1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 2007-2008
42 Copyright @copyright{} 1999--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
112 For more information about how this fits with the other
113 documentation, see @rlearning{About the documentation}.
119 @w{@expansion{}@strong{\word\}}@c
122 @expansion{}@ref{\word\, @strong{\word\}}@c
127 * Musical terms A-Z::
128 * Duration names notes and rests::
132 @node Musical terms A-Z
133 @chapter Musical terms A-Z
135 Languages in this order.
137 @item UK - British English (where it differs from American English)
163 * ancient minor scale::
168 * ascending interval::
169 * augmented interval::
206 * compound interval::
210 * conjunct movement::
223 * descending interval::
226 * diminished interval::
230 * disjunct movement::
232 * dissonant interval::
236 * dominant ninth chord::
237 * dominant seventh chord::
239 * dot (augmentation dot)::
241 * double appoggiatura::
243 * double dotted note::
246 * double time signature::
253 * ecclesiastical mode::
260 * equal temperament::
281 * functional harmony::
301 * inverted interval::
316 * long appoggiatura::
322 * meantone temperament::
329 * mensural notation::
333 * metronomic indication::
345 * multi-measure rest::
375 * polymetric time signature::
380 * Pythagorean comma::
410 * sixty-fourth note::
411 * sixty-fourth rest::
442 * thirty-second note::
443 * thirty-second rest::
450 * transposing instrument::
505 Abbreviated @samp{a2} or @samp{a 2}.
509 @item An indication in orchestral scores that a single part notated on a single
510 staff that normally carries parts for two players (e.g. first and second oboes)
511 is to be played by both players.
513 @item Or conversely, that two pitches or parts notated on a staff that normally
514 carries a single part (e.g. first violin) are to be played by different players,
515 or groups of players (@q{desks}).
529 F: accelerando, en accélérant,
530 D: accelerando, schneller werden,
534 FI: accelerando, kiihdyttäen.
549 FI: aksentti, korostus.
551 The stress of one tone over others.
563 @section acciaccatura
565 A grace note which takes its time from the rest or note preceding the
566 principal note to which it is attached. The acciaccatura is drawn as a
567 small eighth note (quaver) with a line drawn through the flag and
572 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
578 ES: alteración accidental,
580 F: altération accidentelle,
581 D: Versetzungszeichen, Akzidenz,
582 NL: toevallig (verplaatsings)teken,
584 S: tillfälligt förtecken,
585 FI: tilapäinen etumerkki.
587 An accidental has the effect of an @ref{alteration} of a note. A
588 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
589 @ref{whole tone}, a flat lowers it by a semitone and a double flat
590 lowers it by a whole tone. A natural cancels the effect of a previous
591 accidental, or a sharp or flat in the key signature.
593 @lilypond[fragment,notime,line-width=13.0\cm]
594 \set Score.automaticBars = ##f
596 \context Staff \relative c'' {
597 \set Staff.extraNatural = ##f
598 gisis1 gis g! ges geses
601 \override Lyrics .LyricText #'self-alignment-X = #-1
602 "db. sharp" sharp natural flat "db. flat"
618 FI: adagio, hitaasti.
620 It.@: comfortable, easy.
624 @item Slow tempo, slower -- especially in even meter -- than
625 @ref{andante} and faster than @ref{largo}.
627 @item A movement in slow tempo, especially the second (slow) movement
628 of @ref{sonata}s, symphonies, etc.
639 D: Allegro, Schnell, Fröhlich, Lustig,
643 FI: allegro, nopeasti.
645 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
646 tempo, especially the first and last movements of a @ref{sonata}.
656 NL: verhoging of verlaging,
659 FI: kromaattinen merkki, muunnemerkki.
661 An alteration is the modification, raising or lowering, of a note's
662 pitch. It is established by an @ref{accidental}.
675 FI: altto, matala naisääni.
677 A female voice of low range (@emph{contralto}). Originally the alto
678 was a high male voice (hence the name), which by the use of falsetto
679 reached the height of the female voice. This type of voice is also
680 known as @ref{countertenor}.
686 ES: clave de do en tercera,
687 I: chiave di contralto,
688 F: clef d'ut troisième ligne,
689 D: Altschlüssel, Bratschenschlüssel,
695 C clef setting middle C on the middle line of the staff.
712 FI: ambitus, ääniala, soitinala.
714 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
715 Denotes a range of pitches for a given voice in a part of music. It may
716 also denote the pitch range that a musical instrument is capable of playing.
717 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
732 An anacrusis (also known as pickup or upbeat) is an incomplete measure
733 of music before a section of music. It also refers to the initial
734 note(s) of a melody occurring in that incomplete measure.
738 @ref{measure}, @ref{meter}.
740 @lilypond[fragment,line-width=13.0\cm]
744 \partial 4 f4 | bes4. a8 bes4 c |
745 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
749 @node ancient minor scale
750 @section ancient minor scale
752 ES: escala menor natural,
753 I: scala minore naturale,
754 F: forme du mode mineur ancien, troisème mode, mode hellénique,
755 D: reines Moll, natürliches Moll,
756 NL: authentieke mineurtoonladder,
759 FI: luonnollinen molliasteikko.
761 @lilypond[fragment,notime,line-width=13.0\cm]
762 \set Score.automaticBars = ##f
769 @ref{diatonic scale}.
784 Walking tempo/character.
788 @section appoggiatura
792 F: appoggiature, (port de voix),
793 D: Vorschlag, Vorhalt
797 FI: appoggiatura, etuhele.
799 Ornamental note, usually a second, that is melodically connected with
800 the main note following it. In music before the 19th century
801 appoggiature were usually performed on the beat, after that mostly
802 before the beat. While the short appoggiatura is performed as a short
803 note regardless of the duration of the main note the duration of the
804 long appoggiatura is proportional to that of the main note.
806 @lilypond[line-width=13.0\cm]
807 \context Voice \relative c'' {
811 %\override Score.TextScript #'font-style = #'large
812 <d a fis>4_"notation" r
813 { \override Stem #'flag-style = #'()
815 \revert Stem #'flag-style
818 { \override Stem #'flag-style = #'()
820 \revert Stem #'flag-style
823 \cadenzaOn a4 \bar "||" \cadenzaOff
825 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
826 \cadenzaOn a4 \bar "||" \cadenzaOff
830 An appoggiatura may have more notes preceding the main note.
832 @lilypond[line-width=13.0\cm]
836 % \override Score.TextScript #'font-style = #'large
837 \grace { bes16 } as8_"notation" as16 bes as8 g |
838 \grace { as16[( bes] } < c as >4-)
839 \grace { as16[( bes] } < c as >4-) \bar "||"
840 \grace { bes16 } as8_"performance" as16 bes as8 g |
841 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
842 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
854 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
856 DK: arpeggio, akkordbrydning,
858 FI: arpeggio, murtosointu.
860 @lilypond[fragment,line-width=13.0\cm]
861 \context PianoStaff <<
862 \context Staff = SA \relative c'' {
865 r8 g16 c e g, c e r8 g,16 c e g, c e |
866 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
867 \context Staff = SB \relative c' {
869 << \context Voice = va {
871 r16 e8. ( e4) r16 e8. ( e4) |
872 r16 d8. ( d4) r16 d8. ( d4) }
873 \context Voice = vb {
882 @section articulation
891 FI: artikulaatio, ilmaisu.
893 Articulation refers to notation which indicates how a note or notes
894 should be played. Slurs, accents, staccato, and legato are all
895 examples of articulation.
898 @node ascending interval
899 @section ascending interval
901 ES: intervalo ascendente,
902 I: intervallo ascendente,
903 F: intervalle ascendant,
904 D: steigendes Intervall,
905 NL: stijgend interval,
906 DK: stigende interval,
907 S: stigande intervall,
908 FI: nouseva intervalli.
910 A distance between a starting lower note and a higher ending note.
913 @node augmented interval
914 @section augmented interval
916 ES: intervalo aumentado,
917 I: intervallo aumentato,
918 F: intervalle augmenté,
919 D: übermäßiges Intervall,
920 NL: overmatig interval,
921 DK: forstørret interval,
922 S: överstigande intervall,
923 FI: ylinouseva intervalli.
931 @section augmentation
940 FI: augmentaatio, harvennus.
942 @c TODO: add definition.
944 This is a placeholder for augmentation (wrt mensural notation).
948 @ref{diminution}, @ref{mensural notation}.
956 F: manuscrit, autographe
957 D: Autograph, Handschrift,
959 DK: håndskrift, autograf,
961 FI: käsinkirjoitettu nuotti.
965 @item A manuscript written in the composer's own hand.
967 @item Music prepared for photoreproduction by freehand drawing, with
968 the aid of a straightedge ruler and T-square only, which attempts to
969 emulate engraving. This required more skill than did engraving.
1012 ES: barra, línea divisoria,
1013 I: stanghetta, barra (di divisione),
1014 F: barre (de mesure),
1032 FI: baritoni, keskikorkuinen miesääni.
1034 The male voice intermediate between the @ref{bass} and the
1037 @c F: clef de troisième ligne dropped
1041 @section baritone clef
1043 ES: clave de fa en tercera,
1044 I: chiave di baritono,
1045 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1046 D: Baritonschlüssel,
1052 C or F clef setting middle C on the upper staff line.
1056 @ref{C clef}, @ref{F clef}.
1069 FI: basso, matala miesääni.
1073 @item The lowest male voice.
1075 @item Sometimes, especially in jazz music, used as an abbreviation for
1088 ES: clave de fa en cuarta,
1090 F: clef de fa quatrième ligne,
1097 A clef setting with middle C on the first top ledger line.
1116 Line connecting a series of notes (shorter than a quarter note). The
1117 number of beams determines the note value of the connected notes.
1119 @lilypond[fragment,notime,line-width=13.0\cm]
1120 \set Score.automaticBars = ##f
1121 %\override TextScript #'font-style = #'large
1123 g8_"1/8"[ g g g] s16
1124 g16_"1/16"[ g g g] s16
1125 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1126 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1131 @ref{feathered beam}.
1137 ES: tiempo, parte (de compás)
1140 D: Takt, Taktschlag, Zeit (im Takt),
1146 Note value used for counting, most often half-, fourth-, and eighth
1147 notes. The base counting value and the number of them per measure is
1148 indicated at the start of the music.
1150 @lilypond[fragment,line-width=13.0\cm]
1153 \relative c'' { g4 c b a | g1 \bar "||"}
1155 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1160 @section beat repeat
1164 @ref{percent repeat}.
1178 ES: llave, corchete,
1181 D: Klammer, Akkolade,
1182 NL: accolade, teksthaak,
1185 FI: yhdistävä sulkumerkki.
1187 Symbol at the start of a system connecting staves.
1189 Curly braces are used for connecting piano staves, and sometimes for connecting
1190 the staves of like instruments in an orchestral score when written on different
1191 staves (e.g. first and second flutes):
1193 @lilypond[fragment,ragged-right]
1194 \context GrandStaff <<
1195 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1196 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1199 Angular brackets for connecting parts in an orchestral or choral score:
1201 @lilypond[fragment,ragged-right]
1202 \context StaffGroup <<
1203 % \set StaffGroup.minVerticalAlign = #12
1204 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1205 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1232 NL: koper (blazers),
1235 S: brassinstrument, mässingsinstrument,
1238 A family of blown musical instruments made of brass, all using a cup
1239 formed mouth piece. The brass instruments commonly used in a symphony
1240 orchestra are trumpet, trombone, french horn, and tube.
1244 @section breath mark
1249 D: Atemzeichen, Trennungszeichen,
1250 NL: repercussieteken,
1251 DK: vejrtrækningstegn,
1255 Indication of where to breathe in vocal and wind instrument parts.
1261 ES: cuadrada, breve,
1268 FI: brevis, kaksoiskokonuotti.
1270 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1271 The shortest note value generally used in white mensural notation, hence the
1272 name, which originally meant @q{of short duration}.
1274 @lilypond[fragment,notime,ragged-right]
1275 \set Score.automaticBars = ##f
1276 \relative c'' { g\breve }
1281 @ref{mensural notation}, @ref{note value}.
1315 Clef symbol indicating the position of the middle C. Used on all note
1318 @lilypond[fragment,notime,line-width=13.0\cm]
1319 \set Score.automaticBars = ##f
1320 \override Score.Clef #'full-size-change = ##t
1322 \context Staff \relative c' {
1324 \clef mezzosoprano c
1329 \context Lyrics \lyrics {
1330 \override Lyrics .LyricText #'self-alignment-X = #-1
1331 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1347 FI: kadenssi, lopuke.
1351 @ref{harmonic cadence}, @ref{functional harmony}.
1364 FI: kadenssi, lopuke.
1366 An extended, improvisatory style section inserted near the end of
1367 movement. The purpose of a cadenza is to give singers or players a
1368 chance to exhibit their technical skill and -- not last -- their
1369 ability to improvise. Since the middle of the 19th century, however,
1370 most cadenzas have been written down by the composer.
1383 FI: kaanon, tarkka jäljittely.
1400 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1401 viritysjärjestelmässä.
1403 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1404 (1/100 of an equally tempered @ref{semitone}).
1408 @ref{equal temperament}.
1431 Three or more tones sounding simultaneously. In traditional European music
1432 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1433 (major + minor third) as well as @emph{minor} (minor + major third) chords
1434 may be extended with more thirds. Four-tone @emph{seventh chords} and
1435 five-tone @emph{ninth} major chords are most often used as dominants
1436 (functional harmony). Chords having no third above the lower notes to
1437 define their mood are a special case called @q{open chords}. The lack of
1438 the middle third means their quality is ambivalent: neither major nor minor.
