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::
128 @node Musical terms A-Z
129 @chapter Musical terms A-Z
131 Languages in this order.
133 @item UK - British English (where it differs from American English)
159 * ancient minor scale::
164 * ascending interval::
166 * augmented interval::
201 * compound interval::
205 * conjunct movement::
218 * descending interval::
220 * diminished interval::
224 * disjunct movement::
226 * dissonant interval::
227 * dominant ninth chord::
228 * dominant seventh chord::
231 * dot (augmentation dot)::
233 * double appoggiatura::
235 * double dotted note::
238 * double time signature::
246 * ecclesiastical mode::
253 * equal temperament::
272 * functional harmony::
288 * inverted interval::
303 * long appoggiatura::
309 * meantone temperament::
315 * mensural notation::
318 * metronomic indication::
330 * multi-measure rest::
358 * polymetric time signature::
363 * Pythagorean comma::
391 * sixty-fourth note::
392 * sixty-fourth rest::
421 * thirty-second note::
422 * thirty-second rest::
429 * transposing instrument::
483 Abbreviated @samp{a2} or @samp{a 2}.
487 @item An indication in orchestral scores that a single part notated on a single
488 staff that normally carries parts for two players (e.g. first and second oboes)
489 is to be played by both players.
491 @item Or conversely, that two pitches or parts notated on a staff that normally
492 carries a single part (e.g. first violin) are to be played by different players,
493 or groups of players (@q{desks}).
512 FI: aksentti, korostus.
514 The stress of one tone over others.
528 ES: alteración accidental,
530 F: altération accidentelle,
531 D: Versetzungszeichen, Akzidenz,
532 NL: toevallig (verplaatsings)teken,
534 S: tillfälligt förtecken,
535 FI: tilapäinen etumerkki.
537 An accidental has the effect of an @ref{alteration} of a note. A
538 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
539 @ref{whole tone}, a flat lowers it by a semitone and a double flat
540 lowers it by a whole tone. A natural cancels the effect of a previous
541 accidental, or a sharp or flat in the key signature.
543 @lilypond[fragment,notime,line-width=13.0\cm]
544 \set Score.automaticBars = ##f
546 \context Staff \relative c'' {
547 \set Staff.extraNatural = ##f
548 gisis1 gis g! ges geses
551 \override Lyrics .LyricText #'self-alignment-X = #-1
552 "db. sharp" sharp natural flat "db. flat"
563 F: accelerando, en accélérant,
564 D: accelerando, schneller werden,
568 FI: accelerando, kiihdyttäen.
574 @section acciaccatura
576 A grace note which takes its time from the rest or note preceding the
577 principal note to which it is attached. The acciaccatura is drawn as a
578 small eighth note (quaver) with a line drawn through the flag and
583 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
596 FI: adagio, hitaasti.
598 It.@: comfortable, easy.
602 @item Slow tempo, slower -- especially in even meter -- than
603 @ref{andante} and faster than @ref{largo}.
605 @item A movement in slow tempo, especially the second (slow) movement
606 of @ref{sonata}s, symphonies, etc.
617 D: Allegro, Schnell, Fröhlich, Lustig,
621 FI: allegro, nopeasti.
623 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
624 tempo, especially the first and last movements of a @ref{sonata}.
634 NL: verhoging of verlaging,
639 An alteration is the modification, raising or lowering, of a note's
640 pitch. It is established by an @ref{accidental}.
653 FI: altto, matala naisääni.
655 A female voice of low range (@emph{contralto}). Originally the alto
656 was a high male voice (hence the name), which by the use of falsetto
657 reached the height of the female voice. This type of voice is also
658 known as @ref{counter tenor}.
664 ES: clave de do en tercera,
665 I: chiave di contralto,
666 F: clef d'ut troisième ligne,
667 D: Altschlüssel, Bratschenschlüssel,
673 C clef setting middle C on the middle line of the staff.
690 FI: ambitus, ääniala, soitinala.
692 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
693 Denotes a range of pitches for a given voice in a part of music. It may
694 also denote the pitch range that a musical instrument is capable of playing.
695 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
710 An anacrusis (also known as pickup or upbeat) is an incomplete measure
711 of music before a section of music. It also refers to the initial
712 note(s) of a melody occurring in that incomplete measure.
716 @ref{measure}, @ref{meter}.
718 @lilypond[fragment,line-width=13.0\cm]
722 \partial 4 f4 | bes4. a8 bes4 c |
723 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
727 @node ancient minor scale
728 @section ancient minor scale
730 ES: escala menor antigua,
731 I: scala minore naturale,
732 F: forme du mode mineur ancien, troisème mode, mode hellénique,
733 D: reines Moll, natürliches Moll,
734 NL: authentieke mineurtoonladder,
737 FI: luonnollinen molliasteikko.
739 @lilypond[fragment,notime,line-width=13.0\cm]
740 \set Score.automaticBars = ##f
747 @ref{diatonic scale}.
762 Walking tempo/character.
766 @section appoggiatura
770 F: appoggiature, (port de voix),
771 D: Vorschlag, Vorhalt
775 FI: appoggiatura, etuhele.
777 Ornamental note, usually a second, that is melodically connected with
778 the main note following it. In music before the 19th century
779 appoggiature were usually performed on the beat, after that mostly
780 before the beat. While the short appoggiatura is performed as a short
781 note regardless of the duration of the main note the duration of the
782 long appoggiatura is proportional to that of the main note.
784 @lilypond[line-width=13.0\cm]
785 \context Voice \relative c'' {
789 %\override Score.TextScript #'font-style = #'large
790 <d a fis>4_"notation" r
791 { \override Stem #'flag-style = #'()
793 \revert Stem #'flag-style
796 { \override Stem #'flag-style = #'()
798 \revert Stem #'flag-style
801 \cadenzaOn a4 \bar "||" \cadenzaOff
803 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
804 \cadenzaOn a4 \bar "||" \cadenzaOff
808 An appoggiatura may have more notes preceding the main note.
810 @lilypond[line-width=13.0\cm]
814 % \override Score.TextScript #'font-style = #'large
815 \grace { bes16 } as8_"notation" as16 bes as8 g |
816 \grace { as16[( bes] } < c as >4-)
817 \grace { as16[( bes] } < c as >4-) \bar "||"
818 \grace { bes16 } as8_"performance" as16 bes as8 g |
819 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
820 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
832 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
834 DK: arpeggio, akkordbrydning,
836 FI: arpeggio, murtosointu.
838 @lilypond[fragment,line-width=13.0\cm]
839 \context PianoStaff <<
840 \context Staff = SA \relative c'' {
843 r8 g16 c e g, c e r8 g,16 c e g, c e |
844 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
845 \context Staff = SB \relative c' {
847 << \context Voice = va {
849 r16 e8. ( e4) r16 e8. ( e4) |
850 r16 d8. ( d4) r16 d8. ( d4) }
851 \context Voice = vb {
860 @section articulation
869 FI: artikulaatio, ilmaisu.
871 Articulation refers to notation which indicates how a note or notes
872 should be played. Slurs, accents, staccato, and legato are all
873 examples of articulation.
876 @node ascending interval
877 @section ascending interval
879 ES: intervalo ascendente,
880 I: intervallo ascendente,
881 F: intervalle ascendant,
882 D: steigendes Intervall,
883 NL: stijgend interval,
884 DK:@w{ }stigende interval,
885 S: stigande intervall,
886 FI: nouseva intervalli.
888 A distance between a starting lower note and a higher ending note.
891 @node augmented interval
892 @section augmented interval
894 ES: intervalo aumentado,
895 I: intervallo aumentato,
896 F: intervalle augmenté,
897 D: übermäßiges Intervall,
898 NL: overmatig interval,
899 DK: forstørret interval,
900 S: överstigande intervall,
901 FI: ylinouseva intervalli.
909 @section augmentation
920 @c TODO: add definition.
922 This is a placeholder for augmentation (wrt mensural notation).
926 @ref{diminution}, @ref{mensural notation}.
934 F: manuscrit, autographe
935 D: Autograph, Handschrift,
937 DK: håndskrift, autograf,
939 FI: käsinkirjoitettu nuotti.
943 @item A manuscript in the composer's own hand.
945 @item Music prepared for photoreproduction by freehand drawing, with
946 the aid of a straightedge ruler and T-square only, which attempts to
947 emulate engraving. This required more skill than did engraving.
990 ES: barra, línea divisoria,
991 I: stanghetta, barra (di divisione),
992 F: barre (de mesure),
1010 FI: baritoni, keskikorkuinen miesääni.
1012 The male voice intermediate between the @ref{bass} and the
1015 @c F: clef de troisième ligne dropped
1019 @section baritone clef
1021 ES: clave de fa en tercera,
1022 I: chiave di baritono,
1023 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1024 D: Baritonschlüssel,
1030 C or F clef setting middle C on the upper staff line.
1034 @ref{C clef}, @ref{F clef}.
1040 ES: clave de fa en cuarta,
1042 F: clef de fa quatrième ligne,
1049 A clef setting with middle C on the first top ledger line.
1066 FI: basso, matala miesääni.
1070 @item The lowest male voice.
1072 @item Sometimes, especially in jazz music, used as an abbreviation for
1094 Line connecting a series of notes (shorter than a quarter note). The
1095 number of beams determines the note value of the connected notes.
1097 @lilypond[fragment,notime,line-width=13.0\cm]
1098 \set Score.automaticBars = ##f
1099 %\override TextScript #'font-style = #'large
1101 g8_"1/8"[ g g g] s16
1102 g16_"1/16"[ g g g] s16
1103 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1104 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1109 @ref{feathered beam}.
1115 ES: tiempo, parte (de compás)
1118 D: Takt, Taktschlag, Zeit (im Takt),
1124 Note value used for counting, most often half-, fourth-, and eighth
1125 notes. The base counting value and the number of them per measure is
1126 indicated at the start of the music.
1128 @lilypond[fragment,line-width=13.0\cm]
1131 \relative c'' { g4 c b a | g1 \bar "||"}
1133 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1148 ES: llave, corchete,
1151 D: Klammer, Akkolade,
1152 NL: accolade, teksthaak,
1155 FI: yhdistävä sulkumerkki.
1157 Symbol at the start of a system connecting staves.
1159 Curly braces are used for connecting piano staves, and sometimes for connecting
1160 the staves of like instruments in an orchestral score when written on different
1161 staves (e.g. first and second flutes):
1163 @lilypond[fragment,ragged-right]
1164 \context GrandStaff <<
1165 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1166 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1169 Angular brackets for connecting parts in an orchestral or choral score:
1171 @lilypond[fragment,ragged-right]
1172 \context StaffGroup <<
1173 % \set StaffGroup.minVerticalAlign = #12
1174 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1175 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1202 NL: koper (blazers),
1205 S: brassinstrument, mässingsinstrument,
1208 A family of blown musical instruments made of brass, all using a cup
1209 formed mouth piece. The brass instruments commonly used in a symphony
1210 orchestra are trumpet, trombone, french horn, and tube.
1214 @section breath mark
1219 D: Atemzeichen, Trennungszeichen,
1220 NL: repercussieteken,
1221 DK: vejrtrækningstegn,
1225 Indication of where to breathe in vocal and wind instrument parts.
1231 ES: cuadrada, breve,
1240 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1241 The shortest note value generally used in white mensural notation, hence the
1242 name, which originally meant @q{of short duration}.
1244 @lilypond[fragment,notime,ragged-right]
1245 \set Score.automaticBars = ##f
1246 \relative c'' { g\breve }
1251 @ref{mensural notation}, @ref{note value}.
1285 Clef symbol indicating the position of the middle C. Used on all note
1288 @lilypond[fragment,notime,line-width=13.0\cm]
1289 \set Score.automaticBars = ##f
1290 \override Score.Clef #'full-size-change = ##t
1292 \context Staff \relative c' {
1294 \clef mezzosoprano c
1299 \context Lyrics \lyrics {
1300 \override Lyrics .LyricText #'self-alignment-X = #-1
1301 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1317 FI: kadenssi, lopuke.
