1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
97 Permission is granted to copy, distribute and/or modify this document
98 under the terms of the GNU Free Documentation License, Version 1.1
99 or any later version published by the Free Software Foundation,
100 without Invariant Sections.
106 @c @everyheading @| @thispage @|
107 @c @evenheading @thispage @| @|
108 @c @oddheading @| @| @thispage @|
110 @include macros.itexi
115 @w{@expansion{}@strong{\word\}}@c
118 @expansion{}@ref{\word\, @strong{\word\}}@c
123 * Musical terms A-Z::
124 * Duration names notes and rests::
128 @node Musical terms A-Z
129 @chapter Musical terms A-Z
131 Languages in this order.
138 @item UK - British English
159 * ancient minor scale::
164 * ascending interval::
165 * augmented interval::
200 * compound interval::
204 * conjunct movement::
217 * descending interval::
219 * diminished interval::
222 * disjunct movement::
224 * dissonant interval::
225 * dominant ninth chord::
226 * dominant seventh chord::
229 * dot (augmentation dot)::
231 * double appoggiatura::
233 * double dotted note::
236 * double time signature::
244 * ecclesiastical mode::
251 * equal temperament::
270 * functional harmony::
286 * inverted interval::
300 * long appoggiatura::
306 * meantone temperament::
312 * mensural notation::
315 * metronomic indication::
327 * multi-measure rest::
355 * polymetric time signature::
360 * Pythagorean comma::
387 * sixty-fourth note::
388 * sixty-fourth rest::
417 * thirty-second note::
418 * thirty-second rest::
425 * transposing instrument::
477 Abbreviated @samp{a2} or @samp{a 2}.
481 @item An indication in orchestral scores that a single part notated on a single
482 staff that normally carries parts for two players (e.g. first and second oboes)
483 is to be played by both players.
485 @item Or conversely, that two pitches or parts notated on a staff that normally
486 carries a single part (e.g. first violin) are to be played by different players,
487 or groups of players (@q{desks}).
506 FI: aksentti, korostus.
508 The stress of one tone over others.
522 ES: alteración accidental,
524 F: altération accidentelle,
525 D: Versetzungszeichen, Akzidenz,
526 NL: toevallig (verplaatsings)teken,
528 S: tillfälligt förtecken,
529 FI: tilapäinen etumerkki.
531 An accidental has the effect of an @ref{alteration} of a note. A
532 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
533 @ref{whole tone}, a flat lowers it by a semitone and a double flat
534 lowers it by a whole tone. A natural cancels the effect of a previous
535 accidental, or a sharp or flat in the key signature.
537 @lilypond[fragment,notime,line-width=13.0\cm]
538 \set Score.automaticBars = ##f
540 \context Staff \relative c'' {
541 \set Staff.extraNatural = ##f
542 gisis1 gis g! ges geses
545 \override Lyrics .LyricText #'self-alignment-X = #-1
546 "db. sharp" sharp natural flat "db. flat"
557 F: accelerando, en accélérant,
558 D: accelerando, schneller werden,
562 FI: accelerando, kiihdyttäen.
568 @section acciaccatura
570 A grace note which takes its time from the rest or note preceding the
571 principal note to which it is attached. The acciaccatura is drawn as a
572 small eighth note (quaver) with a line drawn through the flag and
577 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
590 FI: adagio, hitaasti.
592 It.@: comfortable, easy.
596 @item Slow tempo, slower -- especially in even meter -- than
597 @ref{andante} and faster than @ref{largo}.
599 @item A movement in slow tempo, especially the second (slow) movement
600 of @ref{sonata}s, symphonies, etc.
611 D: Allegro, Schnell, Fröhlich, Lustig,
615 FI: allegro, nopeasti.
617 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
618 tempo, especially the first and last movements of a @ref{sonata}.
628 NL: verhoging of verlaging,
633 An alteration is the modification, raising or lowering, of a note's
634 pitch. It is established by an @ref{accidental}.
647 FI: altto, matala naisääni.
649 A female voice of low range (@emph{contralto}). Originally the alto
650 was a high male voice (hence the name), which by the use of falsetto
651 reached the height of the female voice. This type of voice is also
652 known as @ref{counter tenor}.
658 ES: clave de do en tercera,
659 I: chiave di contralto,
660 F: clef d'ut troisième ligne,
661 D: Altschlüssel, Bratschenschlüssel,
667 C clef setting middle C on the middle line of the staff.
684 FI: ambitus, ääniala, soitinala.
686 The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
687 of pitches for a given voice in a part of music. It may also denote
688 the pitch range that a musical instrument is capable of playing.
703 An anacrusis (also known as pickup or upbeat) is an incomplete measure
704 of music before a section of music. It also refers to the initial
705 note(s) of a melody occurring in that incomplete measure.
709 @ref{measure}, @ref{meter}.
711 @lilypond[fragment,line-width=13.0\cm]
715 \partial 4 f4 | bes4. a8 bes4 c |
716 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
720 @node ancient minor scale
721 @section ancient minor scale
723 ES: escala menor antigua,
724 I: scala minore naturale,
725 F: forme du mode mineur ancien, troisème mode, mode hellénique,
726 D: reines Moll, natürliches Moll,
727 NL: authentieke mineurtoonladder,
730 FI: luonnollinen molliasteikko.
734 @ref{diatonic scale}.
736 @lilypond[fragment,notime,line-width=13.0\cm]
737 \set Score.automaticBars = ##f
755 Walking tempo/character.
759 @section appoggiatura
763 F: appoggiature, (port de voix),
764 D: Vorschlag, Vorhalt
768 FI: appoggiatura, etuhele.
770 Ornamental note, usually a second, that is melodically connected with
771 the main note following it. In music before the 19th century
772 appoggiature were usually performed on the beat, after that mostly
773 before the beat. While the short appoggiatura is performed as a short
774 note regardless of the duration of the main note the duration of the
775 long appoggiatura is proportional to that of the main note.
777 @lilypond[line-width=13.0\cm]
778 \context Voice \relative c'' {
782 %\override Score.TextScript #'font-style = #'large
783 <d a fis>4_"notation" r
784 { \override Stem #'flag-style = #'()
786 \revert Stem #'flag-style
789 { \override Stem #'flag-style = #'()
791 \revert Stem #'flag-style
794 \cadenzaOn a4 \bar "||" \cadenzaOff
796 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
797 \cadenzaOn a4 \bar "||" \cadenzaOff
801 An appoggiatura may have more notes preceding the main note.
803 @lilypond[line-width=13.0\cm]
807 % \override Score.TextScript #'font-style = #'large
808 \grace { bes16 } as8_"notation" as16 bes as8 g |
809 \grace { as16[( bes] } < c as >4-)
810 \grace { as16[( bes] } < c as >4-) \bar "||"
811 \grace { bes16 } as8_"performance" as16 bes as8 g |
812 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
813 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
825 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
827 DK: arpeggio, akkordbrydning,
829 FI: arpeggio, murtosointu.
831 @lilypond[fragment,line-width=13.0\cm]
832 \context PianoStaff <<
833 \context Staff = SA \relative c'' {
836 r8 g16 c e g, c e r8 g,16 c e g, c e |
837 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
838 \context Staff = SB \relative c' {
840 << \context Voice = va {
842 r16 e8. ( e4) r16 e8. ( e4) |
843 r16 d8. ( d4) r16 d8. ( d4) }
844 \context Voice = vb {
853 @section articulation
862 FI: artikulaatio, ilmaisu.
864 Articulation refers to notation which indicates how a note or notes
865 should be played. Slurs, accents, staccato, and legato are all
866 examples of articulation.
869 @node ascending interval
870 @section ascending interval
872 ES: intervalo ascendente,
873 I: intervallo ascendente,
874 F: intervalle ascendant,
875 D: steigendes Intervall,
876 NL: stijgend interval,
877 DK:@w{ }stigende interval,
878 S: stigande intervall,
879 FI: nouseva intervalli.
881 A distance between a starting lower note and a higher ending note.
884 @node augmented interval
885 @section augmented interval
887 ES: intervalo aumentado,
888 I: intervallo aumentato,
889 F: intervalle augmenté,
890 D: übermäßiges Intervall,
891 NL: overmatig interval,
892 DK: forstørret interval,
893 S: överstigande intervall,
894 FI: ylinouseva intervalli.
906 F: manuscrit, autographe
907 D: Autograph, Handschrift,
909 DK: håndskrift, autograf,
911 FI: käsinkirjoitettu nuotti.
915 @item A manuscript in the composer's own hand.
