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--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
71 @multitable {Jan Nieuwenhuizen} {Original glossary of GNU music project, French glossary,}
72 @item Adrian Mariano @tab Italian glossary,
73 @item Bjoern Jacke @tab German glossary,
74 @item Christian Mondrup @tab Original author of LilyPond glossary, Danish glossary,
75 @item David González @tab Spanish glossary,
76 @item François Pinard @tab Original glossary of GNU music project, French glossary,
77 @item Han-Wen Nienhuys @tab Dutch glossary,
78 @item Heikki Junes @tab Finnish glossary translations,
79 @item Jan Nieuwenhuizen @tab Dutch glossary,
80 @item Kurtis Kroon @tab English glossary,
81 @item Mats Bengtsson @tab Swedish glossary,
82 @item Neil Jerram @tab English glossary translations.
85 Copyright 1999--2007 by the authors
87 Permission is granted to copy, distribute and/or modify this document
88 under the terms of the GNU Free Documentation License, Version 1.1
89 or any later version published by the Free Software Foundation,
90 without Invariant Sections.
96 @c @everyheading @| @thispage @|
97 @c @evenheading @thispage @| @|
98 @c @oddheading @| @| @thispage @|
100 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
101 For more information about how this fits with the other
102 documentation, see @rlearning{About the documentation}.
108 @w{@expansion{}@strong{\word\}}@c
111 @expansion{}@ref{\word\, @strong{\word\}}@c
116 * Musical terms A-Z::
117 * Duration names notes and rests::
121 @node Musical terms A-Z
122 @chapter Musical terms A-Z
124 Languages in this order.
126 @item UK - British English (where it differs from American English)
153 * ancient minor scale::
158 * ascending interval::
160 * augmented interval::
196 * compound interval::
200 * conjunct movement::
214 * descending interval::
217 * diminished interval::
221 * disjunct movement::
223 * dissonant interval::
227 * dominant ninth chord::
228 * dominant seventh chord::
230 * dot (augmentation dot)::
232 * double appoggiatura::
234 * double dotted note::
237 * double time signature::
244 * ecclesiastical mode::
251 * equal temperament::
272 * functional harmony::
292 * inverted interval::
307 * long appoggiatura::
313 * meantone temperament::
320 * mensural notation::
324 * metronomic indication::
337 * multi-measure rest::
367 * polymetric time signature::
372 * Pythagorean comma::
402 * sixty-fourth note::
403 * sixty-fourth rest::
434 * thirty-second note::
435 * thirty-second rest::
442 * transposing instrument::
497 Abbreviated @notation{a2} or @notation{a 2}.
501 @item An indication in orchestral scores that a single part notated on a single
502 staff that normally carries parts for two players (e.g. first and second oboes)
503 is to be played by both players.
505 @item Or conversely, that two pitches or parts notated on a staff that normally
506 carries a single part (e.g. first violin) are to be played by different players,
507 or groups of players (@q{desks}).
521 F: accelerando, en accélérant,
522 D: accelerando, schneller werden,
526 FI: accelerando, kiihdyttäen.
528 [Italian: @q{speed up, accelerate}.]
543 FI: aksentti, korostus.
545 The stress of one tone over others.
557 @section acciaccatura
559 A grace note which takes its time from the rest or note preceding the
560 principal note to which it is attached. The acciaccatura is drawn as a
561 small eighth note (quaver) with a line drawn through the flag and
566 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
572 ES: alteración accidental,
574 F: altération accidentelle,
575 D: Versetzungszeichen, Akzidenz,
576 NL: toevallig (verplaatsings)teken,
578 S: tillfälligt förtecken,
579 FI: tilapäinen etumerkki.
581 An accidental has the effect of an @ref{alteration} of a note. A
582 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
583 @ref{whole tone}, a flat lowers it by a semitone and a double flat
584 lowers it by a whole tone. A natural cancels the effect of a previous
585 accidental, or a sharp or flat in the key signature.
587 @lilypond[fragment,notime,line-width=13.0\cm]
588 \set Score.automaticBars = ##f
590 \context Staff \relative c'' {
591 \set Staff.extraNatural = ##f
592 gisis1 gis g! ges geses
595 \override Lyrics .LyricText #'self-alignment-X = #-1
596 "db. sharp" sharp natural flat "db. flat"
612 FI: adagio, hitaasti.
614 [Italian: @q{comfortable, easy}.]
618 @item Slow tempo, slower -- especially in even meter -- than
619 @ref{andante} and faster than @ref{largo}.
621 @item A movement in slow tempo, especially the second (slow) movement
622 of @ref{sonata}s, symphonies, etc.
639 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
640 that the sound should fade away to nothing.
642 @notation{Al niente} is indicated by circling the tip of the hairpin:
644 @lilypond[fragment,ragged-right]
646 \override Hairpin #'circled-tip = ##t
653 or with the actual phrase @notation{al niente}. This may be easier with
654 text markup, rather than as part of the @notation{decrescendo} text:
656 @lilypond[fragment,ragged-right]
661 c\!-\markup { \italic "al niente" }
665 Since one does not crescendo @emph{to} nothing, it is not correct to use
666 @notation{al niente} with the word @notation{crescendo}. Instead, one
667 should use @emph{dal niente} (@notation{@b{from} nothing}).
671 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
680 D: Allegro, Schnell, Fröhlich, Lustig,
684 FI: allegro, nopeasti.
686 [Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick
687 tempo, especially the first and last movements of a @ref{sonata}.
697 NL: verhoging of verlaging,
702 An alteration is the modification, raising or lowering, of a note's
703 pitch. It is established by an @ref{accidental}.
716 FI: altto, matala naisääni.
718 A female voice of low range (@emph{contralto}). Originally the alto
719 was a high male voice (hence the name), which by the use of falsetto
720 reached the height of the female voice. This type of voice is also
721 known as @ref{countertenor}.
727 ES: clave de do en tercera,
728 I: chiave di contralto,
729 F: clef d'ut troisième ligne,
730 D: Altschlüssel, Bratschenschlüssel,
736 C clef setting middle C on the middle line of the staff.
753 FI: ambitus, ääniala, soitinala.
755 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
756 Denotes a range of pitches for a given voice in a part of music. It may
757 also denote the pitch range that a musical instrument is capable of playing.
758 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
773 An anacrusis (also known as pickup or upbeat) is an incomplete measure
774 of music before a section of music. It also refers to the initial
775 note(s) of a melody occurring in that incomplete measure.
779 @ref{measure}, @ref{meter}.
781 @lilypond[fragment,line-width=13.0\cm]
785 \partial 4 f4 | bes4. a8 bes4 c |
786 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
790 @node ancient minor scale
791 @section ancient minor scale
793 ES: escala menor natural,
794 I: scala minore naturale,
795 F: forme du mode mineur ancien, troisème mode, mode hellénique,
796 D: reines Moll, natürliches Moll,
797 NL: authentieke mineurtoonladder,
800 FI: luonnollinen molliasteikko.
802 Also called @q{natural minor scale}.
804 @lilypond[fragment,notime,line-width=13.0\cm]
805 \set Score.automaticBars = ##f
812 @ref{diatonic scale}.
827 Walking tempo/character.
831 @section appoggiatura
835 F: appoggiature, (port de voix),
836 D: Vorschlag, Vorhalt
840 FI: appoggiatura, etuhele.
842 Ornamental note, usually a second, that is melodically connected with
843 the main note following it. In music before the 19th century
844 appoggiature were usually performed on the beat, after that mostly
845 before the beat. While the short appoggiatura is performed as a short
846 note regardless of the duration of the main note the duration of the
847 long appoggiatura is proportional to that of the main note.
849 @lilypond[line-width=13.0\cm]
850 \context Voice \relative c'' {
854 %\override Score.TextScript #'font-style = #'large
855 <d a fis>4_"notation" r
856 { \override Stem #'flag-style = #'()
858 \revert Stem #'flag-style
861 { \override Stem #'flag-style = #'()
863 \revert Stem #'flag-style
866 \cadenzaOn a4 \bar "||" \cadenzaOff
868 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
869 \cadenzaOn a4 \bar "||" \cadenzaOff
873 An appoggiatura may have more notes preceding the main note.
875 @lilypond[line-width=13.0\cm]
879 % \override Score.TextScript #'font-style = #'large
880 \grace { bes16 } as8_"notation" as16 bes as8 g |
881 \grace { as16[( bes] } < c as >4-)
882 \grace { as16[( bes] } < c as >4-) \bar "||"
883 \grace { bes16 } as8_"performance" as16 bes as8 g |
884 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
885 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
897 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
899 DK: arpeggio, akkordbrydning,
901 FI: arpeggio, murtosointu.
903 @lilypond[fragment,line-width=13.0\cm]
904 \context PianoStaff <<
905 \context Staff = SA \relative c'' {
908 r8 g16 c e g, c e r8 g,16 c e g, c e |
909 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
910 \context Staff = SB \relative c' {
912 << \context Voice = va {
914 r16 e8. ( e4) r16 e8. ( e4) |
915 r16 d8. ( d4) r16 d8. ( d4) }
916 \context Voice = vb {
925 @section articulation
934 FI: artikulaatio, ilmaisu.
936 Articulation refers to notation which indicates how a note or notes
937 should be played. Slurs, accents, staccato, and legato are all
938 examples of articulation.
941 @node ascending interval
942 @section ascending interval
944 ES: intervalo ascendente,
945 I: intervallo ascendente,
946 F: intervalle ascendant,
947 D: steigendes Intervall,
948 NL: stijgend interval,
949 DK: stigende interval,
950 S: stigande intervall,
951 FI: nouseva intervalli.
953 A distance between a starting lower note and a higher ending note.
956 @node augmented interval
957 @section augmented interval
959 ES: intervalo aumentado,
960 I: intervallo aumentato,
961 F: intervalle augmenté,
962 D: übermäßiges Intervall,
963 NL: overmatig interval,
964 DK: forstørret interval,
965 S: överstigande intervall,
966 FI: ylinouseva intervalli.
974 @section augmentation
985 @c TODO: add definition.
987 This is a placeholder for augmentation (wrt mensural notation).
991 @ref{diminution}, @ref{mensural notation}.
999 F: manuscrit, autographe
1000 D: Autograph, Handschrift,
1002 DK: håndskrift, autograf,
1004 FI: käsinkirjoitettu nuotti.
1008 @item A manuscript written in the composer's own hand.
1010 @item Music prepared for photoreproduction by freehand drawing, with
1011 the aid of a straightedge ruler and T-square only, which attempts to
1012 emulate engraving. This required more skill than did engraving.
1033 @ref{H}, @ref{Pitch names}
1055 ES: barra, línea divisoria,
1056 I: stanghetta, barra (di divisione),
1057 F: barre (de mesure),
1075 FI: baritoni, keskikorkuinen miesääni.
1077 The male voice intermediate between the @ref{bass} and the
1080 @c F: clef de troisième ligne dropped
1084 @section baritone clef
1086 ES: clave de fa en tercera,
1087 I: chiave di baritono,
1088 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1089 D: Baritonschlüssel,
1095 C or F clef setting middle C on the upper staff line.
1099 @ref{C clef}, @ref{F clef}.
1112 FI: basso, matala miesääni.
1116 @item The lowest male voice.
1118 @item Sometimes, especially in jazz music, used as an abbreviation for
1131 ES: clave de fa en cuarta,
1133 F: clef de fa quatrième ligne,
1140 A clef setting with middle C on the first top ledger line.
1159 Line connecting a series of notes (shorter than a quarter note). The
1160 number of beams determines the note value of the connected notes.
1162 @lilypond[fragment,notime,line-width=13.0\cm]
1163 \set Score.automaticBars = ##f
1164 %\override TextScript #'font-style = #'large
1166 g8_"1/8"[ g g g] s16
1167 g16_"1/16"[ g g g] s16
1168 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1169 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1174 @ref{feathered beam}.
1180 ES: tiempo, parte (de compás)
1183 D: Takt, Taktschlag, Zeit (im Takt),
1189 Note value used for counting, most often half-, fourth-, and eighth
1190 notes. The base counting value and the number of them per measure is
1191 indicated at the start of the music.
1193 @lilypond[fragment,line-width=13.0\cm]
1196 \relative c'' { g4 c b a | g1 \bar "||"}
1198 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1203 @section beat repeat
1207 @ref{percent repeat}.
1221 ES: llave, corchete,
1224 D: Klammer, Akkolade,
1225 NL: accolade, teksthaak,
1228 FI: yhdistävä sulkumerkki.
1230 Symbol at the start of a system connecting staves.
1232 Curly braces are used for connecting piano staves, and sometimes for connecting
1233 the staves of like instruments in an orchestral score when written on different
1234 staves (e.g. first and second flutes):
1236 @lilypond[fragment,ragged-right]
1237 \context GrandStaff <<
1238 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1239 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1242 Angular brackets for connecting parts in an orchestral or choral score:
1244 @lilypond[fragment,ragged-right]
1245 \context StaffGroup <<
1246 % \set StaffGroup.minVerticalAlign = #12
1247 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1248 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1275 NL: koper (blazers),
1278 S: brassinstrument, mässingsinstrument,
1281 A family of blown musical instruments made of brass, all using a cup
1282 formed mouth piece. The brass instruments commonly used in a symphony
1283 orchestra are trumpet, trombone, french horn, and tube.
1287 @section breath mark
1292 D: Atemzeichen, Trennungszeichen,
1293 NL: repercussieteken,
1294 DK: vejrtrækningstegn,
1298 Indication of where to breathe in vocal and wind instrument parts.
1304 ES: cuadrada, breve,
1311 FI: brevis, kaksoiskokonuotti.
1313 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1314 The shortest note value generally used in white mensural notation, hence the
1315 name, which originally meant @q{of short duration}.
