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
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
99 Permission is granted to copy, distribute and/or modify this document
100 under the terms of the GNU Free Documentation License, Version 1.1
101 or any later version published by the Free Software Foundation,
102 without Invariant Sections.
108 @c @everyheading @| @thispage @|
109 @c @evenheading @thispage @| @|
110 @c @oddheading @| @| @thispage @|
112 @include macros.itexi
117 @w{@expansion{}@strong{\word\}}@c
120 @expansion{}@ref{\word\, @strong{\word\}}@c
125 * Musical terms A-Z::
126 * Duration names notes and rests::
130 @node Musical terms A-Z
131 @chapter Musical terms A-Z
133 Languages in this order.
140 @item UK - British English
160 * ancient minor scale::
165 * ascending interval::
166 * augmented interval::
198 * compound interval::
200 * conjunct movement::
213 * descending interval::
215 * diminished interval::
218 * disjunct movement::
220 * dissonant interval::
221 * dominant ninth chord::
222 * dominant seventh chord::
225 * dot (augmentation dot)::
227 * double appoggiatura::
229 * double dotted note::
239 * ecclesiastical mode::
246 * equal temperament::
262 * functional harmony::
277 * inverted interval::
290 * long appoggiatura::
296 * meantone temperament::
304 * metronomic indication::
315 * multi-measure rest::
343 * Pythagorean comma::
369 * sixty-fourth note::
370 * sixty-fourth rest::
399 * thirty-second note::
400 * thirty-second rest::
456 FI: aksentti, korostus.
458 The stress of one tone over others.
472 ES: alteración accidental,
474 F: altération accidentelle,
475 D: Versetzungszeichen, Akzidenz,
476 NL: toevallig (verplaatsings)teken,
478 S: tillfälligt förtecken,
479 FI: tilapäinen etumerkki.
481 An accidental has the effect of an @ref{alteration} of a note. A
482 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
483 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
484 lowers it by a whole tone. A natural cancels the effect of a previous
487 @lilypond[fragment,notime,line-width=13.0\cm]
488 \set Score.automaticBars = ##f
490 \context Staff \relative c'' {
491 \set Staff.extraNatural = ##f
492 gisis1 gis g! ges geses
495 \override Lyrics .LyricText #'self-alignment-X = #-1
496 "db. sharp" sharp natural flat "db. flat"
507 F: accelerando, en accélérant,
508 D: accelerando, schneller werden,
512 FI: accelerando, kiihdyttäen.
517 @section acciaccatura
519 A grace note which takes its time from the rest or note preceding the
520 principal note to which it is attached. The acciaccatura is drawn as a
521 small eighth note (quaver) with a line drawn through the flag and
526 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
539 FI: adagio, hitaasti.
541 It.@: comfortable, easy.
542 1.@tie{}Slow tempo, slower -- especially in even meter -- than
543 @ref{andante} and faster than @ref{largo}.
544 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
545 @ref{sonata}s, symphonies, etc.
554 D: Allegro, Schnell, Fröhlich, Lustig,
558 FI: allegro, nopeasti.
560 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
561 tempo, especially the first and last movements of a @ref{sonata}.
571 NL: verhoging of verlaging,
576 An alteration is the modification, raising or lowering, of a note's
577 pitch. It is established by an @ref{accidental}.
590 FI: altto, matala naisääni.
592 A female voice of low range (@emph{contralto}). Originally the alto was a
593 high male voice (hence the name), which by the use of falsetto reached the
594 height of the female voice. This type of voice is also known as
601 ES: clave de do en tercera,
602 I: chiave di contralto,
603 F: clef d'ut troisième ligne,
604 D: Altschlüssel, Bratschenschlüssel,
610 C clef setting middle C on the middle line of the staff.
627 FI: ambitus, ääniala, soitinala.
629 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
630 of pitches for a given voice in a part of music. It may also denote
631 the pitch range that a musical instrument is capable of playing.
646 An anacrusis (also known as pickup or upbeat) is an incomplete measure
647 of music before a section of music. It also refers to the initial note(s)
648 of a melody occurring in that incomplete measure.
652 @ref{measure}, @ref{meter}.
654 @lilypond[fragment,line-width=13.0\cm]
658 \partial 4 f4 | bes4. a8 bes4 c |
659 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
663 @node ancient minor scale
664 @section ancient minor scale
666 ES: escala menor antigua,
667 I: scala minore naturale,
668 F: forme du mode mineur ancien, troisème mode, mode hellénique,
669 D: reines Moll, natürliches Moll,
670 NL: authentieke mineurtoonladder,
673 FI: luonnollinen molliasteikko.
677 @ref{diatonic scale}.
679 @lilypond[fragment,notime,line-width=13.0\cm]
680 \set Score.automaticBars = ##f
698 Walking tempo/character.
702 @section appoggiatura
706 F: appoggiature, (port de voix),
707 D: Vorschlag, Vorhalt
711 FI: appoggiatura, etuhele.
713 Ornamental note, usually a second, that is melodically connected with the
714 main note following it. In music before the 19th century appoggiature were
715 usually performed on the beat, after that mostly before the beat. While the
716 short appoggiatura is performed as a short note regardless of the duration of
717 the main note the duration of the long appoggiatura is proportional to that of
720 @lilypond[line-width=13.0\cm]
721 \context Voice \relative c'' {
725 %\override Score.TextScript #'font-style = #'large
726 <d a fis>4_"notation" r
727 { \override Stem #'flag-style = #'()
729 \revert Stem #'flag-style
732 { \override Stem #'flag-style = #'()
734 \revert Stem #'flag-style
737 \cadenzaOn a4 \bar "||" \cadenzaOff
739 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
740 \cadenzaOn a4 \bar "||" \cadenzaOff
744 An appoggiatura may have more notes preceding the main note.
746 @lilypond[line-width=13.0\cm]
750 % \override Score.TextScript #'font-style = #'large
751 \grace { bes16 } as8_"notation" as16 bes as8 g |
752 \grace { as16[( bes] } < c as >4-)
753 \grace { as16[( bes] } < c as >4-) \bar "||"
754 \grace { bes16 } as8_"performance" as16 bes as8 g |
755 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
756 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
768 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
770 DK: arpeggio, akkordbrydning,
772 FI: arpeggio, murtosointu.
774 @lilypond[fragment,line-width=13.0\cm]
775 \context PianoStaff <<
776 \context Staff = SA \relative c'' {
779 r8 g16 c e g, c e r8 g,16 c e g, c e |
780 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
781 \context Staff = SB \relative c' {
783 << \context Voice = va {
785 r16 e8. ( e4) r16 e8. ( e4) |
786 r16 d8. ( d4) r16 d8. ( d4) }
787 \context Voice = vb {
796 @section articulation
805 FI: artikulaatio, ilmaisu.
807 Articulation refers to notation which indicates how a note or notes should
808 be played. Slurs, accents, staccato, and legato are all examples of
812 @node ascending interval
813 @section ascending interval
815 ES: intervalo ascendente,
816 I: intervallo ascendente,
817 F: intervalle ascendant,
818 D: steigendes Intervall,
819 NL: stijgend interval,
820 DK:@w{ }stigende interval,
821 S: stigande intervall,
822 FI: nouseva intervalli.
824 A distance between a starting lower note and a higher ending note.
827 @node augmented interval
828 @section augmented interval
830 ES: intervalo aumentado,
831 I: intervallo aumentato,
832 F: intervalle augmenté,
833 D: übermäßiges Intervall,
834 NL: overmatig interval,
835 DK: forstørret interval,
836 S: överstigande intervall,
837 FI: ylinouseva intervalli.
849 F: manuscrit, autographe
850 D: Autograph, Handschrift,
852 DK: håndskrift, autograf,
854 FI: käsinkirjoitettu nuotti.
856 1.@tie{}A manuscript in the composer's own hand.
857 2.@tie{}Music prepared for photoreproduction by freehand drawing,
858 with the aid of a straightedge ruler and T-square only,
859 which attempts to emulate engraving.
860 This required more skill than did engraving.
899 ES: barra, línea divisoria,
900 I: stanghetta, barra (di divisione),
901 F: barre (de mesure),
919 FI: baritoni, keskikorkuinen miesääni.
921 The male voice intermediate between the @ref{bass} and the
924 @c F: clef de troisième ligne dropped
928 @section baritone clef
930 ES: clave de fa en tercera,
931 I: chiave di baritono,
932 F: clef d' Ut cinquième ligne, clef de Fa troisième,
939 C or F clef setting middle C on the upper staff line.
943 @ref{C clef}, @ref{F clef}.
949 ES: clave de fa en cuarta,
951 F: clef de fa quatrième ligne,
958 A clef setting with middle C on the first top ledger line.
975 FI: basso, matala miesääni.
977 1.@tie{}The lowest male voice.
978 2.@tie{}Sometimes, especially in jazz music, used as
979 an abbreviation for double bass.
998 Line connecting a series of notes (shorter than a quarter note).
999 The number of beams determines the note value of the connected notes.
1001 @lilypond[fragment,notime,line-width=13.0\cm]
1002 \set Score.automaticBars = ##f
1003 %\override TextScript #'font-style = #'large
1005 g8_"1/8"[ g g g] s16
1006 g16_"1/16"[ g g g] s16
1007 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1008 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1013 @ref{feathered beam}.
1019 ES: tiempo, parte (de compás)
1022 D: Takt, Taktschlag, Zeit (im Takt),
1028 Note value used for counting, most often half-, fourth-, and eighth notes.
1029 The base counting value and the number of them per measure is indicated at
1030 the start of the music.
1032 @lilypond[fragment,line-width=13.0\cm]
1035 \relative c'' { g4 c b a | g1 \bar "||"}
1037 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1052 ES: llave, corchete,
1055 D: Klammer, Akkolade,
1056 NL: accolade, teksthaak,
1059 FI: yhdistävä sulkumerkki.
1061 Symbol at the start of a system connecting staves. Curly braces are used
1062 for connecting piano staves, angular brackets for connecting parts in an
1063 orchestral or choral score.