1321 @ref{harmonic cadence}, @ref{functional harmony}.
1334 FI: kadenssi, lopuke.
1336 An extended, improvisatory style section inserted near the end of
1337 movement. The purpose of a cadenza is to give singers or players a
1338 chance to exhibit their technical skill and -- not last -- their
1339 ability to improvise. Since the middle of the 19th century, however,
1340 most cadenzas have been written down by the composer.
1353 FI: kaanon, tarkka jäljittely.
1370 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1371 viritysjärjestelmässä.
1373 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1374 (1/100 of an equally tempered @ref{semitone}).
1378 @ref{equal temperament}.
1401 Three or more tones sounding simultaneously. In traditional European
1402 music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
1403 @emph{Major} (major + minor @ref{third}) as well as @emph{minor}
1404 (minor + major third) chords may be extended with more thirds.
1405 Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
1406 chords are most often used as dominants (@ref{functional harmony}). A
1407 special case is chords having no third above the lower notes to define
1408 their quality as major or minor. Such chords are denoted open chords
1410 @lilypond[fragment,notime,line-width=13.0\cm]
1411 \set Score.automaticBars = ##f
1412 %\override TextScript #'font-style = #'large
1414 \context Staff \relative c'' {
1415 \set Staff.extraNatural = ##f
1435 @node chromatic scale
1436 @section chromatic scale
1438 ES: escala cromática,
1440 F: gamme chromatique,
1441 D: chro@-ma@-ti@-sche Tonleiter,
1442 NL: chromatische toonladder,
1443 DK: kromatisk skala,
1445 FI: kromaattinen asteikko.
1447 A scale consisting of all 12 @ref{semitone}s.
1449 @lilypond[fragment,notime,line-width=13.0\cm]
1450 \set Score.automaticBars = ##f
1451 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1456 @section chromaticism
1467 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1471 @section church mode
1473 ES: modo eclesiástico,
1474 I: modo ecclesiastico,
1475 F: mode ecclésiastique,
1480 FI: moodi, kirkkosävellaji.
1484 @ref{diatonic scale}.
1493 D: Schlüssel, Notenschlüssel,
1497 FI: avain, nuottiavain.
1501 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1503 The clef indicates which lines of the staff correspond to which
1504 pitches. The three clef symbols in common use are:
1506 @lilypond[ragged-right,quote]
1509 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1510 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1511 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1516 Imagine a large staff of 11 lines centered on middle C, sometimes
1517 called a @q{grand staff}, with the bottom line representing low G and
1518 the top line high F:
1520 @lilypond[ragged-right,quote]
1523 %-- Treble Staff --%
1525 % Allow this staff to be placed close to the others
1526 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1527 % Allow the treble clef to overlap the lower staves:
1528 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1529 \override Staff.Clef #'stencil = ##f % No clef required
1531 s1^\markup { "g," \transparent "g" }
1532 s^ \markup { "b," \transparent "g" }
1533 s^ \markup { "d" \transparent "g" }
1534 s^ \markup { "f" \transparent "g" }
1535 s^ \markup { "a" \transparent "g" }
1536 s^ \markup { \with-color #red c' \transparent "g"}
1537 e'^\markup { "e'" \transparent "g" }
1538 g'^\markup { "g'" \transparent "g" }
1539 b'^\markup { "b'" \transparent "g" }
1540 d''^\markup { "d''" \transparent "g" }
1541 f''^\markup { "f ''" \transparent "g" }
1544 %-- Alto Staff reduced to a single line on middle C --%
1546 \override Staff.StaffSymbol #'line-count = 1 % One line only
1547 \override Staff.StaffSymbol #'color = #red % Coloured red
1548 \override Staff.Clef #'stencil = ##f % No clef required
1551 % Allow this staff to be placed close to the others
1552 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1553 % Specify height to give correct spacing between treble and bass staves
1554 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1556 s1 s s s s % Space along to align horizonatally
1557 \override NoteHead #'color = #red
1559 s1 s s s s s % Keep staff (ie the red line) showing
1563 % Allow this staff to be placed close to the others
1564 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1565 \override Staff.Clef #'stencil = ##f % No clef required
1568 s s s s s s s % Keep staff showing
1572 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1573 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1575 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1576 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1578 % Remove all barlines
1579 \context { \Score \override BarLine #'stencil = ##f
1581 % Remove time signature from all staves
1582 \context { \Staff \remove Time_signature_engraver
1588 Staves of five lines are usually used, and the clef superimposed on
1589 them indicates which five lines have been selected from this
1590 @samp{grand staff}. For example, the treble or G clef indicates that
1591 the top five lines have been selected:
1593 @lilypond[ragged-right,quote]
1596 %-- Treble Staff --%
1598 % Allow this staff to be placed close to the others
1599 \override Staff.VerticalAxisGroup
1600 #'minimum-Y-extent = #'(0 . 0)
1601 % Allow the treble clef to overlap the lower staves:
1602 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1603 \override Staff.Clef #'stencil = ##f % No clef required here
1605 s1^\markup { "g," \transparent "g" }
1606 s^ \markup { "b," \transparent "g" }
1607 s^ \markup { "d" \transparent "g" }
1608 s^ \markup { "f" \transparent "g" }
1609 s^ \markup { "a" \transparent "g" }
1610 s^ \markup { \with-color #red c' \transparent "g"}
1611 \stopStaff \startStaff
1612 \clef "C" % Dummy to force next clef to be printed
1613 s % Need at least one note for \clef to take effect
1614 \override Staff.Clef #'stencil = ##t % Clef now required
1615 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1617 e'^\markup { "e'" \transparent "g" }
1618 g'^\markup { "g'" \transparent "g" }
1619 b'^\markup { "b'" \transparent "g" }
1620 d''^\markup { "d''" \transparent "g" }
1621 f''^\markup { "f ''" \transparent "g" }
1623 %-- Alto Staff reduced to a single line on middle C --%
1625 \override Staff.StaffSymbol #'line-count = 1 % One line only
1626 \override Staff.StaffSymbol #'color = #red % Coloured red
1627 \override Staff.Clef #'stencil = ##f % No clef required
1630 % Allow this staff to be placed close to the others
1631 \override Staff.VerticalAxisGroup
1632 #'minimum-Y-extent = #'(0 . 0)
1633 % Specify height to give correct spacing between the staves
1634 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1636 s1 s s s s % Space along to align horizonatally
1637 \override NoteHead #'color = #red
1639 % s1 s s s s % Keep staff (ie the red line) showing
1643 % Allow this staff to be placed close to the others
1644 \override Staff.VerticalAxisGroup
1645 #'minimum-Y-extent = #'(0 . 0)
1646 \override Staff.Clef #'stencil = ##f % No clef required
1649 % s s s s s s % Keep staff showing
1653 % Reduce horizontal spacing so semibreves can be used
1654 % without exceeding 1 line
1655 \context { \Score \override SpacingSpanner
1656 #'base-shortest-duration = #(ly:make-moment 1 1)
1658 % Reduce apparent vertical size of note heads to
1659 % permit them to overlap other grobs vertically
1660 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1662 % Remove all barlines
1663 \context { \Score \override BarLine #'stencil = ##f
1665 % Remove time signature from all staves
1666 \context { \Staff \remove Time_signature_engraver
1672 The @q{curl} of the G clef is centered on the line that represents the
1675 In the same way, the bass or F clef indicates that the bottom five
1676 lines have been selected from the @samp{grand staff}, and the alto or
1677 C clef indicates the middle five lines have been selected. This
1678 relationship is shown below, where the notes show an arpeggio on a C
1681 @lilypond[ragged-right,quote]
1684 %-- Treble Staff --%
1685 \new Staff = "G" \with {
1686 \remove Time_signature_engraver
1689 % The following two overrides are required to make the two middle C's overlap
1690 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1691 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1693 \override Staff.Clef #'Y-extent = #'(0 . 0)
1695 s1 s s s s e' g' c''
1698 \new Staff = "C" \with {
1699 \remove Time_signature_engraver
1702 \override Staff.StaffSymbol #'line-count = 1
1703 \override Staff.StaffSymbol #'stencil = ##f
1704 \once \override Staff.Clef #'stencil = ##f
1705 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1706 \override Score.BarLine #'stencil = ##f
1708 % The following two overrides are required to align the C staff to the G and F staves
1709 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1710 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1713 \stopStaff \startStaff
1714 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1715 \revert Staff.StaffSymbol #'stencil
1716 \override Staff.StaffSymbol #'color = #red
1717 b'1 % A frig. This really shows as a middle C in the score
1719 \stopStaff \startStaff
1720 \override Staff.StaffSymbol #'line-count = 5
1721 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1722 \override Staff.Clef #'Y-extent = #'(0 . 0)
1723 \revert Staff.StaffSymbol #'color
1724 \stopStaff \startStaff
1726 s1 s s c e g c' e' g' c''
1729 \new Staff = "F" \with {
1730 \remove Time_signature_engraver
1733 \override Staff.Clef #'Y-extent = #'(0 . 0)
1734 % The following two overrides are required to make the two middle C's overlap
1735 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1736 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1744 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1747 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1750 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1767 FI: klusteri, cluster.
1769 A @emph{cluster} is a range of simultaneously sounding pitches that
1770 may change over time. The set of available pitches to apply usually
1771 depends on the acoustic source. Thus, in piano music, a cluster
1772 typically consists of a continuous range of the semitones as provided
1773 by the piano's fixed set of a chromatic scale. In choral music, each
1774 singer of the choir typically may sing an arbitrary pitch within the
1775 cluster's range that is not bound to any diatonic, chromatic or other
1776 scale. In electronic music, a cluster (theoretically) may even cover
1777 a continuous range of pitches, thus resulting in colored noise, such
1780 Clusters can be denoted in the context of ordinary staff notation by
1781 engraving simple geometrical shapes that replace ordinary notation of
1782 notes. Ordinary notes as musical events specify starting time and
1783 duration of pitches; however, the duration of a note is expressed by
1784 the shape of the note head rather than by the horizontal graphical
1785 extent of the note symbol. In contrast, the shape of a cluster
1786 geometrically describes the development of a range of pitches
1787 (vertical extent) over time (horizontal extent). Still, the
1788 geometrical shape of a cluster covers the area in which any single
1789 pitch contained in the cluster would be notated as an ordinary note.
1791 @lilypond[fragment,relative=2,ragged-right]
1792 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1806 FI: komma, korvinkuultava ero äänenkorkeudessa.
1808 Difference in pitch between a note derived from pure tuning and the
1809 same note derived from some other tuning method.
1813 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1818 @section common meter
1828 @section common time
1839 4/4 time. The symbol, which resembles a capital letter C, derives from
1844 @ref{mensural notation}, @ref{meter}.
1850 ES: intervalo invertido,
1852 F: intervalle complémentaire,
1853 D: Komplementärintervall,
1854 NL: complementair interval,
1855 DK: komplementærinterval,
1856 S: komplementärintervall (?),
1857 FI: täydentävä intervalli.
1861 @ref{inverted interval}.
1864 @node compound interval
1865 @section compound interval
1867 ES: intervalo compuesto,
1868 I: intervallo composto,
1869 F: intervalle composé,
1870 D: weites Intervall,
1871 NL: samengesteld interval,
1872 DK: sammensat interval,
1873 S: sammansatt intervall,
1874 FI: oktaavia laajempi intervalli.
1876 Intervals larger than an octave.
1883 @node compound meter
1884 @section compound meter
1895 A meter that includes a triplet subdivision within the beat, such as
1900 @ref{meter}, @ref{simple meter}.
1904 @section compound time
1915 @ref{compound meter}
1923 @section concert pitch
1934 The pitch at which the piano and other nontransposing instruments play: such
1935 instruments are said to be @q{in C}. The following list includes some (but not
1936 all) instruments that play in concert pitch:
1950 @item tenor trombone
1965 The trombones are a special case: although they are said to be @q{in F} (alto or
1966 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
1967 their parts' transposition. (In fact, the trombones' parts are written at
1968 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
1969 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
1972 Instruments that play @q{in C} but in a different octave than what is written
1973 are, technically speaking, @emph{transposing instruments}:
1977 @item piccolo (plays an octave higher)
1978 @item celesta (plays an octave higher)
1979 @item double-bass (plays an octave lower)
1985 @ref{transposing instrument}.