1317 @lilypond[fragment,notime,ragged-right]
1318 \set Score.automaticBars = ##f
1319 \relative c'' { g\breve }
1324 @ref{mensural notation}, @ref{note value}.
1358 Clef symbol indicating the position of the middle C. Used on all note
1361 @lilypond[fragment,notime,line-width=13.0\cm]
1362 \set Score.automaticBars = ##f
1363 \override Score.Clef #'full-size-change = ##t
1365 \context Staff \relative c' {
1367 \clef mezzosoprano c
1372 \context Lyrics \lyrics {
1373 \override Lyrics .LyricText #'self-alignment-X = #-1
1374 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1390 FI: kadenssi, lopuke.
1394 @ref{harmonic cadence}, @ref{functional harmony}.
1407 FI: kadenssi, lopuke.
1409 An extended, improvisatory style section inserted near the end of
1410 movement. The purpose of a cadenza is to give singers or players a
1411 chance to exhibit their technical skill and -- not last -- their
1412 ability to improvise. Since the middle of the 19th century, however,
1413 most cadenzas have been written down by the composer.
1426 FI: kaanon, tarkka jäljittely.
1443 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1444 viritysjärjestelmässä.
1446 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1447 (1/100 of an equally tempered @ref{semitone}).
1451 @ref{equal temperament}.
1474 Three or more tones sounding simultaneously. In traditional European music
1475 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1476 (major + minor third) as well as @emph{minor} (minor + major third) chords
1477 may be extended with more thirds. Four-tone @emph{seventh chords} and
1478 five-tone @emph{ninth} major chords are most often used as dominants
1479 (functional harmony). Chords having no third above the lower notes to
1480 define their mood are a special case called @q{open chords}. The lack of
1481 the middle third means their quality is ambivalent: neither major nor minor.
1483 @lilypond[fragment,notime,line-width=13.0\cm]
1484 \set Score.automaticBars = ##f
1485 %\override TextScript #'font-style = #'large
1487 \context Staff \relative c'' {
1488 \set Staff.extraNatural = ##f
1509 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1513 @node chromatic scale
1514 @section chromatic scale
1516 ES: escala cromática,
1518 F: gamme chromatique,
1519 D: chro@-ma@-ti@-sche Tonleiter,
1520 NL: chromatische toonladder,
1521 DK: kromatisk skala,
1523 FI: kromaattinen asteikko.
1525 A scale consisting of all 12 @ref{semitone}s.
1527 @lilypond[fragment,notime,line-width=13.0\cm]
1528 \set Score.automaticBars = ##f
1529 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1534 @section chromaticism
1545 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1549 @section church mode
1551 ES: modo eclesiástico,
1552 I: modo ecclesiastico,
1553 F: mode ecclésiastique,
1558 FI: moodi, kirkkosävellaji.
1562 @ref{diatonic scale}.
1571 D: Schlüssel, Notenschlüssel,
1575 FI: avain, nuottiavain.
1579 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1581 The clef indicates which lines of the staff correspond to which
1582 pitches. The three clef symbols in common use are:
1584 @lilypond[ragged-right,quote]
1587 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1588 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1589 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1594 Imagine a large staff of 11 lines centered on middle C, sometimes
1595 called a @q{grand staff}, with the bottom line representing low G and
1596 the top line high F:
1598 @lilypond[ragged-right,quote]
1601 %-- Treble Staff --%
1603 % Allow this staff to be placed close to the others
1604 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1605 % Allow the treble clef to overlap the lower staves:
1606 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1607 \override Staff.Clef #'stencil = ##f % No clef required
1609 s1^\markup { "g," \transparent "g" }
1610 s^ \markup { "b," \transparent "g" }
1611 s^ \markup { "d" \transparent "g" }
1612 s^ \markup { "f" \transparent "g" }
1613 s^ \markup { "a" \transparent "g" }
1614 s^ \markup { \with-color #red c' \transparent "g"}
1615 e'^\markup { "e'" \transparent "g" }
1616 g'^\markup { "g'" \transparent "g" }
1617 b'^\markup { "b'" \transparent "g" }
1618 d''^\markup { "d''" \transparent "g" }
1619 f''^\markup { "f ''" \transparent "g" }
1622 %-- Alto Staff reduced to a single line on middle C --%
1624 \override Staff.StaffSymbol #'line-count = 1 % One line only
1625 \override Staff.StaffSymbol #'color = #red % Coloured red
1626 \override Staff.Clef #'stencil = ##f % No clef required
1629 % Allow this staff to be placed close to the others
1630 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1631 % Specify height to give correct spacing between treble and bass staves
1632 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1634 s1 s s s s % Space along to align horizonatally
1635 \override NoteHead #'color = #red
1637 s1 s s s s s % Keep staff (ie the red line) showing
1641 % Allow this staff to be placed close to the others
1642 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1643 \override Staff.Clef #'stencil = ##f % No clef required
1646 s s s s s s s % Keep staff showing
1650 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1651 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1653 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1654 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1656 % Remove all barlines
1657 \context { \Score \override BarLine #'stencil = ##f
1659 % Remove time signature from all staves
1660 \context { \Staff \remove Time_signature_engraver
1666 Staves of five lines are usually used, and the clef superimposed on
1667 them indicates which five lines have been selected from this
1668 @samp{grand staff}. For example, the treble or G clef indicates that
1669 the top five lines have been selected:
1671 @lilypond[ragged-right,quote]
1674 %-- Treble Staff --%
1676 % Allow this staff to be placed close to the others
1677 \override Staff.VerticalAxisGroup
1678 #'minimum-Y-extent = #'(0 . 0)
1679 % Allow the treble clef to overlap the lower staves:
1680 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1681 \override Staff.Clef #'stencil = ##f % No clef required here
1683 s1^\markup { "g," \transparent "g" }
1684 s^ \markup { "b," \transparent "g" }
1685 s^ \markup { "d" \transparent "g" }
1686 s^ \markup { "f" \transparent "g" }
1687 s^ \markup { "a" \transparent "g" }
1688 s^ \markup { \with-color #red c' \transparent "g"}
1689 \stopStaff \startStaff
1690 \clef "C" % Dummy to force next clef to be printed
1691 s % Need at least one note for \clef to take effect
1692 \override Staff.Clef #'stencil = ##t % Clef now required
1693 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1695 e'^\markup { "e'" \transparent "g" }
1696 g'^\markup { "g'" \transparent "g" }
1697 b'^\markup { "b'" \transparent "g" }
1698 d''^\markup { "d''" \transparent "g" }
1699 f''^\markup { "f ''" \transparent "g" }
1701 %-- Alto Staff reduced to a single line on middle C --%
1703 \override Staff.StaffSymbol #'line-count = 1 % One line only
1704 \override Staff.StaffSymbol #'color = #red % Coloured red
1705 \override Staff.Clef #'stencil = ##f % No clef required
1708 % Allow this staff to be placed close to the others
1709 \override Staff.VerticalAxisGroup
1710 #'minimum-Y-extent = #'(0 . 0)
1711 % Specify height to give correct spacing between the staves
1712 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1714 s1 s s s s % Space along to align horizonatally
1715 \override NoteHead #'color = #red
1717 % s1 s s s s % Keep staff (ie the red line) showing
1721 % Allow this staff to be placed close to the others
1722 \override Staff.VerticalAxisGroup
1723 #'minimum-Y-extent = #'(0 . 0)
1724 \override Staff.Clef #'stencil = ##f % No clef required
1727 % s s s s s s % Keep staff showing
1731 % Reduce horizontal spacing so semibreves can be used
1732 % without exceeding 1 line
1733 \context { \Score \override SpacingSpanner
1734 #'base-shortest-duration = #(ly:make-moment 1 1)
1736 % Reduce apparent vertical size of note heads to
1737 % permit them to overlap other grobs vertically
1738 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1740 % Remove all barlines
1741 \context { \Score \override BarLine #'stencil = ##f
1743 % Remove time signature from all staves
1744 \context { \Staff \remove Time_signature_engraver
1750 The @q{curl} of the G clef is centered on the line that represents the
1753 In the same way, the bass or F clef indicates that the bottom five
1754 lines have been selected from the @samp{grand staff}, and the alto or
1755 C clef indicates the middle five lines have been selected. This
1756 relationship is shown below, where the notes show an arpeggio on a C
1759 @lilypond[ragged-right,quote]
1762 %-- Treble Staff --%
1763 \new Staff = "G" \with {
1764 \remove Time_signature_engraver
1767 % The following two overrides are required to make the two middle C's overlap
1768 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1769 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1771 \override Staff.Clef #'Y-extent = #'(0 . 0)
1773 s1 s s s s e' g' c''
1776 \new Staff = "C" \with {
1777 \remove Time_signature_engraver
1780 \override Staff.StaffSymbol #'line-count = 1
1781 \override Staff.StaffSymbol #'stencil = ##f
1782 \once \override Staff.Clef #'stencil = ##f
1783 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1784 \override Score.BarLine #'stencil = ##f
1786 % The following two overrides are required to align the C staff to the G and F staves
1787 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1788 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1791 \stopStaff \startStaff
1792 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1793 \revert Staff.StaffSymbol #'stencil
1794 \override Staff.StaffSymbol #'color = #red
1795 b'1 % A frig. This really shows as a middle C in the score
1797 \stopStaff \startStaff
1798 \override Staff.StaffSymbol #'line-count = 5
1799 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1800 \override Staff.Clef #'Y-extent = #'(0 . 0)
1801 \revert Staff.StaffSymbol #'color
1802 \stopStaff \startStaff
1804 s1 s s c e g c' e' g' c''
1807 \new Staff = "F" \with {
1808 \remove Time_signature_engraver
1811 \override Staff.Clef #'Y-extent = #'(0 . 0)
1812 % The following two overrides are required to make the two middle C's overlap
1813 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1814 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1822 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1825 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1828 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1845 FI: klusteri, cluster.
1847 A @emph{cluster} is a range of simultaneously sounding pitches that
1848 may change over time. The set of available pitches to apply usually
1849 depends on the acoustic source. Thus, in piano music, a cluster
1850 typically consists of a continuous range of the semitones as provided
1851 by the piano's fixed set of a chromatic scale. In choral music, each
1852 singer of the choir typically may sing an arbitrary pitch within the
1853 cluster's range that is not bound to any diatonic, chromatic or other
1854 scale. In electronic music, a cluster (theoretically) may even cover
1855 a continuous range of pitches, thus resulting in colored noise, such
1858 Clusters can be denoted in the context of ordinary staff notation by
1859 engraving simple geometrical shapes that replace ordinary notation of
1860 notes. Ordinary notes as musical events specify starting time and
1861 duration of pitches; however, the duration of a note is expressed by
1862 the shape of the note head rather than by the horizontal graphical
1863 extent of the note symbol. In contrast, the shape of a cluster
1864 geometrically describes the development of a range of pitches
1865 (vertical extent) over time (horizontal extent). Still, the
1866 geometrical shape of a cluster covers the area in which any single
1867 pitch contained in the cluster would be notated as an ordinary note.
1869 @lilypond[fragment,relative=2,ragged-right]
1870 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1884 FI: komma, korvinkuultava ero äänenkorkeudessa.
1886 Difference in pitch between a note derived from pure tuning and the
1887 same note derived from some other tuning method.
1891 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1896 @section common meter
1906 @section common time
1917 4/4 time. The symbol, which resembles a capital letter C, derives from
1922 @ref{mensural notation}, @ref{meter}.
1928 ES: intervalo invertido,
1930 F: intervalle complémentaire,
1931 D: Komplementärintervall,
1932 NL: complementair interval,
1933 DK: komplementærinterval,
1934 S: komplementärintervall (?),
1935 FI: täydentävä intervalli.
1939 @ref{inverted interval}.
1942 @node compound interval
1943 @section compound interval
1945 ES: intervalo compuesto,
1946 I: intervallo composto,
1947 F: intervalle composé,
1948 D: weites Intervall,
1949 NL: samengesteld interval,
1950 DK: sammensat interval,
1951 S: sammansatt intervall,
1952 FI: oktaavia laajempi intervalli.
1954 Intervals larger than an octave.
1961 @node compound meter
1962 @section compound meter
1964 ES: compás compuesto, compás de subdivisión ternaria,
1973 A meter that includes a triplet subdivision within the beat, such as
1978 @ref{meter}, @ref{simple meter}.
1982 @section compound time
1984 ES: compás compuesto, compás de amalgama (def. 2),
1996 A meter that includes a triplet subdivision within the beat: see
1997 @ref{compound meter}.
2000 A time signature that additively combines two or more unequal meters, e.g.
2001 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2003 @lilypond[fragment,line-width=13.0\cm]
2004 #(define (compound-time grob one two three num)
2006 (ly:grob-layout grob)
2007 '(((baseline-skip . 2)
2009 (font-family . number)))
2011 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
2015 #(set-time-signature 8 8 '(3 2 3))
2016 \override Staff.TimeSignature #'stencil
2017 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
2018 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2019 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2020 \set Staff.beatGrouping = #'(3 2 3)
2022 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
2030 @ref{compound meter}, @ref{meter}.
2034 @section concert pitch
2036 ES: en Do, afinación de concierto,
2045 The pitch at which the piano and other nontransposing instruments play: such
2046 instruments are said to be @q{in C}. The following list includes some (but not
2047 all) instruments that play in concert pitch:
2061 @item tenor trombone
2076 The trombones are a special case: although they are said to be @q{in F} (alto or
2077 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2078 their parts' transposition. (In fact, the trombones' parts are written at
2079 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2080 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2083 Instruments that play @q{in C} but in a different octave than what is written
2084 are, technically speaking, @emph{transposing instruments}:
2088 @item piccolo (plays an octave higher)
2089 @item celesta (plays an octave higher)
2090 @item double-bass (plays an octave lower)
2096 @ref{transposing instrument}.
