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.
24 This document is also available in
25 @uref{source/Documentation/user/music-glossary.pdf,PDF}
26 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
31 @author Christian Mondrup @c Original author of LilyPond glossary
33 @author François Pinard @c Original glossary of GNU music project,
35 @author Mats Bengtsson @c Swedish glossary
36 @author David González @c Spanish glossary
37 @author Bjoern Jacke @c German glossary
38 @author Neil Jerram @c English glossary translations
39 @author Heikki Junes @c Finnish glossary
40 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
41 @author Adrian Mariano @c Italian glossary
42 @author Han-Wen Nienhuys @c Dutch glossary
43 @author Jan Nieuwenhuizen @c Dutch glossary
45 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
46 @c Updates to the German translation by Till Rettig, 12/07
48 Copyright @copyright{} 1999--2007 by the authors
50 Permission is granted to copy, distribute and/or modify this document
51 under the terms of the GNU Free Documentation License, Version 1.1
52 or any later version published by the Free Software Foundation,
53 without Invariant Sections.
58 @c TODO: multiple omfcreators?
60 @omfcreator Christian Mondrup, Kurt Kroon
61 @omfdescription Glossary of musical terms with translations
63 @omfcategory Applications|Publishing
70 This glossary was brought you by
72 @multitable {Jan Nieuwenhuizen} {Original glossary of GNU music project, French glossary,}
73 @item Adrian Mariano @tab Italian glossary,
74 @item Bjoern Jacke @tab German glossary,
75 @item Christian Mondrup @tab Original author of LilyPond glossary, Danish glossary,
76 @item David González @tab Spanish glossary,
77 @item François Pinard @tab Original glossary of GNU music project, French glossary,
78 @item Han-Wen Nienhuys @tab Dutch glossary,
79 @item Heikki Junes @tab Finnish glossary translations,
80 @item Jan Nieuwenhuizen @tab Dutch glossary,
81 @item Kurtis Kroon @tab English glossary,
82 @item Mats Bengtsson @tab Swedish glossary,
83 @item Neil Jerram @tab English glossary translations.
86 Copyright 1999--2007 by the authors
88 Permission is granted to copy, distribute and/or modify this document
89 under the terms of the GNU Free Documentation License, Version 1.1
90 or any later version published by the Free Software Foundation,
91 without Invariant Sections.
97 @c @everyheading @| @thispage @|
98 @c @evenheading @thispage @| @|
99 @c @oddheading @| @| @thispage @|
101 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
102 For more information about how this fits with the other
103 documentation, see @rlearning{About the documentation}.
109 @w{@expansion{}@strong{\word\}}@c
112 @expansion{}@ref{\word\, @strong{\word\}}@c
117 * Musical terms A-Z::
118 * Duration names notes and rests::
122 @node Musical terms A-Z
123 @chapter Musical terms A-Z
125 Languages in this order.
127 @item UK - British English (where it differs from American English)
154 * ancient minor scale::
159 * ascending interval::
161 * augmented interval::
197 * compound interval::
201 * conjunct movement::
215 * descending interval::
218 * diminished interval::
222 * disjunct movement::
224 * dissonant interval::
228 * dominant ninth chord::
229 * dominant seventh chord::
231 * dot (augmentation dot)::
233 * double appoggiatura::
235 * double dotted note::
238 * double time signature::
245 * ecclesiastical mode::
252 * equal temperament::
273 * functional harmony::
293 * inverted interval::
308 * long appoggiatura::
314 * meantone temperament::
321 * mensural notation::
325 * metronomic indication::
338 * multi-measure rest::
368 * polymetric time signature::
373 * Pythagorean comma::
403 * sixty-fourth note::
404 * sixty-fourth rest::
435 * thirty-second note::
436 * thirty-second rest::
443 * transposing instrument::
498 Abbreviated @notation{a2} or @notation{a 2}.
502 @item An indication in orchestral scores that a single part notated on a single
503 staff that normally carries parts for two players (e.g. first and second oboes)
504 is to be played by both players.
506 @item Or conversely, that two pitches or parts notated on a staff that normally
507 carries a single part (e.g. first violin) are to be played by different players,
508 or groups of players (@q{desks}).
522 F: accelerando, en accélérant,
523 D: accelerando, schneller werden,
527 FI: accelerando, kiihdyttäen.
529 [Italian: @q{speed up, accelerate}.]
544 FI: aksentti, korostus.
546 The stress of one tone over others.
558 @section acciaccatura
560 A grace note which takes its time from the rest or note preceding the
561 principal note to which it is attached. The acciaccatura is drawn as a
562 small eighth note (quaver) with a line drawn through the flag and
567 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
573 ES: alteración accidental,
575 F: altération accidentelle,
576 D: Versetzungszeichen, Akzidenz,
577 NL: toevallig (verplaatsings)teken,
579 S: tillfälligt förtecken,
580 FI: tilapäinen etumerkki.
582 An accidental has the effect of an @ref{alteration} of a note. A
583 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
584 @ref{whole tone}, a flat lowers it by a semitone and a double flat
585 lowers it by a whole tone. A natural cancels the effect of a previous
586 accidental, or a sharp or flat in the key signature.
588 @lilypond[fragment,notime,line-width=13.0\cm]
589 \set Score.automaticBars = ##f
591 \context Staff \relative c'' {
592 \set Staff.extraNatural = ##f
593 gisis1 gis g! ges geses
596 \override Lyrics .LyricText #'self-alignment-X = #-1
597 "db. sharp" sharp natural flat "db. flat"
613 FI: adagio, hitaasti.
615 [Italian: @q{comfortable, easy}.]
619 @item Slow tempo, slower -- especially in even meter -- than
620 @ref{andante} and faster than @ref{largo}.
622 @item A movement in slow tempo, especially the second (slow) movement
623 of @ref{sonata}s, symphonies, etc.
640 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
641 that the sound should fade away to nothing.
643 @notation{Al niente} is indicated by circling the tip of the hairpin:
645 @lilypond[fragment,ragged-right]
647 \override Hairpin #'circled-tip = ##t
654 or with the actual phrase @notation{al niente}. This may be easier with
655 text markup, rather than as part of the @notation{decrescendo} text:
657 @lilypond[fragment,ragged-right]
662 c\!-\markup { \italic "al niente" }
666 Since one does not crescendo @emph{to} nothing, it is not correct to use
667 @notation{al niente} with the word @notation{crescendo}. Instead, one
668 should use @emph{dal niente} (@notation{@b{from} nothing}).
672 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
681 D: Allegro, Schnell, Fröhlich, Lustig,
685 FI: allegro, nopeasti.
687 [Italian: cheerful.] Quick tempo. Also used as a title for pieces in a quick
688 tempo, especially the first and last movements of a @ref{sonata}.
698 NL: verhoging of verlaging,
703 An alteration is the modification, raising or lowering, of a note's
704 pitch. It is established by an @ref{accidental}.
717 FI: altto, matala naisääni.
719 A female voice of low range (@emph{contralto}). Originally the alto
720 was a high male voice (hence the name), which by the use of falsetto
721 reached the height of the female voice. This type of voice is also
722 known as @ref{countertenor}.
728 ES: clave de do en tercera,
729 I: chiave di contralto,
730 F: clef d'ut troisième ligne,
731 D: Altschlüssel, Bratschenschlüssel,
737 C clef setting middle C on the middle line of the staff.
754 FI: ambitus, ääniala, soitinala.
756 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
757 Denotes a range of pitches for a given voice in a part of music. It may
758 also denote the pitch range that a musical instrument is capable of playing.
759 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
774 An anacrusis (also known as pickup or upbeat) is an incomplete measure
775 of music before a section of music. It also refers to the initial
776 note(s) of a melody occurring in that incomplete measure.
780 @ref{measure}, @ref{meter}.
782 @lilypond[fragment,line-width=13.0\cm]
786 \partial 4 f4 | bes4. a8 bes4 c |
787 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
791 @node ancient minor scale
792 @section ancient minor scale
794 ES: escala menor natural,
795 I: scala minore naturale,
796 F: forme du mode mineur ancien, troisème mode, mode hellénique,
797 D: reines Moll, natürliches Moll,
798 NL: authentieke mineurtoonladder,
801 FI: luonnollinen molliasteikko.
803 Also called @q{natural minor scale}.
805 @lilypond[fragment,notime,line-width=13.0\cm]
806 \set Score.automaticBars = ##f
813 @ref{diatonic scale}.
828 Walking tempo/character.
832 @section appoggiatura
836 F: appoggiature, (port de voix),
837 D: Vorschlag, Vorhalt
841 FI: appoggiatura, etuhele.
843 Ornamental note, usually a second, that is melodically connected with
844 the main note following it. In music before the 19th century
845 appoggiature were usually performed on the beat, after that mostly
846 before the beat. While the short appoggiatura is performed as a short
847 note regardless of the duration of the main note the duration of the
848 long appoggiatura is proportional to that of the main note.
850 @lilypond[line-width=13.0\cm]
851 \context Voice \relative c'' {
855 %\override Score.TextScript #'font-style = #'large
856 <d a fis>4_"notation" r
857 { \override Stem #'flag-style = #'()
859 \revert Stem #'flag-style
862 { \override Stem #'flag-style = #'()
864 \revert Stem #'flag-style
867 \cadenzaOn a4 \bar "||" \cadenzaOff
869 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
870 \cadenzaOn a4 \bar "||" \cadenzaOff
874 An appoggiatura may have more notes preceding the main note.
876 @lilypond[line-width=13.0\cm]
880 % \override Score.TextScript #'font-style = #'large
881 \grace { bes16 } as8_"notation" as16 bes as8 g |
882 \grace { as16[( bes] } < c as >4-)
883 \grace { as16[( bes] } < c as >4-) \bar "||"
884 \grace { bes16 } as8_"performance" as16 bes as8 g |
885 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
886 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
898 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
900 DK: arpeggio, akkordbrydning,
902 FI: arpeggio, murtosointu.
904 @lilypond[fragment,line-width=13.0\cm]
905 \context PianoStaff <<
906 \context Staff = SA \relative c'' {
909 r8 g16 c e g, c e r8 g,16 c e g, c e |
910 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
911 \context Staff = SB \relative c' {
913 << \context Voice = va {
915 r16 e8. ( e4) r16 e8. ( e4) |
916 r16 d8. ( d4) r16 d8. ( d4) }
917 \context Voice = vb {
926 @section articulation
935 FI: artikulaatio, ilmaisu.
937 Articulation refers to notation which indicates how a note or notes
938 should be played. Slurs, accents, staccato, and legato are all
939 examples of articulation.
942 @node ascending interval
943 @section ascending interval
945 ES: intervalo ascendente,
946 I: intervallo ascendente,
947 F: intervalle ascendant,
948 D: steigendes Intervall,
949 NL: stijgend interval,
950 DK: stigende interval,
951 S: stigande intervall,
952 FI: nouseva intervalli.
954 A distance between a starting lower note and a higher ending note.
957 @node augmented interval
958 @section augmented interval
960 ES: intervalo aumentado,
961 I: intervallo aumentato,
962 F: intervalle augmenté,
963 D: übermäßiges Intervall,
964 NL: overmatig interval,
965 DK: forstørret interval,
966 S: överstigande intervall,
967 FI: ylinouseva intervalli.
975 @section augmentation
986 @c TODO: add definition.
988 This is a placeholder for augmentation (wrt mensural notation).
992 @ref{diminution}, @ref{mensural notation}.
1000 F: manuscrit, autographe
1001 D: Autograph, Handschrift,
1003 DK: håndskrift, autograf,
1005 FI: käsinkirjoitettu nuotti.
1009 @item A manuscript written in the composer's own hand.
1011 @item Music prepared for photoreproduction by freehand drawing, with
1012 the aid of a straightedge ruler and T-square only, which attempts to
1013 emulate engraving. This required more skill than did engraving.
1034 @ref{H}, @ref{Pitch names}
1056 ES: barra, línea divisoria,
1057 I: stanghetta, barra (di divisione),
1058 F: barre (de mesure),
1076 FI: baritoni, keskikorkuinen miesääni.
1078 The male voice intermediate between the @ref{bass} and the
1081 @c F: clef de troisième ligne dropped
1085 @section baritone clef
1087 ES: clave de fa en tercera,
1088 I: chiave di baritono,
1089 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1090 D: Baritonschlüssel,
1096 C or F clef setting middle C on the upper staff line.
1100 @ref{C clef}, @ref{F clef}.
1113 FI: basso, matala miesääni.
1117 @item The lowest male voice.
1119 @item Sometimes, especially in jazz music, used as an abbreviation for
1132 ES: clave de fa en cuarta,
1134 F: clef de fa quatrième ligne,
1141 A clef setting with middle C on the first top ledger line.
1160 Line connecting a series of notes (shorter than a quarter note). The
1161 number of beams determines the note value of the connected notes.
1163 @lilypond[fragment,notime,line-width=13.0\cm]
1164 \set Score.automaticBars = ##f
1165 %\override TextScript #'font-style = #'large
1167 g8_"1/8"[ g g g] s16
1168 g16_"1/16"[ g g g] s16
1169 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1170 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1175 @ref{feathered beam}.
1181 ES: tiempo, parte (de compás)
1184 D: Takt, Taktschlag, Zeit (im Takt),
1190 Note value used for counting, most often half-, fourth-, and eighth
1191 notes. The base counting value and the number of them per measure is
1192 indicated at the start of the music.
1194 @lilypond[fragment,line-width=13.0\cm]
1197 \relative c'' { g4 c b a | g1 \bar "||"}
1199 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1204 @section beat repeat
1208 @ref{percent repeat}.
