1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 12/07
42 Copyright @copyright{} 1999--2008 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by:
73 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
74 @item @b{François Pinard}: Original glossary of GNU music project, French,
76 @item @b{Han-Wen Nienhuys}: Dutch,
77 @item @b{Jan Nieuwenhuizen}: Dutch,
79 @item @b{Neil Jerram}: English,
80 @item @b{Kurtis Kroon}: English,
82 @item @b{Heikki Junes}: Finnish,
84 @item @b{Bjoern Jacke}: German,
86 @item @b{Adrian Mariano}: Italian,
88 @item @b{David González}: Spanish,
90 @item @b{Mats Bengtsson}: Swedish,
94 with additional contributions: thanks to all who have contributed.
98 The list is rather long ...
104 @item Rune Zedeler, @emph{pace}
117 @item Andrew Hawryluk
119 @item Kieren MacMillan
120 @item Patrick McCarty
122 @item Carl D. Sorensen
128 @item Risto Vääräniemi
134 @item Reinhold Kainhofer
137 @item Thomas Scharkowski
152 @item Simon Dahlbacka
159 Copyright 1999--2008 by the authors
161 Permission is granted to copy, distribute and/or modify this document
162 under the terms of the GNU Free Documentation License, Version 1.1
163 or any later version published by the Free Software Foundation,
164 without Invariant Sections.
170 @c @everyheading @| @thispage @|
171 @c @evenheading @thispage @| @|
172 @c @oddheading @| @| @thispage @|
174 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
175 For more information about how this fits with the other
176 documentation, see @rlearning{About the documentation}.
182 @w{@expansion{}@strong{\word\}}@c
185 @expansion{}@ref{\word\, @strong{\word\}}@c
190 * Musical terms A-Z::
191 * Duration names notes and rests::
196 @node Musical terms A-Z
197 @chapter Musical terms A-Z
199 Languages in this order.
201 @item UK - British English (where it differs from American English)
229 * ancient minor scale::
234 * ascending interval::
236 * augmented interval::
273 * compound interval::
277 * conjunct movement::
291 * descending interval::
294 * diminished interval::
298 * disjunct movement::
300 * dissonant interval::
304 * dominant ninth chord::
305 * dominant seventh chord::
307 * dot (augmentation dot)::
309 * double appoggiatura::
311 * double dotted note::
314 * double time signature::
321 * ecclesiastical mode::
328 * equal temperament::
349 * functional harmony::
369 * inverted interval::
384 * long appoggiatura::
390 * meantone temperament::
397 * mensural notation::
401 * metronomic indication::
414 * multi-measure rest::
444 * polymetric time signature::
449 * Pythagorean comma::
479 * sixty-fourth note::
480 * sixty-fourth rest::
511 * thirty-second note::
512 * thirty-second rest::
519 * transposing instrument::
574 Abbreviated @notation{a2} or @notation{a 2}.
578 @item An indication in orchestral scores that a single part notated on a single
579 staff that normally carries parts for two players (e.g. first and second oboes)
580 is to be played by both players.
582 @item Or conversely, that two pitches or parts notated on a staff that normally
583 carries a single part (e.g. first violin) are to be played by different players,
584 or groups of players (@q{desks}).
598 F: accelerando, en accélérant,
599 D: accelerando, schneller werden,
603 FI: accelerando, kiihdyttäen.
605 [Italian: @q{speed up, accelerate}.]
624 FI: aksentti, korostus.
626 The stress of one tone over others.
642 @section acciaccatura
644 A grace note which takes its time from the rest or note preceding the
645 principal note to which it is attached. The acciaccatura is drawn as a
646 small eighth note (quaver) with a line drawn through the flag and
651 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
657 ES: alteración accidental,
659 F: altération accidentelle,
660 D: Versetzungszeichen, Akzidenz,
661 NL: toevallig (verplaatsings)teken,
663 S: tillfälligt förtecken,
664 FI: tilapäinen etumerkki.
666 An accidental alters a note by:
670 @item Raising its pitch:
672 @item A @notation{double sharp}, by two semitones (a whole tone)
673 @item A @notation{sharp}, by one semitone
676 @item Lowering its pitch:
678 @item A @notation{flat}, by one semitone
679 @item A @notation{double flat}, by two semitones (a whole tone)
682 @item Canceling the effects of the key signature or previous accidentals.
685 @lilypond[fragment,notime,line-width=13.0\cm]
686 \set Score.automaticBars = ##f
688 \context Staff \relative c'' {
689 \set Staff.extraNatural = ##f
690 gisis1 gis g! ges geses
693 \override Lyrics .LyricText #'self-alignment-X = #-1
694 "db. sharp" sharp natural flat "db. flat"
701 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
714 FI: adagio, hitaasti.
716 [Italian: @q{comfortable, easy}.]
720 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
721 and faster than @notation{largo}.
723 @item A movement in slow tempo, especially the second (slow) movement
724 of sonatas, symphonies, etc.
730 @ref{andante}, @ref{largo}, @ref{sonata}.
743 FI: häviten olemattomiin.
745 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
746 that the sound should fade away to nothing.
748 @notation{Al niente} is indicated by circling the tip of the hairpin:
750 @lilypond[fragment,ragged-right]
752 \override Hairpin #'circled-tip = ##t
759 or with the actual phrase @notation{al niente}. This may be easier with
760 text markup, rather than as part of the @notation{decrescendo} text:
762 @lilypond[fragment,ragged-right]
767 c\!-\markup { \italic "al niente" }
771 Since one does not crescendo @emph{to} nothing, it is not correct to use
772 @notation{al niente} with @notation{crescendo}. Instead, one should use
773 @emph{dal niente} (@notation{@b{from} nothing}).
777 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
786 D: Allegro, Schnell, Fröhlich, Lustig,
790 FI: allegro, nopeasti.
792 [Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
793 tempo, especially the first and last movements of a sonata.
807 NL: verhoging of verlaging,
812 An alteration is the modification, raising or lowering, of a note's
813 pitch. It is established by an accidental.
830 FI: altto, matala naisääni.
832 A female voice of low range (@emph{contralto}). Originally the alto
833 was a high male voice (hence the name), which by the use of falsetto
834 reached the height of the female voice. This type of voice is also
835 known as countertenor.
845 ES: clave de do en tercera,
846 I: chiave di contralto,
847 F: clef d'ut troisième ligne,
848 D: Altschlüssel, Bratschenschlüssel,
854 C clef setting middle C on the middle line of the staff.
871 FI: ambitus, ääniala, soitinala.
873 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
874 Denotes a range of pitches for a given voice in a part of music. It may
875 also denote the pitch range that a musical instrument is capable of playing.
876 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
895 An anacrusis (also known as pickup or upbeat) is an incomplete measure
896 of music before a section of music. It also refers to the initial
897 note(s) of a melody occurring in that incomplete measure.
899 @lilypond[fragment,line-width=13.0\cm]
903 \partial 4 f4 | bes4. a8 bes4 c |
904 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
909 @ref{measure}, @ref{meter}.
912 @node ancient minor scale
913 @section ancient minor scale
915 ES: escala menor natural,
916 I: scala minore naturale,
917 F: forme du mode mineur ancien, troisème mode, mode hellénique,
918 D: reines Moll, natürliches Moll,
919 NL: authentieke mineurtoonladder,
922 FI: luonnollinen molliasteikko.
924 Also called @q{natural minor scale}.
926 @lilypond[fragment,notime,line-width=13.0\cm]
927 \set Score.automaticBars = ##f
934 @ref{diatonic scale}.
949 [Italian: present participle of @emph{andare}, @q{to walk}.]
951 Walking tempo/character.
959 @section appoggiatura
963 F: appoggiature, (port de voix),
964 D: Vorschlag, Vorhalt
968 FI: appoggiatura, etuhele.
970 Ornamental note, usually a second, that is melodically connected with
971 the main note following it. In music before the 19th century
972 appoggiature were usually performed on the beat, after that mostly
973 before the beat. While the short appoggiatura is performed as a short
974 note regardless of the duration of the main note the duration of the
975 long appoggiatura is proportional to that of the main note.
977 @lilypond[line-width=13.0\cm]
978 \context Voice \relative c'' {
982 %\override Score.TextScript #'font-style = #'large
983 <d a fis>4_"notation" r
984 { \override Stem #'flag-style = #'()
986 \revert Stem #'flag-style
989 { \override Stem #'flag-style = #'()
991 \revert Stem #'flag-style
994 \cadenzaOn a4 \bar "||" \cadenzaOff
996 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
997 \cadenzaOn a4 \bar "||" \cadenzaOff
1001 An appoggiatura may have more notes preceding the main note.
1003 @lilypond[line-width=13.0\cm]
1007 % \override Score.TextScript #'font-style = #'large
1008 \grace { bes16 } as8_"notation" as16 bes as8 g |
1009 \grace { as16[( bes] } < c as >4-)
1010 \grace { as16[( bes] } < c as >4-) \bar "||"
1011 \grace { bes16 } as8_"performance" as16 bes as8 g |
1012 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
1013 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
1029 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1030 NL: gebroken akoord,
1031 DK: arpeggio, akkordbrydning,
1033 FI: arpeggio, murtosointu.
1035 [Italian: @q{harp-like, played like a harp}.]
1037 @lilypond[fragment,line-width=13.0\cm]
1038 \context PianoStaff <<
1039 \context Staff = SA \relative c'' {
1042 r8 g16 c e g, c e r8 g,16 c e g, c e |
1043 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
1044 \context Staff = SB \relative c' {
1046 << \context Voice = va {
1048 r16 e8. ( e4) r16 e8. ( e4) |
1049 r16 d8. ( d4) r16 d8. ( d4) }
1050 \context Voice = vb {
1063 @section articulation
1072 FI: artikulaatio, ilmaisu.
1074 Articulation refers to notation which indicates how a note or notes
1075 should be played. Slurs, accents, staccato, and legato are all
1076 examples of articulation.
1083 @node ascending interval
1084 @section ascending interval
1086 ES: intervalo ascendente,
1087 I: intervallo ascendente,
1088 F: intervalle ascendant,
1089 D: steigendes Intervall,
1090 NL: stijgend interval,
1091 DK: stigende interval,
1092 S: stigande intervall,
1093 FI: nouseva intervalli.
1095 A distance between a starting lower note and a higher ending note.
1102 @node augmented interval
1103 @section augmented interval
1105 ES: intervalo aumentado,
1106 I: intervallo aumentato,
1107 F: intervalle augmenté,
1108 D: übermäßiges Intervall,
1109 NL: overmatig interval,
1110 DK: forstørret interval,
1111 S: överstigande intervall,
1112 FI: ylinouseva intervalli.
1120 @section augmentation
1129 FI: aika-arvojen pidentäminen.
1131 @c TODO: add definition.
1133 This is a placeholder for augmentation (wrt mensural notation).
1137 @ref{diminution}, @ref{mensural notation}.
1145 F: manuscrit, autographe
1146 D: Autograph, Handschrift,
1148 DK: håndskrift, autograf,
1150 FI: käsinkirjoitettu nuotti.
1154 @item A manuscript written in the composer's own hand.
1156 @item Music prepared for photoreproduction by freehand drawing, with
1157 the aid of a straightedge ruler and T-square only, which attempts to
1158 emulate engraving. This required more skill than did engraving.
1183 @ref{H}, @ref{Pitch names}
1205 ES: barra, línea divisoria,
1206 I: stanghetta, barra (di divisione),
1207 F: barre (de mesure),
1214 A vertical line through the staff (or through multiple staves) that
1215 separates measures. Used very infrequently during the Renaissance (mostly
1216 in secular music, or in sacred music to indicate congruences between parts
1217 in otherwise-unmetered music).
1234 FI: baritoni, keskikorkuinen miesääni.
1236 The male voice intermediate in pitch between the bass and the tenor.
1238 @c F: clef de troisième ligne dropped
1242 @ref{bass}, @ref{tenor}.
1246 @section baritone clef
1248 ES: clave de fa en tercera,
1249 I: chiave di baritono,
1250 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1251 D: Baritonschlüssel,
1257 C or F clef setting middle C on the upper staff line.
1261 @ref{C clef}, @ref{F clef}.
1274 FI: basso, matala miesääni.
1278 @item The lowest male voice.
1280 @item Sometimes, especially in jazz music, used as an abbreviation for
1293 ES: clave de fa en cuarta,
1295 F: clef de fa quatrième ligne,
1302 A clef setting with middle C on the first top ledger line.
1321 Line connecting a series of notes (shorter than a quarter note). The
1322 number of beams determines the note value of the connected notes.
1324 @lilypond[fragment,notime,line-width=13.0\cm]
1325 \set Score.automaticBars = ##f
1326 %\override TextScript #'font-style = #'large
1328 g8_"1/8"[ g g g] s16
1329 g16_"1/16"[ g g g] s16
1330 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1331 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1336 @ref{feathered beam}.
1342 ES: tiempo, parte (de compás)
1345 D: Takt, Taktschlag, Zeit (im Takt),
1351 Note value used for counting, most often half-, fourth-, and eighth notes.
1352 The base counting value and the number of them in each measure is indicated
1353 at the start of the music by the @notation{time signature}.
1355 @lilypond[fragment,line-width=13.0\cm]
1358 \relative c'' { g4 c b a | g1 \bar "||"}
1360 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1365 @ref{time signature}.
1369 @section beat repeat
1373 @ref{percent repeat}.
1387 ES: llave, corchete,
1390 D: Klammer, Akkolade,
1391 NL: accolade, teksthaak,
1394 FI: yhdistävä sulkumerkki.
1396 Symbol at the start of a system connecting staves.
1398 Curly braces are used for connecting piano staves, and sometimes for connecting
1399 the staves of like instruments in an orchestral score when written on different
1400 staves (e.g. first and second flutes):
1402 @lilypond[fragment,ragged-right]
1403 \context GrandStaff <<
1404 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1405 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1408 Angular brackets for connecting parts in an orchestral or choral score:
1410 @lilypond[fragment,ragged-right]
1411 \context StaffGroup <<
1412 % \set StaffGroup.minVerticalAlign = #12
1413 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1414 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1445 NL: koper (blazers),
1448 S: brassinstrument, mässingsinstrument,
1451 A family of blown musical instruments made of brass, all using a cup
1452 formed mouth piece. The brass instruments commonly used in a symphony
1453 orchestra are trumpet, trombone, french horn, and tube.