2099 @node conjunct movement
2100 @section conjunct movement
2102 ES: movimiento conjunto,
2104 F: mouvement conjoint,
2105 D: schritt@-weise, stufenweise Bewegung,
2106 NL: stapsgewijze, trapsgewijze beweging,
2107 DK: trinvis bevægelse,
2109 FI: asteittainen liike.
2111 Progressing melodically by intervals of a second. The opposite of a
2112 @ref{disjunct movement}.
2114 @lilypond[fragment,line-width=13.0\cm]
2115 \key g \major \time 4/4
2116 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2130 FI: konsonanssi, sopusointi.
2155 @section copying music
2157 A music copyist did fast freehand scores and parts on preprinted staff
2158 lines for performance. Some of their conventions (e.g., the placement
2159 of note heads on stems) varied slightly from those of engravers. Some
2160 of their working methods were superior and could well be adopted by
2163 @c Copying music required more skill than engraving. Flagged for NPOV
2167 @section counterpoint
2176 FI: kontrapunkti, ääni ääntä vastaan.
2178 From Latin @emph{punctus contra punctum}, note against note. The
2179 combination into a single musical fabric of lines or parts which have
2180 distinct melodic significance. A frequently used polyphonic technique
2181 is imitation, in its strictest form found in the canon needing only
2182 one part to be written down while the other parts are performed with a
2183 given displacement. Imitation is also the contrapunctal technique
2184 used in the @emph{fugue} which, since the music of the baroque era,
2185 has been one of the most popular polyphonic composition methods.
2187 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2188 \set Score.implicitTimeSignatureVisibility = #all-invisible
2189 \override Score.TimeSignature #'break-visibility = #all-invisible
2190 \context PianoStaff <<
2191 \context Staff = SA \relative c' {
2195 << \context Voice = rha {
2197 r1 | r2 r8 g'8 bes d, |
2198 cis4 d r8 e!16 f g8 f16 e |
2199 f8 g16 a bes8 a16 g a8
2201 \context Voice = rhb {
2207 \context Staff = SB \relative c' {
2210 << \context Voice = lha {
2212 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2213 r8 a16 g f8 g16 a bes8 g e! cis' |
2216 \context Voice = lhb {
2226 @section countertenor
2231 D: Countertenor, Kontratenor,
2234 S: kontratenor, counter tenor,
2248 D: Crescendo, lauter werden,
2252 FI: cresendo, voimistuen.
2254 Increasing volume. Indicated by a rightwards opening horizontal wedge
2255 (hairpin) or the abbreviation @notation{cresc.}.
2257 @lilypond[fragment,ragged-right]
2258 \key g \major \time 4/4
2259 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2268 F: petites notes précédent l'entrée d'un instrument, réplique,
2275 In a separate part notes belonging to another part with the purpose of
2276 hinting when to start playing. Usually printed in a smaller type.
2285 D: Notenzeiger, Custos,
2291 A custos (plural: custodes) is a staff symbol that appears at the end
2292 of a staff line with monophonic musical contents (i.e., with a single
2293 voice). It anticipates the pitch of the first note of the following
2294 line and thus helps the player or singer to manage line breaks during
2295 performance, thus enhancing readability of a score.
2297 Custodes were frequently used in music notation until the 16th
2298 century. There were different appearences for different notation
2299 styles. Nowadays, they have survived only in special forms of musical
2300 notation such as via the Editio Vaticana dating back to the beginning
2306 % \override Staff.Custos #'neutral-position = #4
2307 \override Staff.Custos #'neutral-direction = #down
2308 \override Staff.Custos #'style = #'hufnagel
2316 \consists Custos_engraver
2348 F: da capo, depuis le commencement,
2349 D: da capo, von Anfang,
2353 FI: da capo, alusta.
2355 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2356 the beginning to the end or to a certain place marked @emph{fine}.
2371 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2372 that the sound should gradually increase from nothing.
2384 F: dal segno, depuis le signe,
2385 D: dal segno, ab dem Zeichen,
2389 FI: dal segno, lähtien merkistä.
2391 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2392 another place frequently near the beginning marked by a sign
2395 @lilypond[fragment,ragged-right]
2396 %\override TextScript #'font-style = #'large
2397 \override TextScript #'font-shape = #'italic
2398 \key g \major \time 4/4
2403 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2410 @section decrescendo
2414 D: Decrescendo, leiser werden,
2418 FI: decresendo, hiljentyen.
2420 Decreasing tone volume. Indicated by a leftwards opening horizontal
2421 wedge (hairpin) or the abbreviation @notation{decresc.}.
2423 @lilypond[fragment,ragged-right]
2425 \key g \major \time 4/4
2426 d4 \> c b a | g1 \! \bar "|."
2431 @node descending interval
2432 @section descending interval
2434 ES: intervalo descendente,
2435 I: intervallo discendente,
2436 F: intervalle descendant,
2437 D: fallendes Intervall, absteigendes Intervall,
2438 NL: dalend interval,
2439 DK: faldende interval,
2440 S: fallande intervall,
2441 FI: laskeva intervalli.
2443 A distance between a starting higher note and a lower ending note.
2446 @node diatonic scale
2447 @section diatonic scale
2449 ES: escala diatónica,
2451 F: gamme diatonique,
2452 D: diatonische Tonleiter,
2453 NL: diatonische toonladder,
2454 DK: diatonisk skala,
2456 FI: diatoninen asteikko.
2458 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2459 Scales played on the white keys of a piano keybord are diatonic; and these
2460 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2462 These @q{modes} are used in Gregorian chant and in pre-baroque early music
2463 but also to some extent in newer jazz music.
2465 @lilypond[fragment,notime,ragged-right]
2466 \set Score.automaticBars = ##f
2467 %\override Score.LyricText #'font-style = #'large
2468 %\override Score.TextScript #'font-style = #'large
2470 \context Staff \relative c' {
2472 \override TextScript #'padding = #-4
2473 e^"~~ S" f g a b^"~~ S" c
2475 \context Lyrics \lyrics {
2481 @lilypond[fragment,notime,ragged-right]
2482 \set Score.automaticBars = ##f
2484 \context Staff \relative c' {
2486 \override TextScript #'padding = #-4
2487 e^"~~ S" f g a b^"~~ S" c d
2495 @lilypond[fragment,notime,ragged-right]
2496 \set Score.automaticBars = ##f
2499 \override TextScript #'padding = #-4
2500 e1^"~~ S" f g a b^"~~ S" c d e
2508 @lilypond[fragment,notime,ragged-right]
2509 \set Score.automaticBars = ##f
2513 \override TextScript #'padding = #-4
2514 b^"~~ S" c d e^"~~ S" f
2522 @lilypond[fragment,notime,ragged-right]
2523 \set Score.automaticBars = ##f
2527 \override TextScript #'padding = #-4
2528 b^"~~ S" c d e^"~~ S" f g }
2535 @lilypond[fragment,notime,ragged-right]
2536 \set Score.automaticBars = ##f
2537 %\override Score.LyricText #'font-style = #'large
2538 %\override Score.TextScript #'font-style = #'large
2542 \override TextScript #'padding = #-4
2543 b^"~~ S" c d e^"~~ S" f g a
2551 @lilypond[fragment,notime,ragged-right]
2552 \set Score.automaticBars = ##f
2553 %\override Score.LyricText #'font-style = #'large
2554 %\override Score.TextScript #'font-style = #'large
2557 \override TextScript #'padding = #-4
2558 b1^"~~ S" c d e^"~~ S" f g a b
2566 From the beginning of the 17th century the scales used in European
2567 compositional music are primarily the major and the minor scales. In
2568 the harmonic minor scale type an augmented second (A) occurs between
2569 the 6th and 7th tone.
2571 @lilypond[fragment,notime,ragged-right]
2572 \set Score.automaticBars = ##f
2576 \override TextScript #'padding = #-4
2577 e^"~~ S" f g a b^"~~ S" c
2585 @lilypond[fragment,notime,ragged-right]
2586 \set Score.automaticBars = ##f
2590 \override TextScript #'padding = #-4
2591 b^"~~ S" c d e^"~~ S" f g a
2599 @lilypond[fragment,notime,ragged-right]
2600 \set Score.automaticBars = ##f
2604 \override TextScript #'padding = #-4
2605 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2607 \context Lyrics \lyrics {
2613 @lilypond[fragment,notime,line-width=13.0\cm]
2614 \set Score.automaticBars = ##f
2615 %\override Score.LyricText #'font-style = #'large
2616 %\override Score.TextScript #'font-style = #'large
2620 \override TextScript #'padding = #-4
2621 b^"~~ S" c d e fis gis^"~~ S" a
2624 "Melodic minor ascending"
2629 @lilypond[fragment,notime,line-width=13.0\cm]
2630 \set Score.automaticBars = ##f
2631 %\override Score.LyricText #'font-style = #'large
2632 %\override Score.TextScript #'font-style = #'large
2636 \override TextScript #'padding = #-4
2637 a g! f!^"~~ S" e d c^"~~ S" b a
2640 "Melodic minor descending"
2647 @section didymic comma
2651 @ref{syntonic comma}.
2654 @node diminished interval
2655 @section diminished interval
2657 ES: intervalo disminuido,
2658 I: intervallo diminuito,
2659 F: intervalle diminué,
2660 D: vermindertes Intervall,
2661 NL: verminderd interval,
2662 DK: formindsket interval,
2663 S: förminskat intervall,
2664 FI: vähennetty intervalli.
2681 FI: diminuendo, hiljentyen.
2700 @c TODO: add definition
2702 This is a placeholder for diminution (wrt mensural notation).
2706 @ref{augmentation}, @ref{mensural notation}.
2726 @node disjunct movement
2727 @section disjunct movement
2729 ES: movimiento disjunto,
2731 F: mouvement disjoint,
2732 D: sprunghafte Bewegung,
2733 NL: sprongsgewijze beweging,
2734 DK: springende bevægelse,
2735 S: hoppande rörelse,
2736 FI: melodian hyppivä liike.
2738 Progressing melodically by intervals larger than a major second, as
2739 opposed to @ref{conjunct movement}.
2741 @lilypond[fragment,ragged-right]
2746 a4. gis8 b a e cis |
2747 fis2 d4. \bar "||" }
2754 @ref{dissonant interval}.
2757 @node dissonant interval
2758 @section dissonant interval
2760 ES: intervalo disonante, disonancia,
2761 I: intervallo dissonante, dissonanza,
2764 NL: dissonant interval, dissonant,
2765 DK: dissonerende interval, dissonans,
2767 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2786 [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
2787 vertical stroke through part or all of the staff that serves to
2788 structure a chant into phrases and sections. There are four types:
2792 @item @emph{divisio minima}, a short pause
2794 @item @emph{divisio maior}, a medium pause
2796 @item @emph{divisio maxima}, a long pause
2798 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2799 section in a long antiphonal or responsorial chant.
2803 TODO: musical example here?
2822 Indicator for a indeterminately rising pitch bend. Compare with
2823 @emph{glissando}, which has determinate starting and ending pitches.
2827 @ref{fall}, @ref{glissando}.
2840 FI: dominantti, huippusointu.
2842 The fifth @ref{scale degree} in @ref{functional harmony}.
2845 @node dominant ninth chord
2846 @section dominant ninth chord
2848 ES: acorde de novena de dominante,
2849 I: accordo di nona di dominante,
2850 F: accord de neuvième dominante,
2851 D: Domi@-nant@-nonen@-akkord,
2852 NL: dominant noon akkoord,
2853 DK: dominantnoneakkord,
2854 S: dominantnonackord,
2855 FI: dominanttinoonisointu.
2859 @ref{chord}, @ref{functional harmony}.
2862 @node dominant seventh chord
2863 @section dominant seventh chord
2865 ES: acorde de séptima de dominante,
2866 I: accordo di settima di dominante,
2867 F: accord de septième dominante,
2868 D: Dominantseptakkord,
2869 NL: dominant septiem akkoord,
2870 DK: dominantseptimakkord,
2871 S: dominantseptimackord,
2872 FI: dominanttiseptimisointu.
2876 @ref{chord}, @ref{functional harmony}.
2880 @section dorian mode
2885 D: dorisch, dorischer Kirchenton,
2886 NL: dorische toonladder,
2893 @ref{diatonic scale}.
2896 @node dot (augmentation dot)
2897 @section dot (augmentation dot)
2900 I: punto (di valore),
2902 D: Punkt (Verlängerungspunkt),
2910 @ref{dotted note}, @ref{note value}.
2914 @section dotted note
2916 ES: nota con puntillo,
2920 NL: gepuncteerde noot,
2923 FI: pisteellinen nuotti.
2930 @node double appoggiatura
2931 @section double appoggiatura
2933 ES: apoyatura doble,
2934 I: appoggiatura doppia,
2935 F: appoggiature double,
2936 D: doppelter Vorschlag,
2937 NL: dubbele voorslag,
2938 DK: dobbelt forslag,
2940 FI: kaksoisappogiatura, kaksoisetuhele.
2947 @node double bar line
2948 @section double bar line
2954 NL: dubbele maatstreep,
2957 FI: kaksoistahtiviiva.
2959 Indicates the end of a section within a movement.
2962 @node double dotted note
2963 @section double dotted note
2965 ES: nota con doble puntillo,
2966 I: nota doppiamente puntata,
2967 F: note doublement pointée,
2968 D: doppelt punktierte Note,
2969 NL: dubbelgepuncteerde noot,
2970 DK: dob@-belt@-punk@-te@-ret node,
2971 S: dub@-bel@-punk@-te@-rad not,
2972 FI: kaksoispisteellinen nuotti.
2980 @section double flat
2989 FI: kaksoisalennusmerkki.
2997 @section double sharp
2999 ES: doble sostenido,
3004 DK: dob@-belt@-kryds,
3006 FI: kaksoisylennysmerkki.
3013 @node double time signature
3014 @section double time signature
3027 @ref{polymetric time signature}.
