1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
8 @c see lilypond.tely for info installation note
11 * Glossary: (lilypond/music-glossary). Glossary of music terms.
15 This document is also available in
16 @uref{source/Documentation/user/music-glossary.pdf,PDF}
17 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
22 @author Christian Mondrup @c Original author of LilyPond glossary
24 @author François Pinard @c Original glossary of GNU music project,
26 @author Han-Wen Nienhuys @c Dutch glossary
27 @author Jan Nieuwenhuizen @c Dutch glossary
28 @author David González @c Spanish glossary
29 @author Bjoern Jacke @c German glossary
30 @author Neil Jerram @c English glossary translations
31 @author Mats Bengtsson @c Swedish glossary
32 @author Adrian Mariano @c Italian glossary
33 @author Heikki Junes @c Finnish glossary
35 @c Fixes by Jean-Pierre Coulon and `Dirk'
37 Copyright @copyright{} 1999--2007 by the authors
40 Permission is granted to copy, distribute and/or modify this document
41 under the terms of the GNU Free Documentation License, Version 1.1
42 or any later version published by the Free Software Foundation,
43 without Invariant Sections.
48 @c FIXME: multiple omfcreators?
50 @omfcreator Christian Mondrup
51 @omfdescription Glossary of musical terms with translations
53 @omfcategory Applications|Publishing
65 This glossary was brought you by
72 @item Christian Mondrup
73 Original author of LilyPond glossary, Danish glossary,
77 Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys
80 @item Jan Nieuwenhuizen
85 English glossary translations,
87 Finnish glossary translations.
90 Copyright 1999--2007 by the authors
93 Permission is granted to copy, distribute and/or modify this document
94 under the terms of the GNU Free Documentation License, Version 1.1
95 or any later version published by the Free Software Foundation,
96 without Invariant Sections.
102 @c @everyheading @| @thispage @|
103 @c @evenheading @thispage @| @|
104 @c @oddheading @| @| @thispage @|
106 @include macros.itexi
111 @w{@expansion{}@strong{\word\}}@c
114 @expansion{}@ref{\word\, @strong{\word\}}@c
119 * Musical terms A-Z::
120 * Duration names notes and rests::
125 @node Musical terms A-Z
126 @chapter Musical terms A-Z
128 Languages in this order.
135 @item UK - British English
154 * ancient minor scale::
159 * ascending interval::
160 * augmented interval::
192 * compound interval::
194 * conjunct movement::
207 * descending interval::
209 * diminished interval::
212 * disjunct movement::
214 * dissonant interval::
215 * dominant ninth chord::
216 * dominant seventh chord::
219 * dot (augmentation dot)::
221 * double appoggiatura::
223 * double dotted note::
232 * ecclesiastical mode::
239 * equal temperament::
254 * functional harmony::
269 * inverted interval::
282 * long appoggiatura::
288 * meantone temperament::
296 * metronomic indication::
333 * Pythagorean comma::
355 * short appoggiatura::
359 * sixty-fourth note::
360 * sixty-fourth rest::
388 * thirty-second note::
389 * thirty-second rest::
440 FI: aksentti, korostus.
442 The stress of one tone over others.
452 ES: alteración accidental,
454 F: altération accidentelle,
455 D: Vorzeichen, Versetzungszeichen, Akzidenz,
456 NL: toevallig (verplaatsings)teken,
458 S: tillfälligt förtecken,
459 FI: tilapäinen etumerkki.
461 An accidental has the effect of an @aref{alteration} of a note. A
462 sharp raises a tone by a @aref{semitone}, a double sharp raises it by
463 a @aref{whole tone}, a flat lowers it by a semitone and a double flat
464 lowers it by a whole tone. A natural cancels the effect of a previous
467 @lilypond[fragment,notime,line-width=13.0\cm]
468 \set Score.automaticBars = ##f
470 \context Staff \relative c'' {
471 \set Staff.extraNatural = ##f
472 gis1 gisis ges geses g!
475 \override Lyrics .LyricText #'self-alignment-X = #-1
476 sharp "db. sharp" flat "db. flat" natural
486 F: accelerando, en accélérant,
487 D: accelerando, schneller werden,
491 FI: accelerando, kiihdyttäen.
505 FI: adagio, hitaasti.
507 It.@: comfortable, easy.
508 1.@tie{}Slow tempo, slower -- especially in even meter -- than
509 @aref{andante} and faster than @aref{largo}.
510 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
511 @aref{sonata}s, symphonies, etc.
519 D: Allegro, Schnell, Fröhlich, Lustig,
523 FI: allegro, nopeasti.
525 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
526 tempo, especially the first and last movements of a @aref{sonata}.
535 NL: verhoging of verlaging,
540 An alteration is the modification, raising or lowering, of a note's
541 pitch. It is established by an @aref{accidental}.
553 FI: altto, matala naisääni.
555 A female voice of low range (@emph{contralto}). Originally the alto was a
556 high male voice (hence the name), which by the use of falsetto reached the
557 height of the female voice. This type of voice is also known as
558 @aref{counter tenor}.
563 ES: clave de do en tercera,
564 I: chiave di contralto,
565 F: clef d'ut troisième ligne,
566 D: Altschlüssel, Bratschenschlüssel,
572 C clef setting middle C on the middle line of the staff
585 FI: ambitus, ääniala, soitinala.
587 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
588 of pitches for a given voice in a part of music. It may also denote
589 the pitch range that a musical instrument is capable of playing.
594 @c TODO: add more languages for anacrusis
598 An anacrusis (also known as pickup or upbeat) is an incomplete measure
599 of music before a section of music.
601 @node ancient minor scale
602 @section ancient minor scale
604 ES: escala menor antigua,
605 I: scala minore naturale,
606 F: forme du mode mineur ancien, troisème mode, mode hellénique
608 NL: authentieke mineurtoonladder,
611 FI: luonnollinen molliasteikko.
613 @aref{diatonic scale}.
615 @lilypond[fragment,notime,line-width=13.0\cm]
616 \set Score.automaticBars = ##f
633 Walking tempo/character.
636 @section appoggiatura
640 F: appoggiature, (port de voix),
645 FI: appoggiatura, etuhele.
647 Ornamental note, usually a second, that is melodically connected with the
648 main note following it. In music before the 19th century appoggiature were
649 usually performed on the beat, after that mostly before the beat. While the
650 short appoggiatura is performed as a short note regardless of the duration of
651 the main note the duration of the long appoggiatura is proportional to that of
654 @lilypond[line-width=13.0\cm]
655 \context Voice \relative c'' {
659 %\override Score.TextScript #'font-style = #'large
660 <d a fis>4_"notation" r
661 { \override Stem #'flag-style = #'()
663 \revert Stem #'flag-style
666 { \override Stem #'flag-style = #'()
668 \revert Stem #'flag-style
671 \cadenzaOn a4 \bar "||" \cadenzaOff
673 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
674 \cadenzaOn a4 \bar "||" \cadenzaOff
678 An appoggiatura may have more notes preceding the main note.
680 @lilypond[line-width=13.0\cm]
684 % \override Score.TextScript #'font-style = #'large
685 \grace { bes16 } as8_"notation" as16 bes as8 g |
686 \grace { as16[( bes] } < c as >4-)
687 \grace { as16[( bes] } < c as >4-) \bar "||"
688 \grace { bes16 } as8_"performance" as16 bes as8 g |
689 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
690 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
701 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
703 DK: arpeggio, akkordbrydning,
705 FI: arpeggio, murtosointu.
707 @lilypond[fragment,line-width=13.0\cm]
708 \context PianoStaff <<
709 \context Staff = SA \relative c'' {
712 r8 g16 c e g, c e r8 g,16 c e g, c e |
713 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
714 \context Staff = SB \relative c' {
716 << \context Voice = va {
718 r16 e8. ( e4) r16 e8. ( e4) |
719 r16 d8. ( d4) r16 d8. ( d4) }
720 \context Voice = vb {
728 @section articulation
739 Articulation refers to notation which indicates how a note or notes should
740 be played. Slurs, accents, staccato, and legato are all examples of
743 @node ascending interval
744 @section ascending interval
746 ES: intervalo ascendente,
747 I: intervallo ascendente,
748 F: intervalle ascendant,
749 D: steigendes Intervall,
750 NL: stijgend interval,
751 DK:@w{ }stigende interval,
752 S: stigande intervall,
753 FI: nouseva intervalli.
755 A distance between a starting lower note and a higher ending note.
757 @node augmented interval
758 @section augmented interval
760 ES: intervalo aumentado,
761 I: intervallo aumentato,
762 F: intervalle augmenté,
763 D: übermäßiges Intervall,
764 NL: overmatig interval,
765 DK: forstørret interval,
766 S: överstigande intervall,
767 FI: ylinouseva intervalli.
776 F: manuscrit, autographe
777 D: Autograph, Handschrift,
779 DK: håndskrift, autograf,
781 FI: käsinkirjoitettu nuotti.
783 1.@tie{}A manuscript in the composer's own hand.
784 2.@tie{}Music prepared for photoreproduction by freehand drawing,
785 with the aid of a straightedge ruler and T-square only,
786 which attempts to emulate engraving.
787 This required more skill than did engraving.
816 ES: barra, línea divisoria,
817 I: stanghetta, barra (di divisione),
818 F: barre (de mesure),
835 FI: baritoni, keskikorkuinen miesääni.
837 The male voice intermediate between the @aref{bass} and the
840 @c F: clef de troisième ligne dropped
843 @section baritone clef
845 ES: clave de fa en tercera,
846 I: chiave di baritono,
847 F: clef d' Ut cinquième ligne, clef de Fa troisième,
854 C or F clef setting middle C on the upper staff line.
855 @aref{C clef}, @aref{F clef}.
860 ES: clave de fa en cuarta,
862 F: clef de fa quatrième ligne,
869 A clef setting with middle C on the first top ledger line.
882 FI: basso, matala miesääni.
884 1.@tie{}The lowest male voice.
885 2.@tie{}Sometimes, especially in jazz music, used as
886 an abbreviation for double bass.
