1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c FIXME: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
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 @include macros.itexi
116 @w{@expansion{}@strong{\word\}}@c
119 @expansion{}@ref{\word\, @strong{\word\}}@c
124 * Musical terms A-Z::
125 * Duration names notes and rests::
129 @node Musical terms A-Z
130 @chapter Musical terms A-Z
132 Languages in this order.
139 @item UK - British English
158 * ancient minor scale::
163 * ascending interval::
164 * augmented interval::
197 * compound interval::
199 * conjunct movement::
212 * descending interval::
214 * diminished interval::
217 * disjunct movement::
219 * dissonant interval::
220 * dominant ninth chord::
221 * dominant seventh chord::
224 * dot (augmentation dot)::
226 * double appoggiatura::
228 * double dotted note::
238 * ecclesiastical mode::
245 * equal temperament::
261 * functional harmony::
276 * inverted interval::
289 * long appoggiatura::
295 * meantone temperament::
303 * metronomic indication::
341 * Pythagorean comma::
364 * short appoggiatura::
368 * sixty-fourth note::
369 * sixty-fourth rest::
398 * thirty-second note::
399 * thirty-second rest::
454 FI: aksentti, korostus.
456 The stress of one tone over others.
470 ES: alteración accidental,
472 F: altération accidentelle,
473 D: Vorzeichen, Versetzungszeichen, Akzidenz,
474 NL: toevallig (verplaatsings)teken,
476 S: tillfälligt förtecken,
477 FI: tilapäinen etumerkki.
479 An accidental has the effect of an @ref{alteration} of a note. A
480 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
481 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
482 lowers it by a whole tone. A natural cancels the effect of a previous
485 @lilypond[fragment,notime,line-width=13.0\cm]
486 \set Score.automaticBars = ##f
488 \context Staff \relative c'' {
489 \set Staff.extraNatural = ##f
490 gisis1 gis g! ges geses
493 \override Lyrics .LyricText #'self-alignment-X = #-1
494 "db. sharp" sharp natural flat "db. flat"
505 F: accelerando, en accélérant,
506 D: accelerando, schneller werden,
510 FI: accelerando, kiihdyttäen.
525 FI: adagio, hitaasti.
527 It.@: comfortable, easy.
528 1.@tie{}Slow tempo, slower -- especially in even meter -- than
529 @ref{andante} and faster than @ref{largo}.
530 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
531 @ref{sonata}s, symphonies, etc.
540 D: Allegro, Schnell, Fröhlich, Lustig,
544 FI: allegro, nopeasti.
546 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
547 tempo, especially the first and last movements of a @ref{sonata}.
557 NL: verhoging of verlaging,
562 An alteration is the modification, raising or lowering, of a note's
563 pitch. It is established by an @ref{accidental}.
576 FI: altto, matala naisääni.
578 A female voice of low range (@emph{contralto}). Originally the alto was a
579 high male voice (hence the name), which by the use of falsetto reached the
580 height of the female voice. This type of voice is also known as
587 ES: clave de do en tercera,
588 I: chiave di contralto,
589 F: clef d'ut troisième ligne,
590 D: Altschlüssel, Bratschenschlüssel,
596 C clef setting middle C on the middle line of the staff.
613 FI: ambitus, ääniala, soitinala.
615 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
616 of pitches for a given voice in a part of music. It may also denote
617 the pitch range that a musical instrument is capable of playing.
632 An anacrusis (also known as pickup or upbeat) is an incomplete measure
633 of music before a section of music. It also refers to the initial note(s)
634 of a melody occurring in that incomplete measure.
638 @ref{measure}, @ref{meter}.
640 @lilypond[fragment,line-width=13.0\cm]
644 \partial 4 f4 | bes4. a8 bes4 c |
645 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
649 @node ancient minor scale
650 @section ancient minor scale
652 ES: escala menor antigua,
653 I: scala minore naturale,
654 F: forme du mode mineur ancien, troisème mode, mode hellénique
656 NL: authentieke mineurtoonladder,
659 FI: luonnollinen molliasteikko.
663 @ref{diatonic scale}.
665 @lilypond[fragment,notime,line-width=13.0\cm]
666 \set Score.automaticBars = ##f
684 Walking tempo/character.
688 @section appoggiatura
692 F: appoggiature, (port de voix),
697 FI: appoggiatura, etuhele.
699 Ornamental note, usually a second, that is melodically connected with the
700 main note following it. In music before the 19th century appoggiature were
701 usually performed on the beat, after that mostly before the beat. While the
702 short appoggiatura is performed as a short note regardless of the duration of
703 the main note the duration of the long appoggiatura is proportional to that of
706 @lilypond[line-width=13.0\cm]
707 \context Voice \relative c'' {
711 %\override Score.TextScript #'font-style = #'large
712 <d a fis>4_"notation" r
713 { \override Stem #'flag-style = #'()
715 \revert Stem #'flag-style
718 { \override Stem #'flag-style = #'()
720 \revert Stem #'flag-style
723 \cadenzaOn a4 \bar "||" \cadenzaOff
725 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
726 \cadenzaOn a4 \bar "||" \cadenzaOff
730 An appoggiatura may have more notes preceding the main note.
732 @lilypond[line-width=13.0\cm]
736 % \override Score.TextScript #'font-style = #'large
737 \grace { bes16 } as8_"notation" as16 bes as8 g |
738 \grace { as16[( bes] } < c as >4-)
739 \grace { as16[( bes] } < c as >4-) \bar "||"
740 \grace { bes16 } as8_"performance" as16 bes as8 g |
741 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
742 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
754 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
756 DK: arpeggio, akkordbrydning,
758 FI: arpeggio, murtosointu.
760 @lilypond[fragment,line-width=13.0\cm]
761 \context PianoStaff <<
762 \context Staff = SA \relative c'' {
765 r8 g16 c e g, c e r8 g,16 c e g, c e |
766 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
767 \context Staff = SB \relative c' {
769 << \context Voice = va {
771 r16 e8. ( e4) r16 e8. ( e4) |
772 r16 d8. ( d4) r16 d8. ( d4) }
773 \context Voice = vb {
782 @section articulation
793 Articulation refers to notation which indicates how a note or notes should
794 be played. Slurs, accents, staccato, and legato are all examples of
798 @node ascending interval
799 @section ascending interval
801 ES: intervalo ascendente,
802 I: intervallo ascendente,
803 F: intervalle ascendant,
804 D: steigendes Intervall,
805 NL: stijgend interval,
806 DK:@w{ }stigende interval,
807 S: stigande intervall,
808 FI: nouseva intervalli.
810 A distance between a starting lower note and a higher ending note.
813 @node augmented interval
814 @section augmented interval
816 ES: intervalo aumentado,
817 I: intervallo aumentato,
818 F: intervalle augmenté,
819 D: übermäßiges Intervall,
820 NL: overmatig interval,
821 DK: forstørret interval,
822 S: överstigande intervall,
823 FI: ylinouseva intervalli.
835 F: manuscrit, autographe
836 D: Autograph, Handschrift,
838 DK: håndskrift, autograf,
840 FI: käsinkirjoitettu nuotti.
842 1.@tie{}A manuscript in the composer's own hand.
843 2.@tie{}Music prepared for photoreproduction by freehand drawing,
844 with the aid of a straightedge ruler and T-square only,
845 which attempts to emulate engraving.
846 This required more skill than did engraving.
885 ES: barra, línea divisoria,
886 I: stanghetta, barra (di divisione),
887 F: barre (de mesure),
905 FI: baritoni, keskikorkuinen miesääni.
907 The male voice intermediate between the @ref{bass} and the
910 @c F: clef de troisième ligne dropped
914 @section baritone clef
916 ES: clave de fa en tercera,
917 I: chiave di baritono,
918 F: clef d' Ut cinquième ligne, clef de Fa troisième,
925 C or F clef setting middle C on the upper staff line.
929 @ref{C clef}, @ref{F clef}.
935 ES: clave de fa en cuarta,
937 F: clef de fa quatrième ligne,
944 A clef setting with middle C on the first top ledger line.
961 FI: basso, matala miesääni.
963 1.@tie{}The lowest male voice.
964 2.@tie{}Sometimes, especially in jazz music, used as
965 an abbreviation for double bass.
984 Line connecting a series of notes (shorter than a quarter note).
985 The number of beams determines the note value of the connected notes.
987 @lilypond[fragment,notime,line-width=13.0\cm]
988 \set Score.automaticBars = ##f
989 %\override TextScript #'font-style = #'large
992 g16_"1/16"[ g g g] s16
993 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
994 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
999 @ref{feathered beam}.
1005 ES: tiempo, parte (de compás)
1008 D: Takt, Taktschlag, Zeit (im Takt),
1014 Note value used for counting, most often half-, fourth-, and eighth notes.
1015 The base counting value and the number of them per measure is indicated at
1016 the start of the music.
1018 @lilypond[fragment,line-width=13.0\cm]
1021 \relative c'' { g4 c b a | g1 \bar "||"}
1023 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1038 ES: llave, corchete,
1041 D: Klammer, Akkolade,
1042 NL: accolade, teksthaak,
1045 FI: yhdistävä sulkumerkki.
1047 Symbol at the start of a system connecting staves. Curly braces are used
1048 for connecting piano staves, angular brackets for connecting parts in an
1049 orchestral or choral score.
1051 @lilypond[fragment,ragged-right]
1052 \context GrandStaff <<
1053 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1054 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1057 @lilypond[fragment,ragged-right]
1058 \context StaffGroup <<
1059 % \set StaffGroup.minVerticalAlign = #12
1060 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1061 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1071 NL: koper (blazers),
1074 S: brassinstrument, mässingsinstrument,
1077 A family of blown musical instruments made of brass, all using a cup formed
1078 mouth piece. The brass instruments commonly used in a symphony orchestra are
1079 trumpet, trombone, french horn, and tube.