3031 @section double trill
3037 NL: dubbele triller,
3042 A simultaneous trill on two notes, usually in the distance of a third.
3046 @section duple meter
3051 D: in zwei, grader Takt,
3052 NL: tweedelige maatsoort,
3089 FI: kesto, aika-arvo.
3099 ES: dinámica, matices,
3102 D: Dynamik, Lautstärke,
3108 The aspect of music relating to degrees of loudness, or changes from
3109 one degree to another. The terms, abbreviations, and symbols used to
3110 indicate this information are called dynamic marks.
3114 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3137 @node ecclesiastical mode
3138 @section ecclesiastical mode
3146 @section eighth note
3153 @item D: Achtel, Achtelnote
3154 @item NL: achtste noot
3155 @item DK: ottendedelsnode
3156 @item S: åttondelsnot
3157 @item FI: kahdeksasosanuotti
3166 @section eighth rest
3169 @item UK: quaver rest
3170 @item ES: silencio de corchea
3171 @item I: pausa di croma
3172 @item F: demi-soupir
3173 @item D: Achtelpause
3174 @item NL: achtste rust
3175 @item DK: ottendedelspause
3176 @item S: åttonddelspaus
3177 @item FI: kahdeksasosatauko
3188 @c TODO: add languages
3199 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3202 The singing of several syllables on a single note. Elision may be indicated
3203 by a lyric tie, which is looks like (and serves the same function) as a
3212 @section embellishment
3225 D: Notenstich, Notendruck
3231 Engraving means incising or etching a metal plate for printing.
3232 Photoengraving means drawing music with ink in a manner similar to
3233 drafting or engineering drawing, using similar tools.
3235 The traditional process of music printing is done through cutting in a
3236 plate of metal. Now also the term for the art of music typesetting.
3251 Two notes, intervals, or scales are enharmonic if they have different
3252 names but equal pitch.
3254 @lilypond[fragment,notime,line-width=13.0\cm]
3255 \set Score.automaticBars = ##f
3257 \context Staff \relative c'' {
3258 gis1 as <des g,!> <cis g!>
3260 \context Lyrics \lyrics {
3261 \override Lyrics .LyricText #'self-alignment-X = #-1
3262 "g sharp " "a flat " "dim fifth " "augm fourth"
3268 @node equal temperament
3269 @section equal temperament
3271 ES: temperamento igual,
3272 I: temperamento equabile,
3273 F: tempérament égal,
3274 D: gleichschwebende Stimmung,
3275 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3276 DK: ligesvævende temperatur,
3277 S: liksvävande temperatur,
3280 Tuning system dividing the octave into 12 equal @ref{semitone}s
3281 (precisely 100 @ref{cent}s).
3288 @node expression mark
3289 @section expression mark
3292 I: segno d'espressione,
3293 F: signe d'expression, indication de nuance,
3295 NL: voordrachtsteken,
3296 DK: foredragsbetegnelse,
3297 S: föredragsbeteckning,
3298 FI: nyanssiosoitus, esitysmerkki.
3300 Performance indications concerning:
3304 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3306 @item tempo (for example @ref{andante}, @ref{allegro}).
3312 @section extender line
3314 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3316 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3323 The generic term for a line (or dash) of arbitrary length that extends
3324 text (without indicating the musical @emph{function} of that text).
3326 Used in many contexts, for example:
3330 @item In vocal music to indicate the syllable for a melisma. Called
3331 @q{extension} in the
3332 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3336 In figured bass to indicate that:
3340 @item The extended note should be held through a change in harmony, when applied
3341 to one figure --OR--
3342 @item The chord thus represented should be held above a moving bass line, when
3343 applied to more than one figure.
3344 @item These uses were not completely standardized, and some composers used a
3345 single extender line to indicate the latter case.
3350 In string music to indicate that all notes in the passage thus indicated should
3351 be played on the same string. On the violin, for example, a series of notes to
3352 be played on the G string would be indicated @notation{sul G}, another series to be
3353 played on the D string would be indicated @notation{sul D}, and so on.
3356 With an octave mark to indicate that a passage is to be played higher or lower
3357 by the given number of octaves.
3363 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3398 The position between the dots of the key symbol is the line of the F
3399 below central@w{ }C. Used on the third, fourth and fifth note line.
3400 A digit@w{ }8 above the clef symbol indicates that the notes must be
3401 played an octave higher (for example, bass recorder) while 8@w{ }below
3402 the clef symbol indicates playing an octave lower (for example, on
3403 double bass @ref{strings}).
3405 @lilypond[fragment,notime,line-width=13.0\cm]
3406 \set Score.automaticBars = ##f
3407 \override Staff.Clef #'full-size-change = ##t
3435 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3450 Indicator for a indeterminately falling pitch bend. Compare with
3451 @emph{glissando}, which has determinate starting and ending pitches.
3455 @ref{doit}, @ref{glissando}.
3458 @node feathered beam
3459 @section feathered beam
3463 F: liens de croches en soufflet,
3464 D: gespreizter Balken,
3470 A type of beam used to indicate that a small group of notes should be
3471 played at an increasing or decreasing tempo -- depending on the
3472 direction of @q{feathering} -- but without changing the overall tempo
3477 Internals Reference: @ruser{Manual beams}
3485 F: point d'orgue, point d'arrêt,
3490 FI: fermaatti, pidäke.
3492 Prolonged note or rest of indefinite duration.
3494 @lilypond[fragment,ragged-right]
3497 a4 b c2^\fermata \bar "|."
3520 @section figured bass
3523 I: basso continuo, basso numerato,
3524 F: basse chiffrée, basse continue,
3525 D: Generalbass, bezifferter Bass,
3526 NL: basso continuo, becijferde bas
3529 FI: kenraalibasso, numeroitu basso.
3531 Also called @q{thorough bass}.
3533 A method of indicating an accompaniment part by the bass notes only, together
3534 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
3535 above the bass notes.
3537 @lilypond[fragment,line-width=13.0\cm]
3538 \context GrandStaff <<
3539 \context Staff = lh \relative c'' {
3543 << \context Voice = rha {
3546 \context Voice = rhb {
3548 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3552 \context Staff = rh \relative c' {
3555 es8 c d bes c as bes16 as g f | es4
3557 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3575 The methodical use of fingers in the playing of instruments.
3582 I: coda (uncinata), bandiera,
3590 Ornament at the end of the stem of a note used for notes with values
3591 less than a quarter note. The number of flags determines the
3594 @lilypond[fragment,notime,ragged-right]
3595 \set Score.automaticBars = ##f
3596 %\override Score.TextScript #'font-style = #'large
3618 An articulation for string players that means the note or passage is to
3619 be played in harmonics.
3625 @item A duct flute similar to the recorder.
3627 @item An organ stop of flute scale at 1' or 2' pitch.
3633 @ref{articulation}, @ref{harmonics}.
3671 FI: forte, voimakkaasti.
3673 [Italian: @q{loud}.]
3675 Abbreviated @notation{@b{f}}. Variants include:
3678 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3679 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3699 @node Frenched score
3700 @section Frenched score
3702 ES: partitura a la francesa,
3711 A @q{condensed} score, produced by omitting staves for instruments that are not
3712 playing at the moment, and by moving up additional systems from following pages
3713 to take up the space thus liberated, which reduces the total number of pages
3714 used to print the work.
3716 The specific rules for @q{frenching} a score differ from publisher to publisher.
3717 If you are producing scores for eventual publication by a commercial publisher,
3718 you may wish to procure a copy of their style manual.
3722 @ref{Frenched staff}.
3725 @node Frenched staff
3726 @section Frenched staff
3728 ES: pentagrama a la francesa,
3737 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3738 measures or sections removed. This would be useful for producing, for example,
3739 an @emph{ossia} staff.
3746 @node Frenched staves
3747 @section Frenched staves
3749 ES: pentagramas a la francesa,
3758 The plural of @ref{Frenched staff}, @emph{q.v.}.
3778 @node functional harmony
3779 @section functional harmony
3781 ES: armonía funcional,
3782 I: armonia funzionale,
3783 F: étude des functions,
3785 NL: functionele harmonie,
3786 DK: funktionsanalyse, funktionsharmonik,
3788 FI: harmoniajärjestelmä.
3790 A system of harmonic analysis. It is based on the idea that, in a
3791 given key, there are only three functionally different chords: tonic
3792 (T, the chord on the first note of the scale), subdominant (S, the
3793 chord on the fourth note), and dominant (D, the chord on the fifth
3794 note). Others are considered to be variants of the base chords.
3796 @lilypond[fragment,notime,line-width=13.0\cm]
3797 \set Score.automaticBars = ##f
3799 \context Voice \relative c'' {
3800 <g e c >1 < a f d > < b g e >
3801 <c a f > < d b g > < e c a > < f d b > }
3802 \context Lyrics \lyrics {
3803 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3833 D: G-Schlüssel, Violinschlüssel,
3839 A clef symbol indicating the G above middle@w{ }C. Used on the first
3840 and second note lines. A digit 8 above the clef symbol indicates that
3841 the notes must be played an octave higher while 8 below the clef
3842 symbol indicates playing or singing an octave lower (most tenor parts
3843 in choral scores are notated like that).
3845 @lilypond[fragment,notime,ragged-right]
3847 \set Score.automaticBars = ##f
3848 \override Staff.Clef #'full-size-change = ##t
3851 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3861 \context Lyrics \lyrics {
3862 \override Lyrics . LyricText #'X-offset = #-5
3863 "french violin clef"
3882 FI: glissando, liukuen.
3884 Letting the pitch slide fluently from one note to the other.
3888 @section grace notes
3890 ES: notas de adorno,
3893 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3899 Notes printed in small types to indicate that their time values are not
3900 counted in the rhythm of the bar.
3904 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3909 @section grand staff
3911 ES: sistema de piano,
3914 D: Akkolade, Klaviersystem,
3917 S: ackolad, böjd klammer,
3918 FI: kaksoisnuottiviivasto.
3920 A combination of two staves with a brace. Usually used for piano music.
3937 FI: grave, raskaasti.
3964 Letter name used for @notation{B natural} in German and Scandinavian
3965 usage. In the standard usage of these countries, @notation{B} means
3970 @ref{Pitch names}, @ref{B}.
3976 Graphical version of the @notation{crescendo} and @notation{decrescendo}
3979 @lilypond[fragment,ragged-right]
3989 @ref{crescendo}, @ref{decrescendo}.
3999 D: Halbe, halbe Note,
4014 ES: silencio de blanca,
4028 @node harmonic cadence
4029 @section harmonic cadence
4031 ES: cadencia (armónica),
4032 I: cadenza (armonica),
4033 F: cadence harmonique,
4035 NL: harmonische cadens,
4036 DK: harmonisk kadence,
4037 S: (harmonisk) kadens,
4038 FI: harmoninen kadenssi.
4040 A sequence of chords that terminates a musical phrase or section.
4042 @ref{functional harmony}.
4044 @lilypond[fragment,ragged-right]
4045 \context PianoStaff <<
4046 \context Staff = SA \relative c'' {
4050 \partial 4 < c g e >4 |
4051 < c a f > < b g d > < c g e >2
4054 \context Staff = SB \relative c {
4056 \partial 4 c4 | f, g c2
4071 ES: sonidos del flautín,
4073 F: flageolet, sons harmoniques,
4080 The general class of pitches produced by sounding the second or higher
4081 harmonic of a tone producer: string, column of air, and so on.
4083 On stringed instruments, these pitches sound rather flute-like; hence,
4084 their name in languages other than English. They are produced by
4085 lightly touching the string at a node for the desired mode of vibration
4086 while it is being bowed or plucked.
4088 For instruments of the violin family, there are two types of harmonics:
4089 natural harmonics, which are those played on the open string; and
4090 artificial harmonics, which are produced on stopped strings.
4099 D: Harmonie, Zusammenklang,
4103 FI: harmonia, yhteissointi.
4105 Tones sounding simultaneously. Two note harmonies fall into the
4106 categories @emph{consonances} and @emph{dissonances}.
4110 @lilypond[fragment,notime,line-width=13.0\cm]
4111 \set Score.automaticBars = ##f
4112 %\override Score.TextScript #'font-style = #'large
4113 \context Voice \relative c'' {
4126 @lilypond[fragment,notime,line-width=13.0\cm]
4127 \set Score.automaticBars = ##f
4128 %\override Score.TextScript #'font-style = #'large
4129 \context Voice \relative c'' {
4130 <g a>1_"second " s s
4131 <g f'>_"seventh " s s
4136 Three note harmony @ref{chord}.
4151 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
4152 the use of three notes of equal value in the time normally occupied by
4153 of two notes of equal value. The resulting rhythm can be expressed in
4154 modern terms as a substitution (for example) of a bar in 3/2 for one
4155 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
4156 hemiola is most frequently as a special effect (or @emph{affect}) at
4159 For example, this phrase in 6/4 time
4161 @lilypond[fragment,line-width=13.0\cm]
4165 c2. e | d2 c d | c1. \bar "||" }
4168 may be thought of having alternating time signatures
4170 @lilypond[fragment,line-width=13.0\cm]
4174 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4177 and is therefore a polymeter (second definition) of considerable antiquity.
4181 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
4194 FI: homofonia, yksiäänisyys.
4196 Music in which one voice leads melodically followed by the other
4197 voices more or less in the same rhythm. In contrast to
4213 A group or list of numbers that indicate the number of syllables in a
4214 line of a hymn's verse. Different hymnals have different ways of noting
4215 the hymn meter -- consider a hymn having four lines in two couplets that
4216 alternate between eight and seven syllables. The @emph{English Hymnal}
4217 notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
4218 8@w{ }7@w{ }8@w{ }7.