1988 @node conjunct movement
1989 @section conjunct movement
1991 ES: movimiento conjunto,
1993 F: mouvement conjoint,
1994 D: schritt@-weise, stufenweise Bewegung,
1995 NL: stapsgewijze, trapsgewijze beweging,
1996 DK: trinvis bevægelse,
1998 FI: asteittainen liike.
2000 Progressing melodically by intervals of a second. The opposite of a
2001 @ref{disjunct movement}.
2003 @lilypond[fragment,line-width=13.0\cm]
2004 \key g \major \time 4/4
2005 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2019 FI: konsonanssi, sopusointi.
2044 @section counterpoint
2053 FI: kontrapunkti, ääni ääntä vastaan.
2055 From Latin @emph{punctus contra punctum}, note against note. The
2056 combination into a single musical fabric of lines or parts which have
2057 distinct melodic significance. A frequently used polyphonic technique
2058 is imitation, in its strictest form found in the canon needing only
2059 one part to be written down while the other parts are performed with a
2060 given displacement. Imitation is also the contrapunctal technique
2061 used in the @emph{fugue} which, since the music of the baroque era,
2062 has been one of the most popular polyphonic composition methods.
2064 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2065 \set Score.implicitTimeSignatureVisibility = #all-invisible
2066 \override Score.TimeSignature #'break-visibility = #all-invisible
2067 \context PianoStaff <<
2068 \context Staff = SA \relative c' {
2072 << \context Voice = rha {
2074 r1 | r2 r8 g'8 bes d, |
2075 cis4 d r8 e!16 f g8 f16 e |
2076 f8 g16 a bes8 a16 g a8
2078 \context Voice = rhb {
2084 \context Staff = SB \relative c' {
2087 << \context Voice = lha {
2089 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2090 r8 a16 g f8 g16 a bes8 g e! cis' |
2093 \context Voice = lhb {
2103 @section counter tenor
2108 D: Countertenor, Kontratenor,
2111 S: kontratenor, counter tenor,
2120 @section copying music
2122 A music copyist did fast freehand scores and parts on preprinted staff
2123 lines for performance. Some of their conventions (e.g., the placement
2124 of note heads on stems) varied slightly from those of engravers. Some
2125 of their working methods were superior and could well be adopted by
2128 @c Copying music required more skill than engraving. Flagged for NPOV
2137 D: Crescendo, lauter werden,
2141 FI: cresendo, voimistuen.
2143 Increasing volume. Indicated by a rightwards opening horizontal wedge
2144 or the abbreviation @samp{cresc.}.
2146 @lilypond[fragment,ragged-right]
2147 \key g \major \time 4/4
2148 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2157 F: petites notes précédent l'entrée d'un instrument, réplique,
2164 In a separate part notes belonging to another part with the purpose of
2165 hinting when to start playing. Usually printed in a smaller type.
2174 D: Notenzeiger, Custos,
2180 A custos (plural: custodes) is a staff symbol that appears at the end
2181 of a staff line with monophonic musical contents (i.e., with a single
2182 voice). It anticipates the pitch of the first note of the following
2183 line and thus helps the player or singer to manage line breaks during
2184 performance, thus enhancing readability of a score.
2186 Custodes were frequently used in music notation until the 16th
2187 century. There were different appearences for different notation
2188 styles. Nowadays, they have survived only in special forms of musical
2189 notation such as via the Editio Vaticana dating back to the beginning
2195 % \override Staff.Custos #'neutral-position = #4
2196 \override Staff.Custos #'neutral-direction = #down
2197 \override Staff.Custos #'style = #'hufnagel
2205 \consists Custos_engraver
2237 F: da capo, depuis le commencement,
2238 D: da capo, von Anfang,
2242 FI: da capo, alusta.
2244 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2245 the beginning to the end or to a certain place marked @emph{fine}.
2253 F: dal segno, depuis le signe,
2254 D: dal segno, ab dem Zeichen,
2258 FI: dal segno, lähtien merkistä.
2260 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2261 another place frequently near the beginning marked by a sign:
2263 @lilypond[fragment,ragged-right]
2264 %\override TextScript #'font-style = #'large
2265 \override TextScript #'font-shape = #'italic
2266 \key g \major \time 4/4
2271 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2278 @section decrescendo
2282 D: Decrescendo, leiser werden,
2286 FI: decresendo, hiljentyen.
2288 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2289 or the abbreviation @samp{decresc.}.
2291 @lilypond[fragment,ragged-right]
2293 \key g \major \time 4/4
2294 d4 \> c b a | g1 \! \bar "|."
2299 @node descending interval
2300 @section descending interval
2302 ES: intervalo descendente,
2303 I: intervallo discendente,
2304 F: intervalle descendant,
2305 D: fallendes Intervall, absteigendes Intervall,
2306 NL: dalend interval,
2307 DK: faldende interval,
2308 S: fallande intervall,
2309 FI: laskeva intervalli.
2311 A distance between a starting higher note and a lower ending note.
2314 @node diatonic scale
2315 @section diatonic scale
2317 ES: escala diatónica,
2319 F: gamme diatonique,
2320 D: diatonische Tonleiter,
2321 NL: diatonische toonladder,
2322 DK: diatonisk skala,
2324 FI: diatoninen asteikko.
2326 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2327 Scales played on the white keys of a piano keybord are diatonic; and these
2328 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2330 These @q{modes} are used in gregorian chant and in pre-baroque early music
2331 but also to some extent in newer jazz music.
2333 @lilypond[fragment,notime,ragged-right]
2334 \set Score.automaticBars = ##f
2335 %\override Score.LyricText #'font-style = #'large
2336 %\override Score.TextScript #'font-style = #'large
2338 \context Staff \relative c' {
2340 \override TextScript #'padding = #-4
2341 e^"~~ S" f g a b^"~~ S" c
2343 \context Lyrics \lyrics {
2349 @lilypond[fragment,notime,ragged-right]
2350 \set Score.automaticBars = ##f
2352 \context Staff \relative c' {
2354 \override TextScript #'padding = #-4
2355 e^"~~ S" f g a b^"~~ S" c d
2363 @lilypond[fragment,notime,ragged-right]
2364 \set Score.automaticBars = ##f
2367 \override TextScript #'padding = #-4
2368 e1^"~~ S" f g a b^"~~ S" c d e
2376 @lilypond[fragment,notime,ragged-right]
2377 \set Score.automaticBars = ##f
2381 \override TextScript #'padding = #-4
2382 b^"~~ S" c d e^"~~ S" f
2390 @lilypond[fragment,notime,ragged-right]
2391 \set Score.automaticBars = ##f
2395 \override TextScript #'padding = #-4
2396 b^"~~ S" c d e^"~~ S" f g }
2403 @lilypond[fragment,notime,ragged-right]
2404 \set Score.automaticBars = ##f
2405 %\override Score.LyricText #'font-style = #'large
2406 %\override Score.TextScript #'font-style = #'large
2410 \override TextScript #'padding = #-4
2411 b^"~~ S" c d e^"~~ S" f g a
2419 @lilypond[fragment,notime,ragged-right]
2420 \set Score.automaticBars = ##f
2421 %\override Score.LyricText #'font-style = #'large
2422 %\override Score.TextScript #'font-style = #'large
2425 \override TextScript #'padding = #-4
2426 b^"~~ S" c d e^"~~ S" f g a b
2434 From the beginning of the 17th century the scales used in European
2435 compositional music are primarily the major and the minor scales. In
2436 the harmonic minor scale type an augmented second (A) occurs between
2437 the 6th and 7th tone.
2439 @lilypond[fragment,notime,ragged-right]
2440 \set Score.automaticBars = ##f
2444 \override TextScript #'padding = #-4
2445 e^"~~ S" f g a b^"~~ S" c
2453 @lilypond[fragment,notime,ragged-right]
2454 \set Score.automaticBars = ##f
2458 \override TextScript #'padding = #-4
2459 b^"~~ S" c d e^"~~ S" f g a
2467 @lilypond[fragment,notime,ragged-right]
2468 \set Score.automaticBars = ##f
2472 \override TextScript #'padding = #-4
2473 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2475 \context Lyrics \lyrics {
2481 @lilypond[fragment,notime,line-width=13.0\cm]
2482 \set Score.automaticBars = ##f
2483 %\override Score.LyricText #'font-style = #'large
2484 %\override Score.TextScript #'font-style = #'large
2488 \override TextScript #'padding = #-4
2489 b^"~~ S" c d e fis gis^"~~ S"
2490 a g! f!^"~~ S" e d c^"~~ S" b a
2499 @node diminished interval
2500 @section diminished interval
2502 ES: intervalo disminuido,
2503 I: intervallo diminuito,
2504 F: intervalle diminué,
2505 D: vermindertes Intervall,
2506 NL: verminderd interval,
2507 DK: formindsket interval,
2508 S: förminskat intervall,
2509 FI: vähennetty intervalli.
2526 FI: diminuendo, hiljentyen.
2545 @c TODO: add definition
2547 This is a placeholder for diminution (wrt mensural notation).
2551 @ref{augmentation}, @ref{mensural notation}.
2571 @node disjunct movement
2572 @section disjunct movement
2574 ES: movimiento disjunto,
2576 F: mouvement disjoint,
2577 D: sprunghafte Bewegung,
2578 NL: sprongsgewijze beweging,
2579 DK: springende bevægelse,
2580 S: hoppande rörelse,
2581 FI: melodian hyppivä liike.
2583 Progressing melodically by intervals larger than a major second, as
2584 opposed to @ref{conjunct movement}.
2586 @lilypond[fragment,ragged-right]
2591 a4. gis8 b a e cis |
2592 fis2 d4. \bar "||" }
2599 @ref{dissonant interval}.
2602 @node dissonant interval
2603 @section dissonant interval
2605 ES: intervalo disonante, disonancia,
2606 I: intervallo dissonante, dissonanza,
2609 NL: dissonant interval, dissonant,
2610 DK: dissonerende interval, dissonans,
2612 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2619 @node dominant ninth chord
2620 @section dominant ninth chord
2622 ES: acorde de novena de dominante,
2623 I: accordo di nona di dominante,
2624 F: accord de neuvième dominante,
2625 D: Domi@-nant@-nonen@-akkord,
2626 NL: dominant noon akkoord,
2627 DK: dominantnoneakkord,
2628 S: dominantnonackord,
2629 FI: dominanttinoonisointu.
2633 @ref{chord}, @ref{functional harmony}.
2636 @node dominant seventh chord
2637 @section dominant seventh chord
2639 ES: acorde de séptima de dominante,
2640 I: accordo di settima di dominante,
2641 F: accord de septième dominante,
2642 D: Dominantseptakkord,
2643 NL: dominant septiem akkoord,
2644 DK: dominantseptimakkord,
2645 S: dominantseptimackord,
2646 FI: dominanttiseptimisointu.
2650 @ref{chord}, @ref{functional harmony}.
2663 FI: dominantti, huippusointu.
2665 The fifth @ref{scale degree} in @ref{functional harmony}.
2669 @section dorian mode
2674 D: dorisch, dorischer Kirchenton,
2675 NL: dorische toonladder,
2682 @ref{diatonic scale}.
2685 @node dot (augmentation dot)
2686 @section dot (augmentation dot)
2689 I: punto (di valore),
2691 D: Punkt (Verlängerungspunkt),
2699 @ref{dotted note}, @ref{note value}.