1222 ES: llave, corchete,
1225 D: Klammer, Akkolade,
1226 NL: accolade, teksthaak,
1229 FI: yhdistävä sulkumerkki.
1231 Symbol at the start of a system connecting staves.
1233 Curly braces are used for connecting piano staves, and sometimes for connecting
1234 the staves of like instruments in an orchestral score when written on different
1235 staves (e.g. first and second flutes):
1237 @lilypond[fragment,ragged-right]
1238 \context GrandStaff <<
1239 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1240 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1243 Angular brackets for connecting parts in an orchestral or choral score:
1245 @lilypond[fragment,ragged-right]
1246 \context StaffGroup <<
1247 % \set StaffGroup.minVerticalAlign = #12
1248 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1249 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1276 NL: koper (blazers),
1279 S: brassinstrument, mässingsinstrument,
1282 A family of blown musical instruments made of brass, all using a cup
1283 formed mouth piece. The brass instruments commonly used in a symphony
1284 orchestra are trumpet, trombone, french horn, and tube.
1288 @section breath mark
1293 D: Atemzeichen, Trennungszeichen,
1294 NL: repercussieteken,
1295 DK: vejrtrækningstegn,
1299 Indication of where to breathe in vocal and wind instrument parts.
1305 ES: cuadrada, breve,
1312 FI: brevis, kaksoiskokonuotti.
1314 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1315 The shortest note value generally used in white mensural notation, hence the
1316 name, which originally meant @q{of short duration}.
1318 @lilypond[fragment,notime,ragged-right]
1319 \set Score.automaticBars = ##f
1320 \relative c'' { g\breve }
1325 @ref{mensural notation}, @ref{note value}.
1359 Clef symbol indicating the position of the middle C. Used on all note
1362 @lilypond[fragment,notime,line-width=13.0\cm]
1363 \set Score.automaticBars = ##f
1364 \override Score.Clef #'full-size-change = ##t
1366 \context Staff \relative c' {
1368 \clef mezzosoprano c
1373 \context Lyrics \lyrics {
1374 \override Lyrics .LyricText #'self-alignment-X = #-1
1375 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1391 FI: kadenssi, lopuke.
1395 @ref{harmonic cadence}, @ref{functional harmony}.
1408 FI: kadenssi, lopuke.
1410 An extended, improvisatory style section inserted near the end of
1411 movement. The purpose of a cadenza is to give singers or players a
1412 chance to exhibit their technical skill and -- not last -- their
1413 ability to improvise. Since the middle of the 19th century, however,
1414 most cadenzas have been written down by the composer.
1427 FI: kaanon, tarkka jäljittely.
1444 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1445 viritysjärjestelmässä.
1447 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1448 (1/100 of an equally tempered @ref{semitone}).
1452 @ref{equal temperament}.
1475 Three or more tones sounding simultaneously. In traditional European music
1476 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1477 (major + minor third) as well as @emph{minor} (minor + major third) chords
1478 may be extended with more thirds. Four-tone @emph{seventh chords} and
1479 five-tone @emph{ninth} major chords are most often used as dominants
1480 (functional harmony). Chords having no third above the lower notes to
1481 define their mood are a special case called @q{open chords}. The lack of
1482 the middle third means their quality is ambivalent: neither major nor minor.
1484 @lilypond[fragment,notime,line-width=13.0\cm]
1485 \set Score.automaticBars = ##f
1486 %\override TextScript #'font-style = #'large
1488 \context Staff \relative c'' {
1489 \set Staff.extraNatural = ##f
1510 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1514 @node chromatic scale
1515 @section chromatic scale
1517 ES: escala cromática,
1519 F: gamme chromatique,
1520 D: chro@-ma@-ti@-sche Tonleiter,
1521 NL: chromatische toonladder,
1522 DK: kromatisk skala,
1524 FI: kromaattinen asteikko.
1526 A scale consisting of all 12 @ref{semitone}s.
1528 @lilypond[fragment,notime,line-width=13.0\cm]
1529 \set Score.automaticBars = ##f
1530 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1535 @section chromaticism
1546 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1550 @section church mode
1552 ES: modo eclesiástico,
1553 I: modo ecclesiastico,
1554 F: mode ecclésiastique,
1559 FI: moodi, kirkkosävellaji.
1563 @ref{diatonic scale}.
1572 D: Schlüssel, Notenschlüssel,
1576 FI: avain, nuottiavain.
1580 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1582 The clef indicates which lines of the staff correspond to which
1583 pitches. The three clef symbols in common use are:
1585 @lilypond[ragged-right,quote]
1588 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1589 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1590 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1595 Imagine a large staff of 11 lines centered on middle C, sometimes
1596 called a @q{grand staff}, with the bottom line representing low G and
1597 the top line high F:
1599 @lilypond[ragged-right,quote]
1602 %-- Treble Staff --%
1604 % Allow this staff to be placed close to the others
1605 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1606 % Allow the treble clef to overlap the lower staves:
1607 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1608 \override Staff.Clef #'stencil = ##f % No clef required
1610 s1^\markup { "g," \transparent "g" }
1611 s^ \markup { "b," \transparent "g" }
1612 s^ \markup { "d" \transparent "g" }
1613 s^ \markup { "f" \transparent "g" }
1614 s^ \markup { "a" \transparent "g" }
1615 s^ \markup { \with-color #red c' \transparent "g"}
1616 e'^\markup { "e'" \transparent "g" }
1617 g'^\markup { "g'" \transparent "g" }
1618 b'^\markup { "b'" \transparent "g" }
1619 d''^\markup { "d''" \transparent "g" }
1620 f''^\markup { "f ''" \transparent "g" }
1623 %-- Alto Staff reduced to a single line on middle C --%
1625 \override Staff.StaffSymbol #'line-count = 1 % One line only
1626 \override Staff.StaffSymbol #'color = #red % Coloured red
1627 \override Staff.Clef #'stencil = ##f % No clef required
1630 % Allow this staff to be placed close to the others
1631 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1632 % Specify height to give correct spacing between treble and bass staves
1633 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1635 s1 s s s s % Space along to align horizonatally
1636 \override NoteHead #'color = #red
1638 s1 s s s s s % Keep staff (ie the red line) showing
1642 % Allow this staff to be placed close to the others
1643 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1644 \override Staff.Clef #'stencil = ##f % No clef required
1647 s s s s s s s % Keep staff showing
1651 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1652 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1654 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1655 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1657 % Remove all barlines
1658 \context { \Score \override BarLine #'stencil = ##f
1660 % Remove time signature from all staves
1661 \context { \Staff \remove Time_signature_engraver
1667 Staves of five lines are usually used, and the clef superimposed on
1668 them indicates which five lines have been selected from this
1669 @samp{grand staff}. For example, the treble or G clef indicates that
1670 the top five lines have been selected:
1672 @lilypond[ragged-right,quote]
1675 %-- Treble Staff --%
1677 % Allow this staff to be placed close to the others
1678 \override Staff.VerticalAxisGroup
1679 #'minimum-Y-extent = #'(0 . 0)
1680 % Allow the treble clef to overlap the lower staves:
1681 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1682 \override Staff.Clef #'stencil = ##f % No clef required here
1684 s1^\markup { "g," \transparent "g" }
1685 s^ \markup { "b," \transparent "g" }
1686 s^ \markup { "d" \transparent "g" }
1687 s^ \markup { "f" \transparent "g" }
1688 s^ \markup { "a" \transparent "g" }
1689 s^ \markup { \with-color #red c' \transparent "g"}
1690 \stopStaff \startStaff
1691 \clef "C" % Dummy to force next clef to be printed
1692 s % Need at least one note for \clef to take effect
1693 \override Staff.Clef #'stencil = ##t % Clef now required
1694 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1696 e'^\markup { "e'" \transparent "g" }
1697 g'^\markup { "g'" \transparent "g" }
1698 b'^\markup { "b'" \transparent "g" }
1699 d''^\markup { "d''" \transparent "g" }
1700 f''^\markup { "f ''" \transparent "g" }
1702 %-- Alto Staff reduced to a single line on middle C --%
1704 \override Staff.StaffSymbol #'line-count = 1 % One line only
1705 \override Staff.StaffSymbol #'color = #red % Coloured red
1706 \override Staff.Clef #'stencil = ##f % No clef required
1709 % Allow this staff to be placed close to the others
1710 \override Staff.VerticalAxisGroup
1711 #'minimum-Y-extent = #'(0 . 0)
1712 % Specify height to give correct spacing between the staves
1713 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1715 s1 s s s s % Space along to align horizonatally
1716 \override NoteHead #'color = #red
1718 % s1 s s s s % Keep staff (ie the red line) showing
1722 % Allow this staff to be placed close to the others
1723 \override Staff.VerticalAxisGroup
1724 #'minimum-Y-extent = #'(0 . 0)
1725 \override Staff.Clef #'stencil = ##f % No clef required
1728 % s s s s s s % Keep staff showing
1732 % Reduce horizontal spacing so semibreves can be used
1733 % without exceeding 1 line
1734 \context { \Score \override SpacingSpanner
1735 #'base-shortest-duration = #(ly:make-moment 1 1)
1737 % Reduce apparent vertical size of note heads to
1738 % permit them to overlap other grobs vertically
1739 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1741 % Remove all barlines
1742 \context { \Score \override BarLine #'stencil = ##f
1744 % Remove time signature from all staves
1745 \context { \Staff \remove Time_signature_engraver
1751 The @q{curl} of the G clef is centered on the line that represents the
1754 In the same way, the bass or F clef indicates that the bottom five
1755 lines have been selected from the @samp{grand staff}, and the alto or
1756 C clef indicates the middle five lines have been selected. This
1757 relationship is shown below, where the notes show an arpeggio on a C
1760 @lilypond[ragged-right,quote]
1763 %-- Treble Staff --%
1764 \new Staff = "G" \with {
1765 \remove Time_signature_engraver
1768 % The following two overrides are required to make the two middle C's overlap
1769 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1770 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1772 \override Staff.Clef #'Y-extent = #'(0 . 0)
1774 s1 s s s s e' g' c''
1777 \new Staff = "C" \with {
1778 \remove Time_signature_engraver
1781 \override Staff.StaffSymbol #'line-count = 1
1782 \override Staff.StaffSymbol #'stencil = ##f
1783 \once \override Staff.Clef #'stencil = ##f
1784 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1785 \override Score.BarLine #'stencil = ##f
1787 % The following two overrides are required to align the C staff to the G and F staves
1788 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1789 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1792 \stopStaff \startStaff
1793 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1794 \revert Staff.StaffSymbol #'stencil
1795 \override Staff.StaffSymbol #'color = #red
1796 b'1 % A frig. This really shows as a middle C in the score
1798 \stopStaff \startStaff
1799 \override Staff.StaffSymbol #'line-count = 5
1800 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1801 \override Staff.Clef #'Y-extent = #'(0 . 0)
1802 \revert Staff.StaffSymbol #'color
1803 \stopStaff \startStaff
1805 s1 s s c e g c' e' g' c''
1808 \new Staff = "F" \with {
1809 \remove Time_signature_engraver
1812 \override Staff.Clef #'Y-extent = #'(0 . 0)
1813 % The following two overrides are required to make the two middle C's overlap
1814 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1815 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1823 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1826 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1829 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1846 FI: klusteri, cluster.
1848 A @emph{cluster} is a range of simultaneously sounding pitches that
1849 may change over time. The set of available pitches to apply usually
1850 depends on the acoustic source. Thus, in piano music, a cluster
1851 typically consists of a continuous range of the semitones as provided
1852 by the piano's fixed set of a chromatic scale. In choral music, each
1853 singer of the choir typically may sing an arbitrary pitch within the
1854 cluster's range that is not bound to any diatonic, chromatic or other
1855 scale. In electronic music, a cluster (theoretically) may even cover
1856 a continuous range of pitches, thus resulting in colored noise, such
1859 Clusters can be denoted in the context of ordinary staff notation by
1860 engraving simple geometrical shapes that replace ordinary notation of
1861 notes. Ordinary notes as musical events specify starting time and
1862 duration of pitches; however, the duration of a note is expressed by
1863 the shape of the note head rather than by the horizontal graphical
1864 extent of the note symbol. In contrast, the shape of a cluster
1865 geometrically describes the development of a range of pitches
1866 (vertical extent) over time (horizontal extent). Still, the
1867 geometrical shape of a cluster covers the area in which any single
1868 pitch contained in the cluster would be notated as an ordinary note.
1870 @lilypond[fragment,relative=2,ragged-right]
1871 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1885 FI: komma, korvinkuultava ero äänenkorkeudessa.
1887 Difference in pitch between a note derived from pure tuning and the
1888 same note derived from some other tuning method.
1892 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1897 @section common meter
1907 @section common time
1918 4/4 time. The symbol, which resembles a capital letter C, derives from
1923 @ref{mensural notation}, @ref{meter}.
1929 ES: intervalo invertido,
1931 F: intervalle complémentaire,
1932 D: Komplementärintervall,
1933 NL: complementair interval,
1934 DK: komplementærinterval,
1935 S: komplementärintervall (?),
1936 FI: täydentävä intervalli.
1940 @ref{inverted interval}.
1943 @node compound interval
1944 @section compound interval
1946 ES: intervalo compuesto,
1947 I: intervallo composto,
1948 F: intervalle composé,
1949 D: weites Intervall,
1950 NL: samengesteld interval,
1951 DK: sammensat interval,
1952 S: sammansatt intervall,
1953 FI: oktaavia laajempi intervalli.
1955 Intervals larger than an octave.
1962 @node compound meter
1963 @section compound meter
1965 ES: compás compuesto, compás de subdivisión ternaria,
1974 A meter that includes a triplet subdivision within the beat, such as
1979 @ref{meter}, @ref{simple meter}.
1983 @section compound time
1985 ES: compás compuesto, compás de amalgama (def. 2),
1997 A meter that includes a triplet subdivision within the beat: see
1998 @ref{compound meter}.
2001 A time signature that additively combines two or more unequal meters, e.g.
2002 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2004 @lilypond[fragment,line-width=13.0\cm]
2005 #(define (compound-time grob one two three num)
2007 (ly:grob-layout grob)
2008 '(((baseline-skip . 2)
2010 (font-family . number)))
2012 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
2016 #(set-time-signature 8 8 '(3 2 3))
2017 \override Staff.TimeSignature #'stencil
2018 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
2019 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2020 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2021 \set Staff.beatGrouping = #'(3 2 3)
2023 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
2031 @ref{compound meter}, @ref{meter}.
