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
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.
138 @item UK - British English
159 * ancient minor scale::
164 * ascending interval::
165 * augmented interval::
200 * compound interval::
204 * conjunct movement::
217 * descending interval::
219 * diminished interval::
222 * disjunct movement::
224 * dissonant interval::
225 * dominant ninth chord::
226 * dominant seventh chord::
229 * dot (augmentation dot)::
231 * double appoggiatura::
233 * double dotted note::
236 * double time signature::
244 * ecclesiastical mode::
251 * equal temperament::
270 * functional harmony::
286 * inverted interval::
301 * long appoggiatura::
307 * meantone temperament::
313 * mensural notation::
316 * metronomic indication::
328 * multi-measure rest::
356 * polymetric time signature::
361 * Pythagorean comma::
389 * sixty-fourth note::
390 * sixty-fourth rest::
419 * thirty-second note::
420 * thirty-second rest::
427 * transposing instrument::
479 Abbreviated @samp{a2} or @samp{a 2}.
483 @item An indication in orchestral scores that a single part notated on a single
484 staff that normally carries parts for two players (e.g. first and second oboes)
485 is to be played by both players.
487 @item Or conversely, that two pitches or parts notated on a staff that normally
488 carries a single part (e.g. first violin) are to be played by different players,
489 or groups of players (@q{desks}).
508 FI: aksentti, korostus.
510 The stress of one tone over others.
524 ES: alteración accidental,
526 F: altération accidentelle,
527 D: Versetzungszeichen, Akzidenz,
528 NL: toevallig (verplaatsings)teken,
530 S: tillfälligt förtecken,
531 FI: tilapäinen etumerkki.
533 An accidental has the effect of an @ref{alteration} of a note. A
534 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
535 @ref{whole tone}, a flat lowers it by a semitone and a double flat
536 lowers it by a whole tone. A natural cancels the effect of a previous
537 accidental, or a sharp or flat in the key signature.
539 @lilypond[fragment,notime,line-width=13.0\cm]
540 \set Score.automaticBars = ##f
542 \context Staff \relative c'' {
543 \set Staff.extraNatural = ##f
544 gisis1 gis g! ges geses
547 \override Lyrics .LyricText #'self-alignment-X = #-1
548 "db. sharp" sharp natural flat "db. flat"
559 F: accelerando, en accélérant,
560 D: accelerando, schneller werden,
564 FI: accelerando, kiihdyttäen.
570 @section acciaccatura
572 A grace note which takes its time from the rest or note preceding the
573 principal note to which it is attached. The acciaccatura is drawn as a
574 small eighth note (quaver) with a line drawn through the flag and
579 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
592 FI: adagio, hitaasti.
594 It.@: comfortable, easy.
598 @item Slow tempo, slower -- especially in even meter -- than
599 @ref{andante} and faster than @ref{largo}.
601 @item A movement in slow tempo, especially the second (slow) movement
602 of @ref{sonata}s, symphonies, etc.
613 D: Allegro, Schnell, Fröhlich, Lustig,
617 FI: allegro, nopeasti.
619 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
620 tempo, especially the first and last movements of a @ref{sonata}.
630 NL: verhoging of verlaging,
635 An alteration is the modification, raising or lowering, of a note's
636 pitch. It is established by an @ref{accidental}.
649 FI: altto, matala naisääni.
651 A female voice of low range (@emph{contralto}). Originally the alto
652 was a high male voice (hence the name), which by the use of falsetto
653 reached the height of the female voice. This type of voice is also
654 known as @ref{counter tenor}.
660 ES: clave de do en tercera,
661 I: chiave di contralto,
662 F: clef d'ut troisième ligne,
663 D: Altschlüssel, Bratschenschlüssel,
669 C clef setting middle C on the middle line of the staff.
686 FI: ambitus, ääniala, soitinala.
688 The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
689 of pitches for a given voice in a part of music. It may also denote
690 the pitch range that a musical instrument is capable of playing.
705 An anacrusis (also known as pickup or upbeat) is an incomplete measure
706 of music before a section of music. It also refers to the initial
707 note(s) of a melody occurring in that incomplete measure.
711 @ref{measure}, @ref{meter}.
713 @lilypond[fragment,line-width=13.0\cm]
717 \partial 4 f4 | bes4. a8 bes4 c |
718 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
722 @node ancient minor scale
723 @section ancient minor scale
725 ES: escala menor antigua,
726 I: scala minore naturale,
727 F: forme du mode mineur ancien, troisème mode, mode hellénique,
728 D: reines Moll, natürliches Moll,
729 NL: authentieke mineurtoonladder,
732 FI: luonnollinen molliasteikko.
736 @ref{diatonic scale}.
738 @lilypond[fragment,notime,line-width=13.0\cm]
739 \set Score.automaticBars = ##f
757 Walking tempo/character.
761 @section appoggiatura
765 F: appoggiature, (port de voix),
766 D: Vorschlag, Vorhalt
770 FI: appoggiatura, etuhele.
772 Ornamental note, usually a second, that is melodically connected with
773 the main note following it. In music before the 19th century
774 appoggiature were usually performed on the beat, after that mostly
775 before the beat. While the short appoggiatura is performed as a short
776 note regardless of the duration of the main note the duration of the
777 long appoggiatura is proportional to that of the main note.
779 @lilypond[line-width=13.0\cm]
780 \context Voice \relative c'' {
784 %\override Score.TextScript #'font-style = #'large
785 <d a fis>4_"notation" r
786 { \override Stem #'flag-style = #'()
788 \revert Stem #'flag-style
791 { \override Stem #'flag-style = #'()
793 \revert Stem #'flag-style
796 \cadenzaOn a4 \bar "||" \cadenzaOff
798 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
799 \cadenzaOn a4 \bar "||" \cadenzaOff
803 An appoggiatura may have more notes preceding the main note.
805 @lilypond[line-width=13.0\cm]
809 % \override Score.TextScript #'font-style = #'large
810 \grace { bes16 } as8_"notation" as16 bes as8 g |
811 \grace { as16[( bes] } < c as >4-)
812 \grace { as16[( bes] } < c as >4-) \bar "||"
813 \grace { bes16 } as8_"performance" as16 bes as8 g |
814 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
815 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
827 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
829 DK: arpeggio, akkordbrydning,
831 FI: arpeggio, murtosointu.
833 @lilypond[fragment,line-width=13.0\cm]
834 \context PianoStaff <<
835 \context Staff = SA \relative c'' {
838 r8 g16 c e g, c e r8 g,16 c e g, c e |
839 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
840 \context Staff = SB \relative c' {
842 << \context Voice = va {
844 r16 e8. ( e4) r16 e8. ( e4) |
845 r16 d8. ( d4) r16 d8. ( d4) }
846 \context Voice = vb {
855 @section articulation
864 FI: artikulaatio, ilmaisu.
866 Articulation refers to notation which indicates how a note or notes
867 should be played. Slurs, accents, staccato, and legato are all
868 examples of articulation.
871 @node ascending interval
872 @section ascending interval
874 ES: intervalo ascendente,
875 I: intervallo ascendente,
876 F: intervalle ascendant,
877 D: steigendes Intervall,
878 NL: stijgend interval,
879 DK:@w{ }stigende interval,
880 S: stigande intervall,
881 FI: nouseva intervalli.
883 A distance between a starting lower note and a higher ending note.
886 @node augmented interval
887 @section augmented interval
889 ES: intervalo aumentado,
890 I: intervallo aumentato,
891 F: intervalle augmenté,
892 D: übermäßiges Intervall,
893 NL: overmatig interval,
894 DK: forstørret interval,
895 S: överstigande intervall,
896 FI: ylinouseva intervalli.
908 F: manuscrit, autographe
909 D: Autograph, Handschrift,
911 DK: håndskrift, autograf,
913 FI: käsinkirjoitettu nuotti.
917 @item A manuscript in the composer's own hand.
919 @item Music prepared for photoreproduction by freehand drawing, with
920 the aid of a straightedge ruler and T-square only, which attempts to
921 emulate engraving. This required more skill than did engraving.
962 ES: barra, línea divisoria,
963 I: stanghetta, barra (di divisione),
964 F: barre (de mesure),
982 FI: baritoni, keskikorkuinen miesääni.
984 The male voice intermediate between the @ref{bass} and the
987 @c F: clef de troisième ligne dropped
991 @section baritone clef
993 ES: clave de fa en tercera,
994 I: chiave di baritono,
995 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1002 C or F clef setting middle C on the upper staff line.
1006 @ref{C clef}, @ref{F clef}.
1012 ES: clave de fa en cuarta,
1014 F: clef de fa quatrième ligne,
1021 A clef setting with middle C on the first top ledger line.
1038 FI: basso, matala miesääni.
1042 @item The lowest male voice.
1044 @item Sometimes, especially in jazz music, used as an abbreviation for
1066 Line connecting a series of notes (shorter than a quarter note). The
1067 number of beams determines the note value of the connected notes.
1069 @lilypond[fragment,notime,line-width=13.0\cm]
1070 \set Score.automaticBars = ##f
1071 %\override TextScript #'font-style = #'large
1073 g8_"1/8"[ g g g] s16
1074 g16_"1/16"[ g g g] s16
1075 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1076 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1081 @ref{feathered beam}.
1087 ES: tiempo, parte (de compás)
1090 D: Takt, Taktschlag, Zeit (im Takt),
1096 Note value used for counting, most often half-, fourth-, and eighth
1097 notes. The base counting value and the number of them per measure is
1098 indicated at the start of the music.
1100 @lilypond[fragment,line-width=13.0\cm]
1103 \relative c'' { g4 c b a | g1 \bar "||"}
1105 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1120 ES: llave, corchete,
1123 D: Klammer, Akkolade,
1124 NL: accolade, teksthaak,
1127 FI: yhdistävä sulkumerkki.
1129 Symbol at the start of a system connecting staves.
1131 Curly braces are used for connecting piano staves, and sometimes for connecting
1132 the staves of like instruments in an orchestral score when written on different
1133 staves (e.g. first and second flutes):
1135 @lilypond[fragment,ragged-right]
1136 \context GrandStaff <<
1137 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1138 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1141 Angular brackets for connecting parts in an orchestral or choral score:
1143 @lilypond[fragment,ragged-right]
1144 \context StaffGroup <<
1145 % \set StaffGroup.minVerticalAlign = #12
1146 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1147 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1174 NL: koper (blazers),
1177 S: brassinstrument, mässingsinstrument,
1180 A family of blown musical instruments made of brass, all using a cup
1181 formed mouth piece. The brass instruments commonly used in a symphony
1182 orchestra are trumpet, trombone, french horn, and tube.
1186 @section breath mark
1191 D: Atemzeichen, Trennungszeichen,
1192 NL: repercussieteken,
1193 DK: vejrtrækningstegn,
1197 Indication of where to breathe in vocal and wind instrument parts.
1202 ES: cuadrada, breve,
1211 @ref{note value}, twice as long as a whole note. Mainly used in
1212 pre-1650 music. The shortest note value generally used in white
1213 mensural notation, hence the name, which originally meant "of short
1216 @lilypond[fragment,notime,ragged-right]
1217 \set Score.automaticBars = ##f
1218 \relative c'' { g\breve }
1251 Clef symbol indicating the position of the middle C. Used on all note
1254 @lilypond[fragment,notime,line-width=13.0\cm]
1255 \set Score.automaticBars = ##f
1256 \override Score.Clef #'full-size-change = ##t
1258 \context Staff \relative c' {
1260 \clef mezzosoprano c
1265 \context Lyrics \lyrics {
1266 \override Lyrics .LyricText #'self-alignment-X = #-1
1267 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1283 FI: kadenssi, lopuke.