917 @item Music prepared for photoreproduction by freehand drawing, with
918 the aid of a straightedge ruler and T-square only, which attempts to
919 emulate engraving. This required more skill than did engraving.
960 ES: barra, línea divisoria,
961 I: stanghetta, barra (di divisione),
962 F: barre (de mesure),
980 FI: baritoni, keskikorkuinen miesääni.
982 The male voice intermediate between the @ref{bass} and the
985 @c F: clef de troisième ligne dropped
989 @section baritone clef
991 ES: clave de fa en tercera,
992 I: chiave di baritono,
993 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1000 C or F clef setting middle C on the upper staff line.
1004 @ref{C clef}, @ref{F clef}.
1010 ES: clave de fa en cuarta,
1012 F: clef de fa quatrième ligne,
1019 A clef setting with middle C on the first top ledger line.
1036 FI: basso, matala miesääni.
1040 @item The lowest male voice.
1042 @item Sometimes, especially in jazz music, used as an abbreviation for
1064 Line connecting a series of notes (shorter than a quarter note). The
1065 number of beams determines the note value of the connected notes.
1067 @lilypond[fragment,notime,line-width=13.0\cm]
1068 \set Score.automaticBars = ##f
1069 %\override TextScript #'font-style = #'large
1071 g8_"1/8"[ g g g] s16
1072 g16_"1/16"[ g g g] s16
1073 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1074 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1079 @ref{feathered beam}.
1085 ES: tiempo, parte (de compás)
1088 D: Takt, Taktschlag, Zeit (im Takt),
1094 Note value used for counting, most often half-, fourth-, and eighth
1095 notes. The base counting value and the number of them per measure is
1096 indicated at the start of the music.
1098 @lilypond[fragment,line-width=13.0\cm]
1101 \relative c'' { g4 c b a | g1 \bar "||"}
1103 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1118 ES: llave, corchete,
1121 D: Klammer, Akkolade,
1122 NL: accolade, teksthaak,
1125 FI: yhdistävä sulkumerkki.
1127 Symbol at the start of a system connecting staves.
1129 Curly braces are used for connecting piano staves, and sometimes for connecting
1130 the staves of like instruments in an orchestral score when written on different
1131 staves (e.g. first and second flutes):
1133 @lilypond[fragment,ragged-right]
1134 \context GrandStaff <<
1135 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1136 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1139 Angular brackets for connecting parts in an orchestral or choral score:
1141 @lilypond[fragment,ragged-right]
1142 \context StaffGroup <<
1143 % \set StaffGroup.minVerticalAlign = #12
1144 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1145 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1172 NL: koper (blazers),
1175 S: brassinstrument, mässingsinstrument,
1178 A family of blown musical instruments made of brass, all using a cup
1179 formed mouth piece. The brass instruments commonly used in a symphony
1180 orchestra are trumpet, trombone, french horn, and tube.
1184 @section breath mark
1189 D: Atemzeichen, Trennungszeichen,
1190 NL: repercussieteken,
1191 DK: vejrtrækningstegn,
1195 Indication of where to breathe in vocal and wind instrument parts.
1200 ES: cuadrada, breve,
1209 @ref{note value}, twice as long as a whole note. Mainly used in
1210 pre-1650 music. The shortest note value generally used in white
1211 mensural notation, hence the name, which originally meant "of short
1214 @lilypond[fragment,notime,ragged-right]
1215 \set Score.automaticBars = ##f
1216 \relative c'' { g\breve }
1249 Clef symbol indicating the position of the middle C. Used on all note
1252 @lilypond[fragment,notime,line-width=13.0\cm]
1253 \set Score.automaticBars = ##f
1254 \override Score.Clef #'full-size-change = ##t
1256 \context Staff \relative c' {
1258 \clef mezzosoprano c
1263 \context Lyrics \lyrics {
1264 \override Lyrics .LyricText #'self-alignment-X = #-1
1265 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1281 FI: kadenssi, lopuke.
1285 @ref{harmonic cadence}, @ref{functional harmony}.
1298 FI: kadenssi, lopuke.
1300 An extended, improvisatory style section inserted near the end of
1301 movement. The purpose of a cadenza is to give singers or players a
1302 chance to exhibit their technical skill and -- not last -- their
1303 ability to improvise. Since the middle of the 19th century, however,
1304 most cadenzas have been written down by the composer.
1317 FI: kaanon, tarkka jäljittely.
1334 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1335 viritysjärjestelmässä.
1337 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1338 (1/100 of an equally tempered @ref{semitone}).
1342 @ref{equal temperament}.
1365 Three or more tones sounding simultaneously. In traditional European
1366 music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
1367 @emph{Major} (major + minor @ref{third}) as well as @emph{minor}
1368 (minor + major third) chords may be extended with more thirds.
1369 Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
1370 chords are most often used as dominants (@ref{functional harmony}). A
1371 special case is chords having no third above the lower notes to define
1372 their quality as major or minor. Such chords are denoted open chords
1374 @lilypond[fragment,notime,line-width=13.0\cm]
1375 \set Score.automaticBars = ##f
1376 %\override TextScript #'font-style = #'large
1378 \context Staff \relative c'' {
1379 \set Staff.extraNatural = ##f
1399 @node chromatic scale
1400 @section chromatic scale
1402 ES: escala cromática,
1404 F: gamme chromatique,
1405 D: chro@-ma@-ti@-sche Tonleiter,
1406 NL: chromatische toonladder,
1407 DK: kromatisk skala,
1409 FI: kromaattinen asteikko.
1411 A scale consisting of all 12 @ref{semitone}s.
1413 @lilypond[fragment,notime,line-width=13.0\cm]
1414 \set Score.automaticBars = ##f
1415 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1420 @section chromaticism
1431 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1435 @section church mode
1437 ES: modo eclesiástico,
1438 I: modo ecclesiastico,
1439 F: mode ecclésiastique,
1444 FI: moodi, kirkkosävellaji.
1448 @ref{diatonic scale}.