2035 @section concert pitch
2037 ES: en Do, afinación de concierto,
2046 The pitch at which the piano and other nontransposing instruments play: such
2047 instruments are said to be @q{in C}. The following list includes some (but not
2048 all) instruments that play in concert pitch:
2062 @item tenor trombone
2077 The trombones are a special case: although they are said to be @q{in F} (alto or
2078 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2079 their parts' transposition. (In fact, the trombones' parts are written at
2080 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2081 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2084 Instruments that play @q{in C} but in a different octave than what is written
2085 are, technically speaking, @emph{transposing instruments}:
2089 @item piccolo (plays an octave higher)
2090 @item celesta (plays an octave higher)
2091 @item double-bass (plays an octave lower)
2097 @ref{transposing instrument}.
2100 @node conjunct movement
2101 @section conjunct movement
2103 ES: movimiento conjunto,
2105 F: mouvement conjoint,
2106 D: schritt@-weise, stufenweise Bewegung,
2107 NL: stapsgewijze, trapsgewijze beweging,
2108 DK: trinvis bevægelse,
2110 FI: asteittainen liike.
2112 Progressing melodically by intervals of a second. The opposite of a
2113 @ref{disjunct movement}.
2115 @lilypond[fragment,line-width=13.0\cm]
2116 \key g \major \time 4/4
2117 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2131 FI: konsonanssi, sopusointi.
2156 @section copying music
2158 A music copyist did fast freehand scores and parts on preprinted staff
2159 lines for performance. Some of their conventions (e.g., the placement
2160 of note heads on stems) varied slightly from those of engravers. Some
2161 of their working methods were superior and could well be adopted by
2164 @c Copying music required more skill than engraving. Flagged for NPOV
2168 @section counterpoint
2177 FI: kontrapunkti, ääni ääntä vastaan.
2179 From Latin @emph{punctus contra punctum}, note against note. The
2180 combination into a single musical fabric of lines or parts which have
2181 distinct melodic significance. A frequently used polyphonic technique
2182 is imitation, in its strictest form found in the canon needing only
2183 one part to be written down while the other parts are performed with a
2184 given displacement. Imitation is also the contrapunctal technique
2185 used in the @emph{fugue} which, since the music of the baroque era,
2186 has been one of the most popular polyphonic composition methods.
2188 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2189 \set Score.implicitTimeSignatureVisibility = #all-invisible
2190 \override Score.TimeSignature #'break-visibility = #all-invisible
2191 \context PianoStaff <<
2192 \context Staff = SA \relative c' {
2196 << \context Voice = rha {
2198 r1 | r2 r8 g'8 bes d, |
2199 cis4 d r8 e!16 f g8 f16 e |
2200 f8 g16 a bes8 a16 g a8
2202 \context Voice = rhb {
2208 \context Staff = SB \relative c' {
2211 << \context Voice = lha {
2213 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2214 r8 a16 g f8 g16 a bes8 g e! cis' |
2217 \context Voice = lhb {
2227 @section countertenor
2232 D: Countertenor, Kontratenor,
2235 S: kontratenor, counter tenor,
2249 D: Crescendo, lauter werden,
2253 FI: cresendo, voimistuen.
2255 Increasing volume. Indicated by a rightwards opening horizontal wedge
2256 (hairpin) or the abbreviation @notation{cresc.}.
2258 @lilypond[fragment,ragged-right]
2259 \key g \major \time 4/4
2260 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2269 F: petites notes précédent l'entrée d'un instrument, réplique,
2276 In a separate part notes belonging to another part with the purpose of
2277 hinting when to start playing. Usually printed in a smaller type.
2286 D: Notenzeiger, Custos,
2292 A custos (plural: custodes) is a staff symbol that appears at the end
2293 of a staff line with monophonic musical contents (i.e., with a single
2294 voice). It anticipates the pitch of the first note of the following
2295 line and thus helps the player or singer to manage line breaks during
2296 performance, thus enhancing readability of a score.
2298 Custodes were frequently used in music notation until the 16th
2299 century. There were different appearences for different notation
2300 styles. Nowadays, they have survived only in special forms of musical
2301 notation such as via the Editio Vaticana dating back to the beginning
2307 % \override Staff.Custos #'neutral-position = #4
2308 \override Staff.Custos #'neutral-direction = #down
2309 \override Staff.Custos #'style = #'hufnagel
2317 \consists Custos_engraver
2349 F: da capo, depuis le commencement,
2350 D: da capo, von Anfang,
2354 FI: da capo, alusta.
2356 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2357 the beginning to the end or to a certain place marked @emph{fine}.
2372 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2373 that the sound should gradually increase from nothing.
2385 F: dal segno, depuis le signe,
2386 D: dal segno, ab dem Zeichen,
2390 FI: dal segno, lähtien merkistä.
2392 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2393 another place frequently near the beginning marked by a sign
2396 @lilypond[fragment,ragged-right]
2397 %\override TextScript #'font-style = #'large
2398 \override TextScript #'font-shape = #'italic
2399 \key g \major \time 4/4
2404 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2411 @section decrescendo
2415 D: Decrescendo, leiser werden,
2419 FI: decresendo, hiljentyen.
2421 Decreasing tone volume. Indicated by a leftwards opening horizontal
2422 wedge (hairpin) or the abbreviation @notation{decresc.}.
2424 @lilypond[fragment,ragged-right]
2426 \key g \major \time 4/4
2427 d4 \> c b a | g1 \! \bar "|."
2432 @node descending interval
2433 @section descending interval
2435 ES: intervalo descendente,
2436 I: intervallo discendente,
2437 F: intervalle descendant,
2438 D: fallendes Intervall, absteigendes Intervall,
2439 NL: dalend interval,
2440 DK: faldende interval,
2441 S: fallande intervall,
2442 FI: laskeva intervalli.
2444 A distance between a starting higher note and a lower ending note.
2447 @node diatonic scale
2448 @section diatonic scale
2450 ES: escala diatónica,
2452 F: gamme diatonique,
2453 D: diatonische Tonleiter,
2454 NL: diatonische toonladder,
2455 DK: diatonisk skala,
2457 FI: diatoninen asteikko.
2459 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2460 Scales played on the white keys of a piano keybord are diatonic; and these
2461 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2463 These @q{modes} are used in Gregorian chant and in pre-baroque early music
2464 but also to some extent in newer jazz music.
2466 @lilypond[fragment,notime,ragged-right]
2467 \set Score.automaticBars = ##f
2468 %\override Score.LyricText #'font-style = #'large
2469 %\override Score.TextScript #'font-style = #'large
2471 \context Staff \relative c' {
2473 \override TextScript #'padding = #-4
2474 e^"~~ S" f g a b^"~~ S" c
2476 \context Lyrics \lyrics {
2482 @lilypond[fragment,notime,ragged-right]
2483 \set Score.automaticBars = ##f
2485 \context Staff \relative c' {
2487 \override TextScript #'padding = #-4
2488 e^"~~ S" f g a b^"~~ S" c d
2496 @lilypond[fragment,notime,ragged-right]
2497 \set Score.automaticBars = ##f
2500 \override TextScript #'padding = #-4
2501 e1^"~~ S" f g a b^"~~ S" c d e
2509 @lilypond[fragment,notime,ragged-right]
2510 \set Score.automaticBars = ##f
2514 \override TextScript #'padding = #-4
2515 b^"~~ S" c d e^"~~ S" f
2523 @lilypond[fragment,notime,ragged-right]
2524 \set Score.automaticBars = ##f
2528 \override TextScript #'padding = #-4
2529 b^"~~ S" c d e^"~~ S" f g }
2536 @lilypond[fragment,notime,ragged-right]
2537 \set Score.automaticBars = ##f
2538 %\override Score.LyricText #'font-style = #'large
2539 %\override Score.TextScript #'font-style = #'large
2543 \override TextScript #'padding = #-4
2544 b^"~~ S" c d e^"~~ S" f g a
2552 @lilypond[fragment,notime,ragged-right]
2553 \set Score.automaticBars = ##f
2554 %\override Score.LyricText #'font-style = #'large
2555 %\override Score.TextScript #'font-style = #'large
2558 \override TextScript #'padding = #-4
2559 b1^"~~ S" c d e^"~~ S" f g a b
2567 From the beginning of the 17th century the scales used in European
2568 compositional music are primarily the major and the minor scales. In
2569 the harmonic minor scale type an augmented second (A) occurs between
2570 the 6th and 7th tone.
2572 @lilypond[fragment,notime,ragged-right]
2573 \set Score.automaticBars = ##f
2577 \override TextScript #'padding = #-4
2578 e^"~~ S" f g a b^"~~ S" c
2586 @lilypond[fragment,notime,ragged-right]
2587 \set Score.automaticBars = ##f
2591 \override TextScript #'padding = #-4
2592 b^"~~ S" c d e^"~~ S" f g a
2600 @lilypond[fragment,notime,ragged-right]
2601 \set Score.automaticBars = ##f
2605 \override TextScript #'padding = #-4
2606 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2608 \context Lyrics \lyrics {
2614 @lilypond[fragment,notime,line-width=13.0\cm]
2615 \set Score.automaticBars = ##f
2616 %\override Score.LyricText #'font-style = #'large
2617 %\override Score.TextScript #'font-style = #'large
2621 \override TextScript #'padding = #-4
2622 b^"~~ S" c d e fis gis^"~~ S" a
2625 "Melodic minor ascending"
2630 @lilypond[fragment,notime,line-width=13.0\cm]
2631 \set Score.automaticBars = ##f
2632 %\override Score.LyricText #'font-style = #'large
2633 %\override Score.TextScript #'font-style = #'large
2637 \override TextScript #'padding = #-4
2638 a g! f!^"~~ S" e d c^"~~ S" b a
2641 "Melodic minor descending"
2648 @section didymic comma
2652 @ref{syntonic comma}.
2655 @node diminished interval
2656 @section diminished interval
2658 ES: intervalo disminuido,
2659 I: intervallo diminuito,
2660 F: intervalle diminué,
2661 D: vermindertes Intervall,
2662 NL: verminderd interval,
2663 DK: formindsket interval,
2664 S: förminskat intervall,
2665 FI: vähennetty intervalli.
2682 FI: diminuendo, hiljentyen.
2701 @c TODO: add definition
2703 This is a placeholder for diminution (wrt mensural notation).
2707 @ref{augmentation}, @ref{mensural notation}.
2727 @node disjunct movement
2728 @section disjunct movement
2730 ES: movimiento disjunto,
2732 F: mouvement disjoint,
2733 D: sprunghafte Bewegung,
2734 NL: sprongsgewijze beweging,
2735 DK: springende bevægelse,
2736 S: hoppande rörelse,
2737 FI: melodian hyppivä liike.
2739 Progressing melodically by intervals larger than a major second, as
2740 opposed to @ref{conjunct movement}.
2742 @lilypond[fragment,ragged-right]
2747 a4. gis8 b a e cis |
2748 fis2 d4. \bar "||" }
2755 @ref{dissonant interval}.
2758 @node dissonant interval
2759 @section dissonant interval
2761 ES: intervalo disonante, disonancia,
2762 I: intervallo dissonante, dissonanza,
2765 NL: dissonant interval, dissonant,
2766 DK: dissonerende interval, dissonans,
2768 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2787 [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
2788 vertical stroke through part or all of the staff that serves to
2789 structure a chant into phrases and sections. There are four types:
2793 @item @emph{divisio minima}, a short pause
2795 @item @emph{divisio maior}, a medium pause
2797 @item @emph{divisio maxima}, a long pause
2799 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2800 section in a long antiphonal or responsorial chant.
2804 TODO: musical example here?
2823 Indicator for a indeterminately rising pitch bend. Compare with
2824 @emph{glissando}, which has determinate starting and ending pitches.
2828 @ref{fall}, @ref{glissando}.
2841 FI: dominantti, huippusointu.
2843 The fifth @ref{scale degree} in @ref{functional harmony}.
2846 @node dominant ninth chord
2847 @section dominant ninth chord
2849 ES: acorde de novena de dominante,
2850 I: accordo di nona di dominante,
2851 F: accord de neuvième dominante,
2852 D: Domi@-nant@-nonen@-akkord,
2853 NL: dominant noon akkoord,
2854 DK: dominantnoneakkord,
2855 S: dominantnonackord,
2856 FI: dominanttinoonisointu.
2860 @ref{chord}, @ref{functional harmony}.
2863 @node dominant seventh chord
2864 @section dominant seventh chord
2866 ES: acorde de séptima de dominante,
2867 I: accordo di settima di dominante,
2868 F: accord de septième dominante,
2869 D: Dominantseptakkord,
2870 NL: dominant septiem akkoord,
2871 DK: dominantseptimakkord,
2872 S: dominantseptimackord,
2873 FI: dominanttiseptimisointu.
2877 @ref{chord}, @ref{functional harmony}.
2881 @section dorian mode
2886 D: dorisch, dorischer Kirchenton,
2887 NL: dorische toonladder,
2894 @ref{diatonic scale}.
2897 @node dot (augmentation dot)
2898 @section dot (augmentation dot)
2901 I: punto (di valore),
2903 D: Punkt (Verlängerungspunkt),
2911 @ref{dotted note}, @ref{note value}.