1440 @lilypond[fragment,notime,line-width=13.0\cm]
1441 \set Score.automaticBars = ##f
1442 %\override TextScript #'font-style = #'large
1444 \context Staff \relative c'' {
1445 \set Staff.extraNatural = ##f
1466 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1470 @node chromatic scale
1471 @section chromatic scale
1473 ES: escala cromática,
1475 F: gamme chromatique,
1476 D: chro@-ma@-ti@-sche Tonleiter,
1477 NL: chromatische toonladder,
1478 DK: kromatisk skala,
1480 FI: kromaattinen asteikko.
1482 A scale consisting of all 12 @ref{semitone}s.
1484 @lilypond[fragment,notime,line-width=13.0\cm]
1485 \set Score.automaticBars = ##f
1486 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1491 @section chromaticism
1502 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1506 @section church mode
1508 ES: modo eclesiástico,
1509 I: modo ecclesiastico,
1510 F: mode ecclésiastique,
1515 FI: moodi, kirkkosävellaji.
1519 @ref{diatonic scale}.
1528 D: Schlüssel, Notenschlüssel,
1532 FI: avain, nuottiavain.
1536 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1538 The clef indicates which lines of the staff correspond to which
1539 pitches. The three clef symbols in common use are:
1541 @lilypond[ragged-right,quote]
1544 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1545 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1546 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1551 Imagine a large staff of 11 lines centered on middle C, sometimes
1552 called a @q{grand staff}, with the bottom line representing low G and
1553 the top line high F:
1555 @lilypond[ragged-right,quote]
1558 %-- Treble Staff --%
1560 % Allow this staff to be placed close to the others
1561 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1562 % Allow the treble clef to overlap the lower staves:
1563 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1564 \override Staff.Clef #'stencil = ##f % No clef required
1566 s1^\markup { "g," \transparent "g" }
1567 s^ \markup { "b," \transparent "g" }
1568 s^ \markup { "d" \transparent "g" }
1569 s^ \markup { "f" \transparent "g" }
1570 s^ \markup { "a" \transparent "g" }
1571 s^ \markup { \with-color #red c' \transparent "g"}
1572 e'^\markup { "e'" \transparent "g" }
1573 g'^\markup { "g'" \transparent "g" }
1574 b'^\markup { "b'" \transparent "g" }
1575 d''^\markup { "d''" \transparent "g" }
1576 f''^\markup { "f ''" \transparent "g" }
1579 %-- Alto Staff reduced to a single line on middle C --%
1581 \override Staff.StaffSymbol #'line-count = 1 % One line only
1582 \override Staff.StaffSymbol #'color = #red % Coloured red
1583 \override Staff.Clef #'stencil = ##f % No clef required
1586 % Allow this staff to be placed close to the others
1587 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1588 % Specify height to give correct spacing between treble and bass staves
1589 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1591 s1 s s s s % Space along to align horizonatally
1592 \override NoteHead #'color = #red
1594 s1 s s s s s % Keep staff (ie the red line) showing
1598 % Allow this staff to be placed close to the others
1599 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1600 \override Staff.Clef #'stencil = ##f % No clef required
1603 s s s s s s s % Keep staff showing
1607 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1608 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1610 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1611 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1613 % Remove all barlines
1614 \context { \Score \override BarLine #'stencil = ##f
1616 % Remove time signature from all staves
1617 \context { \Staff \remove Time_signature_engraver
1623 Staves of five lines are usually used, and the clef superimposed on
1624 them indicates which five lines have been selected from this
1625 @samp{grand staff}. For example, the treble or G clef indicates that
1626 the top five lines have been selected:
1628 @lilypond[ragged-right,quote]
1631 %-- Treble Staff --%
1633 % Allow this staff to be placed close to the others
1634 \override Staff.VerticalAxisGroup
1635 #'minimum-Y-extent = #'(0 . 0)
1636 % Allow the treble clef to overlap the lower staves:
1637 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1638 \override Staff.Clef #'stencil = ##f % No clef required here
1640 s1^\markup { "g," \transparent "g" }
1641 s^ \markup { "b," \transparent "g" }
1642 s^ \markup { "d" \transparent "g" }
1643 s^ \markup { "f" \transparent "g" }
1644 s^ \markup { "a" \transparent "g" }
1645 s^ \markup { \with-color #red c' \transparent "g"}
1646 \stopStaff \startStaff
1647 \clef "C" % Dummy to force next clef to be printed
1648 s % Need at least one note for \clef to take effect
1649 \override Staff.Clef #'stencil = ##t % Clef now required
1650 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1652 e'^\markup { "e'" \transparent "g" }
1653 g'^\markup { "g'" \transparent "g" }
1654 b'^\markup { "b'" \transparent "g" }
1655 d''^\markup { "d''" \transparent "g" }
1656 f''^\markup { "f ''" \transparent "g" }
1658 %-- Alto Staff reduced to a single line on middle C --%
1660 \override Staff.StaffSymbol #'line-count = 1 % One line only
1661 \override Staff.StaffSymbol #'color = #red % Coloured red
1662 \override Staff.Clef #'stencil = ##f % No clef required
1665 % Allow this staff to be placed close to the others
1666 \override Staff.VerticalAxisGroup
1667 #'minimum-Y-extent = #'(0 . 0)
1668 % Specify height to give correct spacing between the staves
1669 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1671 s1 s s s s % Space along to align horizonatally
1672 \override NoteHead #'color = #red
1674 % s1 s s s s % Keep staff (ie the red line) showing
1678 % Allow this staff to be placed close to the others
1679 \override Staff.VerticalAxisGroup
1680 #'minimum-Y-extent = #'(0 . 0)
1681 \override Staff.Clef #'stencil = ##f % No clef required
1684 % s s s s s s % Keep staff showing
1688 % Reduce horizontal spacing so semibreves can be used
1689 % without exceeding 1 line
1690 \context { \Score \override SpacingSpanner
1691 #'base-shortest-duration = #(ly:make-moment 1 1)
1693 % Reduce apparent vertical size of note heads to
1694 % permit them to overlap other grobs vertically
1695 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1697 % Remove all barlines
1698 \context { \Score \override BarLine #'stencil = ##f
1700 % Remove time signature from all staves
1701 \context { \Staff \remove Time_signature_engraver
1707 The @q{curl} of the G clef is centered on the line that represents the
1710 In the same way, the bass or F clef indicates that the bottom five
1711 lines have been selected from the @samp{grand staff}, and the alto or
1712 C clef indicates the middle five lines have been selected. This
1713 relationship is shown below, where the notes show an arpeggio on a C
1716 @lilypond[ragged-right,quote]
1719 %-- Treble Staff --%
1720 \new Staff = "G" \with {
1721 \remove Time_signature_engraver
1724 % The following two overrides are required to make the two middle C's overlap
1725 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1726 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1728 \override Staff.Clef #'Y-extent = #'(0 . 0)
1730 s1 s s s s e' g' c''
1733 \new Staff = "C" \with {
1734 \remove Time_signature_engraver
1737 \override Staff.StaffSymbol #'line-count = 1
1738 \override Staff.StaffSymbol #'stencil = ##f
1739 \once \override Staff.Clef #'stencil = ##f
1740 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1741 \override Score.BarLine #'stencil = ##f
1743 % The following two overrides are required to align the C staff to the G and F staves
1744 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1745 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1748 \stopStaff \startStaff
1749 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1750 \revert Staff.StaffSymbol #'stencil
1751 \override Staff.StaffSymbol #'color = #red
1752 b'1 % A frig. This really shows as a middle C in the score
1754 \stopStaff \startStaff
1755 \override Staff.StaffSymbol #'line-count = 5
1756 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1757 \override Staff.Clef #'Y-extent = #'(0 . 0)
1758 \revert Staff.StaffSymbol #'color
1759 \stopStaff \startStaff
1761 s1 s s c e g c' e' g' c''
1764 \new Staff = "F" \with {
1765 \remove Time_signature_engraver
1768 \override Staff.Clef #'Y-extent = #'(0 . 0)
1769 % The following two overrides are required to make the two middle C's overlap
1770 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1771 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1779 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1782 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1785 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1802 FI: klusteri, cluster.
1804 A @emph{cluster} is a range of simultaneously sounding pitches that
1805 may change over time. The set of available pitches to apply usually
1806 depends on the acoustic source. Thus, in piano music, a cluster
1807 typically consists of a continuous range of the semitones as provided
1808 by the piano's fixed set of a chromatic scale. In choral music, each
1809 singer of the choir typically may sing an arbitrary pitch within the
1810 cluster's range that is not bound to any diatonic, chromatic or other
1811 scale. In electronic music, a cluster (theoretically) may even cover
1812 a continuous range of pitches, thus resulting in colored noise, such
1815 Clusters can be denoted in the context of ordinary staff notation by
1816 engraving simple geometrical shapes that replace ordinary notation of
1817 notes. Ordinary notes as musical events specify starting time and
1818 duration of pitches; however, the duration of a note is expressed by
1819 the shape of the note head rather than by the horizontal graphical
1820 extent of the note symbol. In contrast, the shape of a cluster
1821 geometrically describes the development of a range of pitches
1822 (vertical extent) over time (horizontal extent). Still, the
1823 geometrical shape of a cluster covers the area in which any single
1824 pitch contained in the cluster would be notated as an ordinary note.
1826 @lilypond[fragment,relative=2,ragged-right]
1827 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1841 FI: komma, korvinkuultava ero äänenkorkeudessa.
1843 Difference in pitch between a note derived from pure tuning and the
1844 same note derived from some other tuning method.
1848 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1853 @section common meter
1863 @section common time
1868 D: Vier-Viertel-Takt,
1874 4/4 time. The symbol, which resembles a capital letter C, derives from
1879 @ref{mensural notation}, @ref{meter}.
1885 ES: intervalo invertido,
1887 F: intervalle complémentaire,
1888 D: Komplementärintervall,
1889 NL: complementair interval,
1890 DK: komplementærinterval,
1891 S: komplementärintervall (?),
1892 FI: täydentävä intervalli.
1896 @ref{inverted interval}.
1899 @node compound interval
1900 @section compound interval
1902 ES: intervalo compuesto,
1903 I: intervallo composto,
1904 F: intervalle composé,
1905 D: weites Intervall,
1906 NL: samengesteld interval,
1907 DK: sammensat interval,
1908 S: sammansatt intervall,
1909 FI: oktaavia laajempi intervalli.
1911 Intervals larger than an octave.
1918 @node compound meter
1919 @section compound meter
1921 ES: compás compuesto, compás de subdivisión ternaria,
1928 FI: kolmijakoinen rytmi.
1930 A meter that includes a triplet subdivision within the beat, such as
1935 @ref{meter}, @ref{simple meter}.
1939 @section compound time
1941 ES: compás compuesto, compás de amalgama (def. 2),
1944 D: Dreiertakt, Wechseltakt,
1953 A meter that includes a triplet subdivision within the beat: see
1954 @ref{compound meter}.
1957 A time signature that additively combines two or more unequal meters, e.g.
1958 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1960 @lilypond[fragment,line-width=13.0\cm]
1961 #(define (compound-time grob one two three num)
1963 (ly:grob-layout grob)
1964 '(((baseline-skip . 2)
1966 (font-family . number)))
1968 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1972 #(set-time-signature 8 8 '(3 2 3))
1973 \override Staff.TimeSignature #'stencil
1974 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1975 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1976 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1977 \set Staff.beatGrouping = #'(3 2 3)
1979 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1987 @ref{compound meter}, @ref{meter}.
1991 @section concert pitch
1993 ES: en Do, afinación de concierto,
2002 The pitch at which the piano and other nontransposing instruments play: such
2003 instruments are said to be @q{in C}. The following list includes some (but not
2004 all) instruments that play in concert pitch:
2018 @item tenor trombone
2033 The trombones are a special case: although they are said to be @q{in F} (alto or
2034 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2035 their parts' transposition. (In fact, the trombones' parts are written at
2036 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2037 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2040 Instruments that play @q{in C} but in a different octave than what is written
2041 are, technically speaking, @emph{transposing instruments}:
2045 @item piccolo (plays an octave higher)
2046 @item celesta (plays an octave higher)
2047 @item double-bass (plays an octave lower)
2053 @ref{transposing instrument}.
2056 @node conjunct movement
2057 @section conjunct movement
2059 ES: movimiento conjunto,
2061 F: mouvement conjoint,
2062 D: schritt@-weise, stufenweise Bewegung,
2063 NL: stapsgewijze, trapsgewijze beweging,
2064 DK: trinvis bevægelse,
2066 FI: asteittainen liike.
2068 Progressing melodically by intervals of a second. The opposite of a
2069 @ref{disjunct movement}.
2071 @lilypond[fragment,line-width=13.0\cm]
2072 \key g \major \time 4/4
2073 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2087 FI: konsonanssi, sopusointi.
2112 @section copying music
2114 A music copyist did fast freehand scores and parts on preprinted staff
2115 lines for performance. Some of their conventions (e.g., the placement
2116 of note heads on stems) varied slightly from those of engravers. Some
2117 of their working methods were superior and could well be adopted by
2120 @c Copying music required more skill than engraving. Flagged for NPOV
2124 @section counterpoint
2133 FI: kontrapunkti, ääni ääntä vastaan.
2135 From Latin @emph{punctus contra punctum}, note against note. The
2136 combination into a single musical fabric of lines or parts which have
2137 distinct melodic significance. A frequently used polyphonic technique
2138 is imitation, in its strictest form found in the canon needing only
2139 one part to be written down while the other parts are performed with a
2140 given displacement. Imitation is also the contrapunctal technique
2141 used in the @emph{fugue} which, since the music of the baroque era,
2142 has been one of the most popular polyphonic composition methods.