1461 @section breath mark
1466 D: Atemzeichen, Trennungszeichen,
1467 NL: repercussieteken,
1468 DK: vejrtrækningstegn,
1472 Indication of where to breathe in vocal and wind instrument parts.
1483 @item US: breve, double-whole note,
1484 @item ES: cuadrada, breve,
1491 @item FI: brevis, kaksoiskokonuotti.
1494 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1495 The shortest note value generally used in white mensural notation, hence the
1496 name, which originally meant @q{of short duration}.
1498 @lilypond[fragment,notime,ragged-right]
1499 \set Score.automaticBars = ##f
1500 \relative c'' { g\breve }
1505 @ref{mensural notation}, @ref{note value}.
1539 Clef symbol indicating the position of the middle C. Used on all note
1542 @lilypond[fragment,notime,line-width=13.0\cm]
1543 \set Score.automaticBars = ##f
1544 \override Score.Clef #'full-size-change = ##t
1546 \context Staff \relative c' {
1548 \clef mezzosoprano c
1553 \context Lyrics \lyrics {
1554 \override Lyrics .LyricText #'self-alignment-X = #-1
1555 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1575 FI: kadenssi, lopuke.
1579 @ref{harmonic cadence}, @ref{functional harmony}.
1592 FI: kadenssi, lopuke.
1594 An extended, improvisatory style section inserted near the end of
1595 movement. The purpose of a cadenza is to give singers or players a
1596 chance to exhibit their technical skill and -- not last -- their
1597 ability to improvise. Since the middle of the 19th century, however,
1598 most cadenzas have been written down by the composer.
1617 [Latin: from the supine of @emph{caedere} @q{to cut down}.]
1619 The break between two musical phrases, sometimes (but not always) marked by a
1620 rest or a breath mark.
1637 FI: kaanon, tarkka jäljittely.
1654 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1655 viritysjärjestelmässä.
1657 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1658 (1/100 of an equally tempered semitone).
1662 @ref{equal temperament}, @ref{semitone}.
1685 Three or more tones sounding simultaneously. In traditional European music
1686 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1687 (major + minor third) as well as @emph{minor} (minor + major third) chords
1688 may be extended with more thirds. Four-tone @emph{seventh chords} and
1689 five-tone @emph{ninth} major chords are most often used as dominants
1690 (functional harmony). Chords having no third above the lower notes to
1691 define their mood are a special case called @q{open chords}. The lack of
1692 the middle third means their quality is ambivalent -- neither major nor
1695 @lilypond[fragment,notime,line-width=13.0\cm]
1696 \set Score.automaticBars = ##f
1697 %\override TextScript #'font-style = #'large
1699 \context Staff \relative c'' {
1700 \set Staff.extraNatural = ##f
1721 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1725 @node chromatic scale
1726 @section chromatic scale
1728 ES: escala cromática,
1730 F: gamme chromatique,
1731 D: chro@-ma@-ti@-sche Tonleiter,
1732 NL: chromatische toonladder,
1733 DK: kromatisk skala,
1735 FI: kromaattinen asteikko.
1737 A scale consisting of all 12 semitones.
1739 @lilypond[fragment,notime,line-width=13.0\cm]
1740 \set Score.automaticBars = ##f
1741 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1750 @section chromaticism
1761 Using tones extraneous to a diatonic scale (minor, major).
1765 @ref{diatonic scale}.
1769 @section church mode
1771 ES: modo eclesiástico,
1772 I: modo ecclesiastico,
1773 F: mode ecclésiastique,
1778 FI: moodi, kirkkosävellaji.
1782 @ref{diatonic scale}.
1791 D: Schlüssel, Notenschlüssel,
1795 FI: avain, nuottiavain.
1797 The clef indicates which lines of the staff correspond to which
1798 pitches. The three clef symbols in common use are:
1800 @lilypond[ragged-right,quote]
1803 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1804 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1805 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1810 Imagine a large staff of 11 lines centered on middle C, sometimes
1811 called a @q{grand staff}, with the bottom line representing low G and
1812 the top line high F:
1814 @lilypond[ragged-right,quote]
1817 %-- Treble Staff --%
1819 % Allow this staff to be placed close to the others
1820 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1821 % Allow the treble clef to overlap the lower staves:
1822 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1823 \override Staff.Clef #'stencil = ##f % No clef required
1825 s1^\markup { "g," \transparent "g" }
1826 s^ \markup { "b," \transparent "g" }
1827 s^ \markup { "d" \transparent "g" }
1828 s^ \markup { "f" \transparent "g" }
1829 s^ \markup { "a" \transparent "g" }
1830 s^ \markup { \with-color #red c' \transparent "g"}
1831 e'^\markup { "e'" \transparent "g" }
1832 g'^\markup { "g'" \transparent "g" }
1833 b'^\markup { "b'" \transparent "g" }
1834 d''^\markup { "d''" \transparent "g" }
1835 f''^\markup { "f ''" \transparent "g" }
1838 %-- Alto Staff reduced to a single line on middle C --%
1840 \override Staff.StaffSymbol #'line-count = 1 % One line only
1841 \override Staff.StaffSymbol #'color = #red % Coloured red
1842 \override Staff.Clef #'stencil = ##f % No clef required
1845 % Allow this staff to be placed close to the others
1846 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1847 % Specify height to give correct spacing between treble and bass staves
1848 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1850 s1 s s s s % Space along to align horizonatally
1851 \override NoteHead #'color = #red
1853 s1 s s s s s % Keep staff (ie the red line) showing
1857 % Allow this staff to be placed close to the others
1858 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1859 \override Staff.Clef #'stencil = ##f % No clef required
1862 s s s s s s s % Keep staff showing
1866 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1867 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1869 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1870 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1872 % Remove all barlines
1873 \context { \Score \override BarLine #'stencil = ##f
1875 % Remove time signature from all staves
1876 \context { \Staff \remove Time_signature_engraver
1882 Staves of five lines are usually used, and the clef superimposed on
1883 them indicates which five lines have been selected from this
1884 @samp{grand staff}. For example, the treble or G clef indicates that
1885 the top five lines have been selected:
1887 @lilypond[ragged-right,quote]
1890 %-- Treble Staff --%
1892 % Allow this staff to be placed close to the others
1893 \override Staff.VerticalAxisGroup
1894 #'minimum-Y-extent = #'(0 . 0)
1895 % Allow the treble clef to overlap the lower staves:
1896 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1897 \override Staff.Clef #'stencil = ##f % No clef required here
1899 s1^\markup { "g," \transparent "g" }
1900 s^ \markup { "b," \transparent "g" }
1901 s^ \markup { "d" \transparent "g" }
1902 s^ \markup { "f" \transparent "g" }
1903 s^ \markup { "a" \transparent "g" }
1904 s^ \markup { \with-color #red c' \transparent "g"}
1905 \stopStaff \startStaff
1906 \clef "C" % Dummy to force next clef to be printed
1907 s % Need at least one note for \clef to take effect
1908 \override Staff.Clef #'stencil = ##t % Clef now required
1909 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1911 e'^\markup { "e'" \transparent "g" }
1912 g'^\markup { "g'" \transparent "g" }
1913 b'^\markup { "b'" \transparent "g" }
1914 d''^\markup { "d''" \transparent "g" }
1915 f''^\markup { "f ''" \transparent "g" }
1917 %-- Alto Staff reduced to a single line on middle C --%
1919 \override Staff.StaffSymbol #'line-count = 1 % One line only
1920 \override Staff.StaffSymbol #'color = #red % Coloured red
1921 \override Staff.Clef #'stencil = ##f % No clef required
1924 % Allow this staff to be placed close to the others
1925 \override Staff.VerticalAxisGroup
1926 #'minimum-Y-extent = #'(0 . 0)
1927 % Specify height to give correct spacing between the staves
1928 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1930 s1 s s s s % Space along to align horizonatally
1931 \override NoteHead #'color = #red
1933 % s1 s s s s % Keep staff (ie the red line) showing
1937 % Allow this staff to be placed close to the others
1938 \override Staff.VerticalAxisGroup
1939 #'minimum-Y-extent = #'(0 . 0)
1940 \override Staff.Clef #'stencil = ##f % No clef required
1943 % s s s s s s % Keep staff showing
1947 % Reduce horizontal spacing so semibreves can be used
1948 % without exceeding 1 line
1949 \context { \Score \override SpacingSpanner
1950 #'base-shortest-duration = #(ly:make-moment 1 1)
1952 % Reduce apparent vertical size of note heads to
1953 % permit them to overlap other grobs vertically
1954 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1956 % Remove all barlines
1957 \context { \Score \override BarLine #'stencil = ##f
1959 % Remove time signature from all staves
1960 \context { \Staff \remove Time_signature_engraver
1966 The @q{curl} of the G clef is centered on the line that represents the
1969 In the same way, the bass or F clef indicates that the bottom five
1970 lines have been selected from the @samp{grand staff}, and the alto or
1971 C clef indicates the middle five lines have been selected. This
1972 relationship is shown below, where the notes show an arpeggio on a C
1975 @lilypond[ragged-right,quote]
1978 %-- Treble Staff --%
1979 \new Staff = "G" \with {
1980 \remove Time_signature_engraver
1983 % The following two overrides are required to make the two middle C's overlap
1984 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1985 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1987 \override Staff.Clef #'Y-extent = #'(0 . 0)
1989 s1 s s s s e' g' c''
1992 \new Staff = "C" \with {
1993 \remove Time_signature_engraver
1996 \override Staff.StaffSymbol #'line-count = 1
1997 \override Staff.StaffSymbol #'stencil = ##f
1998 \once \override Staff.Clef #'stencil = ##f
1999 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
2000 \override Score.BarLine #'stencil = ##f
2002 % The following two overrides are required to align the C staff to the G and F staves
2003 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2004 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2007 \stopStaff \startStaff
2008 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2009 \revert Staff.StaffSymbol #'stencil
2010 \override Staff.StaffSymbol #'color = #red
2011 b'1 % A frig. This really shows as a middle C in the score
2013 \stopStaff \startStaff
2014 \override Staff.StaffSymbol #'line-count = 5
2015 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
2016 \override Staff.Clef #'Y-extent = #'(0 . 0)
2017 \revert Staff.StaffSymbol #'color
2018 \stopStaff \startStaff
2020 s1 s s c e g c' e' g' c''
2023 \new Staff = "F" \with {
2024 \remove Time_signature_engraver
2027 \override Staff.Clef #'Y-extent = #'(0 . 0)
2028 % The following two overrides are required to make the two middle C's overlap
2029 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2030 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
2038 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
2041 \Score \override NoteHead #'Y-extent = #'(0 . 0)
2044 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
2052 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2065 FI: klusteri, cluster.
2067 A @emph{cluster} is a range of simultaneously sounding pitches that
2068 may change over time. The set of available pitches to apply usually
2069 depends on the acoustic source. Thus, in piano music, a cluster
2070 typically consists of a continuous range of the semitones as provided
2071 by the piano's fixed set of a chromatic scale. In choral music, each
2072 singer of the choir typically may sing an arbitrary pitch within the
2073 cluster's range that is not bound to any diatonic, chromatic or other
2074 scale. In electronic music, a cluster (theoretically) may even cover
2075 a continuous range of pitches, thus resulting in colored noise, such
2078 Clusters can be denoted in the context of ordinary staff notation by
2079 engraving simple geometrical shapes that replace ordinary notation of
2080 notes. Ordinary notes as musical events specify starting time and
2081 duration of pitches; however, the duration of a note is expressed by
2082 the shape of the note head rather than by the horizontal graphical
2083 extent of the note symbol. In contrast, the shape of a cluster
2084 geometrically describes the development of a range of pitches
2085 (vertical extent) over time (horizontal extent). Still, the
2086 geometrical shape of a cluster covers the area in which any single
2087 pitch contained in the cluster would be notated as an ordinary note.
2089 @lilypond[fragment,relative=2,ragged-right]
2090 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
2108 FI: komma, korvinkuultava ero äänenkorkeudessa.
2110 Difference in pitch between a note derived from pure tuning and the
2111 same note derived from some other tuning method.
2115 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2120 @section common meter
2122 Another name for @ref{common time}.
2126 @ref{common time}, @ref{meter}.
2130 @section common time
2141 4/4 time. The symbol, which resembles a capital letter C, comes from
2146 @ref{mensural notation}, @ref{meter}.
2152 ES: intervalo invertido,
2154 F: intervalle complémentaire,
2155 D: Komplementärintervall,
2156 NL: complementair interval,
2157 DK: komplementærinterval,
2158 S: komplementärintervall (?),
2159 FI: täydentävä intervalli.
2163 @ref{inverted interval}.
2166 @node compound interval
2167 @section compound interval
2169 ES: intervalo compuesto,
2170 I: intervallo composto,
2171 F: intervalle composé,
2172 D: weites Intervall,
2173 NL: samengesteld interval,
2174 DK: sammensat interval,
2175 S: sammansatt intervall,
2176 FI: oktaavia laajempi intervalli.
2178 Intervals larger than an octave.
2185 @node compound meter
2186 @section compound meter
2188 ES: compás compuesto, compás de subdivisión ternaria,
2195 FI: kolmijakoinen tahtilaji.
2197 A meter that includes a triplet subdivision within the beat, such as
2202 @ref{meter}, @ref{simple meter}.
2206 @section compound time
2208 ES: compás compuesto, compás de amalgama (def. 2),
2215 FI: yhdistetty tahtilajiosoitus.
2220 A meter that includes a triplet subdivision within the beat: see
2221 @ref{compound meter}.
2224 A time signature that additively combines two or more unequal meters, e.g.,
2225 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2227 @lilypond[fragment,line-width=13.0\cm]
2228 #(define (compound-time grob one two three num)
2229 (grob-interpret-markup grob
2231 #:override '(baseline-skip . 0)
2234 #:left-column (one num)
2236 #:left-column (two num)
2238 #:left-column (three num)))))
2242 #(set-time-signature 8 8 '(3 2 3))
2243 \override Staff.TimeSignature #'stencil = #(lambda (grob)
2244 (compound-time grob "3" "2" "3" "8"))
2245 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2246 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2258 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2262 @section concert pitch
2264 ES: en Do, afinación de concierto,
2271 FI: konserttikorkeus.
2273 The pitch at which the piano and other nontransposing instruments play: such
2274 instruments are said to be @q{in C}. The following list includes some (but not
2275 all) instruments that play in concert pitch:
2277 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2279 @multitable {alto trombone} {tenor trombone} {bass trombone}
2280 @headitem Woodwinds @tab Brass @tab Strings
2293 @item tenor trombone
2307 The trombones are a special case: although they are said to be @q{in F} (alto or
2308 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2309 their parts' transposition. (In fact, the trombones' parts are written at
2310 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2311 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2314 Instruments that play @q{in C} but in a different octave than what is written
2315 are, technically speaking, @emph{transposing instruments}:
2319 @item piccolo (plays an octave higher)
2320 @item celesta (plays an octave higher)
2321 @item double-bass (plays an octave lower)
2327 @ref{transposing instrument}.