1457 D: Schlüssel, Notenschlüssel,
1461 FI: avain, nuottiavain.
1465 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1467 The clef indicates which lines of the staff correspond to which
1468 pitches. The three clef symbols in common use are:
1470 @lilypond[ragged-right,quote]
1473 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1474 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1475 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1480 Imagine a large staff of 11 lines centered on middle C, sometimes
1481 called a @q{grand staff}, with the bottom line representing low G and
1482 the top line high F:
1484 @lilypond[ragged-right,quote]
1487 %-- Treble Staff --%
1489 % Allow this staff to be placed close to the others
1490 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1491 % Allow the treble clef to overlap the lower staves:
1492 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1493 \override Staff.Clef #'stencil = ##f % No clef required
1495 s1^\markup { "g," \transparent "g" }
1496 s^ \markup { "b," \transparent "g" }
1497 s^ \markup { "d" \transparent "g" }
1498 s^ \markup { "f" \transparent "g" }
1499 s^ \markup { "a" \transparent "g" }
1500 s^ \markup { \with-color #red c' \transparent "g"}
1501 e'^\markup { "e'" \transparent "g" }
1502 g'^\markup { "g'" \transparent "g" }
1503 b'^\markup { "b'" \transparent "g" }
1504 d''^\markup { "d''" \transparent "g" }
1505 f''^\markup { "f ''" \transparent "g" }
1508 %-- Alto Staff reduced to a single line on middle C --%
1510 \override Staff.StaffSymbol #'line-count = 1 % One line only
1511 \override Staff.StaffSymbol #'color = #red % Coloured red
1512 \override Staff.Clef #'stencil = ##f % No clef required
1515 % Allow this staff to be placed close to the others
1516 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1517 % Specify height to give correct spacing between treble and bass staves
1518 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1520 s1 s s s s % Space along to align horizonatally
1521 \override NoteHead #'color = #red
1523 s1 s s s s s % Keep staff (ie the red line) showing
1527 % Allow this staff to be placed close to the others
1528 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1529 \override Staff.Clef #'stencil = ##f % No clef required
1532 s s s s s s s % Keep staff showing
1536 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1537 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1539 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1540 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1542 % Remove all barlines
1543 \context { \Score \override BarLine #'stencil = ##f
1545 % Remove time signature from all staves
1546 \context { \Staff \remove Time_signature_engraver
1552 Staves of five lines are usually used, and the clef superimposed on
1553 them indicates which five lines have been selected from this
1554 @samp{grand staff}. For example, the treble or G clef indicates that
1555 the top five lines have been selected:
1557 @lilypond[ragged-right,quote]
1560 %-- Treble Staff --%
1562 % Allow this staff to be placed close to the others
1563 \override Staff.VerticalAxisGroup
1564 #'minimum-Y-extent = #'(0 . 0)
1565 % Allow the treble clef to overlap the lower staves:
1566 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1567 \override Staff.Clef #'stencil = ##f % No clef required here
1569 s1^\markup { "g," \transparent "g" }
1570 s^ \markup { "b," \transparent "g" }
1571 s^ \markup { "d" \transparent "g" }
1572 s^ \markup { "f" \transparent "g" }
1573 s^ \markup { "a" \transparent "g" }
1574 s^ \markup { \with-color #red c' \transparent "g"}
1575 \stopStaff \startStaff
1576 \clef "C" % Dummy to force next clef to be printed
1577 s % Need at least one note for \clef to take effect
1578 \override Staff.Clef #'stencil = ##t % Clef now required
1579 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1581 e'^\markup { "e'" \transparent "g" }
1582 g'^\markup { "g'" \transparent "g" }
1583 b'^\markup { "b'" \transparent "g" }
1584 d''^\markup { "d''" \transparent "g" }
1585 f''^\markup { "f ''" \transparent "g" }
1587 %-- Alto Staff reduced to a single line on middle C --%
1589 \override Staff.StaffSymbol #'line-count = 1 % One line only
1590 \override Staff.StaffSymbol #'color = #red % Coloured red
1591 \override Staff.Clef #'stencil = ##f % No clef required
1594 % Allow this staff to be placed close to the others
1595 \override Staff.VerticalAxisGroup
1596 #'minimum-Y-extent = #'(0 . 0)
1597 % Specify height to give correct spacing between the staves
1598 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1600 s1 s s s s % Space along to align horizonatally
1601 \override NoteHead #'color = #red
1603 % s1 s s s s % Keep staff (ie the red line) showing
1607 % Allow this staff to be placed close to the others
1608 \override Staff.VerticalAxisGroup
1609 #'minimum-Y-extent = #'(0 . 0)
1610 \override Staff.Clef #'stencil = ##f % No clef required
1613 % s s s s s s % Keep staff showing
1617 % Reduce horizontal spacing so semibreves can be used
1618 % without exceeding 1 line
1619 \context { \Score \override SpacingSpanner
1620 #'base-shortest-duration = #(ly:make-moment 1 1)
1622 % Reduce apparent vertical size of note heads to
1623 % permit them to overlap other grobs vertically
1624 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1626 % Remove all barlines
1627 \context { \Score \override BarLine #'stencil = ##f
1629 % Remove time signature from all staves
1630 \context { \Staff \remove Time_signature_engraver
1636 The @q{curl} of the G clef in centered on the line that represents the
1639 In the same way, the bass or F clef indicates that the bottom five
1640 lines have been selected from the @samp{grand staff}, and the alto or
1641 C clef indicates the middle five lines have been selected. This
1642 relationship is shown below, where the notes show an arpeggio on a C
1645 @lilypond[ragged-right,quote]
1648 %-- Treble Staff --%
1649 \new Staff = "G" \with {
1650 \remove Time_signature_engraver
1653 % The following two overrides are required to make the two middle C's overlap
1654 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1655 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1657 \override Staff.Clef #'Y-extent = #'(0 . 0)
1659 s1 s s s s e' g' c''
1662 \new Staff = "C" \with {
1663 \remove Time_signature_engraver
1666 \override Staff.StaffSymbol #'line-count = 1
1667 \override Staff.StaffSymbol #'stencil = ##f
1668 \once \override Staff.Clef #'stencil = ##f
1669 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1670 \override Score.BarLine #'stencil = ##f
1672 % The following two overrides are required to align the C staff to the G and F staves
1673 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1674 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1677 \stopStaff \startStaff
1678 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1679 \revert Staff.StaffSymbol #'stencil
1680 \override Staff.StaffSymbol #'color = #red
1681 b'1 % A frig. This really shows as a middle C in the score
1683 \stopStaff \startStaff
1684 \override Staff.StaffSymbol #'line-count = 5
1685 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1686 \override Staff.Clef #'Y-extent = #'(0 . 0)
1687 \revert Staff.StaffSymbol #'color
1688 \stopStaff \startStaff
1690 s1 s s c e g c' e' g' c''
1693 \new Staff = "F" \with {
1694 \remove Time_signature_engraver
1697 \override Staff.Clef #'Y-extent = #'(0 . 0)
1698 % The following two overrides are required to make the two middle C's overlap
1699 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1700 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1708 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1711 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1714 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1731 FI: klusteri, cluster.
1733 A @emph{cluster} is a range of simultaneously sounding pitches that
1734 may change over time. The set of available pitches to apply usually
1735 depends on the acoustic source. Thus, in piano music, a cluster
1736 typically consists of a continuous range of the semitones as provided
1737 by the piano's fixed set of a chromatic scale. In choral music, each
1738 singer of the choir typically may sing an arbitrary pitch within the
1739 cluster's range that is not bound to any diatonic, chromatic or other
1740 scale. In electronic music, a cluster (theoretically) may even cover
1741 a continuous range of pitches, thus resulting in colored noise, such
1744 Clusters can be denoted in the context of ordinary staff notation by
1745 engraving simple geometrical shapes that replace ordinary notation of
1746 notes. Ordinary notes as musical events specify starting time and
1747 duration of pitches; however, the duration of a note is expressed by
1748 the shape of the note head rather than by the horizontal graphical
1749 extent of the note symbol. In contrast, the shape of a cluster
1750 geometrically describes the development of a range of pitches
1751 (vertical extent) over time (horizontal extent). Still, the
1752 geometrical shape of a cluster covers the area in which any single
1753 pitch contained in the cluster would be notated as an ordinary note.
1755 @lilypond[fragment,relative=2,ragged-right]
1756 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1770 FI: komma, korvinkuultava ero äänenkorkeudessa.
1772 Difference in pitch between a note derived from pure tuning and the
1773 same note derived from some other tuning method.
1781 @section common meter
1791 @section common time
1793 4/4 time. The symbol, which resembles a capital letter C derives from
1794 mensural notation (q.v.).
1804 ES: intervalo invertido,
1806 F: intervalle complémentaire,
1807 D: Komplementärintervall,
1808 NL: complementair interval,
1809 DK: komplementærinterval,
1810 S: komplementärintervall (?),
1811 FI: täydentävä intervalli.
1815 @ref{inverted interval}.
1818 @node compound interval
1819 @section compound interval
1821 ES: intervalo compuesto,
1822 I: intervallo composto,
1823 F: intervalle composé,
1824 D: weites Intervall,
1825 NL: samengesteld interval,
1826 DK: sammensat interval,
1827 S: sammansatt intervall,
1828 FI: oktaavia laajempi intervalli.
1830 Intervals larger than an octave.
1837 @node compound meter
1838 @section compound meter
1849 A meter that includes a triplet subdivision within the beat, such as
1854 @ref{meter}, @ref{simple meter}.
1858 @section compound time
1869 @ref{compound meter}
1877 @section concert pitch
1888 FIXME: this is a placeholder
1891 @node conjunct movement
1892 @section conjunct movement
1894 ES: movimiento conjunto,
1896 F: mouvement conjoint,
1897 D: schritt@-weise, stufenweise Bewegung,
1898 NL: stapsgewijze, trapsgewijze beweging,
1899 DK: trinvis bevægelse,
1901 FI: asteittainen liike.
1903 Progressing melodically by intervals of a second. The opposite of a
1904 @ref{disjunct movement}.
1906 @lilypond[fragment,line-width=13.0\cm]
1907 \key g \major \time 4/4
1908 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1922 FI: konsonanssi, sopusointi.
1947 @section counterpoint
1956 FI: kontrapunkti, ääni ääntä vastaan.
1958 From Latin @emph{punctus contra punctum}, note against note. The
1959 combination into a single musical fabric of lines or parts which have
1960 distinct melodic significance. A frequently used polyphonic technique
1961 is imitation, in its strictest form found in the canon needing only
1962 one part to be written down while the other parts are performed with a
1963 given displacement. Imitation is also the contrapunctal technique
1964 used in the @emph{fugue} which, since the music of the baroque era,
1965 has been one of the most popular polyphonic composition methods.