901 Line connecting a series of notes (shorter than a quarter note).
902 The number of beams determines the note value of the connected notes.
904 @lilypond[fragment,notime,line-width=13.0\cm]
905 \set Score.automaticBars = ##f
906 %\override TextScript #'font-style = #'large
909 g16_"1/16"[ g g g] s16
910 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
911 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
917 ES: tiempo, parte (de compás)
920 D: Takt, Taktschlag, Zeit (im Takt),
926 Note value used for counting, most often half-, fourth-, and eighth notes.
927 The base counting value and the number of them per measure is indicated at
928 the start of the music.
930 @lilypond[fragment,line-width=13.0\cm]
933 \relative c'' { g4 c b a | g1 \bar "||"}
935 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
949 D: Klammer, Akkolade,
950 NL: accolade, teksthaak,
953 FI: yhdistävä sulkumerkki.
955 Symbol at the start of a system connecting staves. Curly braces are used
956 for connecting piano staves, angular brackets for connecting parts in an
957 orchestral or choral score.
959 @lilypond[fragment,ragged-right]
960 \context GrandStaff <<
961 \relative c''\context Staff = SA { \clef treble g4 e c2 }
962 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
965 @lilypond[fragment,ragged-right]
966 \context StaffGroup <<
967 % \set StaffGroup.minVerticalAlign = #12
968 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
969 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
981 S: brassinstrument, mässingsinstrument,
984 A family of blown musical instruments made of brass, all using a cup formed
985 mouth piece. The brass instruments commonly used in a symphony orchestra are
986 trumpet, trombone, french horn, and tube.
994 D: Atemzeichen, Trennungszeichen,
995 NL: repercussieteken,
996 DK: vejrtrækningstegn,
1000 Indication of where to breathe in vocal and wind instrument parts.
1004 ES: cuadrada, breve,
1013 @aref{note value}, twice as long as a whole note. Mainly used
1016 @lilypond[fragment,notime,ragged-right]
1017 \set Score.automaticBars = ##f
1018 \relative c'' { g\breve }
1047 Clef symbol indicating the position of the middle C. Used on all note
1050 @lilypond[fragment,notime,line-width=13.0\cm]
1051 \set Score.automaticBars = ##f
1052 \override Score.Clef #'full-size-change = ##t
1054 \context Staff \relative c' {
1056 \clef mezzosoprano c
1061 \context Lyrics \lyrics {
1062 \override Lyrics .LyricText #'self-alignment-X = #-1
1063 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1078 FI: kadenssi, lopuke.
1080 @aref{harmonic cadence}, @aref{functional harmony}.
1092 FI: kadenssi, lopuke.
1094 An extended, improvisatory style section inserted near the end of
1095 movement. The purpose of a cadenza is to give singers or players a chance
1096 to exhibit their technical skill and -- not last -- their ability to
1097 improvise. Since the middle of the 19th century, however, most cadences have
1098 been written down by the composer.
1110 FI: kaanon, tarkka jäljittely.
1112 @aref{counterpoint}.
1124 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1125 viritysjärjestelmässä.
1127 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1128 of an equally tempered @aref{semitone}).
1129 @aref{equal temperament}.
1148 Three or more tones sounding simultaneously. In traditional European music
1150 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1152 minor @aref{third}) as well as @emph{minor} (minor + major third)
1153 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1154 and five-tone @emph{ninth} major chords are most often used as dominants
1155 (@aref{functional harmony}). A special case is chords having no
1156 third above the lower notes to define their quality as major or minor. Such
1157 chords are denoted open chords
1159 @lilypond[fragment,notime,line-width=13.0\cm]
1160 \set Score.automaticBars = ##f
1161 %\override TextScript #'font-style = #'large
1163 \context Staff \relative c'' {
1164 \set Staff.extraNatural = ##f
1183 @node chromatic scale
1184 @section chromatic scale
1186 ES: escala cromática,
1188 F: gamme chromatique,
1189 D: chro@-ma@-ti@-sche Tonleiter,
1190 NL: chromatische toonladder,
1191 DK: kromatisk skala,
1193 FI: kromaattinen asteikko.
1195 A scale consisting of all 12 @aref{semitone}s.
1197 @lilypond[fragment,notime,line-width=13.0\cm]
1198 \set Score.automaticBars = ##f
1199 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1203 @section chromaticism
1214 Use of tones extraneous to a @aref{diatonic scale} (minor, major).
1217 @section church mode
1219 ES: modo eclesiástico,
1220 I: modo ecclesiastico,
1221 F: mode ecclésiastique,
1226 FI: moodi, kirkkosävellaji.
1228 @aref{diatonic scale}.
1236 D: Schlüssel, Notenschlüssel,
1240 FI: avain, nuottiavain.
1242 @aref{C clef}, @aref{F clef}, @aref{G clef}.
1244 The clef indicates which lines of the staff correspond to which
1245 pitches. The three clef symbols in common use are:
1247 @lilypond[ragged-right,quote]
1250 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1251 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1252 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1257 Imagine a large staff of 11 lines centered on middle C,
1258 sometimes called a @qq{grand staff}, with
1259 the bottom line representing low G and the top line high F:
1261 @lilypond[ragged-right,quote]
1264 %-- Treble Staff --%
1266 % Allow this staff to be placed close to the others
1267 \override Staff.VerticalAxisGroup
1268 #'minimum-Y-extent = #'(0 . 0)
1269 % Allow the treble clef to overlap the lower staves:
1270 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1271 \override Staff.Clef #'stencil = ##f % No clef required
1273 s1^\markup { "g," \transparent "g" }
1274 s^ \markup { "b," \transparent "g" }
1275 s^ \markup { "d" \transparent "g" }
1276 s^ \markup { "f" \transparent "g" }
1277 s^ \markup { "a" \transparent "g" }
1278 s^ \markup { \with-color #red c' \transparent "g"}
1279 e'^\markup { "e'" \transparent "g" }
1280 g'^\markup { "g'" \transparent "g" }
1281 b'^\markup { "b'" \transparent "g" }
1282 d''^\markup { "d''" \transparent "g" }
1283 f''^\markup { "f ''" \transparent "g" }
1285 %-- Alto Staff reduced to a single line on middle C --%
1287 \override Staff.StaffSymbol #'line-count = 1 % One line only
1288 \override Staff.StaffSymbol #'color = #red % Coloured red
1289 \override Staff.Clef #'stencil = ##f % No clef required
1292 % Allow this staff to be placed close to the others
1293 \override Staff.VerticalAxisGroup
1294 #'minimum-Y-extent = #'(0 . 0)
1295 % Specify height to give correct spacing between the staves
1296 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1298 s1 s s s s % Space along to align horizonatally
1299 \override NoteHead #'color = #red
1301 s1 s s s s % Keep staff (ie the red line) showing
1305 % Allow this staff to be placed close to the others
1306 \override Staff.VerticalAxisGroup
1307 #'minimum-Y-extent = #'(0 . 0)
1308 \override Staff.Clef #'stencil = ##f % No clef required
1311 s s s s s s % Keep staff showing
1315 % Reduce horizontal spacing so semibreves can be
1316 % used without exceeding 1 line
1317 \context { \Score \override SpacingSpanner
1318 #'base-shortest-duration = #(ly:make-moment 1 1)
1320 % Reduce apparent vertical size of note heads to
1321 % permit them to overlap other grobs vertically
1322 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1324 % Remove all barlines
1325 \context { \Score \override BarLine #'stencil = ##f
1327 % Remove time signature from all staves
1328 \context { \Staff \remove Time_signature_engraver
1334 Staves of five lines are usually used, and the clef superimposed
1336 which five lines have been selected from this @qq{grand staff}.
1337 For example, the treble or G clef indicates that the top five
1338 lines have been selected:
1340 @lilypond[ragged-right,quote]
1343 %-- Treble Staff --%
1345 % Allow this staff to be placed close to the others
1346 \override Staff.VerticalAxisGroup
1347 #'minimum-Y-extent = #'(0 . 0)
1348 % Allow the treble clef to overlap the lower staves:
1349 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1350 \override Staff.Clef #'stencil = ##f % No clef required here
1352 s1^\markup { "g," \transparent "g" }
1353 s^ \markup { "b," \transparent "g" }
1354 s^ \markup { "d" \transparent "g" }
1355 s^ \markup { "f" \transparent "g" }
1356 s^ \markup { "a" \transparent "g" }
1357 s^ \markup { \with-color #red c' \transparent "g"}
1358 \stopStaff \startStaff
1359 \clef "C" % Dummy to force next clef to be printed
1360 s % Need at least one note for \clef to take effect
1361 \override Staff.Clef #'stencil = ##t % Clef now required
1362 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1364 e'^\markup { "e'" \transparent "g" }
1365 g'^\markup { "g'" \transparent "g" }
1366 b'^\markup { "b'" \transparent "g" }
1367 d''^\markup { "d''" \transparent "g" }
1368 f''^\markup { "f ''" \transparent "g" }
1370 %-- Alto Staff reduced to a single line on middle C --%
1372 \override Staff.StaffSymbol #'line-count = 1 % One line only
1373 \override Staff.StaffSymbol #'color = #red % Coloured red
1374 \override Staff.Clef #'stencil = ##f % No clef required
1377 % Allow this staff to be placed close to the others
1378 \override Staff.VerticalAxisGroup
1379 #'minimum-Y-extent = #'(0 . 0)
1380 % Specify height to give correct spacing between the staves
1381 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1383 s1 s s s s % Space along to align horizonatally
1384 \override NoteHead #'color = #red
1386 % s1 s s s s % Keep staff (ie the red line) showing
1390 % Allow this staff to be placed close to the others
1391 \override Staff.VerticalAxisGroup
1392 #'minimum-Y-extent = #'(0 . 0)
1393 \override Staff.Clef #'stencil = ##f % No clef required
1396 % s s s s s s % Keep staff showing
1400 % Reduce horizontal spacing so semibreves can be used
1401 % without exceeding 1 line
1402 \context { \Score \override SpacingSpanner
1403 #'base-shortest-duration = #(ly:make-moment 1 1)
1405 % Reduce apparent vertical size of note heads to
1406 % permit them to overlap other grobs vertically
1407 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1409 % Remove all barlines
1410 \context { \Score \override BarLine #'stencil = ##f
1412 % Remove time signature from all staves
1413 \context { \Staff \remove Time_signature_engraver
1419 The @qq{curl} of the G clef in centered on the
1420 line which represents the pitch G.