4220 Some frequently-used hymn meters have traditional names:
4224 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4226 @item 86.86 is called Common Meter (CM or C.M.)
4228 @item 88.88 is called Long Meter (LM or L.M.)
4232 Some hymns and their tunes are doubled versions of a simpler meter: for
4233 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4234 87.87D. The traditional names above also have doubled versions:
4238 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4240 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4242 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4258 FI: intervalli, kahden sävelen korkeusero.
4260 Difference in pitch between two notes. Intervals may be perfect,
4261 minor, major, diminished, or augmented. The augmented fourth and the
4262 diminished fifth are identical (@ref{enharmonic}) and are called
4263 @emph{tritonus} because they consist of three @ref{whole tone}s. The
4264 addition of such two intervals forms an octave.
4266 @lilypond[fragment,notime,line-width=13.0\cm]
4267 \set Score.automaticBars = ##f
4269 \context Voice \relative c'' {
4279 \context Lyrics \lyrics {
4280 "unison " "second " "second " "second "
4281 "third " "third " "third " "third"
4286 @lilypond[fragment,notime,line-width=13.0\cm]
4287 \set Score.automaticBars = ##f
4289 \context Staff \relative c'' {
4300 "fourth " "fourth " "fifth " "fifth "
4301 "sixth " "sixth " "sixth " "sixth"
4306 @lilypond[fragment,notime,line-width=13.0\cm]
4307 \set Score.automaticBars = ##f
4309 \context Staff \relative c'' {
4310 < gis f'! >1^"dimin"
4319 \context Lyrics \lyrics {
4320 "seventh " "seventh " "seventh " "octave "
4321 "ninth " "ninth " "tenth " "tenth"
4339 When the bass is not the same as the root, the chord is inverted. The number
4340 of inversions that a chord can have is one fewer than the number of
4341 constituent notes. Triads, for example, (having three constituent notes) can
4342 have three positions, two of which are inversions:
4346 The root note is in the bass, and above that are the third and the fifth. A
4347 triad built on the first scale degree, for example, is marked @notation{I}.
4349 @item First inversion
4350 The third is in the bass, and above it are the fifth and the root. This
4351 creates an interval of a sixth and a third above the bass note, and so is
4352 marked in figured Roman notation as @notation{6/3}. This is commonly
4353 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4354 characteristic interval of the inversion, and so always implies
4357 @item Second inversion
4358 The fifth is in the bass, and above it are the root and the third. This
4359 creates an interval of a sixth and a fourth above the bass note, and so is
4360 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4361 unstable chord position.
4365 @node inverted interval
4366 @section inverted interval
4368 ES: intervalo invertido,
4369 I: intervallo rivolto,
4370 F: intervalle reversé,
4371 D: umgekehrtes Intervall,
4372 NL: interval inversie,
4373 DK: omvendingsinterval,
4374 S: intervallets omvändning,
4375 FI: käänteisintervalli.
4377 The difference between an interval and an octave.
4379 @lilypond[fragment,notime,line-width=13.0\cm]
4380 \set Score.automaticBars = ##f
4381 %\override Score.TextScript #'font-style = #'large
4382 \context Staff \relative c'' {
4383 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4384 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4385 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4390 @node just intonation
4391 @section just intonation
4393 ES: entonación justa,
4394 I: intonazione giusta,
4395 F: intonation juste,
4402 Tuning system in which the notes are obtained by adding and subtracting
4403 natural fifths and thirds.
4420 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4421 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4425 @ref{key signature}.
4429 @section key signature
4431 ES: armadura (de la clave),
4432 I: armatura di chiave,
4433 F: armure, armature [de la clé],
4434 D: Vorzeichen, Tonart,
4435 NL: toon@-soort (voortekens),
4438 FI: sävellajiosoitus.
4440 The sharps or flats appearing at the beginning of each staff indicating the
4446 @node laissez vibrer
4447 @section laissez vibrer
4458 [From French, @q{Let vibrate}]. Most frequently associated with harp
4459 parts. Marked @notation{l.v.} in the score.
4468 D: Largo, Langsam, Breit,
4472 FI: largo, hitaasti, leveästi.
4474 Very slow in tempo, usually combined with great expressiveness.
4475 @emph{Larghetto} is less slow than largo.
4479 @section leading note
4490 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4491 called because of its strong tendency to @q{lead up} (resolve upwards)
4492 to the tonic scale degree.
4496 @section ledger line
4498 ES: línea adicional,
4499 I: tagli addizionali,
4500 F: ligne supplémentaire,
4507 A ledger line is an extension of the staff.
4509 @lilypond[fragment,notime,ragged-right]
4510 \set Score.automaticBars = ##f
4511 \relative c'' { a,1 s c'' }
4521 D: legato, gebunden,
4527 To be performed (a) without any perceptible interruption between the
4528 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4529 @emph{portato}, and (d) @ref{staccato}.
4531 @lilypond[fragment,notime,line-width=13.0\cm]
4532 \set Score.automaticBars = ##f
4534 \context Staff \relative c'' {
4535 c4-( d e-) \bar "||"
4536 c4-- d-- e-- \bar "||"
4537 c4-.-( d-. e-.-) \bar "||"
4538 c4-. d-. e-. \bar "||"
4551 @section legato curve
4555 @ref{slur}, @ref{legato}.
4578 A ligature is a coherent graphical symbol that represents at least two
4579 distinct notes. Ligatures originally appeared in the manuscripts of
4580 Gregorian chant notation roughly since the 9th century to denote ascending
4581 or descending sequences of notes. In early notation, ligatures were used
4582 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4583 performance in the sense of articulation. With the invention of the metric
4584 system of the white mensural notation, the need for ligatures to denote such
4585 patterns disappeared.
4589 @ref{mensural notation}.
4596 ES: estanque de nenúfares,
4597 I: stagno del giglio,
4598 F: étang de nénuphars, étang de nymphéas,
4600 NL: le@-lie@-vij@-ver,
4605 A pond with lilies floating in it.
4606 Also, the name of a music typesetting program.
4615 D: Linie, Notenlinie,
4619 FI: viiva, nuottiviiva.
4638 [From Italian, @q{place}]. Instruction to play the following passage at the
4639 written pitch. Cancels octave mark (q.v.).
4643 @ref{octave mark}, @ref{octave marking}.
4646 @node long appoggiatura
4647 @section long appoggiatura
4649 ES: apoyatura larga,
4650 I: appoggiatura lunga,
4651 F: appoggiature longue,
4656 FI: pitkä appoggiatura, pitkä etuhele.
4675 Note value: double length of @ref{breve}.
4677 @lilypond[fragment,notime,ragged-right]
4678 \set Score.automaticBars = ##f
4680 \override NoteHead #'style = #'mensural
4693 ES: ligadura de letra,
4702 @c TODO: add languages
4712 ES: letra (de la canción),
4715 D: Liedtext, Gesangtext,
4736 @ref{diatonic scale}.
4739 @node major interval
4740 @section major interval
4742 ES: intervalo mayor,
4743 I: intervallo maggiore,
4744 F: intervalle majeur,
4745 D: großes Intervall,
4749 FI: suuri intervalli.
4756 @node meantone temperament
4757 @section meantone temperament
4759 ES: afinación mesotónica,
4760 I: accordatura mesotonica,
4761 F: tempérament mésotonique,
4762 D: mitteltönige Stimmung,
4763 NL: middenstemming, middentoonstemming,
4764 DK: middeltonetemperatur,
4765 S: medeltonstemperatur,
4766 FI: keskisävelviritys.
4768 Temperament yielding acoustically pure thirds by decreasing the
4769 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4770 character of this @ref{temperament} only a limited set of keys are
4771 playable. Used for tuning keyboard instruments for performance of
4787 A group of @ref{beat}s (units of musical time) the first of which
4788 bears an accent. Such groups in numbers of two or more recur
4789 consistently throughout the composition and are marked from each other
4795 @node measure repeat
4796 @section measure repeat
4800 @ref{percent repeat}.
4807 I: mediante, modale,
4817 @item The third @b{scale degree}.
4819 @item A @ref{chord} having its base tone a third from that of another
4820 chord. For example, the tonic chord may be replaced by its lower
4821 mediant (variant tonic).
4826 @ref{functional harmony}, @ref{relative key}.
4839 FI: melisma, laulettavan tavun sävelkuvio.
4841 A melisma (plural, from Greek: melismata) is a group of notes or tones
4842 sung on one syllable, especially as applied to liturgical chant.
4846 @section melisma line
4848 @c TODO: add languages
4850 ES: línea de melisma,
4861 @ref{extender line}.
4864 @node melodic cadence
4865 @section melodic cadence
4872 @node mensural notation
4873 @section mensural notation
4875 @c TODO: add languages
4877 ES: notación mensural,
4886 A system of duration notation whose principles were first established in the
4887 mid-13th century, and that (with various changes) remained in use until about
4888 1600. As such, it is the basis for the notation of rhythms in Western musical
4891 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4892 of the notation's principles, so the notation of this earliest period is called
4893 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4894 and semibreve -- each of which was normally equivalent to three of the next
4897 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4898 added several note values (the minim, semiminim and fusa) and extended Franco's
4899 principles to govern the relationship between these values. They also put the
4900 duple division of note values on an equal footing with the earlier (preferred)
4903 TODO: continue description of French and Italian black notation, and the
4904 relationship betwixt them.
4906 @b{White or void mensural notation}
4908 In the 15th century, hollow (or void) notes began to substitute for the earlier
4909 solid black ones, which were then free to assume the function of red (or
4910 colored) notes in the earlier notation. ...
4912 TODO: add to definition (including summary info on proportional notation)
4916 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4917 @c TODO: more cross-references?
4925 F: indication de mesure, mesure,
4932 The pattern of note values and accents in a composition or a section thereof.
4933 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4934 by grouping beats and by subdividing the primary beat.
4936 @b{By grouping beats}:
4940 @item @b{duple}: groups of two.
4941 @item @b{triple}: groups of three.
4942 @item @b{quadruple}: groups of four. A special case of duple meter.
4943 @item @b{quintuple}: groups of five beats.
4944 @item @b{sextuple} meter: groups of six. A special case of:
4948 @item duple meter, subdivided in three; or
4949 @item triple meter, subdivided in two.
4953 @item @b{septuple} meter: groups of seven.
4958 Other than triple meter and its subdivided variants (see below), meters that
4959 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4960 frequently used prior to the 20th Century.
4962 @b{By subdividing the primary beat}:
4966 @item simple: groups of two.
4970 @item duple: 2/2, 2/4, 2/8
4971 @item triple: 3/2, 3/4, 3/8
4972 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4976 @item compound: groups of three.
4982 @item quadruple: 12/8
4988 Time signatures are placed at the beginning of a composition (or section) to
4989 indicate the meter. For instance, a piece written in simple triple meter with a
4990 beat on each quarter note is conventionally written with a time signature of
4991 3/4. Here are some combinations of the two classifications above:
4993 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4995 @lilypond[fragment,line-width=13.0\cm]
4999 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5002 Simple triple meter:
5004 @lilypond[fragment,line-width=13.0\cm]
5008 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5011 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5013 @lilypond[fragment,line-width=13.0\cm]
5017 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5020 Simple quintuple meter (B. Marcello, 1686-1739):
5022 @lilypond[fragment,line-width=13.0\cm]
5026 r4 cis8 bis ais4 dis c8 ais |
5027 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5030 Compound duple meter (unknown):
5032 @lilypond[fragment,line-width=13.0\cm]
5036 f8 f g a bes16 a g f |
5037 g8 g bes a c16 a bes g
5041 Compound triple meter (J.S. Bach, 1685-1750):
5043 @lilypond[fragment,line-width=13.0\cm]
5047 r8 g'( a) b( d c) c( e d) |
5048 d( g fis) g( d b) g( a b)
5052 Compound quadruple meter (P. Yon, 1886-1943):
5054 @lilypond[fragment,line-width=13.0\cm]
5058 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5059 e4 e8 fis( gis) a b4.~ b4 b8
5063 @b{@q{Monometer} vs Polymeter}
5065 TODO: add information from discussion on lilypond-user related to polymeter.
5069 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5084 Device indicating the exact tempo of a piece.
5086 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5087 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5088 divisions, and patented it as a "metronome". The inevitable lawsuit that
5089 followed acknowledged Winkler as the creator, but by then Mälzel had already
5090 sold many of them, and people had taken to calling it a Mälzel Metronome.
5094 @ref{metronome mark}.
5097 @node metronome mark
5098 @section metronome mark
5100 ES: indicación metronómica,
5101 I: indicazione metronomica,
5102 F: indication métronomique,
5104 NL: metronoom aanduiding,
5106 S: metronomangivelse,
5107 FI: metronomiosoitus.
5109 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5110 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5118 @node metronomic indication
5119 @section metronomic indication
5123 @ref{metronome mark}
5138 [Italian: @q{medium}.]
5140 Used to qualify other indications, such as:
5146 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5148 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5154 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5162 @section mezzo-soprano
5173 The female voice between soprano and contralto.
5177 @ref{soprano}, @ref{contralto}.
5186 D: eingestrichenes@w{ }c,
5188 DK: enstreget@w{ }c,
5189 S: ettstruket@w{ }c,
5192 First C below the 440 Hz A.
5194 @lilypond[fragment,notime,ragged-right]
5195 \set Score.automaticBars = ##f
5196 \override Staff.Clef #'full-size-change = ##t
5219 @ref{diatonic scale}.
5222 @node minor interval
5223 @section minor interval
5225 ES: intervalo menor,
5226 I: intervallo minore,
5227 F: intervalle mineur,
5228 D: kleines Intervall,
5232 FI: pieni intervalli.
5239 @node mixolydian mode
5240 @section mixolydian mode
5244 @ref{diatonic scale}.
