1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup, Kurt Kroon
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
97 Permission is granted to copy, distribute and/or modify this document
98 under the terms of the GNU Free Documentation License, Version 1.1
99 or any later version published by the Free Software Foundation,
100 without Invariant Sections.
106 @c @everyheading @| @thispage @|
107 @c @evenheading @thispage @| @|
108 @c @oddheading @| @| @thispage @|
110 @include macros.itexi
115 @w{@expansion{}@strong{\word\}}@c
118 @expansion{}@ref{\word\, @strong{\word\}}@c
123 * Musical terms A-Z::
124 * Duration names notes and rests::
131 @node Musical terms A-Z
132 @chapter Musical terms A-Z
134 Languages in this order.
136 @item UK - British English (where it differs from American English)
162 * ancient minor scale::
167 * ascending interval::
169 * augmented interval::
204 * compound interval::
208 * conjunct movement::
221 * descending interval::
223 * diminished interval::
227 * disjunct movement::
229 * dissonant interval::
230 * dominant ninth chord::
231 * dominant seventh chord::
234 * dot (augmentation dot)::
236 * double appoggiatura::
238 * double dotted note::
241 * double time signature::
249 * ecclesiastical mode::
256 * equal temperament::
275 * functional harmony::
291 * inverted interval::
306 * long appoggiatura::
312 * meantone temperament::
318 * mensural notation::
321 * metronomic indication::
333 * multi-measure rest::
363 * polymetric time signature::
368 * Pythagorean comma::
396 * sixty-fourth note::
397 * sixty-fourth rest::
426 * thirty-second note::
427 * thirty-second rest::
434 * transposing instrument::
489 Abbreviated @samp{a2} or @samp{a 2}.
493 @item An indication in orchestral scores that a single part notated on a single
494 staff that normally carries parts for two players (e.g. first and second oboes)
495 is to be played by both players.
497 @item Or conversely, that two pitches or parts notated on a staff that normally
498 carries a single part (e.g. first violin) are to be played by different players,
499 or groups of players (@q{desks}).
518 FI: aksentti, korostus.
520 The stress of one tone over others.
534 ES: alteración accidental,
536 F: altération accidentelle,
537 D: Versetzungszeichen, Akzidenz,
538 NL: toevallig (verplaatsings)teken,
540 S: tillfälligt förtecken,
541 FI: tilapäinen etumerkki.
543 An accidental has the effect of an @ref{alteration} of a note. A
544 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
545 @ref{whole tone}, a flat lowers it by a semitone and a double flat
546 lowers it by a whole tone. A natural cancels the effect of a previous
547 accidental, or a sharp or flat in the key signature.
549 @lilypond[fragment,notime,line-width=13.0\cm]
550 \set Score.automaticBars = ##f
552 \context Staff \relative c'' {
553 \set Staff.extraNatural = ##f
554 gisis1 gis g! ges geses
557 \override Lyrics .LyricText #'self-alignment-X = #-1
558 "db. sharp" sharp natural flat "db. flat"
569 F: accelerando, en accélérant,
570 D: accelerando, schneller werden,
574 FI: accelerando, kiihdyttäen.
580 @section acciaccatura
582 A grace note which takes its time from the rest or note preceding the
583 principal note to which it is attached. The acciaccatura is drawn as a
584 small eighth note (quaver) with a line drawn through the flag and
589 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
602 FI: adagio, hitaasti.
604 It.@: comfortable, easy.
608 @item Slow tempo, slower -- especially in even meter -- than
609 @ref{andante} and faster than @ref{largo}.
611 @item A movement in slow tempo, especially the second (slow) movement
612 of @ref{sonata}s, symphonies, etc.
623 D: Allegro, Schnell, Fröhlich, Lustig,
627 FI: allegro, nopeasti.
629 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
630 tempo, especially the first and last movements of a @ref{sonata}.
640 NL: verhoging of verlaging,
645 An alteration is the modification, raising or lowering, of a note's
646 pitch. It is established by an @ref{accidental}.
659 FI: altto, matala naisääni.
661 A female voice of low range (@emph{contralto}). Originally the alto
662 was a high male voice (hence the name), which by the use of falsetto
663 reached the height of the female voice. This type of voice is also
664 known as @ref{counter tenor}.
670 ES: clave de do en tercera,
671 I: chiave di contralto,
672 F: clef d'ut troisième ligne,
673 D: Altschlüssel, Bratschenschlüssel,
679 C clef setting middle C on the middle line of the staff.
696 FI: ambitus, ääniala, soitinala.
698 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
699 Denotes a range of pitches for a given voice in a part of music. It may
700 also denote the pitch range that a musical instrument is capable of playing.
701 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
716 An anacrusis (also known as pickup or upbeat) is an incomplete measure
717 of music before a section of music. It also refers to the initial
718 note(s) of a melody occurring in that incomplete measure.
722 @ref{measure}, @ref{meter}.
724 @lilypond[fragment,line-width=13.0\cm]
728 \partial 4 f4 | bes4. a8 bes4 c |
729 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
733 @node ancient minor scale
734 @section ancient minor scale
736 ES: escala menor antigua,
737 I: scala minore naturale,
738 F: forme du mode mineur ancien, troisème mode, mode hellénique,
739 D: reines Moll, natürliches Moll,
740 NL: authentieke mineurtoonladder,
743 FI: luonnollinen molliasteikko.
745 @lilypond[fragment,notime,line-width=13.0\cm]
746 \set Score.automaticBars = ##f
753 @ref{diatonic scale}.
768 Walking tempo/character.
772 @section appoggiatura
776 F: appoggiature, (port de voix),
777 D: Vorschlag, Vorhalt
781 FI: appoggiatura, etuhele.
783 Ornamental note, usually a second, that is melodically connected with
784 the main note following it. In music before the 19th century
785 appoggiature were usually performed on the beat, after that mostly
786 before the beat. While the short appoggiatura is performed as a short
787 note regardless of the duration of the main note the duration of the
788 long appoggiatura is proportional to that of the main note.
790 @lilypond[line-width=13.0\cm]
791 \context Voice \relative c'' {
795 %\override Score.TextScript #'font-style = #'large
796 <d a fis>4_"notation" r
797 { \override Stem #'flag-style = #'()
799 \revert Stem #'flag-style
802 { \override Stem #'flag-style = #'()
804 \revert Stem #'flag-style
807 \cadenzaOn a4 \bar "||" \cadenzaOff
809 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
810 \cadenzaOn a4 \bar "||" \cadenzaOff
814 An appoggiatura may have more notes preceding the main note.
816 @lilypond[line-width=13.0\cm]
820 % \override Score.TextScript #'font-style = #'large
821 \grace { bes16 } as8_"notation" as16 bes as8 g |
822 \grace { as16[( bes] } < c as >4-)
823 \grace { as16[( bes] } < c as >4-) \bar "||"
824 \grace { bes16 } as8_"performance" as16 bes as8 g |
825 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
826 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
838 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
840 DK: arpeggio, akkordbrydning,
842 FI: arpeggio, murtosointu.
844 @lilypond[fragment,line-width=13.0\cm]
845 \context PianoStaff <<
846 \context Staff = SA \relative c'' {
849 r8 g16 c e g, c e r8 g,16 c e g, c e |
850 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
851 \context Staff = SB \relative c' {
853 << \context Voice = va {
855 r16 e8. ( e4) r16 e8. ( e4) |
856 r16 d8. ( d4) r16 d8. ( d4) }
857 \context Voice = vb {
866 @section articulation
875 FI: artikulaatio, ilmaisu.
877 Articulation refers to notation which indicates how a note or notes
878 should be played. Slurs, accents, staccato, and legato are all
879 examples of articulation.
882 @node ascending interval
883 @section ascending interval
885 ES: intervalo ascendente,
886 I: intervallo ascendente,
887 F: intervalle ascendant,
888 D: steigendes Intervall,
889 NL: stijgend interval,
890 DK: stigende interval,
891 S: stigande intervall,
892 FI: nouseva intervalli.
894 A distance between a starting lower note and a higher ending note.
897 @node augmented interval
898 @section augmented interval
900 ES: intervalo aumentado,
901 I: intervallo aumentato,
902 F: intervalle augmenté,
903 D: übermäßiges Intervall,
904 NL: overmatig interval,
905 DK: forstørret interval,
906 S: överstigande intervall,
907 FI: ylinouseva intervalli.
915 @section augmentation
926 @c TODO: add definition.
928 This is a placeholder for augmentation (wrt mensural notation).
932 @ref{diminution}, @ref{mensural notation}.
940 F: manuscrit, autographe
941 D: Autograph, Handschrift,
943 DK: håndskrift, autograf,
945 FI: käsinkirjoitettu nuotti.
949 @item A manuscript written in the composer's own hand.
951 @item Music prepared for photoreproduction by freehand drawing, with
952 the aid of a straightedge ruler and T-square only, which attempts to
953 emulate engraving. This required more skill than did engraving.
996 ES: barra, línea divisoria,
997 I: stanghetta, barra (di divisione),
998 F: barre (de mesure),
1016 FI: baritoni, keskikorkuinen miesääni.
1018 The male voice intermediate between the @ref{bass} and the
1021 @c F: clef de troisième ligne dropped
1025 @section baritone clef
1027 ES: clave de fa en tercera,
1028 I: chiave di baritono,
1029 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1030 D: Baritonschlüssel,
1036 C or F clef setting middle C on the upper staff line.
1040 @ref{C clef}, @ref{F clef}.
1046 ES: clave de fa en cuarta,
1048 F: clef de fa quatrième ligne,
1055 A clef setting with middle C on the first top ledger line.
1072 FI: basso, matala miesääni.
1076 @item The lowest male voice.
1078 @item Sometimes, especially in jazz music, used as an abbreviation for
1100 Line connecting a series of notes (shorter than a quarter note). The
1101 number of beams determines the note value of the connected notes.
1103 @lilypond[fragment,notime,line-width=13.0\cm]
1104 \set Score.automaticBars = ##f
1105 %\override TextScript #'font-style = #'large
1107 g8_"1/8"[ g g g] s16
1108 g16_"1/16"[ g g g] s16
1109 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1110 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1115 @ref{feathered beam}.
1121 ES: tiempo, parte (de compás)
1124 D: Takt, Taktschlag, Zeit (im Takt),
1130 Note value used for counting, most often half-, fourth-, and eighth
1131 notes. The base counting value and the number of them per measure is
1132 indicated at the start of the music.
1134 @lilypond[fragment,line-width=13.0\cm]
1137 \relative c'' { g4 c b a | g1 \bar "||"}
1139 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1154 ES: llave, corchete,
1157 D: Klammer, Akkolade,
1158 NL: accolade, teksthaak,
1161 FI: yhdistävä sulkumerkki.
1163 Symbol at the start of a system connecting staves.
1165 Curly braces are used for connecting piano staves, and sometimes for connecting
1166 the staves of like instruments in an orchestral score when written on different
1167 staves (e.g. first and second flutes):
1169 @lilypond[fragment,ragged-right]
1170 \context GrandStaff <<
1171 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1172 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1175 Angular brackets for connecting parts in an orchestral or choral score:
1177 @lilypond[fragment,ragged-right]
1178 \context StaffGroup <<
1179 % \set StaffGroup.minVerticalAlign = #12
1180 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1181 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1208 NL: koper (blazers),
1211 S: brassinstrument, mässingsinstrument,
1214 A family of blown musical instruments made of brass, all using a cup
1215 formed mouth piece. The brass instruments commonly used in a symphony
1216 orchestra are trumpet, trombone, french horn, and tube.
1220 @section breath mark
1225 D: Atemzeichen, Trennungszeichen,
1226 NL: repercussieteken,
1227 DK: vejrtrækningstegn,
1231 Indication of where to breathe in vocal and wind instrument parts.
1237 ES: cuadrada, breve,
1244 FI: brevis, kaksoiskokonuotti.
1246 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1247 The shortest note value generally used in white mensural notation, hence the
1248 name, which originally meant @q{of short duration}.
1250 @lilypond[fragment,notime,ragged-right]
1251 \set Score.automaticBars = ##f
1252 \relative c'' { g\breve }
1257 @ref{mensural notation}, @ref{note value}.
1291 Clef symbol indicating the position of the middle C. Used on all note
1294 @lilypond[fragment,notime,line-width=13.0\cm]
1295 \set Score.automaticBars = ##f
1296 \override Score.Clef #'full-size-change = ##t
1298 \context Staff \relative c' {
1300 \clef mezzosoprano c
1305 \context Lyrics \lyrics {
1306 \override Lyrics .LyricText #'self-alignment-X = #-1
1307 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1323 FI: kadenssi, lopuke.