1967 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1968 \set Score.implicitTimeSignatureVisibility = #all-invisible
1969 \override Score.TimeSignature #'break-visibility = #all-invisible
1970 \context PianoStaff <<
1971 \context Staff = SA \relative c' {
1975 << \context Voice = rha {
1977 r1 | r2 r8 g'8 bes d, |
1978 cis4 d r8 e!16 f g8 f16 e |
1979 f8 g16 a bes8 a16 g a8
1981 \context Voice = rhb {
1987 \context Staff = SB \relative c' {
1990 << \context Voice = lha {
1992 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1993 r8 a16 g f8 g16 a bes8 g e! cis' |
1996 \context Voice = lhb {
2006 @section counter tenor
2011 D: Countertenor, Kontratenor,
2014 S: kontratenor, counter tenor,
2023 @section copying music
2025 A music copyist did fast freehand scores and parts on preprinted staff
2026 lines for performance. Some of their conventions (e.g., the placement
2027 of note heads on stems) varied slightly from those of engravers. Some
2028 of their working methods were superior and could well be adopted by
2029 music typesetters. Copying music required more skill than engraving.
2038 D: Crescendo, lauter werden,
2042 FI: cresendo, voimistuen.
2044 Increasing volume. Indicated by a rightwards opening horizontal wedge
2045 or the abbreviation @samp{cresc.}.
2047 @lilypond[fragment,ragged-right]
2048 \key g \major \time 4/4
2049 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2058 F: petites notes précédent l'entrée d'un instrument, réplique,
2065 In a separate part notes belonging to another part with the purpose of
2066 hinting when to start playing. Usually printed in a smaller type.
2075 D: Notenzeiger, Custos,
2081 A custos (plural: custodes) is a staff symbol that appears at the end
2082 of a staff line with monophonic musical contents (i.e., with a single
2083 voice). It anticipates the pitch of the first note of the following
2084 line and thus helps the player or singer to manage line breaks during
2085 performance, thus enhancing readability of a score.
2087 Custodes were frequently used in music notation until the 16th
2088 century. There were different appearences for different notation
2089 styles. Nowadays, they have survived only in special forms of musical
2090 notation such as via the Editio Vaticana dating back to the beginning
2096 % \override Staff.Custos #'neutral-position = #4
2097 \override Staff.Custos #'neutral-direction = #down
2098 \override Staff.Custos #'style = #'hufnagel
2106 \consists Custos_engraver
2136 F: da capo, depuis le commencement,
2137 D: da capo, von Anfang,
2141 FI: da capo, alusta.
2143 The term indicates repetition of the piece from the beginning to the
2144 end or to a certain place marked @emph{fine}. Usually abbreviated as
2153 F: dal segno, depuis le signe,
2154 D: dal segno, ab dem Zeichen,
2158 FI: dal segno, lähtien merkistä.
2160 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2161 another place frequently near the beginning marked by a sign:
2163 @lilypond[fragment,ragged-right]
2164 %\override TextScript #'font-style = #'large
2165 \override TextScript #'font-shape = #'italic
2166 \key g \major \time 4/4
2171 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2178 @section decrescendo
2182 D: Decrescendo, leiser werden,
2186 FI: decresendo, hiljentyen.
2188 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2189 or the abbreviation @samp{decresc.}.
2191 @lilypond[fragment,ragged-right]
2193 \key g \major \time 4/4
2194 d4 \> c b a | g1 \! \bar "|."
2199 @node descending interval
2200 @section descending interval
2202 ES: intervalo descendente,
2203 I: intervallo discendente,
2204 F: intervalle descendant,
2205 D: fallendes Intervall, absteigendes Intervall,
2206 NL: dalend interval,
2207 DK: faldende interval,
2208 S: fallande intervall,
2209 FI: laskeva intervalli.
2211 A distance between a starting higher note and a lower ending note.
2214 @node diatonic scale
2215 @section diatonic scale
2217 ES: escala diatónica,
2219 F: gamme diatonique,
2220 D: diatonische Tonleiter,
2221 NL: diatonische toonladder,
2222 DK: diatonisk skala,
2224 FI: diatoninen asteikko.
2226 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{
2227 }@ref{semitone}s (S). Scales played on the white keys of a piano
2228 keybord are diatonic.
2230 The church modes are used in gregorian chant and in pre-baroque early
2231 music but also to some extent in newer jazz music.
2233 @lilypond[fragment,notime,ragged-right]
2234 \set Score.automaticBars = ##f
2235 %\override Score.LyricText #'font-style = #'large
2236 %\override Score.TextScript #'font-style = #'large
2238 \context Staff \relative c' {
2240 \override TextScript #'padding = #-4
2241 e^"~~ S" f g a b^"~~ S" c
2243 \context Lyrics \lyrics {
2249 @lilypond[fragment,notime,ragged-right]
2250 \set Score.automaticBars = ##f
2252 \context Staff \relative c' {
2254 \override TextScript #'padding = #-4
2255 e^"~~ S" f g a b^"~~ S" c d
2263 @lilypond[fragment,notime,ragged-right]
2264 \set Score.automaticBars = ##f
2267 \override TextScript #'padding = #-4
2268 e1^"~~ S" f g a b^"~~ S" c d e
2276 @lilypond[fragment,notime,ragged-right]
2277 \set Score.automaticBars = ##f
2281 \override TextScript #'padding = #-4
2282 b^"~~ S" c d e^"~~ S" f
2290 @lilypond[fragment,notime,ragged-right]
2291 \set Score.automaticBars = ##f
2295 \override TextScript #'padding = #-4
2296 b^"~~ S" c d e^"~~ S" f g }
2303 @lilypond[fragment,notime,ragged-right]
2304 \set Score.automaticBars = ##f
2305 %\override Score.LyricText #'font-style = #'large
2306 %\override Score.TextScript #'font-style = #'large
2310 \override TextScript #'padding = #-4
2311 b^"~~ S" c d e^"~~ S" f g a
2319 From the beginning of the 17th century the scales used in European
2320 compositional music are primarily the major and the minor scales. In
2321 the harmonic minor scale type an augmented second (A) occurs between
2322 the 6th and 7th tone.
2324 @lilypond[fragment,notime,ragged-right]
2325 \set Score.automaticBars = ##f
2329 \override TextScript #'padding = #-4
2330 e^"~~ S" f g a b^"~~ S" c
2338 @lilypond[fragment,notime,ragged-right]
2339 \set Score.automaticBars = ##f
2343 \override TextScript #'padding = #-4
2344 b^"~~ S" c d e^"~~ S" f g a
2352 @lilypond[fragment,notime,ragged-right]
2353 \set Score.automaticBars = ##f
2357 \override TextScript #'padding = #-4
2358 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2360 \context Lyrics \lyrics {
2366 @lilypond[fragment,notime,line-width=13.0\cm]
2367 \set Score.automaticBars = ##f
2368 %\override Score.LyricText #'font-style = #'large
2369 %\override Score.TextScript #'font-style = #'large
2373 \override TextScript #'padding = #-4
2374 b^"~~ S" c d e fis gis^"~~ S"
2375 a g! f!^"~~ S" e d c^"~~ S" b a
2384 @node diminished interval
2385 @section diminished interval
2387 ES: intervalo disminuido,
2388 I: intervallo diminuito,
2389 F: intervalle diminué,
2390 D: vermindertes Intervall,
2391 NL: verminderd interval,
2392 DK: formindsket interval,
2393 S: förminskat intervall,
2394 FI: vähennetty intervalli.
2411 FI: diminuendo, hiljentyen.
2435 @node disjunct movement
2436 @section disjunct movement
2438 ES: movimiento disjunto,
2440 F: mouvement disjoint,
2441 D: sprunghafte Bewegung,
2442 NL: sprongsgewijze beweging,
2443 DK: springende bevægelse,
2444 S: hoppande rörelse,
2445 FI: melodian hyppivä liike.
2447 Progressing melodically by intervals larger than a major second, as
2448 opposed to @ref{conjunct movement}.
2450 @lilypond[fragment,ragged-right]
2455 a4. gis8 b a e cis |
2456 fis2 d4. \bar "||" }
2463 @ref{dissonant interval}.
2466 @node dissonant interval
2467 @section dissonant interval
2469 ES: intervalo disonante, disonancia,
2470 I: intervallo dissonante, dissonanza,
2473 NL: dissonant interval, dissonant,
2474 DK: dissonerende interval, dissonans,
2476 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2483 @node dominant ninth chord
2484 @section dominant ninth chord
2486 ES: acorde de novena de dominante,
2487 I: accordo di nona di dominante,
2488 F: accord de neuvième dominante,
2489 D: Domi@-nant@-nonen@-akkord,
2490 NL: dominant noon akkoord,
2491 DK: dominantnoneakkord,
2492 S: dominantnonackord,
2493 FI: dominanttinoonisointu.
2497 @ref{chord}, @ref{functional harmony}.