1287 @ref{harmonic cadence}, @ref{functional harmony}.
1300 FI: kadenssi, lopuke.
1302 An extended, improvisatory style section inserted near the end of
1303 movement. The purpose of a cadenza is to give singers or players a
1304 chance to exhibit their technical skill and -- not last -- their
1305 ability to improvise. Since the middle of the 19th century, however,
1306 most cadenzas have been written down by the composer.
1319 FI: kaanon, tarkka jäljittely.
1336 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1337 viritysjärjestelmässä.
1339 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1340 (1/100 of an equally tempered @ref{semitone}).
1344 @ref{equal temperament}.
1367 Three or more tones sounding simultaneously. In traditional European
1368 music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
1369 @emph{Major} (major + minor @ref{third}) as well as @emph{minor}
1370 (minor + major third) chords may be extended with more thirds.
1371 Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
1372 chords are most often used as dominants (@ref{functional harmony}). A
1373 special case is chords having no third above the lower notes to define
1374 their quality as major or minor. Such chords are denoted open chords
1376 @lilypond[fragment,notime,line-width=13.0\cm]
1377 \set Score.automaticBars = ##f
1378 %\override TextScript #'font-style = #'large
1380 \context Staff \relative c'' {
1381 \set Staff.extraNatural = ##f
1401 @node chromatic scale
1402 @section chromatic scale
1404 ES: escala cromática,
1406 F: gamme chromatique,
1407 D: chro@-ma@-ti@-sche Tonleiter,
1408 NL: chromatische toonladder,
1409 DK: kromatisk skala,
1411 FI: kromaattinen asteikko.
1413 A scale consisting of all 12 @ref{semitone}s.
1415 @lilypond[fragment,notime,line-width=13.0\cm]
1416 \set Score.automaticBars = ##f
1417 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1422 @section chromaticism
1433 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1437 @section church mode
1439 ES: modo eclesiástico,
1440 I: modo ecclesiastico,
1441 F: mode ecclésiastique,
1446 FI: moodi, kirkkosävellaji.
1450 @ref{diatonic scale}.
1459 D: Schlüssel, Notenschlüssel,
1463 FI: avain, nuottiavain.
1467 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1469 The clef indicates which lines of the staff correspond to which
1470 pitches. The three clef symbols in common use are:
1472 @lilypond[ragged-right,quote]
1475 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1476 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1477 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1482 Imagine a large staff of 11 lines centered on middle C, sometimes
1483 called a @q{grand staff}, with the bottom line representing low G and
1484 the top line high F:
1486 @lilypond[ragged-right,quote]
1489 %-- Treble Staff --%
1491 % Allow this staff to be placed close to the others
1492 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1493 % Allow the treble clef to overlap the lower staves:
1494 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1495 \override Staff.Clef #'stencil = ##f % No clef required
1497 s1^\markup { "g," \transparent "g" }
1498 s^ \markup { "b," \transparent "g" }
1499 s^ \markup { "d" \transparent "g" }
1500 s^ \markup { "f" \transparent "g" }
1501 s^ \markup { "a" \transparent "g" }
1502 s^ \markup { \with-color #red c' \transparent "g"}
1503 e'^\markup { "e'" \transparent "g" }
1504 g'^\markup { "g'" \transparent "g" }
1505 b'^\markup { "b'" \transparent "g" }
1506 d''^\markup { "d''" \transparent "g" }
1507 f''^\markup { "f ''" \transparent "g" }
1510 %-- Alto Staff reduced to a single line on middle C --%
1512 \override Staff.StaffSymbol #'line-count = 1 % One line only
1513 \override Staff.StaffSymbol #'color = #red % Coloured red
1514 \override Staff.Clef #'stencil = ##f % No clef required
1517 % Allow this staff to be placed close to the others
1518 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1519 % Specify height to give correct spacing between treble and bass staves
1520 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1522 s1 s s s s % Space along to align horizonatally
1523 \override NoteHead #'color = #red
1525 s1 s s s s s % Keep staff (ie the red line) showing
1529 % Allow this staff to be placed close to the others
1530 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1531 \override Staff.Clef #'stencil = ##f % No clef required
1534 s s s s s s s % Keep staff showing
1538 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1539 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1541 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1542 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1544 % Remove all barlines
1545 \context { \Score \override BarLine #'stencil = ##f
1547 % Remove time signature from all staves
1548 \context { \Staff \remove Time_signature_engraver
1554 Staves of five lines are usually used, and the clef superimposed on
1555 them indicates which five lines have been selected from this
1556 @samp{grand staff}. For example, the treble or G clef indicates that
1557 the top five lines have been selected:
1559 @lilypond[ragged-right,quote]
1562 %-- Treble Staff --%
1564 % Allow this staff to be placed close to the others
1565 \override Staff.VerticalAxisGroup
1566 #'minimum-Y-extent = #'(0 . 0)
1567 % Allow the treble clef to overlap the lower staves:
1568 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1569 \override Staff.Clef #'stencil = ##f % No clef required here
1571 s1^\markup { "g," \transparent "g" }
1572 s^ \markup { "b," \transparent "g" }
1573 s^ \markup { "d" \transparent "g" }
1574 s^ \markup { "f" \transparent "g" }
1575 s^ \markup { "a" \transparent "g" }
1576 s^ \markup { \with-color #red c' \transparent "g"}
1577 \stopStaff \startStaff
1578 \clef "C" % Dummy to force next clef to be printed
1579 s % Need at least one note for \clef to take effect
1580 \override Staff.Clef #'stencil = ##t % Clef now required
1581 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1583 e'^\markup { "e'" \transparent "g" }
1584 g'^\markup { "g'" \transparent "g" }
1585 b'^\markup { "b'" \transparent "g" }
1586 d''^\markup { "d''" \transparent "g" }
1587 f''^\markup { "f ''" \transparent "g" }
1589 %-- Alto Staff reduced to a single line on middle C --%
1591 \override Staff.StaffSymbol #'line-count = 1 % One line only
1592 \override Staff.StaffSymbol #'color = #red % Coloured red
1593 \override Staff.Clef #'stencil = ##f % No clef required
1596 % Allow this staff to be placed close to the others
1597 \override Staff.VerticalAxisGroup
1598 #'minimum-Y-extent = #'(0 . 0)
1599 % Specify height to give correct spacing between the staves
1600 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1602 s1 s s s s % Space along to align horizonatally
1603 \override NoteHead #'color = #red
1605 % s1 s s s s % Keep staff (ie the red line) showing
1609 % Allow this staff to be placed close to the others
1610 \override Staff.VerticalAxisGroup
1611 #'minimum-Y-extent = #'(0 . 0)
1612 \override Staff.Clef #'stencil = ##f % No clef required
1615 % s s s s s s % Keep staff showing
1619 % Reduce horizontal spacing so semibreves can be used
1620 % without exceeding 1 line
1621 \context { \Score \override SpacingSpanner
1622 #'base-shortest-duration = #(ly:make-moment 1 1)
1624 % Reduce apparent vertical size of note heads to
1625 % permit them to overlap other grobs vertically
1626 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1628 % Remove all barlines
1629 \context { \Score \override BarLine #'stencil = ##f
1631 % Remove time signature from all staves
1632 \context { \Staff \remove Time_signature_engraver
1638 The @q{curl} of the G clef in centered on the line that represents the
1641 In the same way, the bass or F clef indicates that the bottom five
1642 lines have been selected from the @samp{grand staff}, and the alto or
1643 C clef indicates the middle five lines have been selected. This
1644 relationship is shown below, where the notes show an arpeggio on a C
1647 @lilypond[ragged-right,quote]
1650 %-- Treble Staff --%
1651 \new Staff = "G" \with {
1652 \remove Time_signature_engraver
1655 % The following two overrides are required to make the two middle C's overlap
1656 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1657 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1659 \override Staff.Clef #'Y-extent = #'(0 . 0)
1661 s1 s s s s e' g' c''
1664 \new Staff = "C" \with {
1665 \remove Time_signature_engraver
1668 \override Staff.StaffSymbol #'line-count = 1
1669 \override Staff.StaffSymbol #'stencil = ##f
1670 \once \override Staff.Clef #'stencil = ##f
1671 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1672 \override Score.BarLine #'stencil = ##f
1674 % The following two overrides are required to align the C staff to the G and F staves
1675 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1676 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1679 \stopStaff \startStaff
1680 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1681 \revert Staff.StaffSymbol #'stencil
1682 \override Staff.StaffSymbol #'color = #red
1683 b'1 % A frig. This really shows as a middle C in the score
1685 \stopStaff \startStaff
1686 \override Staff.StaffSymbol #'line-count = 5
1687 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1688 \override Staff.Clef #'Y-extent = #'(0 . 0)
1689 \revert Staff.StaffSymbol #'color
1690 \stopStaff \startStaff
1692 s1 s s c e g c' e' g' c''
1695 \new Staff = "F" \with {
1696 \remove Time_signature_engraver
1699 \override Staff.Clef #'Y-extent = #'(0 . 0)
1700 % The following two overrides are required to make the two middle C's overlap
1701 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1702 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1710 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1713 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1716 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1733 FI: klusteri, cluster.
1735 A @emph{cluster} is a range of simultaneously sounding pitches that
1736 may change over time. The set of available pitches to apply usually
1737 depends on the acoustic source. Thus, in piano music, a cluster
1738 typically consists of a continuous range of the semitones as provided
1739 by the piano's fixed set of a chromatic scale. In choral music, each
1740 singer of the choir typically may sing an arbitrary pitch within the
1741 cluster's range that is not bound to any diatonic, chromatic or other
1742 scale. In electronic music, a cluster (theoretically) may even cover
1743 a continuous range of pitches, thus resulting in colored noise, such
1746 Clusters can be denoted in the context of ordinary staff notation by
1747 engraving simple geometrical shapes that replace ordinary notation of
1748 notes. Ordinary notes as musical events specify starting time and
1749 duration of pitches; however, the duration of a note is expressed by
1750 the shape of the note head rather than by the horizontal graphical
1751 extent of the note symbol. In contrast, the shape of a cluster
1752 geometrically describes the development of a range of pitches
1753 (vertical extent) over time (horizontal extent). Still, the
1754 geometrical shape of a cluster covers the area in which any single
1755 pitch contained in the cluster would be notated as an ordinary note.
1757 @lilypond[fragment,relative=2,ragged-right]
1758 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1772 FI: komma, korvinkuultava ero äänenkorkeudessa.
1774 Difference in pitch between a note derived from pure tuning and the
1775 same note derived from some other tuning method.
1783 @section common meter
1793 @section common time
1795 4/4 time. The symbol, which resembles a capital letter C derives from
1796 mensural notation (q.v.).
1806 ES: intervalo invertido,
1808 F: intervalle complémentaire,
1809 D: Komplementärintervall,
1810 NL: complementair interval,
1811 DK: komplementærinterval,
1812 S: komplementärintervall (?),
1813 FI: täydentävä intervalli.
1817 @ref{inverted interval}.