1327 @ref{harmonic cadence}, @ref{functional harmony}.
1340 FI: kadenssi, lopuke.
1342 An extended, improvisatory style section inserted near the end of
1343 movement. The purpose of a cadenza is to give singers or players a
1344 chance to exhibit their technical skill and -- not last -- their
1345 ability to improvise. Since the middle of the 19th century, however,
1346 most cadenzas have been written down by the composer.
1359 FI: kaanon, tarkka jäljittely.
1376 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1377 viritysjärjestelmässä.
1379 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1380 (1/100 of an equally tempered @ref{semitone}).
1384 @ref{equal temperament}.
1407 Three or more tones sounding simultaneously. In traditional European music the
1408 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1409 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1410 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1411 @emph{ninth} major chords are most often used as dominants (@ref{functional
1412 harmony}). A special case is chords having no third above the lower notes to
1413 define their quality as major or minor: such chords are called @q{open chords}.
1415 @lilypond[fragment,notime,line-width=13.0\cm]
1416 \set Score.automaticBars = ##f
1417 %\override TextScript #'font-style = #'large
1419 \context Staff \relative c'' {
1420 \set Staff.extraNatural = ##f
1440 @node chromatic scale
1441 @section chromatic scale
1443 ES: escala cromática,
1445 F: gamme chromatique,
1446 D: chro@-ma@-ti@-sche Tonleiter,
1447 NL: chromatische toonladder,
1448 DK: kromatisk skala,
1450 FI: kromaattinen asteikko.
1452 A scale consisting of all 12 @ref{semitone}s.
1454 @lilypond[fragment,notime,line-width=13.0\cm]
1455 \set Score.automaticBars = ##f
1456 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1461 @section chromaticism
1472 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1476 @section church mode
1478 ES: modo eclesiástico,
1479 I: modo ecclesiastico,
1480 F: mode ecclésiastique,
1485 FI: moodi, kirkkosävellaji.
1489 @ref{diatonic scale}.
1498 D: Schlüssel, Notenschlüssel,
1502 FI: avain, nuottiavain.
1506 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1508 The clef indicates which lines of the staff correspond to which
1509 pitches. The three clef symbols in common use are:
1511 @lilypond[ragged-right,quote]
1514 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1515 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1516 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1521 Imagine a large staff of 11 lines centered on middle C, sometimes
1522 called a @q{grand staff}, with the bottom line representing low G and
1523 the top line high F:
1525 @lilypond[ragged-right,quote]
1528 %-- Treble Staff --%
1530 % Allow this staff to be placed close to the others
1531 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1532 % Allow the treble clef to overlap the lower staves:
1533 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1534 \override Staff.Clef #'stencil = ##f % No clef required
1536 s1^\markup { "g," \transparent "g" }
1537 s^ \markup { "b," \transparent "g" }
1538 s^ \markup { "d" \transparent "g" }
1539 s^ \markup { "f" \transparent "g" }
1540 s^ \markup { "a" \transparent "g" }
1541 s^ \markup { \with-color #red c' \transparent "g"}
1542 e'^\markup { "e'" \transparent "g" }
1543 g'^\markup { "g'" \transparent "g" }
1544 b'^\markup { "b'" \transparent "g" }
1545 d''^\markup { "d''" \transparent "g" }
1546 f''^\markup { "f ''" \transparent "g" }
1549 %-- Alto Staff reduced to a single line on middle C --%
1551 \override Staff.StaffSymbol #'line-count = 1 % One line only
1552 \override Staff.StaffSymbol #'color = #red % Coloured red
1553 \override Staff.Clef #'stencil = ##f % No clef required
1556 % Allow this staff to be placed close to the others
1557 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1558 % Specify height to give correct spacing between treble and bass staves
1559 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1561 s1 s s s s % Space along to align horizonatally
1562 \override NoteHead #'color = #red
1564 s1 s s s s s % Keep staff (ie the red line) showing
1568 % Allow this staff to be placed close to the others
1569 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1570 \override Staff.Clef #'stencil = ##f % No clef required
1573 s s s s s s s % Keep staff showing
1577 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1578 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1580 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1581 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1583 % Remove all barlines
1584 \context { \Score \override BarLine #'stencil = ##f
1586 % Remove time signature from all staves
1587 \context { \Staff \remove Time_signature_engraver
1593 Staves of five lines are usually used, and the clef superimposed on
1594 them indicates which five lines have been selected from this
1595 @samp{grand staff}. For example, the treble or G clef indicates that
1596 the top five lines have been selected:
1598 @lilypond[ragged-right,quote]
1601 %-- Treble Staff --%
1603 % Allow this staff to be placed close to the others
1604 \override Staff.VerticalAxisGroup
1605 #'minimum-Y-extent = #'(0 . 0)
1606 % Allow the treble clef to overlap the lower staves:
1607 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1608 \override Staff.Clef #'stencil = ##f % No clef required here
1610 s1^\markup { "g," \transparent "g" }
1611 s^ \markup { "b," \transparent "g" }
1612 s^ \markup { "d" \transparent "g" }
1613 s^ \markup { "f" \transparent "g" }
1614 s^ \markup { "a" \transparent "g" }
1615 s^ \markup { \with-color #red c' \transparent "g"}
1616 \stopStaff \startStaff
1617 \clef "C" % Dummy to force next clef to be printed
1618 s % Need at least one note for \clef to take effect
1619 \override Staff.Clef #'stencil = ##t % Clef now required
1620 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1622 e'^\markup { "e'" \transparent "g" }
1623 g'^\markup { "g'" \transparent "g" }
1624 b'^\markup { "b'" \transparent "g" }
1625 d''^\markup { "d''" \transparent "g" }
1626 f''^\markup { "f ''" \transparent "g" }
1628 %-- Alto Staff reduced to a single line on middle C --%
1630 \override Staff.StaffSymbol #'line-count = 1 % One line only
1631 \override Staff.StaffSymbol #'color = #red % Coloured red
1632 \override Staff.Clef #'stencil = ##f % No clef required
1635 % Allow this staff to be placed close to the others
1636 \override Staff.VerticalAxisGroup
1637 #'minimum-Y-extent = #'(0 . 0)
1638 % Specify height to give correct spacing between the staves
1639 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1641 s1 s s s s % Space along to align horizonatally
1642 \override NoteHead #'color = #red
1644 % s1 s s s s % Keep staff (ie the red line) showing
1648 % Allow this staff to be placed close to the others
1649 \override Staff.VerticalAxisGroup
1650 #'minimum-Y-extent = #'(0 . 0)
1651 \override Staff.Clef #'stencil = ##f % No clef required
1654 % s s s s s s % Keep staff showing
1658 % Reduce horizontal spacing so semibreves can be used
1659 % without exceeding 1 line
1660 \context { \Score \override SpacingSpanner
1661 #'base-shortest-duration = #(ly:make-moment 1 1)
1663 % Reduce apparent vertical size of note heads to
1664 % permit them to overlap other grobs vertically
1665 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1667 % Remove all barlines
1668 \context { \Score \override BarLine #'stencil = ##f
1670 % Remove time signature from all staves
1671 \context { \Staff \remove Time_signature_engraver
1677 The @q{curl} of the G clef is centered on the line that represents the
1680 In the same way, the bass or F clef indicates that the bottom five
1681 lines have been selected from the @samp{grand staff}, and the alto or
1682 C clef indicates the middle five lines have been selected. This
1683 relationship is shown below, where the notes show an arpeggio on a C
1686 @lilypond[ragged-right,quote]
1689 %-- Treble Staff --%
1690 \new Staff = "G" \with {
1691 \remove Time_signature_engraver
1694 % The following two overrides are required to make the two middle C's overlap
1695 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1696 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1698 \override Staff.Clef #'Y-extent = #'(0 . 0)
1700 s1 s s s s e' g' c''
1703 \new Staff = "C" \with {
1704 \remove Time_signature_engraver
1707 \override Staff.StaffSymbol #'line-count = 1
1708 \override Staff.StaffSymbol #'stencil = ##f
1709 \once \override Staff.Clef #'stencil = ##f
1710 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1711 \override Score.BarLine #'stencil = ##f
1713 % The following two overrides are required to align the C staff to the G and F staves
1714 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1715 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1718 \stopStaff \startStaff
1719 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1720 \revert Staff.StaffSymbol #'stencil
1721 \override Staff.StaffSymbol #'color = #red
1722 b'1 % A frig. This really shows as a middle C in the score
1724 \stopStaff \startStaff
1725 \override Staff.StaffSymbol #'line-count = 5
1726 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1727 \override Staff.Clef #'Y-extent = #'(0 . 0)
1728 \revert Staff.StaffSymbol #'color
1729 \stopStaff \startStaff
1731 s1 s s c e g c' e' g' c''
1734 \new Staff = "F" \with {
1735 \remove Time_signature_engraver
1738 \override Staff.Clef #'Y-extent = #'(0 . 0)
1739 % The following two overrides are required to make the two middle C's overlap
1740 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1741 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1749 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1752 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1755 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1772 FI: klusteri, cluster.
1774 A @emph{cluster} is a range of simultaneously sounding pitches that
1775 may change over time. The set of available pitches to apply usually
1776 depends on the acoustic source. Thus, in piano music, a cluster
1777 typically consists of a continuous range of the semitones as provided
1778 by the piano's fixed set of a chromatic scale. In choral music, each
1779 singer of the choir typically may sing an arbitrary pitch within the
1780 cluster's range that is not bound to any diatonic, chromatic or other
1781 scale. In electronic music, a cluster (theoretically) may even cover
1782 a continuous range of pitches, thus resulting in colored noise, such
1785 Clusters can be denoted in the context of ordinary staff notation by
1786 engraving simple geometrical shapes that replace ordinary notation of
1787 notes. Ordinary notes as musical events specify starting time and
1788 duration of pitches; however, the duration of a note is expressed by
1789 the shape of the note head rather than by the horizontal graphical
1790 extent of the note symbol. In contrast, the shape of a cluster
1791 geometrically describes the development of a range of pitches
1792 (vertical extent) over time (horizontal extent). Still, the
1793 geometrical shape of a cluster covers the area in which any single
1794 pitch contained in the cluster would be notated as an ordinary note.
1796 @lilypond[fragment,relative=2,ragged-right]
1797 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1811 FI: komma, korvinkuultava ero äänenkorkeudessa.
1813 Difference in pitch between a note derived from pure tuning and the
1814 same note derived from some other tuning method.
1818 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1823 @section common meter
1833 @section common time
1844 4/4 time. The symbol, which resembles a capital letter C, derives from
1849 @ref{mensural notation}, @ref{meter}.
1855 ES: intervalo invertido,
1857 F: intervalle complémentaire,
1858 D: Komplementärintervall,
1859 NL: complementair interval,
1860 DK: komplementærinterval,
1861 S: komplementärintervall (?),
1862 FI: täydentävä intervalli.
1866 @ref{inverted interval}.
1869 @node compound interval
1870 @section compound interval
1872 ES: intervalo compuesto,
1873 I: intervallo composto,
1874 F: intervalle composé,
1875 D: weites Intervall,
1876 NL: samengesteld interval,
1877 DK: sammensat interval,
1878 S: sammansatt intervall,
1879 FI: oktaavia laajempi intervalli.
1881 Intervals larger than an octave.
1888 @node compound meter
1889 @section compound meter
1900 A meter that includes a triplet subdivision within the beat, such as
1905 @ref{meter}, @ref{simple meter}.
1909 @section compound time
1923 A meter that includes a triplet subdivision within the beat: see
1924 @ref{compound meter}.
1927 A time signature that additively combines two or more unequal meters, e.g.
1928 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1930 @lilypond[fragment,line-width=13.0\cm]
1931 #(define (compound-time grob one two three num)
1933 (ly:grob-layout grob)
1934 '(((baseline-skip . 2)
1936 (font-family . number)))
1938 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1942 #(set-time-signature 8 8 '(3 2 3))
1943 \override Staff.TimeSignature #'stencil
1944 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1945 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1946 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1947 \set Staff.beatGrouping = #'(3 2 3)
1949 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1957 @ref{compound meter}, @ref{meter}.
1961 @section concert pitch
1972 The pitch at which the piano and other nontransposing instruments play: such
1973 instruments are said to be @q{in C}. The following list includes some (but not
1974 all) instruments that play in concert pitch:
1988 @item tenor trombone
2003 The trombones are a special case: although they are said to be @q{in F} (alto or
2004 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2005 their parts' transposition. (In fact, the trombones' parts are written at
2006 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2007 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2010 Instruments that play @q{in C} but in a different octave than what is written
2011 are, technically speaking, @emph{transposing instruments}:
2015 @item piccolo (plays an octave higher)
2016 @item celesta (plays an octave higher)
2017 @item double-bass (plays an octave lower)
2023 @ref{transposing instrument}.