2500 @node dominant seventh chord
2501 @section dominant seventh chord
2503 ES: acorde de séptima de dominante,
2504 I: accordo di settima di dominante,
2505 F: accord de septième dominante,
2506 D: Dominantseptakkord,
2507 NL: dominant septiem akkoord,
2508 DK: dominantseptimakkord,
2509 S: dominantseptimackord,
2510 FI: dominanttiseptimisointu.
2514 @ref{chord}, @ref{functional harmony}.
2527 FI: dominantti, huippusointu.
2529 The fifth @ref{scale degree} in @ref{functional harmony}.
2533 @section dorian mode
2538 D: dorisch, dorischer Kirchenton,
2539 NL: dorische toonladder,
2546 @ref{diatonic scale}.
2549 @node dot (augmentation dot)
2550 @section dot (augmentation dot)
2553 I: punto (di valore),
2555 D: Punkt (Verlängerungspunkt),
2563 @ref{dotted note}, @ref{note value}.
2567 @section dotted note
2569 ES: nota con puntillo,
2573 NL: gepuncteerde noot,
2576 FI: pisteellinen nuotti.
2583 @node double appoggiatura
2584 @section double appoggiatura
2586 ES: apoyatura doble,
2587 I: appoggiatura doppia,
2588 F: appoggiature double,
2589 D: doppelter Vorschlag,
2590 NL: dubbele voorslag,
2591 DK: dobbelt forslag,
2593 FI: kaksoisappogiatura, kaksoisetuhele.
2600 @node double bar line
2601 @section double bar line
2607 NL: dubbele maatstreep,
2610 FI: kaksoistahtiviiva.
2612 Indicates the end of a section within a movement.
2615 @node double dotted note
2616 @section double dotted note
2618 ES: nota con doble puntillo,
2619 I: nota doppiamente puntata,
2620 F: note doublement pointée,
2621 D: doppelt punktierte Note,
2622 NL: dubbelgepuncteerde noot,
2623 DK: dob@-belt@-punk@-te@-ret node,
2624 S: dub@-bel@-punk@-te@-rad not,
2625 FI: kaksoispisteellinen nuotti.
2633 @section double flat
2642 FI: kaksoisalennusmerkki.
2650 @section double sharp
2652 ES: doble sostenido,
2657 DK: dob@-belt@-kryds,
2659 FI: kaksoisylennysmerkki.
2666 @node double time signature
2667 @section double time signature
2680 @ref{polymetric time signature}.
2684 @section double trill
2690 NL: dubbele triller,
2695 A simultaneous trill on two notes, usually in the distance of a third.
2699 @section duple meter
2704 D: in zwei, grader Takt,
2705 NL: tweedelige maatsoort,
2742 FI: kesto, aika-arvo.
2750 @section dydimic comma
2754 @ref{syntonic comma}.
2763 D: Dynamik, Lautstärke,
2769 The aspect of music relating to degrees of loudness, or changes from
2770 one degree to another. The terms, abbreviations, and symbols used to
2771 indicate this information are called dynamic marks.
2775 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2796 @node ecclesiastical mode
2797 @section ecclesiastical mode
2805 @section eighth note
2811 D: Achtel, Achtelnote,
2813 DK: ottendedelsnode,
2815 FI: kahdeksasosanuotti.
2823 @section eighth rest
2825 ES: silencio de corchea,
2831 DK: ottendedelspause,
2833 FI: kahdeksasosatauko.
2843 @c TODO: add languages
2854 @c TODO definition -- referenced from lyric tie
2858 @section embellishment
2871 D: Notenstich, Notendruck
2877 Engraving means incising or etching a metal plate for printing.
2878 Photoengraving means drawing music with ink in a manner similar to
2879 drafting or engineering drawing, using similar tools.
2881 The traditional process of music printing is done through cutting in a
2882 plate of metal. Now also the term for the art of music typesetting.
2897 Two notes, intervals, or scales are enharmonic if they have different
2898 names but equal pitch.
2900 @lilypond[fragment,notime,line-width=13.0\cm]
2901 \set Score.automaticBars = ##f
2903 \context Staff \relative c'' {
2904 gis1 as <des g,!> <cis g!>
2906 \context Lyrics \lyrics {
2907 \override Lyrics .LyricText #'self-alignment-X = #-1
2908 "g sharp " "a flat " "dim fifth " "augm fourth"
2914 @node equal temperament
2915 @section equal temperament
2917 ES: temperamento igual,
2918 I: temperamento equabile,
2919 F: tempérament égal,
2920 D: gleichschwebende Stimmung,
2921 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2922 DK: ligesvævende temperatur,
2923 S: liksvävande temperatur,
2926 Tuning system dividing the octave into 12 equal @ref{semitone}s
2927 (precisely 100 @ref{cent}s).
2934 @node expression mark
2935 @section expression mark
2938 I: segno d'espressione,
2939 F: signe d'expression, indication de nuance,
2941 NL: voordrachtsteken,
2942 DK: foredragsbetegnelse,
2943 S: föredragsbeteckning,
2944 FI: nyanssiosoitus, esitysmerkki.
2946 Performance indications concerning:
2950 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
2952 @item tempo (for example @ref{andante}, @ref{allegro}).
2958 @section extender line
2960 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2962 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2969 The generic term for a line (or dash) of arbitrary length that extends
2970 text (without indicating the musical @emph{function} of that text).
2972 Used in many contexts, for example:
2976 @item In vocal music to indicate the syllable for a melisma. Called
2977 @q{extension} in the
2978 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
2982 In figured (or thorough) bass to indicate that:
2986 @item The extended note should be held through a change in
2987 harmony, when applied to one figure --OR--
2989 @item The chord thus represented should be held above a moving
2990 bass line, when applied to more than one figure.
2992 @item These uses were not completely standardized, and some
2993 composers used a single extender line to indicate the
2999 In string music to indicate that all notes in the passage thus
3000 indicated should be played on the same string. On the violin, for
3001 example, a series of notes to be played on the G string would be
3002 indicated @samp{sul G}, another series to be played on the D string
3003 would be indicated @samp{sul D}, and so on.
3009 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
3041 The position between the dots of the key symbol is the line of the F
3042 below central@w{ }C. Used on the third, fourth and fifth note line.
3043 A digit@w{ }8 above the clef symbol indicates that the notes must be
3044 played an octave higher (for example, bass recorder) while 8@w{ }below
3045 the clef symbol indicates playing an octave lower (for example, on
3046 double bass @ref{strings}).
3048 @lilypond[fragment,notime,line-width=13.0\cm]
3049 \set Score.automaticBars = ##f
3050 \override Staff.Clef #'full-size-change = ##t
3078 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3081 @node feathered beam
3082 @section feathered beam
3086 F: liens de croches en soufflet,
3087 D: gespreizter Balken,
3093 A type of beam used to indicate that a small group of notes should be
3094 played at an increasing or decreasing tempo -- depending on the
3095 direction of @q{feathering} -- but without changing the overall tempo
3100 Internals Reference: @ruser{Manual beams}
3108 F: point d'orgue, point d'arrêt,
3113 FI: fermaatti, pidäke.
3115 Prolonged note or rest of indefinite duration.
3117 @lilypond[fragment,ragged-right]
3120 a4 b c2^\fermata \bar "|."
3143 @section figured bass
3147 @ref{thorough bass}.
3162 The methodical use of fingers in the playing of instruments.
3169 I: coda (uncinata), bandiera,
3177 Ornament at the end of the stem of a note used for notes with values
3178 less than a quarter note. The number of flags determines the
3181 @lilypond[fragment,notime,ragged-right]
3182 \set Score.automaticBars = ##f
3183 %\override Score.TextScript #'font-style = #'large
3228 FI: forte, voimakkaasti.
3230 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3231 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3251 @node Frenched score
3252 @section Frenched score
3263 A @q{condensed} score, produced by omitting staves for instruments that are not
3264 playing at the moment, and by moving up additional systems from following pages
3265 to take up the space thus liberated, which reduces the total number of pages
3266 used to print the work.
3268 The specific rules for @q{frenching} a score differ from publisher to publisher.
3269 If you are producing scores for eventual publication by a commercial publisher,
3270 you may wish to procure a copy of their style manual.
3274 @ref{Frenched staff}.