1422 In the same way, the bass or F clef indicates that
1423 the bottom five lines have been selected from the
1424 @qq{grand staff}, and the alto or C clef indicates
1425 the middle five lines have been selected. This
1426 relationship is shown below, where the notes show
1427 an arpeggio on a C major chord.
1429 @lilypond[ragged-right,quote]
1432 %-- Treble Staff --%
1433 \new Staff = "G" \with {
1434 \remove Time_signature_engraver
1437 % The following two overrides are required to make the two middle C's overlap
1438 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1439 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1441 \override Staff.Clef #'Y-extent = #'(0 . 0)
1443 s1 s s s s e' g' c''
1446 \new Staff = "C" \with {
1447 \remove Time_signature_engraver
1450 \override Staff.StaffSymbol #'line-count = 1
1451 \override Staff.StaffSymbol #'stencil = ##f
1452 \once \override Staff.Clef #'stencil = ##f
1453 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1454 \override Score.BarLine #'stencil = ##f
1456 % The following two overrides are required to align the C staff to the G and F staves
1457 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1458 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1461 \stopStaff \startStaff
1462 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1463 \revert Staff.StaffSymbol #'stencil
1464 \override Staff.StaffSymbol #'color = #red
1465 b'1 % A frig. This really shows as a middle C in the score
1467 \stopStaff \startStaff
1468 \override Staff.StaffSymbol #'line-count = 5
1469 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1470 \override Staff.Clef #'Y-extent = #'(0 . 0)
1471 \revert Staff.StaffSymbol #'color
1472 \stopStaff \startStaff
1474 s1 s s c e g c' e' g' c''
1477 \new Staff = "F" \with {
1478 \remove Time_signature_engraver
1481 \override Staff.Clef #'Y-extent = #'(0 . 0)
1482 % The following two overrides are required to make the two middle C's overlap
1483 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1484 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1492 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1495 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1498 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1510 A @emph{cluster} is a range of simultaneously sounding pitches that
1511 may change over time. The set of available pitches to apply usually
1512 depends on the acoustic source. Thus, in piano music, a cluster
1513 typically consists of a continuous range of the semitones as provided
1514 by the piano's fixed set of a chromatic scale. In choral music, each
1515 singer of the choir typically may sing an arbitrary pitch within the
1516 cluster's range that is not bound to any diatonic, chromatic or other
1517 scale. In electronic music, a cluster (theoretically) may even cover
1518 a continuous range of pitches, thus resulting in colored noise, such
1521 Clusters can be denoted in the context of ordinary staff notation by
1522 engraving simple geometrical shapes that replace ordinary notation of
1523 notes. Ordinary notes as musical events specify starting time and
1524 duration of pitches; however, the duration of a note is expressed by
1525 the shape of the note head rather than by the horizontal graphical
1526 extent of the note symbol. In contrast, the shape of a cluster
1527 geometrically describes the development of a range of pitches
1528 (vertical extent) over time (horizontal extent). Still, the
1529 geometrical shape of a cluster covers the area in which any single
1530 pitch contained in the cluster would be notated as an ordinary note.
1532 @lilypond[fragment,relative=2,ragged-right]
1533 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1546 FI: komma, korvinkuultava ero äänenkorkeudessa.
1548 Difference in pitch between a note derived from pure tuning and the same note
1549 derived from some other tuning method. @aref{temperament}.
1552 @section common meter
1556 @node compound interval
1557 @section compound interval
1559 ES: intervalo compuesto,
1560 I: intervallo composto,
1561 F: intervalle composé,
1562 D: weites Intervall,
1563 NL: samengesteld interval,
1564 DK: sammensat interval,
1565 S: sammansatt intervall,
1566 FI: oktaavia laajempi intervalli.
1568 Intervals larger than an octave.
1575 ES: intervalo invertido,
1577 F: intervalle complémentaire,
1578 D: Komplementärintervall,
1579 NL: complementair interval,
1580 DK: komplementærinterval,
1581 S: komplementärintervall (?),
1582 FI: täydentävä intervalli.
1584 @aref{inverted interval}.
1586 @node conjunct movement
1587 @section conjunct movement
1589 ES: movimiento conjunto,
1591 F: mouvement conjoint,
1592 D: schritt@-weise, stufenweise Bewegung,
1593 NL: stapsgewijze, trapsgewijze beweging,
1594 DK: trinvis bevægelse,
1596 FI: asteittainen liike.
1598 Progressing melodically by intervals of a second. The opposite of a
1599 @aref{disjunct movement}.
1601 @lilypond[fragment,line-width=13.0\cm]
1602 \key g \major \time 4/4
1603 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1616 FI: konsonanssi, sopusointi.
1635 @section counterpoint
1644 FI: kontrapunkti, ääni ääntä vastaan.
1646 From latin @emph{punctus contra punctum}, note against note. The combination
1647 into a single musical fabric of lines or parts which have distinct melodic
1648 significance. A frequently used polyphonic technique is imitation, in its
1649 strictest form found in the canon needing only one part to be written down
1650 while the other parts are performed with a given displacement. Imitation is
1651 also the contrapunctal technique used in the @emph{fugue} which, since the
1652 music of the baroque era, has been one of the most popular polyphonic
1653 composition methods.
1655 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1656 \set Score.implicitTimeSignatureVisibility = #all-invisible
1657 \override Score.TimeSignature #'break-visibility = #all-invisible
1658 \context PianoStaff <<
1659 \context Staff = SA \relative c' {
1663 << \context Voice = rha {
1665 r1 | r2 r8 g'8 bes d, |
1666 cis4 d r8 e!16 f g8 f16 e |
1667 f8 g16 a bes8 a16 g a8
1669 \context Voice = rhb {
1675 \context Staff = SB \relative c' {
1678 << \context Voice = lha {
1680 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1681 r8 a16 g f8 g16 a bes8 g e! cis' |
1684 \context Voice = lhb {
1693 @section counter tenor
1698 D: Countertenor, Kontratenor,
1701 S: kontratenor, counter tenor,
1707 @section copying music
1709 A music copyist did fast freehand scores and parts on preprinted staff lines
1710 for performance. Some of their conventions (e.g., the placement of note heads
1711 on stems) varied slightly from those of engravers. Some of their working
1712 methods were superior and could well be adopted by music typesetters. This
1713 required more skill than engraving.
1721 D: Crescendo, lauter werden,
1725 FI: cresendo, voimistuen.
1727 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1728 abbreviation @q{cresc.}.
1730 @lilypond[fragment,ragged-right]
1731 \key g \major \time 4/4
1732 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1740 F: petites notes précédent l'entrée d'un instrument, réplique,
1747 In a separate part notes belonging to another part with the purpose of hinting
1748 when to start playing. Usually printed in a smaller type.
1756 A custos is a staff symbol that appears at the end of a staff line
1757 with monophonic musical contents (i.e., with a single voice). It
1758 anticipates the pitch of the first note of the following line and thus
1759 helps the player or singer to manage line breaks during performance,
1760 thus enhancing readability of a score.
1762 Custodes were frequently used in music notation until the 16th
1763 century. There were different appearences for different notation
1764 styles. Nowadays, they have survived only in special forms of musical
1765 notation such as via the editio vaticana dating back to the beginning
1771 % \override Staff.Custos #'neutral-position = #4
1772 \override Staff.Custos #'neutral-direction = #down
1773 \override Staff.Custos #'style = #'hufnagel
1781 \consists Custos_engraver
1807 F: da capo, depuis le commencement,
1808 D: da capo, von Anfang,
1812 FI: da capo, alusta.
1814 The term indicates repetition of the piece from the beginning to the end or
1815 to a certain place marked @emph{fine}. Mostly abbreviated as @q{D.C.}.
1822 F: dal segno, depuis le signe,
1823 D: dal segno, ab dem Zeichen,
1827 FI: dal segno, lähtien merkistä.
1829 Abbreviated @q{d.s.}. Repetition, not from the beginning, but from
1830 another place frequently near the beginning marked by a sign:
1832 @lilypond[fragment,ragged-right]
1833 %\override TextScript #'font-style = #'large
1834 \override TextScript #'font-shape = #'italic
1835 \key g \major \time 4/4
1840 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1846 @section decrescendo
1850 D: Decrescendo, leiser werden,
1854 FI: decresendo, hiljentyen.
1856 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1857 or the abbreviation @q{decresc.}.
1859 @lilypond[fragment,ragged-right]
1861 \key g \major \time 4/4
1862 d4 \> c b a | g1 \! \bar "|."
1866 @node descending interval
1867 @section descending interval
1869 ES: intervalo descendente,
1870 I: intervallo discendente,
1871 F: intervalle descendant,
1872 D: fallendes Intervall, absteigendes Intervall,
1873 NL: dalend interval,
1874 DK: faldende interval,
1875 S: fallande intervall,
1876 FI: laskeva intervalli.
1878 A distance between a starting higher note and a lower ending note.
1880 @node diatonic scale
1881 @section diatonic scale
1883 ES: escala diatónica,
1885 F: gamme diatonique,
1886 D: diatonische Tonleiter,
1887 NL: diatonische toonladder,
1888 DK: diatonisk skala,
1890 FI: diatoninen asteikko.
1892 A scale consisting of 5@w{ }@aref{whole tone}s and
1893 2@w{ }@aref{semitone}s (S). Scales played on the white keys
1894 of a piano keybord are diatonic.
1896 The church modes are used in gregorial chant and in pre-baroque early
1897 music but also to some extent in newer jazz music.