2330 @node conjunct movement
2331 @section conjunct movement
2333 ES: movimiento conjunto,
2335 F: mouvement conjoint,
2336 D: schritt@-weise, stufenweise Bewegung,
2337 NL: stapsgewijze, trapsgewijze beweging,
2338 DK: trinvis bevægelse,
2340 FI: asteittainen liike.
2342 Progressing melodically by intervals of a second, as contrasted with
2343 @emph{disjunct movement}.
2345 @lilypond[fragment,line-width=13.0\cm]
2346 \key g \major \time 4/4
2347 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2352 @ref{disjunct movement}.
2365 FI: konsonanssi, sopusointi.
2390 @section copying music
2392 A music copyist did fast freehand scores and parts on preprinted staff
2393 lines for performance. Some of their conventions (e.g., the placement
2394 of note heads on stems) varied slightly from those of engravers. Some
2395 of their working methods were superior and could well be adopted by
2398 @c Copying music required more skill than engraving. Flagged for NPOV
2406 @section counterpoint
2415 FI: kontrapunkti, ääni ääntä vastaan.
2417 From Latin @emph{punctus contra punctum}, note against note. The
2418 combination into a single musical fabric of lines or parts which have
2419 distinct melodic significance. A frequently used polyphonic technique
2420 is imitation, in its strictest form found in the canon needing only
2421 one part to be written down while the other parts are performed with a
2422 given displacement. Imitation is also the contrapunctal technique
2423 used in the @emph{fugue} which, since the music of the baroque era,
2424 has been one of the most popular polyphonic composition methods.
2426 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2427 \set Score.implicitTimeSignatureVisibility = #all-invisible
2428 \override Score.TimeSignature #'break-visibility = #all-invisible
2429 \context PianoStaff <<
2430 \context Staff = SA \relative c' {
2434 << \context Voice = rha {
2436 r1 | r2 r8 g'8 bes d, |
2437 cis4 d r8 e!16 f g8 f16 e |
2438 f8 g16 a bes8 a16 g a8
2440 \context Voice = rhb {
2446 \context Staff = SB \relative c' {
2449 << \context Voice = lha {
2451 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2452 r8 a16 g f8 g16 a bes8 g e! cis' |
2455 \context Voice = lhb {
2469 @section countertenor
2474 D: Countertenor, Kontratenor,
2477 S: kontratenor, counter tenor,
2491 D: Crescendo, lauter werden,
2495 FI: cresendo, voimistuen.
2497 Increasing volume. Indicated by a rightwards opening horizontal wedge
2498 (hairpin) or the abbreviation @notation{cresc.}.
2500 @lilypond[fragment,ragged-right]
2501 \key g \major \time 4/4
2502 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2507 @ref{decrescendo}, @ref{hairpin}.
2515 F: petites notes précédent l'entrée d'un instrument, réplique,
2522 In a separate part notes belonging to another part with the purpose of
2523 hinting when to start playing. Usually printed in a smaller type.
2536 D: Notenzeiger, Custos,
2542 A custos (plural: custodes) is a staff symbol that appears at the end of a
2543 staff line with monophonic musical contents (i.e., with a single voice). It
2544 anticipates the pitch of the first note of the following line and thus helps
2545 the player or singer to manage line breaks during performance, which
2546 enhances the readability of a score.
2548 Custodes were frequently used in music notation until the 16th century.
2549 There were different appearences for different notation styles. Nowadays,
2550 they have survived only in special forms of musical notation such as the
2551 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2556 % \override Staff.Custos #'neutral-position = #4
2557 \override Staff.Custos #'neutral-direction = #down
2558 \override Staff.Custos #'style = #'hufnagel
2566 \consists Custos_engraver
2602 F: da capo, depuis le commencement,
2603 D: da capo, von Anfang,
2607 FI: da capo, alusta.
2609 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2610 the beginning to the end or to a certain place marked @emph{fine}.
2627 FI: tyhjästä ilmaantuen.
2629 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2630 that the sound should gradually increase from nothing.
2642 F: dal segno, depuis le signe,
2643 D: dal segno, ab dem Zeichen,
2647 FI: dal segno, lähtien merkistä.
2649 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2650 another place frequently near the beginning marked by a sign
2653 @lilypond[fragment,ragged-right]
2654 %\override TextScript #'font-style = #'large
2655 \override TextScript #'font-shape = #'italic
2656 \key g \major \time 4/4
2661 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2672 @section decrescendo
2676 D: Decrescendo, leiser werden,
2680 FI: decresendo, hiljentyen.
2682 Decreasing tone volume. Indicated by a leftwards opening horizontal
2683 wedge (hairpin) or the abbreviation @notation{decresc.}.
2685 @lilypond[fragment,ragged-right]
2687 \key g \major \time 4/4
2688 d4 \> c b a | g1 \! \bar "|."
2694 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2697 @node descending interval
2698 @section descending interval
2700 ES: intervalo descendente,
2701 I: intervallo discendente,
2702 F: intervalle descendant,
2703 D: fallendes Intervall, absteigendes Intervall,
2704 NL: dalend interval,
2705 DK: faldende interval,
2706 S: fallande intervall,
2707 FI: laskeva intervalli.
2709 A distance between a starting higher note and a lower ending note.
2716 @node diatonic scale
2717 @section diatonic scale
2719 ES: escala diatónica,
2721 F: gamme diatonique,
2722 D: diatonische Tonleiter,
2723 NL: diatonische toonladder,
2724 DK: diatonisk skala,
2726 FI: diatoninen asteikko.
2728 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2729 played on the white keys of a piano keybord are diatonic. These scales
2730 are sometimes called, somewhat inaccurately, @q{church modes}).
2732 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2733 but also to some extent in newer jazz music.
2735 @lilypond[fragment,notime,ragged-right]
2736 \set Score.automaticBars = ##f
2737 %\override Score.LyricText #'font-style = #'large
2738 %\override Score.TextScript #'font-style = #'large
2740 \context Staff \relative c' {
2742 \override TextScript #'padding = #-4
2743 e^"~~ S" f g a b^"~~ S" c
2745 \context Lyrics \lyrics {
2751 @lilypond[fragment,notime,ragged-right]
2752 \set Score.automaticBars = ##f
2754 \context Staff \relative c' {
2756 \override TextScript #'padding = #-4
2757 e^"~~ S" f g a b^"~~ S" c d
2765 @lilypond[fragment,notime,ragged-right]
2766 \set Score.automaticBars = ##f
2769 \override TextScript #'padding = #-4
2770 e1^"~~ S" f g a b^"~~ S" c d e
2778 @lilypond[fragment,notime,ragged-right]
2779 \set Score.automaticBars = ##f
2783 \override TextScript #'padding = #-4
2784 b^"~~ S" c d e^"~~ S" f
2792 @lilypond[fragment,notime,ragged-right]
2793 \set Score.automaticBars = ##f
2797 \override TextScript #'padding = #-4
2798 b^"~~ S" c d e^"~~ S" f g }
2805 @lilypond[fragment,notime,ragged-right]
2806 \set Score.automaticBars = ##f
2807 %\override Score.LyricText #'font-style = #'large
2808 %\override Score.TextScript #'font-style = #'large
2812 \override TextScript #'padding = #-4
2813 b^"~~ S" c d e^"~~ S" f g a
2821 @lilypond[fragment,notime,ragged-right]
2822 \set Score.automaticBars = ##f
2823 %\override Score.LyricText #'font-style = #'large
2824 %\override Score.TextScript #'font-style = #'large
2827 \override TextScript #'padding = #-4
2828 b1^"~~ S" c d e^"~~ S" f g a b
2836 From the beginning of the 17th century the scales used in European
2837 compositional music are primarily the major and the minor scales. In
2838 the harmonic minor scale type an augmented second (A) occurs between
2839 the 6th and 7th tone.
2841 @lilypond[fragment,notime,ragged-right]
2842 \set Score.automaticBars = ##f
2846 \override TextScript #'padding = #-4
2847 e^"~~ S" f g a b^"~~ S" c
2855 @lilypond[fragment,notime,ragged-right]
2856 \set Score.automaticBars = ##f
2860 \override TextScript #'padding = #-4
2861 b^"~~ S" c d e^"~~ S" f g a
2864 "Ancient (or Natural) minor"
2869 @lilypond[fragment,notime,ragged-right]
2870 \set Score.automaticBars = ##f
2874 \override TextScript #'padding = #-4
2875 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2877 \context Lyrics \lyrics {
2883 @lilypond[fragment,notime,line-width=13.0\cm]
2884 \set Score.automaticBars = ##f
2885 %\override Score.LyricText #'font-style = #'large
2886 %\override Score.TextScript #'font-style = #'large
2890 \override TextScript #'padding = #-4
2891 b^"~~ S" c d e fis gis^"~~ S" a
2894 "Melodic minor ascending"
2899 @lilypond[fragment,notime,line-width=13.0\cm]
2900 \set Score.automaticBars = ##f
2901 %\override Score.LyricText #'font-style = #'large
2902 %\override Score.TextScript #'font-style = #'large
2906 \override TextScript #'padding = #-4
2907 a g! f!^"~~ S" e d c^"~~ S" b a
2910 "Melodic minor descending"
2917 @ref{semitone}, @ref{whole tone}.
2921 @section didymic comma
2925 @ref{syntonic comma}.
2928 @node diminished interval
2929 @section diminished interval
2931 ES: intervalo disminuido,
2932 I: intervallo diminuito,
2933 F: intervalle diminué,
2934 D: vermindertes Intervall,
2935 NL: verminderd interval,
2936 DK: formindsket interval,
2937 S: förminskat intervall,
2938 FI: vähennetty intervalli.
2955 FI: diminuendo, hiljentyen.
2972 FI: aika-arvojen tihennys.
2974 This is a stub for diminution (@emph{wrt} mensural notation).
2978 @ref{augmentation}, @ref{mensural notation}.
2998 @node disjunct movement
2999 @section disjunct movement
3001 ES: movimiento disjunto,
3003 F: mouvement disjoint,
3004 D: sprunghafte Bewegung,
3005 NL: sprongsgewijze beweging,
3006 DK: springende bevægelse,
3007 S: hoppande rörelse,
3008 FI: melodian hyppivä liike.
3010 Progressing melodically by intervals larger than a major second, as contrasted
3011 with conjunct movement.
3013 @lilypond[fragment,ragged-right]
3018 a4. gis8 b a e cis |
3019 fis2 d4. \bar "||" }
3024 @ref{conjunct movement}.
3030 Another name for @ref{dissonant interval}.
3034 @ref{dissonant interval}, @ref{harmony}.
3037 @node dissonant interval
3038 @section dissonant interval
3040 ES: intervalo disonante, disonancia,
3041 I: intervallo dissonante, dissonanza,
3044 NL: dissonant interval, dissonant,
3045 DK: dissonerende interval, dissonans,
3047 FI: dissonanssi, dissonoiva intervalli, riitasointi.
3066 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
3067 vertical stroke through part or all of the staff that serves to
3068 structure a chant into phrases and sections. There are four types:
3072 @item @emph{divisio minima}, a short pause
3074 @item @emph{divisio maior}, a medium pause
3076 @item @emph{divisio maxima}, a long pause
3078 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3079 section in a long antiphonal or responsorial chant.
3083 TODO: musical example here?
3102 Indicator for a indeterminately rising pitch bend. Compare with
3103 @emph{glissando}, which has determinate starting and ending pitches.
3107 @ref{fall}, @ref{glissando}.
3120 FI: dominantti, huippusointu.
3122 The fifth @emph{scale degree} in @emph{functional harmony}.
3126 @ref{functional harmony}, @ref{scale degree}.
3129 @node dominant ninth chord
3130 @section dominant ninth chord
3132 ES: acorde de novena de dominante,
3133 I: accordo di nona di dominante,
3134 F: accord de neuvième dominante,
3135 D: Domi@-nant@-nonen@-akkord,
3136 NL: dominant noon akkoord,
3137 DK: dominantnoneakkord,
3138 S: dominantnonackord,
3139 FI: dominanttinoonisointu.
3143 @ref{chord}, @ref{functional harmony}.
3146 @node dominant seventh chord
3147 @section dominant seventh chord
3149 ES: acorde de séptima de dominante,
3150 I: accordo di settima di dominante,
3151 F: accord de septième dominante,
3152 D: Dominantseptakkord,
3153 NL: dominant septiem akkoord,
3154 DK: dominantseptimakkord,
3155 S: dominantseptimackord,
3156 FI: dominanttiseptimisointu.
3160 @ref{chord}, @ref{functional harmony}.
3164 @section dorian mode
3169 D: dorisch, dorischer Kirchenton,
3170 NL: dorische toonladder,
3177 @ref{diatonic scale}.
3180 @node dot (augmentation dot)
3181 @section dot (augmentation dot)
3184 I: punto (di valore),
3186 D: Punkt (Verlängerungspunkt),
3194 @ref{dotted note}, @ref{note value}.
3198 @section dotted note
3200 ES: nota con puntillo,
3204 NL: gepuncteerde noot,
3207 FI: pisteellinen nuotti.
3214 @node double appoggiatura
3215 @section double appoggiatura
3217 ES: apoyatura doble,
3218 I: appoggiatura doppia,
3219 F: appoggiature double,
3220 D: doppelter Vorschlag,
3221 NL: dubbele voorslag,
3222 DK: dobbelt forslag,
3224 FI: kaksoisappogiatura, kaksoisetuhele.
3231 @node double bar line
3232 @section double bar line
3238 NL: dubbele maatstreep,
3241 FI: kaksoistahtiviiva.
3243 Indicates the end of a section within a movement.
3250 @node double dotted note
3251 @section double dotted note
3253 ES: nota con doble puntillo,
3254 I: nota doppiamente puntata,
3255 F: note doublement pointée,
3256 D: doppelt punktierte Note,
3257 NL: dubbelgepuncteerde noot,
3258 DK: dob@-belt@-punk@-te@-ret node,
3259 S: dub@-bel@-punk@-te@-rad not,
3260 FI: kaksoispisteellinen nuotti.
3268 @section double flat
3277 FI: kaksoisalennusmerkki.
3285 @section double sharp
3287 ES: doble sostenido,
3292 DK: dob@-belt@-kryds,
3294 FI: kaksoisylennysmerkki.
3301 @node double time signature
3302 @section double time signature
3311 FI: kaksois-aika-arvomerkintä.
3315 @ref{polymetric time signature}.