2144 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2145 \set Score.implicitTimeSignatureVisibility = #all-invisible
2146 \override Score.TimeSignature #'break-visibility = #all-invisible
2147 \context PianoStaff <<
2148 \context Staff = SA \relative c' {
2152 << \context Voice = rha {
2154 r1 | r2 r8 g'8 bes d, |
2155 cis4 d r8 e!16 f g8 f16 e |
2156 f8 g16 a bes8 a16 g a8
2158 \context Voice = rhb {
2164 \context Staff = SB \relative c' {
2167 << \context Voice = lha {
2169 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2170 r8 a16 g f8 g16 a bes8 g e! cis' |
2173 \context Voice = lhb {
2183 @section countertenor
2188 D: Countertenor, Kontratenor,
2191 S: kontratenor, counter tenor,
2205 D: Crescendo, lauter werden,
2209 FI: cresendo, voimistuen.
2211 Increasing volume. Indicated by a rightwards opening horizontal wedge
2212 (hairpin) or the abbreviation @samp{cresc.}.
2214 @lilypond[fragment,ragged-right]
2215 \key g \major \time 4/4
2216 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2225 F: petites notes précédent l'entrée d'un instrument, réplique,
2232 In a separate part notes belonging to another part with the purpose of
2233 hinting when to start playing. Usually printed in a smaller type.
2242 D: Notenzeiger, Custos,
2248 A custos (plural: custodes) is a staff symbol that appears at the end
2249 of a staff line with monophonic musical contents (i.e., with a single
2250 voice). It anticipates the pitch of the first note of the following
2251 line and thus helps the player or singer to manage line breaks during
2252 performance, thus enhancing readability of a score.
2254 Custodes were frequently used in music notation until the 16th
2255 century. There were different appearences for different notation
2256 styles. Nowadays, they have survived only in special forms of musical
2257 notation such as via the Editio Vaticana dating back to the beginning
2263 % \override Staff.Custos #'neutral-position = #4
2264 \override Staff.Custos #'neutral-direction = #down
2265 \override Staff.Custos #'style = #'hufnagel
2273 \consists Custos_engraver
2305 F: da capo, depuis le commencement,
2306 D: da capo, von Anfang,
2310 FI: da capo, alusta.
2312 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2313 the beginning to the end or to a certain place marked @emph{fine}.
2321 F: dal segno, depuis le signe,
2322 D: dal segno, ab dem Zeichen,
2326 FI: dal segno, lähtien merkistä.
2328 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2329 another place frequently near the beginning marked by a sign:
2331 @lilypond[fragment,ragged-right]
2332 %\override TextScript #'font-style = #'large
2333 \override TextScript #'font-shape = #'italic
2334 \key g \major \time 4/4
2339 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2346 @section decrescendo
2350 D: Decrescendo, leiser werden,
2354 FI: decresendo, hiljentyen.
2356 Decreasing tone volume. Indicated by a leftwards opening horizontal
2357 wedge (hairpin) or the abbreviation @samp{decresc.}.
2359 @lilypond[fragment,ragged-right]
2361 \key g \major \time 4/4
2362 d4 \> c b a | g1 \! \bar "|."
2367 @node descending interval
2368 @section descending interval
2370 ES: intervalo descendente,
2371 I: intervallo discendente,
2372 F: intervalle descendant,
2373 D: fallendes Intervall, absteigendes Intervall,
2374 NL: dalend interval,
2375 DK: faldende interval,
2376 S: fallande intervall,
2377 FI: laskeva intervalli.
2379 A distance between a starting higher note and a lower ending note.
2382 @node diatonic scale
2383 @section diatonic scale
2385 ES: escala diatónica,
2387 F: gamme diatonique,
2388 D: diatonische Tonleiter,
2389 NL: diatonische toonladder,
2390 DK: diatonisk skala,
2392 FI: diatoninen asteikko.
2394 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2395 Scales played on the white keys of a piano keybord are diatonic; and these
2396 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2398 These @q{modes} are used in Gregorian chant and in pre-baroque early music
2399 but also to some extent in newer jazz music.
2401 @lilypond[fragment,notime,ragged-right]
2402 \set Score.automaticBars = ##f
2403 %\override Score.LyricText #'font-style = #'large
2404 %\override Score.TextScript #'font-style = #'large
2406 \context Staff \relative c' {
2408 \override TextScript #'padding = #-4
2409 e^"~~ S" f g a b^"~~ S" c
2411 \context Lyrics \lyrics {
2417 @lilypond[fragment,notime,ragged-right]
2418 \set Score.automaticBars = ##f
2420 \context Staff \relative c' {
2422 \override TextScript #'padding = #-4
2423 e^"~~ S" f g a b^"~~ S" c d
2431 @lilypond[fragment,notime,ragged-right]
2432 \set Score.automaticBars = ##f
2435 \override TextScript #'padding = #-4
2436 e1^"~~ S" f g a b^"~~ S" c d e
2444 @lilypond[fragment,notime,ragged-right]
2445 \set Score.automaticBars = ##f
2449 \override TextScript #'padding = #-4
2450 b^"~~ S" c d e^"~~ S" f
2458 @lilypond[fragment,notime,ragged-right]
2459 \set Score.automaticBars = ##f
2463 \override TextScript #'padding = #-4
2464 b^"~~ S" c d e^"~~ S" f g }
2471 @lilypond[fragment,notime,ragged-right]
2472 \set Score.automaticBars = ##f
2473 %\override Score.LyricText #'font-style = #'large
2474 %\override Score.TextScript #'font-style = #'large
2478 \override TextScript #'padding = #-4
2479 b^"~~ S" c d e^"~~ S" f g a
2487 @lilypond[fragment,notime,ragged-right]
2488 \set Score.automaticBars = ##f
2489 %\override Score.LyricText #'font-style = #'large
2490 %\override Score.TextScript #'font-style = #'large
2493 \override TextScript #'padding = #-4
2494 b1^"~~ S" c d e^"~~ S" f g a b
2502 From the beginning of the 17th century the scales used in European
2503 compositional music are primarily the major and the minor scales. In
2504 the harmonic minor scale type an augmented second (A) occurs between
2505 the 6th and 7th tone.
2507 @lilypond[fragment,notime,ragged-right]
2508 \set Score.automaticBars = ##f
2512 \override TextScript #'padding = #-4
2513 e^"~~ S" f g a b^"~~ S" c
2521 @lilypond[fragment,notime,ragged-right]
2522 \set Score.automaticBars = ##f
2526 \override TextScript #'padding = #-4
2527 b^"~~ S" c d e^"~~ S" f g a
2535 @lilypond[fragment,notime,ragged-right]
2536 \set Score.automaticBars = ##f
2540 \override TextScript #'padding = #-4
2541 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2543 \context Lyrics \lyrics {
2549 @lilypond[fragment,notime,line-width=13.0\cm]
2550 \set Score.automaticBars = ##f
2551 %\override Score.LyricText #'font-style = #'large
2552 %\override Score.TextScript #'font-style = #'large
2556 \override TextScript #'padding = #-4
2557 b^"~~ S" c d e fis gis^"~~ S" a
2560 "Melodic minor ascending"
2565 @lilypond[fragment,notime,line-width=13.0\cm]
2566 \set Score.automaticBars = ##f
2567 %\override Score.LyricText #'font-style = #'large
2568 %\override Score.TextScript #'font-style = #'large
2572 \override TextScript #'padding = #-4
2573 a g! f!^"~~ S" e d c^"~~ S" b a
2576 "Melodic minor descending"
2583 @section didymic comma
2587 @ref{syntonic comma}.
2590 @node diminished interval
2591 @section diminished interval
2593 ES: intervalo disminuido,
2594 I: intervallo diminuito,
2595 F: intervalle diminué,
2596 D: vermindertes Intervall,
2597 NL: verminderd interval,
2598 DK: formindsket interval,
2599 S: förminskat intervall,
2600 FI: vähennetty intervalli.
2617 FI: diminuendo, hiljentyen.
2630 D: Diminution, Verkleinerung,
2634 FI: diminuutio, tihennys.
2636 @c TODO: add definition
2638 This is a placeholder for diminution (wrt mensural notation).
2642 @ref{augmentation}, @ref{mensural notation}.
2662 @node disjunct movement
2663 @section disjunct movement
2665 ES: movimiento disjunto,
2667 F: mouvement disjoint,
2668 D: sprunghafte Bewegung,
2669 NL: sprongsgewijze beweging,
2670 DK: springende bevægelse,
2671 S: hoppande rörelse,
2672 FI: melodian hyppivä liike.
2674 Progressing melodically by intervals larger than a major second, as
2675 opposed to @ref{conjunct movement}.
2677 @lilypond[fragment,ragged-right]
2682 a4. gis8 b a e cis |
2683 fis2 d4. \bar "||" }
2690 @ref{dissonant interval}.
2693 @node dissonant interval
2694 @section dissonant interval
2696 ES: intervalo disonante, disonancia,
2697 I: intervallo dissonante, dissonanza,
2700 NL: dissonant interval, dissonant,
2701 DK: dissonerende interval, dissonans,
2703 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2722 [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
2723 vertical stroke through part or all of the staff that serves to
2724 structure a chant into phrases and sections. There are four types:
2728 @item @emph{divisio minima}, a short pause
2730 @item @emph{divisio maior}, a medium pause
2732 @item @emph{divisio maxima}, a long pause
2734 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2735 section in a long antiphonal or responsorial chant.
2739 TODO: musical example here?
2758 Indicator for a indeterminately rising pitch bend. Compare with
2759 @emph{glissando}, which has determinate starting and ending pitches.
2763 @ref{fall}, @ref{glissando}.
2776 FI: dominantti, huippusointu.
2778 The fifth @ref{scale degree} in @ref{functional harmony}.
2781 @node dominant ninth chord
2782 @section dominant ninth chord
2784 ES: acorde de novena de dominante,
2785 I: accordo di nona di dominante,
2786 F: accord de neuvième dominante,
2787 D: Domi@-nant@-nonen@-akkord,
2788 NL: dominant noon akkoord,
2789 DK: dominantnoneakkord,
2790 S: dominantnonackord,
2791 FI: dominanttinoonisointu.
2795 @ref{chord}, @ref{functional harmony}.
2798 @node dominant seventh chord
2799 @section dominant seventh chord
2801 ES: acorde de séptima de dominante,
2802 I: accordo di settima di dominante,
2803 F: accord de septième dominante,
2804 D: Dominantseptakkord,
2805 NL: dominant septiem akkoord,
2806 DK: dominantseptimakkord,
2807 S: dominantseptimackord,
2808 FI: dominanttiseptimisointu.
2812 @ref{chord}, @ref{functional harmony}.
2816 @section dorian mode
2821 D: dorisch, dorischer Kirchenton,
2822 NL: dorische toonladder,
2829 @ref{diatonic scale}.
2832 @node dot (augmentation dot)
2833 @section dot (augmentation dot)
2836 I: punto (di valore),
2838 D: Punkt (Verlängerungspunkt),
2846 @ref{dotted note}, @ref{note value}.
2850 @section dotted note
2852 ES: nota con puntillo,
2856 NL: gepuncteerde noot,
2859 FI: pisteellinen nuotti.
2866 @node double appoggiatura
2867 @section double appoggiatura
2869 ES: apoyatura doble,
2870 I: appoggiatura doppia,
2871 F: appoggiature double,
2872 D: doppelter Vorschlag,
2873 NL: dubbele voorslag,
2874 DK: dobbelt forslag,
2876 FI: kaksoisappogiatura, kaksoisetuhele.
2883 @node double bar line
2884 @section double bar line
2890 NL: dubbele maatstreep,
2893 FI: kaksoistahtiviiva.
2895 Indicates the end of a section within a movement.
2898 @node double dotted note
2899 @section double dotted note
2901 ES: nota con doble puntillo,
2902 I: nota doppiamente puntata,
2903 F: note doublement pointée,
2904 D: doppelt punktierte Note,
2905 NL: dubbelgepuncteerde noot,
2906 DK: dob@-belt@-punk@-te@-ret node,
2907 S: dub@-bel@-punk@-te@-rad not,
2908 FI: kaksoispisteellinen nuotti.
2916 @section double flat
2925 FI: kaksoisalennusmerkki.
2933 @section double sharp
2935 ES: doble sostenido,
2940 DK: dob@-belt@-kryds,
2942 FI: kaksoisylennysmerkki.
2949 @node double time signature
2950 @section double time signature
2955 D: Doppeltakt, Wechseltakt,
2963 @ref{polymetric time signature}.
2967 @section double trill
2973 NL: dubbele triller,
2978 A simultaneous trill on two notes, usually in the distance of a third.
2982 @section duple meter
2987 D: in zwei, grader Takt,
2988 NL: tweedelige maatsoort,
3025 FI: kesto, aika-arvo.
3035 ES: dinámica, matices,
3038 D: Dynamik, Lautstärke,
3042 FI: dynamiikka, voimakkuusvaihtelut.
3044 The aspect of music relating to degrees of loudness, or changes from
3045 one degree to another. The terms, abbreviations, and symbols used to
3046 indicate this information are called dynamic marks.
