1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup, Kurt Kroon
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
97 Permission is granted to copy, distribute and/or modify this document
98 under the terms of the GNU Free Documentation License, Version 1.1
99 or any later version published by the Free Software Foundation,
100 without Invariant Sections.
106 @c @everyheading @| @thispage @|
107 @c @evenheading @thispage @| @|
108 @c @oddheading @| @| @thispage @|
110 @include macros.itexi
115 @w{@expansion{}@strong{\word\}}@c
118 @expansion{}@ref{\word\, @strong{\word\}}@c
123 * Musical terms A-Z::
124 * Duration names notes and rests::
128 @node Musical terms A-Z
129 @chapter Musical terms A-Z
131 Languages in this order.
133 @item UK - British English (where it differs from American English)
159 * ancient minor scale::
164 * ascending interval::
166 * augmented interval::
201 * compound interval::
205 * conjunct movement::
218 * descending interval::
220 * diminished interval::
224 * disjunct movement::
226 * dissonant interval::
227 * dominant ninth chord::
228 * dominant seventh chord::
231 * dot (augmentation dot)::
233 * double appoggiatura::
235 * double dotted note::
238 * double time signature::
246 * ecclesiastical mode::
253 * equal temperament::
272 * functional harmony::
288 * inverted interval::
303 * long appoggiatura::
309 * meantone temperament::
315 * mensural notation::
318 * metronomic indication::
330 * multi-measure rest::
360 * polymetric time signature::
365 * Pythagorean comma::
393 * sixty-fourth note::
394 * sixty-fourth rest::
423 * thirty-second note::
424 * thirty-second rest::
431 * transposing instrument::
486 Abbreviated @samp{a2} or @samp{a 2}.
490 @item An indication in orchestral scores that a single part notated on a single
491 staff that normally carries parts for two players (e.g. first and second oboes)
492 is to be played by both players.
494 @item Or conversely, that two pitches or parts notated on a staff that normally
495 carries a single part (e.g. first violin) are to be played by different players,
496 or groups of players (@q{desks}).
515 FI: aksentti, korostus.
517 The stress of one tone over others.
531 ES: alteración accidental,
533 F: altération accidentelle,
534 D: Versetzungszeichen, Akzidenz,
535 NL: toevallig (verplaatsings)teken,
537 S: tillfälligt förtecken,
538 FI: tilapäinen etumerkki.
540 An accidental has the effect of an @ref{alteration} of a note. A
541 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
542 @ref{whole tone}, a flat lowers it by a semitone and a double flat
543 lowers it by a whole tone. A natural cancels the effect of a previous
544 accidental, or a sharp or flat in the key signature.
546 @lilypond[fragment,notime,line-width=13.0\cm]
547 \set Score.automaticBars = ##f
549 \context Staff \relative c'' {
550 \set Staff.extraNatural = ##f
551 gisis1 gis g! ges geses
554 \override Lyrics .LyricText #'self-alignment-X = #-1
555 "db. sharp" sharp natural flat "db. flat"
566 F: accelerando, en accélérant,
567 D: accelerando, schneller werden,
571 FI: accelerando, kiihdyttäen.
577 @section acciaccatura
579 A grace note which takes its time from the rest or note preceding the
580 principal note to which it is attached. The acciaccatura is drawn as a
581 small eighth note (quaver) with a line drawn through the flag and
586 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
599 FI: adagio, hitaasti.
601 It.@: comfortable, easy.
605 @item Slow tempo, slower -- especially in even meter -- than
606 @ref{andante} and faster than @ref{largo}.
608 @item A movement in slow tempo, especially the second (slow) movement
609 of @ref{sonata}s, symphonies, etc.
620 D: Allegro, Schnell, Fröhlich, Lustig,
624 FI: allegro, nopeasti.
626 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
627 tempo, especially the first and last movements of a @ref{sonata}.
637 NL: verhoging of verlaging,
642 An alteration is the modification, raising or lowering, of a note's
643 pitch. It is established by an @ref{accidental}.
656 FI: altto, matala naisääni.
658 A female voice of low range (@emph{contralto}). Originally the alto
659 was a high male voice (hence the name), which by the use of falsetto
660 reached the height of the female voice. This type of voice is also
661 known as @ref{counter tenor}.
667 ES: clave de do en tercera,
668 I: chiave di contralto,
669 F: clef d'ut troisième ligne,
670 D: Altschlüssel, Bratschenschlüssel,
676 C clef setting middle C on the middle line of the staff.
693 FI: ambitus, ääniala, soitinala.
695 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
696 Denotes a range of pitches for a given voice in a part of music. It may
697 also denote the pitch range that a musical instrument is capable of playing.
698 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
713 An anacrusis (also known as pickup or upbeat) is an incomplete measure
714 of music before a section of music. It also refers to the initial
715 note(s) of a melody occurring in that incomplete measure.
719 @ref{measure}, @ref{meter}.
721 @lilypond[fragment,line-width=13.0\cm]
725 \partial 4 f4 | bes4. a8 bes4 c |
726 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
730 @node ancient minor scale
731 @section ancient minor scale
733 ES: escala menor antigua,
734 I: scala minore naturale,
735 F: forme du mode mineur ancien, troisème mode, mode hellénique,
736 D: reines Moll, natürliches Moll,
737 NL: authentieke mineurtoonladder,
740 FI: luonnollinen molliasteikko.
742 @lilypond[fragment,notime,line-width=13.0\cm]
743 \set Score.automaticBars = ##f
750 @ref{diatonic scale}.
765 Walking tempo/character.
769 @section appoggiatura
773 F: appoggiature, (port de voix),
774 D: Vorschlag, Vorhalt
778 FI: appoggiatura, etuhele.
780 Ornamental note, usually a second, that is melodically connected with
781 the main note following it. In music before the 19th century
782 appoggiature were usually performed on the beat, after that mostly
783 before the beat. While the short appoggiatura is performed as a short
784 note regardless of the duration of the main note the duration of the
785 long appoggiatura is proportional to that of the main note.
787 @lilypond[line-width=13.0\cm]
788 \context Voice \relative c'' {
792 %\override Score.TextScript #'font-style = #'large
793 <d a fis>4_"notation" r
794 { \override Stem #'flag-style = #'()
796 \revert Stem #'flag-style
799 { \override Stem #'flag-style = #'()
801 \revert Stem #'flag-style
804 \cadenzaOn a4 \bar "||" \cadenzaOff
806 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
807 \cadenzaOn a4 \bar "||" \cadenzaOff
811 An appoggiatura may have more notes preceding the main note.
813 @lilypond[line-width=13.0\cm]
817 % \override Score.TextScript #'font-style = #'large
818 \grace { bes16 } as8_"notation" as16 bes as8 g |
819 \grace { as16[( bes] } < c as >4-)
820 \grace { as16[( bes] } < c as >4-) \bar "||"
821 \grace { bes16 } as8_"performance" as16 bes as8 g |
822 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
823 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
835 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
837 DK: arpeggio, akkordbrydning,
839 FI: arpeggio, murtosointu.
841 @lilypond[fragment,line-width=13.0\cm]
842 \context PianoStaff <<
843 \context Staff = SA \relative c'' {
846 r8 g16 c e g, c e r8 g,16 c e g, c e |
847 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
848 \context Staff = SB \relative c' {
850 << \context Voice = va {
852 r16 e8. ( e4) r16 e8. ( e4) |
853 r16 d8. ( d4) r16 d8. ( d4) }
854 \context Voice = vb {
863 @section articulation
872 FI: artikulaatio, ilmaisu.
874 Articulation refers to notation which indicates how a note or notes
875 should be played. Slurs, accents, staccato, and legato are all
876 examples of articulation.
879 @node ascending interval
880 @section ascending interval
882 ES: intervalo ascendente,
883 I: intervallo ascendente,
884 F: intervalle ascendant,
885 D: steigendes Intervall,
886 NL: stijgend interval,
887 DK: stigende interval,
888 S: stigande intervall,
889 FI: nouseva intervalli.
891 A distance between a starting lower note and a higher ending note.
894 @node augmented interval
895 @section augmented interval
897 ES: intervalo aumentado,
898 I: intervallo aumentato,
899 F: intervalle augmenté,
900 D: übermäßiges Intervall,
901 NL: overmatig interval,
902 DK: forstørret interval,
903 S: överstigande intervall,
904 FI: ylinouseva intervalli.
912 @section augmentation
923 @c TODO: add definition.
925 This is a placeholder for augmentation (wrt mensural notation).
929 @ref{diminution}, @ref{mensural notation}.
937 F: manuscrit, autographe
938 D: Autograph, Handschrift,
940 DK: håndskrift, autograf,
942 FI: käsinkirjoitettu nuotti.
946 @item A manuscript written in the composer's own hand.
948 @item Music prepared for photoreproduction by freehand drawing, with
949 the aid of a straightedge ruler and T-square only, which attempts to
950 emulate engraving. This required more skill than did engraving.
993 ES: barra, línea divisoria,
994 I: stanghetta, barra (di divisione),
995 F: barre (de mesure),
1013 FI: baritoni, keskikorkuinen miesääni.
1015 The male voice intermediate between the @ref{bass} and the
1018 @c F: clef de troisième ligne dropped
1022 @section baritone clef
1024 ES: clave de fa en tercera,
1025 I: chiave di baritono,
1026 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1027 D: Baritonschlüssel,
1033 C or F clef setting middle C on the upper staff line.
1037 @ref{C clef}, @ref{F clef}.
1043 ES: clave de fa en cuarta,
1045 F: clef de fa quatrième ligne,
1052 A clef setting with middle C on the first top ledger line.
1069 FI: basso, matala miesääni.
1073 @item The lowest male voice.
1075 @item Sometimes, especially in jazz music, used as an abbreviation for
1097 Line connecting a series of notes (shorter than a quarter note). The
1098 number of beams determines the note value of the connected notes.
1100 @lilypond[fragment,notime,line-width=13.0\cm]
1101 \set Score.automaticBars = ##f
1102 %\override TextScript #'font-style = #'large
1104 g8_"1/8"[ g g g] s16
1105 g16_"1/16"[ g g g] s16
1106 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1107 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1112 @ref{feathered beam}.
1118 ES: tiempo, parte (de compás)
1121 D: Takt, Taktschlag, Zeit (im Takt),
1127 Note value used for counting, most often half-, fourth-, and eighth
1128 notes. The base counting value and the number of them per measure is
1129 indicated at the start of the music.
1131 @lilypond[fragment,line-width=13.0\cm]
1134 \relative c'' { g4 c b a | g1 \bar "||"}
1136 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1151 ES: llave, corchete,
1154 D: Klammer, Akkolade,
1155 NL: accolade, teksthaak,
1158 FI: yhdistävä sulkumerkki.
1160 Symbol at the start of a system connecting staves.
1162 Curly braces are used for connecting piano staves, and sometimes for connecting
1163 the staves of like instruments in an orchestral score when written on different
1164 staves (e.g. first and second flutes):
1166 @lilypond[fragment,ragged-right]
1167 \context GrandStaff <<
1168 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1169 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1172 Angular brackets for connecting parts in an orchestral or choral score:
1174 @lilypond[fragment,ragged-right]
1175 \context StaffGroup <<
1176 % \set StaffGroup.minVerticalAlign = #12
1177 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1178 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1205 NL: koper (blazers),
1208 S: brassinstrument, mässingsinstrument,
1211 A family of blown musical instruments made of brass, all using a cup
1212 formed mouth piece. The brass instruments commonly used in a symphony
1213 orchestra are trumpet, trombone, french horn, and tube.
1217 @section breath mark
1222 D: Atemzeichen, Trennungszeichen,
1223 NL: repercussieteken,
1224 DK: vejrtrækningstegn,
1228 Indication of where to breathe in vocal and wind instrument parts.
1234 ES: cuadrada, breve,
1241 FI: brevis, kaksoiskokonuotti.
1243 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1244 The shortest note value generally used in white mensural notation, hence the
1245 name, which originally meant @q{of short duration}.
1247 @lilypond[fragment,notime,ragged-right]
1248 \set Score.automaticBars = ##f
1249 \relative c'' { g\breve }
1254 @ref{mensural notation}, @ref{note value}.
1288 Clef symbol indicating the position of the middle C. Used on all note
1291 @lilypond[fragment,notime,line-width=13.0\cm]
1292 \set Score.automaticBars = ##f
1293 \override Score.Clef #'full-size-change = ##t
1295 \context Staff \relative c' {
1297 \clef mezzosoprano c
1302 \context Lyrics \lyrics {
1303 \override Lyrics .LyricText #'self-alignment-X = #-1
1304 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1320 FI: kadenssi, lopuke.