1065 @lilypond[fragment,ragged-right]
1066 \context GrandStaff <<
1067 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1068 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1071 @lilypond[fragment,ragged-right]
1072 \context StaffGroup <<
1073 % \set StaffGroup.minVerticalAlign = #12
1074 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1075 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1085 NL: koper (blazers),
1088 S: brassinstrument, mässingsinstrument,
1091 A family of blown musical instruments made of brass, all using a cup formed
1092 mouth piece. The brass instruments commonly used in a symphony orchestra are
1093 trumpet, trombone, french horn, and tube.
1097 @section breath mark
1102 D: Atemzeichen, Trennungszeichen,
1103 NL: repercussieteken,
1104 DK: vejrtrækningstegn,
1108 Indication of where to breathe in vocal and wind instrument parts.
1113 ES: cuadrada, breve,
1122 @ref{note value}, twice as long as a whole note. Mainly used
1125 @lilypond[fragment,notime,ragged-right]
1126 \set Score.automaticBars = ##f
1127 \relative c'' { g\breve }
1160 Clef symbol indicating the position of the middle C. Used on all note
1163 @lilypond[fragment,notime,line-width=13.0\cm]
1164 \set Score.automaticBars = ##f
1165 \override Score.Clef #'full-size-change = ##t
1167 \context Staff \relative c' {
1169 \clef mezzosoprano c
1174 \context Lyrics \lyrics {
1175 \override Lyrics .LyricText #'self-alignment-X = #-1
1176 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1192 FI: kadenssi, lopuke.
1196 @ref{harmonic cadence}, @ref{functional harmony}.
1209 FI: kadenssi, lopuke.
1211 An extended, improvisatory style section inserted near the end of
1212 movement. The purpose of a cadenza is to give singers or players a chance
1213 to exhibit their technical skill and -- not last -- their ability to
1214 improvise. Since the middle of the 19th century, however, most cadences have
1215 been written down by the composer.
1228 FI: kaanon, tarkka jäljittely.
1245 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1246 viritysjärjestelmässä.
1248 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1249 of an equally tempered @ref{semitone}).
1253 @ref{equal temperament}.
1276 Three or more tones sounding simultaneously. In traditional European music
1278 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1280 minor @ref{third}) as well as @emph{minor} (minor + major third)
1281 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1282 and five-tone @emph{ninth} major chords are most often used as dominants
1283 (@ref{functional harmony}). A special case is chords having no
1284 third above the lower notes to define their quality as major or minor. Such
1285 chords are denoted open chords
1287 @lilypond[fragment,notime,line-width=13.0\cm]
1288 \set Score.automaticBars = ##f
1289 %\override TextScript #'font-style = #'large
1291 \context Staff \relative c'' {
1292 \set Staff.extraNatural = ##f
1312 @node chromatic scale
1313 @section chromatic scale
1315 ES: escala cromática,
1317 F: gamme chromatique,
1318 D: chro@-ma@-ti@-sche Tonleiter,
1319 NL: chromatische toonladder,
1320 DK: kromatisk skala,
1322 FI: kromaattinen asteikko.
1324 A scale consisting of all 12 @ref{semitone}s.
1326 @lilypond[fragment,notime,line-width=13.0\cm]
1327 \set Score.automaticBars = ##f
1328 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1333 @section chromaticism
1344 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1348 @section church mode
1350 ES: modo eclesiástico,
1351 I: modo ecclesiastico,
1352 F: mode ecclésiastique,
1357 FI: moodi, kirkkosävellaji.
1361 @ref{diatonic scale}.
1370 D: Schlüssel, Notenschlüssel,
1374 FI: avain, nuottiavain.
1378 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1380 The clef indicates which lines of the staff correspond to which
1381 pitches. The three clef symbols in common use are:
1383 @lilypond[ragged-right,quote]
1386 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1387 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1388 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1393 Imagine a large staff of 11 lines centered on middle C, sometimes
1394 called a @q{grand staff}, with the bottom line representing low G
1395 and the top line high F:
1397 @lilypond[ragged-right,quote]
1400 %-- Treble Staff --%
1402 % Allow this staff to be placed close to the others
1403 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1404 % Allow the treble clef to overlap the lower staves:
1405 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1406 \override Staff.Clef #'stencil = ##f % No clef required
1408 s1^\markup { "g," \transparent "g" }
1409 s^ \markup { "b," \transparent "g" }
1410 s^ \markup { "d" \transparent "g" }
1411 s^ \markup { "f" \transparent "g" }
1412 s^ \markup { "a" \transparent "g" }
1413 s^ \markup { \with-color #red c' \transparent "g"}
1414 e'^\markup { "e'" \transparent "g" }
1415 g'^\markup { "g'" \transparent "g" }
1416 b'^\markup { "b'" \transparent "g" }
1417 d''^\markup { "d''" \transparent "g" }
1418 f''^\markup { "f ''" \transparent "g" }
1421 %-- Alto Staff reduced to a single line on middle C --%
1423 \override Staff.StaffSymbol #'line-count = 1 % One line only
1424 \override Staff.StaffSymbol #'color = #red % Coloured red
1425 \override Staff.Clef #'stencil = ##f % No clef required
1428 % Allow this staff to be placed close to the others
1429 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1430 % Specify height to give correct spacing between treble and bass staves
1431 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1433 s1 s s s s % Space along to align horizonatally
1434 \override NoteHead #'color = #red
1436 s1 s s s s s % Keep staff (ie the red line) showing
1440 % Allow this staff to be placed close to the others
1441 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1442 \override Staff.Clef #'stencil = ##f % No clef required
1445 s s s s s s s % Keep staff showing
1449 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1450 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1452 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1453 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1455 % Remove all barlines
1456 \context { \Score \override BarLine #'stencil = ##f
1458 % Remove time signature from all staves
1459 \context { \Staff \remove Time_signature_engraver
1465 Staves of five lines are usually used, and the clef superimposed on them
1466 indicates which five lines have been selected from this @samp{grand staff}.
1467 For example, the treble or G clef indicates that the top five
1468 lines have been selected:
1470 @lilypond[ragged-right,quote]
1473 %-- Treble Staff --%
1475 % Allow this staff to be placed close to the others
1476 \override Staff.VerticalAxisGroup
1477 #'minimum-Y-extent = #'(0 . 0)
1478 % Allow the treble clef to overlap the lower staves:
1479 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1480 \override Staff.Clef #'stencil = ##f % No clef required here
1482 s1^\markup { "g," \transparent "g" }
1483 s^ \markup { "b," \transparent "g" }
1484 s^ \markup { "d" \transparent "g" }
1485 s^ \markup { "f" \transparent "g" }
1486 s^ \markup { "a" \transparent "g" }
1487 s^ \markup { \with-color #red c' \transparent "g"}
1488 \stopStaff \startStaff
1489 \clef "C" % Dummy to force next clef to be printed
1490 s % Need at least one note for \clef to take effect
1491 \override Staff.Clef #'stencil = ##t % Clef now required
1492 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1494 e'^\markup { "e'" \transparent "g" }
1495 g'^\markup { "g'" \transparent "g" }
1496 b'^\markup { "b'" \transparent "g" }
1497 d''^\markup { "d''" \transparent "g" }
1498 f''^\markup { "f ''" \transparent "g" }
1500 %-- Alto Staff reduced to a single line on middle C --%
1502 \override Staff.StaffSymbol #'line-count = 1 % One line only
1503 \override Staff.StaffSymbol #'color = #red % Coloured red
1504 \override Staff.Clef #'stencil = ##f % No clef required
1507 % Allow this staff to be placed close to the others
1508 \override Staff.VerticalAxisGroup
1509 #'minimum-Y-extent = #'(0 . 0)
1510 % Specify height to give correct spacing between the staves
1511 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1513 s1 s s s s % Space along to align horizonatally
1514 \override NoteHead #'color = #red
1516 % s1 s s s s % Keep staff (ie the red line) showing
1520 % Allow this staff to be placed close to the others
1521 \override Staff.VerticalAxisGroup
1522 #'minimum-Y-extent = #'(0 . 0)
1523 \override Staff.Clef #'stencil = ##f % No clef required
1526 % s s s s s s % Keep staff showing
1530 % Reduce horizontal spacing so semibreves can be used
1531 % without exceeding 1 line
1532 \context { \Score \override SpacingSpanner
1533 #'base-shortest-duration = #(ly:make-moment 1 1)
1535 % Reduce apparent vertical size of note heads to
1536 % permit them to overlap other grobs vertically
1537 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1539 % Remove all barlines
1540 \context { \Score \override BarLine #'stencil = ##f
1542 % Remove time signature from all staves
1543 \context { \Staff \remove Time_signature_engraver
1549 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1551 In the same way, the bass or F clef indicates that the bottom five lines
1552 have been selected from the @samp{grand staff}, and the alto or C clef
1553 indicates the middle five lines have been selected. This relationship is
1554 shown below, where the notes show an arpeggio on a C major chord.