2026 @node conjunct movement
2027 @section conjunct movement
2029 ES: movimiento conjunto,
2031 F: mouvement conjoint,
2032 D: schritt@-weise, stufenweise Bewegung,
2033 NL: stapsgewijze, trapsgewijze beweging,
2034 DK: trinvis bevægelse,
2036 FI: asteittainen liike.
2038 Progressing melodically by intervals of a second. The opposite of a
2039 @ref{disjunct movement}.
2041 @lilypond[fragment,line-width=13.0\cm]
2042 \key g \major \time 4/4
2043 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2057 FI: konsonanssi, sopusointi.
2082 @section counterpoint
2091 FI: kontrapunkti, ääni ääntä vastaan.
2093 From Latin @emph{punctus contra punctum}, note against note. The
2094 combination into a single musical fabric of lines or parts which have
2095 distinct melodic significance. A frequently used polyphonic technique
2096 is imitation, in its strictest form found in the canon needing only
2097 one part to be written down while the other parts are performed with a
2098 given displacement. Imitation is also the contrapunctal technique
2099 used in the @emph{fugue} which, since the music of the baroque era,
2100 has been one of the most popular polyphonic composition methods.
2102 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2103 \set Score.implicitTimeSignatureVisibility = #all-invisible
2104 \override Score.TimeSignature #'break-visibility = #all-invisible
2105 \context PianoStaff <<
2106 \context Staff = SA \relative c' {
2110 << \context Voice = rha {
2112 r1 | r2 r8 g'8 bes d, |
2113 cis4 d r8 e!16 f g8 f16 e |
2114 f8 g16 a bes8 a16 g a8
2116 \context Voice = rhb {
2122 \context Staff = SB \relative c' {
2125 << \context Voice = lha {
2127 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2128 r8 a16 g f8 g16 a bes8 g e! cis' |
2131 \context Voice = lhb {
2141 @section counter tenor
2146 D: Countertenor, Kontratenor,
2149 S: kontratenor, counter tenor,
2158 @section copying music
2160 A music copyist did fast freehand scores and parts on preprinted staff
2161 lines for performance. Some of their conventions (e.g., the placement
2162 of note heads on stems) varied slightly from those of engravers. Some
2163 of their working methods were superior and could well be adopted by
2166 @c Copying music required more skill than engraving. Flagged for NPOV
2175 D: Crescendo, lauter werden,
2179 FI: cresendo, voimistuen.
2181 Increasing volume. Indicated by a rightwards opening horizontal wedge
2182 or the abbreviation @samp{cresc.}.
2184 @lilypond[fragment,ragged-right]
2185 \key g \major \time 4/4
2186 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2195 F: petites notes précédent l'entrée d'un instrument, réplique,
2202 In a separate part notes belonging to another part with the purpose of
2203 hinting when to start playing. Usually printed in a smaller type.
2212 D: Notenzeiger, Custos,
2218 A custos (plural: custodes) is a staff symbol that appears at the end
2219 of a staff line with monophonic musical contents (i.e., with a single
2220 voice). It anticipates the pitch of the first note of the following
2221 line and thus helps the player or singer to manage line breaks during
2222 performance, thus enhancing readability of a score.
2224 Custodes were frequently used in music notation until the 16th
2225 century. There were different appearences for different notation
2226 styles. Nowadays, they have survived only in special forms of musical
2227 notation such as via the Editio Vaticana dating back to the beginning
2233 % \override Staff.Custos #'neutral-position = #4
2234 \override Staff.Custos #'neutral-direction = #down
2235 \override Staff.Custos #'style = #'hufnagel
2243 \consists Custos_engraver
2275 F: da capo, depuis le commencement,
2276 D: da capo, von Anfang,
2280 FI: da capo, alusta.
2282 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2283 the beginning to the end or to a certain place marked @emph{fine}.
2291 F: dal segno, depuis le signe,
2292 D: dal segno, ab dem Zeichen,
2296 FI: dal segno, lähtien merkistä.
2298 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2299 another place frequently near the beginning marked by a sign:
2301 @lilypond[fragment,ragged-right]
2302 %\override TextScript #'font-style = #'large
2303 \override TextScript #'font-shape = #'italic
2304 \key g \major \time 4/4
2309 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2316 @section decrescendo
2320 D: Decrescendo, leiser werden,
2324 FI: decresendo, hiljentyen.
2326 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2327 or the abbreviation @samp{decresc.}.
2329 @lilypond[fragment,ragged-right]
2331 \key g \major \time 4/4
2332 d4 \> c b a | g1 \! \bar "|."
2337 @node descending interval
2338 @section descending interval
2340 ES: intervalo descendente,
2341 I: intervallo discendente,
2342 F: intervalle descendant,
2343 D: fallendes Intervall, absteigendes Intervall,
2344 NL: dalend interval,
2345 DK: faldende interval,
2346 S: fallande intervall,
2347 FI: laskeva intervalli.
2349 A distance between a starting higher note and a lower ending note.
2352 @node diatonic scale
2353 @section diatonic scale
2355 ES: escala diatónica,
2357 F: gamme diatonique,
2358 D: diatonische Tonleiter,
2359 NL: diatonische toonladder,
2360 DK: diatonisk skala,
2362 FI: diatoninen asteikko.
2364 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2365 Scales played on the white keys of a piano keybord are diatonic; and these
2366 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2368 These @q{modes} are used in gregorian chant and in pre-baroque early music
2369 but also to some extent in newer jazz music.
2371 @lilypond[fragment,notime,ragged-right]
2372 \set Score.automaticBars = ##f
2373 %\override Score.LyricText #'font-style = #'large
2374 %\override Score.TextScript #'font-style = #'large
2376 \context Staff \relative c' {
2378 \override TextScript #'padding = #-4
2379 e^"~~ S" f g a b^"~~ S" c
2381 \context Lyrics \lyrics {
2387 @lilypond[fragment,notime,ragged-right]
2388 \set Score.automaticBars = ##f
2390 \context Staff \relative c' {
2392 \override TextScript #'padding = #-4
2393 e^"~~ S" f g a b^"~~ S" c d
2401 @lilypond[fragment,notime,ragged-right]
2402 \set Score.automaticBars = ##f
2405 \override TextScript #'padding = #-4
2406 e1^"~~ S" f g a b^"~~ S" c d e
2414 @lilypond[fragment,notime,ragged-right]
2415 \set Score.automaticBars = ##f
2419 \override TextScript #'padding = #-4
2420 b^"~~ S" c d e^"~~ S" f
2428 @lilypond[fragment,notime,ragged-right]
2429 \set Score.automaticBars = ##f
2433 \override TextScript #'padding = #-4
2434 b^"~~ S" c d e^"~~ S" f g }
2441 @lilypond[fragment,notime,ragged-right]
2442 \set Score.automaticBars = ##f
2443 %\override Score.LyricText #'font-style = #'large
2444 %\override Score.TextScript #'font-style = #'large
2448 \override TextScript #'padding = #-4
2449 b^"~~ S" c d e^"~~ S" f g a
2457 @lilypond[fragment,notime,ragged-right]
2458 \set Score.automaticBars = ##f
2459 %\override Score.LyricText #'font-style = #'large
2460 %\override Score.TextScript #'font-style = #'large
2463 \override TextScript #'padding = #-4
2464 b^"~~ S" c d e^"~~ S" f g a b
2472 From the beginning of the 17th century the scales used in European
2473 compositional music are primarily the major and the minor scales. In
2474 the harmonic minor scale type an augmented second (A) occurs between
2475 the 6th and 7th tone.
2477 @lilypond[fragment,notime,ragged-right]
2478 \set Score.automaticBars = ##f
2482 \override TextScript #'padding = #-4
2483 e^"~~ S" f g a b^"~~ S" c
2491 @lilypond[fragment,notime,ragged-right]
2492 \set Score.automaticBars = ##f
2496 \override TextScript #'padding = #-4
2497 b^"~~ S" c d e^"~~ S" f g a
2505 @lilypond[fragment,notime,ragged-right]
2506 \set Score.automaticBars = ##f
2510 \override TextScript #'padding = #-4
2511 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2513 \context Lyrics \lyrics {
2519 @lilypond[fragment,notime,line-width=13.0\cm]
2520 \set Score.automaticBars = ##f
2521 %\override Score.LyricText #'font-style = #'large
2522 %\override Score.TextScript #'font-style = #'large
2526 \override TextScript #'padding = #-4
2527 b^"~~ S" c d e fis gis^"~~ S"
2528 a g! f!^"~~ S" e d c^"~~ S" b a
2537 @node diminished interval
2538 @section diminished interval
2540 ES: intervalo disminuido,
2541 I: intervallo diminuito,
2542 F: intervalle diminué,
2543 D: vermindertes Intervall,
2544 NL: verminderd interval,
2545 DK: formindsket interval,
2546 S: förminskat intervall,
2547 FI: vähennetty intervalli.
2564 FI: diminuendo, hiljentyen.
2583 @c TODO: add definition
2585 This is a placeholder for diminution (wrt mensural notation).
2589 @ref{augmentation}, @ref{mensural notation}.
2609 @node disjunct movement
2610 @section disjunct movement
2612 ES: movimiento disjunto,
2614 F: mouvement disjoint,
2615 D: sprunghafte Bewegung,
2616 NL: sprongsgewijze beweging,
2617 DK: springende bevægelse,
2618 S: hoppande rörelse,
2619 FI: melodian hyppivä liike.
2621 Progressing melodically by intervals larger than a major second, as
2622 opposed to @ref{conjunct movement}.
2624 @lilypond[fragment,ragged-right]
2629 a4. gis8 b a e cis |
2630 fis2 d4. \bar "||" }
2637 @ref{dissonant interval}.
2640 @node dissonant interval
2641 @section dissonant interval
2643 ES: intervalo disonante, disonancia,
2644 I: intervallo dissonante, dissonanza,
2647 NL: dissonant interval, dissonant,
2648 DK: dissonerende interval, dissonans,
2650 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2657 @node dominant ninth chord
2658 @section dominant ninth chord
2660 ES: acorde de novena de dominante,
2661 I: accordo di nona di dominante,
2662 F: accord de neuvième dominante,
2663 D: Domi@-nant@-nonen@-akkord,
2664 NL: dominant noon akkoord,
2665 DK: dominantnoneakkord,
2666 S: dominantnonackord,
2667 FI: dominanttinoonisointu.
2671 @ref{chord}, @ref{functional harmony}.
2674 @node dominant seventh chord
2675 @section dominant seventh chord
2677 ES: acorde de séptima de dominante,
2678 I: accordo di settima di dominante,
2679 F: accord de septième dominante,
2680 D: Dominantseptakkord,
2681 NL: dominant septiem akkoord,
2682 DK: dominantseptimakkord,
2683 S: dominantseptimackord,
2684 FI: dominanttiseptimisointu.
2688 @ref{chord}, @ref{functional harmony}.
2701 FI: dominantti, huippusointu.
2703 The fifth @ref{scale degree} in @ref{functional harmony}.
2707 @section dorian mode
2712 D: dorisch, dorischer Kirchenton,
2713 NL: dorische toonladder,
2720 @ref{diatonic scale}.
2723 @node dot (augmentation dot)
2724 @section dot (augmentation dot)
2727 I: punto (di valore),
2729 D: Punkt (Verlängerungspunkt),
2737 @ref{dotted note}, @ref{note value}.
2741 @section dotted note
2743 ES: nota con puntillo,
2747 NL: gepuncteerde noot,
2750 FI: pisteellinen nuotti.
2757 @node double appoggiatura
2758 @section double appoggiatura
2760 ES: apoyatura doble,
2761 I: appoggiatura doppia,
2762 F: appoggiature double,
2763 D: doppelter Vorschlag,
2764 NL: dubbele voorslag,
2765 DK: dobbelt forslag,
2767 FI: kaksoisappogiatura, kaksoisetuhele.
2774 @node double bar line
2775 @section double bar line
2781 NL: dubbele maatstreep,
2784 FI: kaksoistahtiviiva.
2786 Indicates the end of a section within a movement.
2789 @node double dotted note
2790 @section double dotted note
2792 ES: nota con doble puntillo,
2793 I: nota doppiamente puntata,
2794 F: note doublement pointée,
2795 D: doppelt punktierte Note,
2796 NL: dubbelgepuncteerde noot,
2797 DK: dob@-belt@-punk@-te@-ret node,
2798 S: dub@-bel@-punk@-te@-rad not,
2799 FI: kaksoispisteellinen nuotti.
2807 @section double flat
2816 FI: kaksoisalennusmerkki.
2824 @section double sharp
2826 ES: doble sostenido,
2831 DK: dob@-belt@-kryds,
2833 FI: kaksoisylennysmerkki.
2840 @node double time signature
2841 @section double time signature
2854 @ref{polymetric time signature}.