3050 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3073 @node ecclesiastical mode
3074 @section ecclesiastical mode
3082 @section eighth note
3089 @item D: Achtel, Achtelnote
3090 @item NL: achtste noot
3091 @item DK: ottendedelsnode
3092 @item S: åttondelsnot
3093 @item FI: kahdeksasosanuotti
3102 @section eighth rest
3105 @item UK: quaver rest
3106 @item ES: silencio de corchea
3107 @item I: pausa di croma
3108 @item F: demi-soupir
3109 @item D: Achtelpause
3110 @item NL: achtste rust
3111 @item DK: ottendedelspause
3112 @item S: åttonddelspaus
3113 @item FI: kahdeksasosatauko
3124 @c TODO: add languages
3129 D: Elision, Auslassung,
3135 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3138 The singing of several syllables on a single note. Elision may be indicated
3139 by a lyric tie, which is looks like (and serves the same function) as a
3148 @section embellishment
3161 D: Notenstich, Notendruck
3167 Engraving means incising or etching a metal plate for printing.
3168 Photoengraving means drawing music with ink in a manner similar to
3169 drafting or engineering drawing, using similar tools.
3171 The traditional process of music printing is done through cutting in a
3172 plate of metal. Now also the term for the art of music typesetting.
3187 Two notes, intervals, or scales are enharmonic if they have different
3188 names but equal pitch.
3190 @lilypond[fragment,notime,line-width=13.0\cm]
3191 \set Score.automaticBars = ##f
3193 \context Staff \relative c'' {
3194 gis1 as <des g,!> <cis g!>
3196 \context Lyrics \lyrics {
3197 \override Lyrics .LyricText #'self-alignment-X = #-1
3198 "g sharp " "a flat " "dim fifth " "augm fourth"
3204 @node equal temperament
3205 @section equal temperament
3207 ES: temperamento igual,
3208 I: temperamento equabile,
3209 F: tempérament égal,
3210 D: gleichschwebende Stimmung,
3211 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3212 DK: ligesvævende temperatur,
3213 S: liksvävande temperatur,
3216 Tuning system dividing the octave into 12 equal @ref{semitone}s
3217 (precisely 100 @ref{cent}s).
3224 @node expression mark
3225 @section expression mark
3228 I: segno d'espressione,
3229 F: signe d'expression, indication de nuance,
3231 NL: voordrachtsteken,
3232 DK: foredragsbetegnelse,
3233 S: föredragsbeteckning,
3234 FI: nyanssiosoitus, esitysmerkki.
3236 Performance indications concerning:
3240 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3242 @item tempo (for example @ref{andante}, @ref{allegro}).
3248 @section extender line
3250 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3252 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3259 The generic term for a line (or dash) of arbitrary length that extends
3260 text (without indicating the musical @emph{function} of that text).
3262 Used in many contexts, for example:
3266 @item In vocal music to indicate the syllable for a melisma. Called
3267 @q{extension} in the
3268 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3272 In figured bass to indicate that:
3276 @item The extended note should be held through a change in harmony, when applied
3277 to one figure --OR--
3278 @item The chord thus represented should be held above a moving bass line, when
3279 applied to more than one figure.
3280 @item These uses were not completely standardized, and some composers used a
3281 single extender line to indicate the latter case.
3286 In string music to indicate that all notes in the passage thus indicated should
3287 be played on the same string. On the violin, for example, a series of notes to
3288 be played on the G string would be indicated @samp{sul G}, another series to be
3289 played on the D string would be indicated @samp{sul D}, and so on.
3292 With an octave mark to indicate that a passage is to be played higher or lower
3293 by the given number of octaves.
3299 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3334 The position between the dots of the key symbol is the line of the F
3335 below central@w{ }C. Used on the third, fourth and fifth note line.
3336 A digit@w{ }8 above the clef symbol indicates that the notes must be
3337 played an octave higher (for example, bass recorder) while 8@w{ }below
3338 the clef symbol indicates playing an octave lower (for example, on
3339 double bass @ref{strings}).
3341 @lilypond[fragment,notime,line-width=13.0\cm]
3342 \set Score.automaticBars = ##f
3343 \override Staff.Clef #'full-size-change = ##t
3371 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3386 Indicator for a indeterminately falling pitch bend. Compare with
3387 @emph{glissando}, which has determinate starting and ending pitches.
3391 @ref{doit}, @ref{glissando}.
3394 @node feathered beam
3395 @section feathered beam
3399 F: liens de croches en soufflet,
3400 D: gespreizter Balken,
3406 A type of beam used to indicate that a small group of notes should be
3407 played at an increasing or decreasing tempo -- depending on the
3408 direction of @q{feathering} -- but without changing the overall tempo
3413 Internals Reference: @ruser{Manual beams}
3421 F: point d'orgue, point d'arrêt,
3426 FI: fermaatti, pidäke.
3428 Prolonged note or rest of indefinite duration.
3430 @lilypond[fragment,ragged-right]
3433 a4 b c2^\fermata \bar "|."
3456 @section figured bass
3459 I: basso continuo, basso numerato,
3460 F: basse chiffrée, basse continue,
3461 D: Generalbass, bezifferter Bass,
3462 NL: basso continuo, becijferde bas
3465 FI: kenraalibasso, numeroitu basso.
3467 Also called @q{thorough bass}.
3469 A method of indicating an accompaniment part by the bass notes only, together
3470 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
3471 above the bass notes.
3473 @lilypond[fragment,line-width=13.0\cm]
3474 \context GrandStaff <<
3475 \context Staff = lh \relative c'' {
3479 << \context Voice = rha {
3482 \context Voice = rhb {
3484 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3488 \context Staff = rh \relative c' {
3491 es8 c d bes c as bes16 as g f | es4
3493 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3511 The methodical use of fingers in the playing of instruments.
3518 I: coda (uncinata), bandiera,
3526 Ornament at the end of the stem of a note used for notes with values
3527 less than a quarter note. The number of flags determines the
3530 @lilypond[fragment,notime,ragged-right]
3531 \set Score.automaticBars = ##f
3532 %\override Score.TextScript #'font-style = #'large
3554 An articulation for string players that means the note or passage is to
3555 be played in harmonics.
3561 @item A duct flute similar to the recorder.
3563 @item An organ stop of flute scale at 1' or 2' pitch.
3569 @ref{articulation}, @ref{harmonics}.
3607 FI: forte, voimakkaasti.
3609 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3610 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3630 @node Frenched score
3631 @section Frenched score
3633 ES: partitura a la francesa,
3636 D: Partitur (ohne leere Takte),
3642 A @q{condensed} score, produced by omitting staves for instruments that are not
3643 playing at the moment, and by moving up additional systems from following pages
3644 to take up the space thus liberated, which reduces the total number of pages
3645 used to print the work.
3647 The specific rules for @q{frenching} a score differ from publisher to publisher.
3648 If you are producing scores for eventual publication by a commercial publisher,
3649 you may wish to procure a copy of their style manual.
3653 @ref{Frenched staff}.
3656 @node Frenched staff
3657 @section Frenched staff
3659 ES: pentagrama a la francesa,
3662 D: Notensystem (ohne leere Takte),
3668 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3669 measures or sections removed. This would be useful for producing, for example,
3670 an @emph{ossia} staff.
3677 @node Frenched staves
3678 @section Frenched staves
3680 ES: pentagramas a la francesa,
3683 D: Notensysteme (ohne leere Takte),
3689 The plural of @ref{Frenched staff}, @emph{q.v.}.
3709 @node functional harmony
3710 @section functional harmony
3712 ES: armonía funcional,
3713 I: armonia funzionale,
3714 F: étude des functions,
3716 NL: functionele harmonie,
3717 DK: funktionsanalyse, funktionsharmonik,
3719 FI: harmoniajärjestelmä.
3721 A system of harmonic analysis. It is based on the idea that, in a
3722 given key, there are only three functionally different chords: tonic
3723 (T, the chord on the first note of the scale), subdominant (S, the
3724 chord on the fourth note), and dominant (D, the chord on the fifth
3725 note). Others are considered to be variants of the base chords.
3727 @lilypond[fragment,notime,line-width=13.0\cm]
3728 \set Score.automaticBars = ##f
3730 \context Voice \relative c'' {
3731 <g e c >1 < a f d > < b g e >
3732 <c a f > < d b g > < e c a > < f d b > }
3733 \context Lyrics \lyrics {
3734 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3764 D: G-Schlüssel, Violinschlüssel,
3770 A clef symbol indicating the G above middle@w{ }C. Used on the first
3771 and second note lines. A digit 8 above the clef symbol indicates that
3772 the notes must be played an octave higher while 8 below the clef
3773 symbol indicates playing or singing an octave lower (most tenor parts
3774 in choral scores are notated like that).
3776 @lilypond[fragment,notime,ragged-right]
3778 \set Score.automaticBars = ##f
3779 \override Staff.Clef #'full-size-change = ##t
3782 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3792 \context Lyrics \lyrics {
3793 \override Lyrics . LyricText #'X-offset = #-5
3794 "french violin clef"
3813 FI: glissando, liukuen.
3815 Letting the pitch slide fluently from one note to the other.
3819 @section grace notes
3821 ES: notas de adorno,
3824 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3830 Notes printed in small types to indicate that their time values are not
3831 counted in the rhythm of the bar.
3835 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3840 @section grand staff
3842 ES: sistema de piano,
3845 D: Akkolade, Klaviersystem,
3848 S: ackolad, böjd klammer,
3849 FI: kaksoisnuottiviivasto.
3851 A combination of two staves with a brace. Usually used for piano music.
3868 FI: grave, raskaasti.
3895 Letter name used for @samp{B natural} in German and Scandinavian
3896 usage. In the standard usage of these countries, @samp{B} means
3901 @ref{Pitch names}, @ref{B}.
3907 Graphical version of the @notation{crescendo} and @notation{decrescendo}
3912 @ref{crescendo}, @ref{decrescendo}.
3922 D: Halbe, halbe Note,
3937 ES: silencio de blanca,
3951 @node harmonic cadence
3952 @section harmonic cadence
3954 ES: cadencia (armónica),
3955 I: cadenza (armonica),
3956 F: cadence harmonique,
3958 NL: harmonische cadens,
3959 DK: harmonisk kadence,
3960 S: (harmonisk) kadens,
3961 FI: harmoninen kadenssi.
3963 A sequence of chords that terminates a musical phrase or section.
3965 @ref{functional harmony}.
3967 @lilypond[fragment,ragged-right]
3968 \context PianoStaff <<
3969 \context Staff = SA \relative c'' {
3973 \partial 4 < c g e >4 |
3974 < c a f > < b g d > < c g e >2
3977 \context Staff = SB \relative c {
3979 \partial 4 c4 | f, g c2
3994 ES: sonidos del flautín,
3996 F: flageolet, sons harmoniques,
4001 FI: yläsävelsarjan flageoletti-ääni.
4003 The general class of pitches produced by sounding the second or higher
4004 harmonic of a tone producer: string, column of air, and so on.
4006 On stringed instruments, these pitches sound rather flute-like; hence,
4007 their name in languages other than English. They are produced by
4008 lightly touching the string at a node for the desired mode of vibration
4009 while it is being bowed or plucked.
4011 For instruments of the violin family, there are two types of harmonics:
4012 natural harmonics, which are those played on the open string; and
4013 artificial harmonics, which are produced on stopped strings.
4022 D: Harmonie, Zusammenklang,
4026 FI: harmonia, yhteissointi.
4028 Tones sounding simultaneously. Two note harmonies fall into the
4029 categories @emph{consonances} and @emph{dissonances}.
4033 @lilypond[fragment,notime,line-width=13.0\cm]
4034 \set Score.automaticBars = ##f
4035 %\override Score.TextScript #'font-style = #'large
4036 \context Voice \relative c'' {
4049 @lilypond[fragment,notime,line-width=13.0\cm]
4050 \set Score.automaticBars = ##f
4051 %\override Score.TextScript #'font-style = #'large
4052 \context Voice \relative c'' {
4053 <g a>1_"second " s s
4054 <g f'>_"seventh " s s
4059 Three note harmony @ref{chord}.
4074 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
4075 the use of three notes of equal value in the time normally occupied by
4076 of two notes of equal value. The resulting rhythm can be expressed in
4077 modern terms as a substitution (for example) of a bar in 3/2 for one
4078 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
4079 hemiola is most frequently as a special effect (or @emph{affect}) at
4082 For example, this phrase in 6/4 time
4084 @lilypond[fragment,line-width=13.0\cm]
4088 c2. e | d2 c d | c1. \bar "||" }
4091 may be thought of having alternating time signatures
4093 @lilypond[fragment,line-width=13.0\cm]
4097 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4100 and is therefore a polymeter (second definition) of considerable antiquity.
4104 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
4117 FI: homofonia, yksiäänisyys.
4119 Music in which one voice leads melodically followed by the other
4120 voices more or less in the same rhythm. In contrast to
4136 A group or list of numbers that indicate the number of syllables in a
4137 line of a hymn's verse. Different hymnals have different ways of noting
4138 the hymn meter -- consider a hymn having four lines in two couplets that
4139 alternate between eight and seven syllables. The @emph{English Hymnal}
4140 notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
4141 8@w{ }7@w{ }8@w{ }7.
4143 Some frequently-used hymn meters have traditional names:
4147 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4149 @item 86.86 is called Common Meter (CM or C.M.)
4151 @item 88.88 is called Long Meter (LM or L.M.)
4155 Some hymns and their tunes are doubled versions of a simpler meter: for
4156 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4157 87.87D. The traditional names above also have doubled versions:
4161 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4163 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4165 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4181 FI: intervalli, kahden sävelen korkeusero.
4183 Difference in pitch between two notes. Intervals may be perfect,
4184 minor, major, diminished, or augmented. The augmented fourth and the
4185 diminished fifth are identical (@ref{enharmonic}) and are called
4186 @emph{tritonus} because they consist of three @ref{whole tone}s. The
4187 addition of such two intervals forms an octave.