1820 @node compound interval
1821 @section compound interval
1823 ES: intervalo compuesto,
1824 I: intervallo composto,
1825 F: intervalle composé,
1826 D: weites Intervall,
1827 NL: samengesteld interval,
1828 DK: sammensat interval,
1829 S: sammansatt intervall,
1830 FI: oktaavia laajempi intervalli.
1832 Intervals larger than an octave.
1839 @node compound meter
1840 @section compound meter
1851 A meter that includes a triplet subdivision within the beat, such as
1856 @ref{meter}, @ref{simple meter}.
1860 @section compound time
1871 @ref{compound meter}
1879 @section concert pitch
1890 The pitch at which the piano and other nontransposing instruments play: such
1891 instruments are said to be @q{in C}. The following list includes some (but not
1892 all) instruments that play in concert pitch:
1906 @item tenor trombone
1921 The trombones are a special case: although they are said to be @q{in F} (alto or
1922 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
1923 their parts' transposition. (In fact, the trombones' parts are written at
1924 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
1925 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
1928 Instruments that play @q{in C} but in a different octave than what is written
1929 are, technically speaking, @emph{transposing instruments}:
1933 @item piccolo (plays an octave higher)
1934 @item celesta (plays an octave higher)
1935 @item double-bass (plays an octave lower)
1941 @ref{transposing instrument}.
1944 @node conjunct movement
1945 @section conjunct movement
1947 ES: movimiento conjunto,
1949 F: mouvement conjoint,
1950 D: schritt@-weise, stufenweise Bewegung,
1951 NL: stapsgewijze, trapsgewijze beweging,
1952 DK: trinvis bevægelse,
1954 FI: asteittainen liike.
1956 Progressing melodically by intervals of a second. The opposite of a
1957 @ref{disjunct movement}.
1959 @lilypond[fragment,line-width=13.0\cm]
1960 \key g \major \time 4/4
1961 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1975 FI: konsonanssi, sopusointi.
2000 @section counterpoint
2009 FI: kontrapunkti, ääni ääntä vastaan.
2011 From Latin @emph{punctus contra punctum}, note against note. The
2012 combination into a single musical fabric of lines or parts which have
2013 distinct melodic significance. A frequently used polyphonic technique
2014 is imitation, in its strictest form found in the canon needing only
2015 one part to be written down while the other parts are performed with a
2016 given displacement. Imitation is also the contrapunctal technique
2017 used in the @emph{fugue} which, since the music of the baroque era,
2018 has been one of the most popular polyphonic composition methods.
2020 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2021 \set Score.implicitTimeSignatureVisibility = #all-invisible
2022 \override Score.TimeSignature #'break-visibility = #all-invisible
2023 \context PianoStaff <<
2024 \context Staff = SA \relative c' {
2028 << \context Voice = rha {
2030 r1 | r2 r8 g'8 bes d, |
2031 cis4 d r8 e!16 f g8 f16 e |
2032 f8 g16 a bes8 a16 g a8
2034 \context Voice = rhb {
2040 \context Staff = SB \relative c' {
2043 << \context Voice = lha {
2045 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2046 r8 a16 g f8 g16 a bes8 g e! cis' |
2049 \context Voice = lhb {
2059 @section counter tenor
2064 D: Countertenor, Kontratenor,
2067 S: kontratenor, counter tenor,
2076 @section copying music
2078 A music copyist did fast freehand scores and parts on preprinted staff
2079 lines for performance. Some of their conventions (e.g., the placement
2080 of note heads on stems) varied slightly from those of engravers. Some
2081 of their working methods were superior and could well be adopted by
2082 music typesetters. Copying music required more skill than engraving.
2091 D: Crescendo, lauter werden,
2095 FI: cresendo, voimistuen.
2097 Increasing volume. Indicated by a rightwards opening horizontal wedge
2098 or the abbreviation @samp{cresc.}.
2100 @lilypond[fragment,ragged-right]
2101 \key g \major \time 4/4
2102 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2111 F: petites notes précédent l'entrée d'un instrument, réplique,
2118 In a separate part notes belonging to another part with the purpose of
2119 hinting when to start playing. Usually printed in a smaller type.
2128 D: Notenzeiger, Custos,
2134 A custos (plural: custodes) is a staff symbol that appears at the end
2135 of a staff line with monophonic musical contents (i.e., with a single
2136 voice). It anticipates the pitch of the first note of the following
2137 line and thus helps the player or singer to manage line breaks during
2138 performance, thus enhancing readability of a score.
2140 Custodes were frequently used in music notation until the 16th
2141 century. There were different appearences for different notation
2142 styles. Nowadays, they have survived only in special forms of musical
2143 notation such as via the Editio Vaticana dating back to the beginning
2149 % \override Staff.Custos #'neutral-position = #4
2150 \override Staff.Custos #'neutral-direction = #down
2151 \override Staff.Custos #'style = #'hufnagel
2159 \consists Custos_engraver
2189 F: da capo, depuis le commencement,
2190 D: da capo, von Anfang,
2194 FI: da capo, alusta.
2196 The term indicates repetition of the piece from the beginning to the
2197 end or to a certain place marked @emph{fine}. Usually abbreviated as
2206 F: dal segno, depuis le signe,
2207 D: dal segno, ab dem Zeichen,
2211 FI: dal segno, lähtien merkistä.
2213 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2214 another place frequently near the beginning marked by a sign:
2216 @lilypond[fragment,ragged-right]
2217 %\override TextScript #'font-style = #'large
2218 \override TextScript #'font-shape = #'italic
2219 \key g \major \time 4/4
2224 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2231 @section decrescendo
2235 D: Decrescendo, leiser werden,
2239 FI: decresendo, hiljentyen.
2241 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2242 or the abbreviation @samp{decresc.}.
2244 @lilypond[fragment,ragged-right]
2246 \key g \major \time 4/4
2247 d4 \> c b a | g1 \! \bar "|."
2252 @node descending interval
2253 @section descending interval
2255 ES: intervalo descendente,
2256 I: intervallo discendente,
2257 F: intervalle descendant,
2258 D: fallendes Intervall, absteigendes Intervall,
2259 NL: dalend interval,
2260 DK: faldende interval,
2261 S: fallande intervall,
2262 FI: laskeva intervalli.
2264 A distance between a starting higher note and a lower ending note.
2267 @node diatonic scale
2268 @section diatonic scale
2270 ES: escala diatónica,
2272 F: gamme diatonique,
2273 D: diatonische Tonleiter,
2274 NL: diatonische toonladder,
2275 DK: diatonisk skala,
2277 FI: diatoninen asteikko.
2279 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
2280 }@ref{semitone}s (S). Scales played on the white keys of a piano
2281 keybord are diatonic.
2283 The church modes are used in gregorian chant and in pre-baroque early
2284 music but also to some extent in newer jazz music.
2286 @lilypond[fragment,notime,ragged-right]
2287 \set Score.automaticBars = ##f
2288 %\override Score.LyricText #'font-style = #'large
2289 %\override Score.TextScript #'font-style = #'large
2291 \context Staff \relative c' {
2293 \override TextScript #'padding = #-4
2294 e^"~~ S" f g a b^"~~ S" c
2296 \context Lyrics \lyrics {
2302 @lilypond[fragment,notime,ragged-right]
2303 \set Score.automaticBars = ##f
2305 \context Staff \relative c' {
2307 \override TextScript #'padding = #-4
2308 e^"~~ S" f g a b^"~~ S" c d
2316 @lilypond[fragment,notime,ragged-right]
2317 \set Score.automaticBars = ##f
2320 \override TextScript #'padding = #-4
2321 e1^"~~ S" f g a b^"~~ S" c d e
2329 @lilypond[fragment,notime,ragged-right]
2330 \set Score.automaticBars = ##f
2334 \override TextScript #'padding = #-4
2335 b^"~~ S" c d e^"~~ S" f
2343 @lilypond[fragment,notime,ragged-right]
2344 \set Score.automaticBars = ##f
2348 \override TextScript #'padding = #-4
2349 b^"~~ S" c d e^"~~ S" f g }
2356 @lilypond[fragment,notime,ragged-right]
2357 \set Score.automaticBars = ##f
2358 %\override Score.LyricText #'font-style = #'large
2359 %\override Score.TextScript #'font-style = #'large
2363 \override TextScript #'padding = #-4
2364 b^"~~ S" c d e^"~~ S" f g a
2372 From the beginning of the 17th century the scales used in European
2373 compositional music are primarily the major and the minor scales. In
2374 the harmonic minor scale type an augmented second (A) occurs between
2375 the 6th and 7th tone.
2377 @lilypond[fragment,notime,ragged-right]
2378 \set Score.automaticBars = ##f
2382 \override TextScript #'padding = #-4
2383 e^"~~ S" f g a b^"~~ S" c
2391 @lilypond[fragment,notime,ragged-right]
2392 \set Score.automaticBars = ##f
2396 \override TextScript #'padding = #-4
2397 b^"~~ S" c d e^"~~ S" f g a
2405 @lilypond[fragment,notime,ragged-right]
2406 \set Score.automaticBars = ##f
2410 \override TextScript #'padding = #-4
2411 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2413 \context Lyrics \lyrics {
2419 @lilypond[fragment,notime,line-width=13.0\cm]
2420 \set Score.automaticBars = ##f
2421 %\override Score.LyricText #'font-style = #'large
2422 %\override Score.TextScript #'font-style = #'large
2426 \override TextScript #'padding = #-4
2427 b^"~~ S" c d e fis gis^"~~ S"
2428 a g! f!^"~~ S" e d c^"~~ S" b a
2437 @node diminished interval
2438 @section diminished interval
2440 ES: intervalo disminuido,
2441 I: intervallo diminuito,
2442 F: intervalle diminué,
2443 D: vermindertes Intervall,
2444 NL: verminderd interval,
2445 DK: formindsket interval,
2446 S: förminskat intervall,
2447 FI: vähennetty intervalli.
2464 FI: diminuendo, hiljentyen.
2488 @node disjunct movement
2489 @section disjunct movement
2491 ES: movimiento disjunto,
2493 F: mouvement disjoint,
2494 D: sprunghafte Bewegung,
2495 NL: sprongsgewijze beweging,
2496 DK: springende bevægelse,
2497 S: hoppande rörelse,
2498 FI: melodian hyppivä liike.
2500 Progressing melodically by intervals larger than a major second, as
2501 opposed to @ref{conjunct movement}.
2503 @lilypond[fragment,ragged-right]
2508 a4. gis8 b a e cis |
2509 fis2 d4. \bar "||" }
2516 @ref{dissonant interval}.
2519 @node dissonant interval
2520 @section dissonant interval
2522 ES: intervalo disonante, disonancia,
2523 I: intervallo dissonante, dissonanza,
2526 NL: dissonant interval, dissonant,
2527 DK: dissonerende interval, dissonans,
2529 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2536 @node dominant ninth chord
2537 @section dominant ninth chord
2539 ES: acorde de novena de dominante,
2540 I: accordo di nona di dominante,
2541 F: accord de neuvième dominante,
2542 D: Domi@-nant@-nonen@-akkord,
2543 NL: dominant noon akkoord,
2544 DK: dominantnoneakkord,
2545 S: dominantnonackord,
2546 FI: dominanttinoonisointu.
2550 @ref{chord}, @ref{functional harmony}.
