième,
840 C or F clef setting middle C on the upper staff line.
841 @aref{C clef}, @aref{F clef}.
846 ES: clave de fa en cuarta,
848 F: clé de fa quatrième ligne,
855 A clef setting with middle C on the first top ledger line.
868 FI: basso, matala miesääni.
870 1.@tie{}The lowest male voice.
871 2.@tie{}Sometimes, especially in jazz music, used as
872 an abbreviation for double bass.
887 Line connecting a series of notes (shorter than a quarter note).
888 The number of beams determines the note value of the connected notes.
890 @lilypond[fragment,notime,line-width=13.0\cm]
891 \set Score.automaticBars = ##f
892 %\override TextScript #'font-style = #'large
895 g16_"1/16"[ g g g] s16
896 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
897 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
903 ES: tiempo, parte (de compás)
906 D: Takt, Taktschlag, Zeit (im Takt),
912 Note value used for counting, most often half-, fourth-, and eighth notes.
913 The base counting value and the number of them per measure is indicated at
914 the start of the music.
916 @lilypond[fragment,line-width=13.0\cm]
919 \relative c'' { g4 c b a | g1 \bar "||"}
921 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
935 D: Klammer, Akkolade,
936 NL: accolade, teksthaak,
939 FI: yhdistävä sulkumerkki.
941 Symbol at the start of a system connecting staves. Curly braces are used
942 for connecting piano staves, angular brackets for connecting parts in an
943 orchestral or choral score.
945 @lilypond[fragment,ragged-right]
946 \context GrandStaff <<
947 \relative c''\context Staff = SA { \clef treble g4 e c2 }
948 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
951 @lilypond[fragment,ragged-right]
952 \context StaffGroup <<
953 % \set StaffGroup.minVerticalAlign = #12
954 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
955 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
967 S: brassinstrument, mässingsinstrument,
970 A family of blown musical instruments made of brass, all using a cup formed
971 mouth piece. The brass instruments commonly used in a symphony orchestra are
972 trumpet, trombone, french horn, and tube.
980 D: Atemzeichen, Trennungszeichen,
981 NL: repercussieteken,
982 DK: vejrtrækningstegn,
986 Indication of where to breathe in vocal and wind instrument parts.
999 @aref{note value}, twice as long as a whole note. Mainly used
1002 @lilypond[fragment,notime,ragged-right]
1003 \set Score.automaticBars = ##f
1004 \relative c'' { g\breve }
1031 Clef symbol indicating the position of the middle C. Used on all note
1034 @lilypond[fragment,notime,line-width=13.0\cm]
1035 \set Score.automaticBars = ##f
1036 \override Score.Clef #'full-size-change = ##t
1038 \context Staff \relative c' {
1040 \clef mezzosoprano c
1045 \context Lyrics \lyrics {
1046 \override Lyrics .LyricText #'self-alignment-X = #-1
1047 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1062 FI: kadenssi, lopuke.
1064 @aref{harmonic cadence}, @aref{functional harmony}.
1076 FI: kadenssi, lopuke.
1078 An extended, improvisatory style section inserted near the end of
1079 movement. The purpose of a cadenza is to give singers or players a chance
1080 to exhibit their technical skill and -- not last -- their ability to
1081 improvise. Since the middle of the 19th century, however, most cadences have
1082 been written down by the composer.
1094 FI: kaanon, tarkka jäljittely.
1096 @aref{counterpoint}.
1108 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1109 viritysjärjestelmässä.
1111 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1112 of an equally tempered @aref{semitone}).
1113 @aref{equal temperament}.
1132 Three or more tones sounding simultaneously. In traditional European music
1134 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1136 minor @aref{third}) as well as @emph{minor} (minor + major third)
1137 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1138 and five-tone @emph{ninth} major chords are most often used as dominants
1139 (@aref{functional harmony}). A special case is chords having no
1140 third above the lower notes to define their quality as major or minor. Such
1141 chords are denoted open chords
1143 @lilypond[fragment,notime,line-width=13.0\cm]
1144 \set Score.automaticBars = ##f
1145 %\override TextScript #'font-style = #'large
1147 \context Staff \relative c'' {
1148 \set Staff.extraNatural = ##f
1167 @node chromatic scale
1168 @section chromatic scale
1170 ES: escala cromática,
1172 F: gamme chromatique,
1173 D: chro@-ma@-ti@-sche Tonleiter,
1174 NL: chromatische toonladder,
1175 DK: kromatisk skala,
1177 FI: kromaattinen asteikko.
1179 A scale consisting of all 12 @aref{semitone}s.
1181 @lilypond[fragment,notime,line-width=13.0\cm]
1182 \set Score.automaticBars = ##f
1183 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1187 @section chromaticism
1198 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1201 @section church mode
1203 ES: modo eclesiástico,
1204 I: modo ecclesiastico,
1205 F: mode ecclésiastique,
1210 FI: moodi, kirkkosävellaji.
1212 @aref{diatonic scale}.
1220 D: Schlüssel, Notenschlüssel,
1224 FI: avain, nuottiavain.
1226 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1228 The clef indicates which lines of the staff correspond to which
1229 pitches. The three clef symbols in common use are:
1231 @lilypond[ragged-right,verbatim,quote]
1234 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1235 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1236 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1241 Imagine a large staff of 11 lines centered on middle C,
1242 sometimes called a @qq{grand staff}, with
1243 the bottom line representing low G and the top line high F:
1245 @lilypond[ragged-right,verbatim,quote]
1248 %-- Treble Staff --%
1250 % Allow this staff to be placed close to the others
1251 \override Staff.VerticalAxisGroup
1252 #'minimum-Y-extent = #'(0 . 0)
1253 % Allow the treble clef to overlap the lower staves:
1254 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1255 \override Staff.Clef #'stencil = ##f % No clef required
1257 s1^\markup { "g," \transparent "g" }
1258 s^ \markup { "b," \transparent "g" }
1259 s^ \markup { "d" \transparent "g" }
1260 s^ \markup { "f" \transparent "g" }
1261 s^ \markup { "a" \transparent "g" }
1262 s^ \markup { \with-color #red c' \transparent "g"}
1263 e'^\markup { "e'" \transparent "g" }
1264 g'^\markup { "g'" \transparent "g" }
1265 b'^\markup { "b'" \transparent "g" }
1266 d''^\markup { "d''" \transparent "g" }
1267 f''^\markup { "f ''" \transparent "g" }
1269 %-- Alto Staff reduced to a single line on middle C --%
1271 \override Staff.StaffSymbol #'line-count = 1 % One line only
1272 \override Staff.StaffSymbol #'color = #red % Coloured red
1273 \override Staff.Clef #'stencil = ##f % No clef required
1276 % Allow this staff to be placed close to the others
1277 \override Staff.VerticalAxisGroup
1278 #'minimum-Y-extent = #'(0 . 0)
1279 % Specify height to give correct spacing between the staves
1280 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1282 s1 s s s s % Space along to align horizonatally
1283 \override NoteHead #'color = #red
1285 s1 s s s s % Keep staff (ie the red line) showing
1289 % Allow this staff to be placed close to the others
1290 \override Staff.VerticalAxisGroup
1291 #'minimum-Y-extent = #'(0 . 0)
1292 \override Staff.Clef #'stencil = ##f % No clef required
1295 s s s s s s % Keep staff showing
1299 % Reduce horizontal spacing so semibreves can be
1300 % used without exceeding 1 line
1301 \context { \Score \override SpacingSpanner
1302 #'base-shortest-duration = #(ly:make-moment 1 1)
1304 % Reduce apparent vertical size of note heads to
1305 % permit them to overlap other grobs vertically
1306 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1308 % Remove all barlines
1309 \context { \Score \override BarLine #'stencil = ##f
1311 % Remove time signature from all staves
1312 \context { \Staff \remove Time_signature_engraver
1318 Staves of five lines are usually used, and the clef superimposed
1320 which five lines have been selected from this @qq{grand staff}.