4189 @lilypond[fragment,notime,line-width=13.0\cm]
4190 \set Score.automaticBars = ##f
4192 \context Voice \relative c'' {
4202 \context Lyrics \lyrics {
4203 "unison " "second " "second " "second "
4204 "third " "third " "third " "third"
4209 @lilypond[fragment,notime,line-width=13.0\cm]
4210 \set Score.automaticBars = ##f
4212 \context Staff \relative c'' {
4223 "fourth " "fourth " "fifth " "fifth "
4224 "sixth " "sixth " "sixth " "sixth"
4229 @lilypond[fragment,notime,line-width=13.0\cm]
4230 \set Score.automaticBars = ##f
4232 \context Staff \relative c'' {
4233 < gis f'! >1^"dimin"
4242 \context Lyrics \lyrics {
4243 "seventh " "seventh " "seventh " "octave "
4244 "ninth " "ninth " "tenth " "tenth"
4256 D: Umkehrung (Akkord),
4260 FI: (kolmisoinnun) käännös.
4262 When the bass is not the same as the root, the chord is inverted. The number
4263 of inversions that a chord can have is one fewer than the number of
4264 constituent notes. Triads, for example, (having three constituent notes) can
4265 have three positions, two of which are inversions:
4269 The root note is in the bass, and above that are the third and the fifth. A
4270 triad built on the first scale degree, for example, is marked @notation{I}.
4272 @item First inversion
4273 The third is in the bass, and above it are the fifth and the root. This
4274 creates an interval of a sixth and a third above the bass note, and so is
4275 marked in figured Roman notation as @notation{6/3}. This is commonly
4276 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4277 characteristic interval of the inversion, and so always implies
4280 @item Second inversion
4281 The fifth is in the bass, and above it are the root and the third. This
4282 creates an interval of a sixth and a fourth above the bass note, and so is
4283 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4284 unstable chord position.
4288 @node inverted interval
4289 @section inverted interval
4291 ES: intervalo invertido,
4292 I: intervallo rivolto,
4293 F: intervalle reversé,
4294 D: umgekehrtes Intervall,
4295 NL: interval inversie,
4296 DK: omvendingsinterval,
4297 S: intervallets omvändning,
4298 FI: käänteisintervalli.
4300 The difference between an interval and an octave.
4302 @lilypond[fragment,notime,line-width=13.0\cm]
4303 \set Score.automaticBars = ##f
4304 %\override Score.TextScript #'font-style = #'large
4305 \context Staff \relative c'' {
4306 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4307 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4308 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4313 @node just intonation
4314 @section just intonation
4316 ES: entonación justa,
4317 I: intonazione giusta,
4318 F: intonation juste,
4325 Tuning system in which the notes are obtained by adding and subtracting
4326 natural fifths and thirds.
4343 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4344 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4348 @ref{key signature}.
4352 @section key signature
4354 ES: armadura (de la clave),
4355 I: armatura di chiave,
4356 F: armure, armature [de la clé],
4357 D: Vorzeichen, Tonart,
4358 NL: toon@-soort (voortekens),
4361 FI: sävellajiosoitus.
4363 The sharps or flats appearing at the beginning of each staff indicating the
4369 @node laissez vibrer
4370 @section laissez vibrer
4375 D: Laissez vibrer, klingen lassen,
4381 [From French, @q{Let vibrate}]. Most frequently associated with harp
4382 parts. Marked @samp{l.v.} in the score.
4391 D: Largo, Langsam, Breit,
4395 FI: largo, hitaasti, leveästi.
4397 Very slow in tempo, usually combined with great expressiveness.
4398 @emph{Larghetto} is less slow than largo.
4402 @section leading note
4413 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4414 called because of its strong tendency to @q{lead up} (resolve upwards)
4415 to the tonic scale degree.
4419 @section ledger line
4421 ES: línea adicional,
4422 I: tagli addizionali,
4423 F: ligne supplémentaire,
4430 A ledger line is an extension of the staff.
4432 @lilypond[fragment,notime,ragged-right]
4433 \set Score.automaticBars = ##f
4434 \relative c'' { a,1 s c'' }
4444 D: legato, gebunden,
4450 To be performed (a) without any perceptible interruption between the
4451 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4452 @emph{portato}, and (d) @ref{staccato}.
4454 @lilypond[fragment,notime,line-width=13.0\cm]
4455 \set Score.automaticBars = ##f
4457 \context Staff \relative c'' {
4458 c4-( d e-) \bar "||"
4459 c4-- d-- e-- \bar "||"
4460 c4-.-( d-. e-.-) \bar "||"
4461 c4-. d-. e-. \bar "||"
4474 @section legato curve
4478 @ref{slur}, @ref{legato}.
4501 A ligature is a coherent graphical symbol that represents at least two
4502 distinct notes. Ligatures originally appeared in the manuscripts of
4503 Gregorian chant notation roughly since the 9th century to denote ascending
4504 or descending sequences of notes. In early notation, ligatures were used
4505 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4506 performance in the sense of articulation. With the invention of the metric
4507 system of the white mensural notation, the need for ligatures to denote such
4508 patterns disappeared.
4512 @ref{mensural notation}.
4519 ES: estanque de nenúfares,
4520 I: stagno del giglio,
4521 F: étang de nénuphars, étang de nymphéas,
4523 NL: le@-lie@-vij@-ver,
4528 A pond with lilies floating in it.
4529 Also, the name of a music typesetting program.
4538 D: Linie, Notenlinie,
4542 FI: viiva, nuottiviiva.
4561 [From Italian, @q{place}]. Instruction to play the following passage at the
4562 written pitch. Cancels octave mark (q.v.).
4566 @ref{octave mark}, @ref{octave marking}.
4569 @node long appoggiatura
4570 @section long appoggiatura
4572 ES: apoyatura larga,
4573 I: appoggiatura lunga,
4574 F: appoggiature longue,
4579 FI: pitkä appoggiatura, pitkä etuhele.
4598 Note value: double length of @ref{breve}.
4600 @lilypond[fragment,notime,ragged-right]
4601 \set Score.automaticBars = ##f
4603 \override NoteHead #'style = #'mensural
4616 ES: ligadura de letra,
4634 ES: letra (de la canción),
4637 D: Liedtext, Gesangtext,
4658 @ref{diatonic scale}.
4661 @node major interval
4662 @section major interval
4664 ES: intervalo mayor,
4665 I: intervallo maggiore,
4666 F: intervalle majeur,
4667 D: großes Intervall,
4671 FI: suuri intervalli.
4678 @node meantone temperament
4679 @section meantone temperament
4681 ES: afinación mesotónica,
4682 I: accordatura mesotonica,
4683 F: tempérament mésotonique,
4684 D: mitteltönige Stimmung,
4685 NL: middenstemming, middentoonstemming,
4686 DK: middeltonetemperatur,
4687 S: medeltonstemperatur,
4688 FI: keskisävelviritys.
4690 Temperament yielding acoustically pure thirds by decreasing the
4691 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4692 character of this @ref{temperament} only a limited set of keys are
4693 playable. Used for tuning keyboard instruments for performance of
4709 A group of @ref{beat}s (units of musical time) the first of which
4710 bears an accent. Such groups in numbers of two or more recur
4711 consistently throughout the composition and are marked from each other
4717 @node measure repeat
4718 @section measure repeat
4722 @ref{percent repeat}.
4729 I: mediante, modale,
4739 @item The third @b{scale degree}.
4741 @item A @ref{chord} having its base tone a third from that of another
4742 chord. For example, the tonic chord may be replaced by its lower
4743 mediant (variant tonic).
4748 @ref{functional harmony}, @ref{relative key}.
4761 FI: melisma, laulettavan tavun sävelkuvio.
4763 A melisma (plural, from Greek: melismata) is a group of notes or tones
4764 sung on one syllable, especially as applied to liturgical chant.
4768 @section melisma line
4770 ES: línea de melisma,
4781 @ref{extender line}.
4784 @node melodic cadence
4785 @section melodic cadence
4792 @node mensural notation
4793 @section mensural notation
4795 ES: notación mensural,
4798 D: Mensuralnotation,
4802 FI: mensuraalinuottikirjoitus.
4804 A system of duration notation whose principles were first established in the
4805 mid-13th century, and that (with various changes) remained in use until about
4806 1600. As such, it is the basis for the notation of rhythms in Western musical
4809 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4810 of the notation's principles, so the notation of this earliest period is called
4811 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4812 and semibreve -- each of which was normally equivalent to three of the next
4815 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4816 added several note values (the minim, semiminim and fusa) and extended Franco's
4817 principles to govern the relationship between these values. They also put the
4818 duple division of note values on an equal footing with the earlier (preferred)
4821 TODO: continue description of French and Italian black notation, and the
4822 relationship betwixt them.
4824 @b{White or void mensural notation}
4826 In the 15th century, hollow (or void) notes began to substitute for the earlier
4827 solid black ones, which were then free to assume the function of red (or
4828 colored) notes in the earlier notation. ...
4830 TODO: add to definition (including summary info on proportional notation)
4834 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4835 @c TODO: more cross-references?
4843 F: indication de mesure, mesure,
4850 The pattern of note values and accents in a composition or a section thereof.
4851 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4852 by grouping beats and by subdividing the primary beat.
4854 @b{By grouping beats}:
4858 @item @b{duple}: groups of two.
4859 @item @b{triple}: groups of three.
4860 @item @b{quadruple}: groups of four. A special case of duple meter.
4861 @item @b{quintuple}: groups of five beats.
4862 @item @b{sextuple} meter: groups of six. A special case of:
4866 @item duple meter, subdivided in three; or
4867 @item triple meter, subdivided in two.
4871 @item @b{septuple} meter: groups of seven.
4876 Other than triple meter and its subdivided variants (see below), meters that
4877 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4878 frequently used prior to the 20th Century.
4880 @b{By subdividing the primary beat}:
4884 @item simple: groups of two.
4888 @item duple: 2/2, 2/4, 2/8
4889 @item triple: 3/2, 3/4, 3/8
4890 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4894 @item compound: groups of three.
4900 @item quadruple: 12/8
4906 Time signatures are placed at the beginning of a composition (or section) to
4907 indicate the meter. For instance, a piece written in simple triple meter with a
4908 beat on each quarter note is conventionally written with a time signature of
4909 3/4. Here are some combinations of the two classifications above:
4911 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4913 @lilypond[fragment,line-width=13.0\cm]
4917 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4920 Simple triple meter:
4922 @lilypond[fragment,line-width=13.0\cm]
4926 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4929 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4931 @lilypond[fragment,line-width=13.0\cm]
4935 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4938 Simple quintuple meter (B. Marcello, 1686-1739):
4940 @lilypond[fragment,line-width=13.0\cm]
4944 r4 cis8 bis ais4 dis c8 ais |
4945 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4948 Compound duple meter (unknown):
4950 @lilypond[fragment,line-width=13.0\cm]
4954 f8 f g a bes16 a g f |
4955 g8 g bes a c16 a bes g
4959 Compound triple meter (J.S. Bach, 1685-1750):
4961 @lilypond[fragment,line-width=13.0\cm]
4965 r8 g'( a) b( d c) c( e d) |
4966 d( g fis) g( d b) g( a b)
4970 Compound quadruple meter (P. Yon, 1886-1943):
4972 @lilypond[fragment,line-width=13.0\cm]
4976 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4977 e4 e8 fis( gis) a b4.~ b4 b8
4981 @b{@q{Monometer} vs Polymeter}
4983 TODO: add information from discussion on lilypond-user related to polymeter.
4987 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5002 Device indicating the exact tempo of a piece.
5004 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5005 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5006 divisions, and patented it as a "metronome". The inevitable lawsuit that
5007 followed acknowledged Winkler as the creator, but by then Mälzel had already
5008 sold many of them, and people had taken to calling it a Mälzel Metronome.
5012 @ref{metronome mark}.
5015 @node metronome mark
5016 @section metronome mark
5018 ES: indicación metronómica,
5019 I: indicazione metronomica,
5020 F: indication métronomique,
5022 NL: metronoom aanduiding,
5024 S: metronomangivelse,
5025 FI: metronomiosoitus.
5027 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
5028 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5036 @node metronomic indication
5037 @section metronomic indication
5041 @ref{metronome mark}
5045 @section mezzo-soprano
5056 The female voice between @ref{soprano} and @ref{contralto}.
5065 D: eingestrichenes@w{ }c,
5067 DK: enstreget@w{ }c,
5068 S: ettstruket@w{ }c,
5071 First C below the 440 Hz A.
5073 @lilypond[fragment,notime,ragged-right]
5074 \set Score.automaticBars = ##f
5075 \override Staff.Clef #'full-size-change = ##t
5098 @ref{diatonic scale}.
5101 @node minor interval
5102 @section minor interval
5104 ES: intervalo menor,
5105 I: intervallo minore,
5106 F: intervalle mineur,
5107 D: kleines Intervall,
5111 FI: pieni intervalli.
5118 @node mixolydian mode
5119 @section mixolydian mode
5123 @ref{diatonic scale}.
5132 D: Kirchentonart, Modus,
5136 FI: moodi, kirkkosävelasteikko.
5140 @ref{church mode}, @ref{diatonic scale}.
5153 FI: modulaatio, sävellajin vaihdos.
5155 Moving from one @ref{key} to another. For example, the second subject
5156 of a @ref{sonata form} movement modulates to the dominant key if the
5157 key is major and to the @ref{relative key} if the key is minor.