1083 @section breath mark
1088 D: Atemzeichen, Trennungszeichen,
1089 NL: repercussieteken,
1090 DK: vejrtrækningstegn,
1094 Indication of where to breathe in vocal and wind instrument parts.
1099 ES: cuadrada, breve,
1108 @ref{note value}, twice as long as a whole note. Mainly used
1111 @lilypond[fragment,notime,ragged-right]
1112 \set Score.automaticBars = ##f
1113 \relative c'' { g\breve }
1146 Clef symbol indicating the position of the middle C. Used on all note
1149 @lilypond[fragment,notime,line-width=13.0\cm]
1150 \set Score.automaticBars = ##f
1151 \override Score.Clef #'full-size-change = ##t
1153 \context Staff \relative c' {
1155 \clef mezzosoprano c
1160 \context Lyrics \lyrics {
1161 \override Lyrics .LyricText #'self-alignment-X = #-1
1162 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1178 FI: kadenssi, lopuke.
1182 @ref{harmonic cadence}, @ref{functional harmony}.
1195 FI: kadenssi, lopuke.
1197 An extended, improvisatory style section inserted near the end of
1198 movement. The purpose of a cadenza is to give singers or players a chance
1199 to exhibit their technical skill and -- not last -- their ability to
1200 improvise. Since the middle of the 19th century, however, most cadences have
1201 been written down by the composer.
1214 FI: kaanon, tarkka jäljittely.
1231 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1232 viritysjärjestelmässä.
1234 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1235 of an equally tempered @ref{semitone}).
1239 @ref{equal temperament}.
1262 Three or more tones sounding simultaneously. In traditional European music
1264 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1266 minor @ref{third}) as well as @emph{minor} (minor + major third)
1267 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1268 and five-tone @emph{ninth} major chords are most often used as dominants
1269 (@ref{functional harmony}). A special case is chords having no
1270 third above the lower notes to define their quality as major or minor. Such
1271 chords are denoted open chords
1273 @lilypond[fragment,notime,line-width=13.0\cm]
1274 \set Score.automaticBars = ##f
1275 %\override TextScript #'font-style = #'large
1277 \context Staff \relative c'' {
1278 \set Staff.extraNatural = ##f
1298 @node chromatic scale
1299 @section chromatic scale
1301 ES: escala cromática,
1303 F: gamme chromatique,
1304 D: chro@-ma@-ti@-sche Tonleiter,
1305 NL: chromatische toonladder,
1306 DK: kromatisk skala,
1308 FI: kromaattinen asteikko.
1310 A scale consisting of all 12 @ref{semitone}s.
1312 @lilypond[fragment,notime,line-width=13.0\cm]
1313 \set Score.automaticBars = ##f
1314 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1319 @section chromaticism
1330 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1334 @section church mode
1336 ES: modo eclesiástico,
1337 I: modo ecclesiastico,
1338 F: mode ecclésiastique,
1343 FI: moodi, kirkkosävellaji.
1347 @ref{diatonic scale}.
1351 @section church rest
1353 ES: compases de espera (estilo de la iglesia),
1354 I: pausa multipla (della cappella),
1355 F: pause multiple (style de l'église),
1356 NL: meermaats rust (?),
1358 DK: flertaktspause (?),
1359 S: flertaktspaus (?),
1360 FI: usean tahdin mittainen tauko (?).
1362 LilyPond-specific term for an older style of multibar rests. Instead of a long bar with a number, @q{church rest}s use a combination of longa, breve and whole rests to indicate the duration (in measures) of a rest.
1366 @ref{multibar rest}.
1375 D: Schlüssel, Notenschlüssel,
1379 FI: avain, nuottiavain.
1383 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1385 The clef indicates which lines of the staff correspond to which
1386 pitches. The three clef symbols in common use are:
1388 @lilypond[ragged-right,quote]
1391 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1392 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1393 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1398 Imagine a large staff of 11 lines centered on middle C, sometimes
1399 called a @q{grand staff}, with the bottom line representing low G
1400 and the top line high F:
1402 @lilypond[ragged-right,quote]
1405 %-- Treble Staff --%
1407 % Allow this staff to be placed close to the others
1408 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1409 % Allow the treble clef to overlap the lower staves:
1410 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1411 \override Staff.Clef #'stencil = ##f % No clef required
1413 s1^\markup { "g," \transparent "g" }
1414 s^ \markup { "b," \transparent "g" }
1415 s^ \markup { "d" \transparent "g" }
1416 s^ \markup { "f" \transparent "g" }
1417 s^ \markup { "a" \transparent "g" }
1418 s^ \markup { \with-color #red c' \transparent "g"}
1419 e'^\markup { "e'" \transparent "g" }
1420 g'^\markup { "g'" \transparent "g" }
1421 b'^\markup { "b'" \transparent "g" }
1422 d''^\markup { "d''" \transparent "g" }
1423 f''^\markup { "f ''" \transparent "g" }
1426 %-- Alto Staff reduced to a single line on middle C --%
1428 \override Staff.StaffSymbol #'line-count = 1 % One line only
1429 \override Staff.StaffSymbol #'color = #red % Coloured red
1430 \override Staff.Clef #'stencil = ##f % No clef required
1433 % Allow this staff to be placed close to the others
1434 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1435 % Specify height to give correct spacing between treble and bass staves
1436 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1438 s1 s s s s % Space along to align horizonatally
1439 \override NoteHead #'color = #red
1441 s1 s s s s s % Keep staff (ie the red line) showing
1445 % Allow this staff to be placed close to the others
1446 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1447 \override Staff.Clef #'stencil = ##f % No clef required
1450 s s s s s s s % Keep staff showing
1454 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1455 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1457 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1458 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1460 % Remove all barlines
1461 \context { \Score \override BarLine #'stencil = ##f
1463 % Remove time signature from all staves
1464 \context { \Staff \remove Time_signature_engraver
1470 Staves of five lines are usually used, and the clef superimposed on them
1471 indicates which five lines have been selected from this @samp{grand staff}.
1472 For example, the treble or G clef indicates that the top five
1473 lines have been selected:
1475 @lilypond[ragged-right,quote]
1478 %-- Treble Staff --%
1480 % Allow this staff to be placed close to the others
1481 \override Staff.VerticalAxisGroup
1482 #'minimum-Y-extent = #'(0 . 0)
1483 % Allow the treble clef to overlap the lower staves:
1484 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1485 \override Staff.Clef #'stencil = ##f % No clef required here
1487 s1^\markup { "g," \transparent "g" }
1488 s^ \markup { "b," \transparent "g" }
1489 s^ \markup { "d" \transparent "g" }
1490 s^ \markup { "f" \transparent "g" }
1491 s^ \markup { "a" \transparent "g" }
1492 s^ \markup { \with-color #red c' \transparent "g"}
1493 \stopStaff \startStaff
1494 \clef "C" % Dummy to force next clef to be printed
1495 s % Need at least one note for \clef to take effect
1496 \override Staff.Clef #'stencil = ##t % Clef now required
1497 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1499 e'^\markup { "e'" \transparent "g" }
1500 g'^\markup { "g'" \transparent "g" }
1501 b'^\markup { "b'" \transparent "g" }
1502 d''^\markup { "d''" \transparent "g" }
1503 f''^\markup { "f ''" \transparent "g" }
1505 %-- Alto Staff reduced to a single line on middle C --%
1507 \override Staff.StaffSymbol #'line-count = 1 % One line only
1508 \override Staff.StaffSymbol #'color = #red % Coloured red
1509 \override Staff.Clef #'stencil = ##f % No clef required
1512 % Allow this staff to be placed close to the others
1513 \override Staff.VerticalAxisGroup
1514 #'minimum-Y-extent = #'(0 . 0)
1515 % Specify height to give correct spacing between the staves
1516 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1518 s1 s s s s % Space along to align horizonatally
1519 \override NoteHead #'color = #red
1521 % s1 s s s s % Keep staff (ie the red line) showing
1525 % Allow this staff to be placed close to the others
1526 \override Staff.VerticalAxisGroup
1527 #'minimum-Y-extent = #'(0 . 0)
1528 \override Staff.Clef #'stencil = ##f % No clef required
1531 % s s s s s s % Keep staff showing
1535 % Reduce horizontal spacing so semibreves can be used
1536 % without exceeding 1 line
1537 \context { \Score \override SpacingSpanner
1538 #'base-shortest-duration = #(ly:make-moment 1 1)
1540 % Reduce apparent vertical size of note heads to
1541 % permit them to overlap other grobs vertically
1542 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1544 % Remove all barlines
1545 \context { \Score \override BarLine #'stencil = ##f
1547 % Remove time signature from all staves
1548 \context { \Staff \remove Time_signature_engraver
1554 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1556 In the same way, the bass or F clef indicates that the bottom five lines
1557 have been selected from the @samp{grand staff}, and the alto or C clef
1558 indicates the middle five lines have been selected. This relationship is
1559 shown below, where the notes show an arpeggio on a C major chord.