1321 For example, the treble or G clef indicates that the top five
1322 lines have been selected:
1324 @lilypond[ragged-right,verbatim,quote]
1327 %-- Treble Staff --%
1329 % Allow this staff to be placed close to the others
1330 \override Staff.VerticalAxisGroup
1331 #'minimum-Y-extent = #'(0 . 0)
1332 % Allow the treble clef to overlap the lower staves:
1333 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1334 \override Staff.Clef #'stencil = ##f % No clef required here
1336 s1^\markup { "g," \transparent "g" }
1337 s^ \markup { "b," \transparent "g" }
1338 s^ \markup { "d" \transparent "g" }
1339 s^ \markup { "f" \transparent "g" }
1340 s^ \markup { "a" \transparent "g" }
1341 s^ \markup { \with-color #red c' \transparent "g"}
1342 \stopStaff \startStaff
1343 \clef "C" % Dummy to force next clef to be printed
1344 s % Need at least one note for \clef to take effect
1345 \override Staff.Clef #'stencil = ##t % Clef now required
1346 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1348 e'^\markup { "e'" \transparent "g" }
1349 g'^\markup { "g'" \transparent "g" }
1350 b'^\markup { "b'" \transparent "g" }
1351 d''^\markup { "d''" \transparent "g" }
1352 f''^\markup { "f ''" \transparent "g" }
1354 %-- Alto Staff reduced to a single line on middle C --%
1356 \override Staff.StaffSymbol #'line-count = 1 % One line only
1357 \override Staff.StaffSymbol #'color = #red % Coloured red
1358 \override Staff.Clef #'stencil = ##f % No clef required
1361 % Allow this staff to be placed close to the others
1362 \override Staff.VerticalAxisGroup
1363 #'minimum-Y-extent = #'(0 . 0)
1364 % Specify height to give correct spacing between the staves
1365 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1367 s1 s s s s % Space along to align horizonatally
1368 \override NoteHead #'color = #red
1370 % s1 s s s s % Keep staff (ie the red line) showing
1374 % Allow this staff to be placed close to the others
1375 \override Staff.VerticalAxisGroup
1376 #'minimum-Y-extent = #'(0 . 0)
1377 \override Staff.Clef #'stencil = ##f % No clef required
1380 % s s s s s s % Keep staff showing
1384 % Reduce horizontal spacing so semibreves can be used
1385 % without exceeding 1 line
1386 \context { \Score \override SpacingSpanner
1387 #'base-shortest-duration = #(ly:make-moment 1 1)
1389 % Reduce apparent vertical size of note heads to
1390 % permit them to overlap other grobs vertically
1391 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1393 % Remove all barlines
1394 \context { \Score \override BarLine #'stencil = ##f
1396 % Remove time signature from all staves
1397 \context { \Staff \remove Time_signature_engraver
1403 Note the @qq{curl} of the G clef in centered on the
1404 line which represents the pitch G.
1406 In the same way, the bass or F clef indicates that
1407 the bottom five lines have been selected from the
1408 @qq{grand staff}, and the alto or C clef indicates
1409 the middle five lines have been selected. This
1410 relationship is shown below, where the notes show
1411 an arpeggio on a C major chord.
1413 @lilypond[ragged-right,verbatim,quote]
1416 %-- Treble Staff --%
1417 \new Staff = "G" \with {
1418 \remove Time_signature_engraver
1421 % The following two overrides are required to make the two middle C's overlap
1422 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1423 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1425 \override Staff.Clef #'Y-extent = #'(0 . 0)
1427 s1 s s s s e' g' c''
1430 \new Staff = "C" \with {
1431 \remove Time_signature_engraver
1434 \override Staff.StaffSymbol #'line-count = 1
1435 \override Staff.StaffSymbol #'stencil = ##f
1436 \once \override Staff.Clef #'stencil = ##f
1437 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1438 \override Score.BarLine #'stencil = ##f
1440 % The following two overrides are required to align the C staff to the G and F staves
1441 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1442 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1445 \stopStaff \startStaff
1446 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1447 \revert Staff.StaffSymbol #'stencil
1448 \override Staff.StaffSymbol #'color = #red
1449 b'1 % A frig. This really shows as a middle C in the score
1451 \stopStaff \startStaff
1452 \override Staff.StaffSymbol #'line-count = 5
1453 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1454 \override Staff.Clef #'Y-extent = #'(0 . 0)
1455 \revert Staff.StaffSymbol #'color
1456 \stopStaff \startStaff
1458 s1 s s c e g c' e' g' c''
1461 \new Staff = "F" \with {
1462 \remove Time_signature_engraver
1465 \override Staff.Clef #'Y-extent = #'(0 . 0)
1466 % The following two overrides are required to make the two middle C's overlap
1467 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1468 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1476 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1479 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1482 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1494 A @emph{cluster} is a range of simultaneously sounding pitches that
1495 may change over time. The set of available pitches to apply usually
1496 depends on the acoustic source. Thus, in piano music, a cluster
1497 typically consists of a continuous range of the semitones as provided
1498 by the piano's fixed set of a chromatic scale. In choral music, each
1499 singer of the choir typically may sing an arbitrary pitch within the
1500 cluster's range that is not bound to any diatonic, chromatic or other
1501 scale. In electronic music, a cluster (theoretically) may even cover
1502 a continuous range of pitches, thus resulting in colored noise, such
1505 Clusters can be denoted in the context of ordinary staff notation by
1506 engraving simple geometrical shapes that replace ordinary notation of
1507 notes. Ordinary notes as musical events specify starting time and
1508 duration of pitches; however, the duration of a note is expressed by
1509 the shape of the note head rather than by the horizontal graphical
1510 extent of the note symbol. In contrast, the shape of a cluster
1511 geometrically describes the development of a range of pitches
1512 (vertical extent) over time (horizontal extent). Still, the
1513 geometrical shape of a cluster covers the area in which any single
1514 pitch contained in the cluster would be notated as an ordinary note.
1516 @lilypond[fragment,relative=2,verbatim,ragged-right]
1517 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1530 FI: komma, korvinkuultava ero äänenkorkeudessa.
1532 Difference in pitch between a note derived from pure tuning and the same note
1533 derived from some other tuning method. @aref{temperament}.
1536 @section common meter
1540 @node compound interval
1541 @section compound interval
1543 ES: intervalo compuesto,
1544 I: intervallo composto,
1545 F: intervalle composé,
1546 D: weites Intervall,
1547 NL: samengesteld interval,
1548 DK: sammensat interval,
1549 S: sammansatt intervall,
1550 FI: oktaavia laajempi intervalli.
1552 Intervals larger than an octave.
1559 ES: intervalo invertido,
1561 F: intervalle complémentaire,
1562 D: Komplementärintervall,
1563 NL: complementair interval,
1564 DK: komplementærinterval,
1565 S: komplementärintervall (?),
1566 FI: täydentävä intervalli.
1568 @aref{inverted interval}.
1570 @node conjunct movement
1571 @section conjunct movement
1573 ES: movimiento conjunto,
1575 F: mouvement conjoint,
1576 D: schritt@-weise, stufenweise Bewegung,
1577 NL: stapsgewijze, trapsgewijze beweging,
1578 DK: trinvis bevægelse,
1580 FI: asteittainen liike.
1582 Progressing melodically by intervals of a second. The opposite of a
1583 @aref{disjunct movement}.
1585 @lilypond[fragment,line-width=13.0\cm]
1586 \key g \major \time 4/4
1587 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1600 FI: konsonanssi, sopusointi.
1619 @section counterpoint
1628 FI: kontrapunkti, ääni ääntä vastaan.
1630 From latin @emph{punctus contra punctum}, note against note. The combination
1631 into a single musical fabric of lines or parts which have distinct melodic
1632 significance. A frequently used polyphonic technique is imitation, in its
1633 strictest form found in the canon needing only one part to be written down
1634 while the other parts are performed with a given displacement. Imitation is
1635 also the contrapunctal technique used in the @emph{fugue} which, since the
1636 music of the baroque era, has been one of the most popular polyphonic
1637 composition methods.
1639 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1640 \set Score.implicitTimeSignatureVisibility = #all-invisible
1641 \override Score.TimeSignature #'break-visibility = #all-invisible
1642 \context PianoStaff <<
1643 \context Staff = SA \relative c' {
1647 << \context Voice = rha {
1649 r1 | r2 r8 g'8 bes d, |
1650 cis4 d r8 e!16 f g8 f16 e |
1651 f8 g16 a bes8 a16 g a8
1653 \context Voice = rhb {
1659 \context Staff = SB \relative c' {
1662 << \context Voice = lha {
1664 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1665 r8 a16 g f8 g16 a bes8 g e! cis' |
1668 \context Voice = lhb {
1677 @section counter tenor
1682 D: Countertenor, Kontratenor,
1685 S: kontratenor, counter tenor,
1691 @section copying music
1693 A music copyist did fast freehand scores and parts on preprinted staff lines
1694 for performance. Some of their conventions (e.g., the placement of note heads
1695 on stems) varied slightly from those of engravers. Some of their working
1696 methods were superior and could well be adopted by music typesetters. This
1697 required more skill than engraving.
1705 D: Crescendo, lauter werden,
1709 FI: cresendo, voimistuen.
1711 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1712 abbreviation @q{cresc.}.