3319 @section double trill
3325 NL: dubbele triller,
3330 A simultaneous trill on two notes, usually in the distance of a third.
3338 @section duple meter
3343 D: in zwei, grader Takt,
3344 NL: tweedelige maatsoort,
3381 FI: kesto, aika-arvo.
3391 ES: dinámica, matices,
3394 D: Dynamik, Lautstärke,
3398 FI: äänen voimakkuusvaihtelu, dynamiikka.
3400 The aspect of music relating to degrees of loudness, or changes from
3401 one degree to another. The terms, abbreviations, and symbols used to
3402 indicate this information are called dynamic marks.
3406 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3429 @node ecclesiastical mode
3430 @section ecclesiastical mode
3434 @ref{church mode}, @ref{diatonic scale}.
3438 @section eighth note
3445 @item D: Achtel, Achtelnote
3446 @item NL: achtste noot
3447 @item DK: ottendedelsnode
3448 @item S: åttondelsnot
3449 @item FI: kahdeksasosanuotti
3458 @section eighth rest
3461 @item UK: quaver rest
3462 @item ES: silencio de corchea
3463 @item I: pausa di croma
3464 @item F: demi-soupir
3465 @item D: Achtelpause
3466 @item NL: achtste rust
3467 @item DK: ottendedelspause
3468 @item S: åttonddelspaus
3469 @item FI: kahdeksasosatauko
3480 @c TODO: add languages
3489 FI: tavujen yhdistäminen yhteen ääneen.
3491 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3492 @emph{συναλοιφην} @q{to smear together}].
3494 The singing of several syllables on a single note. Elision may be indicated
3495 by a lyric tie, which looks like (and serves the same function) as a musical
3504 @section embellishment
3517 D: Notenstich, Notendruck
3523 Engraving means incising or etching a metal plate for printing.
3524 Photoengraving means drawing music with ink in a manner similar to
3525 drafting or engineering drawing, using similar tools.
3527 The traditional process of music printing is done through cutting in a
3528 plate of metal. Now also the term for the art of music typesetting.
3547 Two notes, intervals, or scales are enharmonic if they have different
3548 names but equal pitch.
3550 @lilypond[fragment,notime,line-width=13.0\cm]
3551 \set Score.automaticBars = ##f
3553 \context Staff \relative c'' {
3554 gis1 as <des g,!> <cis g!>
3556 \context Lyrics \lyrics {
3557 \override Lyrics .LyricText #'self-alignment-X = #-1
3558 "g sharp " "a flat " "dim fifth " "augm fourth"
3568 @node equal temperament
3569 @section equal temperament
3571 ES: temperamento igual,
3572 I: temperamento equabile,
3573 F: tempérament égal,
3574 D: gleichschwebende Stimmung,
3575 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3576 DK: ligesvævende temperatur,
3577 S: liksvävande temperatur,
3580 A tuning system that divides the octave into 12 equal semitones (each of
3581 which is precisely equal to 100 cents).
3585 @ref{cent}, @ref{semitone}, @ref{temperament}.
3588 @node expression mark
3589 @section expression mark
3592 I: segno d'espressione,
3593 F: signe d'expression, indication de nuance,
3595 NL: voordrachtsteken,
3596 DK: foredragsbetegnelse,
3597 S: föredragsbeteckning,
3598 FI: nyanssiosoitus, esitysmerkki.
3600 Performance indications concerning:
3604 @item volume, dynamics (for example, @notation{forte},
3605 @notation{crescendo}),
3607 @item tempo (for example, @notation{andante}, @notation{allegro}).
3613 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3617 @section extender line
3619 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3621 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3628 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3629 extends text (without indicating the musical @emph{function} of that text).
3631 Used in many contexts, for example:
3635 @item In vocal music to indicate the syllable for a melisma. Called
3636 @q{extension} in the
3637 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3641 In figured bass to indicate that:
3645 @item The extended note should be held through a change in harmony, when applied
3646 to one figure --OR--
3647 @item The chord thus represented should be held above a moving bass line, when
3648 applied to more than one figure.
3649 @item These uses were not completely standardized, and some composers used a
3650 single extender line to indicate the latter case.
3655 In string music to indicate that all notes in the passage thus indicated should
3656 be played on the same string. On the violin, for example, a series of notes to
3657 be played on the G string would be indicated @notation{sul G}, another series to be
3658 played on the D string would be indicated @notation{sul D}, and so on.
3661 With an octave mark to indicate that a passage is to be played higher or lower
3662 by the given number of octaves.
3668 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3669 @ref{octave marking}.
3703 The position between the dots of the key symbol is the line of the F
3704 below central@w{ }C. Used on the third, fourth and fifth note line.
3705 A digit@w{ }8 above the clef symbol indicates that the notes must be
3706 played an octave higher (for example, bass recorder) while 8@w{ }below
3707 the clef symbol indicates playing an octave lower (for example, on the
3710 @lilypond[fragment,notime,line-width=13.0\cm]
3711 \set Score.automaticBars = ##f
3712 \override Staff.Clef #'full-size-change = ##t
3738 @ref{baritone clef}, @ref{strings}.
3753 Indicator for a indeterminately falling pitch bend. Compare with
3754 @emph{glissando}, which has determinate starting and ending pitches.
3758 @ref{doit}, @ref{glissando}.
3761 @node feathered beam
3762 @section feathered beam
3766 F: liens de croches en soufflet,
3767 D: gespreizter Balken,
3773 A type of beam used to indicate that a small group of notes should be
3774 played at an increasing or decreasing tempo -- depending on the
3775 direction of @q{feathering} -- but without changing the overall tempo
3780 Internals Reference: @ruser{Manual beams}
3786 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3790 F: point d'orgue, point d'arrêt,
3795 FI: fermaatti, pidäke.
3797 Prolonged note or rest of indefinite duration.
3799 @lilypond[fragment,ragged-right]
3802 a4 b c2^\fermata \bar "|."
3829 @section figured bass
3832 I: basso continuo, basso numerato,
3833 F: basse chiffrée, basse continue,
3834 D: Generalbass, bezifferter Bass,
3835 NL: basso continuo, becijferde bas
3838 FI: kenraalibasso, numeroitu basso.
3840 Also called @q{thorough bass}.
3842 A method of indicating an accompaniment part by the bass notes only,
3843 together with figures designating the chief intervals and chords to be
3844 played above the bass notes.
3846 TODO: Make the upper clef smaller, since it's usually "realized" in performance.
3848 @lilypond[fragment,line-width=13.0\cm]
3849 \context GrandStaff <<
3850 \context Staff = lh \relative c'' {
3854 << \context Voice = rha {
3857 \context Voice = rhb {
3859 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3863 \context Staff = rh \relative c' {
3866 es8 c d bes c as bes16 as g f | es4
3868 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3875 @ref{chord}, @ref{interval}.
3890 Figures to the side or above the note that methodically indicate which
3891 fingers to use while playing a passage.
3902 I: coda (uncinata), bandiera,
3910 Ornament at the end of the stem of a note used for notes with values less
3911 than a quarter note. The number of flags determines the note value.
3913 @lilypond[fragment,notime,ragged-right]
3914 \set Score.automaticBars = ##f
3915 %\override Score.TextScript #'font-style = #'large
3941 An articulation for string players that means the note or passage is to
3942 be played in harmonics.
3948 @item A duct flute similar to the recorder.
3950 @item An organ stop of flute scale at 1' or 2' pitch.
3956 @ref{articulation}, @ref{harmonics}.
3994 FI: forte, voimakkaasti.
3996 [Italian: @q{loud}.]
3998 Abbreviated @notation{@b{f}}. Variants include:
4001 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
4002 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
4027 @node Frenched score
4028 @section Frenched score
4030 ES: partitura a la francesa,
4037 FI: partituuri francesan tapaan.
4039 A @q{condensed} score, produced by omitting staves for instruments that are not
4040 playing at the moment, and by moving up additional systems from following pages
4041 to take up the space thus liberated, which reduces the total number of pages
4042 used to print the work.
4044 The specific rules for @q{frenching} a score differ from publisher to publisher.
4045 If you are producing scores for eventual publication by a commercial publisher,
4046 you may wish to procure a copy of their style manual.
4050 @ref{Frenched staff}.
4053 @node Frenched staff
4054 @section Frenched staff
4056 ES: pentagrama a la francesa,
4063 FI: karsittu nuotinnus.
4065 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
4066 Frenched staff has unneeded measures or sections removed. This is useful
4067 for producing, for example, an @emph{ossia} staff.
4074 @node Frenched staves
4075 @section Frenched staves
4077 Plural of @ref{Frenched staff}.
4097 @node functional harmony
4098 @section functional harmony
4100 ES: armonía funcional,
4101 I: armonia funzionale,
4102 F: étude des functions,
4104 NL: functionele harmonie,
4105 DK: funktionsanalyse, funktionsharmonik,
4107 FI: harmoniajärjestelmä.
4109 A system of harmonic analysis.
4111 It is based on the idea that, in a given key, there are only three
4112 functionally different chords: tonic (T, the chord on the first note of the
4113 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4114 chord on the fifth note). Others are considered to be variants of the base
4117 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4119 @lilypond[fragment,notime,line-width=13.0\cm]
4120 \set Score.automaticBars = ##f
4122 \context Voice \relative c'' {
4123 <g e c >1 < a f d > < b g e >
4124 <c a f > < d b g > < e c a > < f d b > }
4125 \context Lyrics \lyrics {
4126 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
4160 D: G-Schlüssel, Violinschlüssel,
4166 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4167 second note lines. A digit 8 above the clef symbol indicates that the notes
4168 must be played an octave higher while 8 below the clef symbol indicates
4169 playing or singing an octave lower (used most frequently to notate the tenor
4170 part in modern choral scores).
4172 @lilypond[fragment,notime,ragged-right]
4174 \set Score.automaticBars = ##f
4175 \override Staff.Clef #'full-size-change = ##t
4178 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4188 \context Lyrics \lyrics {
4189 \override Lyrics . LyricText #'X-offset = #-5
4190 "french violin clef"
4213 FI: glissando, liukuen.
4215 Letting the pitch slide fluently from one note to the other.
4223 @section grace notes
4225 ES: notas de adorno,
4228 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4234 Notes printed in small types to indicate that their time values are not
4235 counted in the rhythm of the bar.
4239 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4244 @section grand staff
4246 ES: sistema de piano,
4249 D: Akkolade, Klaviersystem,
4252 S: ackolad, böjd klammer,
4253 FI: kaksoisnuottiviivasto.
4255 A combination of two staves with a brace. Usually used for piano music.
4272 FI: grave, raskaasti.
4274 [Italian] Slow, solemn.
4303 Letter name used for @notation{B natural} in German and Scandinavian
4304 usage. In the standard usage of these countries, @notation{B} means
4309 @ref{Pitch names}, @ref{B}.
4315 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4318 @lilypond[fragment,ragged-right]
4328 @ref{crescendo}, @ref{decrescendo}.
4339 @item D: Halbe, halbe Note,
4340 @item NL: halve noot,
4343 @item FI: puolinuotti.
4355 @item UK: minim rest,
4356 @item ES: silencio de blanca,
4357 @item I: pausa di minima,
4358 @item F: demi-pause,
4359 @item D: halbe Pause,
4360 @item NL: halve, rust,
4361 @item DK: halvnodespause,
4363 @item FI: puolitauko.
4371 @node harmonic cadence
4372 @section harmonic cadence
4374 ES: cadencia (armónica),
4375 I: cadenza (armonica),
4376 F: cadence harmonique,
4378 NL: harmonische cadens,
4379 DK: harmonisk kadence,
4380 S: (harmonisk) kadens,
4381 FI: harmoninen kadenssi.
4383 A sequence of chords that terminates a musical phrase or section.
4385 @lilypond[fragment,ragged-right]
4386 \context PianoStaff <<
4387 \context Staff = SA \relative c'' {
4391 \partial 4 < c g e >4 |
4392 < c a f > < b g d > < c g e >2
4395 \context Staff = SB \relative c {
4397 \partial 4 c4 | f, g c2
4410 @ref{functional harmony}.
4416 ES: sonidos del flautín,
4418 F: flageolet, sons harmoniques,
4423 FI: harmoniset äänet, huiluäänet.
4425 The general class of pitches produced by sounding the second or higher
4426 harmonic of a tone producer: string, column of air, and so on.
4428 On stringed instruments, these pitches sound rather flute-like; hence,
4429 their name in languages other than English. They are produced by
4430 lightly touching the string at a node for the desired mode of vibration
4431 while it is being bowed or plucked.
4433 For instruments of the violin family, there are two types of harmonics:
4434 natural harmonics, which are those played on the open string; and
4435 artificial harmonics, which are produced on stopped strings.
4448 D: Harmonie, Zusammenklang,
4452 FI: harmonia, yhteissointi.
4454 Tones sounding simultaneously. Two note harmonies fall into the
4455 categories @emph{consonances} and @emph{dissonances}.
4459 @lilypond[fragment,notime,line-width=13.0\cm]
4460 \set Score.automaticBars = ##f
4461 %\override Score.TextScript #'font-style = #'large
4462 \context Voice \relative c'' {
4475 @lilypond[fragment,notime,line-width=13.0\cm]
4476 \set Score.automaticBars = ##f
4477 %\override Score.TextScript #'font-style = #'large
4478 \context Voice \relative c'' {
4479 <g a>1_"second " s s
4480 <g f'>_"seventh " s s
4485 For harmony that uses three or more notes, see @ref{chord}.
4504 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4506 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4507 time normally occupied by two. The resulting rhythm can be expressed in modern
4508 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4509 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4510 as a special effect (or @emph{affect}) at cadences.
4512 For example, this phrase in 6/4 time
4514 @lilypond[fragment,line-width=13.0\cm]
4518 c2. e | d2 c d | c1. \bar "||" }
4521 may be thought of having alternating time signatures
4523 @lilypond[fragment,line-width=13.0\cm]
4527 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4530 and is therefore a polymeter (second definition) of considerable antiquity.
4534 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4547 FI: homofonia, yksiäänisyys.
4549 Music in which one voice leads melodically supported by the other voices in
4550 the same rhythm (more or less). In contrast to @emph{polyphony}.