1561 @lilypond[ragged-right,quote]
1564 %-- Treble Staff --%
1565 \new Staff = "G" \with {
1566 \remove Time_signature_engraver
1569 % The following two overrides are required to make the two middle C's overlap
1570 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1571 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1573 \override Staff.Clef #'Y-extent = #'(0 . 0)
1575 s1 s s s s e' g' c''
1578 \new Staff = "C" \with {
1579 \remove Time_signature_engraver
1582 \override Staff.StaffSymbol #'line-count = 1
1583 \override Staff.StaffSymbol #'stencil = ##f
1584 \once \override Staff.Clef #'stencil = ##f
1585 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1586 \override Score.BarLine #'stencil = ##f
1588 % The following two overrides are required to align the C staff to the G and F staves
1589 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1590 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1593 \stopStaff \startStaff
1594 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1595 \revert Staff.StaffSymbol #'stencil
1596 \override Staff.StaffSymbol #'color = #red
1597 b'1 % A frig. This really shows as a middle C in the score
1599 \stopStaff \startStaff
1600 \override Staff.StaffSymbol #'line-count = 5
1601 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1602 \override Staff.Clef #'Y-extent = #'(0 . 0)
1603 \revert Staff.StaffSymbol #'color
1604 \stopStaff \startStaff
1606 s1 s s c e g c' e' g' c''
1609 \new Staff = "F" \with {
1610 \remove Time_signature_engraver
1613 \override Staff.Clef #'Y-extent = #'(0 . 0)
1614 % The following two overrides are required to make the two middle C's overlap
1615 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1616 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1624 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1627 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1630 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1643 A @emph{cluster} is a range of simultaneously sounding pitches that
1644 may change over time. The set of available pitches to apply usually
1645 depends on the acoustic source. Thus, in piano music, a cluster
1646 typically consists of a continuous range of the semitones as provided
1647 by the piano's fixed set of a chromatic scale. In choral music, each
1648 singer of the choir typically may sing an arbitrary pitch within the
1649 cluster's range that is not bound to any diatonic, chromatic or other
1650 scale. In electronic music, a cluster (theoretically) may even cover
1651 a continuous range of pitches, thus resulting in colored noise, such
1654 Clusters can be denoted in the context of ordinary staff notation by
1655 engraving simple geometrical shapes that replace ordinary notation of
1656 notes. Ordinary notes as musical events specify starting time and
1657 duration of pitches; however, the duration of a note is expressed by
1658 the shape of the note head rather than by the horizontal graphical
1659 extent of the note symbol. In contrast, the shape of a cluster
1660 geometrically describes the development of a range of pitches
1661 (vertical extent) over time (horizontal extent). Still, the
1662 geometrical shape of a cluster covers the area in which any single
1663 pitch contained in the cluster would be notated as an ordinary note.
1665 @lilypond[fragment,relative=2,ragged-right]
1666 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1680 FI: komma, korvinkuultava ero äänenkorkeudessa.
1682 Difference in pitch between a note derived from pure tuning and the same note
1683 derived from some other tuning method.
1691 @section common meter
1698 @node compound interval
1699 @section compound interval
1701 ES: intervalo compuesto,
1702 I: intervallo composto,
1703 F: intervalle composé,
1704 D: weites Intervall,
1705 NL: samengesteld interval,
1706 DK: sammensat interval,
1707 S: sammansatt intervall,
1708 FI: oktaavia laajempi intervalli.
1710 Intervals larger than an octave.
1720 ES: intervalo invertido,
1722 F: intervalle complémentaire,
1723 D: Komplementärintervall,
1724 NL: complementair interval,
1725 DK: komplementærinterval,
1726 S: komplementärintervall (?),
1727 FI: täydentävä intervalli.
1731 @ref{inverted interval}.
1734 @node conjunct movement
1735 @section conjunct movement
1737 ES: movimiento conjunto,
1739 F: mouvement conjoint,
1740 D: schritt@-weise, stufenweise Bewegung,
1741 NL: stapsgewijze, trapsgewijze beweging,
1742 DK: trinvis bevægelse,
1744 FI: asteittainen liike.
1746 Progressing melodically by intervals of a second. The opposite of a
1747 @ref{disjunct movement}.
1749 @lilypond[fragment,line-width=13.0\cm]
1750 \key g \major \time 4/4
1751 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1765 FI: konsonanssi, sopusointi.
1790 @section counterpoint
1799 FI: kontrapunkti, ääni ääntä vastaan.
1801 From latin @emph{punctus contra punctum}, note against note. The combination
1802 into a single musical fabric of lines or parts which have distinct melodic
1803 significance. A frequently used polyphonic technique is imitation, in its
1804 strictest form found in the canon needing only one part to be written down
1805 while the other parts are performed with a given displacement. Imitation is
1806 also the contrapunctal technique used in the @emph{fugue} which, since the
1807 music of the baroque era, has been one of the most popular polyphonic
1808 composition methods.
1810 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1811 \set Score.implicitTimeSignatureVisibility = #all-invisible
1812 \override Score.TimeSignature #'break-visibility = #all-invisible
1813 \context PianoStaff <<
1814 \context Staff = SA \relative c' {
1818 << \context Voice = rha {
1820 r1 | r2 r8 g'8 bes d, |
1821 cis4 d r8 e!16 f g8 f16 e |
1822 f8 g16 a bes8 a16 g a8
1824 \context Voice = rhb {
1830 \context Staff = SB \relative c' {
1833 << \context Voice = lha {
1835 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1836 r8 a16 g f8 g16 a bes8 g e! cis' |
1839 \context Voice = lhb {
1849 @section counter tenor
1854 D: Countertenor, Kontratenor,
1857 S: kontratenor, counter tenor,
1866 @section copying music
1868 A music copyist did fast freehand scores and parts on preprinted staff lines
1869 for performance. Some of their conventions (e.g., the placement of note heads
1870 on stems) varied slightly from those of engravers. Some of their working
1871 methods were superior and could well be adopted by music typesetters. This
1872 required more skill than engraving.
1881 D: Crescendo, lauter werden,
1885 FI: cresendo, voimistuen.
1887 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1888 abbreviation @samp{cresc.}.
1890 @lilypond[fragment,ragged-right]
1891 \key g \major \time 4/4
1892 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1901 F: petites notes précédent l'entrée d'un instrument, réplique,
1908 In a separate part notes belonging to another part with the purpose of hinting
1909 when to start playing. Usually printed in a smaller type.
1918 A custos is a staff symbol that appears at the end of a staff line
1919 with monophonic musical contents (i.e., with a single voice). It
1920 anticipates the pitch of the first note of the following line and thus
1921 helps the player or singer to manage line breaks during performance,
1922 thus enhancing readability of a score.
1924 Custodes were frequently used in music notation until the 16th
1925 century. There were different appearences for different notation
1926 styles. Nowadays, they have survived only in special forms of musical
1927 notation such as via the editio vaticana dating back to the beginning
1933 % \override Staff.Custos #'neutral-position = #4
1934 \override Staff.Custos #'neutral-direction = #down
1935 \override Staff.Custos #'style = #'hufnagel
1943 \consists Custos_engraver
1973 F: da capo, depuis le commencement,
1974 D: da capo, von Anfang,
1978 FI: da capo, alusta.
1980 The term indicates repetition of the piece from the beginning to the end or
1981 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1989 F: dal segno, depuis le signe,
1990 D: dal segno, ab dem Zeichen,
1994 FI: dal segno, lähtien merkistä.
1996 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1997 another place frequently near the beginning marked by a sign:
1999 @lilypond[fragment,ragged-right]
2000 %\override TextScript #'font-style = #'large
2001 \override TextScript #'font-shape = #'italic
2002 \key g \major \time 4/4
2007 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2014 @section decrescendo
2018 D: Decrescendo, leiser werden,
2022 FI: decresendo, hiljentyen.
2024 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2025 or the abbreviation @samp{decresc.}.
2027 @lilypond[fragment,ragged-right]
2029 \key g \major \time 4/4
2030 d4 \> c b a | g1 \! \bar "|."
2035 @node descending interval
2036 @section descending interval
2038 ES: intervalo descendente,
2039 I: intervallo discendente,
2040 F: intervalle descendant,
2041 D: fallendes Intervall, absteigendes Intervall,
2042 NL: dalend interval,
2043 DK: faldende interval,
2044 S: fallande intervall,
2045 FI: laskeva intervalli.
2047 A distance between a starting higher note and a lower ending note.
2050 @node diatonic scale
2051 @section diatonic scale
2053 ES: escala diatónica,
2055 F: gamme diatonique,
2056 D: diatonische Tonleiter,
2057 NL: diatonische toonladder,
2058 DK: diatonisk skala,
2060 FI: diatoninen asteikko.
2062 A scale consisting of 5@w{ }@ref{whole tone}s and
2063 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2064 of a piano keybord are diatonic.
2066 The church modes are used in gregorial chant and in pre-baroque early
2067 music but also to some extent in newer jazz music.