2915 @section dotted note
2917 ES: nota con puntillo,
2921 NL: gepuncteerde noot,
2924 FI: pisteellinen nuotti.
2931 @node double appoggiatura
2932 @section double appoggiatura
2934 ES: apoyatura doble,
2935 I: appoggiatura doppia,
2936 F: appoggiature double,
2937 D: doppelter Vorschlag,
2938 NL: dubbele voorslag,
2939 DK: dobbelt forslag,
2941 FI: kaksoisappogiatura, kaksoisetuhele.
2948 @node double bar line
2949 @section double bar line
2955 NL: dubbele maatstreep,
2958 FI: kaksoistahtiviiva.
2960 Indicates the end of a section within a movement.
2963 @node double dotted note
2964 @section double dotted note
2966 ES: nota con doble puntillo,
2967 I: nota doppiamente puntata,
2968 F: note doublement pointée,
2969 D: doppelt punktierte Note,
2970 NL: dubbelgepuncteerde noot,
2971 DK: dob@-belt@-punk@-te@-ret node,
2972 S: dub@-bel@-punk@-te@-rad not,
2973 FI: kaksoispisteellinen nuotti.
2981 @section double flat
2990 FI: kaksoisalennusmerkki.
2998 @section double sharp
3000 ES: doble sostenido,
3005 DK: dob@-belt@-kryds,
3007 FI: kaksoisylennysmerkki.
3014 @node double time signature
3015 @section double time signature
3028 @ref{polymetric time signature}.
3032 @section double trill
3038 NL: dubbele triller,
3043 A simultaneous trill on two notes, usually in the distance of a third.
3047 @section duple meter
3052 D: in zwei, grader Takt,
3053 NL: tweedelige maatsoort,
3090 FI: kesto, aika-arvo.
3100 ES: dinámica, matices,
3103 D: Dynamik, Lautstärke,
3109 The aspect of music relating to degrees of loudness, or changes from
3110 one degree to another. The terms, abbreviations, and symbols used to
3111 indicate this information are called dynamic marks.
3115 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3138 @node ecclesiastical mode
3139 @section ecclesiastical mode
3147 @section eighth note
3154 @item D: Achtel, Achtelnote
3155 @item NL: achtste noot
3156 @item DK: ottendedelsnode
3157 @item S: åttondelsnot
3158 @item FI: kahdeksasosanuotti
3167 @section eighth rest
3170 @item UK: quaver rest
3171 @item ES: silencio de corchea
3172 @item I: pausa di croma
3173 @item F: demi-soupir
3174 @item D: Achtelpause
3175 @item NL: achtste rust
3176 @item DK: ottendedelspause
3177 @item S: åttonddelspaus
3178 @item FI: kahdeksasosatauko
3189 @c TODO: add languages
3200 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3203 The singing of several syllables on a single note. Elision may be indicated
3204 by a lyric tie, which is looks like (and serves the same function) as a
3213 @section embellishment
3226 D: Notenstich, Notendruck
3232 Engraving means incising or etching a metal plate for printing.
3233 Photoengraving means drawing music with ink in a manner similar to
3234 drafting or engineering drawing, using similar tools.
3236 The traditional process of music printing is done through cutting in a
3237 plate of metal. Now also the term for the art of music typesetting.
3252 Two notes, intervals, or scales are enharmonic if they have different
3253 names but equal pitch.
3255 @lilypond[fragment,notime,line-width=13.0\cm]
3256 \set Score.automaticBars = ##f
3258 \context Staff \relative c'' {
3259 gis1 as <des g,!> <cis g!>
3261 \context Lyrics \lyrics {
3262 \override Lyrics .LyricText #'self-alignment-X = #-1
3263 "g sharp " "a flat " "dim fifth " "augm fourth"
3269 @node equal temperament
3270 @section equal temperament
3272 ES: temperamento igual,
3273 I: temperamento equabile,
3274 F: tempérament égal,
3275 D: gleichschwebende Stimmung,
3276 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3277 DK: ligesvævende temperatur,
3278 S: liksvävande temperatur,
3281 Tuning system dividing the octave into 12 equal @ref{semitone}s
3282 (precisely 100 @ref{cent}s).
3289 @node expression mark
3290 @section expression mark
3293 I: segno d'espressione,
3294 F: signe d'expression, indication de nuance,
3296 NL: voordrachtsteken,
3297 DK: foredragsbetegnelse,
3298 S: föredragsbeteckning,
3299 FI: nyanssiosoitus, esitysmerkki.
3301 Performance indications concerning:
3305 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3307 @item tempo (for example @ref{andante}, @ref{allegro}).
3313 @section extender line
3315 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3317 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3324 The generic term for a line (or dash) of arbitrary length that extends
3325 text (without indicating the musical @emph{function} of that text).
3327 Used in many contexts, for example:
3331 @item In vocal music to indicate the syllable for a melisma. Called
3332 @q{extension} in the
3333 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3337 In figured bass to indicate that:
3341 @item The extended note should be held through a change in harmony, when applied
3342 to one figure --OR--
3343 @item The chord thus represented should be held above a moving bass line, when
3344 applied to more than one figure.
3345 @item These uses were not completely standardized, and some composers used a
3346 single extender line to indicate the latter case.
3351 In string music to indicate that all notes in the passage thus indicated should
3352 be played on the same string. On the violin, for example, a series of notes to
3353 be played on the G string would be indicated @notation{sul G}, another series to be
3354 played on the D string would be indicated @notation{sul D}, and so on.
3357 With an octave mark to indicate that a passage is to be played higher or lower
3358 by the given number of octaves.
3364 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3399 The position between the dots of the key symbol is the line of the F
3400 below central@w{ }C. Used on the third, fourth and fifth note line.
3401 A digit@w{ }8 above the clef symbol indicates that the notes must be
3402 played an octave higher (for example, bass recorder) while 8@w{ }below
3403 the clef symbol indicates playing an octave lower (for example, on
3404 double bass @ref{strings}).
3406 @lilypond[fragment,notime,line-width=13.0\cm]
3407 \set Score.automaticBars = ##f
3408 \override Staff.Clef #'full-size-change = ##t
3436 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3451 Indicator for a indeterminately falling pitch bend. Compare with
3452 @emph{glissando}, which has determinate starting and ending pitches.
3456 @ref{doit}, @ref{glissando}.
3459 @node feathered beam
3460 @section feathered beam
3464 F: liens de croches en soufflet,
3465 D: gespreizter Balken,
3471 A type of beam used to indicate that a small group of notes should be
3472 played at an increasing or decreasing tempo -- depending on the
3473 direction of @q{feathering} -- but without changing the overall tempo
3478 Internals Reference: @ruser{Manual beams}
3486 F: point d'orgue, point d'arrêt,
3491 FI: fermaatti, pidäke.
3493 Prolonged note or rest of indefinite duration.
3495 @lilypond[fragment,ragged-right]
3498 a4 b c2^\fermata \bar "|."
3521 @section figured bass
3524 I: basso continuo, basso numerato,
3525 F: basse chiffrée, basse continue,
3526 D: Generalbass, bezifferter Bass,
3527 NL: basso continuo, becijferde bas
3530 FI: kenraalibasso, numeroitu basso.
3532 Also called @q{thorough bass}.
3534 A method of indicating an accompaniment part by the bass notes only, together
3535 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
3536 above the bass notes.
3538 @lilypond[fragment,line-width=13.0\cm]
3539 \context GrandStaff <<
3540 \context Staff = lh \relative c'' {
3544 << \context Voice = rha {
3547 \context Voice = rhb {
3549 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3553 \context Staff = rh \relative c' {
3556 es8 c d bes c as bes16 as g f | es4
3558 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3576 The methodical use of fingers in the playing of instruments.
3583 I: coda (uncinata), bandiera,
3591 Ornament at the end of the stem of a note used for notes with values
3592 less than a quarter note. The number of flags determines the
3595 @lilypond[fragment,notime,ragged-right]
3596 \set Score.automaticBars = ##f
3597 %\override Score.TextScript #'font-style = #'large
3619 An articulation for string players that means the note or passage is to
3620 be played in harmonics.
3626 @item A duct flute similar to the recorder.
3628 @item An organ stop of flute scale at 1' or 2' pitch.
3634 @ref{articulation}, @ref{harmonics}.
3672 FI: forte, voimakkaasti.
3674 [Italian: @q{loud}.]
3676 Abbreviated @notation{@b{f}}. Variants include:
3679 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3680 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3700 @node Frenched score
3701 @section Frenched score
3703 ES: partitura a la francesa,
3712 A @q{condensed} score, produced by omitting staves for instruments that are not
3713 playing at the moment, and by moving up additional systems from following pages
3714 to take up the space thus liberated, which reduces the total number of pages
3715 used to print the work.
3717 The specific rules for @q{frenching} a score differ from publisher to publisher.
3718 If you are producing scores for eventual publication by a commercial publisher,
3719 you may wish to procure a copy of their style manual.
3723 @ref{Frenched staff}.
3726 @node Frenched staff
3727 @section Frenched staff
3729 ES: pentagrama a la francesa,
3738 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3739 measures or sections removed. This would be useful for producing, for example,
3740 an @emph{ossia} staff.
3747 @node Frenched staves
3748 @section Frenched staves
3750 ES: pentagramas a la francesa,
3759 The plural of @ref{Frenched staff}, @emph{q.v.}.
3779 @node functional harmony
3780 @section functional harmony
3782 ES: armonía funcional,
3783 I: armonia funzionale,
3784 F: étude des functions,
3786 NL: functionele harmonie,
3787 DK: funktionsanalyse, funktionsharmonik,
3789 FI: harmoniajärjestelmä.
3791 A system of harmonic analysis. It is based on the idea that, in a
3792 given key, there are only three functionally different chords: tonic
3793 (T, the chord on the first note of the scale), subdominant (S, the
3794 chord on the fourth note), and dominant (D, the chord on the fifth
3795 note). Others are considered to be variants of the base chords.
3797 @lilypond[fragment,notime,line-width=13.0\cm]
3798 \set Score.automaticBars = ##f
3800 \context Voice \relative c'' {
3801 <g e c >1 < a f d > < b g e >
3802 <c a f > < d b g > < e c a > < f d b > }
3803 \context Lyrics \lyrics {
3804 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3834 D: G-Schlüssel, Violinschlüssel,
3840 A clef symbol indicating the G above middle@w{ }C. Used on the first
3841 and second note lines. A digit 8 above the clef symbol indicates that
3842 the notes must be played an octave higher while 8 below the clef
3843 symbol indicates playing or singing an octave lower (most tenor parts
3844 in choral scores are notated like that).
3846 @lilypond[fragment,notime,ragged-right]
3848 \set Score.automaticBars = ##f
3849 \override Staff.Clef #'full-size-change = ##t
3852 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3862 \context Lyrics \lyrics {
3863 \override Lyrics . LyricText #'X-offset = #-5
3864 "french violin clef"
3883 FI: glissando, liukuen.
3885 Letting the pitch slide fluently from one note to the other.
3889 @section grace notes
3891 ES: notas de adorno,
3894 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3900 Notes printed in small types to indicate that their time values are not
3901 counted in the rhythm of the bar.
3905 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3910 @section grand staff
3912 ES: sistema de piano,
3915 D: Akkolade, Klaviersystem,
3918 S: ackolad, böjd klammer,
3919 FI: kaksoisnuottiviivasto.
3921 A combination of two staves with a brace. Usually used for piano music.
3938 FI: grave, raskaasti.
3965 Letter name used for @notation{B natural} in German and Scandinavian
3966 usage. In the standard usage of these countries, @notation{B} means
3971 @ref{Pitch names}, @ref{B}.
3977 Graphical version of the @notation{crescendo} and @notation{decrescendo}
3980 @lilypond[fragment,ragged-right]
3990 @ref{crescendo}, @ref{decrescendo}.
4000 D: Halbe, halbe Note,
4015 ES: silencio de blanca,
4029 @node harmonic cadence
4030 @section harmonic cadence
4032 ES: cadencia (armónica),
4033 I: cadenza (armonica),
4034 F: cadence harmonique,
4036 NL: harmonische cadens,
4037 DK: harmonisk kadence,
4038 S: (harmonisk) kadens,
4039 FI: harmoninen kadenssi.
4041 A sequence of chords that terminates a musical phrase or section.
4043 @ref{functional harmony}.
4045 @lilypond[fragment,ragged-right]
4046 \context PianoStaff <<
4047 \context Staff = SA \relative c'' {
4051 \partial 4 < c g e >4 |
4052 < c a f > < b g d > < c g e >2
4055 \context Staff = SB \relative c {
4057 \partial 4 c4 | f, g c2
4072 ES: sonidos del flautín,
4074 F: flageolet, sons harmoniques,
4081 The general class of pitches produced by sounding the second or higher
4082 harmonic of a tone producer: string, column of air, and so on.
4084 On stringed instruments, these pitches sound rather flute-like; hence,
4085 their name in languages other than English. They are produced by
4086 lightly touching the string at a node for the desired mode of vibration
4087 while it is being bowed or plucked.
4089 For instruments of the violin family, there are two types of harmonics:
4090 natural harmonics, which are those played on the open string; and
4091 artificial harmonics, which are produced on stopped strings.
4100 D: Harmonie, Zusammenklang,
4104 FI: harmonia, yhteissointi.
4106 Tones sounding simultaneously. Two note harmonies fall into the
4107 categories @emph{consonances} and @emph{dissonances}.
4111 @lilypond[fragment,notime,line-width=13.0\cm]
4112 \set Score.automaticBars = ##f
4113 %\override Score.TextScript #'font-style = #'large
4114 \context Voice \relative c'' {
4127 @lilypond[fragment,notime,line-width=13.0\cm]
4128 \set Score.automaticBars = ##f
4129 %\override Score.TextScript #'font-style = #'large
4130 \context Voice \relative c'' {
4131 <g a>1_"second " s s
4132 <g f'>_"seventh " s s
4137 Three note harmony @ref{chord}.
4152 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
4153 the use of three notes of equal value in the time normally occupied by
4154 of two notes of equal value. The resulting rhythm can be expressed in
4155 modern terms as a substitution (for example) of a bar in 3/2 for one
4156 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
4157 hemiola is most frequently as a special effect (or @emph{affect}) at
4160 For example, this phrase in 6/4 time
4162 @lilypond[fragment,line-width=13.0\cm]
4166 c2. e | d2 c d | c1. \bar "||" }
4169 may be thought of having alternating time signatures
4171 @lilypond[fragment,line-width=13.0\cm]
4175 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4178 and is therefore a polymeter (second definition) of considerable antiquity.