2553 @node dominant seventh chord
2554 @section dominant seventh chord
2556 ES: acorde de séptima de dominante,
2557 I: accordo di settima di dominante,
2558 F: accord de septième dominante,
2559 D: Dominantseptakkord,
2560 NL: dominant septiem akkoord,
2561 DK: dominantseptimakkord,
2562 S: dominantseptimackord,
2563 FI: dominanttiseptimisointu.
2567 @ref{chord}, @ref{functional harmony}.
2580 FI: dominantti, huippusointu.
2582 The fifth @ref{scale degree} in @ref{functional harmony}.
2586 @section dorian mode
2591 D: dorisch, dorischer Kirchenton,
2592 NL: dorische toonladder,
2599 @ref{diatonic scale}.
2602 @node dot (augmentation dot)
2603 @section dot (augmentation dot)
2606 I: punto (di valore),
2608 D: Punkt (Verlängerungspunkt),
2616 @ref{dotted note}, @ref{note value}.
2620 @section dotted note
2622 ES: nota con puntillo,
2626 NL: gepuncteerde noot,
2629 FI: pisteellinen nuotti.
2636 @node double appoggiatura
2637 @section double appoggiatura
2639 ES: apoyatura doble,
2640 I: appoggiatura doppia,
2641 F: appoggiature double,
2642 D: doppelter Vorschlag,
2643 NL: dubbele voorslag,
2644 DK: dobbelt forslag,
2646 FI: kaksoisappogiatura, kaksoisetuhele.
2653 @node double bar line
2654 @section double bar line
2660 NL: dubbele maatstreep,
2663 FI: kaksoistahtiviiva.
2665 Indicates the end of a section within a movement.
2668 @node double dotted note
2669 @section double dotted note
2671 ES: nota con doble puntillo,
2672 I: nota doppiamente puntata,
2673 F: note doublement pointée,
2674 D: doppelt punktierte Note,
2675 NL: dubbelgepuncteerde noot,
2676 DK: dob@-belt@-punk@-te@-ret node,
2677 S: dub@-bel@-punk@-te@-rad not,
2678 FI: kaksoispisteellinen nuotti.
2686 @section double flat
2695 FI: kaksoisalennusmerkki.
2703 @section double sharp
2705 ES: doble sostenido,
2710 DK: dob@-belt@-kryds,
2712 FI: kaksoisylennysmerkki.
2719 @node double time signature
2720 @section double time signature
2733 @ref{polymetric time signature}.
2737 @section double trill
2743 NL: dubbele triller,
2748 A simultaneous trill on two notes, usually in the distance of a third.
2752 @section duple meter
2757 D: in zwei, grader Takt,
2758 NL: tweedelige maatsoort,
2795 FI: kesto, aika-arvo.
2803 @section dydimic comma
2807 @ref{syntonic comma}.
2816 D: Dynamik, Lautstärke,
2822 The aspect of music relating to degrees of loudness, or changes from
2823 one degree to another. The terms, abbreviations, and symbols used to
2824 indicate this information are called dynamic marks.
2828 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2849 @node ecclesiastical mode
2850 @section ecclesiastical mode
2858 @section eighth note
2864 D: Achtel, Achtelnote,
2866 DK: ottendedelsnode,
2868 FI: kahdeksasosanuotti.
2876 @section eighth rest
2878 ES: silencio de corchea,
2884 DK: ottendedelspause,
2886 FI: kahdeksasosatauko.
2896 @c TODO: add languages
2907 @c TODO definition -- referenced from lyric tie
2911 @section embellishment
2924 D: Notenstich, Notendruck
2930 Engraving means incising or etching a metal plate for printing.
2931 Photoengraving means drawing music with ink in a manner similar to
2932 drafting or engineering drawing, using similar tools.
2934 The traditional process of music printing is done through cutting in a
2935 plate of metal. Now also the term for the art of music typesetting.
2950 Two notes, intervals, or scales are enharmonic if they have different
2951 names but equal pitch.
2953 @lilypond[fragment,notime,line-width=13.0\cm]
2954 \set Score.automaticBars = ##f
2956 \context Staff \relative c'' {
2957 gis1 as <des g,!> <cis g!>
2959 \context Lyrics \lyrics {
2960 \override Lyrics .LyricText #'self-alignment-X = #-1
2961 "g sharp " "a flat " "dim fifth " "augm fourth"
2967 @node equal temperament
2968 @section equal temperament
2970 ES: temperamento igual,
2971 I: temperamento equabile,
2972 F: tempérament égal,
2973 D: gleichschwebende Stimmung,
2974 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2975 DK: ligesvævende temperatur,
2976 S: liksvävande temperatur,
2979 Tuning system dividing the octave into 12 equal @ref{semitone}s
2980 (precisely 100 @ref{cent}s).
2987 @node expression mark
2988 @section expression mark
2991 I: segno d'espressione,
2992 F: signe d'expression, indication de nuance,
2994 NL: voordrachtsteken,
2995 DK: foredragsbetegnelse,
2996 S: föredragsbeteckning,
2997 FI: nyanssiosoitus, esitysmerkki.
2999 Performance indications concerning:
3003 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3005 @item tempo (for example @ref{andante}, @ref{allegro}).
3011 @section extender line
3013 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3015 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3022 The generic term for a line (or dash) of arbitrary length that extends
3023 text (without indicating the musical @emph{function} of that text).
3025 Used in many contexts, for example:
3029 @item In vocal music to indicate the syllable for a melisma. Called
3030 @q{extension} in the
3031 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3035 In figured (or thorough) bass to indicate that:
3039 @item The extended note should be held through a change in
3040 harmony, when applied to one figure --OR--
3042 @item The chord thus represented should be held above a moving
3043 bass line, when applied to more than one figure.
3045 @item These uses were not completely standardized, and some
3046 composers used a single extender line to indicate the
3052 In string music to indicate that all notes in the passage thus
3053 indicated should be played on the same string. On the violin, for
3054 example, a series of notes to be played on the G string would be
3055 indicated @samp{sul G}, another series to be played on the D string
3056 would be indicated @samp{sul D}, and so on.
3059 With an octave indication (also called @emph{octavation}, q.v.) to indicate that
3060 a passage is to be played higher or lower by the given number of octaves.
3066 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
3098 The position between the dots of the key symbol is the line of the F
3099 below central@w{ }C. Used on the third, fourth and fifth note line.
3100 A digit@w{ }8 above the clef symbol indicates that the notes must be
3101 played an octave higher (for example, bass recorder) while 8@w{ }below
3102 the clef symbol indicates playing an octave lower (for example, on
3103 double bass @ref{strings}).
3105 @lilypond[fragment,notime,line-width=13.0\cm]
3106 \set Score.automaticBars = ##f
3107 \override Staff.Clef #'full-size-change = ##t
3135 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3138 @node feathered beam
3139 @section feathered beam
3143 F: liens de croches en soufflet,
3144 D: gespreizter Balken,
3150 A type of beam used to indicate that a small group of notes should be
3151 played at an increasing or decreasing tempo -- depending on the
3152 direction of @q{feathering} -- but without changing the overall tempo
3157 Internals Reference: @ruser{Manual beams}
3165 F: point d'orgue, point d'arrêt,
3170 FI: fermaatti, pidäke.
3172 Prolonged note or rest of indefinite duration.
3174 @lilypond[fragment,ragged-right]
3177 a4 b c2^\fermata \bar "|."
3200 @section figured bass
3204 @ref{thorough bass}.
3219 The methodical use of fingers in the playing of instruments.
3226 I: coda (uncinata), bandiera,
3234 Ornament at the end of the stem of a note used for notes with values
3235 less than a quarter note. The number of flags determines the
3238 @lilypond[fragment,notime,ragged-right]
3239 \set Score.automaticBars = ##f
3240 %\override Score.TextScript #'font-style = #'large
3285 FI: forte, voimakkaasti.
3287 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3288 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3308 @node Frenched score
3309 @section Frenched score
3320 A @q{condensed} score, produced by omitting staves for instruments that are not
3321 playing at the moment, and by moving up additional systems from following pages
3322 to take up the space thus liberated, which reduces the total number of pages
3323 used to print the work.
3325 The specific rules for @q{frenching} a score differ from publisher to publisher.
3326 If you are producing scores for eventual publication by a commercial publisher,
3327 you may wish to procure a copy of their style manual.
3331 @ref{Frenched staff}.
3334 @node Frenched staff
3335 @section Frenched staff
3346 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3347 measures or sections removed. This would be useful for producing, for example,
3348 an @emph{ossia} staff.
3355 @node Frenched staves
3356 @section Frenched staves
3367 The plural of @ref{Frenched staff}, @emph{q.v.}.
3387 @node functional harmony
3388 @section functional harmony
3390 ES: armonía funcional,
3391 I: armonia funzionale,
3392 F: étude des functions,
3394 NL: functionele harmonie,
3395 DK: funktionsanalyse, funktionsharmonik,
3397 FI: harmoniajärjestelmä.
3399 A system of harmonic analysis. It is based on the idea that, in a
3400 given key, there are only three functionally different chords: tonic
3401 (T, the chord on the first note of the scale), subdominant (S, the
3402 chord on the fourth note), and dominant (D, the chord on the fifth
3403 note). Others are considered to be variants of the base chords.
3405 @lilypond[fragment,notime,line-width=13.0\cm]
3406 \set Score.automaticBars = ##f
3408 \context Voice \relative c'' {
3409 <g e c >1 < a f d > < b g e >
3410 <c a f > < d b g > < e c a > < f d b > }
3411 \context Lyrics \lyrics {
3412 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3440 D: G-Schlüssel, Violinschlüssel,
3446 A clef symbol indicating the G above middle@w{ }C. Used on the first
3447 and second note lines. A digit 8 above the clef symbol indicates that
3448 the notes must be played an octave higher while 8 below the clef
3449 symbol indicates playing or singing an octave lower (most tenor parts
3450 in choral scores are notated like that).
3452 @lilypond[fragment,notime,ragged-right]
3454 \set Score.automaticBars = ##f
3455 \override Staff.Clef #'full-size-change = ##t
3458 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3468 \context Lyrics \lyrics {
3469 \override Lyrics . LyricText #'X-offset = #-5
3470 "french violin clef"
3489 FI: glissando, liukuen.
3491 Letting the pitch slide fluently from one note to the other.
3495 @section grace notes
3497 ES: notas de adorno,
3500 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3506 Notes printed in small types to indicate that their time values are not
3507 counted in the rhythm of the bar.
3511 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3516 @section grand staff
3518 ES: sistema de piano,
3521 D: Akkolade, Klaviersystem,
3524 S: ackolad, böjd klammer,
3525 FI: kaksoisnuottiviivasto.
3527 A combination of two staves with a brace. Usually used for piano music.
3544 FI: grave, raskaasti.
3569 Letter name used for @samp{B natural} in German and Scandinavian
3570 usage. In the standard usage of these countries, @samp{B} means
3575 @ref{Pitch names}, @ref{B}
3585 D: Halbe, halbe Note,
3599 ES: silencio de blanca,
3614 @node harmonic cadence
3615 @section harmonic cadence
3617 ES: cadencia (armónica),
3618 I: cadenza (armonica),
3619 F: cadence harmonique,
3621 NL: harmonische cadens,
3622 DK: harmonisk kadence,
3623 S: (harmonisk) kadens,
3624 FI: harmoninen kadenssi.
3626 A sequence of chords that terminates a musical phrase or section.
3628 @ref{functional harmony}.