5169 FI: mordent, korukuvio.
5194 FI: teema, sävelaihe.
5196 The briefest intelligible and self-contained fragment of a musical
5199 @lilypond[line-width=13.0\cm]
5202 \set Score.implicitTimeSignatureVisibility = #all-invisible
5203 \override Score.TimeSignature #'break-visibility = #all-invisible
5206 \partial 8 g16\startGroup fis |
5207 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5208 g8 g,16 a b8 cis d16 s
5212 \Staff \consists "Horizontal_bracket_engraver"
5230 Greater musical works like @ref{symphony} and @ref{sonata} most often
5231 consist of several -- more or less -- independant pieces called
5235 @node multi-measure rest
5236 @section multi-measure rest
5238 ES: compases de espera,
5242 D: mehrtaktige Pause, Kirchenpause,
5245 FI: usean tahdin mittainen tauko.
5247 Multi-measure rests are conventionally typeset with a combination of
5248 longa, breve and whole rests for shorter and a long horizontal bar for
5249 longer spans of rest, with a number above to indicate the duration (in
5250 measures) of the rest. The former style is called @q{Kirchenpausen} in
5251 German, as a reminiscence of its use in Renaissance vocal polyphony.
5253 @lilypond[fragment,ragged-right]
5256 \set Score.skipBars = ##t R1*3
5258 \set Score.skipBars = ##t R1*122
5265 @ref{longa}, @ref{breve}.
5274 D: Auflösungszeichen,
5275 NL: herstellingsteken,
5276 DK: op@-løsningstegn,
5277 S: återställningstecken,
5285 @node neighbour tones
5286 @section neighbour tones
5290 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5331 Notes are signs by means of which music is fixed in writing. The term is also
5332 used for the sound indicated by a note, and even for the key of the piano
5333 which produces the sound. However, a clear distinction between the terms tone
5334 and @ref{note} is strongly recommended. Briefly, one sees a note,
5342 I: testa, testina, capocchia,
5350 A head-like sign which indicates pitch by its position on a
5351 @ref{staff} provided with a @ref{clef}, and duration
5352 by a variety of shapes such as hollow or black heads with or without
5353 @ref{stem}s, @ref{flag}s, etc. For percussion
5354 instruments (often having no defined pitch) the note head may indicate the
5369 ES: valor (duración),
5371 F: durée, valeur (d'une note),
5376 FI: nuotin aika-arvo.
5378 Note values (durations) are measured as fractions, normally 1/2, of
5379 the next higher note value. The longest duration normally used is
5380 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5381 double-length note value @emph{longa} or the quadruple-length note
5382 value @emph{maxima} are used.
5384 @c TODO -- add maxima to this example, in a way that doesn't break it.
5386 @lilypond[fragment,notime,line-width=13.0\cm]
5387 %\override Score.TextScript #'font-style = #'large
5388 \set Score.automaticBars = ##f
5390 \override NoteHead #'style = #'mensural
5391 a\longa_"longa" a\breve_"breve"
5392 \revert NoteHead #'style
5393 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5394 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5397 @c TODO -- add maxima rest to this example
5399 @lilypond[fragment,notime,line-width=13.0\cm]
5400 %\override Score.TextScript #'font-style = #'large
5401 \set Score.automaticBars = ##f
5403 r\longa_"longa" r\breve_"breve"
5404 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5405 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5408 An augmentation dot after a note multiplies the duration by one and a
5409 half. Another dot adds yet a fourth of the duration.
5411 @lilypond[fragment,line-width=13.0\cm]
5412 %\override Score.TextScript #'font-style = #'large
5415 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5416 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5419 Alternatively note values may be subdivided by other ratios. Most common is
5420 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5421 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5422 dotted notes are also frequently used.
5424 @lilypond[fragment,line-width=13.0\cm]
5425 %\override Score.TextScript #'font-style = #'large
5428 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5429 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5433 @lilypond[fragment,line-width=13.0\cm]
5436 \times 3/2 {g4_"duplets" g} |
5438 \times 6/4 {g8_"quadruplets" g g g} |
5439 g8 g g g g4 \bar "||"
5449 @ref{octave marking}.
5464 The interval of an octave, sometimes abbreviated @samp{8ve}.
5466 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5467 bracket, or @samp{loco} see octave marking.
5471 @ref{interval}, @ref{octave marking}.
5475 @section octave mark
5477 ES: indicación de octava,
5480 D: Oktavierungszeichen,
5486 The phrase, abbreviation, or other mark used (with or without an extender line
5487 or bracket) to indicate that the music is to be played in a different octave:
5491 @item @samp{15ma}: play two octaves higher
5492 @item @samp{8va}: play one octave higher
5493 @item @samp{8vb}: play one octave lower
5494 @item @samp{8va} (written below the passage): same as @samp{8vb}
5495 @item @samp{15vb}: play two octaves lower
5496 @item @samp{15va} (written below the passage): same as @samp{15vb}
5500 For longer passages, it may be more practical to mark the octave change at the
5501 beginning with a phrase (see the list below for examples), but without a bracket
5502 or extender line. Then, when the music returns to the written pitch, the octave
5503 change is cancelled with the word @emph{loco} (q.v.).
5505 To parallel the list above:
5509 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5510 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5511 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5512 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5516 In the phrases above, @emph{quindicesima} is sometimes replaced with
5517 @emph{quindecima}, which is Latin.
5519 Finally, the music on an entire staff can be marked to be played in a different
5520 octave by putting an 8 or 15 above or below the clef at the beginning. This
5521 octave mark can be applied to any clef, but it is most frequently used with the
5526 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5529 @node octave marking
5530 @section octave marking
5539 FI: oktaavamerkintä.
5541 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5542 that it is to be played in a different octave. If applied to the clef at the
5543 beginning of the staff, all music on that staff is to played at the indicated
5546 For a list of the specific marks used, see @ref{octave mark}.
5550 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5554 @section octave sign
5565 I: abbellimento, fioriture,
5566 F: agrément, ornement,
5567 D: Verzierung, Ornament,
5573 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5574 with the diatonic @ref{second} above it. In the music from the
5575 middle of the 19th century and onwards the trill is performed with the main
5576 note first while in the music from the preceding baroque and classic periods
5577 the upper note is played first.
5579 @lilypond[fragment,line-width=13.0\cm]
5581 \context Staff = sa {
5582 % \override Score.TextScript #'font-style = #'large
5584 c2._"pre-1850" b4\trill | c1 \bar "||"
5585 c2._"post-1850" b4\trill | c1 \bar "||"
5589 c2. c32 b c b c b c b | c1
5590 c2. b32 c b c \times 4/5 { b c b c b } | c1
5595 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5597 @emph{prall} (inverted mordent).
5599 @lilypond[fragment,line-width=13.0\cm]
5601 \context Staff = sa {
5602 % \override Score.TextScript #'font-style = #'large
5604 a4_"turn" b\turn c2 \bar "||"
5605 g4_"mordent" a b\mordent a \bar "||"
5606 e'4_"prall" d\prall c2 \bar "||"
5612 e'4 e32[ d e d ~ d8] c2
5619 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5632 FI: ossia, vaihtoehtoinen esitystapa.
5634 Ossia (otherwise) marks an alternative. It is an added staff or piano
5635 score, usually only a few measures long, which presents another version
5636 of the music, for example for small hands.
5649 FI: stemma, instrumenttiosuus.
5653 @item In instrumental or choral music, the music for a single
5654 instrument or voice.
5656 @item in contrapuntal music, a single melodic line in the contrapuntal
5682 @node percent repeat
5683 @section percent repeat
5685 LilyPond-specific term to indicate the repetition of a musical expression on a
5686 single staff, as opposed to the more usual definition of repeat, which affects
5687 all parts. The musical expression can be anything from a single note or note
5688 pattern to one or more measures. There are other names for this symbol:
5693 @item slash mark, or slash repeat
5695 @item measure (or multi-measure) repeat
5699 @lilypond[fragment,line-width=13.0\cm]
5702 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5703 \repeat percent 2 { c4 e g b_"Measure repeat" }
5704 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5711 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5712 Vermont Music Dictionary}.
5721 D: Schlagzeug, Schlagwerk,
5727 A family of musical instruments which are played on by striking or
5728 shaking. Percussion instruments commonly used in a symphony orchestra are
5729 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5730 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5734 @node perfect interval
5735 @section perfect interval
5737 ES: intervalo justo,
5738 I: intervallo giusto,
5739 F: intervalle juste,
5740 D: reines Intervall,
5744 FI: puhdas intervalli.
5763 A natural division of the melodic line, comparable to a sentence of speech.
5776 FI: fraseeraus, jäsentäminen.
5778 The clear rendering in musical performance of the @ref{phrase}s of
5779 the melody. Phrasing may be indicated by a @ref{slur}.
5794 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5795 @emph{mezzo piano} (@b{mp}) medium soft.
5803 F: anacrouse, levée,
5829 @item The perceived quality of a sound that is primarily a function of its
5830 fundamental frequency.
5832 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5834 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5835 association of a particular frequency with a particular pitch name, e.g., c' =
5852 NL: pizzicato, getokkeld,
5855 FI: pizzicato, näppäillen.
5857 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5864 ES: compás polimétrico,
5875 @item The simultaneous use of two or more meters, in two or more parts.
5877 @item The @emph{successive} use of different meters in one or more parts.
5883 @ref{polymetric} (adj.)
5898 Using two or more metric frameworks simultaneously or in alternation.
5902 @ref{polymeter} (noun)
5905 @node polymetric time signature
5906 @section polymetric time signature
5908 ES: compás polimétrico,
5911 D: polymetrische Taktart,
5915 FI: polymetrinen tahtiosoitus.
5917 A time signature that indicates regularly alternating polymetric time.
5930 D: Polyphonie, Mehrstimmigkeit,
5934 FI: polyfonia, moniäänisyys.
5936 Music written in a combination of several simultaneous voices (parts)
5937 of a more or less pronounced individuality.
5956 D: Presto, Sehr schnell,
5957 NL: presto, Sehr schnell,
5960 FI: presto, hyvin nopeasti.
5962 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5963 denotes the highest possible degree of speed.
5972 D: Proportion, proportio,
5978 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5979 relationship between the note values that follow with those that precede; or
5980 between the note values of a passage and the @q{normal} relationship of note
5981 values to the metrical pulse.
5983 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5987 @ref{mensural notation}
5990 @node Pythagorean comma
5991 @section Pythagorean comma
5993 ES: coma pitagórica,
5994 I: comma pitagorico,
5995 F: comma pythagoricien,
5996 D: Pythagoräisches Komma,
5997 NL: komma van Pythagoras,
5998 DK: pythagoræisk komma,
5999 S: pytagoreiskt komma,
6000 FI: pytagorinen komma.
6002 Originally, the interval by which the sum of six whole tones exceeds the octave
6003 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6005 Modern acoustical theory defines it as the interval by which twelve fifths
6006 exceed seven octaves. To put it another way: A sequence of fifths that starts
6007 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6008 than the C obtained by adding 7 octaves. The difference between those two
6009 pitches is the Pythagorean comma.
6013 @ref{cent}, @ref{temperament}.
6045 The quality of a triad is determined by the precise arrangement of its
6046 intervals. Tertian triads can be described as a series of three notes. The
6047 first element is the root note (or simply @q{root}) of the chord, the second
6048 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6049 the chord. These are described below:
6051 @multitable @columnfractions .10 .35 .35 .20
6053 @headitem Chord name @tab Component intervals
6056 @item major triad @tab major third/perfect fifth
6058 @tab C, CM, Cma, Cmaj, CΔ
6059 @item minor triad @tab minor third/perfect fifth
6061 @tab Cm, Cmi, Cmin, C-
6062 @item augmented triad @tab major third/augmented fifth
6065 @item diminished triad @tab minor third/diminished fifth
6067 @tab Cm(♭5), Cº, Cdim
6070 There are various types of seventh chords depending on the quality of the
6071 original chord and the quality of the seventh added.
6073 Five common types of seventh chords have standard symbols. The chord quality
6074 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6075 and D^m7 are all identical). The last three chords are not commonly used
6084 @section quarter note
6089 @item I: semiminima, nera
6091 @item D: Viertel, Viertelnote
6093 @item DK: fjerdedelsnode
6094 @item S: fjärdedelsnot
6095 @item FI: neljäsosanuotti
6104 @section quarter rest
6107 @item UK: crotchet rest
6108 @item ES: silencio de negra
6109 @item I: pausa di semiminima
6111 @item D: Viertelpause
6113 @item DK: fjerdedelspause
6114 @item S: fjärdedelspaus
6115 @item FI: neljäsosatauko
6124 @section quarter tone
6126 ES: cuarto de tonno,
6133 FI: neljännes sävelaskel.
6135 An interval equal to half a semitone.
6145 ES: cinquillo, quintillo.
6160 @section rallentando
6165 D: rallentando, langsamer werden,
6169 FI: rallerdando, hidastuen.
6171 Abbreviation "rall.".
6177 @section relative key
6180 I: tonalità relativa,
6181 F: tonalité relative,
6183 NL: paralleltoonsoort,
6184 DK: paralleltoneart,
6186 FI: rinnakkaissävellaji.
6188 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
6190 @lilypond[fragment,notime,line-width=13.0\cm]
6191 \set Score.automaticBars = ##f
6192 %\override Score.TextScript #'font-style = #'large
6195 es1_"e flat major" f g as bes c d es
6200 @lilypond[fragment,notime,line-width=13.0\cm]
6201 \set Score.automaticBars = ##f
6202 %\override Score.TextScript #'font-style = #'large
6205 c1_"c minor" d es f g a! b! c \bar "||"
6215 F: barre de reprise,
6218 DK: gen@-ta@-gel@-se,
6222 @lilypond[fragment,line-width=13.0\cm]
6226 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6243 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6244 @c specify the rest's value.
6265 @item Metrical rhythm in which every time value is a multiple or
6266 fraction of a fixed unit of time, called @ref{beat}, and in which the
6267 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6268 The basic scheme of time values is called @ref{meter}.