1899 @lilypond[fragment,notime,ragged-right]
1900 \set Score.automaticBars = ##f
1901 %\override Score.LyricText #'font-style = #'large
1902 %\override Score.TextScript #'font-style = #'large
1904 \context Staff \relative c' {
1906 \override TextScript #'padding = #-4
1907 e^"~~ S" f g a b^"~~ S" c
1909 \context Lyrics \lyrics {
1915 @lilypond[fragment,notime,ragged-right]
1916 \set Score.automaticBars = ##f
1918 \context Staff \relative c' {
1920 \override TextScript #'padding = #-4
1921 e^"~~ S" f g a b^"~~ S" c d
1929 @lilypond[fragment,notime,ragged-right]
1930 \set Score.automaticBars = ##f
1933 \override TextScript #'padding = #-4
1934 e1^"~~ S" f g a b^"~~ S" c d e
1942 @lilypond[fragment,notime,ragged-right]
1943 \set Score.automaticBars = ##f
1947 \override TextScript #'padding = #-4
1948 b^"~~ S" c d e^"~~ S" f
1956 @lilypond[fragment,notime,ragged-right]
1957 \set Score.automaticBars = ##f
1961 \override TextScript #'padding = #-4
1962 b^"~~ S" c d e^"~~ S" f g }
1969 @lilypond[fragment,notime,ragged-right]
1970 \set Score.automaticBars = ##f
1971 %\override Score.LyricText #'font-style = #'large
1972 %\override Score.TextScript #'font-style = #'large
1976 \override TextScript #'padding = #-4
1977 b^"~~ S" c d e^"~~ S" f g a
1985 From the beginning of the 17th century the scales used in European
1986 compositional music are primarily the major and the minor scales. In the
1987 harmonic minor scale type an augmented second (A) occurs between the 6th and
1990 @lilypond[fragment,notime,ragged-right]
1991 \set Score.automaticBars = ##f
1995 \override TextScript #'padding = #-4
1996 e^"~~ S" f g a b^"~~ S" c
2004 @lilypond[fragment,notime,ragged-right]
2005 \set Score.automaticBars = ##f
2009 \override TextScript #'padding = #-4
2010 b^"~~ S" c d e^"~~ S" f g a
2018 @lilypond[fragment,notime,ragged-right]
2019 \set Score.automaticBars = ##f
2023 \override TextScript #'padding = #-4
2024 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2026 \context Lyrics \lyrics {
2032 @lilypond[fragment,notime,line-width=13.0\cm]
2033 \set Score.automaticBars = ##f
2034 %\override Score.LyricText #'font-style = #'large
2035 %\override Score.TextScript #'font-style = #'large
2039 \override TextScript #'padding = #-4
2040 b^"~~ S" c d e fis gis^"~~ S"
2041 a g! f!^"~~ S" e d c^"~~ S" b a
2049 @node diminished interval
2050 @section diminished interval
2052 ES: intervalo disminuido,
2053 I: intervallo diminuito,
2054 F: intervalle diminué,
2055 D: vermindertes Intervall,
2056 NL: verminderd interval,
2057 DK: formindsket interval,
2058 S: förminskat intervall,
2059 FI: vähennetty intervalli.
2073 FI: diminuendo, hiljentyen.
2091 @node disjunct movement
2092 @section disjunct movement
2094 ES: movimiento disjunto,
2096 F: mouvement disjoint,
2097 D: sprunghafte Bewegung,
2098 NL: sprongsgewijze beweging,
2099 DK: springende bevægelse,
2100 S: hoppande rörelse,
2101 FI: melodian hyppivä liike.
2103 Progressing melodically by intervals larger than a major second.
2104 Opposite of @aref{conjunct movement}.
2106 @lilypond[fragment,ragged-right]
2111 a4. gis8 b a e cis |
2112 fis2 d4. \bar "||" }
2118 @ref{dissonant interval}.
2120 @node dissonant interval
2121 @section dissonant interval
2123 ES: intervalo disonante, disonancia,
2124 I: intervallo dissonante, dissonanza,
2127 NL: dissonant interval; dissonant,
2128 DK: dissonerende interval, dissonans,
2130 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2134 @node dominant ninth chord
2135 @section dominant ninth chord
2137 ES: acorde de novena de dominante,
2138 I: accordo di nona di dominante,
2139 F: accord de neuvième dominante,
2140 D: Domi@-nant@-nonen@-akkord,
2141 NL: dominant noon akkoord,
2142 DK: dominantnoneakkord,
2143 S: dominantnonackord,
2144 FI: dominanttinoonisointu.
2146 @aref{chord}, @aref{functional harmony}.
2148 @node dominant seventh chord
2149 @section dominant seventh chord
2151 ES: acorde de séptima de dominante,
2152 I: accordo di settima di dominante,
2153 F: accord de septième dominante,
2154 D: Dominantseptakkord,
2155 NL: dominant septiem akkoord,
2156 DK: dominantseptimakkord,
2157 S: dominantseptimackord,
2158 FI: dominanttiseptimisointu.
2160 @aref{chord}, @aref{functional harmony}.
2172 FI: dominantti, huippusointu.
2174 The fifth @aref{scale degree},
2175 @aref{functional harmony}.
2178 @section dorian mode
2183 D: dorisch, dorischer Kirchenton,
2184 NL: dorische toonladder,
2189 @aref{diatonic scale}.
2191 @node dot (augmentation dot)
2192 @section dot (augmentation dot)
2195 I: punto (di valore),
2197 D: Punkt (Verlängerungspunkt),
2203 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2208 @section dotted note
2210 ES: nota con puntillo,
2214 NL: gepuncteerde noot,
2217 FI: pisteellinen nuotti.
2221 @node double appoggiatura
2222 @section double appoggiatura
2224 ES: apoyatura doble,
2225 I: appoggiatura doppia,
2226 F: appoggiature double,
2227 D: doppelter Vorschlag,
2228 NL: dubbele voorslag,
2229 DK: dobbelt forslag,
2231 FI: kaksoisappogiatura, kaksoisetuhele.
2233 @aref{appoggiatura}.
2235 @node double bar line
2236 @section double bar line
2242 NL: dubbele maatstreep,
2245 FI: kaksoistahtiviiva.
2247 Indicates the end of a section within a movement.
2249 @node double dotted note
2250 @section double dotted note
2252 ES: nota con doble puntillo,
2253 I: nota doppiamente puntata,
2254 F: note doublement pointée,
2255 D: doppelt punktierte Note,
2256 NL: dubbelgepuncteerde noot,
2257 DK: dob@-belt@-punk@-te@-ret node,
2258 S: dub@-bel@-punk@-te@-rad not,
2259 FI: kaksoispisteellinen nuotti.
2264 @section double flat
2273 FI: kaksoisalennusmerkki.
2278 @section double sharp
2280 ES: doble sostenido,
2285 DK: dob@-belt@-kryds,
2287 FI: kaksoisylennysmerkki.
2292 @section double trill
2298 NL: dubbele triller,
2303 A simultaneous trill on two notes, usually in the distance of a third.
2306 @section duple meter
2312 NL: tweedelige maatsoort,
2343 FI: kesto, aika-arvo.
2348 @section dydimic comma
2350 @aref{syntonic comma}.
2366 @node ecclesiastical mode
2367 @section ecclesiastical mode
2372 @section eighth note
2378 D: Achtel, Achtelnote,
2380 DK: ottendedelsnode,
2382 FI: kahdeksasosanuotti.
2387 @section eighth rest
2389 ES: silencio de corchea,
2395 DK: ottendedelspause,
2397 FI: kahdeksasosatauko.
2404 FIXME: languages, definition
2408 @section embellishment
2419 D: Notenstechen, Notendruck
2425 Engraving means incising or etching a metal plate for
2426 printing. Photoengraving means drawing music with ink in a manner
2427 similar to drafting or engineering drawing, using similar tools.
2429 The traditional process of music printing is done through cutting in a
2430 plate of metal. Now also the term for the art of music typesetting.
2444 Two notes, intervals, or scales are enharmonic if they have different names
2447 @lilypond[fragment,notime,line-width=13.0\cm]
2448 \set Score.automaticBars = ##f
2450 \context Staff \relative c'' {
2451 gis1 as <des g,!> <cis g!>
2453 \context Lyrics \lyrics {
2454 \override Lyrics .LyricText #'self-alignment-X = #-1
2455 "g sharp " "a flat " "dim fifth " "augm fourth"
2460 @node equal temperament
2461 @section equal temperament
2463 ES: temperamento igual,
2464 I: temperamento equabile,
2465 F: tempérament égal,
2466 D: gleichschwebende Stimmung,
2467 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2468 DK: ligesvævende temperatur,
2469 S: liksvävande temperatur,
2472 Tuning system dividing the octave into 12 equal @aref{semitone}s
2473 (precisely 100 @aref{cent}s). @aref{temperament}.
2475 @node expression mark
2476 @section expression mark
2479 I: segno d'espressione,
2480 F: signe d'expression, indication de nuance,
2482 NL: voordrachtsteken,
2483 DK: foredragsbetegnelse,
2484 S: föredragsbeteckning,
2485 FI: nyanssiosoitus, esitysmerkki.
2487 Performance indications concerning 1. volume, dynamics (for example
2488 @aref{forte}, @aref{crescendo}), 2. tempo (for example
2489 @aref{andante}, @aref{allegro}).
2492 @section extender line
2494 FIXME: add languages
2496 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2498 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2505 The generic term for a line (or dash) of arbitrary length that
2506 extends text (without indicating the musical @emph{function} of
2509 Used in many contexts, for example:
2513 In vocal music to indicate a single syllable to be sung for a melisma. Called
2514 extension the the Dolmetsch Online Music Dictionary.
2517 In figured (or thorough) bass to indicate that:
2521 @item The extended note should be held through a change in
2522 harmony, when applied to one figure --OR--
2524 @item The chord thus represented should be held above a moving
2525 bass line, when applied to more than one figure.
2527 @item These uses were not completely standardized, and some
2528 composers used a single extender line to indicate the
2534 In string music to indicate that all notes thus indicated should be played on
2535 the same string. On the violin, for example, a series of notes to be played on
2536 the G string would be indicated @q{sul G}, another series to be played on the
2537 D string would be indicated @q{sul D}, and so on.
2541 @aref{melisma}, @aref{thorough bass}
2543 Sul G, Sul D, Sul A, Sul E
2572 The position between the dots of the key symbol is the line of the F below
2573 central@w{ }C. Used on the third, fourth and fifth note line. A
2574 digit@w{ }8 above the clef symbol indicates that the notes must be played
2575 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2576 symbol indicates playing an octave lower (for example, on double bass
2579 @lilypond[fragment,notime,line-width=13.0\cm]
2580 \set Score.automaticBars = ##f
2581 \override Staff.Clef #'full-size-change = ##t
2605 @aref{baritone clef}
2607 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2614 F: point d'orgue, point d'arrêt,
2619 FI: fermaatti, pidäke.
2621 Prolonged note or rest of indefinite duration.
2623 @lilypond[fragment,ragged-right]
2626 a4 b c2^\fermata \bar "|."