2069 @lilypond[fragment,notime,ragged-right]
2070 \set Score.automaticBars = ##f
2071 %\override Score.LyricText #'font-style = #'large
2072 %\override Score.TextScript #'font-style = #'large
2074 \context Staff \relative c' {
2076 \override TextScript #'padding = #-4
2077 e^"~~ S" f g a b^"~~ S" c
2079 \context Lyrics \lyrics {
2085 @lilypond[fragment,notime,ragged-right]
2086 \set Score.automaticBars = ##f
2088 \context Staff \relative c' {
2090 \override TextScript #'padding = #-4
2091 e^"~~ S" f g a b^"~~ S" c d
2099 @lilypond[fragment,notime,ragged-right]
2100 \set Score.automaticBars = ##f
2103 \override TextScript #'padding = #-4
2104 e1^"~~ S" f g a b^"~~ S" c d e
2112 @lilypond[fragment,notime,ragged-right]
2113 \set Score.automaticBars = ##f
2117 \override TextScript #'padding = #-4
2118 b^"~~ S" c d e^"~~ S" f
2126 @lilypond[fragment,notime,ragged-right]
2127 \set Score.automaticBars = ##f
2131 \override TextScript #'padding = #-4
2132 b^"~~ S" c d e^"~~ S" f g }
2139 @lilypond[fragment,notime,ragged-right]
2140 \set Score.automaticBars = ##f
2141 %\override Score.LyricText #'font-style = #'large
2142 %\override Score.TextScript #'font-style = #'large
2146 \override TextScript #'padding = #-4
2147 b^"~~ S" c d e^"~~ S" f g a
2155 From the beginning of the 17th century the scales used in European
2156 compositional music are primarily the major and the minor scales. In the
2157 harmonic minor scale type an augmented second (A) occurs between the 6th and
2160 @lilypond[fragment,notime,ragged-right]
2161 \set Score.automaticBars = ##f
2165 \override TextScript #'padding = #-4
2166 e^"~~ S" f g a b^"~~ S" c
2174 @lilypond[fragment,notime,ragged-right]
2175 \set Score.automaticBars = ##f
2179 \override TextScript #'padding = #-4
2180 b^"~~ S" c d e^"~~ S" f g a
2188 @lilypond[fragment,notime,ragged-right]
2189 \set Score.automaticBars = ##f
2193 \override TextScript #'padding = #-4
2194 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2196 \context Lyrics \lyrics {
2202 @lilypond[fragment,notime,line-width=13.0\cm]
2203 \set Score.automaticBars = ##f
2204 %\override Score.LyricText #'font-style = #'large
2205 %\override Score.TextScript #'font-style = #'large
2209 \override TextScript #'padding = #-4
2210 b^"~~ S" c d e fis gis^"~~ S"
2211 a g! f!^"~~ S" e d c^"~~ S" b a
2220 @node diminished interval
2221 @section diminished interval
2223 ES: intervalo disminuido,
2224 I: intervallo diminuito,
2225 F: intervalle diminué,
2226 D: vermindertes Intervall,
2227 NL: verminderd interval,
2228 DK: formindsket interval,
2229 S: förminskat intervall,
2230 FI: vähennetty intervalli.
2247 FI: diminuendo, hiljentyen.
2271 @node disjunct movement
2272 @section disjunct movement
2274 ES: movimiento disjunto,
2276 F: mouvement disjoint,
2277 D: sprunghafte Bewegung,
2278 NL: sprongsgewijze beweging,
2279 DK: springende bevægelse,
2280 S: hoppande rörelse,
2281 FI: melodian hyppivä liike.
2283 Progressing melodically by intervals larger than a major second.
2284 Opposite of @ref{conjunct movement}.
2286 @lilypond[fragment,ragged-right]
2291 a4. gis8 b a e cis |
2292 fis2 d4. \bar "||" }
2299 @ref{dissonant interval}.
2302 @node dissonant interval
2303 @section dissonant interval
2305 ES: intervalo disonante, disonancia,
2306 I: intervallo dissonante, dissonanza,
2309 NL: dissonant interval; dissonant,
2310 DK: dissonerende interval, dissonans,
2312 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2319 @node dominant ninth chord
2320 @section dominant ninth chord
2322 ES: acorde de novena de dominante,
2323 I: accordo di nona di dominante,
2324 F: accord de neuvième dominante,
2325 D: Domi@-nant@-nonen@-akkord,
2326 NL: dominant noon akkoord,
2327 DK: dominantnoneakkord,
2328 S: dominantnonackord,
2329 FI: dominanttinoonisointu.
2333 @ref{chord}, @ref{functional harmony}.
2336 @node dominant seventh chord
2337 @section dominant seventh chord
2339 ES: acorde de séptima de dominante,
2340 I: accordo di settima di dominante,
2341 F: accord de septième dominante,
2342 D: Dominantseptakkord,
2343 NL: dominant septiem akkoord,
2344 DK: dominantseptimakkord,
2345 S: dominantseptimackord,
2346 FI: dominanttiseptimisointu.
2350 @ref{chord}, @ref{functional harmony}.
2363 FI: dominantti, huippusointu.
2365 The fifth @ref{scale degree} in @ref{functional harmony}.
2369 @section dorian mode
2374 D: dorisch, dorischer Kirchenton,
2375 NL: dorische toonladder,
2382 @ref{diatonic scale}.
2385 @node dot (augmentation dot)
2386 @section dot (augmentation dot)
2389 I: punto (di valore),
2391 D: Punkt (Verlängerungspunkt),
2397 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2405 @section dotted note
2407 ES: nota con puntillo,
2411 NL: gepuncteerde noot,
2414 FI: pisteellinen nuotti.
2421 @node double appoggiatura
2422 @section double appoggiatura
2424 ES: apoyatura doble,
2425 I: appoggiatura doppia,
2426 F: appoggiature double,
2427 D: doppelter Vorschlag,
2428 NL: dubbele voorslag,
2429 DK: dobbelt forslag,
2431 FI: kaksoisappogiatura, kaksoisetuhele.
2438 @node double bar line
2439 @section double bar line
2445 NL: dubbele maatstreep,
2448 FI: kaksoistahtiviiva.
2450 Indicates the end of a section within a movement.
2453 @node double dotted note
2454 @section double dotted note
2456 ES: nota con doble puntillo,
2457 I: nota doppiamente puntata,
2458 F: note doublement pointée,
2459 D: doppelt punktierte Note,
2460 NL: dubbelgepuncteerde noot,
2461 DK: dob@-belt@-punk@-te@-ret node,
2462 S: dub@-bel@-punk@-te@-rad not,
2463 FI: kaksoispisteellinen nuotti.
2471 @section double flat
2480 FI: kaksoisalennusmerkki.
2488 @section double sharp
2490 ES: doble sostenido,
2495 DK: dob@-belt@-kryds,
2497 FI: kaksoisylennysmerkki.
2505 @section double trill
2511 NL: dubbele triller,
2516 A simultaneous trill on two notes, usually in the distance of a third.
2520 @section duple meter
2526 NL: tweedelige maatsoort,
2563 FI: kesto, aika-arvo.
2571 @section dydimic comma
2575 @ref{syntonic comma}.
2590 The aspect of music relating to degrees of loudness, or changes from one
2591 degree to another. The terms, abbreviations, and symbols used to indicate
2592 this information are called dynamic marks.
2596 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2616 @node ecclesiastical mode
2617 @section ecclesiastical mode
2625 @section eighth note
2631 D: Achtel, Achtelnote,
2633 DK: ottendedelsnode,
2635 FI: kahdeksasosanuotti.
2643 @section eighth rest
2645 ES: silencio de corchea,
2651 DK: ottendedelspause,
2653 FI: kahdeksasosatauko.
2663 FIXME: languages, definition
2667 @section embellishment
2680 D: Notenstechen, Notendruck
2686 Engraving means incising or etching a metal plate for
2687 printing. Photoengraving means drawing music with ink in a manner
2688 similar to drafting or engineering drawing, using similar tools.
2690 The traditional process of music printing is done through cutting in a
2691 plate of metal. Now also the term for the art of music typesetting.
2706 Two notes, intervals, or scales are enharmonic if they have different names
2709 @lilypond[fragment,notime,line-width=13.0\cm]
2710 \set Score.automaticBars = ##f
2712 \context Staff \relative c'' {
2713 gis1 as <des g,!> <cis g!>
2715 \context Lyrics \lyrics {
2716 \override Lyrics .LyricText #'self-alignment-X = #-1
2717 "g sharp " "a flat " "dim fifth " "augm fourth"
2723 @node equal temperament
2724 @section equal temperament
2726 ES: temperamento igual,
2727 I: temperamento equabile,
2728 F: tempérament égal,
2729 D: gleichschwebende Stimmung,
2730 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2731 DK: ligesvævende temperatur,
2732 S: liksvävande temperatur,
2735 Tuning system dividing the octave into 12 equal @ref{semitone}s
2736 (precisely 100 @ref{cent}s).
2743 @node expression mark
2744 @section expression mark
2747 I: segno d'espressione,
2748 F: signe d'expression, indication de nuance,
2750 NL: voordrachtsteken,
2751 DK: foredragsbetegnelse,
2752 S: föredragsbeteckning,
2753 FI: nyanssiosoitus, esitysmerkki.
2755 Performance indications concerning 1. volume, dynamics (for example
2756 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2757 @ref{andante}, @ref{allegro}).
2761 @section extender line
2763 FIXME: add languages
2765 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2767 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2774 The generic term for a line (or dash) of arbitrary length that
2775 extends text (without indicating the musical @emph{function} of
2778 Used in many contexts, for example:
2782 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2784 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2787 In figured (or thorough) bass to indicate that:
2791 @item The extended note should be held through a change in
2792 harmony, when applied to one figure --OR--
2794 @item The chord thus represented should be held above a moving
2795 bass line, when applied to more than one figure.
2797 @item These uses were not completely standardized, and some
2798 composers used a single extender line to indicate the
2804 In string music to indicate that all notes in the passage thus indicated
2805 should be played on the same string. On the violin, for example, a series
2806 of notes to be played on the G string would be indicated @samp{sul G},
2807 another series to be played on the D string would be indicated @samp{sul D},
2814 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2846 The position between the dots of the key symbol is the line of the F below
2847 central@w{ }C. Used on the third, fourth and fifth note line. A
2848 digit@w{ }8 above the clef symbol indicates that the notes must be played
2849 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2850 symbol indicates playing an octave lower (for example, on double bass
2853 @lilypond[fragment,notime,line-width=13.0\cm]
2854 \set Score.automaticBars = ##f
2855 \override Staff.Clef #'full-size-change = ##t
2883 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2886 @node feathered beam
2887 @section feathered beam
2898 A type of beam used to indicate that a small group of notes should be
2899 played at an increasing or decreasing tempo -- depending on the
2900 direction of @q{feathering} -- but without changing the overall tempo
2905 Program reference: @ruser{Manual beams}
2913 F: point d'orgue, point d'arrêt,
2918 FI: fermaatti, pidäke.
2920 Prolonged note or rest of indefinite duration.
2922 @lilypond[fragment,ragged-right]
2925 a4 b c2^\fermata \bar "|."