4566 FI: säkeiden tavumäärät.
4568 A group or list of numbers that indicate the number of syllables in a line
4569 of a hymn's verse. Different hymnals have different ways of noting the hymn
4570 meter: for example, consider a hymn that has four lines in two couplets
4571 alternating regularly between eight and seven syllables. The @emph{English
4572 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4573 or 8@w{ }7@w{ }8@w{ }7.
4575 Some frequently-used hymn meters have traditional names:
4578 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4579 @item 86.86 is called Common Meter (CM or C.M.)
4580 @item 88.88 is called Long Meter (LM or L.M.)
4583 Some hymns and their tunes are doubled versions of a simpler meter: for
4584 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4585 87.87D. The traditional names above also have doubled versions:
4588 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4589 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4590 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4608 FI: intervalli, kahden sävelen korkeusero.
4610 Difference in pitch between two notes. Intervals may be perfect, minor,
4611 major, diminished, or augmented. The augmented fourth and the diminished
4612 fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
4613 because they consist of three whole tones. The addition of such two
4614 intervals forms an octave.
4616 @lilypond[fragment,notime,line-width=13.0\cm]
4617 \set Score.automaticBars = ##f
4619 \context Voice \relative c'' {
4629 \context Lyrics \lyrics {
4630 "unison " "second " "second " "second "
4631 "third " "third " "third " "third"
4636 @lilypond[fragment,notime,line-width=13.0\cm]
4637 \set Score.automaticBars = ##f
4639 \context Staff \relative c'' {
4650 "fourth " "fourth " "fifth " "fifth "
4651 "sixth " "sixth " "sixth " "sixth"
4656 @lilypond[fragment,notime,line-width=13.0\cm]
4657 \set Score.automaticBars = ##f
4659 \context Staff \relative c'' {
4660 < gis f'! >1^"dimin"
4669 \context Lyrics \lyrics {
4670 "seventh " "seventh " "seventh " "octave "
4671 "ninth " "ninth " "tenth " "tenth"
4678 @ref{enharmonic}, @ref{whole tone}.
4693 When a chord sounds with a bass note that differs from the root of the
4694 chord, it is said to be @emph{inverted}. The number of inversions that a
4695 chord can have is one fewer than the number of constituent notes. For
4696 example, triads (which have three constituent notes) can have three
4697 positions, two of which are inversions:
4701 The root note is in the bass, and above that are the third and the fifth. A
4702 triad built on the first scale degree, for example, is marked @notation{I}.
4704 @item First inversion
4705 The third is in the bass, and above it are the fifth and the root. This
4706 creates an interval of a sixth and a third above the bass note, and so is
4707 marked in figured Roman notation as @notation{6/3}. This is commonly
4708 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4709 characteristic interval of the inversion, and so always implies
4712 @item Second inversion
4713 The fifth is in the bass, and above it are the root and the third. This
4714 creates an interval of a sixth and a fourth above the bass note, and so is
4715 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4716 unstable chord position.
4724 @node inverted interval
4725 @section inverted interval
4727 ES: intervalo invertido,
4728 I: intervallo rivolto,
4729 F: intervalle reversé,
4730 D: umgekehrtes Intervall,
4731 NL: interval inversie,
4732 DK: omvendingsinterval,
4733 S: intervallets omvändning,
4734 FI: käänteisintervalli.
4736 The difference between an interval and an octave.
4738 @lilypond[fragment,notime,line-width=13.0\cm]
4739 \set Score.automaticBars = ##f
4740 %\override Score.TextScript #'font-style = #'large
4741 \context Staff \relative c'' {
4742 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4743 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4744 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4753 @node just intonation
4754 @section just intonation
4756 ES: entonación justa,
4757 I: intonazione giusta,
4758 F: intonation juste,
4765 Tuning system in which the notes are obtained by adding and subtracting
4766 natural fifths and thirds.
4785 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4786 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4790 @ref{chromatic scale}, @ref{key signature}.
4794 @section key signature
4796 ES: armadura (de la clave),
4797 I: armatura di chiave,
4798 F: armure, armature [de la clé],
4799 D: Vorzeichen, Tonart,
4800 NL: toon@-soort (voortekens),
4803 FI: sävellajiosoitus.
4805 The sharps or flats appearing at the beginning of each staff indicating the
4813 @node laissez vibrer
4814 @section laissez vibrer
4825 [French: @q{Let vibrate}.] Most frequently associated with harp
4826 parts. Marked @notation{l.v.} in the score.
4839 D: Largo, Langsam, Breit,
4843 FI: largo, hitaasti, leveästi.
4845 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4846 expressiveness. @emph{Larghetto} is less slow than largo.
4850 @section leading note
4861 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4862 called because of its strong tendency to @q{lead up} (resolve upwards)
4863 to the tonic scale degree.
4867 @ref{scale degree}, @ref{semitone}.
4871 @section ledger line
4873 ES: línea adicional,
4874 I: tagli addizionali,
4875 F: ligne supplémentaire,
4882 A ledger line is an extension of the staff.
4884 @lilypond[fragment,notime,ragged-right]
4885 \set Score.automaticBars = ##f
4886 \relative c'' { a,1 s c'' }
4900 D: legato, gebunden,
4906 To be performed (a) without any perceptible interruption between the
4907 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4908 @notation{portato}, or (d) @notation{staccato}.
4910 @lilypond[fragment,notime,line-width=13.0\cm]
4911 \set Score.automaticBars = ##f
4913 \context Staff \relative c'' {
4914 c4-( d e-) \bar "||"
4915 c4-- d-- e-- \bar "||"
4916 c4-.-( d-. e-.-) \bar "||"
4917 c4-. d-. e-. \bar "||"
4934 @section legato curve
4938 @ref{slur}, @ref{legato}.
4961 A ligature is a coherent graphical symbol that represents at least two
4962 distinct notes. Ligatures originally appeared in the manuscripts of
4963 Gregorian chant notation around the 9th century to denote ascending or
4964 descending sequences of notes. In early notation, ligatures were used for
4965 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4966 performance in the sense of articulation. With the invention of the metric
4967 system of the white mensural notation, the need for ligatures to denote such
4968 patterns disappeared.
4972 @ref{mensural notation}.
4979 ES: estanque de nenúfares,
4980 I: stagno del giglio,
4981 F: étang de nénuphars, étang de nymphéas,
4983 NL: le@-lie@-vij@-ver,
4988 A pond with lilies floating in it.
4990 Also, the name of a music typesetting program.
5003 D: Linie, Notenlinie,
5007 FI: viiva, nuottiviiva.
5024 FI: kirjoitetussa äänenkorkeudessa.
5026 [Italian: @q{place}.] Instruction to play the following passage at the
5027 written pitch. Cancels octave mark (q.v.).
5031 @ref{octave mark}, @ref{octave marking}.
5034 @node long appoggiatura
5035 @section long appoggiatura
5037 ES: apoyatura larga,
5038 I: appoggiatura lunga,
5039 F: appoggiature longue,
5044 FI: pitkä appoggiatura, pitkä etuhele.
5055 @item US: long, longa,
5066 Note value: double length of @notation{breve}.
5068 @lilypond[fragment,notime,ragged-right]
5069 \set Score.automaticBars = ##f
5071 \override NoteHead #'style = #'mensural
5078 @ref{breve}, @ref{note value}.
5084 ES: ligadura de letra,
5091 FI: sidonta sanoituksessa.
5093 @c TODO: add languages
5103 ES: letra (de la canción),
5106 D: Liedtext, Gesangtext,
5133 @ref{diatonic scale}.
5136 @node major interval
5137 @section major interval
5139 ES: intervalo mayor,
5140 I: intervallo maggiore,
5141 F: intervalle majeur,
5142 D: großes Intervall,
5146 FI: suuri intervalli.
5153 @node meantone temperament
5154 @section meantone temperament
5156 ES: afinación mesotónica,
5157 I: accordatura mesotonica,
5158 F: tempérament mésotonique,
5159 D: mitteltönige Stimmung,
5160 NL: middenstemming, middentoonstemming,
5161 DK: middeltonetemperatur,
5162 S: medeltonstemperatur,
5163 FI: keskisävelviritys.
5165 Temperament yielding acoustically pure thirds by decreasing the natural
5166 fifth by 16@w{ }cents. Due to the non-circular character of this
5167 temperament only a limited set of keys are playable. Used for tuning
5168 keyboard instruments for performance of pre-1650 music.
5172 @ref{cent}, @ref{temperament}.
5187 A group of beats (units of musical time) the first of which bears an accent.
5188 Such groups in numbers of two or more recur consistently throughout the
5189 composition and are separated from each other by bar lines.
5193 @ref{bar line}, @ref{beat}, @ref{meter}.
5196 @node measure repeat
5197 @section measure repeat
5201 @ref{percent repeat}.
5208 I: mediante, modale,
5218 @item The third @b{scale degree}.
5220 @item A @emph{chord} having its base tone a third from that of another
5221 chord. For example, the tonic chord may be replaced by its lower
5222 mediant (variant tonic).
5228 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5241 FI: melisma, laulettavan tavun sävelkuvio.
5243 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5244 on one syllable, especially as applied to liturgical chant.
5252 @section melisma line
5254 @c TODO: add languages
5256 ES: línea de melisma,
5267 @ref{extender line}.
5270 @node melodic cadence
5271 @section melodic cadence
5278 @node mensural notation
5279 @section mensural notation
5281 @c TODO: add languages
5283 ES: notación mensural,
5290 FI: mensuraalinuotinnus.
5292 A system of duration notation whose principles were first established in the
5293 mid-13th century, and that (with various changes) remained in use until about
5294 1600. As such, it is the basis for the notation of rhythms in Western musical
5297 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5298 of the notation's principles, so the notation of this earliest period is called
5299 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5300 and semibreve -- each of which was normally equivalent to three of the next
5303 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5304 added several note values (the minim, semiminim and fusa) and extended Franco's
5305 principles to govern the relationship between these values. They also put the
5306 duple division of note values on an equal footing with the earlier (preferred)
5309 TODO: continue description of French and Italian black notation, and the
5310 relationship betwixt them.
5312 @b{White or void mensural notation}
5314 In the 15th century, hollow (or void) notes began to substitute for the earlier
5315 solid black ones, which were then free to assume the function of red (or
5316 colored) notes in the earlier notation. ...
5318 TODO: add to definition (including summary info on proportional notation)
5322 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5323 @c TODO: more cross-references?
5331 F: indication de mesure, mesure,
5338 The pattern of note values and accents in a composition or a section thereof.
5339 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5340 by grouping beats and by subdividing the primary beat.
5342 @b{By grouping beats}:
5346 @item @b{duple}: groups of two.
5347 @item @b{triple}: groups of three.
5348 @item @b{quadruple}: groups of four. A special case of duple meter.
5349 @item @b{quintuple}: groups of five beats.
5350 @item @b{sextuple} meter: groups of six. A special case of:
5354 @item duple meter, subdivided in three; or
5355 @item triple meter, subdivided in two.
5359 @item @b{septuple} meter: groups of seven.
5364 Other than triple meter and its subdivided variants (see below), meters that
5365 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5366 frequently used prior to the 20th Century.
5368 @b{By subdividing the primary beat}:
5372 @item simple: subdivided in groups of two.
5376 @item duple: 2/2, 2/4, 2/8
5377 @item triple: 3/2, 3/4, 3/8
5378 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5382 @item compound: subdivided in groups of three.
5388 @item quadruple: 12/8
5394 Time signatures are placed at the beginning of a composition (or section) to
5395 indicate the meter. For instance, a piece written in simple triple meter with a
5396 beat on each quarter note is conventionally written with a time signature of
5397 3/4. Here are some combinations of the two classifications above:
5399 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5401 @lilypond[fragment,line-width=13.0\cm]
5405 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5408 Simple triple meter:
5410 @lilypond[fragment,line-width=13.0\cm]
5414 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5417 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5419 @lilypond[fragment,line-width=13.0\cm]
5423 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5426 Simple quintuple meter (B. Marcello, 1686-1739):
5428 @lilypond[fragment,line-width=13.0\cm]
5432 r4 cis8 bis ais4 dis c8 ais |
5433 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5436 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5437 the source, with sharps in the accompaniment where the voice has flats and
5441 Compound duple meter (unknown):
5443 @lilypond[fragment,line-width=13.0\cm]
5447 f8 f g a bes16 a g f |
5448 g8 g bes a c16 a bes g
5452 Compound triple meter (J.S. Bach, 1685-1750):
5454 @lilypond[fragment,line-width=13.0\cm]
5458 r8 g'( a) b( d c) c( e d) |
5459 d( g fis) g( d b) g( a b)
5463 Compound quadruple meter (P. Yon, 1886-1943):
5465 @lilypond[fragment,line-width=13.0\cm]
5469 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5470 e4 e8 fis( gis) a b4.~ b4 b8
5474 @b{@q{Monometer} vs Polymeter}
5476 TODO: add information from discussion on lilypond-user related to polymeter.
5480 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5495 Device used to indicate the exact tempo of a piece.
5497 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5498 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5499 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5500 followed acknowledged Winkler as the creator, but by then Mälzel had already
5501 sold many of them, and people had taken to calling it a Mälzel Metronome.
5505 @ref{metronome mark}.
5508 @node metronome mark
5509 @section metronome mark
5511 ES: indicación metronómica,
5512 I: indicazione metronomica,
5513 F: indication métronomique,
5515 NL: metronoom aanduiding,
5517 S: metronomangivelse,
5518 FI: metronomiosoitus.
5520 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5521 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5529 @node metronomic indication
5530 @section metronomic indication
5534 @ref{metronome mark}
5547 FI: kohtalaisen, melko.
5549 [Italian: @q{medium}.]
5551 Used to qualify other indications, such as:
5557 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5559 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5565 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5577 @section mezzo-soprano
5588 The female voice between soprano and contralto.
5592 @ref{soprano}, @ref{contralto}.
5601 D: eingestrichenes@w{ }c,
5603 DK: enstreget@w{ }c,
5604 S: ettstruket@w{ }c,
5607 First C below the 440 Hz A.
5609 @lilypond[fragment,notime,ragged-right]
5610 \set Score.automaticBars = ##f
5611 \override Staff.Clef #'full-size-change = ##t
5638 @ref{diatonic scale}.
5641 @node minor interval
5642 @section minor interval
5644 ES: intervalo menor,
5645 I: intervallo minore,
5646 F: intervalle mineur,
5647 D: kleines Intervall,
5651 FI: pieni intervalli.
5658 @node mixolydian mode
5659 @section mixolydian mode
5663 @ref{diatonic scale}.