1324 @ref{harmonic cadence}, @ref{functional harmony}.
1337 FI: kadenssi, lopuke.
1339 An extended, improvisatory style section inserted near the end of
1340 movement. The purpose of a cadenza is to give singers or players a
1341 chance to exhibit their technical skill and -- not last -- their
1342 ability to improvise. Since the middle of the 19th century, however,
1343 most cadenzas have been written down by the composer.
1356 FI: kaanon, tarkka jäljittely.
1373 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1374 viritysjärjestelmässä.
1376 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1377 (1/100 of an equally tempered @ref{semitone}).
1381 @ref{equal temperament}.
1404 Three or more tones sounding simultaneously. In traditional European music the
1405 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1406 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1407 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1408 @emph{ninth} major chords are most often used as dominants (@ref{functional
1409 harmony}). A special case is chords having no third above the lower notes to
1410 define their quality as major or minor: such chords are called @q{open chords}.
1412 @lilypond[fragment,notime,line-width=13.0\cm]
1413 \set Score.automaticBars = ##f
1414 %\override TextScript #'font-style = #'large
1416 \context Staff \relative c'' {
1417 \set Staff.extraNatural = ##f
1437 @node chromatic scale
1438 @section chromatic scale
1440 ES: escala cromática,
1442 F: gamme chromatique,
1443 D: chro@-ma@-ti@-sche Tonleiter,
1444 NL: chromatische toonladder,
1445 DK: kromatisk skala,
1447 FI: kromaattinen asteikko.
1449 A scale consisting of all 12 @ref{semitone}s.
1451 @lilypond[fragment,notime,line-width=13.0\cm]
1452 \set Score.automaticBars = ##f
1453 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1458 @section chromaticism
1469 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1473 @section church mode
1475 ES: modo eclesiástico,
1476 I: modo ecclesiastico,
1477 F: mode ecclésiastique,
1482 FI: moodi, kirkkosävellaji.
1486 @ref{diatonic scale}.
1495 D: Schlüssel, Notenschlüssel,
1499 FI: avain, nuottiavain.
1503 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1505 The clef indicates which lines of the staff correspond to which
1506 pitches. The three clef symbols in common use are:
1508 @lilypond[ragged-right,quote]
1511 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1512 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1513 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1518 Imagine a large staff of 11 lines centered on middle C, sometimes
1519 called a @q{grand staff}, with the bottom line representing low G and
1520 the top line high F:
1522 @lilypond[ragged-right,quote]
1525 %-- Treble Staff --%
1527 % Allow this staff to be placed close to the others
1528 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1529 % Allow the treble clef to overlap the lower staves:
1530 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1531 \override Staff.Clef #'stencil = ##f % No clef required
1533 s1^\markup { "g," \transparent "g" }
1534 s^ \markup { "b," \transparent "g" }
1535 s^ \markup { "d" \transparent "g" }
1536 s^ \markup { "f" \transparent "g" }
1537 s^ \markup { "a" \transparent "g" }
1538 s^ \markup { \with-color #red c' \transparent "g"}
1539 e'^\markup { "e'" \transparent "g" }
1540 g'^\markup { "g'" \transparent "g" }
1541 b'^\markup { "b'" \transparent "g" }
1542 d''^\markup { "d''" \transparent "g" }
1543 f''^\markup { "f ''" \transparent "g" }
1546 %-- Alto Staff reduced to a single line on middle C --%
1548 \override Staff.StaffSymbol #'line-count = 1 % One line only
1549 \override Staff.StaffSymbol #'color = #red % Coloured red
1550 \override Staff.Clef #'stencil = ##f % No clef required
1553 % Allow this staff to be placed close to the others
1554 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1555 % Specify height to give correct spacing between treble and bass staves
1556 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1558 s1 s s s s % Space along to align horizonatally
1559 \override NoteHead #'color = #red
1561 s1 s s s s s % Keep staff (ie the red line) showing
1565 % Allow this staff to be placed close to the others
1566 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1567 \override Staff.Clef #'stencil = ##f % No clef required
1570 s s s s s s s % Keep staff showing
1574 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1575 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1577 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1578 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1580 % Remove all barlines
1581 \context { \Score \override BarLine #'stencil = ##f
1583 % Remove time signature from all staves
1584 \context { \Staff \remove Time_signature_engraver
1590 Staves of five lines are usually used, and the clef superimposed on
1591 them indicates which five lines have been selected from this
1592 @samp{grand staff}. For example, the treble or G clef indicates that
1593 the top five lines have been selected:
1595 @lilypond[ragged-right,quote]
1598 %-- Treble Staff --%
1600 % Allow this staff to be placed close to the others
1601 \override Staff.VerticalAxisGroup
1602 #'minimum-Y-extent = #'(0 . 0)
1603 % Allow the treble clef to overlap the lower staves:
1604 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1605 \override Staff.Clef #'stencil = ##f % No clef required here
1607 s1^\markup { "g," \transparent "g" }
1608 s^ \markup { "b," \transparent "g" }
1609 s^ \markup { "d" \transparent "g" }
1610 s^ \markup { "f" \transparent "g" }
1611 s^ \markup { "a" \transparent "g" }
1612 s^ \markup { \with-color #red c' \transparent "g"}
1613 \stopStaff \startStaff
1614 \clef "C" % Dummy to force next clef to be printed
1615 s % Need at least one note for \clef to take effect
1616 \override Staff.Clef #'stencil = ##t % Clef now required
1617 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1619 e'^\markup { "e'" \transparent "g" }
1620 g'^\markup { "g'" \transparent "g" }
1621 b'^\markup { "b'" \transparent "g" }
1622 d''^\markup { "d''" \transparent "g" }
1623 f''^\markup { "f ''" \transparent "g" }
1625 %-- Alto Staff reduced to a single line on middle C --%
1627 \override Staff.StaffSymbol #'line-count = 1 % One line only
1628 \override Staff.StaffSymbol #'color = #red % Coloured red
1629 \override Staff.Clef #'stencil = ##f % No clef required
1632 % Allow this staff to be placed close to the others
1633 \override Staff.VerticalAxisGroup
1634 #'minimum-Y-extent = #'(0 . 0)
1635 % Specify height to give correct spacing between the staves
1636 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1638 s1 s s s s % Space along to align horizonatally
1639 \override NoteHead #'color = #red
1641 % s1 s s s s % Keep staff (ie the red line) showing
1645 % Allow this staff to be placed close to the others
1646 \override Staff.VerticalAxisGroup
1647 #'minimum-Y-extent = #'(0 . 0)
1648 \override Staff.Clef #'stencil = ##f % No clef required
1651 % s s s s s s % Keep staff showing
1655 % Reduce horizontal spacing so semibreves can be used
1656 % without exceeding 1 line
1657 \context { \Score \override SpacingSpanner
1658 #'base-shortest-duration = #(ly:make-moment 1 1)
1660 % Reduce apparent vertical size of note heads to
1661 % permit them to overlap other grobs vertically
1662 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1664 % Remove all barlines
1665 \context { \Score \override BarLine #'stencil = ##f
1667 % Remove time signature from all staves
1668 \context { \Staff \remove Time_signature_engraver
1674 The @q{curl} of the G clef is centered on the line that represents the
1677 In the same way, the bass or F clef indicates that the bottom five
1678 lines have been selected from the @samp{grand staff}, and the alto or
1679 C clef indicates the middle five lines have been selected. This
1680 relationship is shown below, where the notes show an arpeggio on a C
1683 @lilypond[ragged-right,quote]
1686 %-- Treble Staff --%
1687 \new Staff = "G" \with {
1688 \remove Time_signature_engraver
1691 % The following two overrides are required to make the two middle C's overlap
1692 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1693 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1695 \override Staff.Clef #'Y-extent = #'(0 . 0)
1697 s1 s s s s e' g' c''
1700 \new Staff = "C" \with {
1701 \remove Time_signature_engraver
1704 \override Staff.StaffSymbol #'line-count = 1
1705 \override Staff.StaffSymbol #'stencil = ##f
1706 \once \override Staff.Clef #'stencil = ##f
1707 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1708 \override Score.BarLine #'stencil = ##f
1710 % The following two overrides are required to align the C staff to the G and F staves
1711 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1712 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1715 \stopStaff \startStaff
1716 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1717 \revert Staff.StaffSymbol #'stencil
1718 \override Staff.StaffSymbol #'color = #red
1719 b'1 % A frig. This really shows as a middle C in the score
1721 \stopStaff \startStaff
1722 \override Staff.StaffSymbol #'line-count = 5
1723 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1724 \override Staff.Clef #'Y-extent = #'(0 . 0)
1725 \revert Staff.StaffSymbol #'color
1726 \stopStaff \startStaff
1728 s1 s s c e g c' e' g' c''
1731 \new Staff = "F" \with {
1732 \remove Time_signature_engraver
1735 \override Staff.Clef #'Y-extent = #'(0 . 0)
1736 % The following two overrides are required to make the two middle C's overlap
1737 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1738 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1746 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1749 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1752 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1769 FI: klusteri, cluster.
1771 A @emph{cluster} is a range of simultaneously sounding pitches that
1772 may change over time. The set of available pitches to apply usually
1773 depends on the acoustic source. Thus, in piano music, a cluster
1774 typically consists of a continuous range of the semitones as provided
1775 by the piano's fixed set of a chromatic scale. In choral music, each
1776 singer of the choir typically may sing an arbitrary pitch within the
1777 cluster's range that is not bound to any diatonic, chromatic or other
1778 scale. In electronic music, a cluster (theoretically) may even cover
1779 a continuous range of pitches, thus resulting in colored noise, such
1782 Clusters can be denoted in the context of ordinary staff notation by
1783 engraving simple geometrical shapes that replace ordinary notation of
1784 notes. Ordinary notes as musical events specify starting time and
1785 duration of pitches; however, the duration of a note is expressed by
1786 the shape of the note head rather than by the horizontal graphical
1787 extent of the note symbol. In contrast, the shape of a cluster
1788 geometrically describes the development of a range of pitches
1789 (vertical extent) over time (horizontal extent). Still, the
1790 geometrical shape of a cluster covers the area in which any single
1791 pitch contained in the cluster would be notated as an ordinary note.
1793 @lilypond[fragment,relative=2,ragged-right]
1794 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1808 FI: komma, korvinkuultava ero äänenkorkeudessa.
1810 Difference in pitch between a note derived from pure tuning and the
1811 same note derived from some other tuning method.
1815 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1820 @section common meter
1830 @section common time
1841 4/4 time. The symbol, which resembles a capital letter C, derives from
1846 @ref{mensural notation}, @ref{meter}.
1852 ES: intervalo invertido,
1854 F: intervalle complémentaire,
1855 D: Komplementärintervall,
1856 NL: complementair interval,
1857 DK: komplementærinterval,
1858 S: komplementärintervall (?),
1859 FI: täydentävä intervalli.
1863 @ref{inverted interval}.
1866 @node compound interval
1867 @section compound interval
1869 ES: intervalo compuesto,
1870 I: intervallo composto,
1871 F: intervalle composé,
1872 D: weites Intervall,
1873 NL: samengesteld interval,
1874 DK: sammensat interval,
1875 S: sammansatt intervall,
1876 FI: oktaavia laajempi intervalli.
1878 Intervals larger than an octave.
1885 @node compound meter
1886 @section compound meter
1897 A meter that includes a triplet subdivision within the beat, such as
1902 @ref{meter}, @ref{simple meter}.
1906 @section compound time
1920 A meter that includes a triplet subdivision within the beat: see
1921 @ref{compound meter}.
1924 A time signature that additively combines two or more unequal meters, e.g.
1925 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1927 @lilypond[fragment,line-width=13.0\cm]
1928 #(define (compound-time grob one two three num)
1930 (ly:grob-layout grob)
1931 '(((baseline-skip . 2)
1933 (font-family . number)))
1935 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1939 #(set-time-signature 8 8 '(3 2 3))
1940 \override Staff.TimeSignature #'stencil
1941 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1942 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1943 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1944 \set Staff.beatGrouping = #'(3 2 3)
1946 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1954 @ref{compound meter}, @ref{meter}.