2948 @section figured bass
2952 @ref{thorough bass}.
2967 The methodical use of fingers in the playing of instruments.
2974 I: coda (uncinata), bandiera,
2982 Ornament at the end of the stem of a note used for notes with values
2983 less than a quarter note. The number of flags determines the
2986 @lilypond[fragment,notime,ragged-right]
2987 \set Score.automaticBars = ##f
2988 %\override Score.TextScript #'font-style = #'large
3033 FI: forte, voimakkaasti.
3035 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3036 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3073 @node functional harmony
3074 @section functional harmony
3076 ES: armonía funcional,
3077 I: armonia funzionale,
3078 F: étude des functions,
3080 NL: functionele harmonie,
3081 DK: funktionsanalyse, funktionsharmonik,
3083 FI: harmoniajärjestelmä.
3085 A system of harmonic analysis. It is based on the idea that, in a given key,
3086 there are only three functionally different chords: tonic (T, the chord on the
3087 first note of the scale), subdominant (S, the chord on the fourth note), and
3088 dominant (D, the chord on the fifth note). Others are considered to be
3089 variants of the base chords.
3091 @lilypond[fragment,notime,line-width=13.0\cm]
3092 \set Score.automaticBars = ##f
3094 \context Voice \relative c'' {
3095 <g e c >1 < a f d > < b g e >
3096 <c a f > < d b g > < e c a > < f d b > }
3097 \context Lyrics \lyrics {
3098 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3126 D: G-Schlüssel, Violinschlüssel,
3132 A clef symbol indicating the G above central@w{ }C. Used on the first
3133 and second note lines. A digit 8 above the clef symbol indicates that
3134 the notes must be played an octave higher while 8 below the clef symbol
3135 indicates playing or singing an octave lower (most tenor parts in choral
3136 scores are notated like that).
3138 @lilypond[fragment,notime,ragged-right]
3140 \set Score.automaticBars = ##f
3141 \override Staff.Clef #'full-size-change = ##t
3144 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3154 \context Lyrics \lyrics {
3155 \override Lyrics . LyricText #'X-offset = #-5
3156 "french violin clef"
3175 FI: glissando, liukuen.
3177 Letting the pitch slide fluently from one note to the other.
3181 @section grace notes
3183 ES: notas de adorno,
3186 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3192 Notes printed in small types to indicate that their time values are not
3193 counted in the rhythm of the bar.
3199 @section grand staff
3201 ES: sistema de piano,
3207 S: ackolad, böjd klammer,
3208 FI: kaksoisnuottiviivasto.
3210 A combination of two staves with a brace. Usually used for piano music.
3227 FI: grave, raskaasti.
3252 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3253 standard usage of these countries, @samp{B} means @samp{B flat}.
3257 @ref{Pitch names}, @ref{B}
3267 D: Halbe, halbe Note,
3281 ES: silencio de blanca,
3296 @node harmonic cadence
3297 @section harmonic cadence
3299 ES: cadencia (armónica),
3300 I: cadenza (armonica),
3301 F: cadence harmonique,
3303 NL: harmonische cadens,
3304 DK: harmonisk kadence,
3305 S: (harmonisk) kadens,
3306 FI: harmoninen kadenssi.
3308 A sequence of chords that terminates a musical phrase or
3311 @ref{functional harmony}.
3313 @lilypond[fragment,ragged-right]
3314 \context PianoStaff <<
3315 \context Staff = SA \relative c'' {
3319 \partial 4 < c g e >4 |
3320 < c a f > < b g d > < c g e >2
3323 \context Staff = SB \relative c {
3325 \partial 4 c4 | f, g c2
3343 D: Harmonie, Zusammenklang,
3347 FI: harmonia, yhteissointi.
3349 Tones sounding simultaneously. Two note harmonies fall into the categories
3350 @emph{consonances} and @emph{dissonances}.
3354 @lilypond[fragment,notime,line-width=13.0\cm]
3355 \set Score.automaticBars = ##f
3356 %\override Score.TextScript #'font-style = #'large
3357 \context Voice \relative c'' {
3370 @lilypond[fragment,notime,line-width=13.0\cm]
3371 \set Score.automaticBars = ##f
3372 %\override Score.TextScript #'font-style = #'large
3373 \context Voice \relative c'' {
3374 <g a>1_"second " s s
3375 <g f'>_"seventh " s s
3380 Three note harmony @ref{chord}.
3393 FI: homofonia, yksiäänisyys.
3395 Music in which one voice leads melodically followed by the other voices more
3396 or less in the same rhythm. In contrast to @ref{polyphony}.
3409 FI: intervalli, kahden sävelen korkeusero.
3411 Difference in pitch between two notes. Intervals may be perfect, minor,
3412 major, diminished, or augmented. The augmented fourth and the diminished fifth
3413 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3414 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3417 @lilypond[fragment,notime,line-width=13.0\cm]
3418 \set Score.automaticBars = ##f
3420 \context Voice \relative c'' {
3430 \context Lyrics \lyrics {
3431 "unison " "second " "second " "second "
3432 "third " "third " "third " "third"
3437 @lilypond[fragment,notime,line-width=13.0\cm]
3438 \set Score.automaticBars = ##f
3440 \context Staff \relative c'' {
3451 "fourth " "fourth " "fifth " "fifth "
3452 "sixth " "sixth " "sixth " "sixth"
3457 @lilypond[fragment,notime,line-width=13.0\cm]
3458 \set Score.automaticBars = ##f
3460 \context Staff \relative c'' {
3461 < gis f'! >1^"dimin"
3470 \context Lyrics \lyrics {
3471 "seventh " "seventh " "seventh " "octave "
3472 "ninth " "ninth " "tenth " "tenth"
3478 @node inverted interval
3479 @section inverted interval
3481 ES: intervalo invertido,
3482 I: intervallo rivolto,
3483 F: intervalle reversé,
3484 D: umgekehrtes Intervall,
3485 NL: interval inversie,
3486 DK: omvendingsinterval,
3487 S: intervallets omvändning,
3488 FI: käänteisintervalli.
3490 The difference between an interval and an octave.
3492 @lilypond[fragment,notime,line-width=13.0\cm]
3493 \set Score.automaticBars = ##f
3494 %\override Score.TextScript #'font-style = #'large
3495 \context Staff \relative c'' {
3496 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3497 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3498 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3503 @node just intonation
3504 @section just intonation
3506 ES: entonación justa,
3507 I: intonazione giusta,
3508 F: intonation juste,
3515 Tuning system in which the notes are obtained by adding and subtracting
3516 natural fifths and thirds.
3533 According to the 12@w{ }tones of the @ref{chromatic scale}
3534 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3538 @ref{key signature}.
3542 @section key signature
3544 ES: armadura (de la clave),
3545 I: armatura di chiave,
3546 F: armure, armature [de la clé],
3547 D: Vorzeichen, Tonart,
3548 NL: toon@-soort (voortekens),
3551 FI: sävellajiosoitus.
3553 The sharps or flats appearing at the beginning of each staff indicating the
3565 D: Largo, Langsam, Breit,
3569 FI: largo, hitaasti, leveästi.
3571 Very slow in tempo, usually combined with great
3572 expressiveness. @emph{Larghetto} is less slow than largo.
3576 @section leading note
3587 The seventh @ref{scale degree}, a @ref{semitone} below
3588 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3589 upwards) to the tonic scale degree.
3593 @section ledger line
3595 ES: línea adicional,
3596 I: tagli addizionali,
3597 F: ligne supplémentaire,
3604 A ledger line is an extension of the staff.
3606 @lilypond[fragment,notime,ragged-right]
3607 \set Score.automaticBars = ##f
3608 \relative c'' { a,1 s c'' }
3624 To be performed (a) without any perceptible interruption between the notes,
3625 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3628 @lilypond[fragment,notime,line-width=13.0\cm]
3629 \set Score.automaticBars = ##f
3631 \context Staff \relative c'' {
3632 c4-( d e-) \bar "||"
3633 c4-- d-- e-- \bar "||"
3634 c4-.-( d-. e-.-) \bar "||"
3635 c4-. d-. e-. \bar "||"
3648 @section legato curve
3652 @ref{slur}, @ref{legato}.
3666 ES: estanque de nenúfares,
3667 I: stagno del giglio,
3671 NL: le@-lie@-vij@-ver,
3676 A pond with lilies floating in it, also the name of a music typesetter.
3684 A ligature is a coherent graphical symbol that represents at least two
3685 distinct notes. Ligatures originally appeared in the manuscripts of
3686 Gregorian chant notation roughly since the 9th century to denote
3687 ascending or descending sequences of notes. In early notation,
3688 ligatures were used for monophonic tunes (Gregorian chant) and very
3689 soon denoted also the way of performance in the sense of articulation.
3690 With the invention of the metric system of the white mensural
3691 notation, the need for ligatures to denote such patterns disappeared.
3700 D: Linie, Notenlinie,
3704 FI: viiva, nuottiviiva.
3711 @node long appoggiatura
3712 @section long appoggiatura
3714 ES: apoyatura larga,
3715 I: appoggiatura lunga,
3716 F: appoggiature longue,
3717 D: langer Vorschlag,
3721 FI: pitkä appoggiatura, pitkä etuhele.
3740 Note value: double length of @ref{breve}.
3742 @lilypond[fragment,notime,ragged-right]
3743 \set Score.automaticBars = ##f
3745 \override NoteHead #'style = #'mensural
3758 ES: letra (de la canción),
3771 FIXME: add languages
3778 @node major interval
3779 @section major interval
3781 ES: intervalo mayor,
3782 I: intervallo maggiore,
3783 F: intervalle majeur,
3784 D: großes Intervall,
3788 FI: suuri intervalli.
3809 @ref{diatonic scale}.