2703 @section dotted note
2705 ES: nota con puntillo,
2709 NL: gepuncteerde noot,
2712 FI: pisteellinen nuotti.
2719 @node double appoggiatura
2720 @section double appoggiatura
2722 ES: apoyatura doble,
2723 I: appoggiatura doppia,
2724 F: appoggiature double,
2725 D: doppelter Vorschlag,
2726 NL: dubbele voorslag,
2727 DK: dobbelt forslag,
2729 FI: kaksoisappogiatura, kaksoisetuhele.
2736 @node double bar line
2737 @section double bar line
2743 NL: dubbele maatstreep,
2746 FI: kaksoistahtiviiva.
2748 Indicates the end of a section within a movement.
2751 @node double dotted note
2752 @section double dotted note
2754 ES: nota con doble puntillo,
2755 I: nota doppiamente puntata,
2756 F: note doublement pointée,
2757 D: doppelt punktierte Note,
2758 NL: dubbelgepuncteerde noot,
2759 DK: dob@-belt@-punk@-te@-ret node,
2760 S: dub@-bel@-punk@-te@-rad not,
2761 FI: kaksoispisteellinen nuotti.
2769 @section double flat
2778 FI: kaksoisalennusmerkki.
2786 @section double sharp
2788 ES: doble sostenido,
2793 DK: dob@-belt@-kryds,
2795 FI: kaksoisylennysmerkki.
2802 @node double time signature
2803 @section double time signature
2816 @ref{polymetric time signature}.
2820 @section double trill
2826 NL: dubbele triller,
2831 A simultaneous trill on two notes, usually in the distance of a third.
2835 @section duple meter
2840 D: in zwei, grader Takt,
2841 NL: tweedelige maatsoort,
2878 FI: kesto, aika-arvo.
2886 @section didymic comma
2890 @ref{syntonic comma}.
2899 D: Dynamik, Lautstärke,
2905 The aspect of music relating to degrees of loudness, or changes from
2906 one degree to another. The terms, abbreviations, and symbols used to
2907 indicate this information are called dynamic marks.
2911 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2934 @node ecclesiastical mode
2935 @section ecclesiastical mode
2943 @section eighth note
2950 @item D: Achtel, Achtelnote
2951 @item NL: achtste noot
2952 @item DK: ottendedelsnode
2953 @item S: åttondelsnot
2954 @item FI: kahdeksasosanuotti
2963 @section eighth rest
2966 @item UK: quaver rest
2967 @item ES: silencio de corchea
2968 @item I: pausa di croma
2969 @item F: demi-soupir
2970 @item D: Achtelpause
2971 @item NL: achtste rust
2972 @item DK: ottendedelspause
2973 @item S: åttonddelspaus
2974 @item FI: kahdeksasosatauko
2985 @c TODO: add languages
2996 The singing of several syllables on a single note. Elision may be indicated
2997 by a lyric tie, which is looks like (and serves the same function) as a
3006 @section embellishment
3019 D: Notenstich, Notendruck
3025 Engraving means incising or etching a metal plate for printing.
3026 Photoengraving means drawing music with ink in a manner similar to
3027 drafting or engineering drawing, using similar tools.
3029 The traditional process of music printing is done through cutting in a
3030 plate of metal. Now also the term for the art of music typesetting.
3045 Two notes, intervals, or scales are enharmonic if they have different
3046 names but equal pitch.
3048 @lilypond[fragment,notime,line-width=13.0\cm]
3049 \set Score.automaticBars = ##f
3051 \context Staff \relative c'' {
3052 gis1 as <des g,!> <cis g!>
3054 \context Lyrics \lyrics {
3055 \override Lyrics .LyricText #'self-alignment-X = #-1
3056 "g sharp " "a flat " "dim fifth " "augm fourth"
3062 @node equal temperament
3063 @section equal temperament
3065 ES: temperamento igual,
3066 I: temperamento equabile,
3067 F: tempérament égal,
3068 D: gleichschwebende Stimmung,
3069 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3070 DK: ligesvævende temperatur,
3071 S: liksvävande temperatur,
3074 Tuning system dividing the octave into 12 equal @ref{semitone}s
3075 (precisely 100 @ref{cent}s).
3082 @node expression mark
3083 @section expression mark
3086 I: segno d'espressione,
3087 F: signe d'expression, indication de nuance,
3089 NL: voordrachtsteken,
3090 DK: foredragsbetegnelse,
3091 S: föredragsbeteckning,
3092 FI: nyanssiosoitus, esitysmerkki.
3094 Performance indications concerning:
3098 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3100 @item tempo (for example @ref{andante}, @ref{allegro}).
3106 @section extender line
3108 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3110 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3117 The generic term for a line (or dash) of arbitrary length that extends
3118 text (without indicating the musical @emph{function} of that text).
3120 Used in many contexts, for example:
3124 @item In vocal music to indicate the syllable for a melisma. Called
3125 @q{extension} in the
3126 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3130 In figured (or thorough) bass to indicate that:
3134 @item The extended note should be held through a change in
3135 harmony, when applied to one figure --OR--
3137 @item The chord thus represented should be held above a moving
3138 bass line, when applied to more than one figure.
3140 @item These uses were not completely standardized, and some
3141 composers used a single extender line to indicate the
3147 In string music to indicate that all notes in the passage thus
3148 indicated should be played on the same string. On the violin, for
3149 example, a series of notes to be played on the G string would be
3150 indicated @samp{sul G}, another series to be played on the D string
3151 would be indicated @samp{sul D}, and so on.
3154 With an octave indication (also called @emph{octavation}, q.v.) to indicate that
3155 a passage is to be played higher or lower by the given number of octaves.
3161 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
3195 The position between the dots of the key symbol is the line of the F
3196 below central@w{ }C. Used on the third, fourth and fifth note line.
3197 A digit@w{ }8 above the clef symbol indicates that the notes must be
3198 played an octave higher (for example, bass recorder) while 8@w{ }below
3199 the clef symbol indicates playing an octave lower (for example, on
3200 double bass @ref{strings}).
3202 @lilypond[fragment,notime,line-width=13.0\cm]
3203 \set Score.automaticBars = ##f
3204 \override Staff.Clef #'full-size-change = ##t
3232 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3235 @node feathered beam
3236 @section feathered beam
3240 F: liens de croches en soufflet,
3241 D: gespreizter Balken,
3247 A type of beam used to indicate that a small group of notes should be
3248 played at an increasing or decreasing tempo -- depending on the
3249 direction of @q{feathering} -- but without changing the overall tempo
3254 Internals Reference: @ruser{Manual beams}
3262 F: point d'orgue, point d'arrêt,
3267 FI: fermaatti, pidäke.
3269 Prolonged note or rest of indefinite duration.
3271 @lilypond[fragment,ragged-right]
3274 a4 b c2^\fermata \bar "|."
3297 @section figured bass
3301 @ref{thorough bass}.
3316 The methodical use of fingers in the playing of instruments.
3323 I: coda (uncinata), bandiera,
3331 Ornament at the end of the stem of a note used for notes with values
3332 less than a quarter note. The number of flags determines the
3335 @lilypond[fragment,notime,ragged-right]
3336 \set Score.automaticBars = ##f
3337 %\override Score.TextScript #'font-style = #'large
3382 FI: forte, voimakkaasti.
3384 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3385 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3405 @node Frenched score
3406 @section Frenched score
3417 A @q{condensed} score, produced by omitting staves for instruments that are not
3418 playing at the moment, and by moving up additional systems from following pages
3419 to take up the space thus liberated, which reduces the total number of pages
3420 used to print the work.
3422 The specific rules for @q{frenching} a score differ from publisher to publisher.
3423 If you are producing scores for eventual publication by a commercial publisher,
3424 you may wish to procure a copy of their style manual.
3428 @ref{Frenched staff}.
3431 @node Frenched staff
3432 @section Frenched staff
3443 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3444 measures or sections removed. This would be useful for producing, for example,
3445 an @emph{ossia} staff.
3452 @node Frenched staves
3453 @section Frenched staves
3464 The plural of @ref{Frenched staff}, @emph{q.v.}.
3484 @node functional harmony
3485 @section functional harmony
3487 ES: armonía funcional,
3488 I: armonia funzionale,
3489 F: étude des functions,
3491 NL: functionele harmonie,
3492 DK: funktionsanalyse, funktionsharmonik,
3494 FI: harmoniajärjestelmä.
3496 A system of harmonic analysis. It is based on the idea that, in a
3497 given key, there are only three functionally different chords: tonic
3498 (T, the chord on the first note of the scale), subdominant (S, the
3499 chord on the fourth note), and dominant (D, the chord on the fifth
3500 note). Others are considered to be variants of the base chords.
3502 @lilypond[fragment,notime,line-width=13.0\cm]
3503 \set Score.automaticBars = ##f
3505 \context Voice \relative c'' {
3506 <g e c >1 < a f d > < b g e >
3507 <c a f > < d b g > < e c a > < f d b > }
3508 \context Lyrics \lyrics {
3509 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3539 D: G-Schlüssel, Violinschlüssel,
3545 A clef symbol indicating the G above middle@w{ }C. Used on the first
3546 and second note lines. A digit 8 above the clef symbol indicates that
3547 the notes must be played an octave higher while 8 below the clef
3548 symbol indicates playing or singing an octave lower (most tenor parts
3549 in choral scores are notated like that).
3551 @lilypond[fragment,notime,ragged-right]
3553 \set Score.automaticBars = ##f
3554 \override Staff.Clef #'full-size-change = ##t
3557 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3567 \context Lyrics \lyrics {
3568 \override Lyrics . LyricText #'X-offset = #-5
3569 "french violin clef"
3588 FI: glissando, liukuen.
3590 Letting the pitch slide fluently from one note to the other.
3594 @section grace notes
3596 ES: notas de adorno,
3599 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3605 Notes printed in small types to indicate that their time values are not
3606 counted in the rhythm of the bar.
3610 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3615 @section grand staff
3617 ES: sistema de piano,
3620 D: Akkolade, Klaviersystem,
3623 S: ackolad, böjd klammer,
3624 FI: kaksoisnuottiviivasto.
3626 A combination of two staves with a brace. Usually used for piano music.
3643 FI: grave, raskaasti.
3670 Letter name used for @samp{B natural} in German and Scandinavian
3671 usage. In the standard usage of these countries, @samp{B} means
3676 @ref{Pitch names}, @ref{B}
3686 D: Halbe, halbe Note,
3701 ES: silencio de blanca,
3715 @node harmonic cadence
3716 @section harmonic cadence
3718 ES: cadencia (armónica),
3719 I: cadenza (armonica),
3720 F: cadence harmonique,
3722 NL: harmonische cadens,
3723 DK: harmonisk kadence,
3724 S: (harmonisk) kadens,
3725 FI: harmoninen kadenssi.
3727 A sequence of chords that terminates a musical phrase or section.
3729 @ref{functional harmony}.
3731 @lilypond[fragment,ragged-right]
3732 \context PianoStaff <<
3733 \context Staff = SA \relative c'' {
3737 \partial 4 < c g e >4 |
3738 < c a f > < b g d > < c g e >2
3741 \context Staff = SB \relative c {
3743 \partial 4 c4 | f, g c2
3761 D: Harmonie, Zusammenklang,
3765 FI: harmonia, yhteissointi.
3767 Tones sounding simultaneously. Two note harmonies fall into the
3768 categories @emph{consonances} and @emph{dissonances}.
3772 @lilypond[fragment,notime,line-width=13.0\cm]
3773 \set Score.automaticBars = ##f
3774 %\override Score.TextScript #'font-style = #'large
3775 \context Voice \relative c'' {
3788 @lilypond[fragment,notime,line-width=13.0\cm]
3789 \set Score.automaticBars = ##f
3790 %\override Score.TextScript #'font-style = #'large
3791 \context Voice \relative c'' {
3792 <g a>1_"second " s s
3793 <g f'>_"seventh " s s
3798 Three note harmony @ref{chord}.
3813 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3814 the use of three notes of equal value in the time normally occupied by
3815 of two notes of equal value. The resulting rhythm can be expressed in
3816 modern terms as a substitution (for example) of a bar in 3/2 for one
3817 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3818 hemiola is most frequently as a special effect (or @emph{affect}) at
3821 For example, this phrase in 6/4 time
3823 @lilypond[fragment,line-width=13.0\cm]
3827 c2. e | d2 c d | c1. \bar "||" }
3830 may be thought of having alternating time signatures
3832 @lilypond[fragment,line-width=13.0\cm]
3836 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3839 and is therefore a polymeter (second definition) of considerable antiquity.