6270 @item Measured rhythm which lacks regularly recurrent accent. In
6271 modern notation such music appears as a free alternation of different
6274 @item Free rhythm, i.e., the use of temporal values having no common
6275 metrical unit (beat).
6286 D: ritardando, langsamer werden,
6290 FI: ritardando, hidastuen,
6292 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6305 FI: ritenuto, hidastaen.
6307 Immediate reduction of speed.
6320 FI: asteikko, sävelasteikko.
6324 @ref{diatonic scale}.
6328 @section scale degree
6330 ES: grado (de la escala),
6331 I: grado della scala,
6332 F: degré [de la gamme],
6334 NL: trap [van de toonladder],
6337 FI: sävelaste, asteikon sävel.
6339 Names and symbols used in harmonic analysis to denote tones of the
6340 scale as roots of chords. The most important are degrees I = tonic
6341 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6343 @lilypond[fragment,notime,line-width=13.0\cm]
6344 \set Score.automaticBars = ##f
6346 \context Staff \relative c' {
6350 << { I II III IV V VI VII I }
6358 @ref{functional harmony}.
6366 F: à cordes ravallées,
6373 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6374 tuning of stringed instruments, particularly lutes or violins. Used
6379 @item facilitate pitch combinations that would otherwise be difficult
6382 @item alter the characteristic timbre of the instrument, for example,
6383 to increase brilliance
6385 @item reinforce certain sonorities or tonalities by making them
6386 available on open strings
6388 @item imitate other instruments
6394 Tunings that could be called @var{scordatura} first appeared early in
6395 the 16th Century and became commonplace in the 17th.
6404 D: Partitur (full score), Klavierauszug (vocal score),
6410 A copy of orchestral, choral, or chamber music showing what each
6411 instrument is to play, each voice to sing, having each part arranged
6412 one underneath the other on different staves @ref{staff}.
6427 The @ref{interval} between two neigbouring tones of a scale. A
6428 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6429 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6430 degrees in question.
6445 The interval of a minor second. The (usually) smallest interval in European
6446 composed music. The interval between two neighbouring tones on the piano
6447 keyboard -- including black and white keys -- is a semitone. An octave may
6448 be divided into 12@w{ }semitones.
6450 @lilypond[fragment,notime,line-width=13.0\cm]
6451 \set Score.automaticBars = ##f
6452 \relative c'' { g1 gis s a bes s b! c }
6457 @ref{interval}, @ref{chromatic scale}.
6482 @ref{sextuplet}, @ref{note value}.
6533 D: simile, gleichartig,
6539 [From It, @q{in the same manner}] Performance direction: the music thus marked
6540 is to be played in the same manner (i.e. with the same articulations, dynamics,
6541 etc.) as the music that precedes it.
6545 TODO: Where else could I refer the reader?
6549 @section simple meter
6551 ES: compás simple, compás de subdivisión binaria,
6558 FI: tasajakoinen rytmi.
6560 A meter in which the basic beat is subdivided in two: that is, a meter
6561 that does not include triplet subdivision of the beat.
6565 @ref{compound meter}, @ref{meter}.
6568 @node sixteenth note
6569 @section sixteenth note
6572 @item UK: semiquaver
6573 @item ES: semicorchea
6575 @item F: double croche
6576 @item D: Sechzehntel, Sechzehntelnote
6577 @item NL: zes@-ti@-ende noot
6578 @item DK: sekstendedelsnode
6579 @item S: sextondelsnot
6580 @item FI: kuudestoistaosanuotti
6588 @node sixteenth rest
6589 @section sixteenth rest
6592 @item UK: semiquaver rest
6593 @item ES: silencio de semicorchea
6594 @item I: pausa di semicroma
6595 @item F: quart de soupir
6596 @item D: Sechzehntelpause
6597 @item NL: zestiende rust
6598 @item DK: sekstendedelspause
6599 @item S: sextondelspaus
6600 @item FI: kuudestoistaosatauko
6625 @node sixty-fourth note
6626 @section sixty-fourth note
6629 @item UK: hemidemisemiquaver
6631 @item I: semibiscroma
6632 @item F: quadruple croche
6633 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6634 @item NL: vierenzestigste noot
6635 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6636 @item S: sextiofjärdedelsnot
6637 @item FI: kuudeskymmenesneljäsosanuotti
6645 @node sixty-fourth rest
6646 @section sixty-fourth rest
6649 @item UK: hemidemisemiquaver rest
6650 @item ES: silencio de semifusa
6651 @item I: pausa di semibiscroma
6652 @item F: seizième de soupir
6653 @item D: Vierundsechzigstelpause
6654 @item NL: vierenzestigste rust
6655 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6656 @item S: sextiofjärdedelspaus
6657 @item FI: kuudeskymmenesneljäsosatauko
6666 @section slash repeat
6670 @ref{percent repeat}.
6676 ES: ligadura (de expresión),
6677 I: legatura (di portamento or espressiva),
6679 D: Bogen (Legatobogen, Phrasierungsbogen),
6680 NL: fraseringsboog, legatoboog, streekboog,
6681 DK: legatobue, fraseringsbue,
6685 A slur above or below a group of notes indicates that they are to be
6686 played @ref{legato}, e.g., with one stroke of the violin bow or with
6687 one breath in singing.
6691 @section solmization
6700 FI: suhteelliset laulunimet.
6702 General term for systems of designating the degrees of the
6703 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6704 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6722 In its present-day meaning a sonata denotes an instrumental
6723 composition for piano or for some other instrument with piano
6724 accompaniment, which consists of three or four independant pieces,
6729 @section sonata form
6733 F: [en] forme de sonate,
6735 NL: hoofdvorm, sonatevorm,
6740 A form used frequently for single movements of the @ref{sonata},
6741 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6742 into three sections called @emph{exposition}, @emph{development} and
6743 @emph{recapitulation}. In the exposition the composer introduces some
6744 musical ideas, consisting of a number of themes; in the development
6745 section the composer @q{develops} this material, and in the
6746 recapitulation the composer repeats the exposition, with certain
6747 modifications. The exposition contains a number of themes that fall
6748 into two groups, often called first and second subject. Other
6749 melodies occurring in each group are considered as continuations of
6750 these two. The second theme is in another key, normally in the key of
6751 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6752 @ref{relative key} if the tonic is @ref{minor}.
6773 FI: sopraano, korkea naisääni.
6775 The highest female voice.
6783 F: staccato, piqué, détaché,
6788 FI: staccato, lyhyesti, terävästi.
6790 Playing the note(s) short. Staccato is indicated by a dot above or
6791 below the note head.
6793 @lilypond[fragment,ragged-right]
6798 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6808 I: pentagramma, rigo (musicale),
6810 D: Notensystem, Notenzeile,
6811 NL: (noten)balk, partij,
6816 A staff (plural: staves) is a series of (normally five) horizontal
6817 lines upon and between which the musical notes are written, thus
6818 indicating (in connection with a @ref{clef}) their pitch. Staves for
6819 @ref{percussion} instruments may have fewer lines.
6836 D: Hals, Notenhals, Stiel,
6842 Vertical line above or below a @ref{note head} shorter than a
6847 @lilypond[fragment,notime,line-width=13.0\cm]
6848 \set Score.autoBeaming = ##f
6849 \set Score.automaticBars = ##f
6850 %\override Score.TextScript #'font-style = #'large
6866 D: Stringendo, steigernd,
6870 FI: stringendo, kiihtyen.
6872 [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
6892 A family of stringed musical instruments played with a bow. Strings
6893 commonly used in a symphony orchestra are violin, viola, violoncello,
6898 @section strong beat
6903 D: betonter Taktteil oder Taktschlag,
6905 D: betonet taktslag,
6906 S: betonat taktslag,
6907 FI: tahdin vahva isku.
6911 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6915 @section subdominant
6924 FI: subdominantti, alidominantti.
6926 The fourth @ref{scale degree}.
6928 @ref{functional harmony}.
6943 The sixth @ref{scale degree}.
6956 FI: subtoonika, alitoonika.
6958 The seventh @ref{scale degree}.
6964 ES: sobre la cuerda de Sol,
6967 D: auf G, auf der G-Saite,
6973 Indicates that the indicated passage (or note) should be played on the
6978 @section superdominant
6989 The sixth @ref{scale degree}.
7004 The second @ref{scale degree}.
7013 D: Sinfonie, Symphonie,
7019 A symphony may be defined as a @ref{sonata} for orchestra.
7023 @section syncopation
7034 Any deliberate upsetting of the normal pulse of @ref{meter},
7035 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7036 rhythm rests upon the grouping of equal beats into groups of two or
7037 three, with a regularly recurrent accent on the first beat of each
7038 group. Any deviation from this scheme is felt as a disturbance or
7039 contradiction between the underlaying (normal) pulse and the actual
7042 @lilypond[fragment,ragged-right]
7047 e c'4 e,8 c'4 e,8 c' ( | c2)
7052 @node syntonic comma
7053 @section syntonic comma
7055 ES: coma sintónica, coma de Dídimo,
7056 I: comma sintonico (o didimico),
7057 F: comma syntonique,
7058 D: syntonisches Komma,
7059 NL: syntonische komma,
7060 DK: syntonisk komma,
7061 S: syntoniskt komma,
7062 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7063 Pytagorisessa viritysjärjestelmässä.
7065 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7066 by which the ditone exceeds the pure major third obtained by Pythagorean
7067 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7069 Modern acoustical theory defines it as the interval by which four fifths exceed
7070 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7072 This comma is also known as the comma of Didymus, or didymic comma.
7076 @ref{Pythagorean comma}
7085 D: Notensystem, Partitur,
7089 FI: nuottijärjestelmä.
7091 The collection of staves (@ref{staff}), two or more, as used for writing
7092 down of keyboard, chamber, choral, or orchestral music.
7096 @section temperament
7101 D: Stimmung, Tem@-pe@-ra@-tur,
7102 NL: stemming, temperatuur,
7105 FI: viritysjärjestelmä.
7107 Systems of tuning in which the intervals deviate from the acoustically
7110 @ref{meantone temperament}, @ref{equal temperament}.
7113 @node tempo indication
7114 @section tempo indication
7116 ES: indicación de tempo,
7117 I: indicazione di tempo,
7118 F: indication de tempo,
7119 D: Zeitmaß, Tempobezeichnung,
7120 NL: tempo aanduiding,
7125 The rate of speed of a composition or a section thereof, ranging from
7126 the slowest to the quickest, as is indicated by tempo marks as
7127 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
7141 FI: tenori, korkea miesääni.
7143 The highest male voice (apart from @ref{countertenor}).
7166 ES: subrayado (tenuto),
7175 An indication that a particular note should be held for the whole
7176 length, although this can vary depending on the composer and era.
7196 @node thirty-second note
7197 @section thirty-second note
7200 @item UK: demisemiquaver
7203 @item F: triple croche
7204 @item D: Zweiunddreißigstel, Zweiunddreißigstelnote
7205 @item NL: twee-endertig@-ste (32e) noot
7206 @item DK: toogtredivtedelsnode
7207 @item S: trettiotvåondelsnot
7208 @item FI: kolmaskymmeneskahdesosanuotti
7216 @node thirty-second rest
7217 @section thirty-second rest
7220 @item UK: demisemiquaver rest
7221 @item ES: silencio de fusa
7222 @item I: pausa di biscroma
7223 @item F: huitième de soupir
7224 @item D: Zweiunddreissigstel@-pause
7225 @item NL: twee-endertig@-ste (32e) rust
7226 @item DK: toogtredivtedelspause
7227 @item S: trettiotvåondelspaus
7228 @item FI: kolmaskymmeneskahdesosatauko
7237 @section thorough bass
7247 ES: ligadura de prolongación, ligadura de unión,
7248 I: legatura (di valore),
7250 D: Haltebogen, Bindebogen,
7251 NL: overbinding, bindingsboog,
7253 S: bindebåge, överbindning,
7256 A curved line, identical in appearance with the @ref{slur}, which
7257 connects two succesive notes of the same pitch, and which has the
7258 function of uniting them into a single sound (tone) equal to the
7261 @lilypond[fragment,notime,ragged-right]
7262 \set Score.automaticBars = ##f
7263 \relative c'' { g2 ~ g4. }
7275 @node time signature
7276 @section time signature
7278 ES: indicación de compás,
7280 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7281 D: Taktangabe, Angabe der Taktart,
7284 S: taktartssignatur,
7287 The sign placed at the beginning of a composition to indicate its
7288 meter. It most often takes the form of a fraction, but a few signs
7289 derived from mensural notation and proportions are also employed.
7293 @ref{mensural notation}, @ref{meter}.
7308 A sound of definite pitch and duration, as distinct from @emph{noise}.
7309 Tone is a primary building material of music.
7311 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7326 The first @ref{scale degree}.
7330 @ref{functional harmony}.
7333 @node transposing instrument
7334 @section transposing instrument
7336 ES: instrumento transpositor,
7339 D: transponierende Instrumente,
7343 FI: transponoivat soitimet.
7345 Instruments whose notated pitch is different from their sounded pitch. Except
7346 for those whose notated and sounding pitches differ by one or more octaves (to
7347 reduce the number of ledger lines needed), most such instruments are identified
7348 by the letter name of the pitch class of their fundamental. The pitch class is
7349 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7350 the instrument plays a notated C.
7352 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7353 the B-flat one tone lower. If played on the A clarinet, the same written
7354 note sounds the A (one and half tones -- a minor third -- lower).
7356 Not all transposing instruments include the pitch class in their name:
7360 @item English horn (in F)
7362 @item Alto flute (in G)
7368 @ref{concert pitch}.