3630 @lilypond[fragment,ragged-right]
3631 \context PianoStaff <<
3632 \context Staff = SA \relative c'' {
3636 \partial 4 < c g e >4 |
3637 < c a f > < b g d > < c g e >2
3640 \context Staff = SB \relative c {
3642 \partial 4 c4 | f, g c2
3660 D: Harmonie, Zusammenklang,
3664 FI: harmonia, yhteissointi.
3666 Tones sounding simultaneously. Two note harmonies fall into the
3667 categories @emph{consonances} and @emph{dissonances}.
3671 @lilypond[fragment,notime,line-width=13.0\cm]
3672 \set Score.automaticBars = ##f
3673 %\override Score.TextScript #'font-style = #'large
3674 \context Voice \relative c'' {
3687 @lilypond[fragment,notime,line-width=13.0\cm]
3688 \set Score.automaticBars = ##f
3689 %\override Score.TextScript #'font-style = #'large
3690 \context Voice \relative c'' {
3691 <g a>1_"second " s s
3692 <g f'>_"seventh " s s
3697 Three note harmony @ref{chord}.
3712 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3713 the use of three notes of equal value in the time normally occupied by
3714 of two notes of equal value. The resulting rhythm can be expressed in
3715 modern terms as a substitution (for example) of a bar in 3/2 for one
3716 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3717 hemiola is most frequently as a special effect (or @emph{affect}) at
3720 @c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
3721 @c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
3725 @ref{mensural notation}, @ref{meter}
3738 FI: homofonia, yksiäänisyys.
3740 Music in which one voice leads melodically followed by the other
3741 voices more or less in the same rhythm. In contrast to
3755 FI: intervalli, kahden sävelen korkeusero.
3757 Difference in pitch between two notes. Intervals may be perfect,
3758 minor, major, diminished, or augmented. The augmented fourth and the
3759 diminished fifth are identical (@ref{enharmonic}) and are called
3760 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3761 addition of such two intervals forms an octave.
3763 @lilypond[fragment,notime,line-width=13.0\cm]
3764 \set Score.automaticBars = ##f
3766 \context Voice \relative c'' {
3776 \context Lyrics \lyrics {
3777 "unison " "second " "second " "second "
3778 "third " "third " "third " "third"
3783 @lilypond[fragment,notime,line-width=13.0\cm]
3784 \set Score.automaticBars = ##f
3786 \context Staff \relative c'' {
3797 "fourth " "fourth " "fifth " "fifth "
3798 "sixth " "sixth " "sixth " "sixth"
3803 @lilypond[fragment,notime,line-width=13.0\cm]
3804 \set Score.automaticBars = ##f
3806 \context Staff \relative c'' {
3807 < gis f'! >1^"dimin"
3816 \context Lyrics \lyrics {
3817 "seventh " "seventh " "seventh " "octave "
3818 "ninth " "ninth " "tenth " "tenth"
3824 @node inverted interval
3825 @section inverted interval
3827 ES: intervalo invertido,
3828 I: intervallo rivolto,
3829 F: intervalle reversé,
3830 D: umgekehrtes Intervall,
3831 NL: interval inversie,
3832 DK: omvendingsinterval,
3833 S: intervallets omvändning,
3834 FI: käänteisintervalli.
3836 The difference between an interval and an octave.
3838 @lilypond[fragment,notime,line-width=13.0\cm]
3839 \set Score.automaticBars = ##f
3840 %\override Score.TextScript #'font-style = #'large
3841 \context Staff \relative c'' {
3842 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3843 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3844 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3849 @node just intonation
3850 @section just intonation
3852 ES: entonación justa,
3853 I: intonazione giusta,
3854 F: intonation juste,
3861 Tuning system in which the notes are obtained by adding and subtracting
3862 natural fifths and thirds.
3879 According to the 12@w{ }tones of the @ref{chromatic scale}
3880 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3884 @ref{key signature}.
3888 @section key signature
3890 ES: armadura (de la clave),
3891 I: armatura di chiave,
3892 F: armure, armature [de la clé],
3893 D: Vorzeichen, Tonart,
3894 NL: toon@-soort (voortekens),
3897 FI: sävellajiosoitus.
3899 The sharps or flats appearing at the beginning of each staff indicating the
3905 @node laissez vibrer
3906 @section laissez vibrer
3917 [From French] "Let vibrate". Most frequently associated with harp
3918 parts. Marked @samp{l.v.} in the score.
3927 D: Largo, Langsam, Breit,
3931 FI: largo, hitaasti, leveästi.
3933 Very slow in tempo, usually combined with great
3934 expressiveness. @emph{Larghetto} is less slow than largo.
3938 @section leading note
3949 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
3950 called because of its strong tendency to @q{lead up} (resolve upwards)
3951 to the tonic scale degree.
3955 @section ledger line
3957 ES: línea adicional,
3958 I: tagli addizionali,
3959 F: ligne supplémentaire,
3966 A ledger line is an extension of the staff.
3968 @lilypond[fragment,notime,ragged-right]
3969 \set Score.automaticBars = ##f
3970 \relative c'' { a,1 s c'' }
3980 D: legato, gebunden,
3986 To be performed (a) without any perceptible interruption between the
3987 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
3988 @emph{portato}, and (d) @ref{staccato}.
3990 @lilypond[fragment,notime,line-width=13.0\cm]
3991 \set Score.automaticBars = ##f
3993 \context Staff \relative c'' {
3994 c4-( d e-) \bar "||"
3995 c4-- d-- e-- \bar "||"
3996 c4-.-( d-. e-.-) \bar "||"
3997 c4-. d-. e-. \bar "||"
4010 @section legato curve
4014 @ref{slur}, @ref{legato}.
4028 ES: estanque de nenúfares,
4029 I: stagno del giglio,
4033 NL: le@-lie@-vij@-ver,
4038 A pond with lilies floating in it, also the name of a music typesetter.
4053 A ligature is a coherent graphical symbol that represents at least two
4054 distinct notes. Ligatures originally appeared in the manuscripts of
4055 Gregorian chant notation roughly since the 9th century to denote
4056 ascending or descending sequences of notes. In early notation,
4057 ligatures were used for monophonic tunes (Gregorian chant) and very
4058 soon denoted also the way of performance in the sense of articulation.
4059 With the invention of the metric system of the white mensural
4060 notation, the need for ligatures to denote such patterns disappeared.
4069 D: Linie, Notenlinie,
4073 FI: viiva, nuottiviiva.
4092 [From Italian, @q{place}]. Instruction to play the following passage at the
4093 written pitch. Cancels octavation (q.v.).
4100 @node long appoggiatura
4101 @section long appoggiatura
4103 ES: apoyatura larga,
4104 I: appoggiatura lunga,
4105 F: appoggiature longue,
4110 FI: pitkä appoggiatura, pitkä etuhele.
4129 Note value: double length of @ref{breve}.
4131 @lilypond[fragment,notime,ragged-right]
4132 \set Score.automaticBars = ##f
4134 \override NoteHead #'style = #'mensural
4147 ES: letra (de la canción),
4150 D: Liedtext, Gesangtext,
4169 @c TODO: add languages
4176 @node major interval
4177 @section major interval
4179 ES: intervalo mayor,
4180 I: intervallo maggiore,
4181 F: intervalle majeur,
4182 D: großes Intervall,
4186 FI: suuri intervalli.
4207 @ref{diatonic scale}.
4210 @node meantone temperament
4211 @section meantone temperament
4213 ES: afinación mesotónica,
4214 I: accordatura mesotonica,
4215 F: tempérament mésotonique,
4216 D: mitteltönige Stimmung,
4217 NL: middenstemming, middentoonstemming,
4218 DK: middeltonetemperatur,
4219 S: medeltonstemperatur,
4220 FI: keskisävelviritys.
4222 Temperament yielding acoustically pure thirds by decreasing the
4223 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4224 character of this @ref{temperament} only a limited set of keys are
4225 playable. Used for tuning keyboard instruments for performance of
4241 A group of @ref{beat}s (units of musical time) the first of which
4242 bears an accent. Such groups in numbers of two or more recur
4243 consistently throughout the composition and are marked from each other
4253 I: mediante, modale,
4263 @item The third @b{scale degree}.
4265 @item A @ref{chord} having its base tone a third from that of another
4266 chord. For example, the tonic chord may be replaced by its lower
4267 mediant (variant tonic).
4272 @ref{functional harmony}, @ref{relative key}.
4282 FI: melisma, laulettavan tavun sävelkuvio.
4284 A melisma (plural, from Greek: melismata) is a group of notes or tones
4285 sung on one syllable, especially as applied to liturgical chant.
4289 @section melisma line
4291 @c TODO: add languages
4295 @ref{extender line}.
4298 @node melodic cadence
4299 @section melodic cadence
4306 @node mensural notation
4307 @section mensural notation
4309 @c FIXME: add languages
4320 @c TODO: add definition (inc. info on proportional notation)
4322 @c FIXME: add cross-references.
4330 F: indication de mesure, mesure,
4337 The basic pattern of @ref{note value}s and @ref{accent}s that remains
4338 unaltered throughout a composition or a section of it. Meters can be
4339 @emph{duple} or @emph{triple} depending on how the beat is grouped in
4340 the composition (or in sections thereof):
4344 @item In duple meters, the beat recurs in groups of two.
4346 @item In triple meters, the beat recurs in groups of three.
4350 Other recurrence patterns are possible:
4354 @item Quadruple meter: groups of four. A special case of duple meter.
4356 @item Quintuple meter: groups of five
4358 @item Sextuple meter: groups of six. A special case of:
4361 @item Duple meter, subdivided in three (less frequent); or
4362 @item Triple meter, subdivided in two (more frequent).
4365 @item Septuple meter: groups of seven.
4371 Other than quadruple and sextuple meters, these other recurrence
4372 patterns were not frequently used prior to the 20th Century.
4374 In addition to classification by primary beat grouping, meters can be further
4375 classified by how the primary beat is subdivided: if in two, the meter is
4376 @emph{simple}; if in three, the meter is @emph{compound}.