2858 @section double trill
2864 NL: dubbele triller,
2869 A simultaneous trill on two notes, usually in the distance of a third.
2873 @section duple meter
2878 D: in zwei, grader Takt,
2879 NL: tweedelige maatsoort,
2916 FI: kesto, aika-arvo.
2924 @section didymic comma
2928 @ref{syntonic comma}.
2937 D: Dynamik, Lautstärke,
2943 The aspect of music relating to degrees of loudness, or changes from
2944 one degree to another. The terms, abbreviations, and symbols used to
2945 indicate this information are called dynamic marks.
2949 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2972 @node ecclesiastical mode
2973 @section ecclesiastical mode
2981 @section eighth note
2988 @item D: Achtel, Achtelnote
2989 @item NL: achtste noot
2990 @item DK: ottendedelsnode
2991 @item S: åttondelsnot
2992 @item FI: kahdeksasosanuotti
3001 @section eighth rest
3004 @item UK: quaver rest
3005 @item ES: silencio de corchea
3006 @item I: pausa di croma
3007 @item F: demi-soupir
3008 @item D: Achtelpause
3009 @item NL: achtste rust
3010 @item DK: ottendedelspause
3011 @item S: åttonddelspaus
3012 @item FI: kahdeksasosatauko
3023 @c TODO: add languages
3034 The singing of several syllables on a single note. Elision may be indicated
3035 by a lyric tie, which is looks like (and serves the same function) as a
3044 @section embellishment
3057 D: Notenstich, Notendruck
3063 Engraving means incising or etching a metal plate for printing.
3064 Photoengraving means drawing music with ink in a manner similar to
3065 drafting or engineering drawing, using similar tools.
3067 The traditional process of music printing is done through cutting in a
3068 plate of metal. Now also the term for the art of music typesetting.
3083 Two notes, intervals, or scales are enharmonic if they have different
3084 names but equal pitch.
3086 @lilypond[fragment,notime,line-width=13.0\cm]
3087 \set Score.automaticBars = ##f
3089 \context Staff \relative c'' {
3090 gis1 as <des g,!> <cis g!>
3092 \context Lyrics \lyrics {
3093 \override Lyrics .LyricText #'self-alignment-X = #-1
3094 "g sharp " "a flat " "dim fifth " "augm fourth"
3100 @node equal temperament
3101 @section equal temperament
3103 ES: temperamento igual,
3104 I: temperamento equabile,
3105 F: tempérament égal,
3106 D: gleichschwebende Stimmung,
3107 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3108 DK: ligesvævende temperatur,
3109 S: liksvävande temperatur,
3112 Tuning system dividing the octave into 12 equal @ref{semitone}s
3113 (precisely 100 @ref{cent}s).
3120 @node expression mark
3121 @section expression mark
3124 I: segno d'espressione,
3125 F: signe d'expression, indication de nuance,
3127 NL: voordrachtsteken,
3128 DK: foredragsbetegnelse,
3129 S: föredragsbeteckning,
3130 FI: nyanssiosoitus, esitysmerkki.
3132 Performance indications concerning:
3136 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3138 @item tempo (for example @ref{andante}, @ref{allegro}).
3144 @section extender line
3146 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3148 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3155 The generic term for a line (or dash) of arbitrary length that extends
3156 text (without indicating the musical @emph{function} of that text).
3158 Used in many contexts, for example:
3162 @item In vocal music to indicate the syllable for a melisma. Called
3163 @q{extension} in the
3164 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3168 In figured (or thorough) bass to indicate that:
3172 @item The extended note should be held through a change in harmony, when applied
3173 to one figure --OR--
3174 @item The chord thus represented should be held above a moving bass line, when
3175 applied to more than one figure.
3176 @item These uses were not completely standardized, and some composers used a
3177 single extender line to indicate the latter case.
3182 In string music to indicate that all notes in the passage thus indicated should
3183 be played on the same string. On the violin, for example, a series of notes to
3184 be played on the G string would be indicated @samp{sul G}, another series to be
3185 played on the D string would be indicated @samp{sul D}, and so on.
3188 With an octave mark to indicate that a passage is to be played higher or lower
3189 by the given number of octaves.
3195 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3230 The position between the dots of the key symbol is the line of the F
3231 below central@w{ }C. Used on the third, fourth and fifth note line.
3232 A digit@w{ }8 above the clef symbol indicates that the notes must be
3233 played an octave higher (for example, bass recorder) while 8@w{ }below
3234 the clef symbol indicates playing an octave lower (for example, on
3235 double bass @ref{strings}).
3237 @lilypond[fragment,notime,line-width=13.0\cm]
3238 \set Score.automaticBars = ##f
3239 \override Staff.Clef #'full-size-change = ##t
3267 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3270 @node feathered beam
3271 @section feathered beam
3275 F: liens de croches en soufflet,
3276 D: gespreizter Balken,
3282 A type of beam used to indicate that a small group of notes should be
3283 played at an increasing or decreasing tempo -- depending on the
3284 direction of @q{feathering} -- but without changing the overall tempo
3289 Internals Reference: @ruser{Manual beams}
3297 F: point d'orgue, point d'arrêt,
3302 FI: fermaatti, pidäke.
3304 Prolonged note or rest of indefinite duration.
3306 @lilypond[fragment,ragged-right]
3309 a4 b c2^\fermata \bar "|."
3332 @section figured bass
3336 @ref{thorough bass}.
3351 The methodical use of fingers in the playing of instruments.
3358 I: coda (uncinata), bandiera,
3366 Ornament at the end of the stem of a note used for notes with values
3367 less than a quarter note. The number of flags determines the
3370 @lilypond[fragment,notime,ragged-right]
3371 \set Score.automaticBars = ##f
3372 %\override Score.TextScript #'font-style = #'large
3417 FI: forte, voimakkaasti.
3419 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3420 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3440 @node Frenched score
3441 @section Frenched score
3452 A @q{condensed} score, produced by omitting staves for instruments that are not
3453 playing at the moment, and by moving up additional systems from following pages
3454 to take up the space thus liberated, which reduces the total number of pages
3455 used to print the work.
3457 The specific rules for @q{frenching} a score differ from publisher to publisher.
3458 If you are producing scores for eventual publication by a commercial publisher,
3459 you may wish to procure a copy of their style manual.
3463 @ref{Frenched staff}.
3466 @node Frenched staff
3467 @section Frenched staff
3478 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3479 measures or sections removed. This would be useful for producing, for example,
3480 an @emph{ossia} staff.
3487 @node Frenched staves
3488 @section Frenched staves
3499 The plural of @ref{Frenched staff}, @emph{q.v.}.
3519 @node functional harmony
3520 @section functional harmony
3522 ES: armonía funcional,
3523 I: armonia funzionale,
3524 F: étude des functions,
3526 NL: functionele harmonie,
3527 DK: funktionsanalyse, funktionsharmonik,
3529 FI: harmoniajärjestelmä.
3531 A system of harmonic analysis. It is based on the idea that, in a
3532 given key, there are only three functionally different chords: tonic
3533 (T, the chord on the first note of the scale), subdominant (S, the
3534 chord on the fourth note), and dominant (D, the chord on the fifth
3535 note). Others are considered to be variants of the base chords.
3537 @lilypond[fragment,notime,line-width=13.0\cm]
3538 \set Score.automaticBars = ##f
3540 \context Voice \relative c'' {
3541 <g e c >1 < a f d > < b g e >
3542 <c a f > < d b g > < e c a > < f d b > }
3543 \context Lyrics \lyrics {
3544 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3574 D: G-Schlüssel, Violinschlüssel,
3580 A clef symbol indicating the G above middle@w{ }C. Used on the first
3581 and second note lines. A digit 8 above the clef symbol indicates that
3582 the notes must be played an octave higher while 8 below the clef
3583 symbol indicates playing or singing an octave lower (most tenor parts
3584 in choral scores are notated like that).
3586 @lilypond[fragment,notime,ragged-right]
3588 \set Score.automaticBars = ##f
3589 \override Staff.Clef #'full-size-change = ##t
3592 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3602 \context Lyrics \lyrics {
3603 \override Lyrics . LyricText #'X-offset = #-5
3604 "french violin clef"
3623 FI: glissando, liukuen.
3625 Letting the pitch slide fluently from one note to the other.
3629 @section grace notes
3631 ES: notas de adorno,
3634 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3640 Notes printed in small types to indicate that their time values are not
3641 counted in the rhythm of the bar.
3645 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3650 @section grand staff
3652 ES: sistema de piano,
3655 D: Akkolade, Klaviersystem,
3658 S: ackolad, böjd klammer,
3659 FI: kaksoisnuottiviivasto.
3661 A combination of two staves with a brace. Usually used for piano music.
3678 FI: grave, raskaasti.
3705 Letter name used for @samp{B natural} in German and Scandinavian
3706 usage. In the standard usage of these countries, @samp{B} means
3711 @ref{Pitch names}, @ref{B}
3721 D: Halbe, halbe Note,
3736 ES: silencio de blanca,
3750 @node harmonic cadence
3751 @section harmonic cadence
3753 ES: cadencia (armónica),
3754 I: cadenza (armonica),
3755 F: cadence harmonique,
3757 NL: harmonische cadens,
3758 DK: harmonisk kadence,
3759 S: (harmonisk) kadens,
3760 FI: harmoninen kadenssi.
3762 A sequence of chords that terminates a musical phrase or section.
3764 @ref{functional harmony}.
3766 @lilypond[fragment,ragged-right]
3767 \context PianoStaff <<
3768 \context Staff = SA \relative c'' {
3772 \partial 4 < c g e >4 |
3773 < c a f > < b g d > < c g e >2
3776 \context Staff = SB \relative c {
3778 \partial 4 c4 | f, g c2
3796 D: Harmonie, Zusammenklang,
3800 FI: harmonia, yhteissointi.
3802 Tones sounding simultaneously. Two note harmonies fall into the
3803 categories @emph{consonances} and @emph{dissonances}.
3807 @lilypond[fragment,notime,line-width=13.0\cm]
3808 \set Score.automaticBars = ##f
3809 %\override Score.TextScript #'font-style = #'large
3810 \context Voice \relative c'' {
3823 @lilypond[fragment,notime,line-width=13.0\cm]
3824 \set Score.automaticBars = ##f
3825 %\override Score.TextScript #'font-style = #'large
3826 \context Voice \relative c'' {
3827 <g a>1_"second " s s
3828 <g f'>_"seventh " s s
3833 Three note harmony @ref{chord}.
3848 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3849 the use of three notes of equal value in the time normally occupied by
3850 of two notes of equal value. The resulting rhythm can be expressed in
3851 modern terms as a substitution (for example) of a bar in 3/2 for one
3852 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3853 hemiola is most frequently as a special effect (or @emph{affect}) at
3856 For example, this phrase in 6/4 time
3858 @lilypond[fragment,line-width=13.0\cm]
3862 c2. e | d2 c d | c1. \bar "||" }
3865 may be thought of having alternating time signatures
3867 @lilypond[fragment,line-width=13.0\cm]
3871 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3874 and is therefore a polymeter (second definition) of considerable antiquity.
3878 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3891 FI: homofonia, yksiäänisyys.
3893 Music in which one voice leads melodically followed by the other
3894 voices more or less in the same rhythm. In contrast to
3908 FI: intervalli, kahden sävelen korkeusero.
3910 Difference in pitch between two notes. Intervals may be perfect,
3911 minor, major, diminished, or augmented. The augmented fourth and the
3912 diminished fifth are identical (@ref{enharmonic}) and are called
3913 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3914 addition of such two intervals forms an octave.