7372 @section transposition
7383 Shifting a melody up or down in pitch, while keeping the same
7386 @lilypond[fragment,line-width=13.0\cm]
7391 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7396 @lilypond[fragment,line-width=13.0\cm]
7399 \transpose c bes \relative c'' {
7401 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7408 @section treble clef
7411 I: chiave di violino,
7413 D: Violinschlüssel, Sopranschlüssel,
7436 On stringed instruments:
7440 @item The quick reiteration of the same tone, produced by a rapid
7441 up-and-down movement of the bow.
7443 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7444 in the distance of a third (@ref{interval}).
7448 @lilypond[fragment,notime,ragged-right]
7449 \set Score.automaticBars = ##f
7450 %\override Score.TextScript #'font-style = #'large
7453 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7454 \repeat tremolo 8 { e32_"b" g }
7468 F: triade, accord parfait, accord de trois sons,
7485 F: trille, tremblement, battement (cadence),
7498 @section triple meter
7500 ES: compás ternario,
7503 D: in drei, ungerader Takt,
7504 NL: driedelige maatsoort,
7549 @section tuning fork
7551 ES: diapasón, horquilla de afinación,
7552 I: diapason, corista,
7560 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7561 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7562 standard. Tuning forks for other pitches are available.
7572 A non-standard subdivision of a beat or part of a beat, usually
7573 indicated with a bracket and a number indicating the number of
7578 @ref{triplet}, @ref{note value}.
7584 ES: grupeto (circular),
7608 FI: unisono, yksiäänisesti.
7610 Playing of the same notes or the same melody by various instruments
7611 (voices) or by the whole orchestra (choir), either at exactly the same
7612 pitch or in a different octave.
7620 F: anacrouse, levée,
7642 FI: ääni, lauluääni.
7652 @item @ref{mezzo-soprano}
7654 @item @ref{contralto}
7658 @item @ref{baritone}
7664 @item A melodic layer or part of a polyphonic composition.
7672 ES: vez, primera y segunda vez,
7675 D: Volta, Wiederholungsklammer,
7681 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7682 or second ending. LilyPond extends this idea to any number, and allows any text
7683 (not just a number) -- to serve as the @q{volta} text.
7690 I: tempo debole, arsi,
7692 D: unbetonter Taktteil oder Taktschlag,
7694 DK: ubetonet taktslag,
7695 S: obetonat taktslag,
7696 FI: tahdin heikko isku.
7700 @ref{beat}, @ref{measure}, @ref{rhythm}.
7711 @item D: Ganze, ganze Note
7715 @item FI: kokonuotti
7727 @item UK: semibreve rest
7728 @item ES: silencio de redonda
7729 @item I: pausa di semibreve
7731 @item D: ganze Pause, ganztaktige Pause
7733 @item DK: helnodespause
7755 The interval of a major second. The interval between two tones
7756 on the piano keyboard with exactly one key between them -- including
7757 black and white keys -- is a whole tone.
7776 A family of blown wooden musical instruments. Today some of these
7777 instruments are actually made from metal. The woodwind instruments
7778 commonly used in a symphony orchestra are flute, oboe, clarinet,
7779 saxophone, and bassoon.
7782 @node Duration names notes and rests
7783 @chapter Duration names notes and rests
7785 @multitable @columnfractions .12 .22 .22 .22 .22
7787 @headitem Lang. @tab note name
7791 @item @strong{US} @tab long
7795 @item @strong{UK} @tab longa
7799 @item @strong{ES} @tab longa
7800 @tab silencio de longa
7802 @tab silencio de cuadrada
7803 @item @strong{IT} @tab longa
7807 @item @strong{FR} @tab longa
7808 @tab quadruple-pause
7811 @item @strong{DE} @tab Longa
7815 @item @strong{NL} @tab longa
7819 @item @strong{DK} @tab longa
7820 @tab longanodespause
7822 @tab brevis(nodes)pause
7823 @item @strong{SE} @tab longa
7827 @item @strong{FI} @tab longa-nuotti
7829 @tab brevis-nuotti, kaksoiskokonuotti
7830 @tab brevis-tauko, kaksoiskokotauko
7834 @multitable @columnfractions .12 .22 .22 .22 .22
7836 @headitem Lang. @tab note name
7840 @item @strong{US} @tab whole note
7844 @item @strong{UK} @tab semibreve
7848 @item @strong{ES} @tab redonda
7849 @tab silencio de redonda
7851 @tab silencio de blanca
7852 @item @strong{IT} @tab semibreve
7853 @tab pause di semibreve
7855 @tab pausa di minima
7856 @item @strong{FR} @tab ronde
7860 @item @strong{DE} @tab ganze Note
7864 @item @strong{NL} @tab hele noot
7868 @item @strong{DK} @tab helnode
7872 @item @strong{SE} @tab helnot
7876 @item @strong{FI} @tab kokonuotti
7883 @multitable @columnfractions .12 .22 .22 .22 .22
7885 @headitem Lang. @tab note name
7889 @item @strong{US} @tab quarter note
7893 @item @strong{UK} @tab crotchet
7897 @item @strong{ES} @tab negra
7898 @tab silencio de negra
7900 @tab silencio de corchea
7901 @item @strong{IT} @tab semiminima, nera
7902 @tab pausa di semiminima, pausa di nera
7905 @item @strong{FR} @tab noire
7909 @item @strong{DE} @tab Viertelnote
7913 @item @strong{NL} @tab kwartnoot
7917 @item @strong{DK} @tab fjerdedelsnode
7918 @tab fjerdedelspause
7919 @tab ottendedelsnode
7920 @tab ottendedelspause
7921 @item @strong{SE} @tab fjärdedelsnot
7925 @item @strong{FI} @tab neljäsosanuotti
7927 @tab kahdeksasosanuotti
7928 @tab kahdeksasosatauko
7932 * About the French naming system: @emph{croche} refers to the note's "hook".
7933 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7934 hook}, @q{trebled hook}, and so on.
7936 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7937 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7938 a @emph{soupir}, and so on.
7940 Each of the following tables contains one type of note and its matching rest,
7941 with abbreviations that apply to both notes and rests. Just switch the part
7942 that means @q{note} with the part that means @q{rest}, for example:
7946 @item English: 16th @strong{note}, 16th @strong{rest}
7947 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7948 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7952 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7953 duration name. If you know of one that I missed, please send it to me, care of
7954 the lilypond-user discussion list.
7956 @multitable @columnfractions .10 .35 .35 .20
7958 @headitem Lang. @tab Note name
7961 @item @strong{US} @tab sixteenth note
7964 @item @strong{UK} @tab semiquaver
7965 @tab semiquaver rest
7967 @item @strong{ES} @tab semicorchea
7968 @tab silencio de semicorchea
7970 @item @strong{IT} @tab semicroma
7971 @tab pausa di semicroma
7973 @item @strong{FR} @tab double croche
7974 @tab quart de soupir
7976 @item @strong{DE} @tab Sechzehntelnote
7977 @tab Sechzehntelpause
7979 @item @strong{NL} @tab zestiende noot
7982 @item @strong{DK} @tab sekstendedelsnode
7983 @tab sekstendedelspause
7985 @item @strong{SE} @tab sextondelsnot
7988 @item @strong{FI} @tab kuudestoistaosanuotti
7989 @tab kuudestoistaosatauko
7994 @multitable @columnfractions .10 .35 .35 .20
7996 @headitem Lang. @tab Note name
7999 @item @strong{US} @tab thirty-second note
8000 @tab thirty-second rest
8002 @item @strong{UK} @tab demisemiquaver
8003 @tab demisemiquaver rest
8005 @item @strong{ES} @tab fusa
8006 @tab silencio de fusa
8008 @item @strong{IT} @tab biscroma
8009 @tab pausa di biscroma
8011 @item @strong{FR} @tab triple croche
8012 @tab huitième de soupir
8014 @item @strong{DE} @tab Zweiunddreißigstelnote
8015 @tab Zweiunddreißigstelpause
8017 @item @strong{NL} @tab tweeendertigste noot
8018 @tab tweeendertigste rust
8020 @item @strong{DK} @tab toogtredivtedelsnode
8021 @tab toogtredivtedelspause
8023 @item @strong{SE} @tab trettiotvåondelsnot
8024 @tab trettiotvåondelspaus
8026 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
8027 @tab kolmaskymmeneskahdesosatauko
8032 @multitable @columnfractions .10 .35 .35 .20
8034 @headitem Lang. @tab Note name
8037 @item @strong{US} @tab sixty-fourth note
8038 @tab sixty-fourth rest
8040 @item @strong{UK} @tab hemidemisemiquaver
8041 @tab hemidemisemiquaver rest
8043 @item @strong{ES} @tab semifusa
8044 @tab silencio de semifusa
8046 @item @strong{IT} @tab semibiscroma
8047 @tab pausa di semibiscroma
8049 @item @strong{FR} @tab quadruple croche
8050 @tab seizième de soupir
8052 @item @strong{DE} @tab Vierundsechzigstelnote
8053 @tab Vierundsechzigstelpause
8055 @item @strong{NL} @tab vierenzestigste noot
8056 @tab vierenzestigste rust
8058 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
8059 @tab fireogtredsindstyvendedelspause
8061 @item @strong{SE} @tab sextiofjärdedelsnot
8062 @tab sextiofjärdedelspaus
8064 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
8065 @tab kuudeskymmenesneljäsosatauko
8070 @multitable @columnfractions .10 .35 .35 .20
8072 @headitem Lang. @tab Note name
8075 @item @strong{US} @tab one-hundred-twenty-eighth note
8076 @tab one-hundred-twenty-eighth rest
8078 @item @strong{UK} @tab semihemidemisemiquaver
8079 @tab semihemidemisemiquaver rest
8081 @item @strong{ES} @tab garrapatea
8082 @tab silencio de garrapatea
8084 @item @strong{IT} @tab fusa
8087 @item @strong{FR} @tab quintuple croche
8088 @tab trente-deuxième de soupir @tab -
8089 @item @strong{DE} @tab Hundertundachtundzwanzigstel
8090 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
8091 @item @strong{NL} @tab honderdachtentwintigste noot
8092 @tab honderdachtentwintigste rust
8094 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
8095 @tab hundredeotteogtyvendedelspause
8097 @item @strong{SE} @tab hundratjugoåttondelsnot
8098 @tab hundratjugoåttondelspaus
8100 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
8101 @tab sadaskahdeskymmeneskahdeksasosatauko
8106 @multitable @columnfractions .10 .35 .35 .20
8108 @headitem Lang. @tab Note name
8111 @item @strong{US} @tab two-hundred-fifty-sixth note
8112 @tab two-hundred-fifty-sixth rest
8114 @item @strong{UK} @tab demisemihemidemisemiquaver
8115 @tab demisemihemidemisemiquaver rest
8117 @item @strong{ES} @tab semigarrapatea
8118 @tab silencio de semigarrapatea @tab -
8119 @item @strong{IT} @tab semifusa
8120 @tab pausa di semifusa
8122 @item @strong{FR} @tab sextuple croche
8123 @tab soixante-quatrième de soupir @tab -
8124 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
8125 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
8126 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
8127 @tab tweehonderdzesenvijftigste rust
8129 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
8130 @tab tohundredeseksoghalvtredsendedelspause
8132 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
8133 @tab tvåhundrafemtiosjättedelspaus
8135 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
8136 @tab kahdessadasviideskymmeneskuudesosatauko
8143 @ref{mensural notation}
8147 @chapter Pitch names
8149 @c -is/-es endings for Danish per Rune Zedeler
8150 @c and for Finnish per Risto Vääräniemi
8151 @c -iss/-ess endings for Swedish per Mats Bengtsson
8152 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8154 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
8156 @tab ES @tab I @tab F @tab D
8157 @tab NL @tab DK @tab S @tab FI
8158 @item @strong{c} @tab do @tab do @tab ut @tab C
8159 @tab c @tab c @tab c @tab c
8160 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8161 @tab cis @tab cis @tab ciss @tab cis
8162 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8163 @tab des @tab des @tab dess @tab des
8164 @item @strong{d} @tab re @tab re @tab ré @tab D
8165 @tab d @tab d @tab d @tab d
8166 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8167 @tab dis @tab dis @tab diss @tab dis
8168 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8169 @tab es @tab es @tab ess @tab es
8170 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8171 @tab e @tab e @tab e @tab e
8172 @item @strong{f-flat} = e
8173 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8174 @tab fes @tab fes @tab fess @tab fes
8175 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8176 @tab f @tab f @tab f @tab f
8177 @item @strong{e-sharp} = f
8178 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8179 @tab eis @tab eis @tab eiss @tab eis
8180 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8181 @tab fis @tab fis @tab fiss @tab fis
8182 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8183 @tab ges @tab ges @tab gess @tab ges
8184 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8185 @tab g @tab g @tab g @tab g
8186 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8187 @tab gis @tab gis @tab giss @tab gis
8188 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8189 @tab as @tab as @tab ass @tab as
8190 @item @strong{a} @tab la @tab la @tab la @tab A
8191 @tab a @tab a @tab a @tab a
8192 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8193 @tab ais @tab ais @tab aiss @tab ais
8194 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8195 @tab bes @tab b @tab b @tab b
8196 @item @strong{b} @tab si @tab si @tab si @tab H
8197 @tab b @tab h @tab h @tab h
8205 @node Literature used
8206 @unnumberedsec Literature used
8209 @item The Harvard Dictionary of Music, London 1944. Many more or less
8210 literal quotes from its articles have been included into the item
8213 @item Hugo Riemanns Musiklexicon, Berlin 1929.
8215 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
8218 @item Oxford Advanced Learner's Dictionary of Current English, Third
8221 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
8223 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
8225 @item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003
projects / lilypond.git / blob