1714 @lilypond[fragment,ragged-right]
1715 \key g \major \time 4/4
1716 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1724 F: petites notes précédent l'entrée d'in instrument, réplique,
1731 In a separate part notes belonging to another part with the purpose of hinting
1732 when to start playing. Usually printed in a smaller type.
1740 A custos is a staff symbol that appears at the end of a staff line
1741 with monophonic musical contents (i.e., with a single voice). It
1742 anticipates the pitch of the first note of the following line and thus
1743 helps the player or singer to manage line breaks during performance,
1744 thus enhancing readability of a score.
1746 Custodes were frequently used in music notation until the 16th
1747 century. There were different appearences for different notation
1748 styles. Nowadays, they have survived only in special forms of musical
1749 notation such as via the editio vaticana dating back to the beginning
1755 % \override Staff.Custos #'neutral-position = #4
1756 \override Staff.Custos #'neutral-direction = #down
1757 \override Staff.Custos #'style = #'hufnagel
1765 \consists Custos_engraver
1789 F: da capo, depuis le commencement,
1790 D: da capo, von Anfang,
1794 FI: da capo, alusta.
1796 The term indicates repetition of the piece from the beginning to the end or
1797 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1804 F: dal segno, depuis le signe,
1805 D: dal segno, ab dem Zeichen,
1809 FI: dal segno, lähtien merkistä.
1811 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1812 another place frequently near the beginning marked by a sign:
1814 @lilypond[fragment,ragged-right]
1815 %\override TextScript #'font-style = #'large
1816 \override TextScript #'font-shape = #'italic
1817 \key g \major \time 4/4
1822 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1828 @section decrescendo
1832 D: Decrescendo, leiser werden,
1836 FI: decresendo, hiljentyen.
1838 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1839 or the abbreviation @q{decresc.}.
1841 @lilypond[fragment,ragged-right]
1843 \key g \major \time 4/4
1844 d4 \> c b a | g1 \! \bar "|."
1848 @node descending interval
1849 @section descending interval
1851 ES: intervalo descendente,
1852 I: intervallo discendente,
1853 F: intervalle descendant,
1854 D: fallendes Intervall, absteigendes Intervall,
1855 NL: dalend interval,
1856 DK: faldende interval,
1857 S: fallande intervall,
1858 FI: laskeva intervalli.
1860 A distance between a starting higher note and a lower ending note.
1862 @node diatonic scale
1863 @section diatonic scale
1865 ES: escala diatónica,
1867 F: gamme diatonique,
1868 D: diatonische Tonleiter,
1869 NL: diatonische toonladder,
1870 DK: diatonisk skala,
1872 FI: diatoninen asteikko.
1874 A scale consisting of 5@w{ }@aref{whole tone}s and
1875 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1876 of a piano keybord are diatonic.
1878 The church modes are used in gregorial chant and in pre-baroque early
1879 music but also to some extent in newer jazz music.
1881 @lilypond[fragment,notime,ragged-right]
1882 \set Score.automaticBars = ##f
1883 %\override Score.LyricText #'font-style = #'large
1884 %\override Score.TextScript #'font-style = #'large
1886 \context Staff \relative c' {
1888 \override TextScript #'padding = #-4
1889 e^"~~ S" f g a b^"~~ S" c
1891 \context Lyrics \lyrics {
1897 @lilypond[fragment,notime,ragged-right]
1898 \set Score.automaticBars = ##f
1900 \context Staff \relative c' {
1902 \override TextScript #'padding = #-4
1903 e^"~~ S" f g a b^"~~ S" c d
1911 @lilypond[fragment,notime,ragged-right]
1912 \set Score.automaticBars = ##f
1915 \override TextScript #'padding = #-4
1916 e1^"~~ S" f g a b^"~~ S" c d e
1924 @lilypond[fragment,notime,ragged-right]
1925 \set Score.automaticBars = ##f
1929 \override TextScript #'padding = #-4
1930 b^"~~ S" c d e^"~~ S" f
1938 @lilypond[fragment,notime,ragged-right]
1939 \set Score.automaticBars = ##f
1943 \override TextScript #'padding = #-4
1944 b^"~~ S" c d e^"~~ S" f g }
1951 @lilypond[fragment,notime,ragged-right]
1952 \set Score.automaticBars = ##f
1953 %\override Score.LyricText #'font-style = #'large
1954 %\override Score.TextScript #'font-style = #'large
1958 \override TextScript #'padding = #-4
1959 b^"~~ S" c d e^"~~ S" f g a
1967 From the beginning of the 17th century the scales used in European
1968 compositional music are primarily the major and the minor scales. In the
1969 harmonic minor scale type an augmented second (A) occurs between the 6th and
1972 @lilypond[fragment,notime,ragged-right]
1973 \set Score.automaticBars = ##f
1977 \override TextScript #'padding = #-4
1978 e^"~~ S" f g a b^"~~ S" c
1986 @lilypond[fragment,notime,ragged-right]
1987 \set Score.automaticBars = ##f
1991 \override TextScript #'padding = #-4
1992 b^"~~ S" c d e^"~~ S" f g a
2000 @lilypond[fragment,notime,ragged-right]
2001 \set Score.automaticBars = ##f
2005 \override TextScript #'padding = #-4
2006 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2008 \context Lyrics \lyrics {
2014 @lilypond[fragment,notime,line-width=13.0\cm]
2015 \set Score.automaticBars = ##f
2016 %\override Score.LyricText #'font-style = #'large
2017 %\override Score.TextScript #'font-style = #'large
2021 \override TextScript #'padding = #-4
2022 b^"~~ S" c d e fis gis^"~~ S"
2023 a g! f!^"~~ S" e d c^"~~ S" b a
2031 @node diminished interval
2032 @section diminished interval
2034 ES: intervalo disminuido,
2035 I: intervallo diminuito,
2036 F: intervalle diminué,
2037 D: vermindertes Intervall,
2038 NL: verminderd interval,
2039 DK: formindsket interval,
2040 S: förminskat intervall,
2041 FI: vähennetty intervalli.
2055 FI: diminuendo, hiljentyen.
2059 @node disjunct movement
2060 @section disjunct movement
2062 ES: movimiento disjunto,
2064 F: mouvement disjoint,
2065 D: sprunghafte Bewegung,
2066 NL: sprongsgewijze beweging,
2067 DK: springende bevægelse,
2068 S: hoppande rörelse,
2069 FI: melodian hyppivä liike.
2071 Progressing melodically by intervals larger than a major second.
2072 Opposite of @aref{conjunct movement}.
2074 @lilypond[fragment,ragged-right]
2079 a4. gis8 b a e cis |
2080 fis2 d4. \bar "||" }
2086 @ref{dissonant interval}.
2088 @node dissonant interval
2089 @section dissonant interval
2091 ES: intervalo disonante, disonancia,
2092 I: intervallo dissonante, dissonanza,
2095 NL: dissonant interval; dissonant,
2096 DK: dissonerende interval, dissonans,
2098 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2102 @node dominant ninth chord
2103 @section dominant ninth chord
2105 ES: acorde de novena de dominante,
2106 I: accordo di nona di dominante,
2107 F: accord de neuvième dominante,
2108 D: Domi@-nant@-nonen@-akkord,
2109 NL: dominant noon akkoord,
2110 DK: dominantnoneakkord,
2111 S: dominantnonackord,
2112 FI: dominanttinoonisointu.
2114 @aref{chord}, @aref{functional harmony}.
2116 @node dominant seventh chord
2117 @section dominant seventh chord
2119 ES: acorde de séptima de dominante,
2120 I: accordo di settima di dominante,
2121 F: accord de septième dominante,
2122 D: Dominantseptakkord,
2123 NL: dominant septiem akkoord,
2124 DK: dominantseptimakkord,
2125 S: dominantseptimackord,
2126 FI: dominanttiseptimisointu.
2128 @aref{chord}, @aref{functional harmony}.
2140 FI: dominantti, huippusointu.
2142 The fifth @aref{scale degree},
2143 @aref{functional harmony}.
2146 @section dorian mode
2151 D: dorisch, dorischer Kirchenton,
2152 NL: dorische toonladder,
2157 @aref{diatonic scale}.
2159 @node dot (augmentation dot)
2160 @section dot (augmentation dot)
2163 I: punto (di valore),
2165 D: Punkt (Verlängerungspunkt),
2174 @section dotted note
2176 ES: nota con puntillo,
2180 NL: gepuncteerde noot,
2183 FI: pisteellinen nuotti.
2187 @node double appoggiatura
2188 @section double appoggiatura
2190 ES: apoyatura doble,
2191 I: appoggiatura doppia,
2192 F: appoggiature double,
2193 D: doppelter Vorschlag,
2194 NL: dubbele voorslag,
2195 DK: dobbelt forslag,
2197 FI: kaksoisappogiatura, kaksoisetuhele.
2199 @aref{appoggiatura}.