1556 @lilypond[ragged-right,quote]
1559 %-- Treble Staff --%
1560 \new Staff = "G" \with {
1561 \remove Time_signature_engraver
1564 % The following two overrides are required to make the two middle C's overlap
1565 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1566 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1568 \override Staff.Clef #'Y-extent = #'(0 . 0)
1570 s1 s s s s e' g' c''
1573 \new Staff = "C" \with {
1574 \remove Time_signature_engraver
1577 \override Staff.StaffSymbol #'line-count = 1
1578 \override Staff.StaffSymbol #'stencil = ##f
1579 \once \override Staff.Clef #'stencil = ##f
1580 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1581 \override Score.BarLine #'stencil = ##f
1583 % The following two overrides are required to align the C staff to the G and F staves
1584 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1585 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1588 \stopStaff \startStaff
1589 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1590 \revert Staff.StaffSymbol #'stencil
1591 \override Staff.StaffSymbol #'color = #red
1592 b'1 % A frig. This really shows as a middle C in the score
1594 \stopStaff \startStaff
1595 \override Staff.StaffSymbol #'line-count = 5
1596 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1597 \override Staff.Clef #'Y-extent = #'(0 . 0)
1598 \revert Staff.StaffSymbol #'color
1599 \stopStaff \startStaff
1601 s1 s s c e g c' e' g' c''
1604 \new Staff = "F" \with {
1605 \remove Time_signature_engraver
1608 \override Staff.Clef #'Y-extent = #'(0 . 0)
1609 % The following two overrides are required to make the two middle C's overlap
1610 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1611 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1619 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1622 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1625 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1638 FI: klusteri, cluster.
1640 A @emph{cluster} is a range of simultaneously sounding pitches that
1641 may change over time. The set of available pitches to apply usually
1642 depends on the acoustic source. Thus, in piano music, a cluster
1643 typically consists of a continuous range of the semitones as provided
1644 by the piano's fixed set of a chromatic scale. In choral music, each
1645 singer of the choir typically may sing an arbitrary pitch within the
1646 cluster's range that is not bound to any diatonic, chromatic or other
1647 scale. In electronic music, a cluster (theoretically) may even cover
1648 a continuous range of pitches, thus resulting in colored noise, such
1651 Clusters can be denoted in the context of ordinary staff notation by
1652 engraving simple geometrical shapes that replace ordinary notation of
1653 notes. Ordinary notes as musical events specify starting time and
1654 duration of pitches; however, the duration of a note is expressed by
1655 the shape of the note head rather than by the horizontal graphical
1656 extent of the note symbol. In contrast, the shape of a cluster
1657 geometrically describes the development of a range of pitches
1658 (vertical extent) over time (horizontal extent). Still, the
1659 geometrical shape of a cluster covers the area in which any single
1660 pitch contained in the cluster would be notated as an ordinary note.
1662 @lilypond[fragment,relative=2,ragged-right]
1663 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1677 FI: komma, korvinkuultava ero äänenkorkeudessa.
1679 Difference in pitch between a note derived from pure tuning and the same note
1680 derived from some other tuning method.
1688 @section common meter
1695 @node compound interval
1696 @section compound interval
1698 ES: intervalo compuesto,
1699 I: intervallo composto,
1700 F: intervalle composé,
1701 D: weites Intervall,
1702 NL: samengesteld interval,
1703 DK: sammensat interval,
1704 S: sammansatt intervall,
1705 FI: oktaavia laajempi intervalli.
1707 Intervals larger than an octave.
1717 ES: intervalo invertido,
1719 F: intervalle complémentaire,
1720 D: Komplementärintervall,
1721 NL: complementair interval,
1722 DK: komplementærinterval,
1723 S: komplementärintervall (?),
1724 FI: täydentävä intervalli.
1728 @ref{inverted interval}.
1731 @node conjunct movement
1732 @section conjunct movement
1734 ES: movimiento conjunto,
1736 F: mouvement conjoint,
1737 D: schritt@-weise, stufenweise Bewegung,
1738 NL: stapsgewijze, trapsgewijze beweging,
1739 DK: trinvis bevægelse,
1741 FI: asteittainen liike.
1743 Progressing melodically by intervals of a second. The opposite of a
1744 @ref{disjunct movement}.
1746 @lilypond[fragment,line-width=13.0\cm]
1747 \key g \major \time 4/4
1748 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1762 FI: konsonanssi, sopusointi.
1787 @section counterpoint
1796 FI: kontrapunkti, ääni ääntä vastaan.
1798 From latin @emph{punctus contra punctum}, note against note. The combination
1799 into a single musical fabric of lines or parts which have distinct melodic
1800 significance. A frequently used polyphonic technique is imitation, in its
1801 strictest form found in the canon needing only one part to be written down
1802 while the other parts are performed with a given displacement. Imitation is
1803 also the contrapunctal technique used in the @emph{fugue} which, since the
1804 music of the baroque era, has been one of the most popular polyphonic
1805 composition methods.
1807 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1808 \set Score.implicitTimeSignatureVisibility = #all-invisible
1809 \override Score.TimeSignature #'break-visibility = #all-invisible
1810 \context PianoStaff <<
1811 \context Staff = SA \relative c' {
1815 << \context Voice = rha {
1817 r1 | r2 r8 g'8 bes d, |
1818 cis4 d r8 e!16 f g8 f16 e |
1819 f8 g16 a bes8 a16 g a8
1821 \context Voice = rhb {
1827 \context Staff = SB \relative c' {
1830 << \context Voice = lha {
1832 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1833 r8 a16 g f8 g16 a bes8 g e! cis' |
1836 \context Voice = lhb {
1846 @section counter tenor
1851 D: Countertenor, Kontratenor,
1854 S: kontratenor, counter tenor,
1863 @section copying music
1865 A music copyist did fast freehand scores and parts on preprinted staff lines
1866 for performance. Some of their conventions (e.g., the placement of note heads
1867 on stems) varied slightly from those of engravers. Some of their working
1868 methods were superior and could well be adopted by music typesetters. This
1869 required more skill than engraving.
1878 D: Crescendo, lauter werden,
1882 FI: cresendo, voimistuen.
1884 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1885 abbreviation @samp{cresc.}.
1887 @lilypond[fragment,ragged-right]
1888 \key g \major \time 4/4
1889 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1898 F: petites notes précédent l'entrée d'un instrument, réplique,
1905 In a separate part notes belonging to another part with the purpose of hinting
1906 when to start playing. Usually printed in a smaller type.
1913 D: Notenzeiger, Custos.
1915 A custos is a staff symbol that appears at the end of a staff line
1916 with monophonic musical contents (i.e., with a single voice). It
1917 anticipates the pitch of the first note of the following line and thus
1918 helps the player or singer to manage line breaks during performance,
1919 thus enhancing readability of a score.
1921 Custodes were frequently used in music notation until the 16th
1922 century. There were different appearences for different notation
1923 styles. Nowadays, they have survived only in special forms of musical
1924 notation such as via the editio vaticana dating back to the beginning
1930 % \override Staff.Custos #'neutral-position = #4
1931 \override Staff.Custos #'neutral-direction = #down
1932 \override Staff.Custos #'style = #'hufnagel
1940 \consists Custos_engraver
1970 F: da capo, depuis le commencement,
1971 D: da capo, von Anfang,
1975 FI: da capo, alusta.
1977 The term indicates repetition of the piece from the beginning to the end or
1978 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1986 F: dal segno, depuis le signe,
1987 D: dal segno, ab dem Zeichen,
1991 FI: dal segno, lähtien merkistä.
1993 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1994 another place frequently near the beginning marked by a sign:
1996 @lilypond[fragment,ragged-right]
1997 %\override TextScript #'font-style = #'large
1998 \override TextScript #'font-shape = #'italic
1999 \key g \major \time 4/4
2004 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2011 @section decrescendo
2015 D: Decrescendo, leiser werden,
2019 FI: decresendo, hiljentyen.
2021 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2022 or the abbreviation @samp{decresc.}.
2024 @lilypond[fragment,ragged-right]
2026 \key g \major \time 4/4
2027 d4 \> c b a | g1 \! \bar "|."
2032 @node descending interval
2033 @section descending interval
2035 ES: intervalo descendente,
2036 I: intervallo discendente,
2037 F: intervalle descendant,
2038 D: fallendes Intervall, absteigendes Intervall,
2039 NL: dalend interval,
2040 DK: faldende interval,
2041 S: fallande intervall,
2042 FI: laskeva intervalli.
2044 A distance between a starting higher note and a lower ending note.
2047 @node diatonic scale
2048 @section diatonic scale
2050 ES: escala diatónica,
2052 F: gamme diatonique,
2053 D: diatonische Tonleiter,
2054 NL: diatonische toonladder,
2055 DK: diatonisk skala,
2057 FI: diatoninen asteikko.
2059 A scale consisting of 5@w{ }@ref{whole tone}s and
2060 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2061 of a piano keybord are diatonic.
2063 The church modes are used in gregorial chant and in pre-baroque early
2064 music but also to some extent in newer jazz music.