3916 @lilypond[fragment,notime,line-width=13.0\cm]
3917 \set Score.automaticBars = ##f
3919 \context Voice \relative c'' {
3929 \context Lyrics \lyrics {
3930 "unison " "second " "second " "second "
3931 "third " "third " "third " "third"
3936 @lilypond[fragment,notime,line-width=13.0\cm]
3937 \set Score.automaticBars = ##f
3939 \context Staff \relative c'' {
3950 "fourth " "fourth " "fifth " "fifth "
3951 "sixth " "sixth " "sixth " "sixth"
3956 @lilypond[fragment,notime,line-width=13.0\cm]
3957 \set Score.automaticBars = ##f
3959 \context Staff \relative c'' {
3960 < gis f'! >1^"dimin"
3969 \context Lyrics \lyrics {
3970 "seventh " "seventh " "seventh " "octave "
3971 "ninth " "ninth " "tenth " "tenth"
3977 @node inverted interval
3978 @section inverted interval
3980 ES: intervalo invertido,
3981 I: intervallo rivolto,
3982 F: intervalle reversé,
3983 D: umgekehrtes Intervall,
3984 NL: interval inversie,
3985 DK: omvendingsinterval,
3986 S: intervallets omvändning,
3987 FI: käänteisintervalli.
3989 The difference between an interval and an octave.
3991 @lilypond[fragment,notime,line-width=13.0\cm]
3992 \set Score.automaticBars = ##f
3993 %\override Score.TextScript #'font-style = #'large
3994 \context Staff \relative c'' {
3995 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3996 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3997 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4002 @node just intonation
4003 @section just intonation
4005 ES: entonación justa,
4006 I: intonazione giusta,
4007 F: intonation juste,
4014 Tuning system in which the notes are obtained by adding and subtracting
4015 natural fifths and thirds.
4032 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4033 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4037 @ref{key signature}.
4041 @section key signature
4043 ES: armadura (de la clave),
4044 I: armatura di chiave,
4045 F: armure, armature [de la clé],
4046 D: Vorzeichen, Tonart,
4047 NL: toon@-soort (voortekens),
4050 FI: sävellajiosoitus.
4052 The sharps or flats appearing at the beginning of each staff indicating the
4058 @node laissez vibrer
4059 @section laissez vibrer
4070 [From French, @q{Let vibrate}]. Most frequently associated with harp
4071 parts. Marked @samp{l.v.} in the score.
4080 D: Largo, Langsam, Breit,
4084 FI: largo, hitaasti, leveästi.
4086 Very slow in tempo, usually combined with great expressiveness.
4087 @emph{Larghetto} is less slow than largo.
4091 @section leading note
4102 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4103 called because of its strong tendency to @q{lead up} (resolve upwards)
4104 to the tonic scale degree.
4108 @section ledger line
4110 ES: línea adicional,
4111 I: tagli addizionali,
4112 F: ligne supplémentaire,
4119 A ledger line is an extension of the staff.
4121 @lilypond[fragment,notime,ragged-right]
4122 \set Score.automaticBars = ##f
4123 \relative c'' { a,1 s c'' }
4133 D: legato, gebunden,
4139 To be performed (a) without any perceptible interruption between the
4140 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4141 @emph{portato}, and (d) @ref{staccato}.
4143 @lilypond[fragment,notime,line-width=13.0\cm]
4144 \set Score.automaticBars = ##f
4146 \context Staff \relative c'' {
4147 c4-( d e-) \bar "||"
4148 c4-- d-- e-- \bar "||"
4149 c4-.-( d-. e-.-) \bar "||"
4150 c4-. d-. e-. \bar "||"
4163 @section legato curve
4167 @ref{slur}, @ref{legato}.
4182 ES: estanque de nenúfares,
4183 I: stagno del giglio,
4184 F: étang de nénuphars, étang de nymphéas,
4186 NL: le@-lie@-vij@-ver,
4191 A pond with lilies floating in it.
4192 Also, the name of a music typesetting program.
4207 A ligature is a coherent graphical symbol that represents at least two
4208 distinct notes. Ligatures originally appeared in the manuscripts of
4209 Gregorian chant notation roughly since the 9th century to denote ascending
4210 or descending sequences of notes. In early notation, ligatures were used
4211 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4212 performance in the sense of articulation. With the invention of the metric
4213 system of the white mensural notation, the need for ligatures to denote such
4214 patterns disappeared.
4218 @ref{mensural notation}.
4227 D: Linie, Notenlinie,
4231 FI: viiva, nuottiviiva.
4250 [From Italian, @q{place}]. Instruction to play the following passage at the
4251 written pitch. Cancels octave mark (q.v.).
4255 @ref{octave mark}, @ref{octave marking}.
4258 @node long appoggiatura
4259 @section long appoggiatura
4261 ES: apoyatura larga,
4262 I: appoggiatura lunga,
4263 F: appoggiature longue,
4268 FI: pitkä appoggiatura, pitkä etuhele.
4287 Note value: double length of @ref{breve}.
4289 @lilypond[fragment,notime,ragged-right]
4290 \set Score.automaticBars = ##f
4292 \override NoteHead #'style = #'mensural
4305 ES: letra (de la canción),
4308 D: Liedtext, Gesangtext,
4327 @c TODO: add languages
4334 @node major interval
4335 @section major interval
4337 ES: intervalo mayor,
4338 I: intervallo maggiore,
4339 F: intervalle majeur,
4340 D: großes Intervall,
4344 FI: suuri intervalli.
4365 @ref{diatonic scale}.
4368 @node meantone temperament
4369 @section meantone temperament
4371 ES: afinación mesotónica,
4372 I: accordatura mesotonica,
4373 F: tempérament mésotonique,
4374 D: mitteltönige Stimmung,
4375 NL: middenstemming, middentoonstemming,
4376 DK: middeltonetemperatur,
4377 S: medeltonstemperatur,
4378 FI: keskisävelviritys.
4380 Temperament yielding acoustically pure thirds by decreasing the
4381 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4382 character of this @ref{temperament} only a limited set of keys are
4383 playable. Used for tuning keyboard instruments for performance of
4399 A group of @ref{beat}s (units of musical time) the first of which
4400 bears an accent. Such groups in numbers of two or more recur
4401 consistently throughout the composition and are marked from each other
4411 I: mediante, modale,
4421 @item The third @b{scale degree}.
4423 @item A @ref{chord} having its base tone a third from that of another
4424 chord. For example, the tonic chord may be replaced by its lower
4425 mediant (variant tonic).
4430 @ref{functional harmony}, @ref{relative key}.
4443 FI: melisma, laulettavan tavun sävelkuvio.
4445 A melisma (plural, from Greek: melismata) is a group of notes or tones
4446 sung on one syllable, especially as applied to liturgical chant.
4450 @section melisma line
4452 @c TODO: add languages
4465 @ref{extender line}.
4468 @node melodic cadence
4469 @section melodic cadence
4476 @node mensural notation
4477 @section mensural notation
4479 @c TODO: add languages
4490 A system of duration notation whose principles were first established in the
4491 mid-13th century, and that (with various changes) remained in use until about
4492 1600. As such, it forms the basis of the notation of rhythms in Western musical
4495 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4496 of the notation's principles, so the notation of this earliest period is called
4497 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4498 and semibreve -- each of which was normally equivalent to three of the next
4501 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4502 added several note values (the minim, semiminim and fusa) and extended Franco's
4503 principles to govern the relationship between these values. They also put the
4504 duple division of note values on an equal footing with the earlier (preferred)
4507 TODO: continue description of French and Italian black notation, and the
4508 relationship betwixt them.
4510 @b{White or void mensural notation}
4512 In the 15th century, hollow (or void) notes began to substitute for the earlier
4513 solid black ones, which were then free to assume the function of red (or
4514 colored) notes in the earlier notation. ...
4516 TODO: add to definition (including summary info on proportional notation)
4520 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4521 @c TODO: more cross-references?
4529 F: indication de mesure, mesure,
4536 The pattern of note values and accents in a composition or a section thereof.
4537 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4538 by grouping beats and by subdividing the primary beat.
4540 @b{By grouping beats}:
4544 @item @b{duple}: groups of two.
4545 @item @b{triple}: groups of three.
4546 @item @b{quadruple}: groups of four. A special case of duple meter.
4547 @item @b{quintuple}: groups of five beats.
4548 @item @b{sextuple} meter: groups of six. A special case of:
4552 @item duple meter, subdivided in three; or
4553 @item triple meter, subdivided in two.
4557 @item @b{septuple} meter: groups of seven.
4562 Other than triple meter and its subdivided variants (see below), meters that
4563 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4564 frequently used prior to the 20th Century.
4566 @b{By subdividing the primary beat}:
4570 @item simple: groups of two.
4574 @item duple: 2/2, 2/4, 2/8
4575 @item triple: 3/2, 3/4, 3/8
4576 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4580 @item compound: groups of three.
4586 @item quadruple: 12/8
4592 Time signatures are placed at the beginning of a composition (or section) to
4593 indicate the meter. For instance, a piece written in simple triple meter with a
4594 beat on each quarter note is conventionally written with a time signature of
4595 3/4. Here are some combinations of the two classifications above:
4597 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4599 @lilypond[fragment,line-width=13.0\cm]
4603 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4606 Simple triple meter:
4608 @lilypond[fragment,line-width=13.0\cm]
4612 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4615 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4617 @lilypond[fragment,line-width=13.0\cm]
4621 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4624 Simple quintuple meter (B. Marcello, 1686-1739):
4626 @lilypond[fragment,line-width=13.0\cm]
4630 r4 cis8 bis ais4 dis c8 ais |
4631 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4634 Compound duple meter (unknown):
4636 @lilypond[fragment,line-width=13.0\cm]
4640 f8 f g a bes16 a g f |
4641 g8 g bes a c16 a bes g
4645 Compound triple meter (J.S. Bach, 1685-1750):
4647 @lilypond[fragment,line-width=13.0\cm]
4651 r8 g'( a) b( d c) c( e d) |
4652 d( g fis) g( d b) g( a b)
4656 Compound quadruple meter (P. Yon, 1886-1943):
4658 @lilypond[fragment,line-width=13.0\cm]
4662 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4663 e4 e8 fis( gis) a b4.~ b4 b8
4667 @b{@q{Monometer} vs Polymeter}
4669 TODO: add information from discussion on lilypond-user related to polymeter.
4673 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4688 Device indicating the exact tempo of a piece.
4690 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4691 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4692 divisions, and patented it as a "metronome". The inevitable lawsuit that
4693 followed acknowledged Winkler as the creator, but by then Mälzel had already
4694 sold many of them, and people had taken to calling it a Mälzel Metronome.
4698 @ref{metronome mark}.
4701 @node metronomic indication
4702 @section metronomic indication
4706 @ref{metronome mark}
4709 @node metronome mark
4710 @section metronome mark
4712 ES: indicación metronómica,
4713 I: indicazione metronomica,
4714 F: indication métronomique,
4716 NL: metronoom aanduiding,
4718 S: metronomangivelse,
4719 FI: metronomiosoitus.
4721 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4722 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4731 @section mezzo-soprano
4742 The female voice between @ref{soprano} and @ref{contralto}.
4751 D: eingestrichenes@w{ }c,
4753 DK: enstreget@w{ }c,
4754 S: ettstruket@w{ }c,
4757 First C below the 440 Hz A.
4759 @lilypond[fragment,notime,ragged-right]
4760 \set Score.automaticBars = ##f
4761 \override Staff.Clef #'full-size-change = ##t
4784 @ref{diatonic scale}.
4787 @node minor interval
4788 @section minor interval
4790 ES: intervalo menor,
4791 I: intervallo minore,
4792 F: intervalle mineur,
4793 D: kleines Intervall,
4797 FI: pieni intervalli.
4810 D: Kirchentonart, Modus,
4814 FI: moodi, kirkkosävelasteikko.
4818 @ref{church mode}, @ref{diatonic scale}.
4831 FI: modulaatio, sävellajin vaihdos.
4833 Moving from one @ref{key} to another. For example, the second subject
4834 of a @ref{sonata form} movement modulates to the dominant key if the
4835 key is major and to the @ref{relative key} if the key is minor.
4847 FI: mordent, korukuvio.
4872 FI: teema, sävelaihe.
4874 The briefest intelligible and self-contained fragment of a musical
4877 @lilypond[line-width=13.0\cm]
4880 \set Score.implicitTimeSignatureVisibility = #all-invisible
4881 \override Score.TimeSignature #'break-visibility = #all-invisible
4884 \partial 8 g16\startGroup fis |
4885 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4886 g8 g,16 a b8 cis d16 s
4890 \Staff \consists "Horizontal_bracket_engraver"
4908 Greater musical works like @ref{symphony} and @ref{sonata} most often
4909 consist of several -- more or less -- independant pieces called
4913 @node multi-measure rest
4914 @section multi-measure rest
4916 ES: compases de espera,
4920 D: mehrtaktige Pause, Kirchenpause,
4923 FI: usean tahdin mittainen tauko.
4925 Multi-measure rests are conventionally typeset with a combination of
4926 longa, breve and whole rests for shorter and a long horizontal bar for
4927 longer spans of rest, with a number above to indicate the duration (in
4928 measures) of the rest. The former style is called @q{Kirchenpausen} in
4929 German, as a reminiscence of its use in Renaissance vocal polyphony.
4931 @lilypond[fragment,ragged-right]
4934 \set Score.skipBars = ##t R1*3
4936 \set Score.skipBars = ##t R1*122
4943 @ref{longa}, @ref{breve}.