3843 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3856 FI: homofonia, yksiäänisyys.
3858 Music in which one voice leads melodically followed by the other
3859 voices more or less in the same rhythm. In contrast to
3873 FI: intervalli, kahden sävelen korkeusero.
3875 Difference in pitch between two notes. Intervals may be perfect,
3876 minor, major, diminished, or augmented. The augmented fourth and the
3877 diminished fifth are identical (@ref{enharmonic}) and are called
3878 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3879 addition of such two intervals forms an octave.
3881 @lilypond[fragment,notime,line-width=13.0\cm]
3882 \set Score.automaticBars = ##f
3884 \context Voice \relative c'' {
3894 \context Lyrics \lyrics {
3895 "unison " "second " "second " "second "
3896 "third " "third " "third " "third"
3901 @lilypond[fragment,notime,line-width=13.0\cm]
3902 \set Score.automaticBars = ##f
3904 \context Staff \relative c'' {
3915 "fourth " "fourth " "fifth " "fifth "
3916 "sixth " "sixth " "sixth " "sixth"
3921 @lilypond[fragment,notime,line-width=13.0\cm]
3922 \set Score.automaticBars = ##f
3924 \context Staff \relative c'' {
3925 < gis f'! >1^"dimin"
3934 \context Lyrics \lyrics {
3935 "seventh " "seventh " "seventh " "octave "
3936 "ninth " "ninth " "tenth " "tenth"
3942 @node inverted interval
3943 @section inverted interval
3945 ES: intervalo invertido,
3946 I: intervallo rivolto,
3947 F: intervalle reversé,
3948 D: umgekehrtes Intervall,
3949 NL: interval inversie,
3950 DK: omvendingsinterval,
3951 S: intervallets omvändning,
3952 FI: käänteisintervalli.
3954 The difference between an interval and an octave.
3956 @lilypond[fragment,notime,line-width=13.0\cm]
3957 \set Score.automaticBars = ##f
3958 %\override Score.TextScript #'font-style = #'large
3959 \context Staff \relative c'' {
3960 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3961 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3962 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3967 @node just intonation
3968 @section just intonation
3970 ES: entonación justa,
3971 I: intonazione giusta,
3972 F: intonation juste,
3979 Tuning system in which the notes are obtained by adding and subtracting
3980 natural fifths and thirds.
3997 According to the 12@w{ }tones of the @ref{chromatic scale} there are
3998 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4002 @ref{key signature}.
4006 @section key signature
4008 ES: armadura (de la clave),
4009 I: armatura di chiave,
4010 F: armure, armature [de la clé],
4011 D: Vorzeichen, Tonart,
4012 NL: toon@-soort (voortekens),
4015 FI: sävellajiosoitus.
4017 The sharps or flats appearing at the beginning of each staff indicating the
4023 @node laissez vibrer
4024 @section laissez vibrer
4035 [From French, @q{Let vibrate}]. Most frequently associated with harp
4036 parts. Marked @samp{l.v.} in the score.
4045 D: Largo, Langsam, Breit,
4049 FI: largo, hitaasti, leveästi.
4051 Very slow in tempo, usually combined with great expressiveness.
4052 @emph{Larghetto} is less slow than largo.
4056 @section leading note
4067 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4068 called because of its strong tendency to @q{lead up} (resolve upwards)
4069 to the tonic scale degree.
4073 @section ledger line
4075 ES: línea adicional,
4076 I: tagli addizionali,
4077 F: ligne supplémentaire,
4084 A ledger line is an extension of the staff.
4086 @lilypond[fragment,notime,ragged-right]
4087 \set Score.automaticBars = ##f
4088 \relative c'' { a,1 s c'' }
4098 D: legato, gebunden,
4104 To be performed (a) without any perceptible interruption between the
4105 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4106 @emph{portato}, and (d) @ref{staccato}.
4108 @lilypond[fragment,notime,line-width=13.0\cm]
4109 \set Score.automaticBars = ##f
4111 \context Staff \relative c'' {
4112 c4-( d e-) \bar "||"
4113 c4-- d-- e-- \bar "||"
4114 c4-.-( d-. e-.-) \bar "||"
4115 c4-. d-. e-. \bar "||"
4128 @section legato curve
4132 @ref{slur}, @ref{legato}.
4147 ES: estanque de nenúfares,
4148 I: stagno del giglio,
4149 F: étang de nénuphars, étang de nymphéas,
4151 NL: le@-lie@-vij@-ver,
4156 A pond with lilies floating in it.
4157 Also, the name of a music typesetting program.
4172 A ligature is a coherent graphical symbol that represents at least two
4173 distinct notes. Ligatures originally appeared in the manuscripts of
4174 Gregorian chant notation roughly since the 9th century to denote ascending
4175 or descending sequences of notes. In early notation, ligatures were used
4176 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4177 performance in the sense of articulation. With the invention of the metric
4178 system of the white mensural notation, the need for ligatures to denote such
4179 patterns disappeared.
4183 @ref{mensural notation}.
4192 D: Linie, Notenlinie,
4196 FI: viiva, nuottiviiva.
4215 [From Italian, @q{place}]. Instruction to play the following passage at the
4216 written pitch. Cancels octavation (q.v.).
4223 @node long appoggiatura
4224 @section long appoggiatura
4226 ES: apoyatura larga,
4227 I: appoggiatura lunga,
4228 F: appoggiature longue,
4233 FI: pitkä appoggiatura, pitkä etuhele.
4252 Note value: double length of @ref{breve}.
4254 @lilypond[fragment,notime,ragged-right]
4255 \set Score.automaticBars = ##f
4257 \override NoteHead #'style = #'mensural
4270 ES: letra (de la canción),
4273 D: Liedtext, Gesangtext,
4292 @c TODO: add languages
4299 @node major interval
4300 @section major interval
4302 ES: intervalo mayor,
4303 I: intervallo maggiore,
4304 F: intervalle majeur,
4305 D: großes Intervall,
4309 FI: suuri intervalli.
4330 @ref{diatonic scale}.
4333 @node meantone temperament
4334 @section meantone temperament
4336 ES: afinación mesotónica,
4337 I: accordatura mesotonica,
4338 F: tempérament mésotonique,
4339 D: mitteltönige Stimmung,
4340 NL: middenstemming, middentoonstemming,
4341 DK: middeltonetemperatur,
4342 S: medeltonstemperatur,
4343 FI: keskisävelviritys.
4345 Temperament yielding acoustically pure thirds by decreasing the
4346 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4347 character of this @ref{temperament} only a limited set of keys are
4348 playable. Used for tuning keyboard instruments for performance of
4364 A group of @ref{beat}s (units of musical time) the first of which
4365 bears an accent. Such groups in numbers of two or more recur
4366 consistently throughout the composition and are marked from each other
4376 I: mediante, modale,
4386 @item The third @b{scale degree}.
4388 @item A @ref{chord} having its base tone a third from that of another
4389 chord. For example, the tonic chord may be replaced by its lower
4390 mediant (variant tonic).
4395 @ref{functional harmony}, @ref{relative key}.
4408 FI: melisma, laulettavan tavun sävelkuvio.
4410 A melisma (plural, from Greek: melismata) is a group of notes or tones
4411 sung on one syllable, especially as applied to liturgical chant.
4415 @section melisma line
4417 @c TODO: add languages
4430 @ref{extender line}.
4433 @node melodic cadence
4434 @section melodic cadence
4441 @node mensural notation
4442 @section mensural notation
4444 @c TODO: add languages
4455 The system of music notation that was first developed in the mid-13th
4456 century, and which forms the basis of modern musical notation. From its
4457 creation by Franco of Cologne until the 15th century,
4459 @c TODO: add definition (inc. info on proportional notation)
4463 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4464 @c TODO: more cross-references?
4472 F: indication de mesure, mesure,
4479 The basic pattern of @ref{note value}s and @ref{accent}s that remains
4480 unaltered throughout a composition or a section of it. Meters can be
4481 @emph{duple} or @emph{triple} depending on how the beat is grouped in
4482 the composition (or in sections thereof):
4486 @item In duple meters, the beat recurs in groups of two.
4488 @item In triple meters, the beat recurs in groups of three.
4492 Other recurrence patterns are possible:
4496 @item Quadruple meter: groups of four. A special case of duple meter.
4498 @item Quintuple meter: groups of five
4500 @item Sextuple meter: groups of six. A special case of:
4503 @item Duple meter, subdivided in three (less frequent); or
4504 @item Triple meter, subdivided in two (more frequent).
4507 @item Septuple meter: groups of seven.
4513 Other than quadruple and sextuple meters, these other recurrence
4514 patterns were not frequently used prior to the 20th Century.
4516 In addition to classification by primary beat grouping, meters can be further
4517 classified by how the primary beat is subdivided: if in two, the meter is
4518 @emph{simple}; if in three, the meter is @emph{compound}.
4525 @item duple: 2/2, 2/4, 2/8
4526 @item triple: 3/2, 3/4, 3/8
4527 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4530 @item Compound meter
4535 @item quadruple: 12/8
4540 Time signatures are placed at the beginning of a composition (or
4541 section) to indicate the meter. For instance, a piece written in
4542 simple triple meter with a beat on each quarter note has a time
4547 @lilypond[fragment,line-width=13.0\cm]
4551 c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
4554 Simple triple meter:
4556 @lilypond[fragment,line-width=13.0\cm]
4560 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4563 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4565 @lilypond[fragment,line-width=13.0\cm]
4569 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4572 Simple quintuple meter (B. Marcello, 1686-1739):
4574 @lilypond[fragment,line-width=13.0\cm]
4578 r4 cis8 bis ais4 dis c8 ais |
4579 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4582 Compound duple meter (unknown):
4584 @lilypond[fragment,line-width=13.0\cm]
4588 f8 f g a bes16 a g f |
4589 g8 g bes a c16 a bes g
4593 Compound triple meter (J.S. Bach, 1685-1750):
4595 @lilypond[fragment,line-width=13.0\cm]
4599 r8 g'( a) b( d c) c( e d) |
4600 d( g fis) g( d b) g( a b)
4604 Compound quadruple meter (P. Yon, 1886-1943):
4606 @lilypond[fragment,line-width=13.0\cm]
4610 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4611 e4 e8 fis( gis) a b4.~ b4 b8
4617 @ref{hemiola}, @ref{time signature}
4632 Device indicating the exact tempo of a piece.
4634 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4635 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4636 divisions, and patented it as a "metronome". The inevitable lawsuit that
4637 followed acknowledged Winkler as the creator, but by then Mälzel had already
4638 sold many of them, and people had taken to calling it a Mälzel Metronome.
4642 @ref{metronome mark}.
4645 @node metronomic indication
4646 @section metronomic indication
4650 @ref{metronome mark}
4653 @node metronome mark
4654 @section metronome mark
4656 ES: indicación metronómica,
4657 I: indicazione metronomica,
4658 F: indication métronomique,
4660 NL: metronoom aanduiding,
4662 S: metronomangivelse,
4663 FI: metronomiosoitus.
4665 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4666 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4675 @section mezzo-soprano
4686 The female voice between @ref{soprano} and @ref{contralto}.
4695 D: eingestrichenes@w{ }c,
4697 DK: enstreget@w{ }c,
4698 S: ettstruket@w{ }c,
4701 First C below the 440 Hz A.
4703 @lilypond[fragment,notime,ragged-right]
4704 \set Score.automaticBars = ##f
4705 \override Staff.Clef #'full-size-change = ##t
4728 @ref{diatonic scale}.
4731 @node minor interval
4732 @section minor interval
4734 ES: intervalo menor,
4735 I: intervallo minore,
4736 F: intervalle mineur,
4737 D: kleines Intervall,
4741 FI: pieni intervalli.
4754 D: Kirchentonart, Modus,
4758 FI: moodi, kirkkosävelasteikko.
4762 @ref{church mode}, @ref{diatonic scale}.