2645 @section figured bass
2647 @aref{thorough bass}.
2661 The methodical use of fingers in the playing of instruments.
2667 I: coda (uncinata), bandiera,
2675 Ornament at the end of the stem of a note used for notes with values
2676 less than a quarter note. The number of flags determines the
2679 @lilypond[fragment,notime,ragged-right]
2680 \set Score.automaticBars = ##f
2681 %\override Score.TextScript #'font-style = #'large
2707 @aref{appoggiatura}.
2719 FI: forte, voimakkaasti.
2721 Loud, abbreviated @b{f}, @emph{fortissimo} (@b{ff}) very loud,
2722 @emph{mezzoforte} (@b{mf}) medium loud.
2750 @aref{counterpoint}.
2752 @node functional harmony
2753 @section functional harmony
2755 ES: armonía funcional,
2756 I: armonia funzionale,
2757 F: étude des functions,
2759 NL: functionele harmonie,
2760 DK: funktionsanalyse, funktionsharmonik,
2762 FI: harmoniajärjestelmä.
2764 A system of harmonic analysis. It is based on the idea that, in a given key,
2765 there are only three functionally different chords: tonic (T, the chord on the
2766 first note of the scale), subdominant (S, the chord on the fourth note), and
2767 dominant (D, the chord on the fifth note). Others are considered to be
2768 variants of the base chords.
2770 @lilypond[fragment,notime,line-width=13.0\cm]
2771 \set Score.automaticBars = ##f
2773 \context Voice \relative c'' {
2774 <g e c >1 < a f d > < b g e >
2775 <c a f > < d b g > < e c a > < f d b > }
2776 \context Lyrics \lyrics {
2777 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2801 D: G-Schlüssel, Violinschlüssel,
2807 A clef symbol indicating the G above central@w{ }C. Used on the first
2808 and second note lines. A digit 8 above the clef symbol indicates that
2809 the notes must be played an octave higher while 8 below the clef symbol
2810 indicates playing or singing an octave lower (most tenor parts in choral
2811 scores are notated like that).
2813 @lilypond[fragment,notime,ragged-right]
2815 \set Score.automaticBars = ##f
2816 \override Staff.Clef #'full-size-change = ##t
2819 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2829 \context Lyrics \lyrics {
2830 \override Lyrics . LyricText #'X-offset = #-5
2831 "french violin clef"
2849 FI: glissando, liukuen.
2851 Letting the pitch slide fluently from one note to the other.
2854 @section grace notes
2856 ES: notas de adorno,
2859 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
2865 Notes printed in small types to indicate that their time values are not
2866 counted in the rhythm of the bar. @aref{appoggiatura}.
2869 @section grand staff
2871 ES: sistema de piano,
2877 S: ackolad, böjd klammer,
2878 FI: kaksoisnuottiviivasto.
2882 A combination of two staves with a brace. Usually used for piano music.
2894 FI: grave, raskaasti.
2915 Letter name used for @q{B natural} in German and Scandinavian usage. In the
2916 standard usage of these countries, @q{B} means @q{B flat}.
2918 @aref{Pitch names}, @aref{B}
2927 D: Halbe, halbe Note,
2938 ES: silencio de blanca,
2950 @node harmonic cadence
2951 @section harmonic cadence
2953 ES: cadencia (armónica),
2954 I: cadenza (armonica),
2955 F: cadence harmonique,
2957 NL: harmonische cadens,
2958 DK: harmonisk kadence,
2959 S: (harmonisk) kadens,
2960 FI: harmoninen kadenssi.
2962 A sequence of chords that terminates a musical phrase or
2963 section. @aref{functional harmony}.
2965 @lilypond[fragment,ragged-right]
2966 \context PianoStaff <<
2967 \context Staff = SA \relative c'' {
2971 \partial 4 < c g e >4 |
2972 < c a f > < b g d > < c g e >2
2975 \context Staff = SB \relative c {
2977 \partial 4 c4 | f, g c2
2994 D: Harmonie, Zusammenklang,
2998 FI: harmonia, yhteissointi.
3000 Tones sounding simultaneously. Two note harmonies fall into the categories
3001 @emph{consonances} and @emph{dissonances}.
3005 @lilypond[fragment,notime,line-width=13.0\cm]
3006 \set Score.automaticBars = ##f
3007 %\override Score.TextScript #'font-style = #'large
3008 \context Voice \relative c'' {
3021 @lilypond[fragment,notime,line-width=13.0\cm]
3022 \set Score.automaticBars = ##f
3023 %\override Score.TextScript #'font-style = #'large
3024 \context Voice \relative c'' {
3025 <g a>1_"second " s s
3026 <g f'>_"seventh " s s
3031 Three note harmony @aref{chord}.
3043 FI: homofonia, yksiäänisyys.
3045 Music in which one voice leads melodically followed by the other voices more
3046 or less in the same rhythm. In contrast to @aref{polyphony}.
3058 FI: intervalli, kahden sävelen korkeusero.
3060 Difference in pitch between two notes. Intervals may be perfect, minor,
3062 diminished, or augmented. The augmented fourth and the diminished fifth are
3063 identical (@aref{enharmonic}) and are called @emph{tritonus}
3064 because they consist of three @aref{whole tone}s. The addition
3065 of such two intervals forms an octave.
3067 @lilypond[fragment,notime,line-width=13.0\cm]
3068 \set Score.automaticBars = ##f
3070 \context Voice \relative c'' {
3080 \context Lyrics \lyrics {
3081 "unisone " "second " "second " "second "
3082 "third " "third " "third " "third"
3087 @lilypond[fragment,notime,line-width=13.0\cm]
3088 \set Score.automaticBars = ##f
3090 \context Staff \relative c'' {
3101 "fourth " "fourth " "fifth " "fifth "
3102 "sixth " "sixth " "sixth " "sixth"
3107 @lilypond[fragment,notime,line-width=13.0\cm]
3108 \set Score.automaticBars = ##f
3110 \context Staff \relative c'' {
3111 < gis f'! >1^"dimin"
3120 \context Lyrics \lyrics {
3121 "seventh " "seventh " "seventh " "octave "
3122 "ninth " "ninth " "tenth " "tenth"
3127 @node inverted interval
3128 @section inverted interval
3130 ES: intervalo invertido,
3131 I: intervallo rivolto,
3132 F: intervalle reversé,
3133 D: umgekehrtes Intervall,
3134 NL: interval inversie,
3135 DK: omvendingsinterval,
3136 S: intervallets omvändning,
3137 FI: käänteisintervalli.
3139 The difference between an interval and an octave.
3141 @lilypond[fragment,notime,line-width=13.0\cm]
3142 \set Score.automaticBars = ##f
3143 %\override Score.TextScript #'font-style = #'large
3144 \context Staff \relative c'' {
3145 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3146 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3147 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3151 @node just intonation
3152 @section just intonation
3154 ES: entonación justa,
3155 I: intonazione giusta,
3156 F: intonation juste,
3163 Tuning system in which the notes are obtained by adding and subtracting
3164 natural fifths and thirds. @aref{temperament}.
3178 According to the 12@w{ }tones of the @aref{chromatic scale}
3179 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3180 @aref{key signature}.
3183 @section key signature
3185 ES: armadura (de la clave),
3186 I: armatura di chiave,
3187 F: armure, armature [de la clé],
3188 D: Vorzeichen, Tonart,
3189 NL: toon@-soort (voortekens),
3192 FI: sävellajiosoitus.
3194 The sharps or flats appearing at the beginning of each staff indicating the
3195 key of the music. @aref{accidental}.
3203 D: Largo, Langsam, Breit,
3207 FI: largo, hitaasti, leveästi.
3209 Very slow in tempo, usually combined with great
3210 expressiveness. @emph{Larghetto} is less slow than largo.
3213 @section leading note
3224 The seventh @aref{scale degree}, a @aref{semitone} below
3225 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3226 upwards) to the tonic scale degree.
3229 @section ledger line
3231 ES: línea adicional,
3232 I: tagli addizionali,
3233 F: ligne supplémentaire,
3240 A ledger line is an extension of the staff.
3242 @lilypond[fragment,notime,ragged-right]
3243 \set Score.automaticBars = ##f
3244 \relative c'' { a,1 s c'' }
3259 To be performed (a) without any perceptible interruption between the notes,
3260 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3261 (d) @aref{staccato}.
3263 @lilypond[fragment,notime,line-width=13.0\cm]
3264 \set Score.automaticBars = ##f
3266 \context Staff \relative c'' {
3267 c4-( d e-) \bar "||"
3268 c4-- d-- e-- \bar "||"
3269 c4-.-( d-. e-.-) \bar "||"
3270 c4-. d-. e-. \bar "||"
3282 @section legato curve
3284 @aref{slur}, @aref{legato}.
3294 ES: estanque de nenúfares,
3295 I: stagno del giglio,
3299 NL: le@-lie@-vij@-ver,
3304 A pond with lilies floating in it, also the name of a music typesetter.
3311 A ligature is a coherent graphical symbol that represents at least two
3312 distinct notes. Ligatures originally appeared in the manuscripts of
3313 Gregorian chant notation roughly since the 9th century to denote
3314 ascending or descending sequences of notes. In early notation,
3315 ligatures were used for monophonic tunes (Gregorian chant) and very
3316 soon denoted also the way of performance in the sense of articulation.
3317 With the invention of the metric system of the white mensural
3318 notation, the need for ligatures to denote such patterns disappeared.
3326 D: Linie, Notenlinie,
3330 FI: viiva, nuottiviiva.
3334 @node long appoggiatura
3335 @section long appoggiatura
3337 ES: apoyatura larga,
3338 I: appoggiatura lunga,
3339 F: appoggiature longue,
3340 D: langer Vorschlag,
3344 FI: pitkä appoggiatura, pitkä etuhele.
3346 @aref{appoggiatura}.