3277 @node Frenched staff
3278 @section Frenched staff
3289 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3290 measures or sections removed. This would be useful for producing, for example,
3291 an @emph{ossia} staff.
3298 @node Frenched staves
3299 @section Frenched staves
3310 The plural of @ref{Frenched staff}, @emph{q.v.}.
3330 @node functional harmony
3331 @section functional harmony
3333 ES: armonía funcional,
3334 I: armonia funzionale,
3335 F: étude des functions,
3337 NL: functionele harmonie,
3338 DK: funktionsanalyse, funktionsharmonik,
3340 FI: harmoniajärjestelmä.
3342 A system of harmonic analysis. It is based on the idea that, in a
3343 given key, there are only three functionally different chords: tonic
3344 (T, the chord on the first note of the scale), subdominant (S, the
3345 chord on the fourth note), and dominant (D, the chord on the fifth
3346 note). Others are considered to be variants of the base chords.
3348 @lilypond[fragment,notime,line-width=13.0\cm]
3349 \set Score.automaticBars = ##f
3351 \context Voice \relative c'' {
3352 <g e c >1 < a f d > < b g e >
3353 <c a f > < d b g > < e c a > < f d b > }
3354 \context Lyrics \lyrics {
3355 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3383 D: G-Schlüssel, Violinschlüssel,
3389 A clef symbol indicating the G above middle@w{ }C. Used on the first
3390 and second note lines. A digit 8 above the clef symbol indicates that
3391 the notes must be played an octave higher while 8 below the clef
3392 symbol indicates playing or singing an octave lower (most tenor parts
3393 in choral scores are notated like that).
3395 @lilypond[fragment,notime,ragged-right]
3397 \set Score.automaticBars = ##f
3398 \override Staff.Clef #'full-size-change = ##t
3401 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3411 \context Lyrics \lyrics {
3412 \override Lyrics . LyricText #'X-offset = #-5
3413 "french violin clef"
3432 FI: glissando, liukuen.
3434 Letting the pitch slide fluently from one note to the other.
3438 @section grace notes
3440 ES: notas de adorno,
3443 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3449 Notes printed in small types to indicate that their time values are not
3450 counted in the rhythm of the bar.
3454 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3459 @section grand staff
3461 ES: sistema de piano,
3464 D: Akkolade, Klaviersystem,
3467 S: ackolad, böjd klammer,
3468 FI: kaksoisnuottiviivasto.
3470 A combination of two staves with a brace. Usually used for piano music.
3487 FI: grave, raskaasti.
3512 Letter name used for @samp{B natural} in German and Scandinavian
3513 usage. In the standard usage of these countries, @samp{B} means
3518 @ref{Pitch names}, @ref{B}
3528 D: Halbe, halbe Note,
3542 ES: silencio de blanca,
3557 @node harmonic cadence
3558 @section harmonic cadence
3560 ES: cadencia (armónica),
3561 I: cadenza (armonica),
3562 F: cadence harmonique,
3564 NL: harmonische cadens,
3565 DK: harmonisk kadence,
3566 S: (harmonisk) kadens,
3567 FI: harmoninen kadenssi.
3569 A sequence of chords that terminates a musical phrase or section.
3571 @ref{functional harmony}.
3573 @lilypond[fragment,ragged-right]
3574 \context PianoStaff <<
3575 \context Staff = SA \relative c'' {
3579 \partial 4 < c g e >4 |
3580 < c a f > < b g d > < c g e >2
3583 \context Staff = SB \relative c {
3585 \partial 4 c4 | f, g c2
3603 D: Harmonie, Zusammenklang,
3607 FI: harmonia, yhteissointi.
3609 Tones sounding simultaneously. Two note harmonies fall into the
3610 categories @emph{consonances} and @emph{dissonances}.
3614 @lilypond[fragment,notime,line-width=13.0\cm]
3615 \set Score.automaticBars = ##f
3616 %\override Score.TextScript #'font-style = #'large
3617 \context Voice \relative c'' {
3630 @lilypond[fragment,notime,line-width=13.0\cm]
3631 \set Score.automaticBars = ##f
3632 %\override Score.TextScript #'font-style = #'large
3633 \context Voice \relative c'' {
3634 <g a>1_"second " s s
3635 <g f'>_"seventh " s s
3640 Three note harmony @ref{chord}.
3655 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3656 the use of three notes of equal value in the time normally occupied by
3657 of two notes of equal value. The resulting rhythm can be expressed in
3658 modern terms as a substitution (for example) of a bar in 3/2 for one
3659 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3660 hemiola is most frequently as a special effect (or @emph{affect}) at
3663 @c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
3664 @c cont'd: {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
3668 @ref{mensural notation}, @ref{meter}
3681 FI: homofonia, yksiäänisyys.
3683 Music in which one voice leads melodically followed by the other
3684 voices more or less in the same rhythm. In contrast to
3698 FI: intervalli, kahden sävelen korkeusero.
3700 Difference in pitch between two notes. Intervals may be perfect,
3701 minor, major, diminished, or augmented. The augmented fourth and the
3702 diminished fifth are identical (@ref{enharmonic}) and are called
3703 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3704 addition of such two intervals forms an octave.
3706 @lilypond[fragment,notime,line-width=13.0\cm]
3707 \set Score.automaticBars = ##f
3709 \context Voice \relative c'' {
3719 \context Lyrics \lyrics {
3720 "unison " "second " "second " "second "
3721 "third " "third " "third " "third"
3726 @lilypond[fragment,notime,line-width=13.0\cm]
3727 \set Score.automaticBars = ##f
3729 \context Staff \relative c'' {
3740 "fourth " "fourth " "fifth " "fifth "
3741 "sixth " "sixth " "sixth " "sixth"
3746 @lilypond[fragment,notime,line-width=13.0\cm]
3747 \set Score.automaticBars = ##f
3749 \context Staff \relative c'' {
3750 < gis f'! >1^"dimin"
3759 \context Lyrics \lyrics {
3760 "seventh " "seventh " "seventh " "octave "
3761 "ninth " "ninth " "tenth " "tenth"
3767 @node inverted interval
3768 @section inverted interval
3770 ES: intervalo invertido,
3771 I: intervallo rivolto,
3772 F: intervalle reversé,
3773 D: umgekehrtes Intervall,
3774 NL: interval inversie,
3775 DK: omvendingsinterval,
3776 S: intervallets omvändning,
3777 FI: käänteisintervalli.
3779 The difference between an interval and an octave.
3781 @lilypond[fragment,notime,line-width=13.0\cm]
3782 \set Score.automaticBars = ##f
3783 %\override Score.TextScript #'font-style = #'large
3784 \context Staff \relative c'' {
3785 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3786 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3787 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3792 @node just intonation
3793 @section just intonation
3795 ES: entonación justa,
3796 I: intonazione giusta,
3797 F: intonation juste,
3804 Tuning system in which the notes are obtained by adding and subtracting
3805 natural fifths and thirds.
3822 According to the 12@w{ }tones of the @ref{chromatic scale}
3823 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3827 @ref{key signature}.
3831 @section key signature
3833 ES: armadura (de la clave),
3834 I: armatura di chiave,
3835 F: armure, armature [de la clé],
3836 D: Vorzeichen, Tonart,
3837 NL: toon@-soort (voortekens),
3840 FI: sävellajiosoitus.
3842 The sharps or flats appearing at the beginning of each staff indicating the
3848 @node laissez vibrer
3849 @section laissez vibrer
3860 [From French] "Let vibrate". Most frequently associated with harp
3861 parts. Marked @samp{l.v.} in the score.
3870 D: Largo, Langsam, Breit,
3874 FI: largo, hitaasti, leveästi.
3876 Very slow in tempo, usually combined with great
3877 expressiveness. @emph{Larghetto} is less slow than largo.
3881 @section leading note
3892 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
3893 called because of its strong tendency to @q{lead up} (resolve upwards)
3894 to the tonic scale degree.
3898 @section ledger line
3900 ES: línea adicional,
3901 I: tagli addizionali,
3902 F: ligne supplémentaire,
3909 A ledger line is an extension of the staff.
3911 @lilypond[fragment,notime,ragged-right]
3912 \set Score.automaticBars = ##f
3913 \relative c'' { a,1 s c'' }
3923 D: legato, gebunden,
3929 To be performed (a) without any perceptible interruption between the
3930 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
3931 @emph{portato}, and (d) @ref{staccato}.