4775 FI: modulaatio, sävellajin vaihdos.
4777 Moving from one @ref{key} to another. For example, the second subject
4778 of a @ref{sonata form} movement modulates to the dominant key if the
4779 key is major and to the @ref{relative key} if the key is minor.
4791 FI: mordent, korukuvio.
4816 FI: teema, sävelaihe.
4818 The briefest intelligible and self-contained fragment of a musical
4821 @lilypond[line-width=13.0\cm]
4824 \set Score.implicitTimeSignatureVisibility = #all-invisible
4825 \override Score.TimeSignature #'break-visibility = #all-invisible
4828 \partial 8 g16\startGroup fis |
4829 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4830 g8 g,16 a b8 cis d16 s
4834 \Staff \consists "Horizontal_bracket_engraver"
4852 Greater musical works like @ref{symphony} and @ref{sonata} most often
4853 consist of several -- more or less -- independant pieces called
4857 @node multi-measure rest
4858 @section multi-measure rest
4860 ES: compases de espera,
4864 D: mehrtaktige Pause, Kirchenpause,
4867 FI: usean tahdin mittainen tauko.
4869 Multi-measure rests are conventionally typeset with a combination of
4870 longa, breve and whole rests for shorter and a long horizontal bar for
4871 longer spans of rest, with a number above to indicate the duration (in
4872 measures) of the rest. The former style is called @q{Kirchenpausen} in
4873 German, as a reminiscence of its use in Renaissance vocal polyphony.
4875 @lilypond[fragment,ragged-right]
4878 \set Score.skipBars = ##t R1*3
4880 \set Score.skipBars = ##t R1*122
4887 @ref{longa}, @ref{breve}.
4890 @node mixolydian mode
4891 @section mixolydian mode
4895 @ref{diatonic scale}.
4904 D: Auflösungszeichen,
4905 NL: herstellingsteken,
4906 DK: op@-løsningstegn,
4907 S: återställningstecken,
4915 @node neighbour tones
4916 @section neighbour tones
4920 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4961 Notes are signs by means of which music is fixed in writing. The term is also
4962 used for the sound indicated by a note, and even for the key of the piano
4963 which produces the sound. However, a clear distinction between the terms tone
4964 and @ref{note} is strongly recommended. Briefly, one sees a note,
4972 I: testa, testina, capocchia,
4980 A head-like sign which indicates pitch by its position on a
4981 @ref{staff} provided with a @ref{clef}, and duration
4982 by a variety of shapes such as hollow or black heads with or without
4983 @ref{stem}s, @ref{flag}s, etc. For percussion
4984 instruments (often having no defined pitch) the note head may indicate the
4999 ES: valor (duración),
5001 F: durée, valeur (d'une note),
5006 FI: nuotin aika-arvo.
5008 Note values (durations) are measured as fractions, normally 1/2, of
5009 the next higher note value. The longest duration normally used is
5010 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5011 double-length note value @emph{longa} or the quadruple-length note
5012 value @emph{maxima} are used.
5014 @c TODO -- add maxima to this example, in a way that doesn't break it.
5016 @lilypond[fragment,notime,line-width=13.0\cm]
5017 %\override Score.TextScript #'font-style = #'large
5018 \set Score.automaticBars = ##f
5020 \override NoteHead #'style = #'mensural
5021 a\longa_"longa" a\breve_"breve"
5022 \revert NoteHead #'style
5023 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5024 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5027 @c TODO -- add maxima rest to this example
5029 @lilypond[fragment,notime,line-width=13.0\cm]
5030 %\override Score.TextScript #'font-style = #'large
5031 \set Score.automaticBars = ##f
5033 r\longa_"longa" r\breve_"breve"
5034 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5035 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5038 An augmentation dot after a note multiplies the duration by one and a
5039 half. Another dot adds yet a fourth of the duration.
5041 @lilypond[fragment,line-width=13.0\cm]
5042 %\override Score.TextScript #'font-style = #'large
5045 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5046 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5049 Alternatively note values may be subdivided by other ratios. Most common is
5050 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5051 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5052 dotted notes are also frequently used.
5054 @lilypond[fragment,line-width=13.0\cm]
5055 %\override Score.TextScript #'font-style = #'large
5058 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5059 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5063 @lilypond[fragment,line-width=13.0\cm]
5066 \times 3/2 {g4_"duplets" g} |
5068 \times 6/4 {g8_"quadruplets" g g g} |
5069 g8 g g g g4 \bar "||"
5086 The use of a phrase or abbreviation with an extender line or bracket to indicate
5087 that a passage is to be played in a different octave:
5091 @item @samp{15ma}: play two octaves higher
5092 @item @samp{8va}: play one octave higher
5093 @item @samp{8vb}: play one octave lower
5094 @item @samp{8va} written below the passage: same as @samp{8vb}
5095 @item @samp{15vb}: play two octaves lower
5096 @item @samp{15va} written below the passage: same as @samp{15vb}
5100 Another practice, which may be useful for longer passages, is to indicate the
5101 different octave with a phrase at the beginning (see below). When the music
5102 returns to the written pitch, the octavation is cancelled with the word
5105 To parallel the list above:
5109 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5110 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5111 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5112 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5116 @emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
5120 @ref{interval}, @ref{loco}, @ref{octave}.
5124 @section octave sign
5135 Putting 8 or 15 above or below the clef to indicate that the entire part is
5136 played in the indicated octave: a clef-wide octavation. An octave sign can be
5137 applied to any clef, though it is most frequently used with the G and F clefs.
5141 @ref{G clef}, @ref{F clef}.
5156 The interval of an octave, sometimes abbreviated @samp{8ve}.
5158 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5159 bracket, or @samp{loco} see octavation.
5163 @ref{interval}, @ref{octavation}.
5170 I: abbellimento, fioriture,
5171 F: agrément, ornement,
5172 D: Verzierung, Ornament,
5178 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5179 with the diatonic @ref{second} above it. In the music from the
5180 middle of the 19th century and onwards the trill is performed with the main
5181 note first while in the music from the preceding baroque and classic periods
5182 the upper note is played first.
5184 @lilypond[fragment,line-width=13.0\cm]
5186 \context Staff = sa {
5187 % \override Score.TextScript #'font-style = #'large
5189 c2._"pre-1850" b4\trill | c1 \bar "||"
5190 c2._"post-1850" b4\trill | c1 \bar "||"
5194 c2. c32 b c b c b c b | c1
5195 c2. b32 c b c \times 4/5 { b c b c b } | c1
5200 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5202 @emph{prall} (inverted mordent).
5204 @lilypond[fragment,line-width=13.0\cm]
5206 \context Staff = sa {
5207 % \override Score.TextScript #'font-style = #'large
5209 a4_"turn" b\turn c2 \bar "||"
5210 g4_"mordent" a b\mordent a \bar "||"
5211 e'4_"prall" d\prall c2 \bar "||"
5217 e'4 e32[ d e d ~ d8] c2
5224 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5237 FI: ossia, vaihtoehtoinen esitystapa.
5239 Ossia (otherwise) marks an alternative. It is an added staff or piano
5240 score, usually only a few measures long, which presents another version
5241 of the music, for example for small hands.
5254 FI: stemma, instrumenttiosuus.
5258 @item In instrumental or choral music, the music for a single
5259 instrument or voice.
5261 @item in contrapuntal music, a single melodic line in the contrapuntal
5293 D: Schlagzeug, Schlagwerk,
5299 A family of musical instruments which are played on by striking or
5300 shaking. Percussion instruments commonly used in a symphony orchestra are
5301 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5302 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5306 @node perfect interval
5307 @section perfect interval
5309 ES: intervalo justo,
5310 I: intervallo giusto,
5311 F: intervalle juste,
5312 D: reines Intervall,
5316 FI: puhdas intervalli.
5335 A natural division of the melodic line, comparable to a sentence of speech.
5348 FI: fraseeraus, jäsentäminen.
5350 The clear rendering in musical performance of the @ref{phrase}s of
5351 the melody. Phrasing may be indicated by a @ref{slur}.
5359 F: anacrouse, levée,
5383 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5384 @emph{mezzo piano} (@b{mp}) medium soft.
5407 NL: pizzicato, getokkeld,
5410 FI: pizzicato, näppäillen.
5412 Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
5413 stringed instruments.)
5430 @item The simultaneous use of two or more meters, in two or more parts.
5432 @item The @emph{successive} use of different meters in one or more parts.
5438 @ref{polymetric} (adj.)
5453 Using two or more metric frameworks simultaneously or in regular
5458 @ref{polymeter} (noun)
5461 @node polymetric time signature
5462 @section polymetric time signature
5473 Time signature indicating regularly alternating polymetric time.
5486 D: Polyphonie, Mehrstimmigkeit,
5490 FI: polyfonia, moniäänisyys.
5492 Music written in a combination of several simultaneous voices (parts)
5493 of a more or less pronounced individuality.
5512 D: Presto, Sehr schnell,
5513 NL: presto, Sehr schnell,
5516 FI: presto, hyvin nopeasti.
5518 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5519 denotes the highest possible degree of speed.
5534 [From Latin @emph{proportio}] In mensural notation, a ratio that
5535 expresses the relationship between the note values that follow with
5536 those that precede; or between the note values of a passage and an
5537 assumed @q{normal} relationship of note values to the metrical pulse.
5539 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5543 @ref{mensural notation}
5546 @node Pythagorean comma
5547 @section Pythagorean comma
5549 ES: coma pitagórica,
5550 I: comma pitagorico,
5551 F: comma pythagoricien,
5552 D: Pythagoräisches Komma,
5553 NL: komma van Pythagoras,
5554 DK: pythagoræisk komma,
5555 S: pytagoreiskt komma,
5556 FI: pytagorinen komma.
5558 A sequence of fifths starting on C eventually circles back to C, but this C,
5559 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5560 by adding 7 octaves. The difference between those two pitches is called the
5565 @ref{cent}, @ref{temperament}.
5585 @section quarter note
5590 @item I: semiminima, nera
5592 @item D: Viertel, Viertelnote
5594 @item DK: fjerdedelsnode
5595 @item S: fjärdedelsnot
5596 @item FI: neljäsosanuotti
5605 @section quarter rest
5608 @item UK: crotchet rest
5609 @item ES: silencio de negra
5610 @item I: pausa di semiminima
5612 @item D: Viertelpause
5614 @item DK: fjerdedelspause
5615 @item S: fjärdedelspaus
5616 @item FI: neljäsosatauko
5625 @section quarter tone
5636 An interval equal to half a semitone.
5646 ES: cinquillo, quintillo.
5661 @section rallentando
5666 D: rallentando, langsamer werden,
5670 FI: rallerdando, hidastuen.
5672 Abbreviation "rall.".
5678 @section relative key
5681 I: tonalità relativa,
5682 F: tonalité relative,
5684 NL: paralleltoonsoort,
5685 DK: paralleltoneart,
5687 FI: rinnakkaissävellaji.
5689 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5691 @lilypond[fragment,notime,line-width=13.0\cm]
5692 \set Score.automaticBars = ##f
5693 %\override Score.TextScript #'font-style = #'large
5696 es1_"e flat major" f g as bes c d es
5701 @lilypond[fragment,notime,line-width=13.0\cm]
5702 \set Score.automaticBars = ##f
5703 %\override Score.TextScript #'font-style = #'large
5706 c1_"c minor" d es f g a! b! c \bar "||"
5716 F: barre de reprise,
5719 DK: gen@-ta@-gel@-se,
5723 @lilypond[fragment,line-width=13.0\cm]
5727 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5744 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5745 @c specify the rest's value.
5766 @item Metrical rhythm in which every time value is a multiple or
5767 fraction of a fixed unit of time, called @ref{beat}, and in which the
5768 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5769 The basic scheme of time values is called @ref{meter}.