2201 @node double bar line
2202 @section double bar line
2208 NL: dubbele maatstreep,
2211 FI: kaksoistahtiviiva.
2213 Indicates the end of a section within a movement.
2215 @node double dotted note
2216 @section double dotted note
2218 ES: nota con doble puntillo,
2219 I: nota doppiamente puntata,
2220 F: note doublement pointée,
2221 D: doppelt punktierte Note,
2222 NL: dubbelgepuncteerde noot,
2223 DK: dob@-belt@-punk@-te@-ret node,
2224 S: dub@-bel@-punk@-te@-rad not,
2225 FI: kaksoispisteellinen nuotti.
2230 @section double flat
2239 FI: kaksoisalennusmerkki.
2244 @section double sharp
2246 ES: doble sostenido,
2251 DK: dob@-belt@-kryds,
2253 FI: kaksoisylennysmerkki.
2258 @section double trill
2264 NL: dubbele triller,
2269 A simultaneous trill on two notes, usually in the distance of a third.
2272 @section duple meter
2278 NL: tweedelige maatsoort,
2309 FI: kesto, aika-arvo.
2314 @section dydimic comma
2316 @aref{syntonic comma}.
2330 @node ecclesiastical mode
2331 @section ecclesiastical mode
2336 @section eighth note
2342 D: Achtel, Achtelnote,
2344 DK: ottendedelsnode,
2346 FI: kahdeksasosanuotti.
2351 @section eighth rest
2353 ES: silencio de corchea,
2359 DK: ottendedelspause,
2361 FI: kahdeksasosatauko.
2368 FIXME: languages, definition
2372 @section embellishment
2383 D: Notenstechen, Notendruck
2389 Engraving means incising or etching a metal plate for
2390 printing. Photoengraving means drawing music with ink in a manner
2391 similar to drafting or engineering drawing, using similar tools.
2393 The traditional process of music printing is done through cutting in a
2394 plate of metal. Now also the term for the art of music typesetting.
2408 Two notes, intervals, or scales are enharmonic if they have different names
2411 @lilypond[fragment,notime,line-width=13.0\cm]
2412 \set Score.automaticBars = ##f
2414 \context Staff \relative c'' {
2415 gis1 as <des g,!> <cis g!>
2417 \context Lyrics \lyrics {
2418 \override Lyrics .LyricText #'self-alignment-X = #-1
2419 "g sharp " "a flat " "dim fifth " "augm fourth"
2424 @node equal temperament
2425 @section equal temperament
2427 ES: temperamento igual,
2428 I: temperamento equabile,
2429 F: tempérament égal,
2430 D: gleichschwebende Stimmung,
2431 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2432 DK: ligesvævende temperatur,
2433 S: liksvävande temperatur,
2436 Tuning system dividing the octave into 12 equal @aref{semitone}s
2437 (precisely 100 @aref{cent}s). @aref{temperament}.
2439 @node expression mark
2440 @section expression mark
2443 I: segno d'espressione,
2444 F: signe d'expression, indication de nuance,
2446 NL: voordrachtsteken,
2447 DK: foredragsbetegnelse,
2448 S: föredragsbeteckning,
2449 FI: nyanssiosoitus, esitysmerkki.
2451 Performance indications concerning 1. volume, dynamics (for example
2452 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2453 @aref{andante}, @aref{allegro}).
2456 @section extender line
2484 The position between the dots of the key symbol is the line of the F below
2485 central@w{ }C. Used on the third, fourth and fifth note line. A
2486 digit@w{ }8 above the clef symbol indicates that the notes must be played
2487 an octave higher (for example bass recorder) while 8@w{ }below the clef
2488 symbol indicates playing an octave lower (for example on double bass
2491 @lilypond[fragment,notime,line-width=13.0\cm]
2492 \set Score.automaticBars = ##f
2493 \override Staff.Clef #'full-size-change = ##t
2517 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2524 F: point d'orgue, point d'arrêt,
2529 FI: fermaatti, pidäke.
2531 Prolonged note or rest of indefinite duration.
2533 @lilypond[fragment,ragged-right]
2536 a4 b c2^\fermata \bar "|."
2555 @section figured bass
2557 @aref{thorough bass}.
2571 The methodical use of fingers in the playing of instruments.
2577 I: coda (uncinata), bandiera,
2585 Ornament at the end of the stem of a note used for notes with values
2586 less than a quarter note. The number of flags determines the
2589 @lilypond[fragment,notime,ragged-right]
2590 \set Score.automaticBars = ##f
2591 %\override Score.TextScript #'font-style = #'large
2617 @aref{appoggiatura}.
2629 FI: forte, voimakkaasti.
2631 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2632 @emph{mezzoforte} (@b{mf}) medium loud.
2660 @aref{counterpoint}.
2662 @node functional harmony
2663 @section functional harmony
2665 ES: armonía funcional,
2666 I: armonia funzionale,
2667 F: étude des functions,
2669 NL: functionele harmonie,
2670 DK: funktionsanalyse, funktionsharmonik,
2672 FI: harmoniajärjestelmä.
2674 A system of harmonic analysis. It is based on the idea that, in a given key,
2675 there are only three functionally different chords: tonic (T, the chord on the
2676 first note of the scale), subdominant (S, the chord on the fourth note), and
2677 dominant (D, the chord on the fifth note). Others are considered to be
2678 variants of the base chords.
2680 @lilypond[fragment,notime,line-width=13.0\cm]
2681 \set Score.automaticBars = ##f
2683 \context Voice \relative c'' {
2684 <g e c >1 < a f d > < b g e >
2685 <c a f > < d b g > < e c a > < f d b > }
2686 \context Lyrics \lyrics {
2687 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2709 D: G-Schlüssel, Violinschlüssel,
2715 A clef symbol indicating the G above central@w{ }C. Used on the first
2716 and second note lines. A digit 8 above the clef symbol indicates that
2717 the notes must be played an octave higher while 8 below the clef symbol
2718 indicates playing or singing an octave lower (most tenor parts in choral
2719 scores are notated like that).
2721 @lilypond[fragment,notime,ragged-right]
2723 \set Score.automaticBars = ##f
2724 \override Staff.Clef #'full-size-change = ##t
2727 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2737 \context Lyrics \lyrics {
2738 \override Lyrics . LyricText #'X-offset = #-5
2739 "french violin clef"
2757 FI: glissando, liukuen.
2759 Letting the pitch slide fluently from one note to the other.
2762 @section grace notes
2764 ES: notas de adorno,
2767 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2773 Notes printed in small types to indicate that their time values are not
2774 counted in the rhythm of the bar. @aref{appoggiatura}.
2777 @section grand staff
2779 ES: sistema de piano,
2785 S: ackolad, böjd klammer,
2786 FI: kaksoisnuottiviivasto.
2790 A combination of two staves with a brace. Usually used for piano music.
2802 FI: grave, raskaasti.
2818 D: Halbe, halbe Note,
2829 ES: silencio de blanca,
2841 @node harmonic cadence
2842 @section harmonic cadence
2844 ES: cadencia (armónica),
2845 I: cadenza (armonica),
2846 F: cadence harmonique,
2848 NL: harmonische cadens,
2849 DK: harmonisk kadence,
2850 S: (harmonisk) kadens,
2851 FI: harmoninen kadenssi.
2853 A sequence of chords that terminates a musical phrase or
2854 section. @aref{functional harmony}.
2856 @lilypond[fragment,ragged-right]
2857 \context PianoStaff <<
2858 \context Staff = SA \relative c'' {
2862 \partial 4 < c g e >4 |
2863 < c a f > < b g d > < c g e >2
2866 \context Staff = SB \relative c {
2868 \partial 4 c4 | f, g c2
2885 D: Harmonie, Zusammenklang,
2889 FI: harmonia, yhteissointi.
2891 Tones sounding simultaneously. Two note harmonies fall into the categories
2892 @emph{consonances} and @emph{dissonances}.
2896 @lilypond[fragment,notime,line-width=13.0\cm]
2897 \set Score.automaticBars = ##f
2898 %\override Score.TextScript #'font-style = #'large
2899 \context Voice \relative c'' {
2912 @lilypond[fragment,notime,line-width=13.0\cm]
2913 \set Score.automaticBars = ##f
2914 %\override Score.TextScript #'font-style = #'large
2915 \context Voice \relative c'' {
2916 <g a>1_"second " s s
2917 <g f'>_"seventh " s s
2922 Three note harmony @aref{chord}.
2934 FI: homofonia, yksiäänisyys.
2936 Music in which one voice leads melodically followed by the other voices more
2937 or less in the same rhythm. In contrast to @aref{polyphony}.