4383 @item duple: 2/2, 2/4, 2/8
4384 @item triple: 3/2, 3/4, 3/8
4385 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4388 @item Compound meter
4393 @item quadruple: 12/8
4398 Time signatures are placed at the beginning of a composition (or
4399 section) to indicate the meter. For instance, a piece written in
4400 simple triple meter with a beat on each quarter note has a time
4405 @lilypond[fragment,line-width=13.0\cm]
4409 c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
4412 Simple triple meter:
4414 @lilypond[fragment,line-width=13.0\cm]
4418 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4421 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4423 @lilypond[fragment,line-width=13.0\cm]
4427 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4430 Simple quintuple meter (B. Marcello, 1686-1739):
4432 @lilypond[fragment,line-width=13.0\cm]
4436 r4 cis8 bis ais4 dis c8 ais |
4437 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4440 Compound duple meter (unknown):
4442 @lilypond[fragment,line-width=13.0\cm]
4446 f8 f g a bes16 a g f |
4447 g8 g bes a c16 a bes g
4451 Compound triple meter (J.S. Bach, 1685-1750):
4453 @lilypond[fragment,line-width=13.0\cm]
4457 r8 g( a) b( d c) c( e d) |
4458 d( c fis) g( d b) g( a b)
4462 Compound quadruple meter (P. Yon, 1886-1943):
4464 @lilypond[fragment,line-width=13.0\cm]
4468 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4469 e4 e8 fis( gis) a b4.~ b4 b8
4475 @ref{hemiola}, @ref{time signature}
4490 Device indicating the exact tempo of a piece.
4492 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4493 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4494 divisions, and patented it as a "metronome". The inevitable lawsuit that
4495 followed acknowledged Winkler as the creator, but by then Mälzel had already
4496 sold many of them, and people had taken to calling it a Mälzel Metronome.
4500 @ref{metronome mark}.
4503 @node metronomic indication
4504 @section metronomic indication
4508 @ref{metronome mark}
4511 @node metronome mark
4512 @section metronome mark
4514 ES: indicación metronómica,
4515 I: indicazione metronomica,
4516 F: indication métronomique,
4518 NL: metronoom aanduiding,
4520 S: metronomangivelse,
4521 FI: metronomiosoitus.
4523 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4524 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4533 @section mezzo-soprano
4544 The female voice between @ref{soprano} and @ref{contralto}.
4553 D: eingestrichenes@w{ }c,
4555 DK: enstreget@w{ }c,
4556 S: ettstruket@w{ }c,
4559 First C below the 440 Hz A.
4561 @lilypond[fragment,notime,ragged-right]
4562 \set Score.automaticBars = ##f
4563 \override Staff.Clef #'full-size-change = ##t
4586 @ref{diatonic scale}.
4589 @node minor interval
4590 @section minor interval
4592 ES: intervalo menor,
4593 I: intervallo minore,
4594 F: intervalle mineur,
4595 D: kleines Intervall,
4599 FI: pieni intervalli.
4612 D: Kirchentonart, Modus,
4616 FI: moodi, kirkkosävelasteikko.
4620 @ref{church mode}, @ref{diatonic scale}.
4633 FI: modulaatio, sävellajin vaihdos.
4635 Moving from one @ref{key} to another. For example, the second subject
4636 of a @ref{sonata form} movement modulates to the dominant key if the
4637 key is major and to the @ref{relative key} if the key is minor.
4649 FI: mordent, korukuvio.
4674 FI: teema, sävelaihe.
4676 The briefest intelligible and self-contained fragment of a musical
4679 @lilypond[line-width=13.0\cm]
4682 \set Score.implicitTimeSignatureVisibility = #all-invisible
4683 \override Score.TimeSignature #'break-visibility = #all-invisible
4686 \partial 8 g16\startGroup fis |
4687 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4688 g8 g,16 a b8 cis d16 s
4692 \Staff \consists "Horizontal_bracket_engraver"
4710 Greater musical works like @ref{symphony} and @ref{sonata} most often
4711 consist of several -- more or less -- independant pieces called
4715 @node multi-measure rest
4716 @section multi-measure rest
4718 ES: compases de espera,
4722 D: mehrtaktige Pause, Kirchenpause,
4725 FI: usean tahdin mittainen tauko.
4727 Multi-measure rests are conventionally typeset with a combination of
4728 longa, breve and whole rests for shorter and a long horizontal bar for
4729 longer spans of rest, with a number above to indicate the duration (in
4730 measures) of the rest. The former style is called @q{Kirchenpausen} in
4731 German, as a reminiscence of its use in Renaissance vocal polyphony.
4733 @lilypond[fragment,ragged-right]
4736 \set Score.skipBars = ##t R1*3
4738 \set Score.skipBars = ##t R1*122
4745 @ref{longa}, @ref{breve}.
4748 @node mixolydian mode
4749 @section mixolydian mode
4753 @ref{diatonic scale}.
4762 D: Auflösungszeichen,
4763 NL: herstellingsteken,
4764 DK: op@-løsningstegn,
4765 S: återställningstecken,
4773 @node neighbour tones
4774 @section neighbour tones
4778 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4819 Notes are signs by means of which music is fixed in writing. The term is also
4820 used for the sound indicated by a note, and even for the key of the piano
4821 which produces the sound. However, a clear distinction between the terms tone
4822 and @ref{note} is strongly recommended. Briefly, one sees a note,
4830 I: testa, testina, capocchia,
4838 A head-like sign which indicates pitch by its position on a
4839 @ref{staff} provided with a @ref{clef}, and duration
4840 by a variety of shapes such as hollow or black heads with or without
4841 @ref{stem}s, @ref{flag}s, etc. For percussion
4842 instruments (often having no defined pitch) the note head may indicate the
4857 ES: valor (duración),
4859 F: durée, valeur (d'une note),
4864 FI: nuotin aika-arvo.
4866 Note values (durations) are measured as fractions, normally 1/2, of
4867 the next higher note value. The longest duration normally used is
4868 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4869 double-length note value @emph{longa} or the quadruple-length note
4870 value @emph{maxima} are used.
4872 @c TODO -- add maxima to this example, in a way that doesn't break it.
4874 @lilypond[fragment,notime,line-width=13.0\cm]
4875 %\override Score.TextScript #'font-style = #'large
4876 \set Score.automaticBars = ##f
4878 \override NoteHead #'style = #'mensural
4879 a\longa_"longa" a\breve_"breve"
4880 \revert NoteHead #'style
4881 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4882 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4885 @c TODO -- add maxima rest to this example
4887 @lilypond[fragment,notime,line-width=13.0\cm]
4888 %\override Score.TextScript #'font-style = #'large
4889 \set Score.automaticBars = ##f
4891 r\longa_"longa" r\breve_"breve"
4892 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4893 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4896 An augmentation dot after a note multiplies the duration by one and a
4897 half. Another dot adds yet a fourth of the duration.
4899 @lilypond[fragment,line-width=13.0\cm]
4900 %\override Score.TextScript #'font-style = #'large
4903 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4904 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4907 Alternatively note values may be subdivided by other ratios. Most common is
4908 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4909 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4910 dotted notes are also frequently used.
4912 @lilypond[fragment,line-width=13.0\cm]
4913 %\override Score.TextScript #'font-style = #'large
4916 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4917 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4921 @lilypond[fragment,line-width=13.0\cm]
4924 \times 3/2 {g4_"duplets" g} |
4926 \times 6/4 {g8_"quadruplets" g g g} |
4927 g8 g g g g4 \bar "||"
4944 The use of a phrase or abbreviation with an extender line or bracket to indicate
4945 that a passage is to be played in a different octave:
4949 @item @samp{15ma}: play two octaves higher
4950 @item @samp{8va}: play one octave higher
4951 @item @samp{8vb}: play one octave lower
4952 @item @samp{8va} written below the passage: same as @samp{8vb}
4953 @item @samp{15vb}: play two octaves lower
4954 @item @samp{15va} written below the passage: same as @samp{15vb}
4958 Another practice, which may be useful for longer passages, is to indicate the
4959 different octave with a phrase at the beginning (see below). When the music
4960 returns to the written pitch, the octavation is cancelled with the word
4963 To parallel the list above:
4967 @item @samp{15ma}: @emph{alla quindicesima (alta)}
4968 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
4969 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
4970 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
4974 @emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
4978 @ref{interval}, @ref{loco}, @ref{octave}.
4982 @section octave sign
4993 Putting 8 or 15 above or below the clef to indicate that the entire part is
4994 played in the indicated octave: a clef-wide octavation. An octave sign can be
4995 applied to any clef, though it is most frequently used with the G and F clefs.
4999 @ref{G clef}, @ref{F clef}.
5014 The interval of an octave, sometimes abbreviated @samp{8ve}.
5016 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5017 bracket, or @samp{loco} see octavation.
5021 @ref{interval}, @ref{octavation}.
5028 I: abbellimento, fioriture,
5029 F: agrément, ornement,
5030 D: Verzierung, Ornament,
5036 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5037 with the diatonic @ref{second} above it. In the music from the
5038 middle of the 19th century and onwards the trill is performed with the main
5039 note first while in the music from the preceding baroque and classic periods
5040 the upper note is played first.
5042 @lilypond[fragment,line-width=13.0\cm]
5044 \context Staff = sa {
5045 % \override Score.TextScript #'font-style = #'large
5047 c2._"pre-1850" b4\trill | c1 \bar "||"
5048 c2._"post-1850" b4\trill | c1 \bar "||"
5052 c2. c32 b c b c b c b | c1
5053 c2. b32 c b c \times 4/5 { b c b c b } | c1
5058 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5060 @emph{prall} (inverted mordent).
5062 @lilypond[fragment,line-width=13.0\cm]
5064 \context Staff = sa {
5065 % \override Score.TextScript #'font-style = #'large
5067 a4_"turn" b\turn c2 \bar "||"
5068 g4_"mordent" a b\mordent a \bar "||"
5069 e'4_"prall" d\prall c2 \bar "||"
5075 e'4 e32[ d e d ~ d8] c2
5082 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5095 FI: ossia, vaihtoehtoinen esitystapa.
5097 Ossia (otherwise) marks an alternative. It is an added staff or piano
5098 score, usually only a few measures long, which presents another version
5099 of the music, for example for small hands.
5112 FI: stemma, instrumenttiosuus.
5116 @item In instrumental or choral music, the music for a single
5117 instrument or voice.
5119 @item in contrapuntal music, a single melodic line in the contrapuntal
5151 D: Schlagzeug, Schlagwerk,
5157 A family of musical instruments which are played on by striking or
5158 shaking. Percussion instruments commonly used in a symphony orchestra are
5159 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5160 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5164 @node perfect interval
5165 @section perfect interval
5167 ES: intervalo justo,
5168 I: intervallo giusto,
5169 F: intervalle juste,
5170 D: reines Intervall,
5174 FI: puhdas intervalli.
5193 A natural division of the melodic line, comparable to a sentence of speech.
5206 FI: fraseeraus, jäsentäminen.
5208 The clear rendering in musical performance of the @ref{phrase}s of
5209 the melody. Phrasing may be indicated by a @ref{slur}.
5217 F: anacrouse, levée,
5241 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5242 @emph{mezzo piano} (@b{mp}) medium soft.
5265 NL: pizzicato, getokkeld,
5268 FI: pizzicato, näppäillen.
5270 Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
5271 stringed instruments.)
5286 The simultaneous use of two or more meters. The term is sometimes
5287 applied to the @emph{successive} use of different meters in one or
5292 @ref{polymetric} (adj.)
5307 Using two or more metric frameworks simultaneously or in regular
5312 @ref{polymeter} (noun)
5315 @node polymetric time signature
5316 @section polymetric time signature
5327 Time signature indicating regularly alternating polymetric time.
5340 D: Polyphonie, Mehrstimmigkeit,
5344 FI: polyfonia, moniäänisyys.
5346 Music written in a combination of several simultaneous voices (parts)
5347 of a more or less pronounced individuality.
5366 D: Presto, Sehr schnell,
5367 NL: presto, Sehr schnell,
5370 FI: presto, hyvin nopeasti.
5372 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5373 denotes the highest possible degree of speed.