4946 @node mixolydian mode
4947 @section mixolydian mode
4951 @ref{diatonic scale}.
4960 D: Auflösungszeichen,
4961 NL: herstellingsteken,
4962 DK: op@-løsningstegn,
4963 S: återställningstecken,
4971 @node neighbour tones
4972 @section neighbour tones
4976 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5017 Notes are signs by means of which music is fixed in writing. The term is also
5018 used for the sound indicated by a note, and even for the key of the piano
5019 which produces the sound. However, a clear distinction between the terms tone
5020 and @ref{note} is strongly recommended. Briefly, one sees a note,
5028 I: testa, testina, capocchia,
5036 A head-like sign which indicates pitch by its position on a
5037 @ref{staff} provided with a @ref{clef}, and duration
5038 by a variety of shapes such as hollow or black heads with or without
5039 @ref{stem}s, @ref{flag}s, etc. For percussion
5040 instruments (often having no defined pitch) the note head may indicate the
5055 ES: valor (duración),
5057 F: durée, valeur (d'une note),
5062 FI: nuotin aika-arvo.
5064 Note values (durations) are measured as fractions, normally 1/2, of
5065 the next higher note value. The longest duration normally used is
5066 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5067 double-length note value @emph{longa} or the quadruple-length note
5068 value @emph{maxima} are used.
5070 @c TODO -- add maxima to this example, in a way that doesn't break it.
5072 @lilypond[fragment,notime,line-width=13.0\cm]
5073 %\override Score.TextScript #'font-style = #'large
5074 \set Score.automaticBars = ##f
5076 \override NoteHead #'style = #'mensural
5077 a\longa_"longa" a\breve_"breve"
5078 \revert NoteHead #'style
5079 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5080 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5083 @c TODO -- add maxima rest to this example
5085 @lilypond[fragment,notime,line-width=13.0\cm]
5086 %\override Score.TextScript #'font-style = #'large
5087 \set Score.automaticBars = ##f
5089 r\longa_"longa" r\breve_"breve"
5090 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5091 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5094 An augmentation dot after a note multiplies the duration by one and a
5095 half. Another dot adds yet a fourth of the duration.
5097 @lilypond[fragment,line-width=13.0\cm]
5098 %\override Score.TextScript #'font-style = #'large
5101 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5102 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5105 Alternatively note values may be subdivided by other ratios. Most common is
5106 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5107 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5108 dotted notes are also frequently used.
5110 @lilypond[fragment,line-width=13.0\cm]
5111 %\override Score.TextScript #'font-style = #'large
5114 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5115 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5119 @lilypond[fragment,line-width=13.0\cm]
5122 \times 3/2 {g4_"duplets" g} |
5124 \times 6/4 {g8_"quadruplets" g g g} |
5125 g8 g g g g4 \bar "||"
5135 @ref{octave marking}.
5150 The interval of an octave, sometimes abbreviated @samp{8ve}.
5152 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5153 bracket, or @samp{loco} see octave marking.
5157 @ref{interval}, @ref{octave marking}.
5161 @section octave mark
5172 The phrase, abbreviation, or other mark used (with or without an extender line
5173 or bracket) to indicate that the music is to be played in a different octave:
5177 @item @samp{15ma}: play two octaves higher
5178 @item @samp{8va}: play one octave higher
5179 @item @samp{8vb}: play one octave lower
5180 @item @samp{8va} (written below the passage): same as @samp{8vb}
5181 @item @samp{15vb}: play two octaves lower
5182 @item @samp{15va} (written below the passage): same as @samp{15vb}
5186 For longer passages, it may be more practical to mark the octave change at the
5187 beginning with a phrase (see the list below for examples), but without a bracket
5188 or extender line. Then, when the music returns to the written pitch, the octave
5189 change is cancelled with the word @emph{loco} (q.v.).
5191 To parallel the list above:
5195 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5196 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5197 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5198 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5202 In the phrases above, @emph{quindicesima} is sometimes replaced with
5203 @emph{quindecima}, which is Latin.
5205 Finally, the music on an entire staff can be marked to be played in a different
5206 octave by putting an 8 or 15 above or below the clef at the beginning. This
5207 octave mark can be applied to any clef, but it is most frequently used with the
5212 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5215 @node octave marking
5216 @section octave marking
5225 FI: oktaavamerkintä.
5227 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5228 that it is to be played in a different octave. If applied to the clef at the
5229 beginning of the staff, all music on that staff is to played at the indicated
5232 For a list of the specific marks used, see @ref{octave mark}.
5236 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5240 @section octave sign
5251 I: abbellimento, fioriture,
5252 F: agrément, ornement,
5253 D: Verzierung, Ornament,
5259 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5260 with the diatonic @ref{second} above it. In the music from the
5261 middle of the 19th century and onwards the trill is performed with the main
5262 note first while in the music from the preceding baroque and classic periods
5263 the upper note is played first.
5265 @lilypond[fragment,line-width=13.0\cm]
5267 \context Staff = sa {
5268 % \override Score.TextScript #'font-style = #'large
5270 c2._"pre-1850" b4\trill | c1 \bar "||"
5271 c2._"post-1850" b4\trill | c1 \bar "||"
5275 c2. c32 b c b c b c b | c1
5276 c2. b32 c b c \times 4/5 { b c b c b } | c1
5281 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5283 @emph{prall} (inverted mordent).
5285 @lilypond[fragment,line-width=13.0\cm]
5287 \context Staff = sa {
5288 % \override Score.TextScript #'font-style = #'large
5290 a4_"turn" b\turn c2 \bar "||"
5291 g4_"mordent" a b\mordent a \bar "||"
5292 e'4_"prall" d\prall c2 \bar "||"
5298 e'4 e32[ d e d ~ d8] c2
5305 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5318 FI: ossia, vaihtoehtoinen esitystapa.
5320 Ossia (otherwise) marks an alternative. It is an added staff or piano
5321 score, usually only a few measures long, which presents another version
5322 of the music, for example for small hands.
5335 FI: stemma, instrumenttiosuus.
5339 @item In instrumental or choral music, the music for a single
5340 instrument or voice.
5342 @item in contrapuntal music, a single melodic line in the contrapuntal
5374 D: Schlagzeug, Schlagwerk,
5380 A family of musical instruments which are played on by striking or
5381 shaking. Percussion instruments commonly used in a symphony orchestra are
5382 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5383 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5387 @node perfect interval
5388 @section perfect interval
5390 ES: intervalo justo,
5391 I: intervallo giusto,
5392 F: intervalle juste,
5393 D: reines Intervall,
5397 FI: puhdas intervalli.
5416 A natural division of the melodic line, comparable to a sentence of speech.
5429 FI: fraseeraus, jäsentäminen.
5431 The clear rendering in musical performance of the @ref{phrase}s of
5432 the melody. Phrasing may be indicated by a @ref{slur}.
5440 F: anacrouse, levée,
5464 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5465 @emph{mezzo piano} (@b{mp}) medium soft.
5482 @item The perceived quality of a sound that is primarily a function of its
5483 fundamental frequency.
5485 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5487 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5488 association of a particular frequency with a particular pitch name, e.g., c' =
5505 NL: pizzicato, getokkeld,
5508 FI: pizzicato, näppäillen.
5510 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5528 @item The simultaneous use of two or more meters, in two or more parts.
5530 @item The @emph{successive} use of different meters in one or more parts.
5536 @ref{polymetric} (adj.)
5551 Using two or more metric frameworks simultaneously or in alternation.
5555 @ref{polymeter} (noun)
5558 @node polymetric time signature
5559 @section polymetric time signature
5570 A time signature that indicates regularly alternating polymetric time.
5583 D: Polyphonie, Mehrstimmigkeit,
5587 FI: polyfonia, moniäänisyys.
5589 Music written in a combination of several simultaneous voices (parts)
5590 of a more or less pronounced individuality.
5609 D: Presto, Sehr schnell,
5610 NL: presto, Sehr schnell,
5613 FI: presto, hyvin nopeasti.
5615 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5616 denotes the highest possible degree of speed.
5631 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5632 relationship between the note values that follow with those that precede; or
5633 between the note values of a passage and the @q{normal} relationship of note
5634 values to the metrical pulse.
5636 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5640 @ref{mensural notation}
5643 @node Pythagorean comma
5644 @section Pythagorean comma
5646 ES: coma pitagórica,
5647 I: comma pitagorico,
5648 F: comma pythagoricien,
5649 D: Pythagoräisches Komma,
5650 NL: komma van Pythagoras,
5651 DK: pythagoræisk komma,
5652 S: pytagoreiskt komma,
5653 FI: pytagorinen komma.
5655 A sequence of fifths starting on C eventually circles back to C, but this C,
5656 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5657 by adding 7 octaves. The difference between those two pitches is called the
5662 @ref{cent}, @ref{temperament}.
5682 @section quarter note
5687 @item I: semiminima, nera
5689 @item D: Viertel, Viertelnote
5691 @item DK: fjerdedelsnode
5692 @item S: fjärdedelsnot
5693 @item FI: neljäsosanuotti
5702 @section quarter rest
5705 @item UK: crotchet rest
5706 @item ES: silencio de negra
5707 @item I: pausa di semiminima
5709 @item D: Viertelpause
5711 @item DK: fjerdedelspause
5712 @item S: fjärdedelspaus
5713 @item FI: neljäsosatauko
5722 @section quarter tone
5733 An interval equal to half a semitone.
5743 ES: cinquillo, quintillo.
5758 @section rallentando
5763 D: rallentando, langsamer werden,
5767 FI: rallerdando, hidastuen.
5769 Abbreviation "rall.".
5775 @section relative key
5778 I: tonalità relativa,
5779 F: tonalité relative,
5781 NL: paralleltoonsoort,
5782 DK: paralleltoneart,
5784 FI: rinnakkaissävellaji.
5786 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5788 @lilypond[fragment,notime,line-width=13.0\cm]
5789 \set Score.automaticBars = ##f
5790 %\override Score.TextScript #'font-style = #'large
5793 es1_"e flat major" f g as bes c d es
5798 @lilypond[fragment,notime,line-width=13.0\cm]
5799 \set Score.automaticBars = ##f
5800 %\override Score.TextScript #'font-style = #'large
5803 c1_"c minor" d es f g a! b! c \bar "||"
5813 F: barre de reprise,
5816 DK: gen@-ta@-gel@-se,
5820 @lilypond[fragment,line-width=13.0\cm]
5824 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5841 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5842 @c specify the rest's value.
5863 @item Metrical rhythm in which every time value is a multiple or
5864 fraction of a fixed unit of time, called @ref{beat}, and in which the
5865 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5866 The basic scheme of time values is called @ref{meter}.
5868 @item Measured rhythm which lacks regularly recurrent accent. In
5869 modern notation such music appears as a free alternation of different
5872 @item Free rhythm, i.e., the use of temporal values having no common
5873 metrical unit (beat).
5884 D: ritardando, langsamer werden,
5888 FI: ritardando, hidastuen,
5890 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5903 FI: ritenuto, hidastaen.
5905 Immediate reduction of speed.
5918 FI: asteikko, sävelasteikko.
5922 @ref{diatonic scale}.
5926 @section scale degree
5928 ES: grado (de la escala),
5929 I: grado della scala,
5930 F: degré [de la gamme],
5932 NL: trap [van de toonladder],
5935 FI: sävelaste, asteikon sävel.
5937 Names and symbols used in harmonic analysis to denote tones of the
5938 scale as roots of chords. The most important are degrees I = tonic
5939 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5941 @lilypond[fragment,notime,line-width=13.0\cm]
5942 \set Score.automaticBars = ##f
5944 \context Staff \relative c' {
5948 << { I II III IV V VI VII I }
5956 @ref{functional harmony}.
5964 F: à cordes ravallées,
5971 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5972 tuning of stringed instruments, particularly lutes or violins. Used
5977 @item facilitate pitch combinations that would otherwise be difficult
5980 @item alter the characteristic timbre of the instrument, for example,
5981 to increase brilliance)
5983 @item reinforce certain sonorities or tonalities by making them
5984 available on open strings
5986 @item imitate other instruments
5992 Tunings that could be called @var{scordatura} first appeared early in
5993 the 16th Century and became commonplace in the 17th.