1958 @section concert pitch
1969 The pitch at which the piano and other nontransposing instruments play: such
1970 instruments are said to be @q{in C}. The following list includes some (but not
1971 all) instruments that play in concert pitch:
1985 @item tenor trombone
2000 The trombones are a special case: although they are said to be @q{in F} (alto or
2001 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2002 their parts' transposition. (In fact, the trombones' parts are written at
2003 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2004 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2007 Instruments that play @q{in C} but in a different octave than what is written
2008 are, technically speaking, @emph{transposing instruments}:
2012 @item piccolo (plays an octave higher)
2013 @item celesta (plays an octave higher)
2014 @item double-bass (plays an octave lower)
2020 @ref{transposing instrument}.
2023 @node conjunct movement
2024 @section conjunct movement
2026 ES: movimiento conjunto,
2028 F: mouvement conjoint,
2029 D: schritt@-weise, stufenweise Bewegung,
2030 NL: stapsgewijze, trapsgewijze beweging,
2031 DK: trinvis bevægelse,
2033 FI: asteittainen liike.
2035 Progressing melodically by intervals of a second. The opposite of a
2036 @ref{disjunct movement}.
2038 @lilypond[fragment,line-width=13.0\cm]
2039 \key g \major \time 4/4
2040 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2054 FI: konsonanssi, sopusointi.
2079 @section counterpoint
2088 FI: kontrapunkti, ääni ääntä vastaan.
2090 From Latin @emph{punctus contra punctum}, note against note. The
2091 combination into a single musical fabric of lines or parts which have
2092 distinct melodic significance. A frequently used polyphonic technique
2093 is imitation, in its strictest form found in the canon needing only
2094 one part to be written down while the other parts are performed with a
2095 given displacement. Imitation is also the contrapunctal technique
2096 used in the @emph{fugue} which, since the music of the baroque era,
2097 has been one of the most popular polyphonic composition methods.
2099 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2100 \set Score.implicitTimeSignatureVisibility = #all-invisible
2101 \override Score.TimeSignature #'break-visibility = #all-invisible
2102 \context PianoStaff <<
2103 \context Staff = SA \relative c' {
2107 << \context Voice = rha {
2109 r1 | r2 r8 g'8 bes d, |
2110 cis4 d r8 e!16 f g8 f16 e |
2111 f8 g16 a bes8 a16 g a8
2113 \context Voice = rhb {
2119 \context Staff = SB \relative c' {
2122 << \context Voice = lha {
2124 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2125 r8 a16 g f8 g16 a bes8 g e! cis' |
2128 \context Voice = lhb {
2138 @section counter tenor
2143 D: Countertenor, Kontratenor,
2146 S: kontratenor, counter tenor,
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
2172 D: Crescendo, lauter werden,
2176 FI: cresendo, voimistuen.
2178 Increasing volume. Indicated by a rightwards opening horizontal wedge
2179 or the abbreviation @samp{cresc.}.
2181 @lilypond[fragment,ragged-right]
2182 \key g \major \time 4/4
2183 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2192 F: petites notes précédent l'entrée d'un instrument, réplique,
2199 In a separate part notes belonging to another part with the purpose of
2200 hinting when to start playing. Usually printed in a smaller type.
2209 D: Notenzeiger, Custos,
2215 A custos (plural: custodes) is a staff symbol that appears at the end
2216 of a staff line with monophonic musical contents (i.e., with a single
2217 voice). It anticipates the pitch of the first note of the following
2218 line and thus helps the player or singer to manage line breaks during
2219 performance, thus enhancing readability of a score.
2221 Custodes were frequently used in music notation until the 16th
2222 century. There were different appearences for different notation
2223 styles. Nowadays, they have survived only in special forms of musical
2224 notation such as via the Editio Vaticana dating back to the beginning
2230 % \override Staff.Custos #'neutral-position = #4
2231 \override Staff.Custos #'neutral-direction = #down
2232 \override Staff.Custos #'style = #'hufnagel
2240 \consists Custos_engraver
2272 F: da capo, depuis le commencement,
2273 D: da capo, von Anfang,
2277 FI: da capo, alusta.
2279 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2280 the beginning to the end or to a certain place marked @emph{fine}.
2288 F: dal segno, depuis le signe,
2289 D: dal segno, ab dem Zeichen,
2293 FI: dal segno, lähtien merkistä.
2295 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2296 another place frequently near the beginning marked by a sign:
2298 @lilypond[fragment,ragged-right]
2299 %\override TextScript #'font-style = #'large
2300 \override TextScript #'font-shape = #'italic
2301 \key g \major \time 4/4
2306 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2313 @section decrescendo
2317 D: Decrescendo, leiser werden,
2321 FI: decresendo, hiljentyen.
2323 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2324 or the abbreviation @samp{decresc.}.
2326 @lilypond[fragment,ragged-right]
2328 \key g \major \time 4/4
2329 d4 \> c b a | g1 \! \bar "|."
2334 @node descending interval
2335 @section descending interval
2337 ES: intervalo descendente,
2338 I: intervallo discendente,
2339 F: intervalle descendant,
2340 D: fallendes Intervall, absteigendes Intervall,
2341 NL: dalend interval,
2342 DK: faldende interval,
2343 S: fallande intervall,
2344 FI: laskeva intervalli.
2346 A distance between a starting higher note and a lower ending note.
2349 @node diatonic scale
2350 @section diatonic scale
2352 ES: escala diatónica,
2354 F: gamme diatonique,
2355 D: diatonische Tonleiter,
2356 NL: diatonische toonladder,
2357 DK: diatonisk skala,
2359 FI: diatoninen asteikko.
2361 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2362 Scales played on the white keys of a piano keybord are diatonic; and these
2363 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2365 These @q{modes} are used in gregorian chant and in pre-baroque early music
2366 but also to some extent in newer jazz music.
2368 @lilypond[fragment,notime,ragged-right]
2369 \set Score.automaticBars = ##f
2370 %\override Score.LyricText #'font-style = #'large
2371 %\override Score.TextScript #'font-style = #'large
2373 \context Staff \relative c' {
2375 \override TextScript #'padding = #-4
2376 e^"~~ S" f g a b^"~~ S" c
2378 \context Lyrics \lyrics {
2384 @lilypond[fragment,notime,ragged-right]
2385 \set Score.automaticBars = ##f
2387 \context Staff \relative c' {
2389 \override TextScript #'padding = #-4
2390 e^"~~ S" f g a b^"~~ S" c d
2398 @lilypond[fragment,notime,ragged-right]
2399 \set Score.automaticBars = ##f
2402 \override TextScript #'padding = #-4
2403 e1^"~~ S" f g a b^"~~ S" c d e
2411 @lilypond[fragment,notime,ragged-right]
2412 \set Score.automaticBars = ##f
2416 \override TextScript #'padding = #-4
2417 b^"~~ S" c d e^"~~ S" f
2425 @lilypond[fragment,notime,ragged-right]
2426 \set Score.automaticBars = ##f
2430 \override TextScript #'padding = #-4
2431 b^"~~ S" c d e^"~~ S" f g }
2438 @lilypond[fragment,notime,ragged-right]
2439 \set Score.automaticBars = ##f
2440 %\override Score.LyricText #'font-style = #'large
2441 %\override Score.TextScript #'font-style = #'large
2445 \override TextScript #'padding = #-4
2446 b^"~~ S" c d e^"~~ S" f g a
2454 @lilypond[fragment,notime,ragged-right]
2455 \set Score.automaticBars = ##f
2456 %\override Score.LyricText #'font-style = #'large
2457 %\override Score.TextScript #'font-style = #'large
2460 \override TextScript #'padding = #-4
2461 b^"~~ S" c d e^"~~ S" f g a b
2469 From the beginning of the 17th century the scales used in European
2470 compositional music are primarily the major and the minor scales. In
2471 the harmonic minor scale type an augmented second (A) occurs between
2472 the 6th and 7th tone.
2474 @lilypond[fragment,notime,ragged-right]
2475 \set Score.automaticBars = ##f
2479 \override TextScript #'padding = #-4
2480 e^"~~ S" f g a b^"~~ S" c
2488 @lilypond[fragment,notime,ragged-right]
2489 \set Score.automaticBars = ##f
2493 \override TextScript #'padding = #-4
2494 b^"~~ S" c d e^"~~ S" f g a
2502 @lilypond[fragment,notime,ragged-right]
2503 \set Score.automaticBars = ##f
2507 \override TextScript #'padding = #-4
2508 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2510 \context Lyrics \lyrics {
2516 @lilypond[fragment,notime,line-width=13.0\cm]
2517 \set Score.automaticBars = ##f
2518 %\override Score.LyricText #'font-style = #'large
2519 %\override Score.TextScript #'font-style = #'large
2523 \override TextScript #'padding = #-4
2524 b^"~~ S" c d e fis gis^"~~ S"
2525 a g! f!^"~~ S" e d c^"~~ S" b a
2534 @node diminished interval
2535 @section diminished interval
2537 ES: intervalo disminuido,
2538 I: intervallo diminuito,
2539 F: intervalle diminué,
2540 D: vermindertes Intervall,
2541 NL: verminderd interval,
2542 DK: formindsket interval,
2543 S: förminskat intervall,
2544 FI: vähennetty intervalli.
2561 FI: diminuendo, hiljentyen.
2580 @c TODO: add definition
2582 This is a placeholder for diminution (wrt mensural notation).
2586 @ref{augmentation}, @ref{mensural notation}.
2606 @node disjunct movement
2607 @section disjunct movement
2609 ES: movimiento disjunto,
2611 F: mouvement disjoint,
2612 D: sprunghafte Bewegung,
2613 NL: sprongsgewijze beweging,
2614 DK: springende bevægelse,
2615 S: hoppande rörelse,
2616 FI: melodian hyppivä liike.
2618 Progressing melodically by intervals larger than a major second, as
2619 opposed to @ref{conjunct movement}.
2621 @lilypond[fragment,ragged-right]
2626 a4. gis8 b a e cis |
2627 fis2 d4. \bar "||" }
2634 @ref{dissonant interval}.
2637 @node dissonant interval
2638 @section dissonant interval
2640 ES: intervalo disonante, disonancia,
2641 I: intervallo dissonante, dissonanza,
2644 NL: dissonant interval, dissonant,
2645 DK: dissonerende interval, dissonans,
2647 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2654 @node dominant ninth chord
2655 @section dominant ninth chord
2657 ES: acorde de novena de dominante,
2658 I: accordo di nona di dominante,
2659 F: accord de neuvième dominante,
2660 D: Domi@-nant@-nonen@-akkord,
2661 NL: dominant noon akkoord,
2662 DK: dominantnoneakkord,
2663 S: dominantnonackord,
2664 FI: dominanttinoonisointu.
2668 @ref{chord}, @ref{functional harmony}.
2671 @node dominant seventh chord
2672 @section dominant seventh chord
2674 ES: acorde de séptima de dominante,
2675 I: accordo di settima di dominante,
2676 F: accord de septième dominante,
2677 D: Dominantseptakkord,
2678 NL: dominant septiem akkoord,
2679 DK: dominantseptimakkord,
2680 S: dominantseptimackord,
2681 FI: dominanttiseptimisointu.
2685 @ref{chord}, @ref{functional harmony}.
2698 FI: dominantti, huippusointu.
2700 The fifth @ref{scale degree} in @ref{functional harmony}.
2704 @section dorian mode
2709 D: dorisch, dorischer Kirchenton,
2710 NL: dorische toonladder,
2717 @ref{diatonic scale}.
2720 @node dot (augmentation dot)
2721 @section dot (augmentation dot)
2724 I: punto (di valore),
2726 D: Punkt (Verlängerungspunkt),
2734 @ref{dotted note}, @ref{note value}.
2738 @section dotted note
2740 ES: nota con puntillo,
2744 NL: gepuncteerde noot,
2747 FI: pisteellinen nuotti.
2754 @node double appoggiatura
2755 @section double appoggiatura
2757 ES: apoyatura doble,
2758 I: appoggiatura doppia,
2759 F: appoggiature double,
2760 D: doppelter Vorschlag,
2761 NL: dubbele voorslag,
2762 DK: dobbelt forslag,
2764 FI: kaksoisappogiatura, kaksoisetuhele.
2771 @node double bar line
2772 @section double bar line
2778 NL: dubbele maatstreep,
2781 FI: kaksoistahtiviiva.
2783 Indicates the end of a section within a movement.
2786 @node double dotted note
2787 @section double dotted note
2789 ES: nota con doble puntillo,
2790 I: nota doppiamente puntata,
2791 F: note doublement pointée,
2792 D: doppelt punktierte Note,
2793 NL: dubbelgepuncteerde noot,
2794 DK: dob@-belt@-punk@-te@-ret node,
2795 S: dub@-bel@-punk@-te@-rad not,
2796 FI: kaksoispisteellinen nuotti.
2804 @section double flat
2813 FI: kaksoisalennusmerkki.
2821 @section double sharp
2823 ES: doble sostenido,
2828 DK: dob@-belt@-kryds,
2830 FI: kaksoisylennysmerkki.
2837 @node double time signature
2838 @section double time signature
2851 @ref{polymetric time signature}.