5388 [From Latin @emph{proportio}] In mensural notation, a ratio that
5389 expresses the relationship between the note values that follow with
5390 those that precede; or between the note values of a passage and an
5391 assumed @q{normal} relationship of note values to the metrical pulse.
5393 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5397 @ref{mensural notation}
5400 @node Pythagorean comma
5401 @section Pythagorean comma
5403 ES: coma pitagórica,
5404 I: comma pitagorico,
5405 F: comma pythagoricien,
5406 D: Pythagoräisches Komma,
5407 NL: komma van Pythagoras,
5408 DK: pythagoræisk komma,
5409 S: pytagoreiskt komma,
5410 FI: pytagorinen komma.
5412 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
5413 but this@w{ }C, obtained by adding 12@w{ }fifths, is
5414 24 @ref{cent}s higher than the@w{ }C obtained by adding
5415 7@w{ }octaves. The difference between those two pitches is called the
5437 @section quarter note
5440 I: semiminima, nera,
5443 D: Viertel, Viertelnote,
5447 FI: neljännesosanuotti.
5455 @section quarter rest
5457 ES: silencio de negra,
5458 I: pausa di semiminima,
5463 DK:@w{ }fjerdedelspause,
5465 FI: neljännesosatauko.
5473 @section quarter tone
5484 An interval equal to half a semitone.
5494 ES: cinquillo, quintillo.
5509 @section rallentando
5514 D: rallentando, langsamer werden,
5518 FI: rallerdando, hidastuen.
5520 Abbreviation "rall.".
5526 @section relative key
5529 I: tonalità relativa,
5530 F: tonalité relative,
5532 NL: paralleltoonsoort,
5533 DK: paralleltoneart,
5535 FI: rinnakkaissävellaji.
5537 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5539 @lilypond[fragment,notime,line-width=13.0\cm]
5540 \set Score.automaticBars = ##f
5541 %\override Score.TextScript #'font-style = #'large
5544 es1_"e flat major" f g as bes c d es
5549 @lilypond[fragment,notime,line-width=13.0\cm]
5550 \set Score.automaticBars = ##f
5551 %\override Score.TextScript #'font-style = #'large
5554 c1_"c minor" d es f g a! b! c \bar "||"
5564 F: barre de reprise,
5567 DK: gen@-ta@-gel@-se,
5571 @lilypond[fragment,line-width=13.0\cm]
5575 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5592 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5593 @c specify the rest's value.
5614 @item Metrical rhythm in which every time value is a multiple or
5615 fraction of a fixed unit of time, called @ref{beat}, and in which the
5616 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5617 The basic scheme of time values is called @ref{meter}.
5619 @item Measured rhythm which lacks regularly recurrent accent. In
5620 modern notation such music appears as a free alternation of different
5623 @item Free rhythm, i.e., the use of temporal values having no common
5624 metrical unit (beat).
5635 D: ritardando, langsamer werden,
5639 FI: ritardando, hidastuen,
5641 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5654 FI: ritenuto, hidastaen.
5656 Immediate reduction of speed.
5669 FI: asteikko, sävelasteikko.
5673 @ref{diatonic scale}.
5677 @section scale degree
5679 ES: grado (de la escala),
5680 I: grado della scala,
5681 F: degré [de la gamme],
5683 NL: trap [van de toonladder],
5686 FI: sävelaste, asteikon sävel.
5688 Names and symbols used in harmonic analysis to denote tones of the
5689 scale as roots of chords. The most important are degrees I = tonic
5690 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5692 @lilypond[fragment,notime,line-width=13.0\cm]
5693 \set Score.automaticBars = ##f
5695 \context Staff \relative c' {
5699 << { I II III IV V VI VII I }
5707 @ref{functional harmony}.
5715 F: à cordes ravallées,
5722 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5723 tuning of stringed instruments, particularly lutes or violins. Used
5728 @item facilitate pitch combinations that would otherwise be difficult
5731 @item alter the characteristic timbre of the instrument, for example,
5732 to increase brilliance)
5734 @item reinforce certain sonorities or tonalities by making them
5735 available on open strings
5737 @item imitate other instruments
5743 Tunings that could be called @var{scordatura} first appeared early in
5744 the 16th Century and became commonplace in the 17th.
5753 D: Partitur (full score), Klavierauszug (vocal score),
5759 A copy of orchestral, choral, or chamber music showing what each
5760 instrument is to play, each voice to sing, having each part arranged
5761 one underneath the other on different staves @ref{staff}.
5776 The @ref{interval} between two neigbouring tones of a scale. A
5777 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5778 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5779 degrees in question.
5794 The @ref{interval} of a minor second. The (usually) smallest interval
5795 in European composed music. The interval between two neighbouring
5796 tones on the piano keyboard -- including black and white keys -- is a
5797 semitone. An octave may be divided into 12@w{ }semitones.
5798 @ref{interval}, @ref{chromatic scale}.
5800 @lilypond[fragment,notime,line-width=13.0\cm]
5801 \set Score.automaticBars = ##f
5802 \relative c'' { g1 gis s a bes s b! c }
5828 @ref{sextuplet}, @ref{note value}.
5874 @section simple meter
5886 A meter in which the basic beat is subdivided in two: that is, a meter
5887 that does not include triplet subdivision of the beat.
5891 @ref{compound meter}, @ref{meter}.
5894 @node sixteenth note
5895 @section sixteenth note
5901 D: Sechzehntel, Sechzehntelnote,
5902 NL: zes@-ti@-ende noot,
5903 DK: sekstendedelsnode,
5905 FI: kuudestoistaosanuotti.
5912 @node sixteenth rest
5913 @section sixteenth rest
5915 ES: silencio de semicorchea,
5916 I: pausa di semicroma,
5918 UK: semiquaver rest,
5919 D: Sechzehntelpause,
5921 DK: sekstendedelspause,
5947 @node sixty-fourth note
5948 @section sixty-fourth note
5952 F: quadruple croche,
5953 UK: hemidemisemiquaver,
5954 D: Vierundsechzigstel, Vierundsechzigstelnote,
5955 NL: vierenzestigste noot,
5956 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5957 S: sextiofjärdedelsnot,
5958 FI: kuudeskymmenesneljäsosanuotti.
5965 @node sixty-fourth rest
5966 @section sixty-fourth rest
5968 ES: silencio de semifusa,
5969 I: pausa di semibiscroma,
5970 F: seizième de soupir,
5971 UK: hemidemisemiquaver rest,
5972 D: Vierundsechzigstelpause,
5973 NL: vierenzestigste rust,
5974 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5975 S: sextiofjärdedelspaus,
5976 FI: kuudeskymmenesneljäsosatauko.
5986 ES: ligadura (de expresión),
5987 I: legatura (di portamento or espressiva),
5989 D: Bogen (Legatobogen, Phrasierungsbogen),
5990 NL: fraseringsboog, legatoboog, streekboog,
5991 DK: legatobue, fraseringsbue,
5995 A slur above or below a group of notes indicates that they are to be
5996 played @ref{legato}, e.g., with one stroke of the violin bow or with
5997 one breath in singing.
6001 @section solmization
6010 FI: suhteelliset laulunimet.
6012 General term for systems of designating the degrees of the
6013 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6014 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6032 In its present-day meaning a sonata denotes an instrumental
6033 composition for piano or for some other instrument with piano
6034 accompaniment, which consists of three or four independant pieces,
6039 @section sonata form
6043 F: [en] forme de sonate,
6045 NL: hoofdvorm, sonatevorm,
6050 A form used frequently for single movements of the @ref{sonata},
6051 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6052 into three sections called @emph{exposition}, @emph{development} and
6053 @emph{recapitulation}. In the exposition the composer introduces some
6054 musical ideas, consisting of a number of themes; in the development
6055 section the composer @q{develops} this material, and in the
6056 recapitulation the composer repeats the exposition, with certain
6057 modifications. The exposition contains a number of themes that fall
6058 into two groups, often called first and second subject. Other
6059 melodies occurring in each group are considered as continuations of
6060 these two. The second theme is in another key, normally in the key of
6061 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6062 @ref{relative key} if the tonic is @ref{minor}.
6083 FI: sopraano, korkea naisääni.
6085 The highest female voice.
6093 F: staccato, piqué, détaché,
6098 FI: staccato, lyhyesti, terävästi.
6100 Playing the note(s) short. Staccato is indicated by a dot above or
6101 below the note head.
6103 @lilypond[fragment,ragged-right]
6108 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6118 I: pentagramma, rigo (musicale),
6120 D: Notensystem, Notenzeile,
6121 NL: (noten)balk, partij,
6126 A staff (plural: staves) is a series of (normally five) horizontal
6127 lines upon and between which the musical notes are written, thus
6128 indicating (in connection with a @ref{clef}) their pitch. Staves for
6129 @ref{percussion} instruments may have fewer lines.
6146 D: Hals, Notenhals, Stiel,
6152 Vertical line above or below a @ref{note head} shorter than a
6157 @lilypond[fragment,notime,line-width=13.0\cm]
6158 \set Score.autoBeaming = ##f
6159 \set Score.automaticBars = ##f
6160 %\override Score.TextScript #'font-style = #'large
6182 A family of stringed musical instruments played with a bow. Strings
6183 commonly used in a symphony orchestra are violin, viola, violoncello,
6188 @section strong beat
6193 D: betonter Taktteil oder Taktschlag,
6195 D: betonet taktslag,
6196 S: betonat taktslag,
6197 FI: tahdin vahva isku.
6201 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6205 @section subdominant
6214 FI: subdominantti, alidominantti.
6216 The fourth @ref{scale degree}.
6218 @ref{functional harmony}.
6233 The sixth @ref{scale degree}.
6246 FI: subtoonika, alitoonika.
6248 The seventh @ref{scale degree}.
6257 D: auf G, auf der G-Saite,
6263 Indicates that the indicated passage (or note) should be played on the
6268 @section superdominant
6279 The sixth @ref{scale degree}.
6294 The second @ref{scale degree}.
6303 D: Sinfonie, Symphonie,
6309 A symphony may be defined as a @ref{sonata} for orchestra.
6313 @section syncopation
6324 Any deliberate upsetting of the normal pulse of @ref{meter},
6325 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6326 rhythm rests upon the grouping of equal beats into groups of two or
6327 three, with a regularly recurrent accent on the first beat of each
6328 group. Any deviation from this scheme is felt as a disturbance or
6329 contradiction between the underlaying (normal) pulse and the actual
6332 @lilypond[fragment,ragged-right]
6337 e c'4 e,8 c'4 e,8 c' ( | c2)
6342 @node syntonic comma
6343 @section syntonic comma
6346 I: comma sintonico (o didimico),
6347 F: comma syntonique,
6348 D: syntonisches Komma,
6349 NL: syntonische komma,
6350 DK: syntonisk komma,
6351 S: syntoniskt komma,
6352 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6353 Pytagorisessa viritysjärjestelmässä.
6355 Difference between the natural third and the third obtained by
6356 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6365 D: Notensystem, Partitur,
6369 FI: nuottijärjestelmä.
6371 The collection of staves (@ref{staff}), two or more, as used for writing
6372 down of keyboard, chamber, choral, or orchestral music.