4182 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
4195 FI: homofonia, yksiäänisyys.
4197 Music in which one voice leads melodically followed by the other
4198 voices more or less in the same rhythm. In contrast to
4214 A group or list of numbers that indicate the number of syllables in a
4215 line of a hymn's verse. Different hymnals have different ways of noting
4216 the hymn meter -- consider a hymn having four lines in two couplets that
4217 alternate between eight and seven syllables. The @emph{English Hymnal}
4218 notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
4219 8@w{ }7@w{ }8@w{ }7.
4221 Some frequently-used hymn meters have traditional names:
4225 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4227 @item 86.86 is called Common Meter (CM or C.M.)
4229 @item 88.88 is called Long Meter (LM or L.M.)
4233 Some hymns and their tunes are doubled versions of a simpler meter: for
4234 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4235 87.87D. The traditional names above also have doubled versions:
4239 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4241 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4243 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4259 FI: intervalli, kahden sävelen korkeusero.
4261 Difference in pitch between two notes. Intervals may be perfect,
4262 minor, major, diminished, or augmented. The augmented fourth and the
4263 diminished fifth are identical (@ref{enharmonic}) and are called
4264 @emph{tritonus} because they consist of three @ref{whole tone}s. The
4265 addition of such two intervals forms an octave.
4267 @lilypond[fragment,notime,line-width=13.0\cm]
4268 \set Score.automaticBars = ##f
4270 \context Voice \relative c'' {
4280 \context Lyrics \lyrics {
4281 "unison " "second " "second " "second "
4282 "third " "third " "third " "third"
4287 @lilypond[fragment,notime,line-width=13.0\cm]
4288 \set Score.automaticBars = ##f
4290 \context Staff \relative c'' {
4301 "fourth " "fourth " "fifth " "fifth "
4302 "sixth " "sixth " "sixth " "sixth"
4307 @lilypond[fragment,notime,line-width=13.0\cm]
4308 \set Score.automaticBars = ##f
4310 \context Staff \relative c'' {
4311 < gis f'! >1^"dimin"
4320 \context Lyrics \lyrics {
4321 "seventh " "seventh " "seventh " "octave "
4322 "ninth " "ninth " "tenth " "tenth"
4340 When the bass is not the same as the root, the chord is inverted. The number
4341 of inversions that a chord can have is one fewer than the number of
4342 constituent notes. Triads, for example, (having three constituent notes) can
4343 have three positions, two of which are inversions:
4347 The root note is in the bass, and above that are the third and the fifth. A
4348 triad built on the first scale degree, for example, is marked @notation{I}.
4350 @item First inversion
4351 The third is in the bass, and above it are the fifth and the root. This
4352 creates an interval of a sixth and a third above the bass note, and so is
4353 marked in figured Roman notation as @notation{6/3}. This is commonly
4354 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4355 characteristic interval of the inversion, and so always implies
4358 @item Second inversion
4359 The fifth is in the bass, and above it are the root and the third. This
4360 creates an interval of a sixth and a fourth above the bass note, and so is
4361 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4362 unstable chord position.
4366 @node inverted interval
4367 @section inverted interval
4369 ES: intervalo invertido,
4370 I: intervallo rivolto,
4371 F: intervalle reversé,
4372 D: umgekehrtes Intervall,
4373 NL: interval inversie,
4374 DK: omvendingsinterval,
4375 S: intervallets omvändning,
4376 FI: käänteisintervalli.
4378 The difference between an interval and an octave.
4380 @lilypond[fragment,notime,line-width=13.0\cm]
4381 \set Score.automaticBars = ##f
4382 %\override Score.TextScript #'font-style = #'large
4383 \context Staff \relative c'' {
4384 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4385 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4386 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4391 @node just intonation
4392 @section just intonation
4394 ES: entonación justa,
4395 I: intonazione giusta,
4396 F: intonation juste,
4403 Tuning system in which the notes are obtained by adding and subtracting
4404 natural fifths and thirds.
4421 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4422 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4426 @ref{key signature}.
4430 @section key signature
4432 ES: armadura (de la clave),
4433 I: armatura di chiave,
4434 F: armure, armature [de la clé],
4435 D: Vorzeichen, Tonart,
4436 NL: toon@-soort (voortekens),
4439 FI: sävellajiosoitus.
4441 The sharps or flats appearing at the beginning of each staff indicating the
4447 @node laissez vibrer
4448 @section laissez vibrer
4459 [From French, @q{Let vibrate}]. Most frequently associated with harp
4460 parts. Marked @notation{l.v.} in the score.
4469 D: Largo, Langsam, Breit,
4473 FI: largo, hitaasti, leveästi.
4475 Very slow in tempo, usually combined with great expressiveness.
4476 @emph{Larghetto} is less slow than largo.
4480 @section leading note
4491 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4492 called because of its strong tendency to @q{lead up} (resolve upwards)
4493 to the tonic scale degree.
4497 @section ledger line
4499 ES: línea adicional,
4500 I: tagli addizionali,
4501 F: ligne supplémentaire,
4508 A ledger line is an extension of the staff.
4510 @lilypond[fragment,notime,ragged-right]
4511 \set Score.automaticBars = ##f
4512 \relative c'' { a,1 s c'' }
4522 D: legato, gebunden,
4528 To be performed (a) without any perceptible interruption between the
4529 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4530 @emph{portato}, and (d) @ref{staccato}.
4532 @lilypond[fragment,notime,line-width=13.0\cm]
4533 \set Score.automaticBars = ##f
4535 \context Staff \relative c'' {
4536 c4-( d e-) \bar "||"
4537 c4-- d-- e-- \bar "||"
4538 c4-.-( d-. e-.-) \bar "||"
4539 c4-. d-. e-. \bar "||"
4552 @section legato curve
4556 @ref{slur}, @ref{legato}.
4579 A ligature is a coherent graphical symbol that represents at least two
4580 distinct notes. Ligatures originally appeared in the manuscripts of
4581 Gregorian chant notation roughly since the 9th century to denote ascending
4582 or descending sequences of notes. In early notation, ligatures were used
4583 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4584 performance in the sense of articulation. With the invention of the metric
4585 system of the white mensural notation, the need for ligatures to denote such
4586 patterns disappeared.
4590 @ref{mensural notation}.
4597 ES: estanque de nenúfares,
4598 I: stagno del giglio,
4599 F: étang de nénuphars, étang de nymphéas,
4601 NL: le@-lie@-vij@-ver,
4606 A pond with lilies floating in it.
4607 Also, the name of a music typesetting program.
4616 D: Linie, Notenlinie,
4620 FI: viiva, nuottiviiva.
4639 [From Italian, @q{place}]. Instruction to play the following passage at the
4640 written pitch. Cancels octave mark (q.v.).
4644 @ref{octave mark}, @ref{octave marking}.
4647 @node long appoggiatura
4648 @section long appoggiatura
4650 ES: apoyatura larga,
4651 I: appoggiatura lunga,
4652 F: appoggiature longue,
4657 FI: pitkä appoggiatura, pitkä etuhele.
4676 Note value: double length of @ref{breve}.
4678 @lilypond[fragment,notime,ragged-right]
4679 \set Score.automaticBars = ##f
4681 \override NoteHead #'style = #'mensural
4694 ES: ligadura de letra,
4703 @c TODO: add languages
4713 ES: letra (de la canción),
4716 D: Liedtext, Gesangtext,
4737 @ref{diatonic scale}.
4740 @node major interval
4741 @section major interval
4743 ES: intervalo mayor,
4744 I: intervallo maggiore,
4745 F: intervalle majeur,
4746 D: großes Intervall,
4750 FI: suuri intervalli.
4757 @node meantone temperament
4758 @section meantone temperament
4760 ES: afinación mesotónica,
4761 I: accordatura mesotonica,
4762 F: tempérament mésotonique,
4763 D: mitteltönige Stimmung,
4764 NL: middenstemming, middentoonstemming,
4765 DK: middeltonetemperatur,
4766 S: medeltonstemperatur,
4767 FI: keskisävelviritys.
4769 Temperament yielding acoustically pure thirds by decreasing the
4770 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4771 character of this @ref{temperament} only a limited set of keys are
4772 playable. Used for tuning keyboard instruments for performance of
4788 A group of @ref{beat}s (units of musical time) the first of which
4789 bears an accent. Such groups in numbers of two or more recur
4790 consistently throughout the composition and are marked from each other
4796 @node measure repeat
4797 @section measure repeat
4801 @ref{percent repeat}.
4808 I: mediante, modale,
4818 @item The third @b{scale degree}.
4820 @item A @ref{chord} having its base tone a third from that of another
4821 chord. For example, the tonic chord may be replaced by its lower
4822 mediant (variant tonic).
4827 @ref{functional harmony}, @ref{relative key}.
4840 FI: melisma, laulettavan tavun sävelkuvio.
4842 A melisma (plural, from Greek: melismata) is a group of notes or tones
4843 sung on one syllable, especially as applied to liturgical chant.
4847 @section melisma line
4849 @c TODO: add languages
4851 ES: línea de melisma,
4862 @ref{extender line}.
4865 @node melodic cadence
4866 @section melodic cadence
4873 @node mensural notation
4874 @section mensural notation
4876 @c TODO: add languages
4878 ES: notación mensural,
4887 A system of duration notation whose principles were first established in the
4888 mid-13th century, and that (with various changes) remained in use until about
4889 1600. As such, it is the basis for the notation of rhythms in Western musical
4892 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4893 of the notation's principles, so the notation of this earliest period is called
4894 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4895 and semibreve -- each of which was normally equivalent to three of the next
4898 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4899 added several note values (the minim, semiminim and fusa) and extended Franco's
4900 principles to govern the relationship between these values. They also put the
4901 duple division of note values on an equal footing with the earlier (preferred)
4904 TODO: continue description of French and Italian black notation, and the
4905 relationship betwixt them.
4907 @b{White or void mensural notation}
4909 In the 15th century, hollow (or void) notes began to substitute for the earlier
4910 solid black ones, which were then free to assume the function of red (or
4911 colored) notes in the earlier notation. ...
4913 TODO: add to definition (including summary info on proportional notation)
4917 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4918 @c TODO: more cross-references?
4926 F: indication de mesure, mesure,
4933 The pattern of note values and accents in a composition or a section thereof.
4934 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4935 by grouping beats and by subdividing the primary beat.
4937 @b{By grouping beats}:
4941 @item @b{duple}: groups of two.
4942 @item @b{triple}: groups of three.
4943 @item @b{quadruple}: groups of four. A special case of duple meter.
4944 @item @b{quintuple}: groups of five beats.
4945 @item @b{sextuple} meter: groups of six. A special case of:
4949 @item duple meter, subdivided in three; or
4950 @item triple meter, subdivided in two.
4954 @item @b{septuple} meter: groups of seven.
4959 Other than triple meter and its subdivided variants (see below), meters that
4960 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4961 frequently used prior to the 20th Century.
4963 @b{By subdividing the primary beat}:
4967 @item simple: groups of two.
4971 @item duple: 2/2, 2/4, 2/8
4972 @item triple: 3/2, 3/4, 3/8
4973 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4977 @item compound: groups of three.
4983 @item quadruple: 12/8
4989 Time signatures are placed at the beginning of a composition (or section) to
4990 indicate the meter. For instance, a piece written in simple triple meter with a
4991 beat on each quarter note is conventionally written with a time signature of
4992 3/4. Here are some combinations of the two classifications above:
4994 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4996 @lilypond[fragment,line-width=13.0\cm]
5000 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5003 Simple triple meter:
5005 @lilypond[fragment,line-width=13.0\cm]
5009 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5012 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5014 @lilypond[fragment,line-width=13.0\cm]
5018 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5021 Simple quintuple meter (B. Marcello, 1686-1739):
5023 @lilypond[fragment,line-width=13.0\cm]
5027 r4 cis8 bis ais4 dis c8 ais |
5028 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5031 Compound duple meter (unknown):
5033 @lilypond[fragment,line-width=13.0\cm]
5037 f8 f g a bes16 a g f |
5038 g8 g bes a c16 a bes g
5042 Compound triple meter (J.S. Bach, 1685-1750):
5044 @lilypond[fragment,line-width=13.0\cm]
5048 r8 g'( a) b( d c) c( e d) |
5049 d( g fis) g( d b) g( a b)
5053 Compound quadruple meter (P. Yon, 1886-1943):
5055 @lilypond[fragment,line-width=13.0\cm]
5059 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5060 e4 e8 fis( gis) a b4.~ b4 b8
5064 @b{@q{Monometer} vs Polymeter}
5066 TODO: add information from discussion on lilypond-user related to polymeter.
5070 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5085 Device indicating the exact tempo of a piece.
5087 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5088 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5089 divisions, and patented it as a "metronome". The inevitable lawsuit that
5090 followed acknowledged Winkler as the creator, but by then Mälzel had already
5091 sold many of them, and people had taken to calling it a Mälzel Metronome.
5095 @ref{metronome mark}.
5098 @node metronome mark
5099 @section metronome mark
5101 ES: indicación metronómica,
5102 I: indicazione metronomica,
5103 F: indication métronomique,
5105 NL: metronoom aanduiding,
5107 S: metronomangivelse,
5108 FI: metronomiosoitus.
5110 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5111 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5119 @node metronomic indication
5120 @section metronomic indication
5124 @ref{metronome mark}
5139 [Italian: @q{medium}.]
5141 Used to qualify other indications, such as:
5147 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5149 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5155 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5163 @section mezzo-soprano
5174 The female voice between soprano and contralto.
5178 @ref{soprano}, @ref{contralto}.