5771 @item Measured rhythm which lacks regularly recurrent accent. In
5772 modern notation such music appears as a free alternation of different
5775 @item Free rhythm, i.e., the use of temporal values having no common
5776 metrical unit (beat).
5787 D: ritardando, langsamer werden,
5791 FI: ritardando, hidastuen,
5793 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5806 FI: ritenuto, hidastaen.
5808 Immediate reduction of speed.
5821 FI: asteikko, sävelasteikko.
5825 @ref{diatonic scale}.
5829 @section scale degree
5831 ES: grado (de la escala),
5832 I: grado della scala,
5833 F: degré [de la gamme],
5835 NL: trap [van de toonladder],
5838 FI: sävelaste, asteikon sävel.
5840 Names and symbols used in harmonic analysis to denote tones of the
5841 scale as roots of chords. The most important are degrees I = tonic
5842 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5844 @lilypond[fragment,notime,line-width=13.0\cm]
5845 \set Score.automaticBars = ##f
5847 \context Staff \relative c' {
5851 << { I II III IV V VI VII I }
5859 @ref{functional harmony}.
5867 F: à cordes ravallées,
5874 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5875 tuning of stringed instruments, particularly lutes or violins. Used
5880 @item facilitate pitch combinations that would otherwise be difficult
5883 @item alter the characteristic timbre of the instrument, for example,
5884 to increase brilliance)
5886 @item reinforce certain sonorities or tonalities by making them
5887 available on open strings
5889 @item imitate other instruments
5895 Tunings that could be called @var{scordatura} first appeared early in
5896 the 16th Century and became commonplace in the 17th.
5905 D: Partitur (full score), Klavierauszug (vocal score),
5911 A copy of orchestral, choral, or chamber music showing what each
5912 instrument is to play, each voice to sing, having each part arranged
5913 one underneath the other on different staves @ref{staff}.
5928 The @ref{interval} between two neigbouring tones of a scale. A
5929 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5930 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5931 degrees in question.
5946 The interval of a minor second. The (usually) smallest interval in European
5947 composed music. The interval between two neighbouring tones on the piano
5948 keyboard -- including black and white keys -- is a semitone. An octave may
5949 be divided into 12@w{ }semitones.
5951 @lilypond[fragment,notime,line-width=13.0\cm]
5952 \set Score.automaticBars = ##f
5953 \relative c'' { g1 gis s a bes s b! c }
5958 @ref{interval}, @ref{chromatic scale}.
5983 @ref{sextuplet}, @ref{note value}.
6029 @section simple meter
6040 A meter in which the basic beat is subdivided in two: that is, a meter
6041 that does not include triplet subdivision of the beat.
6045 @ref{compound meter}, @ref{meter}.
6048 @node sixteenth note
6049 @section sixteenth note
6052 @item UK: semiquaver
6053 @item ES: semicorchea
6055 @item F: double croche
6056 @item D: Sechzehntel, Sechzehntelnote
6057 @item NL: zes@-ti@-ende noot
6058 @item DK: sekstendedelsnode
6059 @item S: sextondelsnot
6060 @item FI: kuudestoistaosanuotti
6068 @node sixteenth rest
6069 @section sixteenth rest
6072 @item UK: semiquaver rest
6073 @item ES: silencio de semicorchea
6074 @item I: pausa di semicroma
6075 @item F: quart de soupir
6076 @item D: Sechzehntelpause
6077 @item NL: zestiende rust
6078 @item DK: sekstendedelspause
6079 @item S: sextondelspaus
6080 @item FI: kuudestoistaosatauko
6105 @node sixty-fourth note
6106 @section sixty-fourth note
6109 @item UK: hemidemisemiquaver
6111 @item I: semibiscroma
6112 @item F: quadruple croche
6113 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6114 @item NL: vierenzestigste noot
6115 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6116 @item S: sextiofjärdedelsnot
6117 @item FI: kuudeskymmenesneljäsosanuotti
6125 @node sixty-fourth rest
6126 @section sixty-fourth rest
6129 @item UK: hemidemisemiquaver rest
6130 @item ES: silencio de semifusa
6131 @item I: pausa di semibiscroma
6132 @item F: seizième de soupir
6133 @item D: Vierundsechzigstelpause
6134 @item NL: vierenzestigste rust
6135 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6136 @item S: sextiofjärdedelspaus
6137 @item FI: kuudeskymmenesneljäsosatauko
6148 ES: ligadura (de expresión),
6149 I: legatura (di portamento or espressiva),
6151 D: Bogen (Legatobogen, Phrasierungsbogen),
6152 NL: fraseringsboog, legatoboog, streekboog,
6153 DK: legatobue, fraseringsbue,
6157 A slur above or below a group of notes indicates that they are to be
6158 played @ref{legato}, e.g., with one stroke of the violin bow or with
6159 one breath in singing.
6163 @section solmization
6172 FI: suhteelliset laulunimet.
6174 General term for systems of designating the degrees of the
6175 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6176 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6194 In its present-day meaning a sonata denotes an instrumental
6195 composition for piano or for some other instrument with piano
6196 accompaniment, which consists of three or four independant pieces,
6201 @section sonata form
6205 F: [en] forme de sonate,
6207 NL: hoofdvorm, sonatevorm,
6212 A form used frequently for single movements of the @ref{sonata},
6213 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6214 into three sections called @emph{exposition}, @emph{development} and
6215 @emph{recapitulation}. In the exposition the composer introduces some
6216 musical ideas, consisting of a number of themes; in the development
6217 section the composer @q{develops} this material, and in the
6218 recapitulation the composer repeats the exposition, with certain
6219 modifications. The exposition contains a number of themes that fall
6220 into two groups, often called first and second subject. Other
6221 melodies occurring in each group are considered as continuations of
6222 these two. The second theme is in another key, normally in the key of
6223 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6224 @ref{relative key} if the tonic is @ref{minor}.
6245 FI: sopraano, korkea naisääni.
6247 The highest female voice.
6255 F: staccato, piqué, détaché,
6260 FI: staccato, lyhyesti, terävästi.
6262 Playing the note(s) short. Staccato is indicated by a dot above or
6263 below the note head.
6265 @lilypond[fragment,ragged-right]
6270 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6280 I: pentagramma, rigo (musicale),
6282 D: Notensystem, Notenzeile,
6283 NL: (noten)balk, partij,
6288 A staff (plural: staves) is a series of (normally five) horizontal
6289 lines upon and between which the musical notes are written, thus
6290 indicating (in connection with a @ref{clef}) their pitch. Staves for
6291 @ref{percussion} instruments may have fewer lines.
6308 D: Hals, Notenhals, Stiel,
6314 Vertical line above or below a @ref{note head} shorter than a
6319 @lilypond[fragment,notime,line-width=13.0\cm]
6320 \set Score.autoBeaming = ##f
6321 \set Score.automaticBars = ##f
6322 %\override Score.TextScript #'font-style = #'large
6344 A family of stringed musical instruments played with a bow. Strings
6345 commonly used in a symphony orchestra are violin, viola, violoncello,
6350 @section strong beat
6355 D: betonter Taktteil oder Taktschlag,
6357 D: betonet taktslag,
6358 S: betonat taktslag,
6359 FI: tahdin vahva isku.
6363 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6367 @section subdominant
6376 FI: subdominantti, alidominantti.
6378 The fourth @ref{scale degree}.
6380 @ref{functional harmony}.
6395 The sixth @ref{scale degree}.
6408 FI: subtoonika, alitoonika.
6410 The seventh @ref{scale degree}.
6419 D: auf G, auf der G-Saite,
6425 Indicates that the indicated passage (or note) should be played on the
6430 @section superdominant
6441 The sixth @ref{scale degree}.
6456 The second @ref{scale degree}.
6465 D: Sinfonie, Symphonie,
6471 A symphony may be defined as a @ref{sonata} for orchestra.
6475 @section syncopation
6486 Any deliberate upsetting of the normal pulse of @ref{meter},
6487 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6488 rhythm rests upon the grouping of equal beats into groups of two or
6489 three, with a regularly recurrent accent on the first beat of each
6490 group. Any deviation from this scheme is felt as a disturbance or
6491 contradiction between the underlaying (normal) pulse and the actual
6494 @lilypond[fragment,ragged-right]
6499 e c'4 e,8 c'4 e,8 c' ( | c2)
6504 @node syntonic comma
6505 @section syntonic comma
6508 I: comma sintonico (o didimico),
6509 F: comma syntonique,
6510 D: syntonisches Komma,
6511 NL: syntonische komma,
6512 DK: syntonisk komma,
6513 S: syntoniskt komma,
6514 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6515 Pytagorisessa viritysjärjestelmässä.
6517 Difference between the natural third and the third obtained by
6518 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6527 D: Notensystem, Partitur,
6531 FI: nuottijärjestelmä.
6533 The collection of staves (@ref{staff}), two or more, as used for writing
6534 down of keyboard, chamber, choral, or orchestral music.
6538 @section temperament
6543 D: Stimmung, Tem@-pe@-ra@-tur,
6544 NL: stemming, temperatuur,
6547 FI: viritysjärjestelmä.
6549 Systems of tuning in which the intervals deviate from the acoustically
6552 @ref{meantone temperament}, @ref{equal temperament}.
6555 @node tempo indication
6556 @section tempo indication
6558 ES: indicación de tempo,
6559 I: indicazione di tempo,
6560 F: indication de tempo,
6561 D: Zeitmaß, Tempobezeichnung,
6562 NL: tempo aanduiding,
6567 The rate of speed of a composition or a section thereof, ranging from
6568 the slowest to the quickest, as is indicated by tempo marks as
6569 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6583 FI: tenori, korkea miesääni.
6585 The highest male voice (apart from @ref{counter tenor}).
6608 ES: subrayado (tenuto),
6617 An indication that a particular note should be held for the whole
6618 length, although this can vary depending on the composer and era.
6638 @node thirty-second note
6639 @section thirty-second note
6642 @item UK: demisemiquaver
6645 @item F: triple croche
6646 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6647 @item NL: twee-endertig@-ste (32e) noot
6648 @item DK: toogtredivtedelsnode
6649 @item S: trettiotvåondelsnot
6650 @item FI: kolmaskymmeneskahdesosanuotti
6658 @node thirty-second rest
6659 @section thirty-second rest
6662 @item UK: demisemiquaver rest
6663 @item ES: silencio de fusa
6664 @item I: pausa di biscroma
6665 @item F: huitième de soupir
6666 @item D: Zweiunddreissigstel@-pause
6667 @item NL: twee-endertig@-ste (32e) rust
6668 @item DK: toogtredivtedelspause
6669 @item S: trettiotvåondelspaus
6670 @item FI: kolmaskymmeneskahdesosatauko
6679 @section thorough bass
6682 I: basso continuo, basso numerato,
6683 F: basse chiffrée, basse continue,
6684 D: Generalbass, bezifferter Bass,
6685 NL: basso continuo, becijferde bas
6688 FI: kenraalibasso, numeroitu basso.
6690 A method of indicating an accompaniment part by the bass notes only,
6691 together with figures designating the chief @ref{interval}s and
6692 @ref{chord}s to be played above the bass notes.
6694 @lilypond[fragment,line-width=13.0\cm]
6695 \context GrandStaff <<
6696 \context Staff = lh \relative c'' {
6700 << \context Voice = rha {
6703 \context Voice = rhb {
6705 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6709 \context Staff = rh \relative c' {
6712 es8 c d bes c as bes16 as g f | es4
6714 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6723 ES: ligadura de prolongación,
6724 I: legatura (di valore),
6726 D: Haltebogen, Bindebogen,
6727 NL: overbinding, bindingsboog,
6729 S: bindebåge, överbindning,
6732 A curved line, identical in appearance with the @ref{slur}, which
6733 connects two succesive notes of the same pitch, and which has the
6734 function of uniting them into a single sound (tone) equal to the
6737 @lilypond[fragment,notime,ragged-right]
6738 \set Score.automaticBars = ##f
6739 \relative c'' { g2 ~ g4. }
6751 @node time signature
6752 @section time signature
6754 ES: indicación de compás,
6756 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6757 D: Taktangabe, Angabe der Taktart,
6760 S: taktartssignatur,
6763 The sign placed at the beginning of a composition to indicate its
6764 meter. It most often takes the form of a fraction, but a few signs
6765 derived from mensural notation and proportions are also employed.