2855 @section double trill
2861 NL: dubbele triller,
2866 A simultaneous trill on two notes, usually in the distance of a third.
2870 @section duple meter
2875 D: in zwei, grader Takt,
2876 NL: tweedelige maatsoort,
2913 FI: kesto, aika-arvo.
2921 @section didymic comma
2925 @ref{syntonic comma}.
2934 D: Dynamik, Lautstärke,
2940 The aspect of music relating to degrees of loudness, or changes from
2941 one degree to another. The terms, abbreviations, and symbols used to
2942 indicate this information are called dynamic marks.
2946 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2969 @node ecclesiastical mode
2970 @section ecclesiastical mode
2978 @section eighth note
2985 @item D: Achtel, Achtelnote
2986 @item NL: achtste noot
2987 @item DK: ottendedelsnode
2988 @item S: åttondelsnot
2989 @item FI: kahdeksasosanuotti
2998 @section eighth rest
3001 @item UK: quaver rest
3002 @item ES: silencio de corchea
3003 @item I: pausa di croma
3004 @item F: demi-soupir
3005 @item D: Achtelpause
3006 @item NL: achtste rust
3007 @item DK: ottendedelspause
3008 @item S: åttonddelspaus
3009 @item FI: kahdeksasosatauko
3020 @c TODO: add languages
3031 The singing of several syllables on a single note. Elision may be indicated
3032 by a lyric tie, which is looks like (and serves the same function) as a
3041 @section embellishment
3054 D: Notenstich, Notendruck
3060 Engraving means incising or etching a metal plate for printing.
3061 Photoengraving means drawing music with ink in a manner similar to
3062 drafting or engineering drawing, using similar tools.
3064 The traditional process of music printing is done through cutting in a
3065 plate of metal. Now also the term for the art of music typesetting.
3080 Two notes, intervals, or scales are enharmonic if they have different
3081 names but equal pitch.
3083 @lilypond[fragment,notime,line-width=13.0\cm]
3084 \set Score.automaticBars = ##f
3086 \context Staff \relative c'' {
3087 gis1 as <des g,!> <cis g!>
3089 \context Lyrics \lyrics {
3090 \override Lyrics .LyricText #'self-alignment-X = #-1
3091 "g sharp " "a flat " "dim fifth " "augm fourth"
3097 @node equal temperament
3098 @section equal temperament
3100 ES: temperamento igual,
3101 I: temperamento equabile,
3102 F: tempérament égal,
3103 D: gleichschwebende Stimmung,
3104 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3105 DK: ligesvævende temperatur,
3106 S: liksvävande temperatur,
3109 Tuning system dividing the octave into 12 equal @ref{semitone}s
3110 (precisely 100 @ref{cent}s).
3117 @node expression mark
3118 @section expression mark
3121 I: segno d'espressione,
3122 F: signe d'expression, indication de nuance,
3124 NL: voordrachtsteken,
3125 DK: foredragsbetegnelse,
3126 S: föredragsbeteckning,
3127 FI: nyanssiosoitus, esitysmerkki.
3129 Performance indications concerning:
3133 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3135 @item tempo (for example @ref{andante}, @ref{allegro}).
3141 @section extender line
3143 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3145 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3152 The generic term for a line (or dash) of arbitrary length that extends
3153 text (without indicating the musical @emph{function} of that text).
3155 Used in many contexts, for example:
3159 @item In vocal music to indicate the syllable for a melisma. Called
3160 @q{extension} in the
3161 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3165 In figured (or thorough) bass to indicate that:
3169 @item The extended note should be held through a change in harmony, when applied
3170 to one figure --OR--
3171 @item The chord thus represented should be held above a moving bass line, when
3172 applied to more than one figure.
3173 @item These uses were not completely standardized, and some composers used a
3174 single extender line to indicate the latter case.
3179 In string music to indicate that all notes in the passage thus indicated should
3180 be played on the same string. On the violin, for example, a series of notes to
3181 be played on the G string would be indicated @samp{sul G}, another series to be
3182 played on the D string would be indicated @samp{sul D}, and so on.
3185 With an octave mark to indicate that a passage is to be played higher or lower
3186 by the given number of octaves.
3192 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3227 The position between the dots of the key symbol is the line of the F
3228 below central@w{ }C. Used on the third, fourth and fifth note line.
3229 A digit@w{ }8 above the clef symbol indicates that the notes must be
3230 played an octave higher (for example, bass recorder) while 8@w{ }below
3231 the clef symbol indicates playing an octave lower (for example, on
3232 double bass @ref{strings}).
3234 @lilypond[fragment,notime,line-width=13.0\cm]
3235 \set Score.automaticBars = ##f
3236 \override Staff.Clef #'full-size-change = ##t
3264 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3267 @node feathered beam
3268 @section feathered beam
3272 F: liens de croches en soufflet,
3273 D: gespreizter Balken,
3279 A type of beam used to indicate that a small group of notes should be
3280 played at an increasing or decreasing tempo -- depending on the
3281 direction of @q{feathering} -- but without changing the overall tempo
3286 Internals Reference: @ruser{Manual beams}
3294 F: point d'orgue, point d'arrêt,
3299 FI: fermaatti, pidäke.
3301 Prolonged note or rest of indefinite duration.
3303 @lilypond[fragment,ragged-right]
3306 a4 b c2^\fermata \bar "|."
3329 @section figured bass
3333 @ref{thorough bass}.
3348 The methodical use of fingers in the playing of instruments.
3355 I: coda (uncinata), bandiera,
3363 Ornament at the end of the stem of a note used for notes with values
3364 less than a quarter note. The number of flags determines the
3367 @lilypond[fragment,notime,ragged-right]
3368 \set Score.automaticBars = ##f
3369 %\override Score.TextScript #'font-style = #'large
3414 FI: forte, voimakkaasti.
3416 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3417 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3437 @node Frenched score
3438 @section Frenched score
3449 A @q{condensed} score, produced by omitting staves for instruments that are not
3450 playing at the moment, and by moving up additional systems from following pages
3451 to take up the space thus liberated, which reduces the total number of pages
3452 used to print the work.
3454 The specific rules for @q{frenching} a score differ from publisher to publisher.
3455 If you are producing scores for eventual publication by a commercial publisher,
3456 you may wish to procure a copy of their style manual.
3460 @ref{Frenched staff}.
3463 @node Frenched staff
3464 @section Frenched staff
3475 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3476 measures or sections removed. This would be useful for producing, for example,
3477 an @emph{ossia} staff.
3484 @node Frenched staves
3485 @section Frenched staves
3496 The plural of @ref{Frenched staff}, @emph{q.v.}.
3516 @node functional harmony
3517 @section functional harmony
3519 ES: armonía funcional,
3520 I: armonia funzionale,
3521 F: étude des functions,
3523 NL: functionele harmonie,
3524 DK: funktionsanalyse, funktionsharmonik,
3526 FI: harmoniajärjestelmä.
3528 A system of harmonic analysis. It is based on the idea that, in a
3529 given key, there are only three functionally different chords: tonic
3530 (T, the chord on the first note of the scale), subdominant (S, the
3531 chord on the fourth note), and dominant (D, the chord on the fifth
3532 note). Others are considered to be variants of the base chords.
3534 @lilypond[fragment,notime,line-width=13.0\cm]
3535 \set Score.automaticBars = ##f
3537 \context Voice \relative c'' {
3538 <g e c >1 < a f d > < b g e >
3539 <c a f > < d b g > < e c a > < f d b > }
3540 \context Lyrics \lyrics {
3541 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3571 D: G-Schlüssel, Violinschlüssel,
3577 A clef symbol indicating the G above middle@w{ }C. Used on the first
3578 and second note lines. A digit 8 above the clef symbol indicates that
3579 the notes must be played an octave higher while 8 below the clef
3580 symbol indicates playing or singing an octave lower (most tenor parts
3581 in choral scores are notated like that).
3583 @lilypond[fragment,notime,ragged-right]
3585 \set Score.automaticBars = ##f
3586 \override Staff.Clef #'full-size-change = ##t
3589 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3599 \context Lyrics \lyrics {
3600 \override Lyrics . LyricText #'X-offset = #-5
3601 "french violin clef"
3620 FI: glissando, liukuen.
3622 Letting the pitch slide fluently from one note to the other.
3626 @section grace notes
3628 ES: notas de adorno,
3631 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3637 Notes printed in small types to indicate that their time values are not
3638 counted in the rhythm of the bar.
3642 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3647 @section grand staff
3649 ES: sistema de piano,
3652 D: Akkolade, Klaviersystem,
3655 S: ackolad, böjd klammer,
3656 FI: kaksoisnuottiviivasto.
3658 A combination of two staves with a brace. Usually used for piano music.
3675 FI: grave, raskaasti.
3702 Letter name used for @samp{B natural} in German and Scandinavian
3703 usage. In the standard usage of these countries, @samp{B} means
3708 @ref{Pitch names}, @ref{B}
3718 D: Halbe, halbe Note,
3733 ES: silencio de blanca,
3747 @node harmonic cadence
3748 @section harmonic cadence
3750 ES: cadencia (armónica),
3751 I: cadenza (armonica),
3752 F: cadence harmonique,
3754 NL: harmonische cadens,
3755 DK: harmonisk kadence,
3756 S: (harmonisk) kadens,
3757 FI: harmoninen kadenssi.
3759 A sequence of chords that terminates a musical phrase or section.
3761 @ref{functional harmony}.
3763 @lilypond[fragment,ragged-right]
3764 \context PianoStaff <<
3765 \context Staff = SA \relative c'' {
3769 \partial 4 < c g e >4 |
3770 < c a f > < b g d > < c g e >2
3773 \context Staff = SB \relative c {
3775 \partial 4 c4 | f, g c2
3793 D: Harmonie, Zusammenklang,
3797 FI: harmonia, yhteissointi.
3799 Tones sounding simultaneously. Two note harmonies fall into the
3800 categories @emph{consonances} and @emph{dissonances}.
3804 @lilypond[fragment,notime,line-width=13.0\cm]
3805 \set Score.automaticBars = ##f
3806 %\override Score.TextScript #'font-style = #'large
3807 \context Voice \relative c'' {
3820 @lilypond[fragment,notime,line-width=13.0\cm]
3821 \set Score.automaticBars = ##f
3822 %\override Score.TextScript #'font-style = #'large
3823 \context Voice \relative c'' {
3824 <g a>1_"second " s s
3825 <g f'>_"seventh " s s
3830 Three note harmony @ref{chord}.
3845 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3846 the use of three notes of equal value in the time normally occupied by
3847 of two notes of equal value. The resulting rhythm can be expressed in
3848 modern terms as a substitution (for example) of a bar in 3/2 for one
3849 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3850 hemiola is most frequently as a special effect (or @emph{affect}) at
3853 For example, this phrase in 6/4 time
3855 @lilypond[fragment,line-width=13.0\cm]
3859 c2. e | d2 c d | c1. \bar "||" }
3862 may be thought of having alternating time signatures
3864 @lilypond[fragment,line-width=13.0\cm]
3868 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3871 and is therefore a polymeter (second definition) of considerable antiquity.
3875 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3888 FI: homofonia, yksiäänisyys.
3890 Music in which one voice leads melodically followed by the other
3891 voices more or less in the same rhythm. In contrast to
3905 FI: intervalli, kahden sävelen korkeusero.
3907 Difference in pitch between two notes. Intervals may be perfect,
3908 minor, major, diminished, or augmented. The augmented fourth and the
3909 diminished fifth are identical (@ref{enharmonic}) and are called
3910 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3911 addition of such two intervals forms an octave.