5187 D: eingestrichenes@w{ }c,
5189 DK: enstreget@w{ }c,
5190 S: ettstruket@w{ }c,
5193 First C below the 440 Hz A.
5195 @lilypond[fragment,notime,ragged-right]
5196 \set Score.automaticBars = ##f
5197 \override Staff.Clef #'full-size-change = ##t
5220 @ref{diatonic scale}.
5223 @node minor interval
5224 @section minor interval
5226 ES: intervalo menor,
5227 I: intervallo minore,
5228 F: intervalle mineur,
5229 D: kleines Intervall,
5233 FI: pieni intervalli.
5240 @node mixolydian mode
5241 @section mixolydian mode
5245 @ref{diatonic scale}.
5254 D: Kirchentonart, Modus,
5258 FI: moodi, kirkkosävelasteikko.
5262 @ref{church mode}, @ref{diatonic scale}.
5275 FI: modulaatio, sävellajin vaihdos.
5277 Moving from one @ref{key} to another. For example, the second subject
5278 of a @ref{sonata form} movement modulates to the dominant key if the
5279 key is major and to the @ref{relative key} if the key is minor.
5291 FI: mordent, korukuvio.
5316 FI: teema, sävelaihe.
5318 The briefest intelligible and self-contained fragment of a musical
5321 @lilypond[line-width=13.0\cm]
5324 \set Score.implicitTimeSignatureVisibility = #all-invisible
5325 \override Score.TimeSignature #'break-visibility = #all-invisible
5328 \partial 8 g16\startGroup fis |
5329 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5330 g8 g,16 a b8 cis d16 s
5334 \Staff \consists "Horizontal_bracket_engraver"
5352 Greater musical works like @ref{symphony} and @ref{sonata} most often
5353 consist of several -- more or less -- independant pieces called
5357 @node multi-measure rest
5358 @section multi-measure rest
5360 ES: compases de espera,
5364 D: mehrtaktige Pause, Kirchenpause,
5367 FI: usean tahdin mittainen tauko.
5369 Multi-measure rests are conventionally typeset with a combination of
5370 longa, breve and whole rests for shorter and a long horizontal bar for
5371 longer spans of rest, with a number above to indicate the duration (in
5372 measures) of the rest. The former style is called @q{Kirchenpausen} in
5373 German, as a reminiscence of its use in Renaissance vocal polyphony.
5375 @lilypond[fragment,ragged-right]
5378 \set Score.skipBars = ##t R1*3
5380 \set Score.skipBars = ##t R1*122
5387 @ref{longa}, @ref{breve}.
5396 D: Auflösungszeichen,
5397 NL: herstellingsteken,
5398 DK: op@-løsningstegn,
5399 S: återställningstecken,
5407 @node neighbour tones
5408 @section neighbour tones
5412 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5453 Notes are signs by means of which music is fixed in writing. The term is also
5454 used for the sound indicated by a note, and even for the key of the piano
5455 which produces the sound. However, a clear distinction between the terms tone
5456 and @ref{note} is strongly recommended. Briefly, one sees a note,
5464 I: testa, testina, capocchia,
5472 A head-like sign which indicates pitch by its position on a
5473 @ref{staff} provided with a @ref{clef}, and duration
5474 by a variety of shapes such as hollow or black heads with or without
5475 @ref{stem}s, @ref{flag}s, etc. For percussion
5476 instruments (often having no defined pitch) the note head may indicate the
5491 ES: valor (duración),
5493 F: durée, valeur (d'une note),
5498 FI: nuotin aika-arvo.
5500 Note values (durations) are measured as fractions, normally 1/2, of
5501 the next higher note value. The longest duration normally used is
5502 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5503 double-length note value @emph{longa} or the quadruple-length note
5504 value @emph{maxima} are used.
5506 @c TODO -- add maxima to this example, in a way that doesn't break it.
5508 @lilypond[fragment,notime,line-width=13.0\cm]
5509 %\override Score.TextScript #'font-style = #'large
5510 \set Score.automaticBars = ##f
5512 \override NoteHead #'style = #'mensural
5513 a\longa_"longa" a\breve_"breve"
5514 \revert NoteHead #'style
5515 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5516 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5519 @c TODO -- add maxima rest to this example
5521 @lilypond[fragment,notime,line-width=13.0\cm]
5522 %\override Score.TextScript #'font-style = #'large
5523 \set Score.automaticBars = ##f
5525 r\longa_"longa" r\breve_"breve"
5526 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5527 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5530 An augmentation dot after a note multiplies the duration by one and a
5531 half. Another dot adds yet a fourth of the duration.
5533 @lilypond[fragment,line-width=13.0\cm]
5534 %\override Score.TextScript #'font-style = #'large
5537 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5538 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5541 Alternatively note values may be subdivided by other ratios. Most common is
5542 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5543 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5544 dotted notes are also frequently used.
5546 @lilypond[fragment,line-width=13.0\cm]
5547 %\override Score.TextScript #'font-style = #'large
5550 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5551 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5555 @lilypond[fragment,line-width=13.0\cm]
5558 \times 3/2 {g4_"duplets" g} |
5560 \times 6/4 {g8_"quadruplets" g g g} |
5561 g8 g g g g4 \bar "||"
5571 @ref{octave marking}.
5586 The interval of an octave, sometimes abbreviated @notation{8ve}.
5588 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5589 bracket, or @notation{loco} see octave marking.
5593 @ref{interval}, @ref{octave marking}.
5597 @section octave mark
5599 ES: indicación de octava,
5608 The phrase, abbreviation, or other mark used (with or without an extender line
5609 or bracket) to indicate that the music is to be played in a different octave:
5613 @item @notation{15ma}: play two octaves higher
5614 @item @notation{8va}: play one octave higher
5615 @item @notation{8vb}: play one octave lower
5616 @item @notation{8va} (written below the passage): unusual, same as
5618 @item @notation{15vb}: play two octaves lower
5619 @item @notation{15va} (written below the passage): unusual, same as
5624 For longer passages, it may be more practical to mark the octave change at the
5625 beginning with a phrase (see the list below for examples), but without a bracket
5626 or extender line. Then, when the music returns to the written pitch, the octave
5627 change is cancelled with the word @notation{loco} (q.v.).
5629 To parallel the list above:
5633 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5634 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5635 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5636 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5640 In the phrases above, @notation{quindicesima} is sometimes replaced with
5641 @notation{quindecima}, which is Latin.
5643 Finally, the music on an entire staff can be marked to be played in a
5644 different octave by putting a small 8 or 15 above or below the clef at the
5645 beginning. This octave mark can be applied to any clef, but it is most
5646 frequently used with the G and F clefs.
5650 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5653 @node octave marking
5654 @section octave marking
5663 FI: oktaavamerkintä.
5665 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5666 that it is to be played in a different octave. If applied to the clef at the
5667 beginning of the staff, all music on that staff is to played at the indicated
5670 For a list of the specific marks used, see @ref{octave mark}.
5674 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5678 @section octave sign
5689 I: abbellimento, fioriture,
5690 F: agrément, ornement,
5691 D: Verzierung, Ornament,
5697 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5698 with the diatonic @ref{second} above it. In the music from the
5699 middle of the 19th century and onwards the trill is performed with the main
5700 note first while in the music from the preceding baroque and classic periods
5701 the upper note is played first.
5703 @lilypond[fragment,line-width=13.0\cm]
5705 \context Staff = sa {
5706 % \override Score.TextScript #'font-style = #'large
5708 c2._"pre-1850" b4\trill | c1 \bar "||"
5709 c2._"post-1850" b4\trill | c1 \bar "||"
5713 c2. c32 b c b c b c b | c1
5714 c2. b32 c b c \times 4/5 { b c b c b } | c1
5719 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5721 @emph{prall} (inverted mordent).
5723 @lilypond[fragment,line-width=13.0\cm]
5725 \context Staff = sa {
5726 % \override Score.TextScript #'font-style = #'large
5728 a4_"turn" b\turn c2 \bar "||"
5729 g4_"mordent" a b\mordent a \bar "||"
5730 e'4_"prall" d\prall c2 \bar "||"
5736 e'4 e32[ d e d ~ d8] c2
5743 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5756 FI: ossia, vaihtoehtoinen esitystapa.
5758 Ossia (otherwise) marks an alternative. It is an added staff or piano
5759 score, usually only a few measures long, which presents another version
5760 of the music, for example for small hands.
5773 FI: stemma, instrumenttiosuus.
5777 @item In instrumental or choral music, the music for a single
5778 instrument or voice.
5780 @item in contrapuntal music, a single melodic line in the contrapuntal
5806 @node percent repeat
5807 @section percent repeat
5809 LilyPond-specific term to indicate the repetition of a musical expression on a
5810 single staff, as opposed to the more usual definition of repeat, which affects
5811 all parts. The musical expression can be anything from a single note or note
5812 pattern to one or more measures. There are other names for this symbol:
5817 @item slash mark, or slash repeat
5819 @item measure (or multi-measure) repeat
5823 @lilypond[fragment,line-width=13.0\cm]
5826 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5827 \repeat percent 2 { c4 e g b_"Measure repeat" }
5828 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5835 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5836 Vermont Music Dictionary}.
5845 D: Schlagzeug, Schlagwerk,
5851 A family of musical instruments which are played on by striking or
5852 shaking. Percussion instruments commonly used in a symphony orchestra are
5853 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5854 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5858 @node perfect interval
5859 @section perfect interval
5861 ES: intervalo justo,
5862 I: intervallo giusto,
5863 F: intervalle juste,
5864 D: reines Intervall,
5868 FI: puhdas intervalli.
5887 A natural division of the melodic line, comparable to a sentence of speech.
5900 FI: fraseeraus, jäsentäminen.
5902 The clear rendering in musical performance of the @ref{phrase}s of
5903 the melody. Phrasing may be indicated by a @ref{slur}.
5918 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5919 @emph{mezzo piano} (@b{mp}) medium soft.
5927 F: anacrouse, levée,
5953 @item The perceived quality of a sound that is primarily a function of its
5954 fundamental frequency.
5956 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5958 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5959 association of a particular frequency with a particular pitch name, e.g., c' =
5976 NL: pizzicato, getokkeld,
5979 FI: pizzicato, näppäillen.
5981 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5988 ES: compás polimétrico,
5999 @item The simultaneous use of two or more meters, in two or more parts.
6001 @item The @emph{successive} use of different meters in one or more parts.
6007 @ref{polymetric} (adj.)
6022 Using two or more metric frameworks simultaneously or in alternation.
6026 @ref{polymeter} (noun)
6029 @node polymetric time signature
6030 @section polymetric time signature
6032 ES: compás polimétrico,
6041 A time signature that indicates regularly alternating polymetric time.
6054 D: Polyphonie, Mehrstimmigkeit,
6058 FI: polyfonia, moniäänisyys.
6060 Music written in a combination of several simultaneous voices (parts)
6061 of a more or less pronounced individuality.
6080 D: Presto, Sehr schnell,
6081 NL: presto, Sehr schnell,
6084 FI: presto, hyvin nopeasti.
6086 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6087 denotes the highest possible degree of speed.
6102 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
6103 relationship between the note values that follow with those that precede; or
6104 between the note values of a passage and the @q{normal} relationship of note
6105 values to the metrical pulse.
6107 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6111 @ref{mensural notation}
6114 @node Pythagorean comma
6115 @section Pythagorean comma
6117 ES: coma pitagórica,
6118 I: comma pitagorico,
6119 F: comma pythagoricien,
6120 D: Pythagoräisches Komma,
6121 NL: komma van Pythagoras,
6122 DK: pythagoræisk komma,
6123 S: pytagoreiskt komma,
6124 FI: pytagorinen komma.
6126 Originally, the interval by which the sum of six whole tones exceeds the octave
6127 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6129 Modern acoustical theory defines it as the interval by which twelve fifths
6130 exceed seven octaves. To put it another way: A sequence of fifths that starts
6131 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6132 than the C obtained by adding 7 octaves. The difference between those two
6133 pitches is the Pythagorean comma.
6137 @ref{cent}, @ref{temperament}.
6169 The quality of a triad is determined by the precise arrangement of its
6170 intervals. Tertian triads can be described as a series of three notes. The
6171 first element is the root note (or simply @q{root}) of the chord, the second
6172 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6173 the chord. These are described below:
6175 @multitable @columnfractions .10 .35 .35 .20
6177 @headitem Chord name @tab Component intervals
6180 @item major triad @tab major third/perfect fifth
6182 @tab C, CM, Cma, Cmaj, CΔ
6183 @item minor triad @tab minor third/perfect fifth
6185 @tab Cm, Cmi, Cmin, C-
6186 @item augmented triad @tab major third/augmented fifth
6189 @item diminished triad @tab minor third/diminished fifth
6191 @tab Cm(♭5), Cº, Cdim
6194 There are various types of seventh chords depending on the quality of the
6195 original chord and the quality of the seventh added.
6197 Five common types of seventh chords have standard symbols. The chord quality
6198 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6199 and D^m7 are all identical). The last three chords are not commonly used
6208 @section quarter note
6213 @item I: semiminima, nera
6215 @item D: Viertel, Viertelnote
6217 @item DK: fjerdedelsnode
6218 @item S: fjärdedelsnot
6219 @item FI: neljäsosanuotti
6228 @section quarter rest
6231 @item UK: crotchet rest
6232 @item ES: silencio de negra
6233 @item I: pausa di semiminima
6235 @item D: Viertelpause
6237 @item DK: fjerdedelspause
6238 @item S: fjärdedelspaus
6239 @item FI: neljäsosatauko
6248 @section quarter tone
6250 ES: cuarto de tonno,
6259 An interval equal to half a semitone.
6269 ES: cinquillo, quintillo.
6284 @section rallentando
6289 D: rallentando, langsamer werden,
6293 FI: rallerdando, hidastuen.
6295 Abbreviation "rall.".
6301 @section relative key
6304 I: tonalità relativa,
6305 F: tonalité relative,
6307 NL: paralleltoonsoort,
6308 DK: paralleltoneart,
6310 FI: rinnakkaissävellaji.
6312 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
6314 @lilypond[fragment,notime,line-width=13.0\cm]
6315 \set Score.automaticBars = ##f
6316 %\override Score.TextScript #'font-style = #'large
6319 es1_"e flat major" f g as bes c d es
6324 @lilypond[fragment,notime,line-width=13.0\cm]
6325 \set Score.automaticBars = ##f
6326 %\override Score.TextScript #'font-style = #'large
6329 c1_"c minor" d es f g a! b! c \bar "||"
6339 F: barre de reprise,
6342 DK: gen@-ta@-gel@-se,
6346 @lilypond[fragment,line-width=13.0\cm]
6350 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6367 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6368 @c specify the rest's value.