5672 D: Kirchentonart, Modus,
5676 FI: moodi, kirkkosävelasteikko.
5680 @ref{church mode}, @ref{diatonic scale}.
5693 FI: modulaatio, sävellajin vaihdos.
5695 Moving from one @ref{key} to another. For example, the second subject
5696 of a @ref{sonata form} movement modulates to the dominant key if the
5697 key is major and to the @ref{relative key} if the key is minor.
5713 FI: mordent, korukuvio.
5738 FI: teema, sävelaihe.
5740 The briefest intelligible and self-contained fragment of a musical
5743 @lilypond[line-width=13.0\cm]
5746 \set Score.implicitTimeSignatureVisibility = #all-invisible
5747 \override Score.TimeSignature #'break-visibility = #all-invisible
5750 \partial 8 g16\startGroup fis |
5751 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5752 g8 g,16 a b8 cis d16 s
5756 \Staff \consists "Horizontal_bracket_engraver"
5778 Greater musical works like @ref{symphony} and @ref{sonata} most often
5779 consist of several -- more or less -- independant pieces called
5787 @node multi-measure rest
5788 @section multi-measure rest
5790 ES: compases de espera,
5794 D: mehrtaktige Pause, Kirchenpause,
5797 FI: usean tahdin mittainen tauko.
5799 Multi-measure rests are conventionally typeset with a combination of
5800 longa, breve and whole rests for shorter and a long horizontal bar for
5801 longer spans of rest, with a number above to indicate the duration (in
5802 measures) of the rest. The former style is called @q{Kirchenpausen} in
5803 German, as a reminiscence of its use in Renaissance vocal polyphony.
5805 @lilypond[fragment,ragged-right]
5808 \set Score.skipBars = ##t R1*3
5810 \set Score.skipBars = ##t R1*122
5817 @ref{longa}, @ref{breve}.
5826 D: Auflösungszeichen,
5827 NL: herstellingsteken,
5828 DK: op@-løsningstegn,
5829 S: återställningstecken,
5837 @node neighbor tones
5838 @section neighbor tones
5842 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5883 Notes are signs by means of which music is fixed in writing. The term is also
5884 used for the sound indicated by a note, and even for the key of the piano
5885 which produces the sound. However, a clear distinction between the terms tone
5886 and @ref{note} is strongly recommended. Briefly, one sees a note,
5898 I: testa, testina, capocchia,
5906 A head-like sign which indicates pitch by its position on a @notation{staff}
5907 provided with a @notation{clef}, and duration by a variety of shapes such as
5908 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5909 For percussion instruments (often having no defined pitch) the note head may
5910 indicate the instrument.
5914 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5928 ES: valor (duración),
5930 F: durée, valeur (d'une note),
5935 FI: nuotin aika-arvo.
5937 Note values (durations) are measured as fractions -- normally half -- of the
5938 next higher note value. The longest duration in current use is the
5939 @emph{breve}, but sometimes (especially music from the Baroque or earlier) the
5940 double-length note value @emph{longa} or the quadruple-length note value
5941 @emph{maxima} are used.
5943 @c TODO -- add maxima to this example, in a way that doesn't break it.
5945 @lilypond[fragment,notime,line-width=13.0\cm]
5946 %\override Score.TextScript #'font-style = #'large
5947 \set Score.automaticBars = ##f
5949 \override NoteHead #'style = #'mensural
5950 a\longa_"longa" a\breve_"breve"
5951 \revert NoteHead #'style
5952 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5953 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5956 @c TODO -- add maxima rest to this example
5958 @lilypond[fragment,notime,line-width=13.0\cm]
5959 %\override Score.TextScript #'font-style = #'large
5960 \set Score.automaticBars = ##f
5962 r\longa_"longa" r\breve_"breve"
5963 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5964 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5967 An augmentation dot after a note multiplies the duration by one and a
5968 half. Another dot adds yet a fourth of the duration.
5970 @lilypond[fragment,line-width=13.0\cm]
5971 %\override Score.TextScript #'font-style = #'large
5974 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5975 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5978 Alternatively note values may be subdivided by other ratios. Most common is
5979 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5980 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5981 dotted notes are also frequently used.
5983 @lilypond[fragment,line-width=13.0\cm]
5984 %\override Score.TextScript #'font-style = #'large
5987 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5988 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5992 @lilypond[fragment,line-width=13.0\cm]
5995 \times 3/2 {g4_"duplets" g} |
5997 \times 6/4 {g8_"quadruplets" g g g} |
5998 g8 g g g g4 \bar "||"
6012 @ref{octave marking}.
6027 The interval of an octave, sometimes abbreviated @notation{8ve}.
6029 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
6030 bracket, or @notation{loco} see octave marking.
6034 @ref{interval}, @ref{octave marking}.
6038 @section octave mark
6040 ES: indicación de octava,
6049 The phrase, abbreviation, or other mark used (with or without an extender line
6050 or bracket) to indicate that the music is to be played in a different octave:
6054 @item @notation{15ma}: play two octaves higher
6055 @item @notation{8va}: play one octave higher
6056 @item @notation{8vb}: play one octave lower
6057 @item @notation{8va} (written below the passage): unusual, same as
6059 @item @notation{15vb}: play two octaves lower
6060 @item @notation{15va} (written below the passage): unusual, same as
6065 For longer passages, it may be more practical to mark the octave change at the
6066 beginning with a phrase (see the list below for examples), but without a bracket
6067 or extender line. Then, when the music returns to the written pitch, the octave
6068 change is cancelled with the word @notation{loco} (q.v.).
6070 To parallel the list above:
6074 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6075 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6076 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6077 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6081 In the phrases above, @notation{quindicesima} is sometimes replaced with
6082 @notation{quindecima}, which is Latin.
6084 Finally, the music on an entire staff can be marked to be played in a
6085 different octave by putting a small 8 or 15 above or below the clef at the
6086 beginning. This octave mark can be applied to any clef, but it is most
6087 frequently used with the G and F clefs.
6091 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6094 @node octave marking
6095 @section octave marking
6104 FI: oktaavamerkintä.
6106 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6107 that it is to be played in a different octave. If applied to the clef at the
6108 beginning of the staff, all music on that staff is to played at the indicated
6111 For a list of the specific marks used, see @ref{octave mark}.
6115 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6119 @section octave sign
6130 I: abbellimento, fioriture,
6131 F: agrément, ornement,
6132 D: Verzierung, Ornament,
6138 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6139 with the diatonic @ref{second} above it. In the music from the
6140 middle of the 19th century and onwards the trill is performed with the main
6141 note first while in the music from the preceding baroque and classic periods
6142 the upper note is played first.
6144 @lilypond[fragment,line-width=13.0\cm]
6146 \context Staff = sa {
6147 % \override Score.TextScript #'font-style = #'large
6149 c2._"pre-1850" b4\trill | c1 \bar "||"
6150 c2._"post-1850" b4\trill | c1 \bar "||"
6154 c2. c32 b c b c b c b | c1
6155 c2. b32 c b c \times 4/5 { b c b c b } | c1
6160 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6162 @emph{prall} (inverted mordent).
6164 @lilypond[fragment,line-width=13.0\cm]
6166 \context Staff = sa {
6167 % \override Score.TextScript #'font-style = #'large
6169 a4_"turn" b\turn c2 \bar "||"
6170 g4_"mordent" a b\mordent a \bar "||"
6171 e'4_"prall" d\prall c2 \bar "||"
6177 e'4 e32[ d e d ~ d8] c2
6184 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6197 FI: ossia, vaihtoehtoinen esitystapa.
6199 Ossia (otherwise) marks an alternative. It is an added staff or piano
6200 score, usually only a few measures long, which presents another version
6201 of the music, for example for small hands.
6218 FI: stemma, instrumenttiosuus.
6222 @item In instrumental or choral music, the music for a single
6223 instrument or voice.
6225 @item in contrapuntal music, a single melodic line in the contrapuntal
6251 @node percent repeat
6252 @section percent repeat
6254 LilyPond-specific term to indicate the repetition of a musical expression on a
6255 single staff, as opposed to the more usual definition of repeat, which affects
6256 all parts. The musical expression can be anything from a single note or note
6257 pattern to one or more measures. There are other names for this symbol:
6262 @item slash mark, or slash repeat
6264 @item measure (or multi-measure) repeat
6268 @lilypond[fragment,line-width=13.0\cm]
6271 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6272 \repeat percent 2 { c4 e g b_"Measure repeat" }
6273 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6280 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6281 Vermont Music Dictionary}.
6290 D: Schlagzeug, Schlagwerk,
6296 A family of musical instruments which are played on by striking or
6297 shaking. Percussion instruments commonly used in a symphony orchestra are
6298 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6299 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6307 @node perfect interval
6308 @section perfect interval
6310 ES: intervalo justo,
6311 I: intervallo giusto,
6312 F: intervalle juste,
6313 D: reines Intervall,
6317 FI: puhdas intervalli.
6336 A natural division of the melodic line, comparable to a sentence of speech.
6353 FI: fraseeraus, jäsentäminen.
6355 The clear rendering in musical performance of the @notation{phrases} of the
6356 melody. Phrasing may be indicated by a @notation{slur}.
6360 @ref{phrase}, @ref{slur}.
6375 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6376 @emph{mezzo piano} (@b{mp}) medium soft.
6388 F: anacrouse, levée,
6414 @item The perceived quality of a sound that is primarily a function of its
6415 fundamental frequency.
6417 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6419 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6420 association of a particular frequency with a particular pitch name, e.g., c' =
6437 NL: pizzicato, getokkeld,
6440 FI: pizzicato, näppäillen.
6442 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6453 ES: compás polimétrico,
6460 FI: monia tahtiosoituksia sisältävä.
6464 @item The @emph{simultaneous} use of two or more meters, in two or more
6467 @item The @emph{successive} use of different meters in one or more parts.
6473 @ref{polymetric} (adj.)
6486 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6488 Characterized by @emph{polymeter}: using two or more metric frameworks
6489 simultaneously or in alternation.
6493 @ref{polymeter} (noun)
6496 @node polymetric time signature
6497 @section polymetric time signature
6499 ES: compás polimétrico,
6506 FI: vaihtelevan tahtiosoitusmerkintä.
6508 A time signature that indicates regularly alternating polymetric time.
6521 D: Polyphonie, Mehrstimmigkeit,
6525 FI: polyfonia, moniäänisyys.
6527 Music written in a combination of several simultaneous voices (parts)
6528 of a more or less pronounced individuality.
6538 [Italian: past participle of @emph{portare}, @q{to carry}]
6540 A stroke in which each of several notes is separated slightly within a slur,
6541 without changing the bow's direction. It is used for passages of a
6542 @notation{cantabile} character.
6555 D: Presto, Sehr schnell,
6556 NL: presto, Sehr schnell,
6559 FI: presto, hyvin nopeasti.
6563 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6564 denotes the highest possible degree of speed.
6583 [Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
6584 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6589 @item A ratio that expresses the relationship between the note values that
6590 follow with those that precede;
6592 @item A ratio between the note values of a passage and the @q{normal}
6593 relationship of note values to the metrical pulse. (A special case of the
6598 The most common proportions are:
6601 @item 2:1 (or simply 2), expressed by a vertical line through the
6602 mensuration sign (the origin of the @q{cut-time} time signature), or by
6603 turning the sign backwards
6604 @item 3:1 (or simply 3)
6605 @item 3:2 (@emph{sesquialtera})
6608 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6611 @item 1:2 cancels 2:1
6612 @item 1:3 cancels 3:1
6613 @item 2:3 cancels 3:2
6617 Gaffurius enumerates five basic types of major:minor proportions and their
6621 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6622 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6624 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6625 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6626 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6628 @item Superpartiens, if the major number is one less than twice the minor
6629 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6631 @item Multiplexsuperparticular, if the major number is one more than twice the
6632 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6635 @item Multiplexsuperpartiens, if the major number is one less than some other
6636 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6637 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6641 He then continues to subdivide each type in various ways. For the multiplex
6642 proportions, for example, he indicates how many times greater the major number
6647 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6648 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6650 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6653 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6654 Example: 4:1, 8:2, and 12:3
6658 Other proportions were possible, but whether they were frequently used is
6663 @item 33:9, @emph{triplasuperbipartientetertias}
6664 @item 51:15, @emph{triplasuperbipartientequintas}
6668 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6672 @ref{mensural notation}.
6675 @node Pythagorean comma
6676 @section Pythagorean comma
6678 ES: coma pitagórica,
6679 I: comma pitagorico,
6680 F: comma pythagoricien,
6681 D: Pythagoräisches Komma,
6682 NL: komma van Pythagoras,
6683 DK: pythagoræisk komma,
6684 S: pytagoreiskt komma,
6685 FI: pytagorinen komma.
6687 Originally, the interval by which the sum of six whole tones exceeds the octave
6688 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6690 Modern acoustical theory defines it as the interval by which twelve fifths
6691 exceed seven octaves. To put it another way: A sequence of fifths that starts
6692 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6693 than the C obtained by adding 7 octaves. The difference between those two
6694 pitches is the Pythagorean comma.
6698 @ref{cent}, @ref{temperament}.
6730 The quality of a triad is determined by the precise arrangement of its
6731 intervals. Tertian triads can be described as a series of three notes. The
6732 first element is the root note (or simply @q{root}) of the chord, the second
6733 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6734 the chord. These are described below:
6736 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6737 @headitem Chord name
6738 @tab Component intervals
6741 @item major triad @tab major third/perfect fifth
6743 @tab C, CM, Cma, Cmaj, CΔ
6744 @item minor triad @tab minor third/perfect fifth
6746 @tab Cm, Cmi, Cmin, C-
6747 @item augmented triad @tab major third/augmented fifth
6750 @item diminished triad @tab minor third/diminished fifth
6752 @tab Cm(♭5), Cº, Cdim
6755 There are various types of seventh chords depending on the quality of the
6756 original chord and the quality of the seventh added.
6758 Five common types of seventh chords have standard symbols. The chord quality
6759 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6760 and D^m7 are all identical). The last three chords are not commonly used
6769 @section quarter note
6774 @item I: semiminima, nera
6776 @item D: Viertel, Viertelnote
6778 @item DK: fjerdedelsnode
6779 @item S: fjärdedelsnot
6780 @item FI: neljäsosanuotti
6789 @section quarter rest
6792 @item UK: crotchet rest
6793 @item ES: silencio de negra
6794 @item I: pausa di semiminima
6796 @item D: Viertelpause
6798 @item DK: fjerdedelspause
6799 @item S: fjärdedelspaus
6800 @item FI: neljäsosatauko
6809 @section quarter tone
6811 ES: cuarto de tonno,
6818 FI: neljännessävelaskel.
6820 An interval equal to half a semitone.
6830 ES: cinquillo, quintillo.
6845 @section rallentando
6850 D: rallentando, langsamer werden,
6854 FI: rallerdando, hidastuen.
6856 [Italian] A performance indication, abbreviated "rall.".