3913 @lilypond[fragment,notime,line-width=13.0\cm]
3914 \set Score.automaticBars = ##f
3916 \context Voice \relative c'' {
3926 \context Lyrics \lyrics {
3927 "unison " "second " "second " "second "
3928 "third " "third " "third " "third"
3933 @lilypond[fragment,notime,line-width=13.0\cm]
3934 \set Score.automaticBars = ##f
3936 \context Staff \relative c'' {
3947 "fourth " "fourth " "fifth " "fifth "
3948 "sixth " "sixth " "sixth " "sixth"
3953 @lilypond[fragment,notime,line-width=13.0\cm]
3954 \set Score.automaticBars = ##f
3956 \context Staff \relative c'' {
3957 < gis f'! >1^"dimin"
3966 \context Lyrics \lyrics {
3967 "seventh " "seventh " "seventh " "octave "
3968 "ninth " "ninth " "tenth " "tenth"
3974 @node inverted interval
3975 @section inverted interval
3977 ES: intervalo invertido,
3978 I: intervallo rivolto,
3979 F: intervalle reversé,
3980 D: umgekehrtes Intervall,
3981 NL: interval inversie,
3982 DK: omvendingsinterval,
3983 S: intervallets omvändning,
3984 FI: käänteisintervalli.
3986 The difference between an interval and an octave.
3988 @lilypond[fragment,notime,line-width=13.0\cm]
3989 \set Score.automaticBars = ##f
3990 %\override Score.TextScript #'font-style = #'large
3991 \context Staff \relative c'' {
3992 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3993 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3994 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3999 @node just intonation
4000 @section just intonation
4002 ES: entonación justa,
4003 I: intonazione giusta,
4004 F: intonation juste,
4011 Tuning system in which the notes are obtained by adding and subtracting
4012 natural fifths and thirds.
4029 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4030 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4034 @ref{key signature}.
4038 @section key signature
4040 ES: armadura (de la clave),
4041 I: armatura di chiave,
4042 F: armure, armature [de la clé],
4043 D: Vorzeichen, Tonart,
4044 NL: toon@-soort (voortekens),
4047 FI: sävellajiosoitus.
4049 The sharps or flats appearing at the beginning of each staff indicating the
4055 @node laissez vibrer
4056 @section laissez vibrer
4067 [From French, @q{Let vibrate}]. Most frequently associated with harp
4068 parts. Marked @samp{l.v.} in the score.
4077 D: Largo, Langsam, Breit,
4081 FI: largo, hitaasti, leveästi.
4083 Very slow in tempo, usually combined with great expressiveness.
4084 @emph{Larghetto} is less slow than largo.
4088 @section leading note
4099 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4100 called because of its strong tendency to @q{lead up} (resolve upwards)
4101 to the tonic scale degree.
4105 @section ledger line
4107 ES: línea adicional,
4108 I: tagli addizionali,
4109 F: ligne supplémentaire,
4116 A ledger line is an extension of the staff.
4118 @lilypond[fragment,notime,ragged-right]
4119 \set Score.automaticBars = ##f
4120 \relative c'' { a,1 s c'' }
4130 D: legato, gebunden,
4136 To be performed (a) without any perceptible interruption between the
4137 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4138 @emph{portato}, and (d) @ref{staccato}.
4140 @lilypond[fragment,notime,line-width=13.0\cm]
4141 \set Score.automaticBars = ##f
4143 \context Staff \relative c'' {
4144 c4-( d e-) \bar "||"
4145 c4-- d-- e-- \bar "||"
4146 c4-.-( d-. e-.-) \bar "||"
4147 c4-. d-. e-. \bar "||"
4160 @section legato curve
4164 @ref{slur}, @ref{legato}.
4179 ES: estanque de nenúfares,
4180 I: stagno del giglio,
4181 F: étang de nénuphars, étang de nymphéas,
4183 NL: le@-lie@-vij@-ver,
4188 A pond with lilies floating in it.
4189 Also, the name of a music typesetting program.
4204 A ligature is a coherent graphical symbol that represents at least two
4205 distinct notes. Ligatures originally appeared in the manuscripts of
4206 Gregorian chant notation roughly since the 9th century to denote ascending
4207 or descending sequences of notes. In early notation, ligatures were used
4208 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4209 performance in the sense of articulation. With the invention of the metric
4210 system of the white mensural notation, the need for ligatures to denote such
4211 patterns disappeared.
4215 @ref{mensural notation}.
4224 D: Linie, Notenlinie,
4228 FI: viiva, nuottiviiva.
4247 [From Italian, @q{place}]. Instruction to play the following passage at the
4248 written pitch. Cancels octave mark (q.v.).
4252 @ref{octave mark}, @ref{octave marking}.
4255 @node long appoggiatura
4256 @section long appoggiatura
4258 ES: apoyatura larga,
4259 I: appoggiatura lunga,
4260 F: appoggiature longue,
4265 FI: pitkä appoggiatura, pitkä etuhele.
4284 Note value: double length of @ref{breve}.
4286 @lilypond[fragment,notime,ragged-right]
4287 \set Score.automaticBars = ##f
4289 \override NoteHead #'style = #'mensural
4302 ES: letra (de la canción),
4305 D: Liedtext, Gesangtext,
4324 @c TODO: add languages
4331 @node major interval
4332 @section major interval
4334 ES: intervalo mayor,
4335 I: intervallo maggiore,
4336 F: intervalle majeur,
4337 D: großes Intervall,
4341 FI: suuri intervalli.
4362 @ref{diatonic scale}.
4365 @node meantone temperament
4366 @section meantone temperament
4368 ES: afinación mesotónica,
4369 I: accordatura mesotonica,
4370 F: tempérament mésotonique,
4371 D: mitteltönige Stimmung,
4372 NL: middenstemming, middentoonstemming,
4373 DK: middeltonetemperatur,
4374 S: medeltonstemperatur,
4375 FI: keskisävelviritys.
4377 Temperament yielding acoustically pure thirds by decreasing the
4378 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4379 character of this @ref{temperament} only a limited set of keys are
4380 playable. Used for tuning keyboard instruments for performance of
4396 A group of @ref{beat}s (units of musical time) the first of which
4397 bears an accent. Such groups in numbers of two or more recur
4398 consistently throughout the composition and are marked from each other
4408 I: mediante, modale,
4418 @item The third @b{scale degree}.
4420 @item A @ref{chord} having its base tone a third from that of another
4421 chord. For example, the tonic chord may be replaced by its lower
4422 mediant (variant tonic).
4427 @ref{functional harmony}, @ref{relative key}.
4440 FI: melisma, laulettavan tavun sävelkuvio.
4442 A melisma (plural, from Greek: melismata) is a group of notes or tones
4443 sung on one syllable, especially as applied to liturgical chant.
4447 @section melisma line
4449 @c TODO: add languages
4462 @ref{extender line}.
4465 @node melodic cadence
4466 @section melodic cadence
4473 @node mensural notation
4474 @section mensural notation
4476 @c TODO: add languages
4487 A system of duration notation whose principles were first established in the
4488 mid-13th century, and that (with various changes) remained in use until about
4489 1600. As such, it forms the basis of the notation of rhythms in Western musical
4492 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4493 of the notation's principles, so the notation of this earliest period is called
4494 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4495 and semibreve -- each of which was normally equivalent to three of the next
4498 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4499 added several note values (the minim, semiminim and fusa) and extended Franco's
4500 principles to govern the relationship between these values. They also put the
4501 duple division of note values on an equal footing with the earlier (preferred)
4504 TODO: continue description of French and Italian black notation, and the
4505 relationship betwixt them.
4507 @b{White or void mensural notation}
4509 In the 15th century, hollow (or void) notes began to substitute for the earlier
4510 solid black ones, which were then free to assume the function of red (or
4511 colored) notes in the earlier notation. ...
4513 TODO: add to definition (including summary info on proportional notation)
4517 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4518 @c TODO: more cross-references?
4526 F: indication de mesure, mesure,
4533 The pattern of note values and accents in a composition or a section thereof.
4534 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4535 by grouping beats and by subdividing the primary beat.
4537 @b{By grouping beats}:
4541 @item @b{duple}: groups of two.
4542 @item @b{triple}: groups of three.
4543 @item @b{quadruple}: groups of four. A special case of duple meter.
4544 @item @b{quintuple}: groups of five beats.
4545 @item @b{sextuple} meter: groups of six. A special case of:
4549 @item duple meter, subdivided in three; or
4550 @item triple meter, subdivided in two.
4554 @item @b{septuple} meter: groups of seven.
4559 Other than triple meter and its subdivided variants (see below), meters that
4560 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4561 frequently used prior to the 20th Century.
4563 @b{By subdividing the primary beat}:
4567 @item simple: groups of two.
4571 @item duple: 2/2, 2/4, 2/8
4572 @item triple: 3/2, 3/4, 3/8
4573 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4577 @item compound: groups of three.
4583 @item quadruple: 12/8
4589 Time signatures are placed at the beginning of a composition (or section) to
4590 indicate the meter. For instance, a piece written in simple triple meter with a
4591 beat on each quarter note is conventionally written with a time signature of
4592 3/4. Here are some combinations of the two classifications above:
4594 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4596 @lilypond[fragment,line-width=13.0\cm]
4600 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4603 Simple triple meter:
4605 @lilypond[fragment,line-width=13.0\cm]
4609 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4612 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4614 @lilypond[fragment,line-width=13.0\cm]
4618 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4621 Simple quintuple meter (B. Marcello, 1686-1739):
4623 @lilypond[fragment,line-width=13.0\cm]
4627 r4 cis8 bis ais4 dis c8 ais |
4628 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4631 Compound duple meter (unknown):
4633 @lilypond[fragment,line-width=13.0\cm]
4637 f8 f g a bes16 a g f |
4638 g8 g bes a c16 a bes g
4642 Compound triple meter (J.S. Bach, 1685-1750):
4644 @lilypond[fragment,line-width=13.0\cm]
4648 r8 g'( a) b( d c) c( e d) |
4649 d( g fis) g( d b) g( a b)
4653 Compound quadruple meter (P. Yon, 1886-1943):
4655 @lilypond[fragment,line-width=13.0\cm]
4659 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4660 e4 e8 fis( gis) a b4.~ b4 b8
4664 @b{@q{Monometer} vs Polymeter}
4666 TODO: add information from discussion on lilypond-user related to polymeter.
4670 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4685 Device indicating the exact tempo of a piece.
4687 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4688 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4689 divisions, and patented it as a "metronome". The inevitable lawsuit that
4690 followed acknowledged Winkler as the creator, but by then Mälzel had already
4691 sold many of them, and people had taken to calling it a Mälzel Metronome.
4695 @ref{metronome mark}.
4698 @node metronomic indication
4699 @section metronomic indication
4703 @ref{metronome mark}
4706 @node metronome mark
4707 @section metronome mark
4709 ES: indicación metronómica,
4710 I: indicazione metronomica,
4711 F: indication métronomique,
4713 NL: metronoom aanduiding,
4715 S: metronomangivelse,
4716 FI: metronomiosoitus.
4718 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4719 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4728 @section mezzo-soprano
4739 The female voice between @ref{soprano} and @ref{contralto}.
4748 D: eingestrichenes@w{ }c,
4750 DK: enstreget@w{ }c,
4751 S: ettstruket@w{ }c,
4754 First C below the 440 Hz A.
4756 @lilypond[fragment,notime,ragged-right]
4757 \set Score.automaticBars = ##f
4758 \override Staff.Clef #'full-size-change = ##t
4781 @ref{diatonic scale}.
4784 @node minor interval
4785 @section minor interval
4787 ES: intervalo menor,
4788 I: intervallo minore,
4789 F: intervalle mineur,
4790 D: kleines Intervall,
4794 FI: pieni intervalli.
4807 D: Kirchentonart, Modus,
4811 FI: moodi, kirkkosävelasteikko.
4815 @ref{church mode}, @ref{diatonic scale}.
4828 FI: modulaatio, sävellajin vaihdos.
4830 Moving from one @ref{key} to another. For example, the second subject
4831 of a @ref{sonata form} movement modulates to the dominant key if the
4832 key is major and to the @ref{relative key} if the key is minor.
4844 FI: mordent, korukuvio.
4869 FI: teema, sävelaihe.
4871 The briefest intelligible and self-contained fragment of a musical
4874 @lilypond[line-width=13.0\cm]
4877 \set Score.implicitTimeSignatureVisibility = #all-invisible
4878 \override Score.TimeSignature #'break-visibility = #all-invisible
4881 \partial 8 g16\startGroup fis |
4882 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4883 g8 g,16 a b8 cis d16 s
4887 \Staff \consists "Horizontal_bracket_engraver"
4905 Greater musical works like @ref{symphony} and @ref{sonata} most often
4906 consist of several -- more or less -- independant pieces called
4910 @node multi-measure rest
4911 @section multi-measure rest
4913 ES: compases de espera,
4917 D: mehrtaktige Pause, Kirchenpause,
4920 FI: usean tahdin mittainen tauko.
4922 Multi-measure rests are conventionally typeset with a combination of
4923 longa, breve and whole rests for shorter and a long horizontal bar for
4924 longer spans of rest, with a number above to indicate the duration (in
4925 measures) of the rest. The former style is called @q{Kirchenpausen} in
4926 German, as a reminiscence of its use in Renaissance vocal polyphony.
4928 @lilypond[fragment,ragged-right]
4931 \set Score.skipBars = ##t R1*3
4933 \set Score.skipBars = ##t R1*122
4940 @ref{longa}, @ref{breve}.