2949 FI: intervalli, kahden sävelen korkeusero.
2951 Difference in pitch between two notes. Intervals may be perfect, minor,
2953 diminished, or augmented. The augmented fourth and the diminished fifth are
2954 identical (@aref{enharmonic}) and are called @emph{tritonus}
2955 because they consist of three @aref{whole tone}s. The addition
2956 of such two intervals forms an octave.
2958 @lilypond[fragment,notime,line-width=13.0\cm]
2959 \set Score.automaticBars = ##f
2961 \context Voice \relative c'' {
2971 \context Lyrics \lyrics {
2972 "unisone " "second " "second " "second "
2973 "third " "third " "third " "third"
2978 @lilypond[fragment,notime,line-width=13.0\cm]
2979 \set Score.automaticBars = ##f
2981 \context Staff \relative c'' {
2992 "fourth " "fourth " "fifth " "fifth "
2993 "sixth " "sixth " "sixth " "sixth"
2998 @lilypond[fragment,notime,line-width=13.0\cm]
2999 \set Score.automaticBars = ##f
3001 \context Staff \relative c'' {
3002 < gis f'! >1^"dimin"
3011 \context Lyrics \lyrics {
3012 "seventh " "seventh " "seventh " "octave "
3013 "ninth " "ninth " "tenth " "tenth"
3018 @node inverted interval
3019 @section inverted interval
3021 ES: intervalo invertido,
3022 I: intervallo rivolto,
3023 F: intervalle reversé,
3024 D: umgekehrtes Intervall,
3025 NL: interval inversie,
3026 DK: omvendingsinterval,
3027 S: intervallets omvändning,
3028 FI: käänteisintervalli.
3030 The difference between an interval and an octave.
3032 @lilypond[fragment,notime,line-width=13.0\cm]
3033 \set Score.automaticBars = ##f
3034 %\override Score.TextScript #'font-style = #'large
3035 \context Staff \relative c'' {
3036 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3037 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3038 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3042 @node just intonation
3043 @section just intonation
3045 ES: entonación justa,
3046 I: intonazione giusta,
3047 F: intonation juste,
3054 Tuning system in which the notes are obtained by adding and subtracting
3055 natural fifths and thirds. @aref{temperament}.
3069 According to the 12@w{ }tones of the @aref{chromatic scale}
3070 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3071 @aref{key signature}.
3074 @section key signature
3076 ES: armadura (de la clave),
3077 I: armatura di chiave,
3078 F: armure, armature [de la clé],
3079 D: Vorzeichen, Tonart,
3080 NL: toon@-soort (voortekens),
3083 FI: sävellajiosoitus.
3085 The sharps or flats appearing at the beginning of each staff indicating the
3086 key of the music. @aref{accidental}.
3094 D: Largo, Langsam, Breit,
3098 FI: largo, hitaasti, leveästi.
3100 Very slow in tempo, usually combined with great
3101 expressiveness. @emph{Larghetto} is less slow than largo.
3104 @section leading note
3115 The seventh @aref{scale degree}, a @aref{semitone} below
3116 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3117 upwards) to the tonic scale degree.
3120 @section ledger line
3122 ES: línea adicional,
3123 I: tagli addizionali,
3124 F: ligne supplémentaire,
3131 A ledger line is an extension of the staff.
3133 @lilypond[fragment,notime,ragged-right]
3134 \set Score.automaticBars = ##f
3135 \relative c'' { a,1 s c'' }
3150 To be performed (a) without any perceptible interruption between the notes,
3151 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3152 (d) @aref{staccato}.
3154 @lilypond[fragment,notime,line-width=13.0\cm]
3155 \set Score.automaticBars = ##f
3157 \context Staff \relative c'' {
3158 c4-( d e-) \bar "||"
3159 c4-- d-- e-- \bar "||"
3160 c4-.-( d-. e-.-) \bar "||"
3161 c4-. d-. e-. \bar "||"
3173 @section legato curve
3175 @aref{slur}, @aref{legato}.
3185 ES: estanque de nenúfares,
3186 I: stagno del giglio,
3190 NL: le@-lie@-vij@-ver,
3195 A pond with lilies floating in it, also the name of a music typesetter.
3202 A ligature is a coherent graphical symbol that represents at least two
3203 distinct notes. Ligatures originally appeared in the manuscripts of
3204 Gregorian chant notation roughly since the 9th century to denote
3205 ascending or descending sequences of notes. In early notation,
3206 ligatures were used for monophonic tunes (Gregorian chant) and very
3207 soon denoted also the way of performance in the sense of articulation.
3208 With the invention of the metric system of the white mensural
3209 notation, the need for ligatures to denote such patterns disappeared.
3217 D: Linie, Notenlinie,
3221 FI: viiva, nuottiviiva.
3225 @node long appoggiatura
3226 @section long appoggiatura
3228 ES: apoyatura larga,
3229 I: appoggiatura lunga,
3230 F: appoggiature longue,
3231 D: langer Vorschlag,
3235 FI: pitkä appoggiatura, pitkä etuhele.
3237 @aref{appoggiatura}.
3251 Note value: double length of @aref{breve}.
3254 @lilypond[fragment,notime,ragged-right]
3255 \set Score.automaticBars = ##f
3257 \override NoteHead #'style = #'mensural
3265 ES: letra (de la canción),
3277 FIXME: add languages
3281 @node major interval
3282 @section major interval
3284 ES: intervalo mayor,
3285 I: intervallo maggiore,
3286 F: intervalle majeur,
3287 D: großes Intervall,
3291 FI: suuri intervalli.
3307 @aref{diatonic scale}.
3309 @node meantone temperament
3310 @section meantone temperament
3312 ES: afinación mesotónica,
3313 I: accordatura mesotonica,
3314 F: tempérament mésotonique,
3315 D: mitteltönige Stimmung,
3316 NL: middenstemming, middentoonstemming,
3317 DK: middeltonetemperatur,
3318 S: medeltonstemperatur,
3319 FI: keskisävelviritys.
3321 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3322 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3323 @aref{temperament} only a limited set of keys are playable.
3324 Used for tuning keyboard instruments for performance of pre-1650 music.
3338 A group of @aref{beat}s (units of musical time) the first of which
3339 bears an accent. Such groups in numbers of two or more recur consistently
3340 throughout the composition and are marked from each other by
3341 bar-lines. @aref{meter}.
3347 I: mediante, modale,
3355 1.@tie{}The third @b{scale degree}.
3356 2.@tie{}A @aref{chord} having its base tone
3357 a third from that of another chord. For example, the tonic chord may be
3358 replaced by its lower mediant (variant tonic). @aref{functional
3359 harmony}, @aref{relative key}.
3367 FI: melisma, laulettavan tavun sävelkuvio.
3369 A melisma (plural: melismata) is a group of notes or tones sung on one
3370 syllable in plainsong
3373 @section melisma line
3375 FIXME: add languages
3377 @aref{extender line}.
3379 @node melodic cadence
3380 @section melodic cadence
3389 F: indication de mesure, mesure,
3396 The basic scheme of @aref{note value}s and
3397 @aref{accent}s which remains unaltered throughout a composition
3398 or a section of it. For instance, 3/4 meter means that the basic
3399 @aref{note value}s are quarter notes and that a
3400 @aref{measure} consists of three of those. According to
3401 whether there are two, three, or four units to the measure,
3402 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3403 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3405 @lilypond[fragment,line-width=13.0\cm]
3409 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3412 @lilypond[fragment,line-width=13.0\cm]
3416 f8 f f f a16 g a f |
3417 c'8 c c c e16 d e c \bar "||"}
3420 @lilypond[fragment,line-width=13.0\cm]
3424 d4 b8 g b d d c a4 |
3425 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3440 Device indicating the exact tempo of a piece. @aref{metronomic
3443 @node metronomic indication
3444 @section metronomic indication
3446 ES: indicación metronómica,
3447 I: indicazione metronomica,
3448 F: indication métronomique,
3450 NL: metronoom aanduiding,
3452 S: metronomangivelse,
3453 FI: metronomiosoitus.
3455 Exact tempo indication (in beats per minute). Also denoted by
3456 M.M.@: (Mälzels Metronom).
3459 @section mezzo-soprano
3470 The female voice between @aref{soprano} and
3479 D: eingestrichenes@w{ }c,
3481 DK: enstreget@w{ }c,
3482 S: ettstruket@w{ }c,
3485 First C below the 440 Hz A.
3487 @lilypond[fragment,notime,ragged-right]
3488 \set Score.automaticBars = ##f
3489 \override Staff.Clef #'full-size-change = ##t
3509 @aref{diatonic scale}.