6864 @section relative key
6867 I: tonalità relativa,
6868 F: tonalité relative,
6870 NL: paralleltoonsoort,
6871 DK: paralleltoneart,
6873 FI: rinnakkaissävellaji.
6875 Major and minor keys that have the same key signature.
6877 @lilypond[fragment,notime,line-width=13.0\cm]
6878 \set Score.automaticBars = ##f
6879 %\override Score.TextScript #'font-style = #'large
6882 es1_"e flat major" f g as bes c d es
6887 @lilypond[fragment,notime,line-width=13.0\cm]
6888 \set Score.automaticBars = ##f
6889 %\override Score.TextScript #'font-style = #'large
6892 c1_"c minor" d es f g a! b! c \bar "||"
6898 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6906 F: barre de reprise,
6909 DK: gen@-ta@-gel@-se,
6913 @lilypond[fragment,line-width=13.0\cm]
6917 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6938 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6939 @c specify the rest's value.
6960 @item Metrical rhythm in which every time value is a multiple or
6961 fraction of a fixed unit of time, called @ref{beat}, and in which the
6962 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6963 The basic scheme of time values is called @ref{meter}.
6965 @item Measured rhythm which lacks regularly recurrent accent. In
6966 modern notation such music appears as a free alternation of different
6969 @item Free rhythm, i.e., the use of temporal values having no common
6970 metrical unit (beat).
6985 D: ritardando, langsamer werden,
6989 FI: ritardando, hidastuen,
6991 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
7008 FI: ritenuto, hidastaen.
7010 Immediate reduction of speed.
7027 FI: asteikko, sävelasteikko.
7031 @ref{diatonic scale}.
7035 @section scale degree
7037 ES: grado (de la escala),
7038 I: grado della scala,
7039 F: degré [de la gamme],
7041 NL: trap [van de toonladder],
7044 FI: sävelaste, asteikon sävel.
7046 Names and symbols used in harmonic analysis to denote tones of the
7047 scale as roots of chords. The most important are degrees I = tonic
7048 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
7050 @lilypond[fragment,notime,line-width=13.0\cm]
7051 \set Score.automaticBars = ##f
7053 \context Staff \relative c' {
7057 << { I II III IV V VI VII I }
7065 @ref{functional harmony}.
7073 F: à cordes ravallées,
7078 FI: epätavallinen viritys.
7080 [Italian: @emph{scordare}, @q{to mistune}.] Unconventional
7081 tuning of stringed instruments, particularly lutes or violins. Used
7086 @item facilitate pitch combinations that would otherwise be difficult
7089 @item alter the characteristic timbre of the instrument, for example,
7090 to increase brilliance
7092 @item reinforce certain sonorities or tonalities by making them
7093 available on open strings
7095 @item imitate other instruments
7101 Tunings that could be called @var{scordatura} first appeared early in
7102 the 16th Century and became commonplace in the 17th.
7115 D: Partitur (full score), Klavierauszug (vocal score),
7121 A copy of orchestral, choral, or chamber music showing what each
7122 instrument is to play, each voice to sing, having each part arranged
7123 one underneath the other on different staves @ref{staff}.
7142 The @ref{interval} between two neigbouring tones of a scale. A
7143 @ref{diatonic scale} consists of alternating @ref{semitone}s and
7144 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
7145 degrees in question.
7164 The interval of a minor second. The (usually) smallest interval in European
7165 composed music. The interval between two neighbouring tones on the piano
7166 keyboard -- including black and white keys -- is a semitone. An octave may
7167 be divided into 12@w{ }semitones.
7169 @lilypond[fragment,notime,line-width=13.0\cm]
7170 \set Score.automaticBars = ##f
7171 \relative c'' { g1 gis s a bes s b! c }
7176 @ref{interval}, @ref{chromatic scale}.
7201 @ref{sextuplet}, @ref{note value}.
7258 [Italian: @q{in the same manner}.] Performance direction: the music thus marked
7259 is to be played in the same manner (i.e. with the same articulations, dynamics,
7260 etc.) as the music that precedes it.
7264 TODO: Where else could I refer the reader?
7268 @section simple meter
7270 ES: compás simple, compás de subdivisión binaria,
7277 FI: kaksijakoinen tahtiosoitus.
7279 A meter in which the basic beat is subdivided in two: that is, a meter
7280 that does not include triplet subdivision of the beat.
7284 @ref{compound meter}, @ref{meter}.
7287 @node sixteenth note
7288 @section sixteenth note
7291 @item UK: semiquaver
7292 @item ES: semicorchea
7294 @item F: double croche
7295 @item D: Sechzehntel, Sechzehntelnote
7296 @item NL: zestiende noot
7297 @item DK: sekstendedelsnode
7298 @item S: sextondelsnot
7299 @item FI: kuudestoistaosanuotti
7307 @node sixteenth rest
7308 @section sixteenth rest
7311 @item UK: semiquaver rest
7312 @item ES: silencio de semicorchea
7313 @item I: pausa di semicroma
7314 @item F: quart de soupir
7315 @item D: Sechzehntelpause
7316 @item NL: zestiende rust
7317 @item DK: sekstendedelspause
7318 @item S: sextondelspaus
7319 @item FI: kuudestoistaosatauko
7344 @node sixty-fourth note
7345 @section sixty-fourth note
7348 @item UK: hemidemisemiquaver
7350 @item I: semibiscroma
7351 @item F: quadruple croche
7352 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7353 @item NL: vierenzestigste noot
7354 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7355 @item S: sextiofjärdedelsnot
7356 @item FI: kuudeskymmenesneljäsosanuotti
7364 @node sixty-fourth rest
7365 @section sixty-fourth rest
7368 @item UK: hemidemisemiquaver rest
7369 @item ES: silencio de semifusa
7370 @item I: pausa di semibiscroma
7371 @item F: seizième de soupir
7372 @item D: Vierundsechzigstelpause
7373 @item NL: vierenzestigste rust
7374 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7375 @item S: sextiofjärdedelspaus
7376 @item FI: kuudeskymmenesneljäsosatauko
7385 @section slash repeat
7389 @ref{percent repeat}.
7395 ES: ligadura (de expresión),
7396 I: legatura (di portamento or espressiva),
7398 D: Bogen (Legatobogen, Phrasierungsbogen),
7399 NL: fraseringsboog, legatoboog, streekboog,
7400 DK: legatobue, fraseringsbue,
7404 A slur above or below a group of notes indicates that they are to be
7405 played @ref{legato}, e.g., with one stroke of the violin bow or with
7406 one breath in singing.
7414 @section solmization
7423 FI: suhteelliset laulunimet.
7425 General term for systems of designating the degrees of the
7426 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7427 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7432 @ref{scale}, @ref{scale degree}.
7447 In its present-day meaning a sonata denotes an instrumental
7448 composition for piano or for some other instrument with piano
7449 accompaniment, which consists of three or four independant pieces,
7458 @section sonata form
7462 F: [en] forme de sonate,
7464 NL: hoofdvorm, sonatevorm,
7469 A form used frequently for single movements of the @emph{sonata},
7470 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7471 three sections called @notation{exposition}, @notation{development} and
7472 @notation{recapitulation}. In the exposition the composer introduces some
7473 musical ideas, consisting of a number of themes; in the development section the
7474 composer @emph{develops} this material, and in the recapitulation the composer
7475 repeats the exposition, with certain modifications. The exposition contains a
7476 number of themes that fall into two groups, often called first and second
7477 subject. Other melodies occurring in each group are considered as continuations
7478 of these two. The second theme is in another key, normally in the key of the
7479 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7480 @notation{relative key} if the tonic is @notation{minor}.
7484 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7485 @ref{symphony}, @ref{tonic}.
7506 FI: sopraano, korkea naisääni.
7508 The highest female voice.
7520 F: staccato, piqué, détaché,
7525 FI: staccato, lyhyesti, terävästi.
7527 Playing the note(s) short. Staccato is indicated by a dot above or
7528 below the note head.
7530 @lilypond[fragment,ragged-right]
7535 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7549 I: pentagramma, rigo (musicale),
7551 D: Notensystem, Notenzeile,
7552 NL: (noten)balk, partij,
7557 A staff (plural: staves) is a series of (normally five) horizontal
7558 lines upon and between which the musical notes are written, thus
7559 indicating (in connection with a @ref{clef}) their pitch. Staves for
7560 @ref{percussion} instruments may have fewer lines.
7581 D: Hals, Notenhals, Stiel,
7587 Vertical line above or below a @ref{note head} shorter than a
7592 @lilypond[fragment,notime,line-width=13.0\cm]
7593 \set Score.autoBeaming = ##f
7594 \set Score.automaticBars = ##f
7595 %\override Score.TextScript #'font-style = #'large
7619 FI: kiihdyttäen, nopeuttaen.
7621 [Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
7641 A family of stringed musical instruments played with a bow. Strings
7642 commonly used in a symphony orchestra are violin, viola, violoncello,
7651 @section strong beat
7656 D: betonter Taktteil oder Taktschlag,
7658 D: betonet taktslag,
7659 S: betonat taktslag,
7660 FI: tahdin vahva isku.
7664 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7668 @section subdominant
7677 FI: subdominantti, alidominantti.
7679 The fourth @notation{scale degree}.
7683 @ref{functional harmony}, @ref{scale degree}.
7698 The sixth @notation{scale degree}.
7702 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7715 FI: subtoonika, alitoonika.
7717 The seventh @ref{scale degree}.
7721 @ref{functional harmony}, @ref{scale degree}.
7727 ES: sobre la cuerda de Sol,
7730 D: auf G, auf der G-Saite,
7736 Indicates that the indicated passage (or note) should be played on the
7745 @section superdominant
7756 The sixth @ref{scale degree}.
7760 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7775 The second @ref{scale degree}.
7779 @ref{functional harmony}, @ref{scale degree}.
7788 D: Sinfonie, Symphonie,
7794 A symphony may be defined as a @emph{sonata} for orchestra.
7803 @section syncopation
7814 Any deliberate upsetting of the normal pulse of @ref{meter},
7815 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7816 rhythm rests upon the grouping of equal beats into groups of two or
7817 three, with a regularly recurrent accent on the first beat of each
7818 group. Any deviation from this scheme is felt as a disturbance or
7819 contradiction between the underlaying (normal) pulse and the actual
7822 @lilypond[fragment,ragged-right]
7827 e c'4 e,8 c'4 e,8 c' ( | c2)
7836 @node syntonic comma
7837 @section syntonic comma
7839 ES: coma sintónica, coma de Dídimo,
7840 I: comma sintonico (o didimico),
7841 F: comma syntonique,
7842 D: syntonisches Komma,
7843 NL: syntonische komma,
7844 DK: syntonisk komma,
7845 S: syntoniskt komma,
7846 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7847 Pytagorisessa viritysjärjestelmässä.
7849 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7850 by which the ditone exceeds the pure major third obtained by Pythagorean
7851 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7853 Modern acoustical theory defines it as the interval by which four fifths exceed
7854 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7856 This comma is also known as the comma of Didymus, or didymic comma.
7860 @ref{Pythagorean comma}
7869 D: Notensystem, Partitur,
7873 FI: nuottijärjestelmä.
7875 The collection of staves (@notation{staff}), two or more, as used for writing
7876 down of keyboard, chamber, choral, or orchestral music.
7884 @section temperament
7889 D: Stimmung, Tem@-pe@-ra@-tur,
7890 NL: stemming, temperatuur,
7893 FI: viritysjärjestelmä.
7895 Systems of tuning in which the intervals deviate from the acoustically
7900 @ref{meantone temperament}, @ref{equal temperament}.
7903 @node tempo indication
7904 @section tempo indication
7906 ES: indicación de tempo,
7907 I: indicazione di tempo,
7908 F: indication de tempo,
7909 D: Zeitmaß, Tempobezeichnung,
7910 NL: tempo aanduiding,
7915 The rate of speed of a composition or a section thereof, ranging from the
7916 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7917 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7922 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7936 FI: tenori, korkea miesääni.
7938 The highest @q{natural} male voice (apart from @notation{countertenor}).
7965 ES: subrayado (tenuto),
7974 An indication that a particular note should be held for the whole
7975 length, although this can vary depending on the composer and era.
7999 @node thirty-second note
8000 @section thirty-second note
8003 @item UK: demisemiquaver
8006 @item F: triple croche
8007 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
8008 @item NL: twee@-endertig@-ste (32e) noot
8009 @item DK: toogtredivtedelsnode
8010 @item S: trettiotvåondelsnot
8011 @item FI: kolmaskymmeneskahdesosanuotti
8019 @node thirty-second rest
8020 @section thirty-second rest
8023 @item UK: demisemiquaver rest
8024 @item ES: silencio de fusa
8025 @item I: pausa di biscroma
8026 @item F: huitième de soupir
8027 @item D: Zweiunddreissigstel@-pause
8028 @item NL: twee@-endertig@-ste (32e) rust
8029 @item DK: toogtredivtedelspause
8030 @item S: trettiotvåondelspaus
8031 @item FI: kolmaskymmeneskahdesosatauko
8040 @section thorough bass
8050 ES: ligadura de prolongación, ligadura de unión,
8051 I: legatura (di valore),
8053 D: Haltebogen, Bindebogen,
8054 NL: overbinding, bindingsboog,
8056 S: bindebåge, överbindning,
8059 A curved line, identical in appearance with the @ref{slur}, which
8060 connects two succesive notes of the same pitch, and which has the
8061 function of uniting them into a single sound (tone) equal to the
8064 @lilypond[fragment,notime,ragged-right]
8065 \set Score.automaticBars = ##f
8066 \relative c'' { g2 ~ g4. }
8078 @node time signature
8079 @section time signature
8081 ES: indicación de compás,
8083 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
8084 D: Taktangabe, Angabe der Taktart,
8087 S: taktartssignatur,
8090 The sign placed at the beginning of a composition to indicate its
8091 meter. It most often takes the form of a fraction, but a few signs
8092 derived from mensural notation and proportions are also employed.
8096 @ref{mensural notation}, @ref{meter}.