2066 @lilypond[fragment,notime,ragged-right]
2067 \set Score.automaticBars = ##f
2068 %\override Score.LyricText #'font-style = #'large
2069 %\override Score.TextScript #'font-style = #'large
2071 \context Staff \relative c' {
2073 \override TextScript #'padding = #-4
2074 e^"~~ S" f g a b^"~~ S" c
2076 \context Lyrics \lyrics {
2082 @lilypond[fragment,notime,ragged-right]
2083 \set Score.automaticBars = ##f
2085 \context Staff \relative c' {
2087 \override TextScript #'padding = #-4
2088 e^"~~ S" f g a b^"~~ S" c d
2096 @lilypond[fragment,notime,ragged-right]
2097 \set Score.automaticBars = ##f
2100 \override TextScript #'padding = #-4
2101 e1^"~~ S" f g a b^"~~ S" c d e
2109 @lilypond[fragment,notime,ragged-right]
2110 \set Score.automaticBars = ##f
2114 \override TextScript #'padding = #-4
2115 b^"~~ S" c d e^"~~ S" f
2123 @lilypond[fragment,notime,ragged-right]
2124 \set Score.automaticBars = ##f
2128 \override TextScript #'padding = #-4
2129 b^"~~ S" c d e^"~~ S" f g }
2136 @lilypond[fragment,notime,ragged-right]
2137 \set Score.automaticBars = ##f
2138 %\override Score.LyricText #'font-style = #'large
2139 %\override Score.TextScript #'font-style = #'large
2143 \override TextScript #'padding = #-4
2144 b^"~~ S" c d e^"~~ S" f g a
2152 From the beginning of the 17th century the scales used in European
2153 compositional music are primarily the major and the minor scales. In the
2154 harmonic minor scale type an augmented second (A) occurs between the 6th and
2157 @lilypond[fragment,notime,ragged-right]
2158 \set Score.automaticBars = ##f
2162 \override TextScript #'padding = #-4
2163 e^"~~ S" f g a b^"~~ S" c
2171 @lilypond[fragment,notime,ragged-right]
2172 \set Score.automaticBars = ##f
2176 \override TextScript #'padding = #-4
2177 b^"~~ S" c d e^"~~ S" f g a
2185 @lilypond[fragment,notime,ragged-right]
2186 \set Score.automaticBars = ##f
2190 \override TextScript #'padding = #-4
2191 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2193 \context Lyrics \lyrics {
2199 @lilypond[fragment,notime,line-width=13.0\cm]
2200 \set Score.automaticBars = ##f
2201 %\override Score.LyricText #'font-style = #'large
2202 %\override Score.TextScript #'font-style = #'large
2206 \override TextScript #'padding = #-4
2207 b^"~~ S" c d e fis gis^"~~ S"
2208 a g! f!^"~~ S" e d c^"~~ S" b a
2217 @node diminished interval
2218 @section diminished interval
2220 ES: intervalo disminuido,
2221 I: intervallo diminuito,
2222 F: intervalle diminué,
2223 D: vermindertes Intervall,
2224 NL: verminderd interval,
2225 DK: formindsket interval,
2226 S: förminskat intervall,
2227 FI: vähennetty intervalli.
2244 FI: diminuendo, hiljentyen.
2266 @node disjunct movement
2267 @section disjunct movement
2269 ES: movimiento disjunto,
2271 F: mouvement disjoint,
2272 D: sprunghafte Bewegung,
2273 NL: sprongsgewijze beweging,
2274 DK: springende bevægelse,
2275 S: hoppande rörelse,
2276 FI: melodian hyppivä liike.
2278 Progressing melodically by intervals larger than a major second.
2279 Opposite of @ref{conjunct movement}.
2281 @lilypond[fragment,ragged-right]
2286 a4. gis8 b a e cis |
2287 fis2 d4. \bar "||" }
2294 @ref{dissonant interval}.
2297 @node dissonant interval
2298 @section dissonant interval
2300 ES: intervalo disonante, disonancia,
2301 I: intervallo dissonante, dissonanza,
2304 NL: dissonant interval, dissonant,
2305 DK: dissonerende interval, dissonans,
2307 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2314 @node dominant ninth chord
2315 @section dominant ninth chord
2317 ES: acorde de novena de dominante,
2318 I: accordo di nona di dominante,
2319 F: accord de neuvième dominante,
2320 D: Domi@-nant@-nonen@-akkord,
2321 NL: dominant noon akkoord,
2322 DK: dominantnoneakkord,
2323 S: dominantnonackord,
2324 FI: dominanttinoonisointu.
2328 @ref{chord}, @ref{functional harmony}.
2331 @node dominant seventh chord
2332 @section dominant seventh chord
2334 ES: acorde de séptima de dominante,
2335 I: accordo di settima di dominante,
2336 F: accord de septième dominante,
2337 D: Dominantseptakkord,
2338 NL: dominant septiem akkoord,
2339 DK: dominantseptimakkord,
2340 S: dominantseptimackord,
2341 FI: dominanttiseptimisointu.
2345 @ref{chord}, @ref{functional harmony}.
2358 FI: dominantti, huippusointu.
2360 The fifth @ref{scale degree} in @ref{functional harmony}.
2364 @section dorian mode
2369 D: dorisch, dorischer Kirchenton,
2370 NL: dorische toonladder,
2377 @ref{diatonic scale}.
2380 @node dot (augmentation dot)
2381 @section dot (augmentation dot)
2384 I: punto (di valore),
2386 D: Punkt (Verlängerungspunkt),
2392 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2400 @section dotted note
2402 ES: nota con puntillo,
2406 NL: gepuncteerde noot,
2409 FI: pisteellinen nuotti.
2416 @node double appoggiatura
2417 @section double appoggiatura
2419 ES: apoyatura doble,
2420 I: appoggiatura doppia,
2421 F: appoggiature double,
2422 D: doppelter Vorschlag,
2423 NL: dubbele voorslag,
2424 DK: dobbelt forslag,
2426 FI: kaksoisappogiatura, kaksoisetuhele.
2433 @node double bar line
2434 @section double bar line
2440 NL: dubbele maatstreep,
2443 FI: kaksoistahtiviiva.
2445 Indicates the end of a section within a movement.
2448 @node double dotted note
2449 @section double dotted note
2451 ES: nota con doble puntillo,
2452 I: nota doppiamente puntata,
2453 F: note doublement pointée,
2454 D: doppelt punktierte Note,
2455 NL: dubbelgepuncteerde noot,
2456 DK: dob@-belt@-punk@-te@-ret node,
2457 S: dub@-bel@-punk@-te@-rad not,
2458 FI: kaksoispisteellinen nuotti.
2466 @section double flat
2475 FI: kaksoisalennusmerkki.
2483 @section double sharp
2485 ES: doble sostenido,
2490 DK: dob@-belt@-kryds,
2492 FI: kaksoisylennysmerkki.
2500 @section double trill
2506 NL: dubbele triller,
2511 A simultaneous trill on two notes, usually in the distance of a third.
2515 @section duple meter
2520 D: in zwei, grader Takt,
2521 NL: tweedelige maatsoort,
2558 FI: kesto, aika-arvo.
2566 @section dydimic comma
2570 @ref{syntonic comma}.
2579 D: Dynamik, Lautstärke,
2585 The aspect of music relating to degrees of loudness, or changes from one
2586 degree to another. The terms, abbreviations, and symbols used to indicate
2587 this information are called dynamic marks.
2591 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2611 @node ecclesiastical mode
2612 @section ecclesiastical mode
2620 @section eighth note
2626 D: Achtel, Achtelnote,
2628 DK: ottendedelsnode,
2630 FI: kahdeksasosanuotti.
2638 @section eighth rest
2640 ES: silencio de corchea,
2646 DK: ottendedelspause,
2648 FI: kahdeksasosatauko.
2658 TODO: languages, definition
2662 @section embellishment
2675 D: Notenstich, Notendruck
2681 Engraving means incising or etching a metal plate for
2682 printing. Photoengraving means drawing music with ink in a manner
2683 similar to drafting or engineering drawing, using similar tools.
2685 The traditional process of music printing is done through cutting in a
2686 plate of metal. Now also the term for the art of music typesetting.
2701 Two notes, intervals, or scales are enharmonic if they have different names
2704 @lilypond[fragment,notime,line-width=13.0\cm]
2705 \set Score.automaticBars = ##f
2707 \context Staff \relative c'' {
2708 gis1 as <des g,!> <cis g!>
2710 \context Lyrics \lyrics {
2711 \override Lyrics .LyricText #'self-alignment-X = #-1
2712 "g sharp " "a flat " "dim fifth " "augm fourth"
2718 @node equal temperament
2719 @section equal temperament
2721 ES: temperamento igual,
2722 I: temperamento equabile,
2723 F: tempérament égal,
2724 D: gleichschwebende Stimmung,
2725 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2726 DK: ligesvævende temperatur,
2727 S: liksvävande temperatur,
2730 Tuning system dividing the octave into 12 equal @ref{semitone}s
2731 (precisely 100 @ref{cent}s).
2738 @node expression mark
2739 @section expression mark
2742 I: segno d'espressione,
2743 F: signe d'expression, indication de nuance,
2745 NL: voordrachtsteken,
2746 DK: foredragsbetegnelse,
2747 S: föredragsbeteckning,
2748 FI: nyanssiosoitus, esitysmerkki.
2750 Performance indications concerning 1. volume, dynamics (for example
2751 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2752 @ref{andante}, @ref{allegro}).
2756 @section extender line
2758 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2760 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2767 The generic term for a line (or dash) of arbitrary length that
2768 extends text (without indicating the musical @emph{function} of
2771 Used in many contexts, for example:
2775 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2777 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2780 In figured (or thorough) bass to indicate that:
2784 @item The extended note should be held through a change in
2785 harmony, when applied to one figure --OR--
2787 @item The chord thus represented should be held above a moving
2788 bass line, when applied to more than one figure.
2790 @item These uses were not completely standardized, and some
2791 composers used a single extender line to indicate the
2797 In string music to indicate that all notes in the passage thus indicated
2798 should be played on the same string. On the violin, for example, a series
2799 of notes to be played on the G string would be indicated @samp{sul G},
2800 another series to be played on the D string would be indicated @samp{sul D},
2807 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2839 The position between the dots of the key symbol is the line of the F below
2840 central@w{ }C. Used on the third, fourth and fifth note line. A
2841 digit@w{ }8 above the clef symbol indicates that the notes must be played
2842 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2843 symbol indicates playing an octave lower (for example, on double bass
2846 @lilypond[fragment,notime,line-width=13.0\cm]
2847 \set Score.automaticBars = ##f
2848 \override Staff.Clef #'full-size-change = ##t
2876 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2879 @node feathered beam
2880 @section feathered beam
2884 F: liens de croches en soufflet,
2885 D: gespreizter Balken,
2891 A type of beam used to indicate that a small group of notes should be
2892 played at an increasing or decreasing tempo -- depending on the
2893 direction of @q{feathering} -- but without changing the overall tempo
2898 Internals Reference: @ruser{Manual beams}
2906 F: point d'orgue, point d'arrêt,
2911 FI: fermaatti, pidäke.
2913 Prolonged note or rest of indefinite duration.
2915 @lilypond[fragment,ragged-right]
2918 a4 b c2^\fermata \bar "|."
2941 @section figured bass
2945 @ref{thorough bass}.