3933 @lilypond[fragment,notime,line-width=13.0\cm]
3934 \set Score.automaticBars = ##f
3936 \context Staff \relative c'' {
3937 c4-( d e-) \bar "||"
3938 c4-- d-- e-- \bar "||"
3939 c4-.-( d-. e-.-) \bar "||"
3940 c4-. d-. e-. \bar "||"
3953 @section legato curve
3957 @ref{slur}, @ref{legato}.
3971 ES: estanque de nenúfares,
3972 I: stagno del giglio,
3976 NL: le@-lie@-vij@-ver,
3981 A pond with lilies floating in it, also the name of a music typesetter.
3996 A ligature is a coherent graphical symbol that represents at least two
3997 distinct notes. Ligatures originally appeared in the manuscripts of
3998 Gregorian chant notation roughly since the 9th century to denote
3999 ascending or descending sequences of notes. In early notation,
4000 ligatures were used for monophonic tunes (Gregorian chant) and very
4001 soon denoted also the way of performance in the sense of articulation.
4002 With the invention of the metric system of the white mensural
4003 notation, the need for ligatures to denote such patterns disappeared.
4012 D: Linie, Notenlinie,
4016 FI: viiva, nuottiviiva.
4023 @node long appoggiatura
4024 @section long appoggiatura
4026 ES: apoyatura larga,
4027 I: appoggiatura lunga,
4028 F: appoggiature longue,
4033 FI: pitkä appoggiatura, pitkä etuhele.
4052 Note value: double length of @ref{breve}.
4054 @lilypond[fragment,notime,ragged-right]
4055 \set Score.automaticBars = ##f
4057 \override NoteHead #'style = #'mensural
4070 ES: letra (de la canción),
4073 D: Liedtext, Gesangtext,
4092 @c TODO: add languages
4099 @node major interval
4100 @section major interval
4102 ES: intervalo mayor,
4103 I: intervallo maggiore,
4104 F: intervalle majeur,
4105 D: großes Intervall,
4109 FI: suuri intervalli.
4130 @ref{diatonic scale}.
4133 @node meantone temperament
4134 @section meantone temperament
4136 ES: afinación mesotónica,
4137 I: accordatura mesotonica,
4138 F: tempérament mésotonique,
4139 D: mitteltönige Stimmung,
4140 NL: middenstemming, middentoonstemming,
4141 DK: middeltonetemperatur,
4142 S: medeltonstemperatur,
4143 FI: keskisävelviritys.
4145 Temperament yielding acoustically pure thirds by decreasing the
4146 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4147 character of this @ref{temperament} only a limited set of keys are
4148 playable. Used for tuning keyboard instruments for performance of
4164 A group of @ref{beat}s (units of musical time) the first of which
4165 bears an accent. Such groups in numbers of two or more recur
4166 consistently throughout the composition and are marked from each other
4176 I: mediante, modale,
4186 @item The third @b{scale degree}.
4188 @item A @ref{chord} having its base tone a third from that of another
4189 chord. For example, the tonic chord may be replaced by its lower
4190 mediant (variant tonic).
4195 @ref{functional harmony}, @ref{relative key}.
4205 FI: melisma, laulettavan tavun sävelkuvio.
4207 A melisma (plural, from Greek: melismata) is a group of notes or tones
4208 sung on one syllable, especially as applied to liturgical chant.
4212 @section melisma line
4214 @c TODO: add languages
4218 @ref{extender line}.
4221 @node melodic cadence
4222 @section melodic cadence
4229 @node mensural notation
4230 @section mensural notation
4232 @c FIXME: add languages
4243 @c TODO: add definition (inc. info on proportional notation)
4245 @c FIXME: add cross-references.
4253 F: indication de mesure, mesure,
4260 The basic pattern of @ref{note value}s and @ref{accent}s that remains
4261 unaltered throughout a composition or a section of it. Meters can be
4262 @emph{duple} or @emph{triple} depending on how the beat is grouped in
4263 the composition (or in sections thereof):
4267 @item In duple meters, the beat recurs in groups of two.
4269 @item In triple meters, the beat recurs in groups of three.
4273 Other recurrence patterns are possible:
4277 @item Quadruple meter: groups of four. A special case of duple meter.
4279 @item Quintuple meter: groups of five
4281 @item Sextuple meter: groups of six. A special case of:
4284 @item Duple meter, subdivided in three (less frequent); or
4285 @item Triple meter, subdivided in two (more frequent).
4288 @item Septuple meter: groups of seven.
4294 Other than quadruple and sextuple meters, these other recurrence
4295 patterns were not frequently used prior to the 20th Century.
4297 In addition to classification by primary beat grouping, meters can be further
4298 classified by how the primary beat is subdivided: if in two, the meter is
4299 @emph{simple}; if in three, the meter is @emph{compound}.
4306 @item duple: 2/2, 2/4, 2/8
4307 @item triple: 3/2, 3/4, 3/8
4308 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4311 @item Compound meter
4316 @item quadruple: 12/8
4321 Time signatures are placed at the beginning of a composition (or
4322 section) to indicate the meter. For instance, a piece written in
4323 simple triple meter with a beat on each quarter note has a time
4328 @lilypond[fragment,line-width=13.0\cm]
4332 c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
4335 Simple triple meter:
4337 @lilypond[fragment,line-width=13.0\cm]
4341 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4344 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4346 @lilypond[fragment,line-width=13.0\cm]
4350 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4353 Simple quintuple meter (B. Marcello, 1686-1739):
4355 @lilypond[fragment,line-width=13.0\cm]
4359 r4 cis8 bis ais4 dis c8 ais |
4360 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4363 Compound duple meter (unknown):
4365 @lilypond[fragment,line-width=13.0\cm]
4369 f8 f g a bes16 a g f |
4370 g8 g bes a c16 a bes g
4374 Compound triple meter (J.S. Bach, 1685-1750):
4376 @lilypond[fragment,line-width=13.0\cm]
4380 r8 g( a) b( d c) c( e d) |
4381 d( c fis) g( d b) g( a b)
4385 Compound quadruple meter (P. Yon, 1886-1943):
4387 @lilypond[fragment,line-width=13.0\cm]
4391 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4392 e4 e8 fis( gis) a b4.~ b4 b8
4398 @ref{hemiola}, @ref{time signature}
4413 Device indicating the exact tempo of a piece.
4415 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4416 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4417 divisions, and patented it as a "metronome". The inevitable lawsuit that
4418 followed acknowledged Winkler as the creator, but by then Mälzel had already
4419 sold many of them, and people had taken to calling it a Mälzel Metronome.
4423 @ref{metronome mark}.
4426 @node metronomic indication
4427 @section metronomic indication
4431 @ref{metronome mark}
4434 @node metronome mark
4435 @section metronome mark
4437 ES: indicación metronómica,
4438 I: indicazione metronomica,
4439 F: indication métronomique,
4441 NL: metronoom aanduiding,
4443 S: metronomangivelse,
4444 FI: metronomiosoitus.
4446 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4447 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4456 @section mezzo-soprano
4467 The female voice between @ref{soprano} and @ref{contralto}.
4476 D: eingestrichenes@w{ }c,
4478 DK: enstreget@w{ }c,
4479 S: ettstruket@w{ }c,
4482 First C below the 440 Hz A.
4484 @lilypond[fragment,notime,ragged-right]
4485 \set Score.automaticBars = ##f
4486 \override Staff.Clef #'full-size-change = ##t
4509 @ref{diatonic scale}.
4512 @node minor interval
4513 @section minor interval
4515 ES: intervalo menor,
4516 I: intervallo minore,
4517 F: intervalle mineur,
4518 D: kleines Intervall,
4522 FI: pieni intervalli.
4535 D: Kirchentonart, Modus,
4539 FI: moodi, kirkkosävelasteikko.
4543 @ref{church mode}, @ref{diatonic scale}.
4556 FI: modulaatio, sävellajin vaihdos.
4558 Moving from one @ref{key} to another. For example, the second subject
4559 of a @ref{sonata form} movement modulates to the dominant key if the
4560 key is major and to the @ref{relative key} if the key is minor.