4943 @node mixolydian mode
4944 @section mixolydian mode
4948 @ref{diatonic scale}.
4957 D: Auflösungszeichen,
4958 NL: herstellingsteken,
4959 DK: op@-løsningstegn,
4960 S: återställningstecken,
4968 @node neighbour tones
4969 @section neighbour tones
4973 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5014 Notes are signs by means of which music is fixed in writing. The term is also
5015 used for the sound indicated by a note, and even for the key of the piano
5016 which produces the sound. However, a clear distinction between the terms tone
5017 and @ref{note} is strongly recommended. Briefly, one sees a note,
5025 I: testa, testina, capocchia,
5033 A head-like sign which indicates pitch by its position on a
5034 @ref{staff} provided with a @ref{clef}, and duration
5035 by a variety of shapes such as hollow or black heads with or without
5036 @ref{stem}s, @ref{flag}s, etc. For percussion
5037 instruments (often having no defined pitch) the note head may indicate the
5052 ES: valor (duración),
5054 F: durée, valeur (d'une note),
5059 FI: nuotin aika-arvo.
5061 Note values (durations) are measured as fractions, normally 1/2, of
5062 the next higher note value. The longest duration normally used is
5063 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5064 double-length note value @emph{longa} or the quadruple-length note
5065 value @emph{maxima} are used.
5067 @c TODO -- add maxima to this example, in a way that doesn't break it.
5069 @lilypond[fragment,notime,line-width=13.0\cm]
5070 %\override Score.TextScript #'font-style = #'large
5071 \set Score.automaticBars = ##f
5073 \override NoteHead #'style = #'mensural
5074 a\longa_"longa" a\breve_"breve"
5075 \revert NoteHead #'style
5076 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5077 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5080 @c TODO -- add maxima rest to this example
5082 @lilypond[fragment,notime,line-width=13.0\cm]
5083 %\override Score.TextScript #'font-style = #'large
5084 \set Score.automaticBars = ##f
5086 r\longa_"longa" r\breve_"breve"
5087 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5088 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5091 An augmentation dot after a note multiplies the duration by one and a
5092 half. Another dot adds yet a fourth of the duration.
5094 @lilypond[fragment,line-width=13.0\cm]
5095 %\override Score.TextScript #'font-style = #'large
5098 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5099 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5102 Alternatively note values may be subdivided by other ratios. Most common is
5103 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5104 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5105 dotted notes are also frequently used.
5107 @lilypond[fragment,line-width=13.0\cm]
5108 %\override Score.TextScript #'font-style = #'large
5111 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5112 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5116 @lilypond[fragment,line-width=13.0\cm]
5119 \times 3/2 {g4_"duplets" g} |
5121 \times 6/4 {g8_"quadruplets" g g g} |
5122 g8 g g g g4 \bar "||"
5132 @ref{octave marking}.
5147 The interval of an octave, sometimes abbreviated @samp{8ve}.
5149 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5150 bracket, or @samp{loco} see octave marking.
5154 @ref{interval}, @ref{octave marking}.
5158 @section octave mark
5169 The phrase, abbreviation, or other mark used (with or without an extender line
5170 or bracket) to indicate that the music is to be played in a different octave:
5174 @item @samp{15ma}: play two octaves higher
5175 @item @samp{8va}: play one octave higher
5176 @item @samp{8vb}: play one octave lower
5177 @item @samp{8va} (written below the passage): same as @samp{8vb}
5178 @item @samp{15vb}: play two octaves lower
5179 @item @samp{15va} (written below the passage): same as @samp{15vb}
5183 For longer passages, it may be more practical to mark the octave change at the
5184 beginning with a phrase (see the list below for examples), but without a bracket
5185 or extender line. Then, when the music returns to the written pitch, the octave
5186 change is cancelled with the word @emph{loco} (q.v.).
5188 To parallel the list above:
5192 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5193 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5194 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5195 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5199 In the phrases above, @emph{quindicesima} is sometimes replaced with
5200 @emph{quindecima}, which is Latin.
5202 Finally, the music on an entire staff can be marked to be played in a different
5203 octave by putting an 8 or 15 above or below the clef at the beginning. This
5204 octave mark can be applied to any clef, but it is most frequently used with the
5209 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5212 @node octave marking
5213 @section octave marking
5222 FI: oktaavamerkintä.
5224 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5225 that it is to be played in a different octave. If applied to the clef at the
5226 beginning of the staff, all music on that staff is to played at the indicated
5229 For a list of the specific marks used, see @ref{octave mark}.
5233 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5237 @section octave sign
5248 I: abbellimento, fioriture,
5249 F: agrément, ornement,
5250 D: Verzierung, Ornament,
5256 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5257 with the diatonic @ref{second} above it. In the music from the
5258 middle of the 19th century and onwards the trill is performed with the main
5259 note first while in the music from the preceding baroque and classic periods
5260 the upper note is played first.
5262 @lilypond[fragment,line-width=13.0\cm]
5264 \context Staff = sa {
5265 % \override Score.TextScript #'font-style = #'large
5267 c2._"pre-1850" b4\trill | c1 \bar "||"
5268 c2._"post-1850" b4\trill | c1 \bar "||"
5272 c2. c32 b c b c b c b | c1
5273 c2. b32 c b c \times 4/5 { b c b c b } | c1
5278 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5280 @emph{prall} (inverted mordent).
5282 @lilypond[fragment,line-width=13.0\cm]
5284 \context Staff = sa {
5285 % \override Score.TextScript #'font-style = #'large
5287 a4_"turn" b\turn c2 \bar "||"
5288 g4_"mordent" a b\mordent a \bar "||"
5289 e'4_"prall" d\prall c2 \bar "||"
5295 e'4 e32[ d e d ~ d8] c2
5302 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5315 FI: ossia, vaihtoehtoinen esitystapa.
5317 Ossia (otherwise) marks an alternative. It is an added staff or piano
5318 score, usually only a few measures long, which presents another version
5319 of the music, for example for small hands.
5332 FI: stemma, instrumenttiosuus.
5336 @item In instrumental or choral music, the music for a single
5337 instrument or voice.
5339 @item in contrapuntal music, a single melodic line in the contrapuntal
5371 D: Schlagzeug, Schlagwerk,
5377 A family of musical instruments which are played on by striking or
5378 shaking. Percussion instruments commonly used in a symphony orchestra are
5379 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5380 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5384 @node perfect interval
5385 @section perfect interval
5387 ES: intervalo justo,
5388 I: intervallo giusto,
5389 F: intervalle juste,
5390 D: reines Intervall,
5394 FI: puhdas intervalli.
5413 A natural division of the melodic line, comparable to a sentence of speech.
5426 FI: fraseeraus, jäsentäminen.
5428 The clear rendering in musical performance of the @ref{phrase}s of
5429 the melody. Phrasing may be indicated by a @ref{slur}.
5437 F: anacrouse, levée,
5461 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5462 @emph{mezzo piano} (@b{mp}) medium soft.
5479 @item The perceived quality of a sound that is primarily a function of its
5480 fundamental frequency.
5482 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5484 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5485 association of a particular frequency with a particular pitch name, e.g., c' =
5502 NL: pizzicato, getokkeld,
5505 FI: pizzicato, näppäillen.
5507 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5525 @item The simultaneous use of two or more meters, in two or more parts.
5527 @item The @emph{successive} use of different meters in one or more parts.
5533 @ref{polymetric} (adj.)
5548 Using two or more metric frameworks simultaneously or in alternation.
5552 @ref{polymeter} (noun)
5555 @node polymetric time signature
5556 @section polymetric time signature
5567 A time signature that indicates regularly alternating polymetric time.
5580 D: Polyphonie, Mehrstimmigkeit,
5584 FI: polyfonia, moniäänisyys.
5586 Music written in a combination of several simultaneous voices (parts)
5587 of a more or less pronounced individuality.
5606 D: Presto, Sehr schnell,
5607 NL: presto, Sehr schnell,
5610 FI: presto, hyvin nopeasti.
5612 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5613 denotes the highest possible degree of speed.
5628 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5629 relationship between the note values that follow with those that precede; or
5630 between the note values of a passage and the @q{normal} relationship of note
5631 values to the metrical pulse.
5633 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5637 @ref{mensural notation}
5640 @node Pythagorean comma
5641 @section Pythagorean comma
5643 ES: coma pitagórica,
5644 I: comma pitagorico,
5645 F: comma pythagoricien,
5646 D: Pythagoräisches Komma,
5647 NL: komma van Pythagoras,
5648 DK: pythagoræisk komma,
5649 S: pytagoreiskt komma,
5650 FI: pytagorinen komma.
5652 A sequence of fifths starting on C eventually circles back to C, but this C,
5653 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5654 by adding 7 octaves. The difference between those two pitches is called the
5659 @ref{cent}, @ref{temperament}.
5679 @section quarter note
5684 @item I: semiminima, nera
5686 @item D: Viertel, Viertelnote
5688 @item DK: fjerdedelsnode
5689 @item S: fjärdedelsnot
5690 @item FI: neljäsosanuotti
5699 @section quarter rest
5702 @item UK: crotchet rest
5703 @item ES: silencio de negra
5704 @item I: pausa di semiminima
5706 @item D: Viertelpause
5708 @item DK: fjerdedelspause
5709 @item S: fjärdedelspaus
5710 @item FI: neljäsosatauko
5719 @section quarter tone
5730 An interval equal to half a semitone.
5740 ES: cinquillo, quintillo.
5755 @section rallentando
5760 D: rallentando, langsamer werden,
5764 FI: rallerdando, hidastuen.
5766 Abbreviation "rall.".
5772 @section relative key
5775 I: tonalità relativa,
5776 F: tonalité relative,
5778 NL: paralleltoonsoort,
5779 DK: paralleltoneart,
5781 FI: rinnakkaissävellaji.
5783 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5785 @lilypond[fragment,notime,line-width=13.0\cm]
5786 \set Score.automaticBars = ##f
5787 %\override Score.TextScript #'font-style = #'large
5790 es1_"e flat major" f g as bes c d es
5795 @lilypond[fragment,notime,line-width=13.0\cm]
5796 \set Score.automaticBars = ##f
5797 %\override Score.TextScript #'font-style = #'large
5800 c1_"c minor" d es f g a! b! c \bar "||"
5810 F: barre de reprise,
5813 DK: gen@-ta@-gel@-se,
5817 @lilypond[fragment,line-width=13.0\cm]
5821 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5838 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5839 @c specify the rest's value.
5860 @item Metrical rhythm in which every time value is a multiple or
5861 fraction of a fixed unit of time, called @ref{beat}, and in which the
5862 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5863 The basic scheme of time values is called @ref{meter}.
5865 @item Measured rhythm which lacks regularly recurrent accent. In
5866 modern notation such music appears as a free alternation of different
5869 @item Free rhythm, i.e., the use of temporal values having no common
5870 metrical unit (beat).
5881 D: ritardando, langsamer werden,
5885 FI: ritardando, hidastuen,
5887 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5900 FI: ritenuto, hidastaen.
5902 Immediate reduction of speed.
5915 FI: asteikko, sävelasteikko.
5919 @ref{diatonic scale}.
5923 @section scale degree
5925 ES: grado (de la escala),
5926 I: grado della scala,
5927 F: degré [de la gamme],
5929 NL: trap [van de toonladder],
5932 FI: sävelaste, asteikon sävel.
5934 Names and symbols used in harmonic analysis to denote tones of the
5935 scale as roots of chords. The most important are degrees I = tonic
5936 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5938 @lilypond[fragment,notime,line-width=13.0\cm]
5939 \set Score.automaticBars = ##f
5941 \context Staff \relative c' {
5945 << { I II III IV V VI VII I }
5953 @ref{functional harmony}.
5961 F: à cordes ravallées,
5968 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5969 tuning of stringed instruments, particularly lutes or violins. Used
5974 @item facilitate pitch combinations that would otherwise be difficult
5977 @item alter the characteristic timbre of the instrument, for example,
5978 to increase brilliance)
5980 @item reinforce certain sonorities or tonalities by making them
5981 available on open strings
5983 @item imitate other instruments
5989 Tunings that could be called @var{scordatura} first appeared early in
5990 the 16th Century and became commonplace in the 17th.