3511 @node minor interval
3512 @section minor interval
3514 ES: intervalo menor,
3515 I: intervallo minore,
3516 F: intervalle mineur,
3517 D: kleines Intervall,
3521 FI: pieni intervalli.
3535 FI: moodi, kirkkosävelasteikko.
3537 @aref{church mode}, @aref{diatonic scale}.
3549 FI: modulaatio, sävellajin vaihdos.
3551 Moving from one @aref{key} to another. For example, the second
3552 subject of a @aref{sonata form} movement modulates to the dominant
3553 key if the key is major and to the @aref{relative key} if the key
3565 FI: mordent, korukuvio.
3584 FI: teema, sävelaihe.
3586 The briefest intelligible and self-contained fragment of a musical theme or
3589 @lilypond[line-width=13.0\cm]
3592 \set Score.implicitTimeSignatureVisibility = #all-invisible
3593 \override Score.TimeSignature #'break-visibility = #all-invisible
3596 \partial 8 g16\startGroup fis |
3597 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3598 g8 g,16 a b8 cis d16 s
3602 \Staff \consists "Horizontal_bracket_engraver"
3619 Greater musical works like @aref{symphony} and
3620 @aref{sonata} most often consist of several -- more or less --
3621 independant pieces called movements.
3624 @section multibar rest
3626 ES: compases de espera,
3630 D: mehrtaktige Pause,
3633 FI: usean tahdin mittainen tauko.
3635 @lilypond[fragment,ragged-right]
3638 \set Score.skipBars = ##t R1*3
3643 @node mixolydian mode
3644 @section mixolydian mode
3646 @aref{diatonic scale}.
3649 @section natural sign
3654 D: Auflösungszeichen,
3655 NL: herstellingsteken,
3656 DK: op@-løsningstegn,
3657 S: återställningstecken,
3662 @node neighbour tones
3663 @section neighbour tones
3665 @aref{appoggiatura}.
3698 Notes are signs by means of which music is fixed in writing. The term is also
3699 used for the sound indicated by a note, and even for the key of the piano
3700 which produces the sound. However, a clear distinction between the terms tone
3701 and @aref{note} is strongly recommended. Briefly, one sees a note,
3708 I: testa, testina, capocchia,
3716 A head-like sign which indicates pitch by its position on a
3717 @aref{staff} provided with a @aref{clef}, and duration
3718 by a variety of shapes such as hollow or black heads with or without
3719 @aref{stem}s, @aref{flag}s, etc. For percussion
3720 instruments (often having no defined pitch) the note head may indicate the
3726 ES: valor (duración),
3728 F: durée, valeur (d'une note),
3733 FI: nuotin aika-arvo.
3735 Note values (durations) are measured as fractions, normally 1/2, of the next
3736 higher note value. The longest duration normally used is called
3738 but sometimes (mostly in pre-baroque music) the double length note value
3739 @emph{longa} is used.
3741 @lilypond[fragment,notime,line-width=13.0\cm]
3742 %\override Score.TextScript #'font-style = #'large
3743 \set Score.automaticBars = ##f
3745 \override NoteHead #'style = #'mensural
3746 a\longa_"longa" a\breve_"breve"
3747 \revert NoteHead #'style
3748 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3749 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3752 @lilypond[fragment,notime,line-width=13.0\cm]
3753 %\override Score.TextScript #'font-style = #'large
3754 \set Score.automaticBars = ##f
3756 r\longa_"longa" r\breve_"breve"
3757 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3758 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3761 An augmentation dot after a note multiplies the duration by one and a
3762 half. Another dot adds yet a fourth of the duration.
3764 @lilypond[fragment,line-width=13.0\cm]
3765 %\override Score.TextScript #'font-style = #'large
3768 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3769 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3772 Alternatively note values may be subdivided by other ratios. Most common is
3773 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3774 Subdivisions by@w{ }2 (@emph{tuplets}) or@w{ }4 (@emph{quadruplets}) of
3775 dotted notes are also frequently used.
3777 @lilypond[fragment,line-width=13.0\cm]
3778 %\override Score.TextScript #'font-style = #'large
3781 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3782 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3786 @lilypond[fragment,line-width=13.0\cm]
3789 \times 3/2 {g4_"duplets" g} |
3791 \times 6/4 {g8_"quadruplets" g g g} |
3792 g8 g g g g4 \bar "||"
3797 @section octave sign
3799 @aref{G clef}, @aref{F clef}.
3819 I: abbellimento, fioriture,
3820 F: agrément, ornement,
3821 D: Verzierung, Ornament,
3827 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3828 with the diatonic @aref{second} above it. In the music from the
3829 middle of the 19th century and onwards the trill is performed with the main
3830 note first while in the music from the preceding baroque and classic periods
3831 the upper note is played first.
3833 @lilypond[fragment,line-width=13.0\cm]
3835 \context Staff = sa {
3836 % \override Score.TextScript #'font-style = #'large
3838 c2._"pre-1850" b4\trill | c1 \bar "||"
3839 c2._"post-1850" b4\trill | c1 \bar "||"
3843 c2. c32 b c b c b c b | c1
3844 c2. b32 c b c \times 4/5 { b c b c b } | c1
3849 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3851 @emph{prall} (inverted mordent).
3853 @lilypond[fragment,line-width=13.0\cm]
3855 \context Staff = sa {
3856 % \override Score.TextScript #'font-style = #'large
3858 a4_"turn" b\turn c2 \bar "||"
3859 g4_"mordent" a b\mordent a \bar "||"
3860 e'4_"prall" d\prall c2 \bar "||"
3866 e'4 e32[ d e d ~ d8] c2
3871 @aref{appoggiatura}.
3883 FI: ossia, vaihtoehtoinen esitystapa.
3885 Ossia (otherwise) marks an alternative. It is an added staff or piano
3886 score, usually only a few measures long, which presents another version
3887 of the music, for example for small hands.
3899 FI: stemma, instrumenttiosuus.
3901 1.@tie{}In instrumental or choral music the music for the single instrument
3902 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
3903 melodic line of the contrapunctal web.
3921 D: Schlagzeug, Schlagwerk,
3927 A family of musical instruments which are played on by striking or
3928 shaking. Percussion instruments commonly used in a symphony orchestra are
3929 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
3930 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
3933 @node perfect interval
3934 @section perfect interval
3936 ES: intervalo justo,
3937 I: intervallo giusto,
3938 F: intervalle juste,
3939 D: reines Intervall,
3943 FI: puhdas intervalli.
3959 A natural division of the melodic line, comparable to a sentence of speech.
3971 FI: fraseeraus, jäsentäminen.
3973 The clear rendering in musical performance of the @aref{phrase}s of
3974 the melody. Phrasing may be indicated by a @aref{slur}.
3988 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
3989 @emph{mezzopiano} (@b{mp}) medium soft.
4010 NL: pizzicato, getokkeld,
4013 FI: pizzicato, näppäillen.
4015 Play by plucking the strings.
4023 D: Polyphonie, Mehrstimmigkeit,
4027 FI: polyfonia, moniäänisyys.
4029 Music written in a combination of several simultaneous voices (parts) of a
4030 more or less pronounced individuality. @aref{counterpoint}.
4043 D: Presto, Sehr schnell,
4044 NL: presto, Sehr schnell,
4047 FI: presto, hyvin nopeasti.
4049 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
4050 denotes the highest possible degree of speed.
4052 @node Pythagorean comma
4053 @section Pythagorean comma
4055 ES: coma pitagórica,
4056 I: comma pitagorico,
4057 F: comma pythagoricien,
4058 D: Pythagoräisches Komma,
4059 NL: komma van Pythagoras,
4060 DK: pythagoræisk komma,
4061 S: pytagoreiskt komma,
4062 FI: pytagorinen komma.
4064 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4065 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4066 24 @aref{cent}s higher than the@w{ }C obtained by adding
4067 7@w{ }octaves. The difference between those two pitches is called the
4085 @section quarter note
4088 I: semiminima, nera,
4091 D: Viertel, Viertelnote,
4095 FI: neljännesosanuotti.
4100 @section quarter rest
4102 ES: silencio de negra,
4103 I: pausa di semiminima,
4108 DK:@w{ }fjerdedelspause,
4110 FI: neljännesosatauko.
4117 ES: cinquillo, quintillo.
4129 @section rallentando
4134 D: rallentando, langsamer werden,
4138 FI: rallerdando, hidastuen.
4140 Abbreviation "rall.". @aref{ritardando}.
4143 @section relative key
4146 I: tonalità relativa,
4147 F: tonalité relative,
4149 NL: paralleltoonsoort,
4150 DK: paralleltoneart,
4152 FI: rinnakkaissävellaji.
4154 @aref{major} and @aref{minor} @aref{key}
4155 with the same @aref{key signature}.