6769 @ref{mensural notation}, @ref{meter}.
6784 A sound of definite pitch and duration, as distinct from @emph{noise}.
6785 Tone is a primary building material of music.
6787 Music from the 20th century may be based on atonal sounds.
6802 The first @ref{scale degree}.
6806 @ref{functional harmony}.
6809 @node transposing instrument
6810 @section transposing instrument
6821 Instruments whose notated pitch is different from their sounded pitch. Except
6822 for those whose notated and sounding pitches differ by one or more octaves (to
6823 reduce the number of ledger lines needed), most such instruments are identified
6824 by the letter name of the pitch class of their fundamental. The pitch class is
6825 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6826 the instrument plays a notated C.
6828 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6829 the B-flat one tone lower. If played on the A clarinet, the same written
6830 note sounds the A (one and half tones -- a minor third -- lower).
6832 Not all transposing instruments include the pitch class in their name:
6836 @item English horn (in F)
6838 @item Alto flute (in G)
6844 @ref{concert pitch}.
6848 @section transposition
6859 Shifting a melody up or down in pitch, while keeping the same
6862 @lilypond[fragment,line-width=13.0\cm]
6867 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6872 @lilypond[fragment,line-width=13.0\cm]
6875 \transpose c bes \relative c'' {
6877 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6884 @section treble clef
6887 I: chiave di violino,
6889 D: Violinschlüssel, Sopranschlüssel,
6912 On stringed instruments:
6916 @item The quick reiteration of the same tone, produced by a rapid
6917 up-and-down movement of the bow.
6919 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
6920 in the distance of a third (@ref{interval}).
6924 @lilypond[fragment,notime,ragged-right]
6925 \set Score.automaticBars = ##f
6926 %\override Score.TextScript #'font-style = #'large
6929 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6930 \repeat tremolo 8 { e32_"b" g }
6944 F: triade, accord parfait, accord de trois sons,
6961 F: trille, tremblement, battement (cadence),
6974 @section triple meter
6976 ES: compás ternario,
6979 D: in drei, ungerader Takt,
6980 NL: driedelige maatsoort,
7025 @section tuning fork
7028 I: diapason, corista,
7036 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7037 give the international pitch for the tone @emph{a} (440 vibrations per
7044 A non-standard subdivision of a beat or part of a beat, usually
7045 indicated with a bracket and a number indicating the number of
7050 @ref{triplet}, @ref{note value}.
7080 FI: unisono, yksiäänisesti.
7082 Playing of the same notes or the same melody by various instruments
7083 (voices) or by the whole orchestra (choir), either at exactly the same
7084 pitch or in a different octave.
7092 F: anacrouse, levée,
7114 FI: ääni, lauluääni.
7118 @item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto},
7119 @ref{tenor}, @ref{baritone}, @ref{bass}.
7121 @item A melodic layer or part of a polyphonic composition.
7130 I: tempo debole, arsi,
7132 D: unbetonter Taktteil oder Taktschlag,
7134 DK: ubetonet taktslag,
7135 S: obetonat taktslag,
7136 FI: tahdin heikko isku.
7140 @ref{beat}, @ref{measure}, @ref{rhythm}.
7151 @item D: Ganze, ganze Note
7155 @item FI: kokonuotti
7167 @item UK: semibreve rest
7168 @item ES: silencio de redonda
7169 @item I: pausa di semibreve
7171 @item D: ganze Pause, ganztaktige Pause
7173 @item DK: helnodespause
7195 The interval of a major second. The interval between two tones
7196 on the piano keyboard with exactly one key between them -- including
7197 black and white keys -- is a whole tone.
7216 A family of blown wooden musical instruments. Today some of these
7217 instruments are actually made from metal. The woodwind instruments
7218 commonly used in a symphony orchestra are flute, oboe, clarinet,
7219 saxophone, and bassoon.
7222 @node Duration names notes and rests
7223 @chapter Duration names notes and rests
7225 @multitable @columnfractions .12 .22 .22 .22 .22
7244 @tab silencio de longa
7246 @tab silencio de cuadrada
7254 @tab quadruple-pause
7269 @tab longanodespause
7271 @tab brevis(nodes)pause
7285 @multitable @columnfractions .12 .22 .22 .22 .22
7304 @tab silencio de redonda
7306 @tab silencio de blanca
7309 @tab pause di semibreve
7311 @tab pausa di minima
7345 @multitable @columnfractions .12 .22 .22 .22 .22
7364 @tab silencio de negra
7366 @tab silencio de corchea
7368 @tab semiminima, nera
7369 @tab pausa di semiminima, pausa di nera
7389 @tab fjerdedelspause
7390 @tab ottendedelsnode
7391 @tab ottendedelspause
7398 @tab neljäsosanuotti
7400 @tab kahdeksasosanuotti
7401 @tab kahdeksasosatauko
7405 * About the French naming system: @emph{croche} refers to the note's "hook".
7406 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7407 hook}, @q{trebled hook}, and so on.
7409 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7410 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7411 a @emph{soupir}, and so on.
7413 Each of the following tables contains one type of note and its matching rest,
7414 with abbreviations that apply to both notes and rests. Just switch the part
7415 that means @q{note} with the part that means @q{rest}, for example:
7419 @item English: 16th @strong{note}, 16th @strong{rest}
7420 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7421 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7425 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7426 duration name. If you know of one that I missed, please send it to me, care of
7427 the lilypond-user discussion list.
7429 @multitable @columnfractions .10 .35 .35 .20
7441 @tab semiquaver rest
7445 @tab silencio de semicorchea
7449 @tab pausa di semicroma
7453 @tab quart de soupir
7456 @tab Sechzehntelnote
7457 @tab Sechzehntelpause
7464 @tab sekstendedelsnode
7465 @tab sekstendedelspause
7472 @tab kuudestoistaosanuotti
7473 @tab kuudestoistaosatauko
7478 @multitable @columnfractions .10 .35 .35 .20
7485 @tab thirty-second note
7486 @tab thirty-second rest
7490 @tab demisemiquaver rest
7494 @tab silencio de fusa
7498 @tab pausa di biscroma
7502 @tab huitième de soupir
7505 @tab Zweiunddreißigstelnote
7506 @tab Zweiunddreißigstelpause
7509 @tab tweeendertigste noot
7510 @tab tweeendertigste rust
7513 @tab toogtredivtedelsnode
7514 @tab toogtredivtedelspause
7517 @tab trettiotvåondelsnot
7518 @tab trettiotvåondelspaus
7521 @tab kolmaskymmeneskahdesosanuotti
7522 @tab kolmaskymmeneskahdesosatauko
7527 @multitable @columnfractions .10 .35 .35 .20
7534 @tab sixty-fourth note
7535 @tab sixty-fourth rest
7538 @tab hemidemisemiquaver
7539 @tab hemidemisemiquaver rest
7543 @tab silencio de semifusa
7547 @tab pausa di semibiscroma
7550 @tab quadruple croche
7551 @tab seizième de soupir
7554 @tab Vierundsechzigstelnote
7555 @tab Vierundsechzigstelpause
7558 @tab vierenzestigste noot
7559 @tab vierenzestigste rust
7562 @tab fireogtredsindstyvendedelsnode
7563 @tab fireogtredsindstyvendedelspause
7566 @tab sextiofjärdedelsnot
7567 @tab sextiofjärdedelspaus
7570 @tab kuudeskymmenesneljäsosanuotti
7571 @tab kuudeskymmenesneljäsosatauko
7576 @multitable @columnfractions .10 .35 .35 .20
7583 @tab one-hundred-twenty-eighth note
7584 @tab one-hundred-twenty-eighth rest
7587 @tab semihemidemisemiquaver
7588 @tab semihemidemisemiquaver rest
7591 @tab garrapatea @tab silencio de garrapatea @tab -
7597 @tab quintuple croche
7598 @tab trente-deuxième de soupir @tab -
7600 @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7602 @tab honderdachtentwintigste noot
7603 @tab honderdachtentwintigste rust
7610 @tab hundratjugoåttondelsnot
7611 @tab hundratjugoåttondelspaus
7614 @tab sadaskahdeskymmeneskahdeksasosanuotti
7615 @tab sadaskahdeskymmeneskahdeksasosatauko
7620 @multitable @columnfractions .10 .35 .35 .20
7627 @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note
7629 @tab demisemihemidemisemiquaver
7630 @tab demisemihemidemisemiquaver rest
7633 @tab semigarrapatea @tab silencio de semigarrapatea @tab -
7636 @tab pausa di semifusa
7639 @tab sextuple croche
7640 @tab soixante-quatrième de soupir @tab -
7642 @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7644 @tab tweehonderdzesenvijftigste noot
7645 @tab tweehonderdzesenvijftigste rust
7652 @tab tvåhundrafemtiosjättedelsnot
7653 @tab tvåhundrafemtiosjättedelspaus
7656 @tab kahdessadasviideskymmeneskuudesosanuotti
7657 @tab kahdessadasviideskymmeneskuudesosatauko
7664 @ref{mensural notation}
7668 @chapter Pitch names
7670 @c -is/-es endings for Danish per Rune Zedeler
7671 @c and for Finnish per Risto Vääräniemi
7672 @c -iss/-ess endings for Swedish per Mats Bengtsson
7673 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7675 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7677 @tab ES @tab I @tab F @tab D
7678 @tab NL @tab DK @tab S @tab FI
7680 @tab do @tab do @tab ut @tab C
7681 @tab c @tab c @tab c @tab c
7682 @item @strong{c-sharp}
7683 @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7684 @tab cis @tab cis @tab ciss @tab cis
7685 @item @strong{d-flat}
7686 @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7687 @tab des @tab des @tab dess @tab des
7689 @tab re @tab re @tab ré @tab D
7690 @tab d @tab d @tab d @tab d
7691 @item @strong{d-sharp}
7692 @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7693 @tab dis @tab dis @tab diss @tab dis
7694 @item @strong{e-flat}
7695 @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7696 @tab es @tab es @tab ess @tab es
7698 @tab mi @tab mi @tab mi @tab E
7699 @tab e @tab e @tab e @tab e
7700 @item @strong{f-flat} = e
7701 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7702 @tab fes @tab fes @tab fess @tab fes
7704 @tab fa @tab fa @tab fa @tab F
7705 @tab f @tab f @tab f @tab f
7706 @item @strong{e-sharp} = f
7707 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7708 @tab eis @tab eis @tab eiss @tab eis
7709 @item @strong{f-sharp}
7710 @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7711 @tab fis @tab fis @tab fiss @tab fis
7712 @item @strong{g-flat}
7713 @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7714 @tab ges @tab ges @tab gess @tab ges
7716 @tab sol @tab sol @tab sol @tab G
7717 @tab g @tab g @tab g @tab g
7718 @item @strong{g-sharp}
7719 @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7720 @tab gis @tab gis @tab giss @tab gis
7721 @item @strong{a-flat}
7722 @tab la bemol @tab la bemolle @tab la bémol @tab As
7723 @tab as @tab as @tab ass @tab as
7725 @tab la @tab la @tab la @tab A
7726 @tab a @tab a @tab a @tab a
7727 @item @strong{a-sharp}
7728 @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7729 @tab ais @tab ais @tab aiss @tab ais
7730 @item @strong{b-flat}
7731 @tab si bemol @tab si bemolle @tab si bémol @tab B
7732 @tab bes @tab b @tab b @tab b
7734 @tab si @tab si @tab si @tab H
7735 @tab b @tab h @tab h @tab h
7743 @node Literature used
7744 @unnumberedsec Literature used
7747 @item The Harvard Dictionary of Music, London 1944. Many more or less
7748 literal quotes from its articles have been included into the item
7751 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7753 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7756 @item Oxford Advanced Learner's Dictionary of Current English, Third
7759 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7761 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.