5999 D: Partitur (full score), Klavierauszug (vocal score),
6005 A copy of orchestral, choral, or chamber music showing what each
6006 instrument is to play, each voice to sing, having each part arranged
6007 one underneath the other on different staves @ref{staff}.
6022 The @ref{interval} between two neigbouring tones of a scale. A
6023 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6024 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6025 degrees in question.
6040 The interval of a minor second. The (usually) smallest interval in European
6041 composed music. The interval between two neighbouring tones on the piano
6042 keyboard -- including black and white keys -- is a semitone. An octave may
6043 be divided into 12@w{ }semitones.
6045 @lilypond[fragment,notime,line-width=13.0\cm]
6046 \set Score.automaticBars = ##f
6047 \relative c'' { g1 gis s a bes s b! c }
6052 @ref{interval}, @ref{chromatic scale}.
6077 @ref{sextuplet}, @ref{note value}.
6123 @section simple meter
6134 A meter in which the basic beat is subdivided in two: that is, a meter
6135 that does not include triplet subdivision of the beat.
6139 @ref{compound meter}, @ref{meter}.
6142 @node sixteenth note
6143 @section sixteenth note
6146 @item UK: semiquaver
6147 @item ES: semicorchea
6149 @item F: double croche
6150 @item D: Sechzehntel, Sechzehntelnote
6151 @item NL: zes@-ti@-ende noot
6152 @item DK: sekstendedelsnode
6153 @item S: sextondelsnot
6154 @item FI: kuudestoistaosanuotti
6162 @node sixteenth rest
6163 @section sixteenth rest
6166 @item UK: semiquaver rest
6167 @item ES: silencio de semicorchea
6168 @item I: pausa di semicroma
6169 @item F: quart de soupir
6170 @item D: Sechzehntelpause
6171 @item NL: zestiende rust
6172 @item DK: sekstendedelspause
6173 @item S: sextondelspaus
6174 @item FI: kuudestoistaosatauko
6199 @node sixty-fourth note
6200 @section sixty-fourth note
6203 @item UK: hemidemisemiquaver
6205 @item I: semibiscroma
6206 @item F: quadruple croche
6207 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6208 @item NL: vierenzestigste noot
6209 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6210 @item S: sextiofjärdedelsnot
6211 @item FI: kuudeskymmenesneljäsosanuotti
6219 @node sixty-fourth rest
6220 @section sixty-fourth rest
6223 @item UK: hemidemisemiquaver rest
6224 @item ES: silencio de semifusa
6225 @item I: pausa di semibiscroma
6226 @item F: seizième de soupir
6227 @item D: Vierundsechzigstelpause
6228 @item NL: vierenzestigste rust
6229 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6230 @item S: sextiofjärdedelspaus
6231 @item FI: kuudeskymmenesneljäsosatauko
6242 ES: ligadura (de expresión),
6243 I: legatura (di portamento or espressiva),
6245 D: Bogen (Legatobogen, Phrasierungsbogen),
6246 NL: fraseringsboog, legatoboog, streekboog,
6247 DK: legatobue, fraseringsbue,
6251 A slur above or below a group of notes indicates that they are to be
6252 played @ref{legato}, e.g., with one stroke of the violin bow or with
6253 one breath in singing.
6257 @section solmization
6266 FI: suhteelliset laulunimet.
6268 General term for systems of designating the degrees of the
6269 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6270 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6288 In its present-day meaning a sonata denotes an instrumental
6289 composition for piano or for some other instrument with piano
6290 accompaniment, which consists of three or four independant pieces,
6295 @section sonata form
6299 F: [en] forme de sonate,
6301 NL: hoofdvorm, sonatevorm,
6306 A form used frequently for single movements of the @ref{sonata},
6307 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6308 into three sections called @emph{exposition}, @emph{development} and
6309 @emph{recapitulation}. In the exposition the composer introduces some
6310 musical ideas, consisting of a number of themes; in the development
6311 section the composer @q{develops} this material, and in the
6312 recapitulation the composer repeats the exposition, with certain
6313 modifications. The exposition contains a number of themes that fall
6314 into two groups, often called first and second subject. Other
6315 melodies occurring in each group are considered as continuations of
6316 these two. The second theme is in another key, normally in the key of
6317 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6318 @ref{relative key} if the tonic is @ref{minor}.
6339 FI: sopraano, korkea naisääni.
6341 The highest female voice.
6349 F: staccato, piqué, détaché,
6354 FI: staccato, lyhyesti, terävästi.
6356 Playing the note(s) short. Staccato is indicated by a dot above or
6357 below the note head.
6359 @lilypond[fragment,ragged-right]
6364 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6374 I: pentagramma, rigo (musicale),
6376 D: Notensystem, Notenzeile,
6377 NL: (noten)balk, partij,
6382 A staff (plural: staves) is a series of (normally five) horizontal
6383 lines upon and between which the musical notes are written, thus
6384 indicating (in connection with a @ref{clef}) their pitch. Staves for
6385 @ref{percussion} instruments may have fewer lines.
6402 D: Hals, Notenhals, Stiel,
6408 Vertical line above or below a @ref{note head} shorter than a
6413 @lilypond[fragment,notime,line-width=13.0\cm]
6414 \set Score.autoBeaming = ##f
6415 \set Score.automaticBars = ##f
6416 %\override Score.TextScript #'font-style = #'large
6438 A family of stringed musical instruments played with a bow. Strings
6439 commonly used in a symphony orchestra are violin, viola, violoncello,
6444 @section strong beat
6449 D: betonter Taktteil oder Taktschlag,
6451 D: betonet taktslag,
6452 S: betonat taktslag,
6453 FI: tahdin vahva isku.
6457 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6461 @section subdominant
6470 FI: subdominantti, alidominantti.
6472 The fourth @ref{scale degree}.
6474 @ref{functional harmony}.
6489 The sixth @ref{scale degree}.
6502 FI: subtoonika, alitoonika.
6504 The seventh @ref{scale degree}.
6513 D: auf G, auf der G-Saite,
6519 Indicates that the indicated passage (or note) should be played on the
6524 @section superdominant
6535 The sixth @ref{scale degree}.
6550 The second @ref{scale degree}.
6559 D: Sinfonie, Symphonie,
6565 A symphony may be defined as a @ref{sonata} for orchestra.
6569 @section syncopation
6580 Any deliberate upsetting of the normal pulse of @ref{meter},
6581 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6582 rhythm rests upon the grouping of equal beats into groups of two or
6583 three, with a regularly recurrent accent on the first beat of each
6584 group. Any deviation from this scheme is felt as a disturbance or
6585 contradiction between the underlaying (normal) pulse and the actual
6588 @lilypond[fragment,ragged-right]
6593 e c'4 e,8 c'4 e,8 c' ( | c2)
6598 @node syntonic comma
6599 @section syntonic comma
6602 I: comma sintonico (o didimico),
6603 F: comma syntonique,
6604 D: syntonisches Komma,
6605 NL: syntonische komma,
6606 DK: syntonisk komma,
6607 S: syntoniskt komma,
6608 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6609 Pytagorisessa viritysjärjestelmässä.
6611 Difference between the natural third and the third obtained by
6612 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6621 D: Notensystem, Partitur,
6625 FI: nuottijärjestelmä.
6627 The collection of staves (@ref{staff}), two or more, as used for writing
6628 down of keyboard, chamber, choral, or orchestral music.
6632 @section temperament
6637 D: Stimmung, Tem@-pe@-ra@-tur,
6638 NL: stemming, temperatuur,
6641 FI: viritysjärjestelmä.
6643 Systems of tuning in which the intervals deviate from the acoustically
6646 @ref{meantone temperament}, @ref{equal temperament}.
6649 @node tempo indication
6650 @section tempo indication
6652 ES: indicación de tempo,
6653 I: indicazione di tempo,
6654 F: indication de tempo,
6655 D: Zeitmaß, Tempobezeichnung,
6656 NL: tempo aanduiding,
6661 The rate of speed of a composition or a section thereof, ranging from
6662 the slowest to the quickest, as is indicated by tempo marks as
6663 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6677 FI: tenori, korkea miesääni.
6679 The highest male voice (apart from @ref{counter tenor}).
6702 ES: subrayado (tenuto),
6711 An indication that a particular note should be held for the whole
6712 length, although this can vary depending on the composer and era.
6732 @node thirty-second note
6733 @section thirty-second note
6736 @item UK: demisemiquaver
6739 @item F: triple croche
6740 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6741 @item NL: twee-endertig@-ste (32e) noot
6742 @item DK: toogtredivtedelsnode
6743 @item S: trettiotvåondelsnot
6744 @item FI: kolmaskymmeneskahdesosanuotti
6752 @node thirty-second rest
6753 @section thirty-second rest
6756 @item UK: demisemiquaver rest
6757 @item ES: silencio de fusa
6758 @item I: pausa di biscroma
6759 @item F: huitième de soupir
6760 @item D: Zweiunddreissigstel@-pause
6761 @item NL: twee-endertig@-ste (32e) rust
6762 @item DK: toogtredivtedelspause
6763 @item S: trettiotvåondelspaus
6764 @item FI: kolmaskymmeneskahdesosatauko
6773 @section thorough bass
6776 I: basso continuo, basso numerato,
6777 F: basse chiffrée, basse continue,
6778 D: Generalbass, bezifferter Bass,
6779 NL: basso continuo, becijferde bas
6782 FI: kenraalibasso, numeroitu basso.
6784 A method of indicating an accompaniment part by the bass notes only,
6785 together with figures designating the chief @ref{interval}s and
6786 @ref{chord}s to be played above the bass notes.
6788 @lilypond[fragment,line-width=13.0\cm]
6789 \context GrandStaff <<
6790 \context Staff = lh \relative c'' {
6794 << \context Voice = rha {
6797 \context Voice = rhb {
6799 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6803 \context Staff = rh \relative c' {
6806 es8 c d bes c as bes16 as g f | es4
6808 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6817 ES: ligadura de prolongación,
6818 I: legatura (di valore),
6820 D: Haltebogen, Bindebogen,
6821 NL: overbinding, bindingsboog,
6823 S: bindebåge, överbindning,
6826 A curved line, identical in appearance with the @ref{slur}, which
6827 connects two succesive notes of the same pitch, and which has the
6828 function of uniting them into a single sound (tone) equal to the
6831 @lilypond[fragment,notime,ragged-right]
6832 \set Score.automaticBars = ##f
6833 \relative c'' { g2 ~ g4. }
6845 @node time signature
6846 @section time signature
6848 ES: indicación de compás,
6850 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6851 D: Taktangabe, Angabe der Taktart,
6854 S: taktartssignatur,
6857 The sign placed at the beginning of a composition to indicate its
6858 meter. It most often takes the form of a fraction, but a few signs
6859 derived from mensural notation and proportions are also employed.
6863 @ref{mensural notation}, @ref{meter}.
6878 A sound of definite pitch and duration, as distinct from @emph{noise}.
6879 Tone is a primary building material of music.
6881 Music from the 20th century may be based on atonal sounds.
6896 The first @ref{scale degree}.
6900 @ref{functional harmony}.
6903 @node transposing instrument
6904 @section transposing instrument
6915 Instruments whose notated pitch is different from their sounded pitch. Except
6916 for those whose notated and sounding pitches differ by one or more octaves (to
6917 reduce the number of ledger lines needed), most such instruments are identified
6918 by the letter name of the pitch class of their fundamental. The pitch class is
6919 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6920 the instrument plays a notated C.
6922 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6923 the B-flat one tone lower. If played on the A clarinet, the same written
6924 note sounds the A (one and half tones -- a minor third -- lower).
6926 Not all transposing instruments include the pitch class in their name:
6930 @item English horn (in F)
6932 @item Alto flute (in G)
6938 @ref{concert pitch}.
6942 @section transposition
6953 Shifting a melody up or down in pitch, while keeping the same
6956 @lilypond[fragment,line-width=13.0\cm]
6961 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6966 @lilypond[fragment,line-width=13.0\cm]
6969 \transpose c bes \relative c'' {
6971 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6978 @section treble clef
6981 I: chiave di violino,
6983 D: Violinschlüssel, Sopranschlüssel,
7006 On stringed instruments:
7010 @item The quick reiteration of the same tone, produced by a rapid
7011 up-and-down movement of the bow.
7013 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7014 in the distance of a third (@ref{interval}).