3360 Note value: double length of @aref{breve}.
3363 @lilypond[fragment,notime,ragged-right]
3364 \set Score.automaticBars = ##f
3366 \override NoteHead #'style = #'mensural
3374 ES: letra (de la canción),
3386 FIXME: add languages
3390 @node major interval
3391 @section major interval
3393 ES: intervalo mayor,
3394 I: intervallo maggiore,
3395 F: intervalle majeur,
3396 D: großes Intervall,
3400 FI: suuri intervalli.
3416 @aref{diatonic scale}.
3418 @node meantone temperament
3419 @section meantone temperament
3421 ES: afinación mesotónica,
3422 I: accordatura mesotonica,
3423 F: tempérament mésotonique,
3424 D: mitteltönige Stimmung,
3425 NL: middenstemming, middentoonstemming,
3426 DK: middeltonetemperatur,
3427 S: medeltonstemperatur,
3428 FI: keskisävelviritys.
3430 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3431 by 16@w{ }@aref{cent}s. Due to the non-circular character of this
3432 @aref{temperament} only a limited set of keys are playable.
3433 Used for tuning keyboard instruments for performance of pre-1650 music.
3447 A group of @aref{beat}s (units of musical time) the first of which
3448 bears an accent. Such groups in numbers of two or more recur consistently
3449 throughout the composition and are marked from each other by
3450 bar-lines. @aref{meter}.
3456 I: mediante, modale,
3464 1.@tie{}The third @b{scale degree}.
3465 2.@tie{}A @aref{chord} having its base tone
3466 a third from that of another chord. For example, the tonic chord may be
3467 replaced by its lower mediant (variant tonic). @aref{functional
3468 harmony}, @aref{relative key}.
3476 FI: melisma, laulettavan tavun sävelkuvio.
3478 A melisma (plural: melismata) is a group of notes or tones sung on one
3479 syllable in plainsong
3482 @section melisma line
3484 FIXME: add languages
3486 @aref{extender line}.
3488 @node melodic cadence
3489 @section melodic cadence
3498 F: indication de mesure, mesure,
3505 The basic scheme of @aref{note value}s and
3506 @aref{accent}s which remains unaltered throughout a composition
3507 or a section of it. For instance, 3/4 meter means that the basic
3508 @aref{note value}s are quarter notes and that a
3509 @aref{measure} consists of three of those. According to
3510 whether there are two, three, or four units to the measure,
3511 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3512 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3514 @lilypond[fragment,line-width=13.0\cm]
3518 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3521 @lilypond[fragment,line-width=13.0\cm]
3525 f8 f f f a16 g a f |
3526 c'8 c c c e16 d e c \bar "||"}
3529 @lilypond[fragment,line-width=13.0\cm]
3533 d4 b8 g b d d c a4 |
3534 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3549 Device indicating the exact tempo of a piece. @aref{metronomic
3552 @node metronomic indication
3553 @section metronomic indication
3555 ES: indicación metronómica,
3556 I: indicazione metronomica,
3557 F: indication métronomique,
3559 NL: metronoom aanduiding,
3561 S: metronomangivelse,
3562 FI: metronomiosoitus.
3564 Exact tempo indication (in beats per minute). Also denoted by
3565 M.M.@: (Mälzels Metronom).
3568 @section mezzo-soprano
3579 The female voice between @aref{soprano} and
3588 D: eingestrichenes@w{ }c,
3590 DK: enstreget@w{ }c,
3591 S: ettstruket@w{ }c,
3594 First C below the 440 Hz A.
3596 @lilypond[fragment,notime,ragged-right]
3597 \set Score.automaticBars = ##f
3598 \override Staff.Clef #'full-size-change = ##t
3618 @aref{diatonic scale}.
3620 @node minor interval
3621 @section minor interval
3623 ES: intervalo menor,
3624 I: intervallo minore,
3625 F: intervalle mineur,
3626 D: kleines Intervall,
3630 FI: pieni intervalli.
3644 FI: moodi, kirkkosävelasteikko.
3646 @aref{church mode}, @aref{diatonic scale}.
3658 FI: modulaatio, sävellajin vaihdos.
3660 Moving from one @aref{key} to another. For example, the second
3661 subject of a @aref{sonata form} movement modulates to the dominant
3662 key if the key is major and to the @aref{relative key} if the key
3674 FI: mordent, korukuvio.
3693 FI: teema, sävelaihe.
3695 The briefest intelligible and self-contained fragment of a musical theme or
3698 @lilypond[line-width=13.0\cm]
3701 \set Score.implicitTimeSignatureVisibility = #all-invisible
3702 \override Score.TimeSignature #'break-visibility = #all-invisible
3705 \partial 8 g16\startGroup fis |
3706 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3707 g8 g,16 a b8 cis d16 s
3711 \Staff \consists "Horizontal_bracket_engraver"
3728 Greater musical works like @aref{symphony} and
3729 @aref{sonata} most often consist of several -- more or less --
3730 independant pieces called movements.
3733 @section multibar rest
3735 ES: compases de espera,
3739 D: mehrtaktige Pause,
3742 FI: usean tahdin mittainen tauko.
3744 @lilypond[fragment,ragged-right]
3747 \set Score.skipBars = ##t R1*3
3752 @node mixolydian mode
3753 @section mixolydian mode
3755 @aref{diatonic scale}.
3758 @section natural sign
3763 D: Auflösungszeichen,
3764 NL: herstellingsteken,
3765 DK: op@-løsningstegn,
3766 S: återställningstecken,
3771 @node neighbour tones
3772 @section neighbour tones
3774 @aref{appoggiatura}.
3807 Notes are signs by means of which music is fixed in writing. The term is also
3808 used for the sound indicated by a note, and even for the key of the piano
3809 which produces the sound. However, a clear distinction between the terms tone
3810 and @aref{note} is strongly recommended. Briefly, one sees a note,
3817 I: testa, testina, capocchia,
3825 A head-like sign which indicates pitch by its position on a
3826 @aref{staff} provided with a @aref{clef}, and duration
3827 by a variety of shapes such as hollow or black heads with or without
3828 @aref{stem}s, @aref{flag}s, etc. For percussion
3829 instruments (often having no defined pitch) the note head may indicate the
3835 ES: valor (duración),
3837 F: durée, valeur (d'une note),
3842 FI: nuotin aika-arvo.
3844 Note values (durations) are measured as fractions, normally 1/2, of the next
3845 higher note value. The longest duration normally used is called
3847 but sometimes (mostly in pre-baroque music) the double length note value
3848 @emph{longa} is used.
3850 @lilypond[fragment,notime,line-width=13.0\cm]
3851 %\override Score.TextScript #'font-style = #'large
3852 \set Score.automaticBars = ##f
3854 \override NoteHead #'style = #'mensural
3855 a\longa_"longa" a\breve_"breve"
3856 \revert NoteHead #'style
3857 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
3858 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
3861 @lilypond[fragment,notime,line-width=13.0\cm]
3862 %\override Score.TextScript #'font-style = #'large
3863 \set Score.automaticBars = ##f
3865 r\longa_"longa" r\breve_"breve"
3866 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
3867 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
3870 An augmentation dot after a note multiplies the duration by one and a
3871 half. Another dot adds yet a fourth of the duration.
3873 @lilypond[fragment,line-width=13.0\cm]
3874 %\override Score.TextScript #'font-style = #'large
3877 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
3878 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
3881 Alternatively note values may be subdivided by other ratios. Most common is
3882 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
3883 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
3884 dotted notes are also frequently used.
3886 @lilypond[fragment,line-width=13.0\cm]
3887 %\override Score.TextScript #'font-style = #'large
3890 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
3891 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
3895 @lilypond[fragment,line-width=13.0\cm]
3898 \times 3/2 {g4_"duplets" g} |
3900 \times 6/4 {g8_"quadruplets" g g g} |
3901 g8 g g g g4 \bar "||"
3906 @section octave sign
3908 @aref{G clef}, @aref{F clef}.
3928 I: abbellimento, fioriture,
3929 F: agrément, ornement,
3930 D: Verzierung, Ornament,
3936 Most commonly used is the @emph{trill}, the rapid alternation of a given note
3937 with the diatonic @aref{second} above it. In the music from the
3938 middle of the 19th century and onwards the trill is performed with the main
3939 note first while in the music from the preceding baroque and classic periods
3940 the upper note is played first.
3942 @lilypond[fragment,line-width=13.0\cm]
3944 \context Staff = sa {
3945 % \override Score.TextScript #'font-style = #'large
3947 c2._"pre-1850" b4\trill | c1 \bar "||"
3948 c2._"post-1850" b4\trill | c1 \bar "||"
3952 c2. c32 b c b c b c b | c1
3953 c2. b32 c b c \times 4/5 { b c b c b } | c1
3958 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
3960 @emph{prall} (inverted mordent).
3962 @lilypond[fragment,line-width=13.0\cm]
3964 \context Staff = sa {
3965 % \override Score.TextScript #'font-style = #'large
3967 a4_"turn" b\turn c2 \bar "||"
3968 g4_"mordent" a b\mordent a \bar "||"
3969 e'4_"prall" d\prall c2 \bar "||"
3975 e'4 e32[ d e d ~ d8] c2
3980 @aref{appoggiatura}.
3992 FI: ossia, vaihtoehtoinen esitystapa.
3994 Ossia (otherwise) marks an alternative. It is an added staff or piano
3995 score, usually only a few measures long, which presents another version
3996 of the music, for example for small hands.
4008 FI: stemma, instrumenttiosuus.
4010 1.@tie{}In instrumental or choral music the music for the single instrument
4011 or voice. 2.@tie{}in contrapuntal music @aref{counterpoint} the single
4012 melodic line of the contrapunctal web.
4030 D: Schlagzeug, Schlagwerk,
4036 A family of musical instruments which are played on by striking or
4037 shaking. Percussion instruments commonly used in a symphony orchestra are
4038 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4039 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4042 @node perfect interval
4043 @section perfect interval
4045 ES: intervalo justo,
4046 I: intervallo giusto,
4047 F: intervalle juste,
4048 D: reines Intervall,
4052 FI: puhdas intervalli.
4068 A natural division of the melodic line, comparable to a sentence of speech.
4080 FI: fraseeraus, jäsentäminen.
4082 The clear rendering in musical performance of the @aref{phrase}s of
4083 the melody. Phrasing may be indicated by a @aref{slur}.