5253 D: Kirchentonart, Modus,
5257 FI: moodi, kirkkosävelasteikko.
5261 @ref{church mode}, @ref{diatonic scale}.
5274 FI: modulaatio, sävellajin vaihdos.
5276 Moving from one @ref{key} to another. For example, the second subject
5277 of a @ref{sonata form} movement modulates to the dominant key if the
5278 key is major and to the @ref{relative key} if the key is minor.
5290 FI: mordent, korukuvio.
5315 FI: teema, sävelaihe.
5317 The briefest intelligible and self-contained fragment of a musical
5320 @lilypond[line-width=13.0\cm]
5323 \set Score.implicitTimeSignatureVisibility = #all-invisible
5324 \override Score.TimeSignature #'break-visibility = #all-invisible
5327 \partial 8 g16\startGroup fis |
5328 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5329 g8 g,16 a b8 cis d16 s
5333 \Staff \consists "Horizontal_bracket_engraver"
5351 Greater musical works like @ref{symphony} and @ref{sonata} most often
5352 consist of several -- more or less -- independant pieces called
5356 @node multi-measure rest
5357 @section multi-measure rest
5359 ES: compases de espera,
5363 D: mehrtaktige Pause, Kirchenpause,
5366 FI: usean tahdin mittainen tauko.
5368 Multi-measure rests are conventionally typeset with a combination of
5369 longa, breve and whole rests for shorter and a long horizontal bar for
5370 longer spans of rest, with a number above to indicate the duration (in
5371 measures) of the rest. The former style is called @q{Kirchenpausen} in
5372 German, as a reminiscence of its use in Renaissance vocal polyphony.
5374 @lilypond[fragment,ragged-right]
5377 \set Score.skipBars = ##t R1*3
5379 \set Score.skipBars = ##t R1*122
5386 @ref{longa}, @ref{breve}.
5395 D: Auflösungszeichen,
5396 NL: herstellingsteken,
5397 DK: op@-løsningstegn,
5398 S: återställningstecken,
5406 @node neighbour tones
5407 @section neighbour tones
5411 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5452 Notes are signs by means of which music is fixed in writing. The term is also
5453 used for the sound indicated by a note, and even for the key of the piano
5454 which produces the sound. However, a clear distinction between the terms tone
5455 and @ref{note} is strongly recommended. Briefly, one sees a note,
5463 I: testa, testina, capocchia,
5471 A head-like sign which indicates pitch by its position on a
5472 @ref{staff} provided with a @ref{clef}, and duration
5473 by a variety of shapes such as hollow or black heads with or without
5474 @ref{stem}s, @ref{flag}s, etc. For percussion
5475 instruments (often having no defined pitch) the note head may indicate the
5490 ES: valor (duración),
5492 F: durée, valeur (d'une note),
5497 FI: nuotin aika-arvo.
5499 Note values (durations) are measured as fractions, normally 1/2, of
5500 the next higher note value. The longest duration normally used is
5501 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5502 double-length note value @emph{longa} or the quadruple-length note
5503 value @emph{maxima} are used.
5505 @c TODO -- add maxima to this example, in a way that doesn't break it.
5507 @lilypond[fragment,notime,line-width=13.0\cm]
5508 %\override Score.TextScript #'font-style = #'large
5509 \set Score.automaticBars = ##f
5511 \override NoteHead #'style = #'mensural
5512 a\longa_"longa" a\breve_"breve"
5513 \revert NoteHead #'style
5514 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5515 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5518 @c TODO -- add maxima rest to this example
5520 @lilypond[fragment,notime,line-width=13.0\cm]
5521 %\override Score.TextScript #'font-style = #'large
5522 \set Score.automaticBars = ##f
5524 r\longa_"longa" r\breve_"breve"
5525 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5526 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5529 An augmentation dot after a note multiplies the duration by one and a
5530 half. Another dot adds yet a fourth of the duration.
5532 @lilypond[fragment,line-width=13.0\cm]
5533 %\override Score.TextScript #'font-style = #'large
5536 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5537 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5540 Alternatively note values may be subdivided by other ratios. Most common is
5541 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5542 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5543 dotted notes are also frequently used.
5545 @lilypond[fragment,line-width=13.0\cm]
5546 %\override Score.TextScript #'font-style = #'large
5549 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5550 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5554 @lilypond[fragment,line-width=13.0\cm]
5557 \times 3/2 {g4_"duplets" g} |
5559 \times 6/4 {g8_"quadruplets" g g g} |
5560 g8 g g g g4 \bar "||"
5570 @ref{octave marking}.
5585 The interval of an octave, sometimes abbreviated @notation{8ve}.
5587 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5588 bracket, or @notation{loco} see octave marking.
5592 @ref{interval}, @ref{octave marking}.
5596 @section octave mark
5598 ES: indicación de octava,
5607 The phrase, abbreviation, or other mark used (with or without an extender line
5608 or bracket) to indicate that the music is to be played in a different octave:
5612 @item @notation{15ma}: play two octaves higher
5613 @item @notation{8va}: play one octave higher
5614 @item @notation{8vb}: play one octave lower
5615 @item @notation{8va} (written below the passage): unusual, same as
5617 @item @notation{15vb}: play two octaves lower
5618 @item @notation{15va} (written below the passage): unusual, same as
5623 For longer passages, it may be more practical to mark the octave change at the
5624 beginning with a phrase (see the list below for examples), but without a bracket
5625 or extender line. Then, when the music returns to the written pitch, the octave
5626 change is cancelled with the word @notation{loco} (q.v.).
5628 To parallel the list above:
5632 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5633 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5634 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5635 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5639 In the phrases above, @notation{quindicesima} is sometimes replaced with
5640 @notation{quindecima}, which is Latin.
5642 Finally, the music on an entire staff can be marked to be played in a
5643 different octave by putting a small 8 or 15 above or below the clef at the
5644 beginning. This octave mark can be applied to any clef, but it is most
5645 frequently used with the G and F clefs.
5649 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5652 @node octave marking
5653 @section octave marking
5662 FI: oktaavamerkintä.
5664 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5665 that it is to be played in a different octave. If applied to the clef at the
5666 beginning of the staff, all music on that staff is to played at the indicated
5669 For a list of the specific marks used, see @ref{octave mark}.
5673 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5677 @section octave sign
5688 I: abbellimento, fioriture,
5689 F: agrément, ornement,
5690 D: Verzierung, Ornament,
5696 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5697 with the diatonic @ref{second} above it. In the music from the
5698 middle of the 19th century and onwards the trill is performed with the main
5699 note first while in the music from the preceding baroque and classic periods
5700 the upper note is played first.
5702 @lilypond[fragment,line-width=13.0\cm]
5704 \context Staff = sa {
5705 % \override Score.TextScript #'font-style = #'large
5707 c2._"pre-1850" b4\trill | c1 \bar "||"
5708 c2._"post-1850" b4\trill | c1 \bar "||"
5712 c2. c32 b c b c b c b | c1
5713 c2. b32 c b c \times 4/5 { b c b c b } | c1
5718 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5720 @emph{prall} (inverted mordent).
5722 @lilypond[fragment,line-width=13.0\cm]
5724 \context Staff = sa {
5725 % \override Score.TextScript #'font-style = #'large
5727 a4_"turn" b\turn c2 \bar "||"
5728 g4_"mordent" a b\mordent a \bar "||"
5729 e'4_"prall" d\prall c2 \bar "||"
5735 e'4 e32[ d e d ~ d8] c2
5742 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5755 FI: ossia, vaihtoehtoinen esitystapa.
5757 Ossia (otherwise) marks an alternative. It is an added staff or piano
5758 score, usually only a few measures long, which presents another version
5759 of the music, for example for small hands.
5772 FI: stemma, instrumenttiosuus.
5776 @item In instrumental or choral music, the music for a single
5777 instrument or voice.
5779 @item in contrapuntal music, a single melodic line in the contrapuntal
5805 @node percent repeat
5806 @section percent repeat
5808 LilyPond-specific term to indicate the repetition of a musical expression on a
5809 single staff, as opposed to the more usual definition of repeat, which affects
5810 all parts. The musical expression can be anything from a single note or note
5811 pattern to one or more measures. There are other names for this symbol:
5816 @item slash mark, or slash repeat
5818 @item measure (or multi-measure) repeat
5822 @lilypond[fragment,line-width=13.0\cm]
5825 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5826 \repeat percent 2 { c4 e g b_"Measure repeat" }
5827 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5834 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5835 Vermont Music Dictionary}.
5844 D: Schlagzeug, Schlagwerk,
5850 A family of musical instruments which are played on by striking or
5851 shaking. Percussion instruments commonly used in a symphony orchestra are
5852 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5853 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5857 @node perfect interval
5858 @section perfect interval
5860 ES: intervalo justo,
5861 I: intervallo giusto,
5862 F: intervalle juste,
5863 D: reines Intervall,
5867 FI: puhdas intervalli.
5886 A natural division of the melodic line, comparable to a sentence of speech.
5899 FI: fraseeraus, jäsentäminen.
5901 The clear rendering in musical performance of the @ref{phrase}s of
5902 the melody. Phrasing may be indicated by a @ref{slur}.
5917 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5918 @emph{mezzo piano} (@b{mp}) medium soft.
5926 F: anacrouse, levée,
5952 @item The perceived quality of a sound that is primarily a function of its
5953 fundamental frequency.
5955 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5957 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5958 association of a particular frequency with a particular pitch name, e.g., c' =
5975 NL: pizzicato, getokkeld,
5978 FI: pizzicato, näppäillen.
5980 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5987 ES: compás polimétrico,
5998 @item The simultaneous use of two or more meters, in two or more parts.
6000 @item The @emph{successive} use of different meters in one or more parts.
6006 @ref{polymetric} (adj.)
6021 Using two or more metric frameworks simultaneously or in alternation.
6025 @ref{polymeter} (noun)
6028 @node polymetric time signature
6029 @section polymetric time signature
6031 ES: compás polimétrico,
6040 A time signature that indicates regularly alternating polymetric time.
6053 D: Polyphonie, Mehrstimmigkeit,
6057 FI: polyfonia, moniäänisyys.
6059 Music written in a combination of several simultaneous voices (parts)
6060 of a more or less pronounced individuality.
6079 D: Presto, Sehr schnell,
6080 NL: presto, Sehr schnell,
6083 FI: presto, hyvin nopeasti.
6085 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6086 denotes the highest possible degree of speed.
6101 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
6102 relationship between the note values that follow with those that precede; or
6103 between the note values of a passage and the @q{normal} relationship of note
6104 values to the metrical pulse.
6106 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6110 @ref{mensural notation}
6113 @node Pythagorean comma
6114 @section Pythagorean comma
6116 ES: coma pitagórica,
6117 I: comma pitagorico,
6118 F: comma pythagoricien,
6119 D: Pythagoräisches Komma,
6120 NL: komma van Pythagoras,
6121 DK: pythagoræisk komma,
6122 S: pytagoreiskt komma,
6123 FI: pytagorinen komma.
6125 Originally, the interval by which the sum of six whole tones exceeds the octave
6126 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6128 Modern acoustical theory defines it as the interval by which twelve fifths
6129 exceed seven octaves. To put it another way: A sequence of fifths that starts
6130 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6131 than the C obtained by adding 7 octaves. The difference between those two
6132 pitches is the Pythagorean comma.
6136 @ref{cent}, @ref{temperament}.
6168 The quality of a triad is determined by the precise arrangement of its
6169 intervals. Tertian triads can be described as a series of three notes. The
6170 first element is the root note (or simply @q{root}) of the chord, the second
6171 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6172 the chord. These are described below:
6174 @multitable @columnfractions .10 .35 .35 .20
6176 @headitem Chord name @tab Component intervals
6179 @item major triad @tab major third/perfect fifth
6181 @tab C, CM, Cma, Cmaj, CΔ
6182 @item minor triad @tab minor third/perfect fifth
6184 @tab Cm, Cmi, Cmin, C-
6185 @item augmented triad @tab major third/augmented fifth
6188 @item diminished triad @tab minor third/diminished fifth
6190 @tab Cm(♭5), Cº, Cdim
6193 There are various types of seventh chords depending on the quality of the
6194 original chord and the quality of the seventh added.
6196 Five common types of seventh chords have standard symbols. The chord quality
6197 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6198 and D^m7 are all identical). The last three chords are not commonly used
6207 @section quarter note
6212 @item I: semiminima, nera
6214 @item D: Viertel, Viertelnote
6216 @item DK: fjerdedelsnode
6217 @item S: fjärdedelsnot
6218 @item FI: neljäsosanuotti
6227 @section quarter rest
6230 @item UK: crotchet rest
6231 @item ES: silencio de negra
6232 @item I: pausa di semiminima
6234 @item D: Viertelpause
6236 @item DK: fjerdedelspause
6237 @item S: fjärdedelspaus
6238 @item FI: neljäsosatauko
6247 @section quarter tone
6249 ES: cuarto de tonno,
6258 An interval equal to half a semitone.
6268 ES: cinquillo, quintillo.
6283 @section rallentando
6288 D: rallentando, langsamer werden,
6292 FI: rallerdando, hidastuen.
6294 Abbreviation "rall.".
6300 @section relative key
6303 I: tonalità relativa,
6304 F: tonalité relative,
6306 NL: paralleltoonsoort,
6307 DK: paralleltoneart,
6309 FI: rinnakkaissävellaji.
6311 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
6313 @lilypond[fragment,notime,line-width=13.0\cm]
6314 \set Score.automaticBars = ##f
6315 %\override Score.TextScript #'font-style = #'large
6318 es1_"e flat major" f g as bes c d es
6323 @lilypond[fragment,notime,line-width=13.0\cm]
6324 \set Score.automaticBars = ##f
6325 %\override Score.TextScript #'font-style = #'large
6328 c1_"c minor" d es f g a! b! c \bar "||"
6338 F: barre de reprise,
6341 DK: gen@-ta@-gel@-se,
6345 @lilypond[fragment,line-width=13.0\cm]
6349 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6366 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6367 @c specify the rest's value.