3812 @node meantone temperament
3813 @section meantone temperament
3815 ES: afinación mesotónica,
3816 I: accordatura mesotonica,
3817 F: tempérament mésotonique,
3818 D: mitteltönige Stimmung,
3819 NL: middenstemming, middentoonstemming,
3820 DK: middeltonetemperatur,
3821 S: medeltonstemperatur,
3822 FI: keskisävelviritys.
3824 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3825 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3826 @ref{temperament} only a limited set of keys are playable.
3827 Used for tuning keyboard instruments for performance of pre-1650 music.
3842 A group of @ref{beat}s (units of musical time) the first of which
3843 bears an accent. Such groups in numbers of two or more recur consistently
3844 throughout the composition and are marked from each other by
3854 I: mediante, modale,
3862 1.@tie{}The third @b{scale degree}.
3863 2.@tie{}A @ref{chord} having its base tone
3864 a third from that of another chord. For example, the tonic chord may be
3865 replaced by its lower mediant (variant tonic).
3868 harmony}, @ref{relative key}.
3877 FI: melisma, laulettavan tavun sävelkuvio.
3879 A melisma (plural: melismata) is a group of notes or tones sung on one
3880 syllable in plainsong
3884 @section melisma line
3886 FIXME: add languages
3890 @ref{extender line}.
3893 @node melodic cadence
3894 @section melodic cadence
3906 F: indication de mesure, mesure,
3913 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3914 unaltered throughout a composition or a section of it. For instance,
3915 3/4 meter means that the basic @ref{note value}s are quarter notes and
3916 that a @ref{measure} consists of three of those. According to whether
3917 there are two, three, or four units to the measure, one speaks of
3918 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3919 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3922 @lilypond[fragment,line-width=13.0\cm]
3926 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3929 @lilypond[fragment,line-width=13.0\cm]
3933 f8 f f f a16 g a f |
3934 c'8 c c c e16 d e c \bar "||"}
3937 @lilypond[fragment,line-width=13.0\cm]
3941 d4 b8 g b d d c a4 |
3942 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3958 Device indicating the exact tempo of a piece.
3964 @node metronomic indication
3965 @section metronomic indication
3967 ES: indicación metronómica,
3968 I: indicazione metronomica,
3969 F: indication métronomique,
3971 NL: metronoom aanduiding,
3973 S: metronomangivelse,
3974 FI: metronomiosoitus.
3976 Exact tempo indication (in beats per minute). Also denoted by
3977 M.M.@: (Mälzels Metronom).
3981 @section mezzo-soprano
3992 The female voice between @ref{soprano} and @ref{contralto}.
4001 D: eingestrichenes@w{ }c,
4003 DK: enstreget@w{ }c,
4004 S: ettstruket@w{ }c,
4007 First C below the 440 Hz A.
4009 @lilypond[fragment,notime,ragged-right]
4010 \set Score.automaticBars = ##f
4011 \override Staff.Clef #'full-size-change = ##t
4034 @ref{diatonic scale}.
4037 @node minor interval
4038 @section minor interval
4040 ES: intervalo menor,
4041 I: intervallo minore,
4042 F: intervalle mineur,
4043 D: kleines Intervall,
4047 FI: pieni intervalli.
4064 FI: moodi, kirkkosävelasteikko.
4068 @ref{church mode}, @ref{diatonic scale}.
4081 FI: modulaatio, sävellajin vaihdos.
4083 Moving from one @ref{key} to another. For example, the second
4084 subject of a @ref{sonata form} movement modulates to the dominant
4085 key if the key is major and to the @ref{relative key} if the key
4098 FI: mordent, korukuvio.
4123 FI: teema, sävelaihe.
4125 The briefest intelligible and self-contained fragment of a musical theme or
4128 @lilypond[line-width=13.0\cm]
4131 \set Score.implicitTimeSignatureVisibility = #all-invisible
4132 \override Score.TimeSignature #'break-visibility = #all-invisible
4135 \partial 8 g16\startGroup fis |
4136 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4137 g8 g,16 a b8 cis d16 s
4141 \Staff \consists "Horizontal_bracket_engraver"
4159 Greater musical works like @ref{symphony} and
4160 @ref{sonata} most often consist of several -- more or less --
4161 independant pieces called movements.
4165 @section multibar rest
4167 ES: compases de espera,
4171 D: mehrtaktige Pause,
4174 FI: usean tahdin mittainen tauko.
4176 @lilypond[fragment,ragged-right]
4179 \set Score.skipBars = ##t R1*3
4185 @node mixolydian mode
4186 @section mixolydian mode
4190 @ref{diatonic scale}.
4194 @section natural sign
4199 D: Auflösungszeichen,
4200 NL: herstellingsteken,
4201 DK: op@-løsningstegn,
4202 S: återställningstecken,
4210 @node neighbour tones
4211 @section neighbour tones
4255 Notes are signs by means of which music is fixed in writing. The term is also
4256 used for the sound indicated by a note, and even for the key of the piano
4257 which produces the sound. However, a clear distinction between the terms tone
4258 and @ref{note} is strongly recommended. Briefly, one sees a note,
4266 I: testa, testina, capocchia,
4274 A head-like sign which indicates pitch by its position on a
4275 @ref{staff} provided with a @ref{clef}, and duration
4276 by a variety of shapes such as hollow or black heads with or without
4277 @ref{stem}s, @ref{flag}s, etc. For percussion
4278 instruments (often having no defined pitch) the note head may indicate the
4285 ES: valor (duración),
4287 F: durée, valeur (d'une note),
4292 FI: nuotin aika-arvo.
4294 Note values (durations) are measured as fractions, normally 1/2, of
4295 the next higher note value. The longest duration normally used is
4296 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4297 double-length note value @emph{longa} or the quadruple-length note
4298 value @emph{maxima} are used.
4300 @c TODO -- add maxima to this example
4302 @lilypond[fragment,notime,line-width=13.0\cm]
4303 %\override Score.TextScript #'font-style = #'large
4304 \set Score.automaticBars = ##f
4306 \override NoteHead #'style = #'mensural
4307 a\longa_"longa" a\breve_"breve"
4308 \revert NoteHead #'style
4309 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4310 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4313 @c TODO -- add maxima rest to this example
4315 @lilypond[fragment,notime,line-width=13.0\cm]
4316 %\override Score.TextScript #'font-style = #'large
4317 \set Score.automaticBars = ##f
4319 r\longa_"longa" r\breve_"breve"
4320 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4321 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4324 An augmentation dot after a note multiplies the duration by one and a
4325 half. Another dot adds yet a fourth of the duration.
4327 @lilypond[fragment,line-width=13.0\cm]
4328 %\override Score.TextScript #'font-style = #'large
4331 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4332 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4335 Alternatively note values may be subdivided by other ratios. Most common is
4336 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4337 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4338 dotted notes are also frequently used.
4340 @lilypond[fragment,line-width=13.0\cm]
4341 %\override Score.TextScript #'font-style = #'large
4344 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4345 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4349 @lilypond[fragment,line-width=13.0\cm]
4352 \times 3/2 {g4_"duplets" g} |
4354 \times 6/4 {g8_"quadruplets" g g g} |
4355 g8 g g g g4 \bar "||"
4361 @section octave sign
4365 @ref{G clef}, @ref{F clef}.
4389 I: abbellimento, fioriture,
4390 F: agrément, ornement,
4391 D: Verzierung, Ornament,
4397 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4398 with the diatonic @ref{second} above it. In the music from the
4399 middle of the 19th century and onwards the trill is performed with the main
4400 note first while in the music from the preceding baroque and classic periods
4401 the upper note is played first.
4403 @lilypond[fragment,line-width=13.0\cm]
4405 \context Staff = sa {
4406 % \override Score.TextScript #'font-style = #'large
4408 c2._"pre-1850" b4\trill | c1 \bar "||"
4409 c2._"post-1850" b4\trill | c1 \bar "||"
4413 c2. c32 b c b c b c b | c1
4414 c2. b32 c b c \times 4/5 { b c b c b } | c1
4419 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4421 @emph{prall} (inverted mordent).
4423 @lilypond[fragment,line-width=13.0\cm]
4425 \context Staff = sa {
4426 % \override Score.TextScript #'font-style = #'large
4428 a4_"turn" b\turn c2 \bar "||"
4429 g4_"mordent" a b\mordent a \bar "||"
4430 e'4_"prall" d\prall c2 \bar "||"
4436 e'4 e32[ d e d ~ d8] c2
4456 FI: ossia, vaihtoehtoinen esitystapa.
4458 Ossia (otherwise) marks an alternative. It is an added staff or piano
4459 score, usually only a few measures long, which presents another version
4460 of the music, for example for small hands.
4473 FI: stemma, instrumenttiosuus.
4475 1.@tie{}In instrumental or choral music the music for the single instrument
4476 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4477 melodic line of the contrapunctal web.
4502 D: Schlagzeug, Schlagwerk,
4508 A family of musical instruments which are played on by striking or
4509 shaking. Percussion instruments commonly used in a symphony orchestra are
4510 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4511 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4515 @node perfect interval
4516 @section perfect interval
4518 ES: intervalo justo,
4519 I: intervallo giusto,
4520 F: intervalle juste,
4521 D: reines Intervall,
4525 FI: puhdas intervalli.
4544 A natural division of the melodic line, comparable to a sentence of speech.
4557 FI: fraseeraus, jäsentäminen.
4559 The clear rendering in musical performance of the @ref{phrase}s of
4560 the melody. Phrasing may be indicated by a @ref{slur}.