4097 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4098 @emph{mezzopiano} (@b{mp}) medium soft.
4119 NL: pizzicato, getokkeld,
4122 FI: pizzicato, näppäillen.
4124 Play by plucking the strings.
4132 D: Polyphonie, Mehrstimmigkeit,
4136 FI: polyfonia, moniäänisyys.
4138 Music written in a combination of several simultaneous voices (parts) of a
4139 more or less pronounced individuality. @aref{counterpoint}.
4152 D: Presto, Sehr schnell,
4153 NL: presto, Sehr schnell,
4156 FI: presto, hyvin nopeasti.
4158 Very quick, i.e., quicker than @aref{allegro}; @emph{prestissimo}
4159 denotes the highest possible degree of speed.
4161 @node Pythagorean comma
4162 @section Pythagorean comma
4164 ES: coma pitagórica,
4165 I: comma pitagorico,
4166 F: comma pythagoricien,
4167 D: Pythagoräisches Komma,
4168 NL: komma van Pythagoras,
4169 DK: pythagoræisk komma,
4170 S: pytagoreiskt komma,
4171 FI: pytagorinen komma.
4173 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4174 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4175 24 @aref{cent}s higher than the@w{ }C obtained by adding
4176 7@w{ }octaves. The difference between those two pitches is called the
4194 @section quarter note
4197 I: semiminima, nera,
4200 D: Viertel, Viertelnote,
4204 FI: neljännesosanuotti.
4209 @section quarter rest
4211 ES: silencio de negra,
4212 I: pausa di semiminima,
4217 DK:@w{ }fjerdedelspause,
4219 FI: neljännesosatauko.
4226 ES: cinquillo, quintillo.
4238 @section rallentando
4243 D: rallentando, langsamer werden,
4247 FI: rallerdando, hidastuen.
4249 Abbreviation "rall.". @aref{ritardando}.
4252 @section relative key
4255 I: tonalità relativa,
4256 F: tonalité relative,
4258 NL: paralleltoonsoort,
4259 DK: paralleltoneart,
4261 FI: rinnakkaissävellaji.
4263 @aref{major} and @aref{minor} @aref{key}s with the same @aref{key signature}.
4265 @lilypond[fragment,notime,line-width=13.0\cm]
4266 \set Score.automaticBars = ##f
4267 %\override Score.TextScript #'font-style = #'large
4270 es1_"e flat major" f g as bes c d es
4275 @lilypond[fragment,notime,line-width=13.0\cm]
4276 \set Score.automaticBars = ##f
4277 %\override Score.TextScript #'font-style = #'large
4280 c1_"c minor" d es f g a! b! c \bar "||"
4289 F: barre de reprise,
4292 DK: gen@-ta@-gel@-se,
4296 @lilypond[fragment,line-width=13.0\cm]
4300 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4304 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4305 @c specify the rest's value.
4333 (a) Metrical rhythm in which every time value is a multiple or fraction of a
4334 fixed unit of time, called @aref{beat}, and in which the normal
4335 @aref{accent} recurs in regular intervals, called
4336 @aref{measure}. The basic scheme of time values is called
4337 @aref{meter}. (b) Measured rhythm which lacks regularly recurrent
4338 accent. In modern notation such music appears as a free alternation of
4339 different measures. (c) Free rhythm, i.e., the use of temporal values having
4340 no common metrical unit (beat).
4348 D: Ritardando, langsamer werden,
4352 FI: ritardando, hidastuen,
4354 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4366 FI: ritenuto, hidastaen.
4368 Immediate reduction of speed.
4380 FI: asteikko, sävelasteikko.
4382 @aref{diatonic scale}.
4385 @section scale degree
4387 ES: grado (de la escala),
4388 I: grado della scala,
4389 F: degré [de la gamme],
4391 NL: trap [van de toonladder],
4394 FI: sävelaste, asteikon sävel.
4396 Names and symbols used in harmonic analysis to denote tones of the scale as
4397 roots of chords. The most important are degrees I = tonic (T), IV =
4398 sub@-do@-mi@-nant (S) and V = dominant (D).
4400 @lilypond[fragment,notime,line-width=13.0\cm]
4401 \set Score.automaticBars = ##f
4403 \context Staff \relative c' {
4407 << { I II III IV V VI VII I }
4413 @aref{functional harmony}.
4421 D: Partitur (full score), Klavierauszug (vocal score)
4427 A copy of orchestral, choral, or chamber music showing what each instrument is
4428 to play, each voice to sing, having each part arranged one underneath the
4429 other on different staves @aref{staff}.
4443 The @aref{interval} between two neigbouring tones of a scale. A
4444 @aref{diatonic scale} consists of alternating
4445 @aref{semitone}s and @aref{whole tone}s, hence the size
4446 of a se@-cond depends on the scale degrees in question.
4460 The @aref{interval} of a minor second. The (usually) smallest
4461 interval in European composed music. The interval between two neighbouring
4462 tones on the piano keyboard -- including black and white keys -- is a
4463 semitone. An octave may be divided into 12@w{ }semitones.
4464 @aref{interval}, @aref{chromatic scale}.
4466 @lilypond[fragment,notime,line-width=13.0\cm]
4467 \set Score.automaticBars = ##f
4468 \relative c'' { g1 gis s a bes s b! c }
4523 @node short appoggiatura
4524 @section short appoggiatura
4526 @aref{appoggiatura}.
4528 @node sixteenth note
4529 @section sixteenth note
4535 D: Sechzehntel, Sechzehntelnote,
4536 NL: zes@-ti@-ende noot,
4537 DK: sekstendedelsnode,
4539 FI: kuudestoistaosanuotti.
4543 @node sixteenth rest
4544 @section sixteenth rest
4546 ES: silencio de semicorchea,
4547 I: pausa di semicroma,
4549 UK: semiquaver rest,
4550 D: Sechzehntelpause,
4552 DK: sekstendedelspause,
4572 @node sixty-fourth note
4573 @section sixty-fourth note
4577 F: quadruple croche,
4578 UK: hemidemisemiquaver,
4579 D: Vierundsechzigstel, Vierundsechzigstelnote,
4580 NL: vierenzestigste noot,
4581 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4582 S: sextiofjärdedelsnot,
4583 FI: kuudeskymmenesneljäsosanuotti.
4587 @node sixty-fourth rest
4588 @section sixty-fourth rest
4590 ES: silencio de semifusa,
4591 I: pausa di semibiscroma,
4592 F: seizième de soupir,
4593 UK: hemidemisemiquaver rest,
4594 D: Vierundsechzigstelpause,
4595 NL: vierenzestigste rust,
4596 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4597 S: sextiofjärdedelspaus,
4598 FI: kuudeskymmenesneljäsosatauko.
4605 ES: ligadura (de expresión),
4606 I: legatura (di portamento or espressiva),
4608 D: Bogen, Legatobogen, Phrasierungsbogen,
4609 NL: fraseringsboog, legatoboog, streekboog,
4610 DK: legatobue, fraseringsbue,
4614 A slur above or below a group of notes indicates that they are to be played
4615 @aref{legato}, e.g., with one stroke of the violin bow or with one
4619 @section solmization
4628 FI: suhteelliset laulunimet.
4630 General term for systems of designating the degrees of the
4631 @aref{scale}, not by letters, but by syllables (@emph{do}
4632 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4633 (@emph{ti})). @aref{scale degree}.
4647 In its present-day meaning a sonata denotes an instrumental composition for
4648 piano or for some other instrument with piano accompaniment, which consists of
4649 three or four independant pieces, called movements.
4652 @section sonata form
4656 F: [en] forme de sonate,
4658 NL: hoofdvorm, sonatevorm,
4663 A form used frequently for single movements of the @aref{sonata},
4664 @aref{symphony}, quartet, etc. A movement written in sonata form
4665 falls into three sections called @emph{exposition}, @emph{development} and
4666 @emph{recapitulation}. In the exposition the composer introduces some musical
4667 ideas, consisting of a number of themes; in the development section the
4668 composer @q{develops} this material, and in the recapitulation the composer
4669 repeats the exposition, with certain modifications. The exposition contains a
4670 number of themes that fall into two groups, often called first and second
4671 subject. Other melodies occurring in each group are considered as
4672 continuations of these two. The second theme is in another key, normally in
4673 the key of the @aref{dominant} if the @aref{tonic} is @aref{major}, and in the
4674 @aref{relative key} if the tonic is @aref{minor}.
4691 FI: sopraano, korkea naisääni.
4693 The highest female voice.
4700 F: staccato, piqué, détaché,
4705 FI: staccato, lyhyesti, terävästi.
4707 Playing the note(s) short. Staccato is indicated by a dot above or below the
4710 @lilypond[fragment,ragged-right]
4715 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
4724 I: pentagramma, rigo (musicale),
4727 NL: (noten)balk, partij,
4732 A staff (pl. staves) is a series of (normally five) horizontal lines
4733 upon and between which the musical notes are written, thus indicating
4734 (in connection with a @aref{clef}) their pitch. Staves for
4735 @aref{percussion} instruments may have fewer lines.
4748 D: Hals, Notenhals, Stiel,
4754 Vertical line above or below a @aref{note head} shorter than a
4755 whole note. @aref{beam}.
4757 @lilypond[fragment,notime,line-width=13.0\cm]
4758 \set Score.autoBeaming = ##f
4759 \set Score.automaticBars = ##f
4760 %\override Score.TextScript #'font-style = #'large
4781 A family of stringed musical instruments played with a bow. Strings commonly
4782 used in a symphony orchestra are violin, viola, violoncello, and double bass.
4785 @section strong beat
4790 D: betonter Taktteil oder Taktschlag,
4792 D: betonet taktslag,
4793 S: betonat taktslag,
4794 FI: tahdin vahva isku.
4796 @aref{beat}, @aref{accent}, @aref{measure},
4800 @section subdominant
4809 FI: subdominantti, alidominantti.
4811 The fourth @aref{scale degree}. @aref{functional harmony}.
4825 The sixth @aref{scale degree}.
4837 FI: subtoonika, alitoonika.
4839 The seventh @aref{scale degree}.
4842 @section superdominant
4853 The sixth @aref{scale degree}.
4867 The second @aref{scale degree}.
4875 D: Sinfonie, Symphonie,
4881 A symphony may be defined as a @aref{sonata} for orchestra.
4884 @section syncopation
4895 Any deliberate upsetting of the normal pulse of @aref{meter},
4896 @aref{accent}, and @aref{rhythm}. The occidental system of musical
4897 rhythm rests upon the grouping of equal beats into groups of two or three,
4898 with a regularly recurrent accent on the first beat of each group. Any
4899 deviation from this scheme is felt as a disturbance or contradiction between
4900 the underlaying (normal) pulse and the actual (abnormal) rhythm.