6389 @item Metrical rhythm in which every time value is a multiple or
6390 fraction of a fixed unit of time, called @ref{beat}, and in which the
6391 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6392 The basic scheme of time values is called @ref{meter}.
6394 @item Measured rhythm which lacks regularly recurrent accent. In
6395 modern notation such music appears as a free alternation of different
6398 @item Free rhythm, i.e., the use of temporal values having no common
6399 metrical unit (beat).
6410 D: ritardando, langsamer werden,
6414 FI: ritardando, hidastuen,
6416 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6429 FI: ritenuto, hidastaen.
6431 Immediate reduction of speed.
6444 FI: asteikko, sävelasteikko.
6448 @ref{diatonic scale}.
6452 @section scale degree
6454 ES: grado (de la escala),
6455 I: grado della scala,
6456 F: degré [de la gamme],
6458 NL: trap [van de toonladder],
6461 FI: sävelaste, asteikon sävel.
6463 Names and symbols used in harmonic analysis to denote tones of the
6464 scale as roots of chords. The most important are degrees I = tonic
6465 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6467 @lilypond[fragment,notime,line-width=13.0\cm]
6468 \set Score.automaticBars = ##f
6470 \context Staff \relative c' {
6474 << { I II III IV V VI VII I }
6482 @ref{functional harmony}.
6490 F: à cordes ravallées,
6497 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6498 tuning of stringed instruments, particularly lutes or violins. Used
6503 @item facilitate pitch combinations that would otherwise be difficult
6506 @item alter the characteristic timbre of the instrument, for example,
6507 to increase brilliance
6509 @item reinforce certain sonorities or tonalities by making them
6510 available on open strings
6512 @item imitate other instruments
6518 Tunings that could be called @var{scordatura} first appeared early in
6519 the 16th Century and became commonplace in the 17th.
6528 D: Partitur (full score), Klavierauszug (vocal score),
6534 A copy of orchestral, choral, or chamber music showing what each
6535 instrument is to play, each voice to sing, having each part arranged
6536 one underneath the other on different staves @ref{staff}.
6551 The @ref{interval} between two neigbouring tones of a scale. A
6552 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6553 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6554 degrees in question.
6569 The interval of a minor second. The (usually) smallest interval in European
6570 composed music. The interval between two neighbouring tones on the piano
6571 keyboard -- including black and white keys -- is a semitone. An octave may
6572 be divided into 12@w{ }semitones.
6574 @lilypond[fragment,notime,line-width=13.0\cm]
6575 \set Score.automaticBars = ##f
6576 \relative c'' { g1 gis s a bes s b! c }
6581 @ref{interval}, @ref{chromatic scale}.
6606 @ref{sextuplet}, @ref{note value}.
6663 [From It, @q{in the same manner}] Performance direction: the music thus marked
6664 is to be played in the same manner (i.e. with the same articulations, dynamics,
6665 etc.) as the music that precedes it.
6669 TODO: Where else could I refer the reader?
6673 @section simple meter
6675 ES: compás simple, compás de subdivisión binaria,
6684 A meter in which the basic beat is subdivided in two: that is, a meter
6685 that does not include triplet subdivision of the beat.
6689 @ref{compound meter}, @ref{meter}.
6692 @node sixteenth note
6693 @section sixteenth note
6696 @item UK: semiquaver
6697 @item ES: semicorchea
6699 @item F: double croche
6700 @item D: Sechzehntel, Sechzehntelnote
6701 @item NL: zes@-ti@-ende noot
6702 @item DK: sekstendedelsnode
6703 @item S: sextondelsnot
6704 @item FI: kuudestoistaosanuotti
6712 @node sixteenth rest
6713 @section sixteenth rest
6716 @item UK: semiquaver rest
6717 @item ES: silencio de semicorchea
6718 @item I: pausa di semicroma
6719 @item F: quart de soupir
6720 @item D: Sechzehntelpause
6721 @item NL: zestiende rust
6722 @item DK: sekstendedelspause
6723 @item S: sextondelspaus
6724 @item FI: kuudestoistaosatauko
6749 @node sixty-fourth note
6750 @section sixty-fourth note
6753 @item UK: hemidemisemiquaver
6755 @item I: semibiscroma
6756 @item F: quadruple croche
6757 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6758 @item NL: vierenzestigste noot
6759 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6760 @item S: sextiofjärdedelsnot
6761 @item FI: kuudeskymmenesneljäsosanuotti
6769 @node sixty-fourth rest
6770 @section sixty-fourth rest
6773 @item UK: hemidemisemiquaver rest
6774 @item ES: silencio de semifusa
6775 @item I: pausa di semibiscroma
6776 @item F: seizième de soupir
6777 @item D: Vierundsechzigstelpause
6778 @item NL: vierenzestigste rust
6779 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6780 @item S: sextiofjärdedelspaus
6781 @item FI: kuudeskymmenesneljäsosatauko
6790 @section slash repeat
6794 @ref{percent repeat}.
6800 ES: ligadura (de expresión),
6801 I: legatura (di portamento or espressiva),
6803 D: Bogen (Legatobogen, Phrasierungsbogen),
6804 NL: fraseringsboog, legatoboog, streekboog,
6805 DK: legatobue, fraseringsbue,
6809 A slur above or below a group of notes indicates that they are to be
6810 played @ref{legato}, e.g., with one stroke of the violin bow or with
6811 one breath in singing.
6815 @section solmization
6824 FI: suhteelliset laulunimet.
6826 General term for systems of designating the degrees of the
6827 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6828 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6846 In its present-day meaning a sonata denotes an instrumental
6847 composition for piano or for some other instrument with piano
6848 accompaniment, which consists of three or four independant pieces,
6853 @section sonata form
6857 F: [en] forme de sonate,
6859 NL: hoofdvorm, sonatevorm,
6864 A form used frequently for single movements of the @ref{sonata},
6865 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6866 into three sections called @emph{exposition}, @emph{development} and
6867 @emph{recapitulation}. In the exposition the composer introduces some
6868 musical ideas, consisting of a number of themes; in the development
6869 section the composer @q{develops} this material, and in the
6870 recapitulation the composer repeats the exposition, with certain
6871 modifications. The exposition contains a number of themes that fall
6872 into two groups, often called first and second subject. Other
6873 melodies occurring in each group are considered as continuations of
6874 these two. The second theme is in another key, normally in the key of
6875 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6876 @ref{relative key} if the tonic is @ref{minor}.
6897 FI: sopraano, korkea naisääni.
6899 The highest female voice.
6907 F: staccato, piqué, détaché,
6912 FI: staccato, lyhyesti, terävästi.
6914 Playing the note(s) short. Staccato is indicated by a dot above or
6915 below the note head.
6917 @lilypond[fragment,ragged-right]
6922 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6932 I: pentagramma, rigo (musicale),
6934 D: Notensystem, Notenzeile,
6935 NL: (noten)balk, partij,
6940 A staff (plural: staves) is a series of (normally five) horizontal
6941 lines upon and between which the musical notes are written, thus
6942 indicating (in connection with a @ref{clef}) their pitch. Staves for
6943 @ref{percussion} instruments may have fewer lines.
6960 D: Hals, Notenhals, Stiel,
6966 Vertical line above or below a @ref{note head} shorter than a
6971 @lilypond[fragment,notime,line-width=13.0\cm]
6972 \set Score.autoBeaming = ##f
6973 \set Score.automaticBars = ##f
6974 %\override Score.TextScript #'font-style = #'large
6996 [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
7016 A family of stringed musical instruments played with a bow. Strings
7017 commonly used in a symphony orchestra are violin, viola, violoncello,
7022 @section strong beat
7027 D: betonter Taktteil oder Taktschlag,
7029 D: betonet taktslag,
7030 S: betonat taktslag,
7031 FI: tahdin vahva isku.
7035 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7039 @section subdominant
7048 FI: subdominantti, alidominantti.
7050 The fourth @ref{scale degree}.
7052 @ref{functional harmony}.
7067 The sixth @ref{scale degree}.
7080 FI: subtoonika, alitoonika.
7082 The seventh @ref{scale degree}.
7088 ES: sobre la cuerda de Sol,
7091 D: auf G, auf der G-Saite,
7097 Indicates that the indicated passage (or note) should be played on the
7102 @section superdominant
7113 The sixth @ref{scale degree}.
7128 The second @ref{scale degree}.
7137 D: Sinfonie, Symphonie,
7143 A symphony may be defined as a @ref{sonata} for orchestra.
7147 @section syncopation
7158 Any deliberate upsetting of the normal pulse of @ref{meter},
7159 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7160 rhythm rests upon the grouping of equal beats into groups of two or
7161 three, with a regularly recurrent accent on the first beat of each
7162 group. Any deviation from this scheme is felt as a disturbance or
7163 contradiction between the underlaying (normal) pulse and the actual
7166 @lilypond[fragment,ragged-right]
7171 e c'4 e,8 c'4 e,8 c' ( | c2)
7176 @node syntonic comma
7177 @section syntonic comma
7179 ES: coma sintónica, coma de Dídimo,
7180 I: comma sintonico (o didimico),
7181 F: comma syntonique,
7182 D: syntonisches Komma,
7183 NL: syntonische komma,
7184 DK: syntonisk komma,
7185 S: syntoniskt komma,
7186 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7187 Pytagorisessa viritysjärjestelmässä.
7189 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7190 by which the ditone exceeds the pure major third obtained by Pythagorean
7191 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7193 Modern acoustical theory defines it as the interval by which four fifths exceed
7194 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7196 This comma is also known as the comma of Didymus, or didymic comma.
7200 @ref{Pythagorean comma}
7209 D: Notensystem, Partitur,
7213 FI: nuottijärjestelmä.
7215 The collection of staves (@ref{staff}), two or more, as used for writing
7216 down of keyboard, chamber, choral, or orchestral music.
7220 @section temperament
7225 D: Stimmung, Tem@-pe@-ra@-tur,
7226 NL: stemming, temperatuur,
7229 FI: viritysjärjestelmä.
7231 Systems of tuning in which the intervals deviate from the acoustically
7234 @ref{meantone temperament}, @ref{equal temperament}.
7237 @node tempo indication
7238 @section tempo indication
7240 ES: indicación de tempo,
7241 I: indicazione di tempo,
7242 F: indication de tempo,
7243 D: Zeitmaß, Tempobezeichnung,
7244 NL: tempo aanduiding,
7249 The rate of speed of a composition or a section thereof, ranging from
7250 the slowest to the quickest, as is indicated by tempo marks as
7251 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
7265 FI: tenori, korkea miesääni.
7267 The highest male voice (apart from @ref{countertenor}).
7290 ES: subrayado (tenuto),
7299 An indication that a particular note should be held for the whole
7300 length, although this can vary depending on the composer and era.
7320 @node thirty-second note
7321 @section thirty-second note
7324 @item UK: demisemiquaver
7327 @item F: triple croche
7328 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7329 @item NL: twee-endertig@-ste (32e) noot
7330 @item DK: toogtredivtedelsnode
7331 @item S: trettiotvåondelsnot
7332 @item FI: kolmaskymmeneskahdesosanuotti
7340 @node thirty-second rest
7341 @section thirty-second rest
7344 @item UK: demisemiquaver rest
7345 @item ES: silencio de fusa
7346 @item I: pausa di biscroma
7347 @item F: huitième de soupir
7348 @item D: Zweiunddreissigstel@-pause
7349 @item NL: twee-endertig@-ste (32e) rust
7350 @item DK: toogtredivtedelspause
7351 @item S: trettiotvåondelspaus
7352 @item FI: kolmaskymmeneskahdesosatauko
7361 @section thorough bass
7371 ES: ligadura de prolongación, ligadura de unión,
7372 I: legatura (di valore),
7374 D: Haltebogen, Bindebogen,
7375 NL: overbinding, bindingsboog,
7377 S: bindebåge, överbindning,
7380 A curved line, identical in appearance with the @ref{slur}, which
7381 connects two succesive notes of the same pitch, and which has the
7382 function of uniting them into a single sound (tone) equal to the
7385 @lilypond[fragment,notime,ragged-right]
7386 \set Score.automaticBars = ##f
7387 \relative c'' { g2 ~ g4. }
7399 @node time signature
7400 @section time signature
7402 ES: indicación de compás,
7404 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7405 D: Taktangabe, Angabe der Taktart,
7408 S: taktartssignatur,
7411 The sign placed at the beginning of a composition to indicate its
7412 meter. It most often takes the form of a fraction, but a few signs
7413 derived from mensural notation and proportions are also employed.
7417 @ref{mensural notation}, @ref{meter}.
7432 A sound of definite pitch and duration, as distinct from @emph{noise}.
7433 Tone is a primary building material of music.
7435 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7450 The first @ref{scale degree}.
7454 @ref{functional harmony}.
7457 @node transposing instrument
7458 @section transposing instrument
7460 ES: instrumento transpositor,
7469 Instruments whose notated pitch is different from their sounded pitch. Except
7470 for those whose notated and sounding pitches differ by one or more octaves (to
7471 reduce the number of ledger lines needed), most such instruments are identified
7472 by the letter name of the pitch class of their fundamental. The pitch class is
7473 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7474 the instrument plays a notated C.
7476 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7477 the B-flat one tone lower. If played on the A clarinet, the same written
7478 note sounds the A (one and half tones -- a minor third -- lower).