6002 D: Partitur (full score), Klavierauszug (vocal score),
6008 A copy of orchestral, choral, or chamber music showing what each
6009 instrument is to play, each voice to sing, having each part arranged
6010 one underneath the other on different staves @ref{staff}.
6025 The @ref{interval} between two neigbouring tones of a scale. A
6026 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6027 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6028 degrees in question.
6043 The interval of a minor second. The (usually) smallest interval in European
6044 composed music. The interval between two neighbouring tones on the piano
6045 keyboard -- including black and white keys -- is a semitone. An octave may
6046 be divided into 12@w{ }semitones.
6048 @lilypond[fragment,notime,line-width=13.0\cm]
6049 \set Score.automaticBars = ##f
6050 \relative c'' { g1 gis s a bes s b! c }
6055 @ref{interval}, @ref{chromatic scale}.
6080 @ref{sextuplet}, @ref{note value}.
6126 @section simple meter
6137 A meter in which the basic beat is subdivided in two: that is, a meter
6138 that does not include triplet subdivision of the beat.
6142 @ref{compound meter}, @ref{meter}.
6145 @node sixteenth note
6146 @section sixteenth note
6149 @item UK: semiquaver
6150 @item ES: semicorchea
6152 @item F: double croche
6153 @item D: Sechzehntel, Sechzehntelnote
6154 @item NL: zes@-ti@-ende noot
6155 @item DK: sekstendedelsnode
6156 @item S: sextondelsnot
6157 @item FI: kuudestoistaosanuotti
6165 @node sixteenth rest
6166 @section sixteenth rest
6169 @item UK: semiquaver rest
6170 @item ES: silencio de semicorchea
6171 @item I: pausa di semicroma
6172 @item F: quart de soupir
6173 @item D: Sechzehntelpause
6174 @item NL: zestiende rust
6175 @item DK: sekstendedelspause
6176 @item S: sextondelspaus
6177 @item FI: kuudestoistaosatauko
6202 @node sixty-fourth note
6203 @section sixty-fourth note
6206 @item UK: hemidemisemiquaver
6208 @item I: semibiscroma
6209 @item F: quadruple croche
6210 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6211 @item NL: vierenzestigste noot
6212 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6213 @item S: sextiofjärdedelsnot
6214 @item FI: kuudeskymmenesneljäsosanuotti
6222 @node sixty-fourth rest
6223 @section sixty-fourth rest
6226 @item UK: hemidemisemiquaver rest
6227 @item ES: silencio de semifusa
6228 @item I: pausa di semibiscroma
6229 @item F: seizième de soupir
6230 @item D: Vierundsechzigstelpause
6231 @item NL: vierenzestigste rust
6232 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6233 @item S: sextiofjärdedelspaus
6234 @item FI: kuudeskymmenesneljäsosatauko
6245 ES: ligadura (de expresión),
6246 I: legatura (di portamento or espressiva),
6248 D: Bogen (Legatobogen, Phrasierungsbogen),
6249 NL: fraseringsboog, legatoboog, streekboog,
6250 DK: legatobue, fraseringsbue,
6254 A slur above or below a group of notes indicates that they are to be
6255 played @ref{legato}, e.g., with one stroke of the violin bow or with
6256 one breath in singing.
6260 @section solmization
6269 FI: suhteelliset laulunimet.
6271 General term for systems of designating the degrees of the
6272 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6273 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6291 In its present-day meaning a sonata denotes an instrumental
6292 composition for piano or for some other instrument with piano
6293 accompaniment, which consists of three or four independant pieces,
6298 @section sonata form
6302 F: [en] forme de sonate,
6304 NL: hoofdvorm, sonatevorm,
6309 A form used frequently for single movements of the @ref{sonata},
6310 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6311 into three sections called @emph{exposition}, @emph{development} and
6312 @emph{recapitulation}. In the exposition the composer introduces some
6313 musical ideas, consisting of a number of themes; in the development
6314 section the composer @q{develops} this material, and in the
6315 recapitulation the composer repeats the exposition, with certain
6316 modifications. The exposition contains a number of themes that fall
6317 into two groups, often called first and second subject. Other
6318 melodies occurring in each group are considered as continuations of
6319 these two. The second theme is in another key, normally in the key of
6320 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6321 @ref{relative key} if the tonic is @ref{minor}.
6342 FI: sopraano, korkea naisääni.
6344 The highest female voice.
6352 F: staccato, piqué, détaché,
6357 FI: staccato, lyhyesti, terävästi.
6359 Playing the note(s) short. Staccato is indicated by a dot above or
6360 below the note head.
6362 @lilypond[fragment,ragged-right]
6367 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6377 I: pentagramma, rigo (musicale),
6379 D: Notensystem, Notenzeile,
6380 NL: (noten)balk, partij,
6385 A staff (plural: staves) is a series of (normally five) horizontal
6386 lines upon and between which the musical notes are written, thus
6387 indicating (in connection with a @ref{clef}) their pitch. Staves for
6388 @ref{percussion} instruments may have fewer lines.
6405 D: Hals, Notenhals, Stiel,
6411 Vertical line above or below a @ref{note head} shorter than a
6416 @lilypond[fragment,notime,line-width=13.0\cm]
6417 \set Score.autoBeaming = ##f
6418 \set Score.automaticBars = ##f
6419 %\override Score.TextScript #'font-style = #'large
6441 A family of stringed musical instruments played with a bow. Strings
6442 commonly used in a symphony orchestra are violin, viola, violoncello,
6447 @section strong beat
6452 D: betonter Taktteil oder Taktschlag,
6454 D: betonet taktslag,
6455 S: betonat taktslag,
6456 FI: tahdin vahva isku.
6460 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6464 @section subdominant
6473 FI: subdominantti, alidominantti.
6475 The fourth @ref{scale degree}.
6477 @ref{functional harmony}.
6492 The sixth @ref{scale degree}.
6505 FI: subtoonika, alitoonika.
6507 The seventh @ref{scale degree}.
6516 D: auf G, auf der G-Saite,
6522 Indicates that the indicated passage (or note) should be played on the
6527 @section superdominant
6538 The sixth @ref{scale degree}.
6553 The second @ref{scale degree}.
6562 D: Sinfonie, Symphonie,
6568 A symphony may be defined as a @ref{sonata} for orchestra.
6572 @section syncopation
6583 Any deliberate upsetting of the normal pulse of @ref{meter},
6584 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6585 rhythm rests upon the grouping of equal beats into groups of two or
6586 three, with a regularly recurrent accent on the first beat of each
6587 group. Any deviation from this scheme is felt as a disturbance or
6588 contradiction between the underlaying (normal) pulse and the actual
6591 @lilypond[fragment,ragged-right]
6596 e c'4 e,8 c'4 e,8 c' ( | c2)
6601 @node syntonic comma
6602 @section syntonic comma
6605 I: comma sintonico (o didimico),
6606 F: comma syntonique,
6607 D: syntonisches Komma,
6608 NL: syntonische komma,
6609 DK: syntonisk komma,
6610 S: syntoniskt komma,
6611 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6612 Pytagorisessa viritysjärjestelmässä.
6614 Difference between the natural third and the third obtained by
6615 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6624 D: Notensystem, Partitur,
6628 FI: nuottijärjestelmä.
6630 The collection of staves (@ref{staff}), two or more, as used for writing
6631 down of keyboard, chamber, choral, or orchestral music.
6635 @section temperament
6640 D: Stimmung, Tem@-pe@-ra@-tur,
6641 NL: stemming, temperatuur,
6644 FI: viritysjärjestelmä.
6646 Systems of tuning in which the intervals deviate from the acoustically
6649 @ref{meantone temperament}, @ref{equal temperament}.
6652 @node tempo indication
6653 @section tempo indication
6655 ES: indicación de tempo,
6656 I: indicazione di tempo,
6657 F: indication de tempo,
6658 D: Zeitmaß, Tempobezeichnung,
6659 NL: tempo aanduiding,
6664 The rate of speed of a composition or a section thereof, ranging from
6665 the slowest to the quickest, as is indicated by tempo marks as
6666 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6680 FI: tenori, korkea miesääni.
6682 The highest male voice (apart from @ref{counter tenor}).
6705 ES: subrayado (tenuto),
6714 An indication that a particular note should be held for the whole
6715 length, although this can vary depending on the composer and era.
6735 @node thirty-second note
6736 @section thirty-second note
6739 @item UK: demisemiquaver
6742 @item F: triple croche
6743 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6744 @item NL: twee-endertig@-ste (32e) noot
6745 @item DK: toogtredivtedelsnode
6746 @item S: trettiotvåondelsnot
6747 @item FI: kolmaskymmeneskahdesosanuotti
6755 @node thirty-second rest
6756 @section thirty-second rest
6759 @item UK: demisemiquaver rest
6760 @item ES: silencio de fusa
6761 @item I: pausa di biscroma
6762 @item F: huitième de soupir
6763 @item D: Zweiunddreissigstel@-pause
6764 @item NL: twee-endertig@-ste (32e) rust
6765 @item DK: toogtredivtedelspause
6766 @item S: trettiotvåondelspaus
6767 @item FI: kolmaskymmeneskahdesosatauko
6776 @section thorough bass
6779 I: basso continuo, basso numerato,
6780 F: basse chiffrée, basse continue,
6781 D: Generalbass, bezifferter Bass,
6782 NL: basso continuo, becijferde bas
6785 FI: kenraalibasso, numeroitu basso.
6787 A method of indicating an accompaniment part by the bass notes only,
6788 together with figures designating the chief @ref{interval}s and
6789 @ref{chord}s to be played above the bass notes.
6791 @lilypond[fragment,line-width=13.0\cm]
6792 \context GrandStaff <<
6793 \context Staff = lh \relative c'' {
6797 << \context Voice = rha {
6800 \context Voice = rhb {
6802 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6806 \context Staff = rh \relative c' {
6809 es8 c d bes c as bes16 as g f | es4
6811 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6820 ES: ligadura de prolongación,
6821 I: legatura (di valore),
6823 D: Haltebogen, Bindebogen,
6824 NL: overbinding, bindingsboog,
6826 S: bindebåge, överbindning,
6829 A curved line, identical in appearance with the @ref{slur}, which
6830 connects two succesive notes of the same pitch, and which has the
6831 function of uniting them into a single sound (tone) equal to the
6834 @lilypond[fragment,notime,ragged-right]
6835 \set Score.automaticBars = ##f
6836 \relative c'' { g2 ~ g4. }
6848 @node time signature
6849 @section time signature
6851 ES: indicación de compás,
6853 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6854 D: Taktangabe, Angabe der Taktart,
6857 S: taktartssignatur,
6860 The sign placed at the beginning of a composition to indicate its
6861 meter. It most often takes the form of a fraction, but a few signs
6862 derived from mensural notation and proportions are also employed.
6866 @ref{mensural notation}, @ref{meter}.
6881 A sound of definite pitch and duration, as distinct from @emph{noise}.
6882 Tone is a primary building material of music.
6884 Music from the 20th century may be based on atonal sounds.
6899 The first @ref{scale degree}.
6903 @ref{functional harmony}.
6906 @node transposing instrument
6907 @section transposing instrument
6918 Instruments whose notated pitch is different from their sounded pitch. Except
6919 for those whose notated and sounding pitches differ by one or more octaves (to
6920 reduce the number of ledger lines needed), most such instruments are identified
6921 by the letter name of the pitch class of their fundamental. The pitch class is
6922 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6923 the instrument plays a notated C.
6925 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6926 the B-flat one tone lower. If played on the A clarinet, the same written
6927 note sounds the A (one and half tones -- a minor third -- lower).
6929 Not all transposing instruments include the pitch class in their name:
6933 @item English horn (in F)
6935 @item Alto flute (in G)
6941 @ref{concert pitch}.
6945 @section transposition
6956 Shifting a melody up or down in pitch, while keeping the same
6959 @lilypond[fragment,line-width=13.0\cm]
6964 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6969 @lilypond[fragment,line-width=13.0\cm]
6972 \transpose c bes \relative c'' {
6974 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6981 @section treble clef
6984 I: chiave di violino,
6986 D: Violinschlüssel, Sopranschlüssel,
7009 On stringed instruments:
7013 @item The quick reiteration of the same tone, produced by a rapid
7014 up-and-down movement of the bow.
7016 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7017 in the distance of a third (@ref{interval}).