4902 @lilypond[fragment,ragged-right]
4907 e c'4 e,8 c'4 e,8 c' ( | c2)
4911 @node syntonic comma
4912 @section syntonic comma
4915 I: comma sintonico (o didimico),
4916 F: comma syntonique,
4917 D: syntonisches Komma,
4918 NL: syntonische komma,
4919 DK: syntonisk komma,
4920 S: syntoniskt komma,
4921 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
4922 viritysjärjestelmässä.
4924 Difference between the natural third and the third obtained by Pythagorean
4925 tuning (@aref{Pythagorean comma}), equal to 22@w{ }cents.
4937 FI: nuottijärjestelmä.
4939 The collection of staves @aref{staff}, two or more, as used for
4940 writing down of keyboard, chamber, choral, or orchestral music.
4943 @section temperament
4948 D: Stimmung, Tem@-pe@-ra@-tur,
4949 NL: stemming, temperatuur,
4952 FI: viritysjärjestelmä.
4954 Systems of tuning in which the intervals deviate from the acoustically pure
4955 intervals. @aref{meantone temperament}, @aref{equal temperament}.
4957 @node tempo indication
4958 @section tempo indication
4960 ES: indicación de tempo,
4961 I: indicazione di tempo,
4962 F: indication de tempo,
4963 D: Zeitmaß, Tempobezeichnung,
4964 NL: tempo aanduiding,
4969 The rate of speed of a composition or a section thereof, ranging from the
4970 slowest to the quickest, as is indicated by tempo marks as
4971 @aref{largo}, @aref{adagio}, @aref{andante},
4972 @aref{allegro}, and @aref{presto}.
4984 FI: tenori, korkea miesääni.
4986 The highest male voice (apart from @aref{counter tenor}).
5005 ES: subrayado (tenuto),
5014 An indication that a particular note should be held for the whole
5015 length, although this can vary depending on the composer and era.
5031 @node thirty-second note
5032 @section thirty-second note
5038 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5039 NL: twee-endertig@-ste noot,
5040 DK: toogtredivtedelsnode,
5041 S: trettiotvåondelsnot,
5042 FI: kolmanneskymmeneskahdesosanuotti.
5046 @node thirty-second rest
5047 @section thirty-second rest
5049 ES: silencio de fusa,
5050 I: pausa di biscroma,
5051 F: huitième de soupir,
5052 UK: demisemiquaver rest,
5053 D: Zweiunddreissigstel@-pause,
5055 DK: toogtredivtedelspause,
5056 S: trettiotvåondelspaus,
5057 FI: kolmanneskymmeneskahdesosatauko.
5062 @section thorough bass
5065 I: basso continuo, basso numerato,
5066 F: basse chiffrée, basse continue,
5067 D: Generalbass, bezifferter Bass,
5068 NL: basso continuo, becijferde bas
5071 FI: kenraalibasso, numeroitu basso.
5073 A method of indicating an accompaniment part by the bass notes only, together
5074 with figures designating the chief @aref{interval}s and
5075 @aref{chord}s to be played above the bass notes.
5077 @lilypond[fragment,line-width=13.0\cm]
5078 \context GrandStaff <<
5079 \context Staff = lh \relative c'' {
5083 << \context Voice = rha {
5086 \context Voice = rhb {
5088 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5092 \context Staff = rh \relative c' {
5095 es8 c d bes c as bes16 as g f | es4
5097 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5105 ES: ligadura de prolongación,
5106 I: legatura (di valore),
5109 NL: overbinding, bindingsboog,
5111 S: bindebåge, överbindning,
5114 A curved line, identical in appearance with the @aref{slur}, which
5115 connects two succesive notes of the same pitch, and which has the function of
5116 uniting them into a single sound (tone) equal to the combined durations.
5118 @lilypond[fragment,notime,ragged-right]
5119 \set Score.automaticBars = ##f
5120 \relative c'' { g2 ~ g4. }
5128 @node time signature
5129 @section time signature
5131 ES: indicación de compás,
5133 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5134 D: Taktangabe, Angabe der Taktart,
5137 S: taktartssignatur,
5154 A sound of definite pitch and duration, as distinct from @emph{noise}.
5155 Tone is a primary building material of music.
5156 Music from the 20th century may be based on atonal sounds.
5170 The first @aref{scale degree}.
5171 @aref{functional harmony}.
5174 @section transposition
5185 Shifting a melody up or down in pitch, while keeping the same
5188 @lilypond[fragment,line-width=13.0\cm]
5193 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5198 @lilypond[fragment,line-width=13.0\cm]
5201 \transpose c bes \relative c'' {
5203 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5209 @section treble clef
5212 I: chiave di violino,
5214 D: Violinschlüssel, Sopranschlüssel,
5216 DK:@w{ }diskantnøgle,
5234 On stringed instruments (@aref{strings}) the quick reiteration of
5235 the same tone, produced by a rapid up-and-down movement of the bow
5236 (a). The term is also used for the rapid alternation (b) between two notes of
5237 a @aref{chord}, usually in the distance of a third
5240 @lilypond[fragment,notime,ragged-right]
5241 \set Score.automaticBars = ##f
5242 %\override Score.TextScript #'font-style = #'large
5245 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5246 \repeat tremolo 8 { e32_"b" g }
5255 F: triade, accord parfait, accord de trois sons,
5269 F: trille, tremblement, battement (cadence),
5279 @section triple meter
5281 ES: compás ternario,
5285 NL: driedelige maatsoort,
5321 @section tuning fork
5324 I: diapason, corista,
5332 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
5333 give the international pitch for the tone @emph{a} (440 vibrations per
5360 FI: unisono, yksiäänisesti.
5362 Playing of the same notes or the same melody by various instruments (voices)
5363 or by the whole orchestra (choir), either at exactly the same pitch or in a
5371 F: anacrouse, levée,
5378 Initial note(s) of a melody occurring before the first bar
5379 line. @aref{measure}, @aref{meter}.
5381 @lilypond[fragment,line-width=13.0\cm]
5385 \partial 4 f4 | bes4. a8 bes4 c |
5386 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
5399 FI: ääni, lauluääni.
5401 1.@tie{}Human voices: @aref{soprano}, @aref{mezzo-soprano},
5402 @aref{contralto}, @aref{tenor}, @aref{baritone}, @aref{bass}.
5403 2.@tie{}A melodic layer or part of a polyphonic composition.
5409 I: tempo debole, arsi,
5411 D: unbetonter Taktteil oder Taktschlag,
5413 DK: ubetonet taktslag,
5414 S: obetonat taktslag,
5415 FI: tahdin heikko isku.
5417 @aref{beat}, @aref{measure}, @aref{rhythm}.
5426 D: Ganze, ganze Note,
5437 ES: silencio de redonda,
5438 I: pausa di semibreve,
5441 D: ganze Pause, ganztaktige Pause,
5461 The @aref{interval} of a major second. The interval between two
5462 tones on the piano keyboard with exactly one key between them -- including
5463 black and white keys -- is a whole tone.
5477 A family of blown wooden musical instruments. Today some of these instruments
5478 are actually made from metal. The woodwind instruments commonly used in a
5479 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5481 @node Duration names notes and rests
5482 @chapter Duration names, notes and rests
5485 @item DURATION NAMES, NOTES AND RESTS
5488 @multitable @columnfractions .15 .26 .33 .26
5493 @tab @strong{F (note name / rest name)}
5503 @c extra @items make this table harder to read, so I removed them.
5505 @item @strong{longa}
5518 @item @strong{breve}
5521 @tab brève / double-pause
5531 @item @strong{whole}
5541 @tab koko@-nuotti/@w{-tauko}
5547 @tab blanche / demi-pause
5554 @tab puoli@-nuotti/@w{-tauko}
5557 @item @strong{quarter}
5567 @tab neljännesosa@-nuotti/@w{-tauko}
5570 @item @strong{eighth}
5573 @tab croche / demi-soupir
5580 @tab kahdeksasosa@-nuotti/@w{-tauko}
5583 @item @strong{sixteenth}
5586 @tab double croche / quart de soupir
5593 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5596 @item @strong{thirty-second}
5599 @tab triple croche / huitième de soupir
5601 @tab Zweiunddreissigstel
5602 @tab tweeendertigste
5603 @tab toogtredivtedel
5605 @tab trettiotvåondel
5606 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5609 @item @strong{sixty-fourth}
5610 @tab hemidemisemiquaver
5612 @tab quadruple croche / seizième de soupir
5614 @tab Vierundsechzigstel
5615 @tab vierenzestigste
5616 @tab fireogtred@-sindstyvendedel
5618 @tab sextiofjärdedel
5619 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
5625 @chapter Pitch names
5631 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
5632 @c the extra @item's between each row makes the table hard to read ... so I removed them
5634 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
5636 @c TODO -- figure out how to make _real_ table headers in TeXinfo
5638 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
5639 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
5641 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
5643 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
5644 @tab Cis @tab cis @tab cis @tab cis @tab cis
5646 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
5647 @tab des @tab des @tab des @tab des
5649 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
5651 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
5652 @tab es @tab es @tab es @tab es
5654 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
5656 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
5658 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
5661 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
5662 @tab as @tab as @tab as @tab as
5664 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
5666 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse
5667 @tab Ais @tab ais @tab ais @tab ais @tab ais
5669 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
5670 @tab bes @tab b @tab b @tab b
5672 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
5677 @node Literature used
5678 @unnumbered Literature used
5681 @item The Harvard Dictionary of Music, London 1944. Many more or less
5682 literal quotes from its articles have been included into the item
5685 @item Hugo Riemanns Musiklexicon, Berlin 1929.
5687 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
5689 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
5692 @item Webster's Revised Unabridged Dictionary, Springfield 1913.