7480 Not all transposing instruments include the pitch class in their name:
7484 @item English horn (in F)
7486 @item Alto flute (in G)
7492 @ref{concert pitch}.
7496 @section transposition
7507 Shifting a melody up or down in pitch, while keeping the same
7510 @lilypond[fragment,line-width=13.0\cm]
7515 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7520 @lilypond[fragment,line-width=13.0\cm]
7523 \transpose c bes \relative c'' {
7525 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7532 @section treble clef
7535 I: chiave di violino,
7537 D: Violinschlüssel, Sopranschlüssel,
7560 On stringed instruments:
7564 @item The quick reiteration of the same tone, produced by a rapid
7565 up-and-down movement of the bow.
7567 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7568 in the distance of a third (@ref{interval}).
7572 @lilypond[fragment,notime,ragged-right]
7573 \set Score.automaticBars = ##f
7574 %\override Score.TextScript #'font-style = #'large
7577 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7578 \repeat tremolo 8 { e32_"b" g }
7592 F: triade, accord parfait, accord de trois sons,
7609 F: trille, tremblement, battement (cadence),
7622 @section triple meter
7624 ES: compás ternario,
7627 D: in drei, ungerader Takt,
7628 NL: driedelige maatsoort,
7673 @section tuning fork
7675 ES: diapasón, horquilla de afinación,
7676 I: diapason, corista,
7684 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7685 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7686 standard. Tuning forks for other pitches are available.
7696 A non-standard subdivision of a beat or part of a beat, usually
7697 indicated with a bracket and a number indicating the number of
7702 @ref{triplet}, @ref{note value}.
7708 ES: grupeto (circular),
7732 FI: unisono, yksiäänisesti.
7734 Playing of the same notes or the same melody by various instruments
7735 (voices) or by the whole orchestra (choir), either at exactly the same
7736 pitch or in a different octave.
7744 F: anacrouse, levée,
7766 FI: ääni, lauluääni.
7776 @item @ref{mezzo-soprano}
7778 @item @ref{contralto}
7782 @item @ref{baritone}
7788 @item A melodic layer or part of a polyphonic composition.
7796 ES: vez, primera y segunda vez,
7805 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7806 or second ending. LilyPond extends this idea to any number, and allows any text
7807 (not just a number) -- to serve as the @q{volta} text.
7814 I: tempo debole, arsi,
7816 D: unbetonter Taktteil oder Taktschlag,
7818 DK: ubetonet taktslag,
7819 S: obetonat taktslag,
7820 FI: tahdin heikko isku.
7824 @ref{beat}, @ref{measure}, @ref{rhythm}.
7835 @item D: Ganze, ganze Note
7839 @item FI: kokonuotti
7851 @item UK: semibreve rest
7852 @item ES: silencio de redonda
7853 @item I: pausa di semibreve
7855 @item D: ganze Pause, ganztaktige Pause
7857 @item DK: helnodespause
7879 The interval of a major second. The interval between two tones
7880 on the piano keyboard with exactly one key between them -- including
7881 black and white keys -- is a whole tone.
7900 A family of blown wooden musical instruments. Today some of these
7901 instruments are actually made from metal. The woodwind instruments
7902 commonly used in a symphony orchestra are flute, oboe, clarinet,
7903 saxophone, and bassoon.
7906 @node Duration names notes and rests
7907 @chapter Duration names notes and rests
7909 @multitable @columnfractions .12 .22 .22 .22 .22
7911 @headitem Lang. @tab note name
7915 @item @strong{US} @tab long
7919 @item @strong{UK} @tab longa
7923 @item @strong{ES} @tab longa
7924 @tab silencio de longa
7926 @tab silencio de cuadrada
7927 @item @strong{IT} @tab longa
7931 @item @strong{FR} @tab longa
7932 @tab quadruple-pause
7935 @item @strong{DE} @tab Longa
7939 @item @strong{NL} @tab longa
7943 @item @strong{DK} @tab longa
7944 @tab longanodespause
7946 @tab brevis(nodes)pause
7947 @item @strong{SE} @tab longa
7951 @item @strong{FI} @tab longa-nuotti
7953 @tab brevis-nuotti, kaksoiskokonuotti
7954 @tab brevis-tauko, kaksoiskokotauko
7958 @multitable @columnfractions .12 .22 .22 .22 .22
7960 @headitem Lang. @tab note name
7964 @item @strong{US} @tab whole note
7968 @item @strong{UK} @tab semibreve
7972 @item @strong{ES} @tab redonda
7973 @tab silencio de redonda
7975 @tab silencio de blanca
7976 @item @strong{IT} @tab semibreve
7977 @tab pause di semibreve
7979 @tab pausa di minima
7980 @item @strong{FR} @tab ronde
7984 @item @strong{DE} @tab ganze Note
7988 @item @strong{NL} @tab hele noot
7992 @item @strong{DK} @tab helnode
7996 @item @strong{SE} @tab helnot
8000 @item @strong{FI} @tab kokonuotti
8007 @multitable @columnfractions .12 .22 .22 .22 .22
8009 @headitem Lang. @tab note name
8013 @item @strong{US} @tab quarter note
8017 @item @strong{UK} @tab crotchet
8021 @item @strong{ES} @tab negra
8022 @tab silencio de negra
8024 @tab silencio de corchea
8025 @item @strong{IT} @tab semiminima, nera
8026 @tab pausa di semiminima, pausa di nera
8029 @item @strong{FR} @tab noire
8033 @item @strong{DE} @tab Viertelnote
8037 @item @strong{NL} @tab kwartnoot
8041 @item @strong{DK} @tab fjerdedelsnode
8042 @tab fjerdedelspause
8043 @tab ottendedelsnode
8044 @tab ottendedelspause
8045 @item @strong{SE} @tab fjärdedelsnot
8049 @item @strong{FI} @tab neljäsosanuotti
8051 @tab kahdeksasosanuotti
8052 @tab kahdeksasosatauko
8056 * About the French naming system: @emph{croche} refers to the note's "hook".
8057 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8058 hook}, @q{trebled hook}, and so on.
8060 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8061 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8062 a @emph{soupir}, and so on.
8064 Each of the following tables contains one type of note and its matching rest,
8065 with abbreviations that apply to both notes and rests. Just switch the part
8066 that means @q{note} with the part that means @q{rest}, for example:
8070 @item English: 16th @strong{note}, 16th @strong{rest}
8071 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8072 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8076 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8077 duration name. If you know of one that I missed, please send it to me, care of
8078 the lilypond-user discussion list.
8080 @multitable @columnfractions .10 .35 .35 .20
8082 @headitem Lang. @tab Note name
8085 @item @strong{US} @tab sixteenth note
8088 @item @strong{UK} @tab semiquaver
8089 @tab semiquaver rest
8091 @item @strong{ES} @tab semicorchea
8092 @tab silencio de semicorchea
8094 @item @strong{IT} @tab semicroma
8095 @tab pausa di semicroma
8097 @item @strong{FR} @tab double croche
8098 @tab quart de soupir
8100 @item @strong{DE} @tab Sechzehntelnote
8101 @tab Sechzehntelpause
8103 @item @strong{NL} @tab zestiende noot
8106 @item @strong{DK} @tab sekstendedelsnode
8107 @tab sekstendedelspause
8109 @item @strong{SE} @tab sextondelsnot
8112 @item @strong{FI} @tab kuudestoistaosanuotti
8113 @tab kuudestoistaosatauko
8118 @multitable @columnfractions .10 .35 .35 .20
8120 @headitem Lang. @tab Note name
8123 @item @strong{US} @tab thirty-second note
8124 @tab thirty-second rest
8126 @item @strong{UK} @tab demisemiquaver
8127 @tab demisemiquaver rest
8129 @item @strong{ES} @tab fusa
8130 @tab silencio de fusa
8132 @item @strong{IT} @tab biscroma
8133 @tab pausa di biscroma
8135 @item @strong{FR} @tab triple croche
8136 @tab huitième de soupir
8138 @item @strong{DE} @tab Zweiunddreißigstelnote
8139 @tab Zweiunddreißigstelpause
8141 @item @strong{NL} @tab tweeendertigste noot
8142 @tab tweeendertigste rust
8144 @item @strong{DK} @tab toogtredivtedelsnode
8145 @tab toogtredivtedelspause
8147 @item @strong{SE} @tab trettiotvåondelsnot
8148 @tab trettiotvåondelspaus
8150 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
8151 @tab kolmaskymmeneskahdesosatauko
8156 @multitable @columnfractions .10 .35 .35 .20
8158 @headitem Lang. @tab Note name
8161 @item @strong{US} @tab sixty-fourth note
8162 @tab sixty-fourth rest
8164 @item @strong{UK} @tab hemidemisemiquaver
8165 @tab hemidemisemiquaver rest
8167 @item @strong{ES} @tab semifusa
8168 @tab silencio de semifusa
8170 @item @strong{IT} @tab semibiscroma
8171 @tab pausa di semibiscroma
8173 @item @strong{FR} @tab quadruple croche
8174 @tab seizième de soupir
8176 @item @strong{DE} @tab Vierundsechzigstelnote
8177 @tab Vierundsechzigstelpause
8179 @item @strong{NL} @tab vierenzestigste noot
8180 @tab vierenzestigste rust
8182 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
8183 @tab fireogtredsindstyvendedelspause
8185 @item @strong{SE} @tab sextiofjärdedelsnot
8186 @tab sextiofjärdedelspaus
8188 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
8189 @tab kuudeskymmenesneljäsosatauko
8194 @multitable @columnfractions .10 .35 .35 .20
8196 @headitem Lang. @tab Note name
8199 @item @strong{US} @tab one-hundred-twenty-eighth note
8200 @tab one-hundred-twenty-eighth rest
8202 @item @strong{UK} @tab semihemidemisemiquaver
8203 @tab semihemidemisemiquaver rest
8205 @item @strong{ES} @tab garrapatea
8206 @tab silencio de garrapatea
8208 @item @strong{IT} @tab fusa
8211 @item @strong{FR} @tab quintuple croche
8212 @tab trente-deuxième de soupir @tab -
8213 @item @strong{DE} @tab Hundertundachtundzwanzigstel
8214 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
8215 @item @strong{NL} @tab honderdachtentwintigste noot
8216 @tab honderdachtentwintigste rust
8218 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
8219 @tab hundredeotteogtyvendedelspause
8221 @item @strong{SE} @tab hundratjugoåttondelsnot
8222 @tab hundratjugoåttondelspaus
8224 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
8225 @tab sadaskahdeskymmeneskahdeksasosatauko
8230 @multitable @columnfractions .10 .35 .35 .20
8232 @headitem Lang. @tab Note name
8235 @item @strong{US} @tab two-hundred-fifty-sixth note
8236 @tab two-hundred-fifty-sixth rest
8238 @item @strong{UK} @tab demisemihemidemisemiquaver
8239 @tab demisemihemidemisemiquaver rest
8241 @item @strong{ES} @tab semigarrapatea
8242 @tab silencio de semigarrapatea @tab -
8243 @item @strong{IT} @tab semifusa
8244 @tab pausa di semifusa
8246 @item @strong{FR} @tab sextuple croche
8247 @tab soixante-quatrième de soupir @tab -
8248 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
8249 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
8250 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
8251 @tab tweehonderdzesenvijftigste rust
8253 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
8254 @tab tohundredeseksoghalvtredsendedelspause
8256 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
8257 @tab tvåhundrafemtiosjättedelspaus
8259 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
8260 @tab kahdessadasviideskymmeneskuudesosatauko
8267 @ref{mensural notation}
8271 @chapter Pitch names
8273 @c -is/-es endings for Danish per Rune Zedeler, pace
8274 @c and for Finnish per Risto Vääräniemi
8275 @c -iss/-ess endings for Swedish per Mats Bengtsson
8276 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8278 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8280 @tab ES @tab I @tab F @tab D
8281 @tab NL @tab DK @tab S @tab FI
8282 @item @strong{c} @tab do @tab do @tab ut @tab C
8283 @tab c @tab c @tab c @tab c
8284 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8285 @tab cis @tab cis @tab ciss @tab cis
8286 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8287 @tab des @tab des @tab dess @tab des
8288 @item @strong{d} @tab re @tab re @tab ré @tab D
8289 @tab d @tab d @tab d @tab d
8290 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8291 @tab dis @tab dis @tab diss @tab dis
8292 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8293 @tab es @tab es @tab ess @tab es
8294 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8295 @tab e @tab e @tab e @tab e
8296 @item @strong{f-flat} = e
8297 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8298 @tab fes @tab fes @tab fess @tab fes
8299 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8300 @tab f @tab f @tab f @tab f
8301 @item @strong{e-sharp} = f
8302 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8303 @tab eis @tab eis @tab eiss @tab eis
8304 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8305 @tab fis @tab fis @tab fiss @tab fis
8306 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8307 @tab ges @tab ges @tab gess @tab ges
8308 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8309 @tab g @tab g @tab g @tab g
8310 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8311 @tab gis @tab gis @tab giss @tab gis
8312 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8313 @tab as @tab as @tab ass @tab as
8314 @item @strong{a} @tab la @tab la @tab la @tab A
8315 @tab a @tab a @tab a @tab a
8316 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8317 @tab ais @tab ais @tab aiss @tab ais
8318 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8319 @tab bes @tab b @tab b @tab b
8320 @item @strong{b} @tab si @tab si @tab si @tab H
8321 @tab b @tab h @tab h @tab h
8329 @node Literature used
8330 @unnumberedsec Literature used
8333 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8334 Cambridge: Belknap Press (Harvard University Press), 1944.
8336 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8339 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8340 Terminologie}. Kassel, 1980.
8342 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8343 Cambridge: Belknap Press (Harvard University Press), 1986.
8345 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
8347 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8348 Current English}, 3rd ed. London: Oxford University Press, 1974.
8350 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8351 Springfield, Massachusetts: G. & C. Merriam Company, 1913.