7018 @lilypond[fragment,notime,ragged-right]
7019 \set Score.automaticBars = ##f
7020 %\override Score.TextScript #'font-style = #'large
7023 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7024 \repeat tremolo 8 { e32_"b" g }
7038 F: triade, accord parfait, accord de trois sons,
7055 F: trille, tremblement, battement (cadence),
7068 @section triple meter
7070 ES: compás ternario,
7073 D: in drei, ungerader Takt,
7074 NL: driedelige maatsoort,
7119 @section tuning fork
7122 I: diapason, corista,
7130 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7131 give the international pitch for the tone @emph{a} (440 vibrations per
7138 A non-standard subdivision of a beat or part of a beat, usually
7139 indicated with a bracket and a number indicating the number of
7144 @ref{triplet}, @ref{note value}.
7174 FI: unisono, yksiäänisesti.
7176 Playing of the same notes or the same melody by various instruments
7177 (voices) or by the whole orchestra (choir), either at exactly the same
7178 pitch or in a different octave.
7186 F: anacrouse, levée,
7208 FI: ääni, lauluääni.
7218 @item @ref{mezzo-soprano}
7220 @item @ref{contralto}
7224 @item @ref{baritone}
7230 @item A melodic layer or part of a polyphonic composition.
7247 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7248 or second ending. LilyPond extends this idea to any number, and allows any text
7249 (not just a number) -- to serve as the @q{volta} text.
7256 I: tempo debole, arsi,
7258 D: unbetonter Taktteil oder Taktschlag,
7260 DK: ubetonet taktslag,
7261 S: obetonat taktslag,
7262 FI: tahdin heikko isku.
7266 @ref{beat}, @ref{measure}, @ref{rhythm}.
7277 @item D: Ganze, ganze Note
7281 @item FI: kokonuotti
7293 @item UK: semibreve rest
7294 @item ES: silencio de redonda
7295 @item I: pausa di semibreve
7297 @item D: ganze Pause, ganztaktige Pause
7299 @item DK: helnodespause
7321 The interval of a major second. The interval between two tones
7322 on the piano keyboard with exactly one key between them -- including
7323 black and white keys -- is a whole tone.
7342 A family of blown wooden musical instruments. Today some of these
7343 instruments are actually made from metal. The woodwind instruments
7344 commonly used in a symphony orchestra are flute, oboe, clarinet,
7345 saxophone, and bassoon.
7348 @node Duration names notes and rests
7349 @chapter Duration names notes and rests
7351 @multitable @columnfractions .12 .22 .22 .22 .22
7353 @headitem Lang. @tab note name
7357 @item @strong{US} @tab long
7361 @item @strong{UK} @tab longa
7365 @item @strong{ES} @tab longa
7366 @tab silencio de longa
7368 @tab silencio de cuadrada
7369 @item @strong{IT} @tab longa
7373 @item @strong{FR} @tab longa
7374 @tab quadruple-pause
7377 @item @strong{DE} @tab Longa
7381 @item @strong{NL} @tab longa
7385 @item @strong{DK} @tab longa
7386 @tab longanodespause
7388 @tab brevis(nodes)pause
7389 @item @strong{SE} @tab longa
7393 @item @strong{FI} @tab longa-nuotti
7395 @tab brevis-nuotti, kaksoiskokonuotti
7396 @tab brevis-tauko, kaksoiskokotauko
7400 @multitable @columnfractions .12 .22 .22 .22 .22
7402 @headitem Lang. @tab note name
7406 @item @strong{US} @tab whole note
7410 @item @strong{UK} @tab semibreve
7414 @item @strong{ES} @tab redonda
7415 @tab silencio de redonda
7417 @tab silencio de blanca
7418 @item @strong{IT} @tab semibreve
7419 @tab pause di semibreve
7421 @tab pausa di minima
7422 @item @strong{FR} @tab ronde
7426 @item @strong{DE} @tab ganze Note
7430 @item @strong{NL} @tab hele noot
7434 @item @strong{DK} @tab helnode
7438 @item @strong{SE} @tab helnot
7442 @item @strong{FI} @tab kokonuotti
7449 @multitable @columnfractions .12 .22 .22 .22 .22
7451 @headitem Lang. @tab note name
7455 @item @strong{US} @tab quarter note
7459 @item @strong{UK} @tab crotchet
7463 @item @strong{ES} @tab negra
7464 @tab silencio de negra
7466 @tab silencio de corchea
7467 @item @strong{IT} @tab semiminima, nera
7468 @tab pausa di semiminima, pausa di nera
7471 @item @strong{FR} @tab noire
7475 @item @strong{DE} @tab Viertelnote
7479 @item @strong{NL} @tab kwartnoot
7483 @item @strong{DK} @tab fjerdedelsnode
7484 @tab fjerdedelspause
7485 @tab ottendedelsnode
7486 @tab ottendedelspause
7487 @item @strong{SE} @tab fjärdedelsnot
7491 @item @strong{FI} @tab neljäsosanuotti
7493 @tab kahdeksasosanuotti
7494 @tab kahdeksasosatauko
7498 * About the French naming system: @emph{croche} refers to the note's "hook".
7499 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7500 hook}, @q{trebled hook}, and so on.
7502 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7503 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7504 a @emph{soupir}, and so on.
7506 Each of the following tables contains one type of note and its matching rest,
7507 with abbreviations that apply to both notes and rests. Just switch the part
7508 that means @q{note} with the part that means @q{rest}, for example:
7512 @item English: 16th @strong{note}, 16th @strong{rest}
7513 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7514 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7518 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7519 duration name. If you know of one that I missed, please send it to me, care of
7520 the lilypond-user discussion list.
7522 @multitable @columnfractions .10 .35 .35 .20
7524 @headitem Lang. @tab Note name
7527 @item @strong{US} @tab sixteenth note
7530 @item @strong{UK} @tab semiquaver
7531 @tab semiquaver rest
7533 @item @strong{ES} @tab semicorchea
7534 @tab silencio de semicorchea
7536 @item @strong{IT} @tab semicroma
7537 @tab pausa di semicroma
7539 @item @strong{FR} @tab double croche
7540 @tab quart de soupir
7542 @item @strong{DE} @tab Sechzehntelnote
7543 @tab Sechzehntelpause
7545 @item @strong{NL} @tab zestiende noot
7548 @item @strong{DK} @tab sekstendedelsnode
7549 @tab sekstendedelspause
7551 @item @strong{SE} @tab sextondelsnot
7554 @item @strong{FI} @tab kuudestoistaosanuotti
7555 @tab kuudestoistaosatauko
7560 @multitable @columnfractions .10 .35 .35 .20
7562 @headitem Lang. @tab Note name
7565 @item @strong{US} @tab thirty-second note
7566 @tab thirty-second rest
7568 @item @strong{UK} @tab demisemiquaver
7569 @tab demisemiquaver rest
7571 @item @strong{ES} @tab fusa
7572 @tab silencio de fusa
7574 @item @strong{IT} @tab biscroma
7575 @tab pausa di biscroma
7577 @item @strong{FR} @tab triple croche
7578 @tab huitième de soupir
7580 @item @strong{DE} @tab Zweiunddreißigstelnote
7581 @tab Zweiunddreißigstelpause
7583 @item @strong{NL} @tab tweeendertigste noot
7584 @tab tweeendertigste rust
7586 @item @strong{DK} @tab toogtredivtedelsnode
7587 @tab toogtredivtedelspause
7589 @item @strong{SE} @tab trettiotvåondelsnot
7590 @tab trettiotvåondelspaus
7592 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7593 @tab kolmaskymmeneskahdesosatauko
7598 @multitable @columnfractions .10 .35 .35 .20
7600 @headitem Lang. @tab Note name
7603 @item @strong{US} @tab sixty-fourth note
7604 @tab sixty-fourth rest
7606 @item @strong{UK} @tab hemidemisemiquaver
7607 @tab hemidemisemiquaver rest
7609 @item @strong{ES} @tab semifusa
7610 @tab silencio de semifusa
7612 @item @strong{IT} @tab semibiscroma
7613 @tab pausa di semibiscroma
7615 @item @strong{FR} @tab quadruple croche
7616 @tab seizième de soupir
7618 @item @strong{DE} @tab Vierundsechzigstelnote
7619 @tab Vierundsechzigstelpause
7621 @item @strong{NL} @tab vierenzestigste noot
7622 @tab vierenzestigste rust
7624 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7625 @tab fireogtredsindstyvendedelspause
7627 @item @strong{SE} @tab sextiofjärdedelsnot
7628 @tab sextiofjärdedelspaus
7630 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7631 @tab kuudeskymmenesneljäsosatauko
7636 @multitable @columnfractions .10 .35 .35 .20
7638 @headitem Lang. @tab Note name
7641 @item @strong{US} @tab one-hundred-twenty-eighth note
7642 @tab one-hundred-twenty-eighth rest
7644 @item @strong{UK} @tab semihemidemisemiquaver
7645 @tab semihemidemisemiquaver rest
7647 @item @strong{ES} @tab garrapatea
7648 @tab silencio de garrapatea
7650 @item @strong{IT} @tab fusa
7653 @item @strong{FR} @tab quintuple croche
7654 @tab trente-deuxième de soupir @tab -
7655 @item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7656 @item @strong{NL} @tab honderdachtentwintigste noot
7657 @tab honderdachtentwintigste rust
7659 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7660 @tab hundredeotteogtyvendedelspause
7662 @item @strong{SE} @tab hundratjugoåttondelsnot
7663 @tab hundratjugoåttondelspaus
7665 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7666 @tab sadaskahdeskymmeneskahdeksasosatauko
7671 @multitable @columnfractions .10 .35 .35 .20
7673 @headitem Lang. @tab Note name
7676 @item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note
7677 @item @strong{UK} @tab demisemihemidemisemiquaver
7678 @tab demisemihemidemisemiquaver rest
7680 @item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab -
7681 @item @strong{IT} @tab semifusa
7682 @tab pausa di semifusa
7684 @item @strong{FR} @tab sextuple croche
7685 @tab soixante-quatrième de soupir @tab -
7686 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7687 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7688 @tab tweehonderdzesenvijftigste rust
7690 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7691 @tab tohundredeseksoghalvtredsendedelspause
7693 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7694 @tab tvåhundrafemtiosjättedelspaus
7696 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7697 @tab kahdessadasviideskymmeneskuudesosatauko
7704 @ref{mensural notation}
7708 @chapter Pitch names
7710 @c -is/-es endings for Danish per Rune Zedeler
7711 @c and for Finnish per Risto Vääräniemi
7712 @c -iss/-ess endings for Swedish per Mats Bengtsson
7713 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7715 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7717 @tab ES @tab I @tab F @tab D
7718 @tab NL @tab DK @tab S @tab FI
7719 @item @strong{c} @tab do @tab do @tab ut @tab C
7720 @tab c @tab c @tab c @tab c
7721 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7722 @tab cis @tab cis @tab ciss @tab cis
7723 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7724 @tab des @tab des @tab dess @tab des
7725 @item @strong{d} @tab re @tab re @tab ré @tab D
7726 @tab d @tab d @tab d @tab d
7727 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7728 @tab dis @tab dis @tab diss @tab dis
7729 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7730 @tab es @tab es @tab ess @tab es
7731 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7732 @tab e @tab e @tab e @tab e
7733 @item @strong{f-flat} = e
7734 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7735 @tab fes @tab fes @tab fess @tab fes
7736 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7737 @tab f @tab f @tab f @tab f
7738 @item @strong{e-sharp} = f
7739 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7740 @tab eis @tab eis @tab eiss @tab eis
7741 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7742 @tab fis @tab fis @tab fiss @tab fis
7743 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7744 @tab ges @tab ges @tab gess @tab ges
7745 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7746 @tab g @tab g @tab g @tab g
7747 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7748 @tab gis @tab gis @tab giss @tab gis
7749 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7750 @tab as @tab as @tab ass @tab as
7751 @item @strong{a} @tab la @tab la @tab la @tab A
7752 @tab a @tab a @tab a @tab a
7753 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7754 @tab ais @tab ais @tab aiss @tab ais
7755 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7756 @tab bes @tab b @tab b @tab b
7757 @item @strong{b} @tab si @tab si @tab si @tab H
7758 @tab b @tab h @tab h @tab h
7766 @node Literature used
7767 @unnumberedsec Literature used
7770 @item The Harvard Dictionary of Music, London 1944. Many more or less
7771 literal quotes from its articles have been included into the item
7774 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7776 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7779 @item Oxford Advanced Learner's Dictionary of Current English, Third
7782 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7784 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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