6376 @section temperament
6381 D: Stimmung, Tem@-pe@-ra@-tur,
6382 NL: stemming, temperatuur,
6385 FI: viritysjärjestelmä.
6387 Systems of tuning in which the intervals deviate from the acoustically
6390 @ref{meantone temperament}, @ref{equal temperament}.
6393 @node tempo indication
6394 @section tempo indication
6396 ES: indicación de tempo,
6397 I: indicazione di tempo,
6398 F: indication de tempo,
6399 D: Zeitmaß, Tempobezeichnung,
6400 NL: tempo aanduiding,
6405 The rate of speed of a composition or a section thereof, ranging from
6406 the slowest to the quickest, as is indicated by tempo marks as
6407 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6421 FI: tenori, korkea miesääni.
6423 The highest male voice (apart from @ref{counter tenor}).
6446 ES: subrayado (tenuto),
6455 An indication that a particular note should be held for the whole
6456 length, although this can vary depending on the composer and era.
6476 @node thirty-second note
6477 @section thirty-second note
6483 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
6484 NL: twee-endertig@-ste noot,
6485 DK: toogtredivtedelsnode,
6486 S: trettiotvåondelsnot,
6487 FI: kolmanneskymmeneskahdesosanuotti.
6494 @node thirty-second rest
6495 @section thirty-second rest
6497 ES: silencio de fusa,
6498 I: pausa di biscroma,
6499 F: huitième de soupir,
6500 UK: demisemiquaver rest,
6501 D: Zweiunddreissigstel@-pause,
6503 DK: toogtredivtedelspause,
6504 S: trettiotvåondelspaus,
6505 FI: kolmanneskymmeneskahdesosatauko.
6513 @section thorough bass
6516 I: basso continuo, basso numerato,
6517 F: basse chiffrée, basse continue,
6518 D: Generalbass, bezifferter Bass,
6519 NL: basso continuo, becijferde bas
6522 FI: kenraalibasso, numeroitu basso.
6524 A method of indicating an accompaniment part by the bass notes only,
6525 together with figures designating the chief @ref{interval}s and
6526 @ref{chord}s to be played above the bass notes.
6528 @lilypond[fragment,line-width=13.0\cm]
6529 \context GrandStaff <<
6530 \context Staff = lh \relative c'' {
6534 << \context Voice = rha {
6537 \context Voice = rhb {
6539 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6543 \context Staff = rh \relative c' {
6546 es8 c d bes c as bes16 as g f | es4
6548 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6557 ES: ligadura de prolongación,
6558 I: legatura (di valore),
6560 D: Haltebogen, Bindebogen,
6561 NL: overbinding, bindingsboog,
6563 S: bindebåge, överbindning,
6566 A curved line, identical in appearance with the @ref{slur}, which
6567 connects two succesive notes of the same pitch, and which has the
6568 function of uniting them into a single sound (tone) equal to the
6571 @lilypond[fragment,notime,ragged-right]
6572 \set Score.automaticBars = ##f
6573 \relative c'' { g2 ~ g4. }
6585 @node time signature
6586 @section time signature
6588 ES: indicación de compás,
6590 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6591 D: Taktangabe, Angabe der Taktart,
6594 S: taktartssignatur,
6597 The sign placed at the beginning of a composition to indicate its
6598 meter. It most often takes the form of a fraction, but a few signs
6599 derived from mensural notation and proportions are also employed.
6603 @ref{mensural notation}, @ref{meter}.
6618 A sound of definite pitch and duration, as distinct from @emph{noise}.
6619 Tone is a primary building material of music.
6621 Music from the 20th century may be based on atonal sounds.
6636 The first @ref{scale degree}.
6640 @ref{functional harmony}.
6643 @node transposing instrument
6644 @section transposing instrument
6655 Instruments whose notated pitch is different from their sounded pitch. Except
6656 for those whose notated and sounding pitches differ by one or more octaves (to
6657 reduce the number of ledger lines needed), most such instruments are identified
6658 by the letter name of the pitch class of their fundamental. The pitch class is
6659 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6660 the instrument plays a notated C.
6662 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6663 the B-flat one tone lower. If played on the A clarinet, the same written
6664 note sounds the A (one and half tones -- a minor third -- lower).
6666 Not all transposing instruments include the pitch class in their name:
6669 @item English horn (in F)
6670 @item Alto flute (in G)
6675 @ref{concert pitch}.
6679 @section transposition
6690 Shifting a melody up or down in pitch, while keeping the same
6693 @lilypond[fragment,line-width=13.0\cm]
6698 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6703 @lilypond[fragment,line-width=13.0\cm]
6706 \transpose c bes \relative c'' {
6708 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6715 @section treble clef
6718 I: chiave di violino,
6720 D: Violinschlüssel, Sopranschlüssel,
6722 DK:@w{ }diskantnøgle,
6743 On stringed instruments (@ref{strings}) the quick reiteration of the
6744 same tone, produced by a rapid up-and-down movement of the bow (a).
6745 The term is also used for the rapid alternation (b) between two notes
6746 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
6748 @lilypond[fragment,notime,ragged-right]
6749 \set Score.automaticBars = ##f
6750 %\override Score.TextScript #'font-style = #'large
6753 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6754 \repeat tremolo 8 { e32_"b" g }
6764 F: triade, accord parfait, accord de trois sons,
6781 F: trille, tremblement, battement (cadence),
6794 @section triple meter
6796 ES: compás ternario,
6799 D: in drei, ungerader Takt,
6800 NL: driedelige maatsoort,
6845 @section tuning fork
6848 I: diapason, corista,
6856 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6857 forks give the international pitch for the tone @emph{a} (440
6858 vibrations per second).
6864 A non-standard subdivision of a beat or part of a beat, usually
6865 indicated with a bracket and a number indicating the number of
6870 @ref{triplet}, @ref{note value}.
6900 FI: unisono, yksiäänisesti.
6902 Playing of the same notes or the same melody by various instruments
6903 (voices) or by the whole orchestra (choir), either at exactly the same
6904 pitch or in a different octave.
6912 F: anacrouse, levée,
6934 FI: ääni, lauluääni.
6938 @item Human voices: @ref{soprano}, @ref{mezzo-soprano},
6939 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6941 @item A melodic layer or part of a polyphonic composition.
6950 I: tempo debole, arsi,
6952 D: unbetonter Taktteil oder Taktschlag,
6954 DK: ubetonet taktslag,
6955 S: obetonat taktslag,
6956 FI: tahdin heikko isku.
6960 @ref{beat}, @ref{measure}, @ref{rhythm}.
6970 D: Ganze, ganze Note,
6984 ES: silencio de redonda,
6985 I: pausa di semibreve,
6988 D: ganze Pause, ganztaktige Pause,
7011 The @ref{interval} of a major second. The interval between two tones
7012 on the piano keyboard with exactly one key between them -- including
7013 black and white keys -- is a whole tone.
7028 A family of blown wooden musical instruments. Today some of these
7029 instruments are actually made from metal. The woodwind instruments
7030 commonly used in a symphony orchestra are flute, oboe, clarinet,
7031 saxophone, and bassoon.
7034 @node Duration names notes and rests
7035 @chapter Duration names notes and rests
7037 @multitable @columnfractions .15 .26 .33 .26
7039 @headitem @strong{US}
7042 @tab @strong{F (note name / rest name)}
7052 @item @strong{longa}
7065 @item @strong{breve}
7068 @tab brève / double-pause
7078 @item @strong{whole}
7088 @tab koko@-nuotti/@w{-tauko}
7094 @tab blanche / demi-pause
7101 @tab puoli@-nuotti/@w{-tauko}
7104 @item @strong{quarter}
7114 @tab neljännesosa@-nuotti/@w{-tauko}
7117 @item @strong{eighth}
7120 @tab croche / demi-soupir
7127 @tab kahdeksasosa@-nuotti/@w{-tauko}
7130 @item @strong{sixteenth}
7133 @tab double croche / quart de soupir
7140 @tab kuudestoistaosa@-nuotti/@w{-tauko}
7143 @item @strong{thirty-second}
7146 @tab triple croche / huitième de soupir
7148 @tab Zweiunddreissigstel
7149 @tab tweeendertigste
7150 @tab toogtredivtedel
7152 @tab trettiotvåondel
7153 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
7156 @item @strong{sixty-fourth}
7157 @tab hemidemisemiquaver
7159 @tab quadruple croche / seizième de soupir
7161 @tab Vierundsechzigstel
7162 @tab vierenzestigste
7163 @tab fireogtred@-sindstyvendedel
7165 @tab sextiofjärdedel
7166 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
7173 @chapter Pitch names
7175 @c -is/-es endings for Danish per Rune Zedeler
7176 @c and for Finnish per Risto Vääräniemi
7177 @c -iss/-ess endings for Swedish per Mats Bengtsson
7178 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7180 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7182 @tab ES @tab I @tab F @tab D
7183 @tab NL @tab DK @tab S @tab FI
7185 @tab do @tab do @tab ut @tab C
7186 @tab c @tab c @tab c @tab c
7187 @item @strong{c-sharp}
7188 @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7189 @tab cis @tab cis @tab ciss @tab cis
7190 @item @strong{d-flat}
7191 @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7192 @tab des @tab des @tab dess @tab des
7194 @tab re @tab re @tab ré @tab D
7195 @tab d @tab d @tab d @tab d
7196 @item @strong{d-sharp}
7197 @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7198 @tab dis @tab dis @tab diss @tab dis
7199 @item @strong{e-flat}
7200 @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7201 @tab es @tab es @tab ess @tab es
7203 @tab mi @tab mi @tab mi @tab E
7204 @tab e @tab e @tab e @tab e
7205 @item @strong{f-flat} = e
7206 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7207 @tab fes @tab fes @tab fess @tab fes
7209 @tab fa @tab fa @tab fa @tab F
7210 @tab f @tab f @tab f @tab f
7211 @item @strong{e-sharp} = f
7212 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7213 @tab eis @tab eis @tab eiss @tab eis
7214 @item @strong{f-sharp}
7215 @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7216 @tab fis @tab fis @tab fiss @tab fis
7217 @item @strong{g-flat}
7218 @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7219 @tab ges @tab ges @tab gess @tab ges
7221 @tab sol @tab sol @tab sol @tab G
7222 @tab g @tab g @tab g @tab g
7223 @item @strong{g-sharp}
7224 @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7225 @tab gis @tab gis @tab giss @tab gis
7226 @item @strong{a-flat}
7227 @tab la bemol @tab la bemolle @tab la bémol @tab As
7228 @tab as @tab as @tab ass @tab as
7230 @tab la @tab la @tab la @tab A
7231 @tab a @tab a @tab a @tab a
7232 @item @strong{a-sharp}
7233 @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7234 @tab ais @tab ais @tab aiss @tab ais
7235 @item @strong{b-flat}
7236 @tab si bemol @tab si bemolle @tab si bémol @tab B
7237 @tab bes @tab b @tab b @tab b
7239 @tab si @tab si @tab si @tab H
7240 @tab b @tab h @tab h @tab h
7248 @node Literature used
7249 @unnumberedsec Literature used
7252 @item The Harvard Dictionary of Music, London 1944. Many
7253 more or less literal quotes from its articles have been included into
7254 the item explanation texts.
7256 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7258 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7261 @item Oxford Advanced Learner's Dictionary of Current English, Third
7264 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7266 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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