2960 The methodical use of fingers in the playing of instruments.
2967 I: coda (uncinata), bandiera,
2975 Ornament at the end of the stem of a note used for notes with values
2976 less than a quarter note. The number of flags determines the
2979 @lilypond[fragment,notime,ragged-right]
2980 \set Score.automaticBars = ##f
2981 %\override Score.TextScript #'font-style = #'large
3026 FI: forte, voimakkaasti.
3028 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3029 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3066 @node functional harmony
3067 @section functional harmony
3069 ES: armonía funcional,
3070 I: armonia funzionale,
3071 F: étude des functions,
3073 NL: functionele harmonie,
3074 DK: funktionsanalyse, funktionsharmonik,
3076 FI: harmoniajärjestelmä.
3078 A system of harmonic analysis. It is based on the idea that, in a given key,
3079 there are only three functionally different chords: tonic (T, the chord on the
3080 first note of the scale), subdominant (S, the chord on the fourth note), and
3081 dominant (D, the chord on the fifth note). Others are considered to be
3082 variants of the base chords.
3084 @lilypond[fragment,notime,line-width=13.0\cm]
3085 \set Score.automaticBars = ##f
3087 \context Voice \relative c'' {
3088 <g e c >1 < a f d > < b g e >
3089 <c a f > < d b g > < e c a > < f d b > }
3090 \context Lyrics \lyrics {
3091 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3119 D: G-Schlüssel, Violinschlüssel,
3125 A clef symbol indicating the G above central@w{ }C. Used on the first
3126 and second note lines. A digit 8 above the clef symbol indicates that
3127 the notes must be played an octave higher while 8 below the clef symbol
3128 indicates playing or singing an octave lower (most tenor parts in choral
3129 scores are notated like that).
3131 @lilypond[fragment,notime,ragged-right]
3133 \set Score.automaticBars = ##f
3134 \override Staff.Clef #'full-size-change = ##t
3137 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3147 \context Lyrics \lyrics {
3148 \override Lyrics . LyricText #'X-offset = #-5
3149 "french violin clef"
3168 FI: glissando, liukuen.
3170 Letting the pitch slide fluently from one note to the other.
3174 @section grace notes
3176 ES: notas de adorno,
3179 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3185 Notes printed in small types to indicate that their time values are not
3186 counted in the rhythm of the bar.
3190 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
3194 @section grand staff
3196 ES: sistema de piano,
3199 D: Akkolade, Klaviersystem,
3202 S: ackolad, böjd klammer,
3203 FI: kaksoisnuottiviivasto.
3205 A combination of two staves with a brace. Usually used for piano music.
3222 FI: grave, raskaasti.
3247 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3248 standard usage of these countries, @samp{B} means @samp{B flat}.
3252 @ref{Pitch names}, @ref{B}
3262 D: Halbe, halbe Note,
3276 ES: silencio de blanca,
3291 @node harmonic cadence
3292 @section harmonic cadence
3294 ES: cadencia (armónica),
3295 I: cadenza (armonica),
3296 F: cadence harmonique,
3298 NL: harmonische cadens,
3299 DK: harmonisk kadence,
3300 S: (harmonisk) kadens,
3301 FI: harmoninen kadenssi.
3303 A sequence of chords that terminates a musical phrase or
3306 @ref{functional harmony}.
3308 @lilypond[fragment,ragged-right]
3309 \context PianoStaff <<
3310 \context Staff = SA \relative c'' {
3314 \partial 4 < c g e >4 |
3315 < c a f > < b g d > < c g e >2
3318 \context Staff = SB \relative c {
3320 \partial 4 c4 | f, g c2
3338 D: Harmonie, Zusammenklang,
3342 FI: harmonia, yhteissointi.
3344 Tones sounding simultaneously. Two note harmonies fall into the categories
3345 @emph{consonances} and @emph{dissonances}.
3349 @lilypond[fragment,notime,line-width=13.0\cm]
3350 \set Score.automaticBars = ##f
3351 %\override Score.TextScript #'font-style = #'large
3352 \context Voice \relative c'' {
3365 @lilypond[fragment,notime,line-width=13.0\cm]
3366 \set Score.automaticBars = ##f
3367 %\override Score.TextScript #'font-style = #'large
3368 \context Voice \relative c'' {
3369 <g a>1_"second " s s
3370 <g f'>_"seventh " s s
3375 Three note harmony @ref{chord}.
3388 FI: homofonia, yksiäänisyys.
3390 Music in which one voice leads melodically followed by the other voices more
3391 or less in the same rhythm. In contrast to @ref{polyphony}.
3404 FI: intervalli, kahden sävelen korkeusero.
3406 Difference in pitch between two notes. Intervals may be perfect, minor,
3407 major, diminished, or augmented. The augmented fourth and the diminished fifth
3408 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3409 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3412 @lilypond[fragment,notime,line-width=13.0\cm]
3413 \set Score.automaticBars = ##f
3415 \context Voice \relative c'' {
3425 \context Lyrics \lyrics {
3426 "unison " "second " "second " "second "
3427 "third " "third " "third " "third"
3432 @lilypond[fragment,notime,line-width=13.0\cm]
3433 \set Score.automaticBars = ##f
3435 \context Staff \relative c'' {
3446 "fourth " "fourth " "fifth " "fifth "
3447 "sixth " "sixth " "sixth " "sixth"
3452 @lilypond[fragment,notime,line-width=13.0\cm]
3453 \set Score.automaticBars = ##f
3455 \context Staff \relative c'' {
3456 < gis f'! >1^"dimin"
3465 \context Lyrics \lyrics {
3466 "seventh " "seventh " "seventh " "octave "
3467 "ninth " "ninth " "tenth " "tenth"
3473 @node inverted interval
3474 @section inverted interval
3476 ES: intervalo invertido,
3477 I: intervallo rivolto,
3478 F: intervalle reversé,
3479 D: umgekehrtes Intervall,
3480 NL: interval inversie,
3481 DK: omvendingsinterval,
3482 S: intervallets omvändning,
3483 FI: käänteisintervalli.
3485 The difference between an interval and an octave.
3487 @lilypond[fragment,notime,line-width=13.0\cm]
3488 \set Score.automaticBars = ##f
3489 %\override Score.TextScript #'font-style = #'large
3490 \context Staff \relative c'' {
3491 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3492 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3493 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3498 @node just intonation
3499 @section just intonation
3501 ES: entonación justa,
3502 I: intonazione giusta,
3503 F: intonation juste,
3510 Tuning system in which the notes are obtained by adding and subtracting
3511 natural fifths and thirds.
3528 According to the 12@w{ }tones of the @ref{chromatic scale}
3529 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3533 @ref{key signature}.
3537 @section key signature
3539 ES: armadura (de la clave),
3540 I: armatura di chiave,
3541 F: armure, armature [de la clé],
3542 D: Vorzeichen, Tonart,
3543 NL: toon@-soort (voortekens),
3546 FI: sävellajiosoitus.
3548 The sharps or flats appearing at the beginning of each staff indicating the
3560 D: Largo, Langsam, Breit,
3564 FI: largo, hitaasti, leveästi.
3566 Very slow in tempo, usually combined with great
3567 expressiveness. @emph{Larghetto} is less slow than largo.
3571 @section leading note
3582 The seventh @ref{scale degree}, a @ref{semitone} below
3583 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3584 upwards) to the tonic scale degree.
3588 @section ledger line
3590 ES: línea adicional,
3591 I: tagli addizionali,
3592 F: ligne supplémentaire,
3599 A ledger line is an extension of the staff.
3601 @lilypond[fragment,notime,ragged-right]
3602 \set Score.automaticBars = ##f
3603 \relative c'' { a,1 s c'' }
3613 D: legato, gebunden,
3619 To be performed (a) without any perceptible interruption between the notes,
3620 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3623 @lilypond[fragment,notime,line-width=13.0\cm]
3624 \set Score.automaticBars = ##f
3626 \context Staff \relative c'' {
3627 c4-( d e-) \bar "||"
3628 c4-- d-- e-- \bar "||"
3629 c4-.-( d-. e-.-) \bar "||"
3630 c4-. d-. e-. \bar "||"
3643 @section legato curve
3647 @ref{slur}, @ref{legato}.
3661 ES: estanque de nenúfares,
3662 I: stagno del giglio,
3666 NL: le@-lie@-vij@-ver,
3671 A pond with lilies floating in it, also the name of a music typesetter.
3681 A ligature is a coherent graphical symbol that represents at least two
3682 distinct notes. Ligatures originally appeared in the manuscripts of
3683 Gregorian chant notation roughly since the 9th century to denote
3684 ascending or descending sequences of notes. In early notation,
3685 ligatures were used for monophonic tunes (Gregorian chant) and very
3686 soon denoted also the way of performance in the sense of articulation.
3687 With the invention of the metric system of the white mensural
3688 notation, the need for ligatures to denote such patterns disappeared.
3697 D: Linie, Notenlinie,
3701 FI: viiva, nuottiviiva.
3708 @node long appoggiatura
3709 @section long appoggiatura
3711 ES: apoyatura larga,
3712 I: appoggiatura lunga,
3713 F: appoggiature longue,
3718 FI: pitkä appoggiatura, pitkä etuhele.
3737 Note value: double length of @ref{breve}.
3739 @lilypond[fragment,notime,ragged-right]
3740 \set Score.automaticBars = ##f
3742 \override NoteHead #'style = #'mensural
3755 ES: letra (de la canción),
3758 D: Liedtext, Gesangtext,
3784 @node major interval
3785 @section major interval
3787 ES: intervalo mayor,
3788 I: intervallo maggiore,
3789 F: intervalle majeur,
3790 D: großes Intervall,
3794 FI: suuri intervalli.
3815 @ref{diatonic scale}.