4157 @lilypond[fragment,notime,line-width=13.0\cm]
4158 \set Score.automaticBars = ##f
4159 %\override Score.TextScript #'font-style = #'large
4162 es1_"e flat major" f g as bes c d es
4167 @lilypond[fragment,notime,line-width=13.0\cm]
4168 \set Score.automaticBars = ##f
4169 %\override Score.TextScript #'font-style = #'large
4172 c1_"c minor" d es f g a! b! c \bar "||"
4181 F: barre de reprise,
4184 DK: gen@-ta@-gel@-se,
4188 @lilypond[fragment,line-width=13.0\cm]
4192 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4196 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4197 @c specify the rest's value.
4225 (a) Metrical rhythm in which every time value is a multiple or fraction of a
4226 fixed unit of time, called @aref{beat}, and in which the normal
4227 @aref{accent} recurs in regular intervals, called
4228 @aref{measure}. The basic scheme of time values is called
4229 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
4230 accent. In modern notation such music appears as a free alternation of
4231 different measures. (c) Free rhythm, i.e., the use of temporal values having
4232 no common metrical unit (beat).
4240 D: Ritardando, langsamer werden,
4244 FI: ritardando, hidastuen,
4246 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4258 FI: ritenuto, hidastaen.
4260 Immediate reduction of speed.
4272 FI: asteikko, sävelasteikko.
4274 @aref{diatonic scale}.
4277 @section scale degree
4279 ES: grado (de la escala),
4280 I: grado della scala,
4281 F: degré [de la gamme],
4283 NL: trap [van de toonladder],
4286 FI: sävelaste, asteikon sävel.
4288 Names and symbols used in harmonic analysis to denote tones of the scale as
4289 roots of chords. The most important are degrees I = tonic (T), IV =
4290 sub@-do@-mi@-nant (S) and V = dominant (D).
4292 @lilypond[fragment,notime,line-width=13.0\cm]
4293 \set Score.automaticBars = ##f
4295 \context Staff \relative c' {
4299 << { I II III IV V VI VII I }
4305 @aref{functional harmony}.
4313 D: Partitur (full score), Klavierauszug (vocal score)
4319 A copy of orchestral, choral, or chamber music showing what each instrument is
4320 to play, each voice to sing, having each part arranged one underneath the
4321 other on different staves @aref{staff}.
4335 The @aref{interval} between two neigbouring tones of a scale. A
4336 @aref{diatonic scale} consists of alternating
4337 @aref{semitone}s and @aref{whole tone}s, hence the size
4338 of a se@-cond depends on the scale degrees in question.
4352 The @aref{interval} of a minor second. The (usually) smallest
4353 interval in European composed music. The interval between two neighbouring
4354 tones on the piano keyboard -- including black and white keys -- is a
4355 semitone. An octave may be divided into 12@w{ }semitones.
4356 @aref{interval}, @aref{chromatic scale}.
4358 @lilypond[fragment,notime,line-width=13.0\cm]
4359 \set Score.automaticBars = ##f
4360 \relative c'' { g1 gis s a bes s b! c }
4415 @node short appoggiatura
4416 @section short appoggiatura
4418 @aref{appoggiatura}.
4420 @node sixteenth note
4421 @section sixteenth note
4427 D: Sechzehntel, Sechzehntelnote,
4428 NL: zes@-ti@-ende noot,
4429 DK: sekstendedelsnode,
4431 FI: kuudestoistaosanuotti.
4435 @node sixteenth rest
4436 @section sixteenth rest
4438 ES: silencio de semicorchea,
4439 I: pausa di semicroma,
4441 UK: semiquaver rest,
4442 D: Sechzehntelpause,
4444 DK: sekstendedelspause,
4464 @node sixty-fourth note
4465 @section sixty-fourth note
4469 F: quadruple croche,
4470 UK: hemidemisemiquaver,
4471 D: Vierundsechzigstel, Vierundsechzigstelnote,
4472 NL: vierenzestigste noot,
4473 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4474 S: sextiofjärdedelsnot,
4475 FI: kuudeskymmenesneljäsosanuotti.
4479 @node sixty-fourth rest
4480 @section sixty-fourth rest
4482 ES: silencio de semifusa,
4483 I: pausa di semibiscroma,
4484 F: seizième de soupir,
4485 UK: hemidemisemiquaver rest,
4486 D: Vierundsechzigstelpause,
4487 NL: vierenzestigste rust,
4488 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4489 S: sextiofjärdedelspaus,
4490 FI: kuudeskymmenesneljäsosatauko.
4497 ES: ligadura (de expresión),
4498 I: legatura (di portamento or espressiva),
4500 D: Bogen, Legatobogen, Phrasierungsbogen,
4501 NL: fraseringsboog, legatoboog, streekboog,
4502 DK: legatobue, fraseringsbue,
4506 A slur above or below a group of notes indicates that they are to be played
4507 @aref{legato}, e.g., with one stroke of the violin bow or with one
4511 @section solmization
4520 FI: suhteelliset laulunimet.
4522 General term for systems of designating the degrees of the
4523 @aref{scale}, not by letters, but by syllables (@emph{do}
4524 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4525 (@emph{ti})). @aref{scale degree}.
4539 In its present-day meaning a sonata denotes an instrumental composition for
4540 piano or for some other instrument with piano accompaniment, which consists of
4541 three or four independant pieces, called movements.
4544 @section sonata form
4548 F: [en] forme de sonate,
4550 NL: hoofdvorm, sonatevorm,
4555 A form used frequently for single movements of the @aref{sonata},
4556 @aref{symphony}, quartet, etc. A movement written in sonata form
4557 falls into three sections called @emph{exposition}, @emph{development} and
4558 @emph{recapitulation}. In the exposition the composer introduces some musical
4559 ideas, consisting of a number of themes; in the development section the
4560 composer @q{develops} this material, and in the recapitulation the composer
4561 repeats the exposition, with certain modifications. The exposition contains a
4562 number of themes that fall into two groups, often called first and second
4563 subject. Other melodies occurring in each group are considered as
4564 continuations of these two. The second theme is in another key, normally in
4565 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4566 @aref{relative key} if the tonic is @aref{minor}.
4583 FI: sopraano, korkea naisääni.
4585 The highest female voice.
4592 F: staccato, piqué, détaché,
4597 FI: staccato, lyhyesti, terävästi.
4599 Playing the note(s) short. Staccato is indicated by a dot above or below the
4602 @lilypond[fragment,ragged-right]
4607 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4616 I: pentagramma, rigo (musicale),
4619 NL: (noten)balk, partij,
4624 A staff (pl. staves) is a series of (normally five) horizontal lines
4625 upon and between which the musical notes are written, thus indicating
4626 (in connection with a @aref{clef}) their pitch. Staves for
4627 @aref{percussion} instruments may have fewer lines.
4640 D: Hals, Notenhals, Stiel,
4646 Vertical line above or below a @aref{note head} shorter than a
4647 whole note. @aref{beam}.
4649 @lilypond[fragment,notime,line-width=13.0\cm]
4650 \set Score.autoBeaming = ##f
4651 \set Score.automaticBars = ##f
4652 %\override Score.TextScript #'font-style = #'large
4673 A family of stringed musical instruments played with a bow. Strings commonly
4674 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4677 @section strong beat
4682 D: betonter Taktteil oder Taktschlag,
4684 D: betonet taktslag,
4685 S: betonat taktslag,
4686 FI: tahdin vahva isku.
4688 @aref{beat}, @aref{accent}, @aref{measure},
4692 @section subdominant
4701 FI: subdominantti, alidominantti.
4703 The fourth @aref{scale degree}. @aref{functional harmony}.
4717 The sixth @aref{scale degree}.
4729 FI: subtoonika, alitoonika.
4731 The seventh @aref{scale degree}.
4734 @section superdominant
4745 The sixth @aref{scale degree}.
4759 The second @aref{scale degree}.
4767 D: Sinfonie, Symphonie,
4773 A symphony may be defined as a @aref{sonata} for orchestra.
4776 @section syncopation
4787 Any deliberate upsetting of the normal pulse of @aref{meter},
4788 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4789 rhythm rests upon the grouping of equal beats into groups of two or three,
4790 with a regularly recurrent accent on the first beat of each group. Any
4791 deviation from this scheme is felt as a disturbance or contradiction between
4792 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4794 @lilypond[fragment,ragged-right]
4799 e c'4 e,8 c'4 e,8 c' ( | c2)
4803 @node syntonic comma
4804 @section syntonic comma
4807 I: comma sintonico (o didimico),
4808 F: comma syntonique,
4809 D: syntonisches Komma,
4810 NL: syntonische komma,
4811 DK: syntonisk komma,
4812 S: syntoniskt komma,
4813 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4814 viritysjärjestelmässä.