8111 A sound of definite pitch and duration, as distinct from @emph{noise}.
8112 Tone is a primary building material of music.
8114 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
8133 The first @notation{scale degree}.
8137 @ref{functional harmony}, @ref{scale degree}.
8140 @node transposing instrument
8141 @section transposing instrument
8143 ES: instrumento transpositor,
8150 FI: transponoitava soitin.
8152 Instruments whose notated pitch is different from their sounded pitch. Except
8153 for those whose notated and sounding pitches differ by one or more octaves (to
8154 reduce the number of ledger lines needed), most such instruments are identified
8155 by the letter name of the pitch class of their fundamental. The pitch class is
8156 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8157 the instrument plays a notated C.
8159 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8160 the B-flat one tone lower. If played on the A clarinet, the same written
8161 note sounds the A (one and half tones -- a minor third -- lower).
8163 Not all transposing instruments include the pitch class in their name:
8167 @item English horn (in F)
8169 @item Alto flute (in G)
8175 @ref{concert pitch}.
8179 @section transposition
8190 Shifting a melody up or down in pitch, while keeping the same
8193 @lilypond[fragment,line-width=13.0\cm]
8198 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8203 @lilypond[fragment,line-width=13.0\cm]
8206 \transpose c bes \relative c'' {
8208 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8219 @section treble clef
8222 I: chiave di violino,
8224 D: Violinschlüssel, Sopranschlüssel,
8247 On stringed instruments:
8251 @item The quick reiteration of the same tone, produced by a rapid
8252 up-and-down movement of the bow.
8254 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8255 in the distance of a third (@ref{interval}).
8259 @lilypond[fragment,notime,ragged-right]
8260 \set Score.automaticBars = ##f
8261 %\override Score.TextScript #'font-style = #'large
8264 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8265 \repeat tremolo 8 { e32_"b" g }
8279 F: triade, accord parfait, accord de trois sons,
8296 F: trille, tremblement, battement (cadence),
8309 @section triple meter
8311 ES: compás ternario,
8314 D: in drei, ungerader Takt,
8315 NL: driedelige maatsoort,
8360 @section tuning fork
8362 ES: diapasón, horquilla de afinación,
8363 I: diapason, corista,
8371 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8372 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8373 standard. Tuning forks for other pitches are available.
8383 A non-standard subdivision of a beat or part of a beat, usually
8384 indicated with a bracket and a number indicating the number of
8389 @ref{triplet}, @ref{note value}.
8395 ES: grupeto (circular),
8419 FI: unisono, yksiäänisesti.
8421 Playing of the same notes or the same melody by various instruments
8422 (voices) or by the whole orchestra (choir), either at exactly the same
8423 pitch or in a different octave.
8435 F: anacrouse, levée,
8457 FI: ääni, lauluääni.
8465 @item @ref{mezzo-soprano}
8466 @item @ref{contralto}
8468 @item @ref{baritone}
8472 @item A melodic layer or part of a polyphonic composition.
8484 ES: vez, primera y segunda vez,
8491 FI: yksi kertauksen maaleista.
8493 [Italian: @q{time} (instance, not duration).] An ending, such as a first
8494 or second ending. LilyPond extends this idea to any number, and allows any text
8495 (not just a number) -- to serve as the @notation{volta} text.
8506 I: tempo debole, arsi,
8508 D: unbetonter Taktteil oder Taktschlag,
8510 DK: ubetonet taktslag,
8511 S: obetonat taktslag,
8512 FI: tahdin heikko isku.
8516 @ref{beat}, @ref{measure}, @ref{rhythm}.
8527 @item D: Ganze, ganze Note
8531 @item FI: kokonuotti
8543 @item UK: semibreve rest
8544 @item ES: silencio de redonda
8545 @item I: pausa di semibreve
8547 @item D: ganze Pause, ganztaktige Pause
8549 @item DK: helnodespause
8571 The interval of a major second. The interval between two tones
8572 on the piano keyboard with exactly one key between them -- including
8573 black and white keys -- is a whole tone.
8592 A family of blown wooden musical instruments. Today some of these
8593 instruments are actually made from metal. The woodwind instruments
8594 commonly used in a symphony orchestra are flute, oboe, clarinet,
8595 saxophone, and bassoon.
8602 @node Duration names notes and rests
8603 @chapter Duration names notes and rests
8605 @multitable @columnfractions .12 .22 .22 .22 .22
8607 @headitem Lang. @tab note name
8611 @item @strong{US} @tab long
8615 @item @strong{UK} @tab longa
8619 @item @strong{ES} @tab longa
8620 @tab silencio de longa
8622 @tab silencio de cuadrada
8623 @item @strong{IT} @tab longa
8627 @item @strong{FR} @tab longa
8628 @tab quadruple-pause
8631 @item @strong{DE} @tab Longa
8635 @item @strong{NL} @tab longa
8639 @item @strong{DK} @tab longa
8640 @tab longanodespause
8642 @tab brevis(nodes)pause
8643 @item @strong{SE} @tab longa
8647 @item @strong{FI} @tab longa-nuotti
8649 @tab brevis-nuotti, kaksoiskoko@-nuotti
8650 @tab brevis-tauko, kaksoiskoko@-tauko
8654 @multitable @columnfractions .12 .22 .22 .22 .22
8656 @headitem Lang. @tab note name
8660 @item @strong{US} @tab whole note
8664 @item @strong{UK} @tab semibreve
8668 @item @strong{ES} @tab redonda
8669 @tab silencio de redonda
8671 @tab silencio de blanca
8672 @item @strong{IT} @tab semibreve
8673 @tab pause di semibreve
8675 @tab pausa di minima
8676 @item @strong{FR} @tab ronde
8680 @item @strong{DE} @tab ganze Note
8684 @item @strong{NL} @tab hele noot
8688 @item @strong{DK} @tab helnode
8692 @item @strong{SE} @tab helnot
8696 @item @strong{FI} @tab kokonuotti
8703 @multitable @columnfractions .12 .22 .22 .22 .22
8705 @headitem Lang. @tab note name
8709 @item @strong{US} @tab quarter note
8713 @item @strong{UK} @tab crotchet
8717 @item @strong{ES} @tab negra
8718 @tab silencio de negra
8720 @tab silencio de corchea
8721 @item @strong{IT} @tab semiminima, nera
8722 @tab pausa di semiminima, pausa di nera
8725 @item @strong{FR} @tab noire
8729 @item @strong{DE} @tab Viertelnote
8733 @item @strong{NL} @tab kwartnoot
8737 @item @strong{DK} @tab fjerdedelsnode
8738 @tab fjerdedelspause
8739 @tab ottendedelsnode
8740 @tab ottendedelspause
8741 @item @strong{SE} @tab fjärdedelsnot
8745 @item @strong{FI} @tab neljäsosa@-nuotti
8746 @tab neljäsosa@-tauko
8747 @tab kahdeksasosa@-nuotti
8748 @tab kahdeksasosa@-tauko
8752 * About the French naming system: @emph{croche} refers to the note's "hook".
8753 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8754 hook}, @q{trebled hook}, and so on.
8756 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8757 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8758 a @emph{soupir}, and so on.
8760 Each of the following tables contains one type of note and its matching rest,
8761 with abbreviations that apply to both notes and rests. Just switch the part
8762 that means @q{note} with the part that means @q{rest}, for example:
8766 @item English: 16th @strong{note}, 16th @strong{rest}
8767 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8768 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8772 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8773 duration name. If you know of one that I missed, please send it to me, care of
8774 the lilypond-user discussion list.
8776 @multitable @columnfractions .10 .35 .35 .20
8778 @headitem Lang. @tab Note name
8781 @item @strong{US} @tab sixteenth note
8784 @item @strong{UK} @tab semiquaver
8785 @tab semiquaver rest
8787 @item @strong{ES} @tab semicorchea
8788 @tab silencio de semicorchea
8790 @item @strong{IT} @tab semicroma
8791 @tab pausa di semicroma
8793 @item @strong{FR} @tab double croche
8794 @tab quart de soupir
8796 @item @strong{DE} @tab Sechzehntelnote
8797 @tab Sechzehntelpause
8799 @item @strong{NL} @tab zes@-ti@-ende noot
8800 @tab zes@-ti@-ende rust
8802 @item @strong{DK} @tab sekstendedelsnode
8803 @tab sekstendedelspause
8805 @item @strong{SE} @tab sextondelsnot
8808 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8809 @tab kuudes@-toistaosa@-tauko
8814 @multitable @columnfractions .10 .35 .35 .20
8816 @headitem Lang. @tab Note name
8819 @item @strong{US} @tab thirty-second note
8820 @tab thirty-second rest
8822 @item @strong{UK} @tab demisemiquaver
8823 @tab demisemiquaver rest
8825 @item @strong{ES} @tab fusa
8826 @tab silencio de fusa
8828 @item @strong{IT} @tab biscroma
8829 @tab pausa di biscroma
8831 @item @strong{FR} @tab triple croche
8832 @tab huitième de soupir
8834 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8835 @tab Zweiunddreißig@-stelpause
8837 @item @strong{NL} @tab twee@-endertigste noot
8838 @tab twee@-endertigste rust
8840 @item @strong{DK} @tab toogtredivtedelsnode
8841 @tab toogtredivtedelspause
8843 @item @strong{SE} @tab trettio@-tvåondelsnot
8844 @tab trettio@-tvåondelspaus
8846 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8847 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8852 @multitable @columnfractions .10 .35 .35 .20
8854 @headitem Lang. @tab Note name
8857 @item @strong{US} @tab sixty-fourth note
8858 @tab sixty-fourth rest
8860 @item @strong{UK} @tab hemidemisemiquaver
8861 @tab hemidemisemiquaver rest
8863 @item @strong{ES} @tab semifusa
8864 @tab silencio de semifusa
8866 @item @strong{IT} @tab semibiscroma
8867 @tab pausa di semibiscroma
8869 @item @strong{FR} @tab quadruple croche
8870 @tab seizième de soupir
8872 @item @strong{DE} @tab Vierundsechzigstelnote
8873 @tab Vierundsechzigstelpause
8875 @item @strong{NL} @tab vierenzestigste noot
8876 @tab vierenzestigste rust
8878 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8879 @tab fireog@-tredsindstyven@-dedelspause
8881 @item @strong{SE} @tab sextiofjärdedelsnot
8882 @tab sextiofjärdedelspaus
8884 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8885 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8890 @multitable @columnfractions .10 .35 .35 .20
8892 @headitem Lang. @tab Note name
8895 @item @strong{US} @tab one-hundred-twenty-eighth note
8896 @tab one-hundred-twenty-eighth rest
8898 @item @strong{UK} @tab semihemidemisemiquaver
8899 @tab semihemidemisemiquaver rest
8901 @item @strong{ES} @tab garrapatea
8902 @tab silencio de garrapatea
8904 @item @strong{IT} @tab fusa
8907 @item @strong{FR} @tab quintuple croche
8908 @tab trente-deuxième de soupir @tab -
8909 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8910 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8911 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8912 @tab honderd@-acht@-en@-twintigste rust
8914 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8915 @tab hundrede@-otte@-og@-tyvendedels@-pause
8917 @item @strong{SE} @tab hundratjugoåttondelsnot
8918 @tab hundratjugoåttondelspaus
8920 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8921 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8926 @multitable @columnfractions .10 .35 .35 .20
8928 @headitem Lang. @tab Note name
8931 @item @strong{US} @tab two-hundred-fifty-sixth note
8932 @tab two-hundred-fifty-sixth rest
8934 @item @strong{UK} @tab demisemihemidemisemiquaver
8935 @tab demisemihemidemisemiquaver rest
8937 @item @strong{ES} @tab semigarrapatea
8938 @tab silencio de semigarrapatea @tab -
8939 @item @strong{IT} @tab semifusa
8940 @tab pausa di semifusa
8942 @item @strong{FR} @tab sextuple croche
8943 @tab soixante-quatrième de soupir @tab -
8944 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8945 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8946 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8947 @tab tweehonderd@-zesenvijftigste rust
8949 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8950 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8952 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8953 @tab tvåhundra@-femtiosjättedelspaus
8955 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8956 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8963 @ref{mensural notation}
8967 @chapter Pitch names
8969 @c -is/-es endings for Danish per Rune Zedeler, pace
8970 @c and for Finnish per Risto Vääräniemi
8971 @c -iss/-ess endings for Swedish per Mats Bengtsson
8972 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8974 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8976 @tab ES @tab I @tab F @tab D
8977 @tab NL @tab DK @tab S @tab FI
8978 @item @strong{c} @tab do @tab do @tab ut @tab C
8979 @tab c @tab c @tab c @tab c
8980 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8981 @tab cis @tab cis @tab ciss @tab cis
8982 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8983 @tab des @tab des @tab dess @tab des
8984 @item @strong{d} @tab re @tab re @tab ré @tab D
8985 @tab d @tab d @tab d @tab d
8986 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8987 @tab dis @tab dis @tab diss @tab dis
8988 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8989 @tab es @tab es @tab ess @tab es
8990 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8991 @tab e @tab e @tab e @tab e
8992 @item @strong{f-flat} = e
8993 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8994 @tab fes @tab fes @tab fess @tab fes
8995 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8996 @tab f @tab f @tab f @tab f
8997 @item @strong{e-sharp} = f
8998 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8999 @tab eis @tab eis @tab eiss @tab eis
9000 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
9001 @tab fis @tab fis @tab fiss @tab fis
9002 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
9003 @tab ges @tab ges @tab gess @tab ges
9004 @item @strong{g} @tab sol @tab sol @tab sol @tab G
9005 @tab g @tab g @tab g @tab g
9006 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
9007 @tab gis @tab gis @tab giss @tab gis
9008 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
9009 @tab as @tab as @tab ass @tab as
9010 @item @strong{a} @tab la @tab la @tab la @tab A
9011 @tab a @tab a @tab a @tab a
9012 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
9013 @tab ais @tab ais @tab aiss @tab ais
9014 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
9015 @tab bes @tab b @tab b @tab b
9016 @item @strong{b} @tab si @tab si @tab si @tab H
9017 @tab b @tab h @tab h @tab h
9025 @node Literature used
9026 @unnumberedsec Literature used
9029 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
9030 Cambridge: Belknap Press (Harvard University Press), 1944.
9032 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
9035 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
9036 Terminologie}. Kassel, 1980.
9038 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
9039 Current English}, 3rd ed. London: Oxford University Press, 1974.
9041 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
9042 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
9044 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
9045 Cambridge: Belknap Press (Harvard University Press), 1986.
9047 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.