6388 @item Metrical rhythm in which every time value is a multiple or
6389 fraction of a fixed unit of time, called @ref{beat}, and in which the
6390 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6391 The basic scheme of time values is called @ref{meter}.
6393 @item Measured rhythm which lacks regularly recurrent accent. In
6394 modern notation such music appears as a free alternation of different
6397 @item Free rhythm, i.e., the use of temporal values having no common
6398 metrical unit (beat).
6409 D: ritardando, langsamer werden,
6413 FI: ritardando, hidastuen,
6415 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6428 FI: ritenuto, hidastaen.
6430 Immediate reduction of speed.
6443 FI: asteikko, sävelasteikko.
6447 @ref{diatonic scale}.
6451 @section scale degree
6453 ES: grado (de la escala),
6454 I: grado della scala,
6455 F: degré [de la gamme],
6457 NL: trap [van de toonladder],
6460 FI: sävelaste, asteikon sävel.
6462 Names and symbols used in harmonic analysis to denote tones of the
6463 scale as roots of chords. The most important are degrees I = tonic
6464 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6466 @lilypond[fragment,notime,line-width=13.0\cm]
6467 \set Score.automaticBars = ##f
6469 \context Staff \relative c' {
6473 << { I II III IV V VI VII I }
6481 @ref{functional harmony}.
6489 F: à cordes ravallées,
6496 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6497 tuning of stringed instruments, particularly lutes or violins. Used
6502 @item facilitate pitch combinations that would otherwise be difficult
6505 @item alter the characteristic timbre of the instrument, for example,
6506 to increase brilliance
6508 @item reinforce certain sonorities or tonalities by making them
6509 available on open strings
6511 @item imitate other instruments
6517 Tunings that could be called @var{scordatura} first appeared early in
6518 the 16th Century and became commonplace in the 17th.
6527 D: Partitur (full score), Klavierauszug (vocal score),
6533 A copy of orchestral, choral, or chamber music showing what each
6534 instrument is to play, each voice to sing, having each part arranged
6535 one underneath the other on different staves @ref{staff}.
6550 The @ref{interval} between two neigbouring tones of a scale. A
6551 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6552 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6553 degrees in question.
6568 The interval of a minor second. The (usually) smallest interval in European
6569 composed music. The interval between two neighbouring tones on the piano
6570 keyboard -- including black and white keys -- is a semitone. An octave may
6571 be divided into 12@w{ }semitones.
6573 @lilypond[fragment,notime,line-width=13.0\cm]
6574 \set Score.automaticBars = ##f
6575 \relative c'' { g1 gis s a bes s b! c }
6580 @ref{interval}, @ref{chromatic scale}.
6605 @ref{sextuplet}, @ref{note value}.
6662 [From It, @q{in the same manner}] Performance direction: the music thus marked
6663 is to be played in the same manner (i.e. with the same articulations, dynamics,
6664 etc.) as the music that precedes it.
6668 TODO: Where else could I refer the reader?
6672 @section simple meter
6674 ES: compás simple, compás de subdivisión binaria,
6683 A meter in which the basic beat is subdivided in two: that is, a meter
6684 that does not include triplet subdivision of the beat.
6688 @ref{compound meter}, @ref{meter}.
6691 @node sixteenth note
6692 @section sixteenth note
6695 @item UK: semiquaver
6696 @item ES: semicorchea
6698 @item F: double croche
6699 @item D: Sechzehntel, Sechzehntelnote
6700 @item NL: zes@-ti@-ende noot
6701 @item DK: sekstendedelsnode
6702 @item S: sextondelsnot
6703 @item FI: kuudestoistaosanuotti
6711 @node sixteenth rest
6712 @section sixteenth rest
6715 @item UK: semiquaver rest
6716 @item ES: silencio de semicorchea
6717 @item I: pausa di semicroma
6718 @item F: quart de soupir
6719 @item D: Sechzehntelpause
6720 @item NL: zestiende rust
6721 @item DK: sekstendedelspause
6722 @item S: sextondelspaus
6723 @item FI: kuudestoistaosatauko
6748 @node sixty-fourth note
6749 @section sixty-fourth note
6752 @item UK: hemidemisemiquaver
6754 @item I: semibiscroma
6755 @item F: quadruple croche
6756 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6757 @item NL: vierenzestigste noot
6758 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6759 @item S: sextiofjärdedelsnot
6760 @item FI: kuudeskymmenesneljäsosanuotti
6768 @node sixty-fourth rest
6769 @section sixty-fourth rest
6772 @item UK: hemidemisemiquaver rest
6773 @item ES: silencio de semifusa
6774 @item I: pausa di semibiscroma
6775 @item F: seizième de soupir
6776 @item D: Vierundsechzigstelpause
6777 @item NL: vierenzestigste rust
6778 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6779 @item S: sextiofjärdedelspaus
6780 @item FI: kuudeskymmenesneljäsosatauko
6789 @section slash repeat
6793 @ref{percent repeat}.
6799 ES: ligadura (de expresión),
6800 I: legatura (di portamento or espressiva),
6802 D: Bogen (Legatobogen, Phrasierungsbogen),
6803 NL: fraseringsboog, legatoboog, streekboog,
6804 DK: legatobue, fraseringsbue,
6808 A slur above or below a group of notes indicates that they are to be
6809 played @ref{legato}, e.g., with one stroke of the violin bow or with
6810 one breath in singing.
6814 @section solmization
6823 FI: suhteelliset laulunimet.
6825 General term for systems of designating the degrees of the
6826 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6827 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6845 In its present-day meaning a sonata denotes an instrumental
6846 composition for piano or for some other instrument with piano
6847 accompaniment, which consists of three or four independant pieces,
6852 @section sonata form
6856 F: [en] forme de sonate,
6858 NL: hoofdvorm, sonatevorm,
6863 A form used frequently for single movements of the @ref{sonata},
6864 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6865 into three sections called @emph{exposition}, @emph{development} and
6866 @emph{recapitulation}. In the exposition the composer introduces some
6867 musical ideas, consisting of a number of themes; in the development
6868 section the composer @q{develops} this material, and in the
6869 recapitulation the composer repeats the exposition, with certain
6870 modifications. The exposition contains a number of themes that fall
6871 into two groups, often called first and second subject. Other
6872 melodies occurring in each group are considered as continuations of
6873 these two. The second theme is in another key, normally in the key of
6874 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6875 @ref{relative key} if the tonic is @ref{minor}.
6896 FI: sopraano, korkea naisääni.
6898 The highest female voice.
6906 F: staccato, piqué, détaché,
6911 FI: staccato, lyhyesti, terävästi.
6913 Playing the note(s) short. Staccato is indicated by a dot above or
6914 below the note head.
6916 @lilypond[fragment,ragged-right]
6921 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6931 I: pentagramma, rigo (musicale),
6933 D: Notensystem, Notenzeile,
6934 NL: (noten)balk, partij,
6939 A staff (plural: staves) is a series of (normally five) horizontal
6940 lines upon and between which the musical notes are written, thus
6941 indicating (in connection with a @ref{clef}) their pitch. Staves for
6942 @ref{percussion} instruments may have fewer lines.
6959 D: Hals, Notenhals, Stiel,
6965 Vertical line above or below a @ref{note head} shorter than a
6970 @lilypond[fragment,notime,line-width=13.0\cm]
6971 \set Score.autoBeaming = ##f
6972 \set Score.automaticBars = ##f
6973 %\override Score.TextScript #'font-style = #'large
6995 [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
7015 A family of stringed musical instruments played with a bow. Strings
7016 commonly used in a symphony orchestra are violin, viola, violoncello,
7021 @section strong beat
7026 D: betonter Taktteil oder Taktschlag,
7028 D: betonet taktslag,
7029 S: betonat taktslag,
7030 FI: tahdin vahva isku.
7034 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7038 @section subdominant
7047 FI: subdominantti, alidominantti.
7049 The fourth @ref{scale degree}.
7051 @ref{functional harmony}.
7066 The sixth @ref{scale degree}.
7079 FI: subtoonika, alitoonika.
7081 The seventh @ref{scale degree}.
7087 ES: sobre la cuerda de Sol,
7090 D: auf G, auf der G-Saite,
7096 Indicates that the indicated passage (or note) should be played on the
7101 @section superdominant
7112 The sixth @ref{scale degree}.
7127 The second @ref{scale degree}.
7136 D: Sinfonie, Symphonie,
7142 A symphony may be defined as a @ref{sonata} for orchestra.
7146 @section syncopation
7157 Any deliberate upsetting of the normal pulse of @ref{meter},
7158 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7159 rhythm rests upon the grouping of equal beats into groups of two or
7160 three, with a regularly recurrent accent on the first beat of each
7161 group. Any deviation from this scheme is felt as a disturbance or
7162 contradiction between the underlaying (normal) pulse and the actual
7165 @lilypond[fragment,ragged-right]
7170 e c'4 e,8 c'4 e,8 c' ( | c2)
7175 @node syntonic comma
7176 @section syntonic comma
7178 ES: coma sintónica, coma de Dídimo,
7179 I: comma sintonico (o didimico),
7180 F: comma syntonique,
7181 D: syntonisches Komma,
7182 NL: syntonische komma,
7183 DK: syntonisk komma,
7184 S: syntoniskt komma,
7185 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7186 Pytagorisessa viritysjärjestelmässä.
7188 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7189 by which the ditone exceeds the pure major third obtained by Pythagorean
7190 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7192 Modern acoustical theory defines it as the interval by which four fifths exceed
7193 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7195 This comma is also known as the comma of Didymus, or didymic comma.
7199 @ref{Pythagorean comma}
7208 D: Notensystem, Partitur,
7212 FI: nuottijärjestelmä.
7214 The collection of staves (@ref{staff}), two or more, as used for writing
7215 down of keyboard, chamber, choral, or orchestral music.
7219 @section temperament
7224 D: Stimmung, Tem@-pe@-ra@-tur,
7225 NL: stemming, temperatuur,
7228 FI: viritysjärjestelmä.
7230 Systems of tuning in which the intervals deviate from the acoustically
7233 @ref{meantone temperament}, @ref{equal temperament}.
7236 @node tempo indication
7237 @section tempo indication
7239 ES: indicación de tempo,
7240 I: indicazione di tempo,
7241 F: indication de tempo,
7242 D: Zeitmaß, Tempobezeichnung,
7243 NL: tempo aanduiding,
7248 The rate of speed of a composition or a section thereof, ranging from
7249 the slowest to the quickest, as is indicated by tempo marks as
7250 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
7264 FI: tenori, korkea miesääni.
7266 The highest male voice (apart from @ref{countertenor}).
7289 ES: subrayado (tenuto),
7298 An indication that a particular note should be held for the whole
7299 length, although this can vary depending on the composer and era.
7319 @node thirty-second note
7320 @section thirty-second note
7323 @item UK: demisemiquaver
7326 @item F: triple croche
7327 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7328 @item NL: twee-endertig@-ste (32e) noot
7329 @item DK: toogtredivtedelsnode
7330 @item S: trettiotvåondelsnot
7331 @item FI: kolmaskymmeneskahdesosanuotti
7339 @node thirty-second rest
7340 @section thirty-second rest
7343 @item UK: demisemiquaver rest
7344 @item ES: silencio de fusa
7345 @item I: pausa di biscroma
7346 @item F: huitième de soupir
7347 @item D: Zweiunddreissigstel@-pause
7348 @item NL: twee-endertig@-ste (32e) rust
7349 @item DK: toogtredivtedelspause
7350 @item S: trettiotvåondelspaus
7351 @item FI: kolmaskymmeneskahdesosatauko
7360 @section thorough bass
7370 ES: ligadura de prolongación, ligadura de unión,
7371 I: legatura (di valore),
7373 D: Haltebogen, Bindebogen,
7374 NL: overbinding, bindingsboog,
7376 S: bindebåge, överbindning,
7379 A curved line, identical in appearance with the @ref{slur}, which
7380 connects two succesive notes of the same pitch, and which has the
7381 function of uniting them into a single sound (tone) equal to the
7384 @lilypond[fragment,notime,ragged-right]
7385 \set Score.automaticBars = ##f
7386 \relative c'' { g2 ~ g4. }
7398 @node time signature
7399 @section time signature
7401 ES: indicación de compás,
7403 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7404 D: Taktangabe, Angabe der Taktart,
7407 S: taktartssignatur,
7410 The sign placed at the beginning of a composition to indicate its
7411 meter. It most often takes the form of a fraction, but a few signs
7412 derived from mensural notation and proportions are also employed.
7416 @ref{mensural notation}, @ref{meter}.
7431 A sound of definite pitch and duration, as distinct from @emph{noise}.
7432 Tone is a primary building material of music.
7434 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7449 The first @ref{scale degree}.
7453 @ref{functional harmony}.
7456 @node transposing instrument
7457 @section transposing instrument
7459 ES: instrumento transpositor,
7468 Instruments whose notated pitch is different from their sounded pitch. Except
7469 for those whose notated and sounding pitches differ by one or more octaves (to
7470 reduce the number of ledger lines needed), most such instruments are identified
7471 by the letter name of the pitch class of their fundamental. The pitch class is
7472 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7473 the instrument plays a notated C.
7475 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7476 the B-flat one tone lower. If played on the A clarinet, the same written
7477 note sounds the A (one and half tones -- a minor third -- lower).
7479 Not all transposing instruments include the pitch class in their name:
7483 @item English horn (in F)
7485 @item Alto flute (in G)
7491 @ref{concert pitch}.