3818 @node meantone temperament
3819 @section meantone temperament
3821 ES: afinación mesotónica,
3822 I: accordatura mesotonica,
3823 F: tempérament mésotonique,
3824 D: mitteltönige Stimmung,
3825 NL: middenstemming, middentoonstemming,
3826 DK: middeltonetemperatur,
3827 S: medeltonstemperatur,
3828 FI: keskisävelviritys.
3830 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3831 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3832 @ref{temperament} only a limited set of keys are playable.
3833 Used for tuning keyboard instruments for performance of pre-1650 music.
3848 A group of @ref{beat}s (units of musical time) the first of which
3849 bears an accent. Such groups in numbers of two or more recur consistently
3850 throughout the composition and are marked from each other by
3860 I: mediante, modale,
3868 1.@tie{}The third @b{scale degree}.
3869 2.@tie{}A @ref{chord} having its base tone
3870 a third from that of another chord. For example, the tonic chord may be
3871 replaced by its lower mediant (variant tonic).
3874 harmony}, @ref{relative key}.
3884 FI: melisma, laulettavan tavun sävelkuvio.
3886 A melisma (plural: melismata) is a group of notes or tones sung on one
3887 syllable in plainsong
3891 @section melisma line
3897 @ref{extender line}.
3900 @node melodic cadence
3901 @section melodic cadence
3913 F: indication de mesure, mesure,
3920 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3921 unaltered throughout a composition or a section of it. For instance,
3922 3/4 meter means that the basic @ref{note value}s are quarter notes and
3923 that a @ref{measure} consists of three of those. According to whether
3924 there are two, three, or four units to the measure, one speaks of
3925 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3926 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3929 @lilypond[fragment,line-width=13.0\cm]
3933 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3936 @lilypond[fragment,line-width=13.0\cm]
3940 f8 f f f a16 g a f |
3941 c'8 c c c e16 d e c \bar "||"}
3944 @lilypond[fragment,line-width=13.0\cm]
3948 d4 b8 g b d d c a4 |
3949 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3965 Device indicating the exact tempo of a piece.
3971 @node metronomic indication
3972 @section metronomic indication
3974 ES: indicación metronómica,
3975 I: indicazione metronomica,
3976 F: indication métronomique,
3978 NL: metronoom aanduiding,
3980 S: metronomangivelse,
3981 FI: metronomiosoitus.
3983 Exact tempo indication (in beats per minute). Also denoted by
3984 M.M.@: (Mälzels Metronom).
3988 @section mezzo-soprano
3999 The female voice between @ref{soprano} and @ref{contralto}.
4008 D: eingestrichenes@w{ }c,
4010 DK: enstreget@w{ }c,
4011 S: ettstruket@w{ }c,
4014 First C below the 440 Hz A.
4016 @lilypond[fragment,notime,ragged-right]
4017 \set Score.automaticBars = ##f
4018 \override Staff.Clef #'full-size-change = ##t
4041 @ref{diatonic scale}.
4044 @node minor interval
4045 @section minor interval
4047 ES: intervalo menor,
4048 I: intervallo minore,
4049 F: intervalle mineur,
4050 D: kleines Intervall,
4054 FI: pieni intervalli.
4067 D: Kirchentonart, Modus,
4071 FI: moodi, kirkkosävelasteikko.
4075 @ref{church mode}, @ref{diatonic scale}.
4088 FI: modulaatio, sävellajin vaihdos.
4090 Moving from one @ref{key} to another. For example, the second
4091 subject of a @ref{sonata form} movement modulates to the dominant
4092 key if the key is major and to the @ref{relative key} if the key
4105 FI: mordent, korukuvio.
4130 FI: teema, sävelaihe.
4132 The briefest intelligible and self-contained fragment of a musical theme or
4135 @lilypond[line-width=13.0\cm]
4138 \set Score.implicitTimeSignatureVisibility = #all-invisible
4139 \override Score.TimeSignature #'break-visibility = #all-invisible
4142 \partial 8 g16\startGroup fis |
4143 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4144 g8 g,16 a b8 cis d16 s
4148 \Staff \consists "Horizontal_bracket_engraver"
4166 Greater musical works like @ref{symphony} and
4167 @ref{sonata} most often consist of several -- more or less --
4168 independant pieces called movements.
4171 @node multi-measure rest
4172 @section multi-measure rest
4174 ES: compases de espera,
4178 D: mehrtaktige Pause, Kirchenpause,
4181 FI: usean tahdin mittainen tauko.
4183 Multi-measure rests are conventionally typeset with a combination of longa,
4184 breve and whole rests for shorter and a long horizontal bar for longer
4185 spans of rest, with a number above to indicate the duration (in measures)
4186 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4187 reminiscence of its use in Renaissance vocal polyphony.
4189 @lilypond[fragment,ragged-right]
4192 \set Score.skipBars = ##t R1*3
4194 \set Score.skipBars = ##t R1*122
4201 @node mixolydian mode
4202 @section mixolydian mode
4206 @ref{diatonic scale}.
4210 @section natural sign
4215 D: Auflösungszeichen,
4216 NL: herstellingsteken,
4217 DK: op@-løsningstegn,
4218 S: återställningstecken,
4226 @node neighbour tones
4227 @section neighbour tones
4231 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4272 Notes are signs by means of which music is fixed in writing. The term is also
4273 used for the sound indicated by a note, and even for the key of the piano
4274 which produces the sound. However, a clear distinction between the terms tone
4275 and @ref{note} is strongly recommended. Briefly, one sees a note,
4283 I: testa, testina, capocchia,
4291 A head-like sign which indicates pitch by its position on a
4292 @ref{staff} provided with a @ref{clef}, and duration
4293 by a variety of shapes such as hollow or black heads with or without
4294 @ref{stem}s, @ref{flag}s, etc. For percussion
4295 instruments (often having no defined pitch) the note head may indicate the
4302 ES: valor (duración),
4304 F: durée, valeur (d'une note),
4309 FI: nuotin aika-arvo.
4311 Note values (durations) are measured as fractions, normally 1/2, of
4312 the next higher note value. The longest duration normally used is
4313 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4314 double-length note value @emph{longa} or the quadruple-length note
4315 value @emph{maxima} are used.
4317 @c TODO -- add maxima to this example
4319 @lilypond[fragment,notime,line-width=13.0\cm]
4320 %\override Score.TextScript #'font-style = #'large
4321 \set Score.automaticBars = ##f
4323 \override NoteHead #'style = #'mensural
4324 a\longa_"longa" a\breve_"breve"
4325 \revert NoteHead #'style
4326 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4327 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4330 @c TODO -- add maxima rest to this example
4332 @lilypond[fragment,notime,line-width=13.0\cm]
4333 %\override Score.TextScript #'font-style = #'large
4334 \set Score.automaticBars = ##f
4336 r\longa_"longa" r\breve_"breve"
4337 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4338 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4341 An augmentation dot after a note multiplies the duration by one and a
4342 half. Another dot adds yet a fourth of the duration.
4344 @lilypond[fragment,line-width=13.0\cm]
4345 %\override Score.TextScript #'font-style = #'large
4348 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4349 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4352 Alternatively note values may be subdivided by other ratios. Most common is
4353 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4354 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4355 dotted notes are also frequently used.
4357 @lilypond[fragment,line-width=13.0\cm]
4358 %\override Score.TextScript #'font-style = #'large
4361 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4362 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4366 @lilypond[fragment,line-width=13.0\cm]
4369 \times 3/2 {g4_"duplets" g} |
4371 \times 6/4 {g8_"quadruplets" g g g} |
4372 g8 g g g g4 \bar "||"
4378 @section octave sign
4382 @ref{G clef}, @ref{F clef}.
4406 I: abbellimento, fioriture,
4407 F: agrément, ornement,
4408 D: Verzierung, Ornament,
4414 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4415 with the diatonic @ref{second} above it. In the music from the
4416 middle of the 19th century and onwards the trill is performed with the main
4417 note first while in the music from the preceding baroque and classic periods
4418 the upper note is played first.
4420 @lilypond[fragment,line-width=13.0\cm]
4422 \context Staff = sa {
4423 % \override Score.TextScript #'font-style = #'large
4425 c2._"pre-1850" b4\trill | c1 \bar "||"
4426 c2._"post-1850" b4\trill | c1 \bar "||"
4430 c2. c32 b c b c b c b | c1
4431 c2. b32 c b c \times 4/5 { b c b c b } | c1
4436 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4438 @emph{prall} (inverted mordent).
4440 @lilypond[fragment,line-width=13.0\cm]
4442 \context Staff = sa {
4443 % \override Score.TextScript #'font-style = #'large
4445 a4_"turn" b\turn c2 \bar "||"
4446 g4_"mordent" a b\mordent a \bar "||"
4447 e'4_"prall" d\prall c2 \bar "||"
4453 e'4 e32[ d e d ~ d8] c2
4460 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
4473 FI: ossia, vaihtoehtoinen esitystapa.
4475 Ossia (otherwise) marks an alternative. It is an added staff or piano
4476 score, usually only a few measures long, which presents another version
4477 of the music, for example for small hands.
4498 FI: stemma, instrumenttiosuus.
4500 1.@tie{}In instrumental or choral music the music for the single instrument
4501 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4502 melodic line of the contrapunctal web.
4527 D: Schlagzeug, Schlagwerk,
4533 A family of musical instruments which are played on by striking or
4534 shaking. Percussion instruments commonly used in a symphony orchestra are
4535 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4536 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4540 @node perfect interval
4541 @section perfect interval
4543 ES: intervalo justo,
4544 I: intervallo giusto,
4545 F: intervalle juste,
4546 D: reines Intervall,
4550 FI: puhdas intervalli.
4569 A natural division of the melodic line, comparable to a sentence of speech.
4582 FI: fraseeraus, jäsentäminen.
4584 The clear rendering in musical performance of the @ref{phrase}s of
4585 the melody. Phrasing may be indicated by a @ref{slur}.