4568 F: anacrouse, levée,
4592 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4593 @emph{mezzo piano} (@b{mp}) medium soft.
4616 NL: pizzicato, getokkeld,
4619 FI: pizzicato, näppäillen.
4621 Play by plucking the strings.
4630 D: Polyphonie, Mehrstimmigkeit,
4634 FI: polyfonia, moniäänisyys.
4636 Music written in a combination of several simultaneous voices (parts) of a
4637 more or less pronounced individuality.
4656 D: Presto, Sehr schnell,
4657 NL: presto, Sehr schnell,
4660 FI: presto, hyvin nopeasti.
4662 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4663 denotes the highest possible degree of speed.
4666 @node Pythagorean comma
4667 @section Pythagorean comma
4669 ES: coma pitagórica,
4670 I: comma pitagorico,
4671 F: comma pythagoricien,
4672 D: Pythagoräisches Komma,
4673 NL: komma van Pythagoras,
4674 DK: pythagoræisk komma,
4675 S: pytagoreiskt komma,
4676 FI: pytagorinen komma.
4678 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4679 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4680 24 @ref{cent}s higher than the@w{ }C obtained by adding
4681 7@w{ }octaves. The difference between those two pitches is called the
4703 @section quarter note
4706 I: semiminima, nera,
4709 D: Viertel, Viertelnote,
4713 FI: neljännesosanuotti.
4721 @section quarter rest
4723 ES: silencio de negra,
4724 I: pausa di semiminima,
4729 DK:@w{ }fjerdedelspause,
4731 FI: neljännesosatauko.
4741 ES: cinquillo, quintillo.
4756 @section rallentando
4761 D: rallentando, langsamer werden,
4765 FI: rallerdando, hidastuen.
4767 Abbreviation "rall.".
4773 @section relative key
4776 I: tonalità relativa,
4777 F: tonalité relative,
4779 NL: paralleltoonsoort,
4780 DK: paralleltoneart,
4782 FI: rinnakkaissävellaji.
4784 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4786 @lilypond[fragment,notime,line-width=13.0\cm]
4787 \set Score.automaticBars = ##f
4788 %\override Score.TextScript #'font-style = #'large
4791 es1_"e flat major" f g as bes c d es
4796 @lilypond[fragment,notime,line-width=13.0\cm]
4797 \set Score.automaticBars = ##f
4798 %\override Score.TextScript #'font-style = #'large
4801 c1_"c minor" d es f g a! b! c \bar "||"
4811 F: barre de reprise,
4814 DK: gen@-ta@-gel@-se,
4818 @lilypond[fragment,line-width=13.0\cm]
4822 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4826 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4827 @c specify the rest's value.
4861 @item Metrical rhythm in which every time value is a multiple or
4862 fraction of a fixed unit of time, called @ref{beat}, and in which the
4863 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4864 The basic scheme of time values is called @ref{meter}.
4866 @item Measured rhythm which lacks regularly recurrent accent. In
4867 modern notation such music appears as a free alternation of different
4870 @item Free rhythm, i.e., the use of temporal values having no common
4871 metrical unit (beat).
4883 D: Ritardando, langsamer werden,
4887 FI: ritardando, hidastuen,
4889 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4902 FI: ritenuto, hidastaen.
4904 Immediate reduction of speed.
4917 FI: asteikko, sävelasteikko.
4921 @ref{diatonic scale}.
4925 @section scale degree
4927 ES: grado (de la escala),
4928 I: grado della scala,
4929 F: degré [de la gamme],
4931 NL: trap [van de toonladder],
4934 FI: sävelaste, asteikon sävel.
4936 Names and symbols used in harmonic analysis to denote tones of the
4937 scale as roots of chords. The most important are degrees I = tonic
4938 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4940 @lilypond[fragment,notime,line-width=13.0\cm]
4941 \set Score.automaticBars = ##f
4943 \context Staff \relative c' {
4947 << { I II III IV V VI VII I }
4955 @ref{functional harmony}.
4963 F: à cordes ravallées,
4970 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4971 tuning of stringed instruments, particularly lutes or violins. Used
4976 @item facilitate pitch combinations that would otherwise be difficult
4979 @item alter the characteristic timbre of the instrument, for example,
4980 to increase brilliance)
4982 @item reinforce certain sonorities or tonalities by making them
4983 available on open strings
4985 @item imitate other instruments
4991 Tunings that could be called @var{scordatura} first appeared early in
4992 the 16th Century and became commonplace in the 17th.
5001 D: Partitur (full score), Klavierauszug (vocal score),
5007 A copy of orchestral, choral, or chamber music showing what each
5008 instrument is to play, each voice to sing, having each part arranged
5009 one underneath the other on different staves @ref{staff}.
5024 The @ref{interval} between two neigbouring tones of a scale. A
5025 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5026 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5027 degrees in question.
5042 The @ref{interval} of a minor second. The (usually) smallest interval
5043 in European composed music. The interval between two neighbouring
5044 tones on the piano keyboard -- including black and white keys -- is a
5045 semitone. An octave may be divided into 12@w{ }semitones.
5046 @ref{interval}, @ref{chromatic scale}.
5048 @lilypond[fragment,notime,line-width=13.0\cm]
5049 \set Score.automaticBars = ##f
5050 \relative c'' { g1 gis s a bes s b! c }
5121 @node short appoggiatura
5122 @section short appoggiatura
5129 @node sixteenth note
5130 @section sixteenth note
5136 D: Sechzehntel, Sechzehntelnote,
5137 NL: zes@-ti@-ende noot,
5138 DK: sekstendedelsnode,
5140 FI: kuudestoistaosanuotti.
5147 @node sixteenth rest
5148 @section sixteenth rest
5150 ES: silencio de semicorchea,
5151 I: pausa di semicroma,
5153 UK: semiquaver rest,
5154 D: Sechzehntelpause,
5156 DK: sekstendedelspause,
5182 @node sixty-fourth note
5183 @section sixty-fourth note
5187 F: quadruple croche,
5188 UK: hemidemisemiquaver,
5189 D: Vierundsechzigstel, Vierundsechzigstelnote,
5190 NL: vierenzestigste noot,
5191 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5192 S: sextiofjärdedelsnot,
5193 FI: kuudeskymmenesneljäsosanuotti.
5200 @node sixty-fourth rest
5201 @section sixty-fourth rest
5203 ES: silencio de semifusa,
5204 I: pausa di semibiscroma,
5205 F: seizième de soupir,
5206 UK: hemidemisemiquaver rest,
5207 D: Vierundsechzigstelpause,
5208 NL: vierenzestigste rust,
5209 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5210 S: sextiofjärdedelspaus,
5211 FI: kuudeskymmenesneljäsosatauko.
5222 ES: ligadura (de expresión),
5223 I: legatura (di portamento or espressiva),
5225 D: Bogen, Legatobogen, Phrasierungsbogen,
5226 NL: fraseringsboog, legatoboog, streekboog,
5227 DK: legatobue, fraseringsbue,
5231 A slur above or below a group of notes indicates that they are to be
5232 played @ref{legato}, e.g., with one stroke of the violin bow or with
5233 one breath in singing.
5238 @section solmization
5247 FI: suhteelliset laulunimet.
5249 General term for systems of designating the degrees of the
5250 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5251 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5270 In its present-day meaning a sonata denotes an instrumental
5271 composition for piano or for some other instrument with piano
5272 accompaniment, which consists of three or four independant pieces,
5277 @section sonata form
5281 F: [en] forme de sonate,
5283 NL: hoofdvorm, sonatevorm,
5288 A form used frequently for single movements of the @ref{sonata},
5289 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5290 into three sections called @emph{exposition}, @emph{development} and
5291 @emph{recapitulation}. In the exposition the composer introduces some
5292 musical ideas, consisting of a number of themes; in the development
5293 section the composer @q{develops} this material, and in the
5294 recapitulation the composer repeats the exposition, with certain
5295 modifications. The exposition contains a number of themes that fall
5296 into two groups, often called first and second subject. Other
5297 melodies occurring in each group are considered as continuations of
5298 these two. The second theme is in another key, normally in the key of
5299 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5300 @ref{relative key} if the tonic is @ref{minor}.
5321 FI: sopraano, korkea naisääni.
5323 The highest female voice.
5331 F: staccato, piqué, détaché,
5336 FI: staccato, lyhyesti, terävästi.
5338 Playing the note(s) short. Staccato is indicated by a dot above or
5339 below the note head.
5341 @lilypond[fragment,ragged-right]
5346 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5356 I: pentagramma, rigo (musicale),
5359 NL: (noten)balk, partij,
5364 A staff (pl. staves) is a series of (normally five) horizontal lines
5365 upon and between which the musical notes are written, thus indicating
5366 (in connection with a @ref{clef}) their pitch. Staves for
5367 @ref{percussion} instruments may have fewer lines.
5384 D: Hals, Notenhals, Stiel,
5390 Vertical line above or below a @ref{note head} shorter than a
5395 @lilypond[fragment,notime,line-width=13.0\cm]
5396 \set Score.autoBeaming = ##f
5397 \set Score.automaticBars = ##f
5398 %\override Score.TextScript #'font-style = #'large
5420 A family of stringed musical instruments played with a bow. Strings
5421 commonly used in a symphony orchestra are violin, viola, violoncello,
5426 @section strong beat
5431 D: betonter Taktteil oder Taktschlag,
5433 D: betonet taktslag,
5434 S: betonat taktslag,
5435 FI: tahdin vahva isku.
5439 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5443 @section subdominant
5452 FI: subdominantti, alidominantti.
5454 The fourth @ref{scale degree}.
5456 @ref{functional harmony}.