7021 @lilypond[fragment,notime,ragged-right]
7022 \set Score.automaticBars = ##f
7023 %\override Score.TextScript #'font-style = #'large
7026 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7027 \repeat tremolo 8 { e32_"b" g }
7041 F: triade, accord parfait, accord de trois sons,
7058 F: trille, tremblement, battement (cadence),
7071 @section triple meter
7073 ES: compás ternario,
7076 D: in drei, ungerader Takt,
7077 NL: driedelige maatsoort,
7122 @section tuning fork
7125 I: diapason, corista,
7133 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7134 give the international pitch for the tone @emph{a} (440 vibrations per
7141 A non-standard subdivision of a beat or part of a beat, usually
7142 indicated with a bracket and a number indicating the number of
7147 @ref{triplet}, @ref{note value}.
7177 FI: unisono, yksiäänisesti.
7179 Playing of the same notes or the same melody by various instruments
7180 (voices) or by the whole orchestra (choir), either at exactly the same
7181 pitch or in a different octave.
7189 F: anacrouse, levée,
7211 FI: ääni, lauluääni.
7221 @item @ref{mezzo-soprano}
7223 @item @ref{contralto}
7227 @item @ref{baritone}
7233 @item A melodic layer or part of a polyphonic composition.
7250 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7251 or second ending. LilyPond extends this idea to any number, and allows any text
7252 (not just a number) -- to serve as the @q{volta} text.
7259 I: tempo debole, arsi,
7261 D: unbetonter Taktteil oder Taktschlag,
7263 DK: ubetonet taktslag,
7264 S: obetonat taktslag,
7265 FI: tahdin heikko isku.
7269 @ref{beat}, @ref{measure}, @ref{rhythm}.
7280 @item D: Ganze, ganze Note
7284 @item FI: kokonuotti
7296 @item UK: semibreve rest
7297 @item ES: silencio de redonda
7298 @item I: pausa di semibreve
7300 @item D: ganze Pause, ganztaktige Pause
7302 @item DK: helnodespause
7324 The interval of a major second. The interval between two tones
7325 on the piano keyboard with exactly one key between them -- including
7326 black and white keys -- is a whole tone.
7345 A family of blown wooden musical instruments. Today some of these
7346 instruments are actually made from metal. The woodwind instruments
7347 commonly used in a symphony orchestra are flute, oboe, clarinet,
7348 saxophone, and bassoon.
7351 @node Duration names notes and rests
7352 @chapter Duration names notes and rests
7354 @multitable @columnfractions .12 .22 .22 .22 .22
7356 @headitem Lang. @tab note name
7360 @item @strong{US} @tab long
7364 @item @strong{UK} @tab longa
7368 @item @strong{ES} @tab longa
7369 @tab silencio de longa
7371 @tab silencio de cuadrada
7372 @item @strong{IT} @tab longa
7376 @item @strong{FR} @tab longa
7377 @tab quadruple-pause
7380 @item @strong{DE} @tab Longa
7384 @item @strong{NL} @tab longa
7388 @item @strong{DK} @tab longa
7389 @tab longanodespause
7391 @tab brevis(nodes)pause
7392 @item @strong{SE} @tab longa
7396 @item @strong{FI} @tab longa-nuotti
7398 @tab brevis-nuotti, kaksoiskokonuotti
7399 @tab brevis-tauko, kaksoiskokotauko
7403 @multitable @columnfractions .12 .22 .22 .22 .22
7405 @headitem Lang. @tab note name
7409 @item @strong{US} @tab whole note
7413 @item @strong{UK} @tab semibreve
7417 @item @strong{ES} @tab redonda
7418 @tab silencio de redonda
7420 @tab silencio de blanca
7421 @item @strong{IT} @tab semibreve
7422 @tab pause di semibreve
7424 @tab pausa di minima
7425 @item @strong{FR} @tab ronde
7429 @item @strong{DE} @tab ganze Note
7433 @item @strong{NL} @tab hele noot
7437 @item @strong{DK} @tab helnode
7441 @item @strong{SE} @tab helnot
7445 @item @strong{FI} @tab kokonuotti
7452 @multitable @columnfractions .12 .22 .22 .22 .22
7454 @headitem Lang. @tab note name
7458 @item @strong{US} @tab quarter note
7462 @item @strong{UK} @tab crotchet
7466 @item @strong{ES} @tab negra
7467 @tab silencio de negra
7469 @tab silencio de corchea
7470 @item @strong{IT} @tab semiminima, nera
7471 @tab pausa di semiminima, pausa di nera
7474 @item @strong{FR} @tab noire
7478 @item @strong{DE} @tab Viertelnote
7482 @item @strong{NL} @tab kwartnoot
7486 @item @strong{DK} @tab fjerdedelsnode
7487 @tab fjerdedelspause
7488 @tab ottendedelsnode
7489 @tab ottendedelspause
7490 @item @strong{SE} @tab fjärdedelsnot
7494 @item @strong{FI} @tab neljäsosanuotti
7496 @tab kahdeksasosanuotti
7497 @tab kahdeksasosatauko
7501 * About the French naming system: @emph{croche} refers to the note's "hook".
7502 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7503 hook}, @q{trebled hook}, and so on.
7505 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7506 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7507 a @emph{soupir}, and so on.
7509 Each of the following tables contains one type of note and its matching rest,
7510 with abbreviations that apply to both notes and rests. Just switch the part
7511 that means @q{note} with the part that means @q{rest}, for example:
7515 @item English: 16th @strong{note}, 16th @strong{rest}
7516 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7517 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7521 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7522 duration name. If you know of one that I missed, please send it to me, care of
7523 the lilypond-user discussion list.
7525 @multitable @columnfractions .10 .35 .35 .20
7527 @headitem Lang. @tab Note name
7530 @item @strong{US} @tab sixteenth note
7533 @item @strong{UK} @tab semiquaver
7534 @tab semiquaver rest
7536 @item @strong{ES} @tab semicorchea
7537 @tab silencio de semicorchea
7539 @item @strong{IT} @tab semicroma
7540 @tab pausa di semicroma
7542 @item @strong{FR} @tab double croche
7543 @tab quart de soupir
7545 @item @strong{DE} @tab Sechzehntelnote
7546 @tab Sechzehntelpause
7548 @item @strong{NL} @tab zestiende noot
7551 @item @strong{DK} @tab sekstendedelsnode
7552 @tab sekstendedelspause
7554 @item @strong{SE} @tab sextondelsnot
7557 @item @strong{FI} @tab kuudestoistaosanuotti
7558 @tab kuudestoistaosatauko
7563 @multitable @columnfractions .10 .35 .35 .20
7565 @headitem Lang. @tab Note name
7568 @item @strong{US} @tab thirty-second note
7569 @tab thirty-second rest
7571 @item @strong{UK} @tab demisemiquaver
7572 @tab demisemiquaver rest
7574 @item @strong{ES} @tab fusa
7575 @tab silencio de fusa
7577 @item @strong{IT} @tab biscroma
7578 @tab pausa di biscroma
7580 @item @strong{FR} @tab triple croche
7581 @tab huitième de soupir
7583 @item @strong{DE} @tab Zweiunddreißigstelnote
7584 @tab Zweiunddreißigstelpause
7586 @item @strong{NL} @tab tweeendertigste noot
7587 @tab tweeendertigste rust
7589 @item @strong{DK} @tab toogtredivtedelsnode
7590 @tab toogtredivtedelspause
7592 @item @strong{SE} @tab trettiotvåondelsnot
7593 @tab trettiotvåondelspaus
7595 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7596 @tab kolmaskymmeneskahdesosatauko
7601 @multitable @columnfractions .10 .35 .35 .20
7603 @headitem Lang. @tab Note name
7606 @item @strong{US} @tab sixty-fourth note
7607 @tab sixty-fourth rest
7609 @item @strong{UK} @tab hemidemisemiquaver
7610 @tab hemidemisemiquaver rest
7612 @item @strong{ES} @tab semifusa
7613 @tab silencio de semifusa
7615 @item @strong{IT} @tab semibiscroma
7616 @tab pausa di semibiscroma
7618 @item @strong{FR} @tab quadruple croche
7619 @tab seizième de soupir
7621 @item @strong{DE} @tab Vierundsechzigstelnote
7622 @tab Vierundsechzigstelpause
7624 @item @strong{NL} @tab vierenzestigste noot
7625 @tab vierenzestigste rust
7627 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7628 @tab fireogtredsindstyvendedelspause
7630 @item @strong{SE} @tab sextiofjärdedelsnot
7631 @tab sextiofjärdedelspaus
7633 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7634 @tab kuudeskymmenesneljäsosatauko
7639 @multitable @columnfractions .10 .35 .35 .20
7641 @headitem Lang. @tab Note name
7644 @item @strong{US} @tab one-hundred-twenty-eighth note
7645 @tab one-hundred-twenty-eighth rest
7647 @item @strong{UK} @tab semihemidemisemiquaver
7648 @tab semihemidemisemiquaver rest
7650 @item @strong{ES} @tab garrapatea
7651 @tab silencio de garrapatea
7653 @item @strong{IT} @tab fusa
7656 @item @strong{FR} @tab quintuple croche
7657 @tab trente-deuxième de soupir @tab -
7658 @item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7659 @item @strong{NL} @tab honderdachtentwintigste noot
7660 @tab honderdachtentwintigste rust
7662 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7663 @tab hundredeotteogtyvendedelspause
7665 @item @strong{SE} @tab hundratjugoåttondelsnot
7666 @tab hundratjugoåttondelspaus
7668 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7669 @tab sadaskahdeskymmeneskahdeksasosatauko
7674 @multitable @columnfractions .10 .35 .35 .20
7676 @headitem Lang. @tab Note name
7679 @item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note
7680 @item @strong{UK} @tab demisemihemidemisemiquaver
7681 @tab demisemihemidemisemiquaver rest
7683 @item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab -
7684 @item @strong{IT} @tab semifusa
7685 @tab pausa di semifusa
7687 @item @strong{FR} @tab sextuple croche
7688 @tab soixante-quatrième de soupir @tab -
7689 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7690 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7691 @tab tweehonderdzesenvijftigste rust
7693 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7694 @tab tohundredeseksoghalvtredsendedelspause
7696 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7697 @tab tvåhundrafemtiosjättedelspaus
7699 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7700 @tab kahdessadasviideskymmeneskuudesosatauko
7707 @ref{mensural notation}
7711 @chapter Pitch names
7713 @c -is/-es endings for Danish per Rune Zedeler
7714 @c and for Finnish per Risto Vääräniemi
7715 @c -iss/-ess endings for Swedish per Mats Bengtsson
7716 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7718 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7720 @tab ES @tab I @tab F @tab D
7721 @tab NL @tab DK @tab S @tab FI
7722 @item @strong{c} @tab do @tab do @tab ut @tab C
7723 @tab c @tab c @tab c @tab c
7724 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7725 @tab cis @tab cis @tab ciss @tab cis
7726 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7727 @tab des @tab des @tab dess @tab des
7728 @item @strong{d} @tab re @tab re @tab ré @tab D
7729 @tab d @tab d @tab d @tab d
7730 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7731 @tab dis @tab dis @tab diss @tab dis
7732 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7733 @tab es @tab es @tab ess @tab es
7734 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7735 @tab e @tab e @tab e @tab e
7736 @item @strong{f-flat} = e
7737 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7738 @tab fes @tab fes @tab fess @tab fes
7739 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7740 @tab f @tab f @tab f @tab f
7741 @item @strong{e-sharp} = f
7742 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7743 @tab eis @tab eis @tab eiss @tab eis
7744 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7745 @tab fis @tab fis @tab fiss @tab fis
7746 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7747 @tab ges @tab ges @tab gess @tab ges
7748 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7749 @tab g @tab g @tab g @tab g
7750 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7751 @tab gis @tab gis @tab giss @tab gis
7752 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7753 @tab as @tab as @tab ass @tab as
7754 @item @strong{a} @tab la @tab la @tab la @tab A
7755 @tab a @tab a @tab a @tab a
7756 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7757 @tab ais @tab ais @tab aiss @tab ais
7758 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7759 @tab bes @tab b @tab b @tab b
7760 @item @strong{b} @tab si @tab si @tab si @tab H
7761 @tab b @tab h @tab h @tab h
7769 @node Literature used
7770 @unnumberedsec Literature used
7773 @item The Harvard Dictionary of Music, London 1944. Many more or less
7774 literal quotes from its articles have been included into the item
7777 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7779 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7782 @item Oxford Advanced Learner's Dictionary of Current English, Third
7785 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7787 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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