4816 Difference between the natural third and the third obtained by Pythagorean
4817 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4829 FI: nuottijärjestelmä.
4831 The collection of staves @aref{staff}, two or more, as used for
4832 writing down of keyboard, chamber, choral, or orchestral music.
4835 @section temperament
4840 D: Stimmung, Tem@-pe@-ra@-tur,
4841 NL: stemming, temperatuur,
4844 FI: viritysjärjestelmä.
4846 Systems of tuning in which the intervals deviate from the acoustically pure
4847 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4849 @node tempo indication
4850 @section tempo indication
4852 ES: indicación de tempo,
4853 I: indicazione di tempo,
4854 F: indication de tempo,
4855 D: Zeitmaß, Tempobezeichnung,
4856 NL: tempo aanduiding,
4861 The rate of speed of a composition or a section thereof, ranging from the
4862 slowest to the quickest, as is indicated by tempo marks as
4863 @aref{largo}, @aref{adagio}, @aref{andante},
4864 @aref{allegro}, and @aref{presto}.
4876 FI: tenori, korkea miesääni.
4878 The highest male voice (apart from @aref{counter tenor}).
4897 ES: subrayado (tenuto),
4906 An indication that a particular note should be held for the whole
4907 length, although this can vary depending on the composer and era.
4923 @node thirty-second note
4924 @section thirty-second note
4930 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
4931 NL: twee-endertig@-ste noot,
4932 DK: toogtredivtedelsnode,
4933 S: trettiotvåondelsnot,
4934 FI: kolmanneskymmeneskahdesosanuotti.
4938 @node thirty-second rest
4939 @section thirty-second rest
4941 ES: silencio de fusa,
4942 I: pausa di biscroma,
4943 F: huitième de soupir,
4944 UK: demisemiquaver rest,
4945 D: Zweiunddreissigstel@-pause,
4947 DK: toogtredivtedelspause,
4948 S: trettiotvåondelspaus,
4949 FI: kolmanneskymmeneskahdesosatauko.
4954 @section thorough bass
4957 I: basso continuo, basso numerato,
4958 F: basse chiffrée, basse continue,
4959 D: Generalbass, bezifferter Bass,
4960 NL: basso continuo, becijferde bas
4963 FI: kenraalibasso, numeroitu basso.
4965 A method of indicating an accompaniment part by the bass notes only, together
4966 with figures designating the chief @aref{interval}s and
4967 @aref{chord}s to be played above the bass notes.
4969 @lilypond[fragment,line-width=13.0\cm]
4970 \context GrandStaff <<
4971 \context Staff = lh \relative c'' {
4975 << \context Voice = rha {
4978 \context Voice = rhb {
4980 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
4984 \context Staff = rh \relative c' {
4987 es8 c d bes c as bes16 as g f | es4
4989 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
4997 ES: ligadura de prolongación,
4998 I: legatura (di valore),
5001 NL: overbinding, bindingsboog,
5003 S: bindebåge, överbindning,
5006 A curved line, identical in appearance with the @aref{slur}, which
5007 connects two succesive notes of the same pitch, and which has the function of
5008 uniting them into a single sound (tone) equal to the combined durations.
5010 @lilypond[fragment,notime,ragged-right]
5011 \set Score.automaticBars = ##f
5012 \relative c'' { g2 ~ g4. }
5020 @node time signature
5021 @section time signature
5023 ES: indicación de compás,
5025 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5026 D: Taktangabe, Angabe der Taktart,
5029 S: taktartssignatur,
5046 A sound of definite pitch and duration, as distinct from @emph{noise}.
5047 Tone is a primary building material of music.
5048 Music from the 20th century may be based on atonal sounds.
5062 The first @aref{scale degree}.
5063 @aref{functional harmony}.
5066 @section transposition
5077 Shifting a melody up or down in pitch, while keeping the same
5080 @lilypond[fragment,line-width=13.0\cm]
5085 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5090 @lilypond[fragment,line-width=13.0\cm]
5093 \transpose c bes \relative c'' {
5095 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5101 @section treble clef
5104 I: chiave di violino,
5106 D: Violinschlüssel, Sopranschlüssel,
5108 DK:@w{ }diskantnøgle,
5126 On stringed instruments (@aref{strings}) the quick reiteration of
5127 the same tone, produced by a rapid up-and-down movement of the bow
5128 (a). The term is also used for the rapid alternation (b) between two notes of
5129 a @aref{chord}, usually in the distance of a third
5132 @lilypond[fragment,notime,ragged-right]
5133 \set Score.automaticBars = ##f
5134 %\override Score.TextScript #'font-style = #'large
5137 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5138 \repeat tremolo 8 { e32_"b" g }
5147 F: triade, accord parfait, accord de trois sons,
5161 F: trille, tremblement, battement (cadence),
5171 @section triple meter
5173 ES: compás ternario,
5177 NL: driedelige maatsoort,
5213 @section tuning fork
5216 I: diapason, corista,
5224 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
5225 give the international pitch for the tone @emph{a} (440 vibrations per
5252 FI: unisono, yksiäänisesti.
5254 Playing of the same notes or the same melody by various instruments (voices)
5255 or by the whole orchestra (choir), either at exactly the same pitch or in a
5263 F: anacrouse, levée,
5270 Initial note(s) of a melody occurring before the first bar
5271 line. @aref{measure}, @aref{meter}.
5273 @lilypond[fragment,line-width=13.0\cm]
5277 \partial 4 f4 | bes4. a8 bes4 c |
5278 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
5291 FI: ääni, lauluääni.
5293 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
5294 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
5295 2.@tie{}A melodic layer or part of a polyphonic composition.
5301 I: tempo debole, arsi,
5303 D: unbetonter Taktteil oder Taktschlag,
5305 DK: ubetonet taktslag,
5306 S: obetonat taktslag,
5307 FI: tahdin heikko isku.
5309 @aref{beat}, @aref{measure}, @aref{rhythm}.
5318 D: Ganze, ganze Note,
5329 ES: silencio de redonda,
5330 I: pausa di semibreve,
5333 D: ganze Pause, ganztaktige Pause,
5353 The @aref{interval} of a major second. The interval between two
5354 tones on the piano keyboard with exactly one key between them -- including
5355 black and white keys -- is a whole tone.
5369 A family of blown wooden musical instruments. Today some of these instruments
5370 are actually made from metal. The woodwind instruments commonly used in a
5371 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5373 @node Duration names notes and rests
5374 @chapter Duration names, notes and rests
5377 @item DURATION NAMES, NOTES AND RESTS
5380 @multitable @columnfractions .15 .26 .33 .26
5385 @tab @strong{F (note name / rest name)}
5397 @item @strong{longa}
5412 @item @strong{breve}
5415 @tab brève / double-pause
5427 @item @strong{whole}
5437 @tab koko@-nuotti/@w{-tauko}
5445 @tab blanche / demi-pause
5452 @tab puoli@-nuotti/@w{-tauko}
5457 @item @strong{quarter}
5467 @tab neljännesosa@-nuotti/@w{-tauko}
5472 @item @strong{eighth}
5475 @tab croche / demi-soupir
5482 @tab kahdeksasosa@-nuotti/@w{-tauko}
5487 @item @strong{sixteenth}
5490 @tab double croche / quart de soupir
5497 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5502 @item @strong{thirty-second}
5505 @tab triple croche / huitième de soupir
5507 @tab Zweiunddreissigstel
5508 @tab tweeendertigste
5509 @tab toogtredivtedel
5511 @tab trettiotvåondel
5512 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5517 @item @strong{sixty-fourth}
5518 @tab hemidemisemiquaver
5520 @tab quadruple croche / seizième de soupir
5522 @tab Vierundsechzigstel
5523 @tab vierenzestigste
5524 @tab fireogtred@-sindstyvendedel
5526 @tab sextiofjärdedel
5527 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5531 @c @item @tab @tab @tab @tab @tab @tab @tab @tab @tab
5534 @chapter Pitch names
5540 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5541 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5543 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5544 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5548 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5552 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab
5554 cis @tab cis @tab cis
5558 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab
5560 des @tab des @tab des
5564 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5568 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5572 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5576 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5581 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5587 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5591 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab
5593 ais @tab ais @tab ais
5597 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5603 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5608 @node Literature used
5609 @unnumbered Literature used
5612 @item The Harvard Dictionary of Music, London 1944. Many more or less
5613 literal quotes from its articles have been included into the item
5616 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5618 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5620 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5623 @item Webster's Revised Unabridged Dictionary, Springfield 1913.