4593 F: anacrouse, levée,
4617 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4618 @emph{mezzo piano} (@b{mp}) medium soft.
4641 NL: pizzicato, getokkeld,
4644 FI: pizzicato, näppäillen.
4646 Play by plucking the strings.
4655 D: Polyphonie, Mehrstimmigkeit,
4659 FI: polyfonia, moniäänisyys.
4661 Music written in a combination of several simultaneous voices (parts) of a
4662 more or less pronounced individuality.
4681 D: Presto, Sehr schnell,
4682 NL: presto, Sehr schnell,
4685 FI: presto, hyvin nopeasti.
4687 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4688 denotes the highest possible degree of speed.
4691 @node Pythagorean comma
4692 @section Pythagorean comma
4694 ES: coma pitagórica,
4695 I: comma pitagorico,
4696 F: comma pythagoricien,
4697 D: Pythagoräisches Komma,
4698 NL: komma van Pythagoras,
4699 DK: pythagoræisk komma,
4700 S: pytagoreiskt komma,
4701 FI: pytagorinen komma.
4703 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4704 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4705 24 @ref{cent}s higher than the@w{ }C obtained by adding
4706 7@w{ }octaves. The difference between those two pitches is called the
4728 @section quarter note
4731 I: semiminima, nera,
4734 D: Viertel, Viertelnote,
4738 FI: neljännesosanuotti.
4746 @section quarter rest
4748 ES: silencio de negra,
4749 I: pausa di semiminima,
4754 DK:@w{ }fjerdedelspause,
4756 FI: neljännesosatauko.
4766 ES: cinquillo, quintillo.
4781 @section rallentando
4786 D: rallentando, langsamer werden,
4790 FI: rallerdando, hidastuen.
4792 Abbreviation "rall.".
4798 @section relative key
4801 I: tonalità relativa,
4802 F: tonalité relative,
4804 NL: paralleltoonsoort,
4805 DK: paralleltoneart,
4807 FI: rinnakkaissävellaji.
4809 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4811 @lilypond[fragment,notime,line-width=13.0\cm]
4812 \set Score.automaticBars = ##f
4813 %\override Score.TextScript #'font-style = #'large
4816 es1_"e flat major" f g as bes c d es
4821 @lilypond[fragment,notime,line-width=13.0\cm]
4822 \set Score.automaticBars = ##f
4823 %\override Score.TextScript #'font-style = #'large
4826 c1_"c minor" d es f g a! b! c \bar "||"
4836 F: barre de reprise,
4839 DK: gen@-ta@-gel@-se,
4843 @lilypond[fragment,line-width=13.0\cm]
4847 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4851 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4852 @c specify the rest's value.
4886 @item Metrical rhythm in which every time value is a multiple or
4887 fraction of a fixed unit of time, called @ref{beat}, and in which the
4888 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4889 The basic scheme of time values is called @ref{meter}.
4891 @item Measured rhythm which lacks regularly recurrent accent. In
4892 modern notation such music appears as a free alternation of different
4895 @item Free rhythm, i.e., the use of temporal values having no common
4896 metrical unit (beat).
4908 D: ritardando, langsamer werden,
4912 FI: ritardando, hidastuen,
4914 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4927 FI: ritenuto, hidastaen.
4929 Immediate reduction of speed.
4942 FI: asteikko, sävelasteikko.
4946 @ref{diatonic scale}.
4950 @section scale degree
4952 ES: grado (de la escala),
4953 I: grado della scala,
4954 F: degré [de la gamme],
4956 NL: trap [van de toonladder],
4959 FI: sävelaste, asteikon sävel.
4961 Names and symbols used in harmonic analysis to denote tones of the
4962 scale as roots of chords. The most important are degrees I = tonic
4963 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4965 @lilypond[fragment,notime,line-width=13.0\cm]
4966 \set Score.automaticBars = ##f
4968 \context Staff \relative c' {
4972 << { I II III IV V VI VII I }
4980 @ref{functional harmony}.
4988 F: à cordes ravallées,
4995 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4996 tuning of stringed instruments, particularly lutes or violins. Used
5001 @item facilitate pitch combinations that would otherwise be difficult
5004 @item alter the characteristic timbre of the instrument, for example,
5005 to increase brilliance)
5007 @item reinforce certain sonorities or tonalities by making them
5008 available on open strings
5010 @item imitate other instruments
5016 Tunings that could be called @var{scordatura} first appeared early in
5017 the 16th Century and became commonplace in the 17th.
5026 D: Partitur (full score), Klavierauszug (vocal score),
5032 A copy of orchestral, choral, or chamber music showing what each
5033 instrument is to play, each voice to sing, having each part arranged
5034 one underneath the other on different staves @ref{staff}.
5049 The @ref{interval} between two neigbouring tones of a scale. A
5050 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5051 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5052 degrees in question.
5067 The @ref{interval} of a minor second. The (usually) smallest interval
5068 in European composed music. The interval between two neighbouring
5069 tones on the piano keyboard -- including black and white keys -- is a
5070 semitone. An octave may be divided into 12@w{ }semitones.
5071 @ref{interval}, @ref{chromatic scale}.
5073 @lilypond[fragment,notime,line-width=13.0\cm]
5074 \set Score.automaticBars = ##f
5075 \relative c'' { g1 gis s a bes s b! c }
5146 @node sixteenth note
5147 @section sixteenth note
5153 D: Sechzehntel, Sechzehntelnote,
5154 NL: zes@-ti@-ende noot,
5155 DK: sekstendedelsnode,
5157 FI: kuudestoistaosanuotti.
5164 @node sixteenth rest
5165 @section sixteenth rest
5167 ES: silencio de semicorchea,
5168 I: pausa di semicroma,
5170 UK: semiquaver rest,
5171 D: Sechzehntelpause,
5173 DK: sekstendedelspause,
5199 @node sixty-fourth note
5200 @section sixty-fourth note
5204 F: quadruple croche,
5205 UK: hemidemisemiquaver,
5206 D: Vierundsechzigstel, Vierundsechzigstelnote,
5207 NL: vierenzestigste noot,
5208 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5209 S: sextiofjärdedelsnot,
5210 FI: kuudeskymmenesneljäsosanuotti.
5217 @node sixty-fourth rest
5218 @section sixty-fourth rest
5220 ES: silencio de semifusa,
5221 I: pausa di semibiscroma,
5222 F: seizième de soupir,
5223 UK: hemidemisemiquaver rest,
5224 D: Vierundsechzigstelpause,
5225 NL: vierenzestigste rust,
5226 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5227 S: sextiofjärdedelspaus,
5228 FI: kuudeskymmenesneljäsosatauko.
5239 ES: ligadura (de expresión),
5240 I: legatura (di portamento or espressiva),
5242 D: Bogen (Legatobogen, Phrasierungsbogen),
5243 NL: fraseringsboog, legatoboog, streekboog,
5244 DK: legatobue, fraseringsbue,
5248 A slur above or below a group of notes indicates that they are to be
5249 played @ref{legato}, e.g., with one stroke of the violin bow or with
5250 one breath in singing.
5255 @section solmization
5264 FI: suhteelliset laulunimet.
5266 General term for systems of designating the degrees of the
5267 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5268 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5287 In its present-day meaning a sonata denotes an instrumental
5288 composition for piano or for some other instrument with piano
5289 accompaniment, which consists of three or four independant pieces,
5294 @section sonata form
5298 F: [en] forme de sonate,
5300 NL: hoofdvorm, sonatevorm,
5305 A form used frequently for single movements of the @ref{sonata},
5306 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5307 into three sections called @emph{exposition}, @emph{development} and
5308 @emph{recapitulation}. In the exposition the composer introduces some
5309 musical ideas, consisting of a number of themes; in the development
5310 section the composer @q{develops} this material, and in the
5311 recapitulation the composer repeats the exposition, with certain
5312 modifications. The exposition contains a number of themes that fall
5313 into two groups, often called first and second subject. Other
5314 melodies occurring in each group are considered as continuations of
5315 these two. The second theme is in another key, normally in the key of
5316 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5317 @ref{relative key} if the tonic is @ref{minor}.
5338 FI: sopraano, korkea naisääni.
5340 The highest female voice.
5348 F: staccato, piqué, détaché,
5353 FI: staccato, lyhyesti, terävästi.
5355 Playing the note(s) short. Staccato is indicated by a dot above or
5356 below the note head.
5358 @lilypond[fragment,ragged-right]
5363 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5373 I: pentagramma, rigo (musicale),
5375 D: Notensystem, Notenzeile,
5376 NL: (noten)balk, partij,
5381 A staff (pl. staves) is a series of (normally five) horizontal lines
5382 upon and between which the musical notes are written, thus indicating
5383 (in connection with a @ref{clef}) their pitch. Staves for
5384 @ref{percussion} instruments may have fewer lines.
5401 D: Hals, Notenhals, Stiel,
5407 Vertical line above or below a @ref{note head} shorter than a
5412 @lilypond[fragment,notime,line-width=13.0\cm]
5413 \set Score.autoBeaming = ##f
5414 \set Score.automaticBars = ##f
5415 %\override Score.TextScript #'font-style = #'large
5437 A family of stringed musical instruments played with a bow. Strings
5438 commonly used in a symphony orchestra are violin, viola, violoncello,
5443 @section strong beat
5448 D: betonter Taktteil oder Taktschlag,
5450 D: betonet taktslag,
5451 S: betonat taktslag,
5452 FI: tahdin vahva isku.
5456 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5460 @section subdominant
5469 FI: subdominantti, alidominantti.
5471 The fourth @ref{scale degree}.
5473 @ref{functional harmony}.