5471 The sixth @ref{scale degree}.
5484 FI: subtoonika, alitoonika.
5486 The seventh @ref{scale degree}.
5501 Indicates that the indicated passage (or note) should be played on the
5506 @section superdominant
5517 The sixth @ref{scale degree}.
5532 The second @ref{scale degree}.
5541 D: Sinfonie, Symphonie,
5547 A symphony may be defined as a @ref{sonata} for orchestra.
5551 @section syncopation
5562 Any deliberate upsetting of the normal pulse of @ref{meter},
5563 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5564 rhythm rests upon the grouping of equal beats into groups of two or
5565 three, with a regularly recurrent accent on the first beat of each
5566 group. Any deviation from this scheme is felt as a disturbance or
5567 contradiction between the underlaying (normal) pulse and the actual
5570 @lilypond[fragment,ragged-right]
5575 e c'4 e,8 c'4 e,8 c' ( | c2)
5581 @node syntonic comma
5582 @section syntonic comma
5585 I: comma sintonico (o didimico),
5586 F: comma syntonique,
5587 D: syntonisches Komma,
5588 NL: syntonische komma,
5589 DK: syntonisk komma,
5590 S: syntoniskt komma,
5591 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5592 Pytagorisessa viritysjärjestelmässä.
5594 Difference between the natural third and the third obtained by
5595 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5609 FI: nuottijärjestelmä.
5611 The collection of staves (@ref{staff}), two or more, as used for writing
5612 down of keyboard, chamber, choral, or orchestral music.
5617 @section temperament
5622 D: Stimmung, Tem@-pe@-ra@-tur,
5623 NL: stemming, temperatuur,
5626 FI: viritysjärjestelmä.
5628 Systems of tuning in which the intervals deviate from the acoustically
5631 @ref{meantone temperament}, @ref{equal temperament}.
5634 @node tempo indication
5635 @section tempo indication
5637 ES: indicación de tempo,
5638 I: indicazione di tempo,
5639 F: indication de tempo,
5640 D: Zeitmaß, Tempobezeichnung,
5641 NL: tempo aanduiding,
5646 The rate of speed of a composition or a section thereof, ranging from
5647 the slowest to the quickest, as is indicated by tempo marks as
5648 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5662 FI: tenori, korkea miesääni.
5664 The highest male voice (apart from @ref{counter tenor}).
5687 ES: subrayado (tenuto),
5696 An indication that a particular note should be held for the whole
5697 length, although this can vary depending on the composer and era.
5717 @node thirty-second note
5718 @section thirty-second note
5724 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5725 NL: twee-endertig@-ste noot,
5726 DK: toogtredivtedelsnode,
5727 S: trettiotvåondelsnot,
5728 FI: kolmanneskymmeneskahdesosanuotti.
5735 @node thirty-second rest
5736 @section thirty-second rest
5738 ES: silencio de fusa,
5739 I: pausa di biscroma,
5740 F: huitième de soupir,
5741 UK: demisemiquaver rest,
5742 D: Zweiunddreissigstel@-pause,
5744 DK: toogtredivtedelspause,
5745 S: trettiotvåondelspaus,
5746 FI: kolmanneskymmeneskahdesosatauko.
5754 @section thorough bass
5757 I: basso continuo, basso numerato,
5758 F: basse chiffrée, basse continue,
5759 D: Generalbass, bezifferter Bass,
5760 NL: basso continuo, becijferde bas
5763 FI: kenraalibasso, numeroitu basso.
5765 A method of indicating an accompaniment part by the bass notes only,
5766 together with figures designating the chief @ref{interval}s and
5767 @ref{chord}s to be played above the bass notes.
5769 @lilypond[fragment,line-width=13.0\cm]
5770 \context GrandStaff <<
5771 \context Staff = lh \relative c'' {
5775 << \context Voice = rha {
5778 \context Voice = rhb {
5780 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5784 \context Staff = rh \relative c' {
5787 es8 c d bes c as bes16 as g f | es4
5789 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5798 ES: ligadura de prolongación,
5799 I: legatura (di valore),
5802 NL: overbinding, bindingsboog,
5804 S: bindebåge, överbindning,
5807 A curved line, identical in appearance with the @ref{slur}, which
5808 connects two succesive notes of the same pitch, and which has the
5809 function of uniting them into a single sound (tone) equal to the
5812 @lilypond[fragment,notime,ragged-right]
5813 \set Score.automaticBars = ##f
5814 \relative c'' { g2 ~ g4. }
5826 @node time signature
5827 @section time signature
5829 ES: indicación de compás,
5831 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5832 D: Taktangabe, Angabe der Taktart,
5835 S: taktartssignatur,
5855 A sound of definite pitch and duration, as distinct from @emph{noise}.
5856 Tone is a primary building material of music.
5858 Music from the 20th century may be based on atonal sounds.
5873 The first @ref{scale degree}.
5877 @ref{functional harmony}.
5881 @section transposition
5892 Shifting a melody up or down in pitch, while keeping the same
5895 @lilypond[fragment,line-width=13.0\cm]
5900 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5905 @lilypond[fragment,line-width=13.0\cm]
5908 \transpose c bes \relative c'' {
5910 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5917 @section treble clef
5920 I: chiave di violino,
5922 D: Violinschlüssel, Sopranschlüssel,
5924 DK:@w{ }diskantnøgle,
5945 On stringed instruments (@ref{strings}) the quick reiteration of the
5946 same tone, produced by a rapid up-and-down movement of the bow (a).
5947 The term is also used for the rapid alternation (b) between two notes
5948 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5950 @lilypond[fragment,notime,ragged-right]
5951 \set Score.automaticBars = ##f
5952 %\override Score.TextScript #'font-style = #'large
5955 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5956 \repeat tremolo 8 { e32_"b" g }
5966 F: triade, accord parfait, accord de trois sons,
5983 F: trille, tremblement, battement (cadence),
5996 @section triple meter
5998 ES: compás ternario,
6002 NL: driedelige maatsoort,
6047 @section tuning fork
6050 I: diapason, corista,
6058 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6059 forks give the international pitch for the tone @emph{a} (440
6060 vibrations per second).
6090 FI: unisono, yksiäänisesti.
6092 Playing of the same notes or the same melody by various instruments
6093 (voices) or by the whole orchestra (choir), either at exactly the same
6094 pitch or in a different octave.
6102 F: anacrouse, levée,
6124 FI: ääni, lauluääni.
6126 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6127 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6128 2.@tie{}A melodic layer or part of a polyphonic composition.
6135 I: tempo debole, arsi,
6137 D: unbetonter Taktteil oder Taktschlag,
6139 DK: ubetonet taktslag,
6140 S: obetonat taktslag,
6141 FI: tahdin heikko isku.
6145 @ref{beat}, @ref{measure}, @ref{rhythm}.
6155 D: Ganze, ganze Note,
6169 ES: silencio de redonda,
6170 I: pausa di semibreve,
6173 D: ganze Pause, ganztaktige Pause,
6197 The @ref{interval} of a major second. The interval between two tones
6198 on the piano keyboard with exactly one key between them -- including
6199 black and white keys -- is a whole tone.
6216 A family of blown wooden musical instruments. Today some of these
6217 instruments are actually made from metal. The woodwind instruments
6218 commonly used in a symphony orchestra are flute, oboe, clarinet,
6219 saxophone, and bassoon.
6224 @node Duration names notes and rests
6225 @chapter Duration names, notes and rests
6228 @item DURATION NAMES, NOTES AND RESTS
6231 @multitable @columnfractions .15 .26 .33 .26
6236 @tab @strong{F (note name / rest name)}
6246 @c extra @items make this table harder to read, so I removed them.
6248 @item @strong{longa}
6261 @item @strong{breve}
6264 @tab brève / double-pause
6274 @item @strong{whole}
6284 @tab koko@-nuotti/@w{-tauko}
6290 @tab blanche / demi-pause
6297 @tab puoli@-nuotti/@w{-tauko}
6300 @item @strong{quarter}
6310 @tab neljännesosa@-nuotti/@w{-tauko}
6313 @item @strong{eighth}
6316 @tab croche / demi-soupir
6323 @tab kahdeksasosa@-nuotti/@w{-tauko}
6326 @item @strong{sixteenth}
6329 @tab double croche / quart de soupir
6336 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6339 @item @strong{thirty-second}
6342 @tab triple croche / huitième de soupir
6344 @tab Zweiunddreissigstel
6345 @tab tweeendertigste
6346 @tab toogtredivtedel
6348 @tab trettiotvåondel
6349 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6352 @item @strong{sixty-fourth}
6353 @tab hemidemisemiquaver
6355 @tab quadruple croche / seizième de soupir
6357 @tab Vierundsechzigstel
6358 @tab vierenzestigste
6359 @tab fireogtred@-sindstyvendedel
6361 @tab sextiofjärdedel
6362 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6371 @chapter Pitch names
6377 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6378 @c the extra @item's between each row makes the table hard to read ... so I removed them
6380 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6382 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6384 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6385 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6387 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6390 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6391 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6393 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6394 @tab Des @tab des @tab des @tab des @tab des
6396 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6399 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6400 @tab Es @tab es @tab es @tab es @tab es
6402 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6405 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6408 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6411 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6412 @tab As @tab as @tab as @tab as @tab as
6414 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6417 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6418 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6420 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6421 @tab B @tab bes @tab b @tab b @tab b
6423 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6436 @node Literature used
6437 @unnumberedsec Literature used
6440 @item The Harvard Dictionary of Music, London 1944. Many
6441 more or less literal quotes from its articles have been included into
6442 the item explanation texts.
6444 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6446 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6449 @item Oxford Advanced Learner's Dictionary of Current English, Third
6452 @item Webster's Revised Unabridged Dictionary, Springfield 1913.