7495 @section transposition
7506 Shifting a melody up or down in pitch, while keeping the same
7509 @lilypond[fragment,line-width=13.0\cm]
7514 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7519 @lilypond[fragment,line-width=13.0\cm]
7522 \transpose c bes \relative c'' {
7524 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7531 @section treble clef
7534 I: chiave di violino,
7536 D: Violinschlüssel, Sopranschlüssel,
7559 On stringed instruments:
7563 @item The quick reiteration of the same tone, produced by a rapid
7564 up-and-down movement of the bow.
7566 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7567 in the distance of a third (@ref{interval}).
7571 @lilypond[fragment,notime,ragged-right]
7572 \set Score.automaticBars = ##f
7573 %\override Score.TextScript #'font-style = #'large
7576 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7577 \repeat tremolo 8 { e32_"b" g }
7591 F: triade, accord parfait, accord de trois sons,
7608 F: trille, tremblement, battement (cadence),
7621 @section triple meter
7623 ES: compás ternario,
7626 D: in drei, ungerader Takt,
7627 NL: driedelige maatsoort,
7672 @section tuning fork
7674 ES: diapasón, horquilla de afinación,
7675 I: diapason, corista,
7683 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7684 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7685 standard. Tuning forks for other pitches are available.
7695 A non-standard subdivision of a beat or part of a beat, usually
7696 indicated with a bracket and a number indicating the number of
7701 @ref{triplet}, @ref{note value}.
7707 ES: grupeto (circular),
7731 FI: unisono, yksiäänisesti.
7733 Playing of the same notes or the same melody by various instruments
7734 (voices) or by the whole orchestra (choir), either at exactly the same
7735 pitch or in a different octave.
7743 F: anacrouse, levée,
7765 FI: ääni, lauluääni.
7775 @item @ref{mezzo-soprano}
7777 @item @ref{contralto}
7781 @item @ref{baritone}
7787 @item A melodic layer or part of a polyphonic composition.
7795 ES: vez, primera y segunda vez,
7804 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7805 or second ending. LilyPond extends this idea to any number, and allows any text
7806 (not just a number) -- to serve as the @q{volta} text.
7813 I: tempo debole, arsi,
7815 D: unbetonter Taktteil oder Taktschlag,
7817 DK: ubetonet taktslag,
7818 S: obetonat taktslag,
7819 FI: tahdin heikko isku.
7823 @ref{beat}, @ref{measure}, @ref{rhythm}.
7834 @item D: Ganze, ganze Note
7838 @item FI: kokonuotti
7850 @item UK: semibreve rest
7851 @item ES: silencio de redonda
7852 @item I: pausa di semibreve
7854 @item D: ganze Pause, ganztaktige Pause
7856 @item DK: helnodespause
7878 The interval of a major second. The interval between two tones
7879 on the piano keyboard with exactly one key between them -- including
7880 black and white keys -- is a whole tone.
7899 A family of blown wooden musical instruments. Today some of these
7900 instruments are actually made from metal. The woodwind instruments
7901 commonly used in a symphony orchestra are flute, oboe, clarinet,
7902 saxophone, and bassoon.
7905 @node Duration names notes and rests
7906 @chapter Duration names notes and rests
7908 @multitable @columnfractions .12 .22 .22 .22 .22
7910 @headitem Lang. @tab note name
7914 @item @strong{US} @tab long
7918 @item @strong{UK} @tab longa
7922 @item @strong{ES} @tab longa
7923 @tab silencio de longa
7925 @tab silencio de cuadrada
7926 @item @strong{IT} @tab longa
7930 @item @strong{FR} @tab longa
7931 @tab quadruple-pause
7934 @item @strong{DE} @tab Longa
7938 @item @strong{NL} @tab longa
7942 @item @strong{DK} @tab longa
7943 @tab longanodespause
7945 @tab brevis(nodes)pause
7946 @item @strong{SE} @tab longa
7950 @item @strong{FI} @tab longa-nuotti
7952 @tab brevis-nuotti, kaksoiskokonuotti
7953 @tab brevis-tauko, kaksoiskokotauko
7957 @multitable @columnfractions .12 .22 .22 .22 .22
7959 @headitem Lang. @tab note name
7963 @item @strong{US} @tab whole note
7967 @item @strong{UK} @tab semibreve
7971 @item @strong{ES} @tab redonda
7972 @tab silencio de redonda
7974 @tab silencio de blanca
7975 @item @strong{IT} @tab semibreve
7976 @tab pause di semibreve
7978 @tab pausa di minima
7979 @item @strong{FR} @tab ronde
7983 @item @strong{DE} @tab ganze Note
7987 @item @strong{NL} @tab hele noot
7991 @item @strong{DK} @tab helnode
7995 @item @strong{SE} @tab helnot
7999 @item @strong{FI} @tab kokonuotti
8006 @multitable @columnfractions .12 .22 .22 .22 .22
8008 @headitem Lang. @tab note name
8012 @item @strong{US} @tab quarter note
8016 @item @strong{UK} @tab crotchet
8020 @item @strong{ES} @tab negra
8021 @tab silencio de negra
8023 @tab silencio de corchea
8024 @item @strong{IT} @tab semiminima, nera
8025 @tab pausa di semiminima, pausa di nera
8028 @item @strong{FR} @tab noire
8032 @item @strong{DE} @tab Viertelnote
8036 @item @strong{NL} @tab kwartnoot
8040 @item @strong{DK} @tab fjerdedelsnode
8041 @tab fjerdedelspause
8042 @tab ottendedelsnode
8043 @tab ottendedelspause
8044 @item @strong{SE} @tab fjärdedelsnot
8048 @item @strong{FI} @tab neljäsosanuotti
8050 @tab kahdeksasosanuotti
8051 @tab kahdeksasosatauko
8055 * About the French naming system: @emph{croche} refers to the note's "hook".
8056 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8057 hook}, @q{trebled hook}, and so on.
8059 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8060 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8061 a @emph{soupir}, and so on.
8063 Each of the following tables contains one type of note and its matching rest,
8064 with abbreviations that apply to both notes and rests. Just switch the part
8065 that means @q{note} with the part that means @q{rest}, for example:
8069 @item English: 16th @strong{note}, 16th @strong{rest}
8070 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8071 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8075 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8076 duration name. If you know of one that I missed, please send it to me, care of
8077 the lilypond-user discussion list.
8079 @multitable @columnfractions .10 .35 .35 .20
8081 @headitem Lang. @tab Note name
8084 @item @strong{US} @tab sixteenth note
8087 @item @strong{UK} @tab semiquaver
8088 @tab semiquaver rest
8090 @item @strong{ES} @tab semicorchea
8091 @tab silencio de semicorchea
8093 @item @strong{IT} @tab semicroma
8094 @tab pausa di semicroma
8096 @item @strong{FR} @tab double croche
8097 @tab quart de soupir
8099 @item @strong{DE} @tab Sechzehntelnote
8100 @tab Sechzehntelpause
8102 @item @strong{NL} @tab zestiende noot
8105 @item @strong{DK} @tab sekstendedelsnode
8106 @tab sekstendedelspause
8108 @item @strong{SE} @tab sextondelsnot
8111 @item @strong{FI} @tab kuudestoistaosanuotti
8112 @tab kuudestoistaosatauko
8117 @multitable @columnfractions .10 .35 .35 .20
8119 @headitem Lang. @tab Note name
8122 @item @strong{US} @tab thirty-second note
8123 @tab thirty-second rest
8125 @item @strong{UK} @tab demisemiquaver
8126 @tab demisemiquaver rest
8128 @item @strong{ES} @tab fusa
8129 @tab silencio de fusa
8131 @item @strong{IT} @tab biscroma
8132 @tab pausa di biscroma
8134 @item @strong{FR} @tab triple croche
8135 @tab huitième de soupir
8137 @item @strong{DE} @tab Zweiunddreißigstelnote
8138 @tab Zweiunddreißigstelpause
8140 @item @strong{NL} @tab tweeendertigste noot
8141 @tab tweeendertigste rust
8143 @item @strong{DK} @tab toogtredivtedelsnode
8144 @tab toogtredivtedelspause
8146 @item @strong{SE} @tab trettiotvåondelsnot
8147 @tab trettiotvåondelspaus
8149 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
8150 @tab kolmaskymmeneskahdesosatauko
8155 @multitable @columnfractions .10 .35 .35 .20
8157 @headitem Lang. @tab Note name
8160 @item @strong{US} @tab sixty-fourth note
8161 @tab sixty-fourth rest
8163 @item @strong{UK} @tab hemidemisemiquaver
8164 @tab hemidemisemiquaver rest
8166 @item @strong{ES} @tab semifusa
8167 @tab silencio de semifusa
8169 @item @strong{IT} @tab semibiscroma
8170 @tab pausa di semibiscroma
8172 @item @strong{FR} @tab quadruple croche
8173 @tab seizième de soupir
8175 @item @strong{DE} @tab Vierundsechzigstelnote
8176 @tab Vierundsechzigstelpause
8178 @item @strong{NL} @tab vierenzestigste noot
8179 @tab vierenzestigste rust
8181 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
8182 @tab fireogtredsindstyvendedelspause
8184 @item @strong{SE} @tab sextiofjärdedelsnot
8185 @tab sextiofjärdedelspaus
8187 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
8188 @tab kuudeskymmenesneljäsosatauko
8193 @multitable @columnfractions .10 .35 .35 .20
8195 @headitem Lang. @tab Note name
8198 @item @strong{US} @tab one-hundred-twenty-eighth note
8199 @tab one-hundred-twenty-eighth rest
8201 @item @strong{UK} @tab semihemidemisemiquaver
8202 @tab semihemidemisemiquaver rest
8204 @item @strong{ES} @tab garrapatea
8205 @tab silencio de garrapatea
8207 @item @strong{IT} @tab fusa
8210 @item @strong{FR} @tab quintuple croche
8211 @tab trente-deuxième de soupir @tab -
8212 @item @strong{DE} @tab Hundertundachtundzwanzigstel
8213 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
8214 @item @strong{NL} @tab honderdachtentwintigste noot
8215 @tab honderdachtentwintigste rust
8217 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
8218 @tab hundredeotteogtyvendedelspause
8220 @item @strong{SE} @tab hundratjugoåttondelsnot
8221 @tab hundratjugoåttondelspaus
8223 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
8224 @tab sadaskahdeskymmeneskahdeksasosatauko
8229 @multitable @columnfractions .10 .35 .35 .20
8231 @headitem Lang. @tab Note name
8234 @item @strong{US} @tab two-hundred-fifty-sixth note
8235 @tab two-hundred-fifty-sixth rest
8237 @item @strong{UK} @tab demisemihemidemisemiquaver
8238 @tab demisemihemidemisemiquaver rest
8240 @item @strong{ES} @tab semigarrapatea
8241 @tab silencio de semigarrapatea @tab -
8242 @item @strong{IT} @tab semifusa
8243 @tab pausa di semifusa
8245 @item @strong{FR} @tab sextuple croche
8246 @tab soixante-quatrième de soupir @tab -
8247 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
8248 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
8249 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
8250 @tab tweehonderdzesenvijftigste rust
8252 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
8253 @tab tohundredeseksoghalvtredsendedelspause
8255 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
8256 @tab tvåhundrafemtiosjättedelspaus
8258 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
8259 @tab kahdessadasviideskymmeneskuudesosatauko
8266 @ref{mensural notation}
8270 @chapter Pitch names
8272 @c -is/-es endings for Danish per Rune Zedeler, pace
8273 @c and for Finnish per Risto Vääräniemi
8274 @c -iss/-ess endings for Swedish per Mats Bengtsson
8275 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8277 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8279 @tab ES @tab I @tab F @tab D
8280 @tab NL @tab DK @tab S @tab FI
8281 @item @strong{c} @tab do @tab do @tab ut @tab C
8282 @tab c @tab c @tab c @tab c
8283 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8284 @tab cis @tab cis @tab ciss @tab cis
8285 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8286 @tab des @tab des @tab dess @tab des
8287 @item @strong{d} @tab re @tab re @tab ré @tab D
8288 @tab d @tab d @tab d @tab d
8289 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8290 @tab dis @tab dis @tab diss @tab dis
8291 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8292 @tab es @tab es @tab ess @tab es
8293 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8294 @tab e @tab e @tab e @tab e
8295 @item @strong{f-flat} = e
8296 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8297 @tab fes @tab fes @tab fess @tab fes
8298 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8299 @tab f @tab f @tab f @tab f
8300 @item @strong{e-sharp} = f
8301 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8302 @tab eis @tab eis @tab eiss @tab eis
8303 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8304 @tab fis @tab fis @tab fiss @tab fis
8305 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8306 @tab ges @tab ges @tab gess @tab ges
8307 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8308 @tab g @tab g @tab g @tab g
8309 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8310 @tab gis @tab gis @tab giss @tab gis
8311 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8312 @tab as @tab as @tab ass @tab as
8313 @item @strong{a} @tab la @tab la @tab la @tab A
8314 @tab a @tab a @tab a @tab a
8315 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8316 @tab ais @tab ais @tab aiss @tab ais
8317 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8318 @tab bes @tab b @tab b @tab b
8319 @item @strong{b} @tab si @tab si @tab si @tab H
8320 @tab b @tab h @tab h @tab h
8328 @node Literature used
8329 @unnumberedsec Literature used
8332 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8333 Cambridge: Belknap Press (Harvard University Press), 1944.
8335 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8338 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8339 Terminologie}. Kassel, 1980.
8341 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8342 Cambridge: Belknap Press (Harvard University Press), 1986.
8344 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
8346 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8347 Current English}, 3rd ed. London: Oxford University Press, 1974.
8349 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8350 Springfield, Massachusetts: G. & C. Merriam Company, 1913.