5488 The sixth @ref{scale degree}.
5501 FI: subtoonika, alitoonika.
5503 The seventh @ref{scale degree}.
5512 D: auf G, auf der G-Saite,
5518 Indicates that the indicated passage (or note) should be played on the
5523 @section superdominant
5534 The sixth @ref{scale degree}.
5549 The second @ref{scale degree}.
5558 D: Sinfonie, Symphonie,
5564 A symphony may be defined as a @ref{sonata} for orchestra.
5568 @section syncopation
5579 Any deliberate upsetting of the normal pulse of @ref{meter},
5580 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5581 rhythm rests upon the grouping of equal beats into groups of two or
5582 three, with a regularly recurrent accent on the first beat of each
5583 group. Any deviation from this scheme is felt as a disturbance or
5584 contradiction between the underlaying (normal) pulse and the actual
5587 @lilypond[fragment,ragged-right]
5592 e c'4 e,8 c'4 e,8 c' ( | c2)
5598 @node syntonic comma
5599 @section syntonic comma
5602 I: comma sintonico (o didimico),
5603 F: comma syntonique,
5604 D: syntonisches Komma,
5605 NL: syntonische komma,
5606 DK: syntonisk komma,
5607 S: syntoniskt komma,
5608 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5609 Pytagorisessa viritysjärjestelmässä.
5611 Difference between the natural third and the third obtained by
5612 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5622 D: Notensystem, Partitur,
5626 FI: nuottijärjestelmä.
5628 The collection of staves (@ref{staff}), two or more, as used for writing
5629 down of keyboard, chamber, choral, or orchestral music.
5634 @section temperament
5639 D: Stimmung, Tem@-pe@-ra@-tur,
5640 NL: stemming, temperatuur,
5643 FI: viritysjärjestelmä.
5645 Systems of tuning in which the intervals deviate from the acoustically
5648 @ref{meantone temperament}, @ref{equal temperament}.
5651 @node tempo indication
5652 @section tempo indication
5654 ES: indicación de tempo,
5655 I: indicazione di tempo,
5656 F: indication de tempo,
5657 D: Zeitmaß, Tempobezeichnung,
5658 NL: tempo aanduiding,
5663 The rate of speed of a composition or a section thereof, ranging from
5664 the slowest to the quickest, as is indicated by tempo marks as
5665 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5679 FI: tenori, korkea miesääni.
5681 The highest male voice (apart from @ref{counter tenor}).
5704 ES: subrayado (tenuto),
5713 An indication that a particular note should be held for the whole
5714 length, although this can vary depending on the composer and era.
5734 @node thirty-second note
5735 @section thirty-second note
5741 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5742 NL: twee-endertig@-ste noot,
5743 DK: toogtredivtedelsnode,
5744 S: trettiotvåondelsnot,
5745 FI: kolmanneskymmeneskahdesosanuotti.
5752 @node thirty-second rest
5753 @section thirty-second rest
5755 ES: silencio de fusa,
5756 I: pausa di biscroma,
5757 F: huitième de soupir,
5758 UK: demisemiquaver rest,
5759 D: Zweiunddreissigstel@-pause,
5761 DK: toogtredivtedelspause,
5762 S: trettiotvåondelspaus,
5763 FI: kolmanneskymmeneskahdesosatauko.
5771 @section thorough bass
5774 I: basso continuo, basso numerato,
5775 F: basse chiffrée, basse continue,
5776 D: Generalbass, bezifferter Bass,
5777 NL: basso continuo, becijferde bas
5780 FI: kenraalibasso, numeroitu basso.
5782 A method of indicating an accompaniment part by the bass notes only,
5783 together with figures designating the chief @ref{interval}s and
5784 @ref{chord}s to be played above the bass notes.
5786 @lilypond[fragment,line-width=13.0\cm]
5787 \context GrandStaff <<
5788 \context Staff = lh \relative c'' {
5792 << \context Voice = rha {
5795 \context Voice = rhb {
5797 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5801 \context Staff = rh \relative c' {
5804 es8 c d bes c as bes16 as g f | es4
5806 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5815 ES: ligadura de prolongación,
5816 I: legatura (di valore),
5818 D: Haltebogen, Bindebogen,
5819 NL: overbinding, bindingsboog,
5821 S: bindebåge, överbindning,
5824 A curved line, identical in appearance with the @ref{slur}, which
5825 connects two succesive notes of the same pitch, and which has the
5826 function of uniting them into a single sound (tone) equal to the
5829 @lilypond[fragment,notime,ragged-right]
5830 \set Score.automaticBars = ##f
5831 \relative c'' { g2 ~ g4. }
5843 @node time signature
5844 @section time signature
5846 ES: indicación de compás,
5848 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5849 D: Taktangabe, Angabe der Taktart,
5852 S: taktartssignatur,
5872 A sound of definite pitch and duration, as distinct from @emph{noise}.
5873 Tone is a primary building material of music.
5875 Music from the 20th century may be based on atonal sounds.
5890 The first @ref{scale degree}.
5894 @ref{functional harmony}.
5898 @section transposition
5909 Shifting a melody up or down in pitch, while keeping the same
5912 @lilypond[fragment,line-width=13.0\cm]
5917 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5922 @lilypond[fragment,line-width=13.0\cm]
5925 \transpose c bes \relative c'' {
5927 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5934 @section treble clef
5937 I: chiave di violino,
5939 D: Violinschlüssel, Sopranschlüssel,
5941 DK:@w{ }diskantnøgle,
5962 On stringed instruments (@ref{strings}) the quick reiteration of the
5963 same tone, produced by a rapid up-and-down movement of the bow (a).
5964 The term is also used for the rapid alternation (b) between two notes
5965 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5967 @lilypond[fragment,notime,ragged-right]
5968 \set Score.automaticBars = ##f
5969 %\override Score.TextScript #'font-style = #'large
5972 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5973 \repeat tremolo 8 { e32_"b" g }
5983 F: triade, accord parfait, accord de trois sons,
6000 F: trille, tremblement, battement (cadence),
6013 @section triple meter
6015 ES: compás ternario,
6018 D: in drei, ungerader Takt,
6019 NL: driedelige maatsoort,
6064 @section tuning fork
6067 I: diapason, corista,
6075 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6076 forks give the international pitch for the tone @emph{a} (440
6077 vibrations per second).
6083 A non-standard subdivision of a beat or part of a beat, usually
6084 indicated with a bracket and a number indicating the number of
6089 @ref{triplet}, @ref{note value}.
6119 FI: unisono, yksiäänisesti.
6121 Playing of the same notes or the same melody by various instruments
6122 (voices) or by the whole orchestra (choir), either at exactly the same
6123 pitch or in a different octave.
6131 F: anacrouse, levée,
6153 FI: ääni, lauluääni.
6155 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6156 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6157 2.@tie{}A melodic layer or part of a polyphonic composition.
6164 I: tempo debole, arsi,
6166 D: unbetonter Taktteil oder Taktschlag,
6168 DK: ubetonet taktslag,
6169 S: obetonat taktslag,
6170 FI: tahdin heikko isku.
6174 @ref{beat}, @ref{measure}, @ref{rhythm}.
6184 D: Ganze, ganze Note,
6198 ES: silencio de redonda,
6199 I: pausa di semibreve,
6202 D: ganze Pause, ganztaktige Pause,
6226 The @ref{interval} of a major second. The interval between two tones
6227 on the piano keyboard with exactly one key between them -- including
6228 black and white keys -- is a whole tone.
6245 A family of blown wooden musical instruments. Today some of these
6246 instruments are actually made from metal. The woodwind instruments
6247 commonly used in a symphony orchestra are flute, oboe, clarinet,
6248 saxophone, and bassoon.
6253 @node Duration names notes and rests
6254 @chapter Duration names, notes and rests
6257 @item DURATION NAMES, NOTES AND RESTS
6260 @multitable @columnfractions .15 .26 .33 .26
6265 @tab @strong{F (note name / rest name)}
6275 @c extra @items make this table harder to read, so I removed them.
6277 @item @strong{longa}
6290 @item @strong{breve}
6293 @tab brève / double-pause
6303 @item @strong{whole}
6313 @tab koko@-nuotti/@w{-tauko}
6319 @tab blanche / demi-pause
6326 @tab puoli@-nuotti/@w{-tauko}
6329 @item @strong{quarter}
6339 @tab neljännesosa@-nuotti/@w{-tauko}
6342 @item @strong{eighth}
6345 @tab croche / demi-soupir
6352 @tab kahdeksasosa@-nuotti/@w{-tauko}
6355 @item @strong{sixteenth}
6358 @tab double croche / quart de soupir
6365 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6368 @item @strong{thirty-second}
6371 @tab triple croche / huitième de soupir
6373 @tab Zweiunddreissigstel
6374 @tab tweeendertigste
6375 @tab toogtredivtedel
6377 @tab trettiotvåondel
6378 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6381 @item @strong{sixty-fourth}
6382 @tab hemidemisemiquaver
6384 @tab quadruple croche / seizième de soupir
6386 @tab Vierundsechzigstel
6387 @tab vierenzestigste
6388 @tab fireogtred@-sindstyvendedel
6390 @tab sextiofjärdedel
6391 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6400 @chapter Pitch names
6406 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6407 @c the extra @item's between each row makes the table hard to read ... so I removed them
6409 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6411 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6413 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6414 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6416 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6419 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6420 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6422 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6423 @tab Des @tab des @tab des @tab des @tab des
6425 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6428 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6429 @tab Es @tab es @tab es @tab es @tab es
6431 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6434 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6437 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6440 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6441 @tab As @tab as @tab as @tab as @tab as
6443 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6446 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6447 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6449 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6450 @tab B @tab bes @tab b @tab b @tab b
6452 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6465 @node Literature used
6466 @unnumberedsec Literature used
6469 @item The Harvard Dictionary of Music, London 1944. Many
6470 more or less literal quotes from its articles have been included into
6471 the item explanation texts.
6473 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6475 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6478 @item Oxford Advanced Learner's Dictionary of Current English, Third
6481 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
6483 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.