4572 FI: mordent, korukuvio.
4597 FI: teema, sävelaihe.
4599 The briefest intelligible and self-contained fragment of a musical
4602 @lilypond[line-width=13.0\cm]
4605 \set Score.implicitTimeSignatureVisibility = #all-invisible
4606 \override Score.TimeSignature #'break-visibility = #all-invisible
4609 \partial 8 g16\startGroup fis |
4610 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4611 g8 g,16 a b8 cis d16 s
4615 \Staff \consists "Horizontal_bracket_engraver"
4633 Greater musical works like @ref{symphony} and @ref{sonata} most often
4634 consist of several -- more or less -- independant pieces called
4638 @node multi-measure rest
4639 @section multi-measure rest
4641 ES: compases de espera,
4645 D: mehrtaktige Pause, Kirchenpause,
4648 FI: usean tahdin mittainen tauko.
4650 Multi-measure rests are conventionally typeset with a combination of
4651 longa, breve and whole rests for shorter and a long horizontal bar for
4652 longer spans of rest, with a number above to indicate the duration (in
4653 measures) of the rest. The former style is called @q{Kirchenpausen} in
4654 German, as a reminiscence of its use in Renaissance vocal polyphony.
4656 @lilypond[fragment,ragged-right]
4659 \set Score.skipBars = ##t R1*3
4661 \set Score.skipBars = ##t R1*122
4668 @ref{longa}, @ref{breve}.
4671 @node mixolydian mode
4672 @section mixolydian mode
4676 @ref{diatonic scale}.
4685 D: Auflösungszeichen,
4686 NL: herstellingsteken,
4687 DK: op@-løsningstegn,
4688 S: återställningstecken,
4696 @node neighbour tones
4697 @section neighbour tones
4701 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4742 Notes are signs by means of which music is fixed in writing. The term is also
4743 used for the sound indicated by a note, and even for the key of the piano
4744 which produces the sound. However, a clear distinction between the terms tone
4745 and @ref{note} is strongly recommended. Briefly, one sees a note,
4753 I: testa, testina, capocchia,
4761 A head-like sign which indicates pitch by its position on a
4762 @ref{staff} provided with a @ref{clef}, and duration
4763 by a variety of shapes such as hollow or black heads with or without
4764 @ref{stem}s, @ref{flag}s, etc. For percussion
4765 instruments (often having no defined pitch) the note head may indicate the
4780 ES: valor (duración),
4782 F: durée, valeur (d'une note),
4787 FI: nuotin aika-arvo.
4789 Note values (durations) are measured as fractions, normally 1/2, of
4790 the next higher note value. The longest duration normally used is
4791 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4792 double-length note value @emph{longa} or the quadruple-length note
4793 value @emph{maxima} are used.
4795 @c TODO -- add maxima to this example, in a way that doesn't break it.
4797 @lilypond[fragment,notime,line-width=13.0\cm]
4798 %\override Score.TextScript #'font-style = #'large
4799 \set Score.automaticBars = ##f
4801 \override NoteHead #'style = #'mensural
4802 a\longa_"longa" a\breve_"breve"
4803 \revert NoteHead #'style
4804 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4805 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4808 @c TODO -- add maxima rest to this example
4810 @lilypond[fragment,notime,line-width=13.0\cm]
4811 %\override Score.TextScript #'font-style = #'large
4812 \set Score.automaticBars = ##f
4814 r\longa_"longa" r\breve_"breve"
4815 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4816 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4819 An augmentation dot after a note multiplies the duration by one and a
4820 half. Another dot adds yet a fourth of the duration.
4822 @lilypond[fragment,line-width=13.0\cm]
4823 %\override Score.TextScript #'font-style = #'large
4826 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4827 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4830 Alternatively note values may be subdivided by other ratios. Most common is
4831 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4832 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4833 dotted notes are also frequently used.
4835 @lilypond[fragment,line-width=13.0\cm]
4836 %\override Score.TextScript #'font-style = #'large
4839 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4840 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4844 @lilypond[fragment,line-width=13.0\cm]
4847 \times 3/2 {g4_"duplets" g} |
4849 \times 6/4 {g8_"quadruplets" g g g} |
4850 g8 g g g g4 \bar "||"
4856 @section octave sign
4860 @ref{G clef}, @ref{F clef}.
4877 @ref{ottava}, @ref{interval}.
4884 I: abbellimento, fioriture,
4885 F: agrément, ornement,
4886 D: Verzierung, Ornament,
4892 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4893 with the diatonic @ref{second} above it. In the music from the
4894 middle of the 19th century and onwards the trill is performed with the main
4895 note first while in the music from the preceding baroque and classic periods
4896 the upper note is played first.
4898 @lilypond[fragment,line-width=13.0\cm]
4900 \context Staff = sa {
4901 % \override Score.TextScript #'font-style = #'large
4903 c2._"pre-1850" b4\trill | c1 \bar "||"
4904 c2._"post-1850" b4\trill | c1 \bar "||"
4908 c2. c32 b c b c b c b | c1
4909 c2. b32 c b c \times 4/5 { b c b c b } | c1
4914 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4916 @emph{prall} (inverted mordent).
4918 @lilypond[fragment,line-width=13.0\cm]
4920 \context Staff = sa {
4921 % \override Score.TextScript #'font-style = #'large
4923 a4_"turn" b\turn c2 \bar "||"
4924 g4_"mordent" a b\mordent a \bar "||"
4925 e'4_"prall" d\prall c2 \bar "||"
4931 e'4 e32[ d e d ~ d8] c2
4938 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
4951 FI: ossia, vaihtoehtoinen esitystapa.
4953 Ossia (otherwise) marks an alternative. It is an added staff or piano
4954 score, usually only a few measures long, which presents another version
4955 of the music, for example for small hands.
4961 @c TODO: translations
4972 [From Italian] The interval of an octave, abbreviated 8va.
4974 @emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
4975 @emph{8va} written above a passage indicates that it should be played
4976 an octave higher than written. @emph{Ottava bassa}, @emph{ottava
4977 sotto}, or @emph{8va} written below a passage indicates that it should
4978 be played an octave lower than written.
4995 FI: stemma, instrumenttiosuus.
4999 @item In instrumental or choral music, the music for a single
5000 instrument or voice.
5002 @item in contrapuntal music, a single melodic line in the contrapuntal
5034 D: Schlagzeug, Schlagwerk,
5040 A family of musical instruments which are played on by striking or
5041 shaking. Percussion instruments commonly used in a symphony orchestra are
5042 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5043 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5047 @node perfect interval
5048 @section perfect interval
5050 ES: intervalo justo,
5051 I: intervallo giusto,
5052 F: intervalle juste,
5053 D: reines Intervall,
5057 FI: puhdas intervalli.
5076 A natural division of the melodic line, comparable to a sentence of speech.
5089 FI: fraseeraus, jäsentäminen.
5091 The clear rendering in musical performance of the @ref{phrase}s of
5092 the melody. Phrasing may be indicated by a @ref{slur}.
5100 F: anacrouse, levée,
5124 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5125 @emph{mezzo piano} (@b{mp}) medium soft.
5148 NL: pizzicato, getokkeld,
5151 FI: pizzicato, näppäillen.
5153 Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
5154 stringed instruments.)
5169 The simultaneous use of two or more meters. The term is sometimes
5170 applied to the @emph{successive} use of different meters in one or
5175 @ref{polymetric} (adj.)
5190 Using two or more metric frameworks simultaneously or in regular
5195 @ref{polymeter} (noun)
5198 @node polymetric time signature
5199 @section polymetric time signature
5210 Time signature indicating regularly alternating polymetric time.
5223 D: Polyphonie, Mehrstimmigkeit,
5227 FI: polyfonia, moniäänisyys.
5229 Music written in a combination of several simultaneous voices (parts)
5230 of a more or less pronounced individuality.
5249 D: Presto, Sehr schnell,
5250 NL: presto, Sehr schnell,
5253 FI: presto, hyvin nopeasti.
5255 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5256 denotes the highest possible degree of speed.
5271 [From Latin @emph{proportio}] In mensural notation, a ratio that
5272 expresses the relationship between the note values that follow with
5273 those that precede; or between the note values of a passage and an
5274 assumed @q{normal} relationship of note values to the metrical pulse.
5276 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5280 @ref{mensural notation}
5283 @node Pythagorean comma
5284 @section Pythagorean comma
5286 ES: coma pitagórica,
5287 I: comma pitagorico,
5288 F: comma pythagoricien,
5289 D: Pythagoräisches Komma,
5290 NL: komma van Pythagoras,
5291 DK: pythagoræisk komma,
5292 S: pytagoreiskt komma,
5293 FI: pytagorinen komma.
5295 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
5296 but this@w{ }C, obtained by adding 12@w{ }fifths, is
5297 24 @ref{cent}s higher than the@w{ }C obtained by adding
5298 7@w{ }octaves. The difference between those two pitches is called the
5320 @section quarter note
5323 I: semiminima, nera,
5326 D: Viertel, Viertelnote,
5330 FI: neljännesosanuotti.
5338 @section quarter rest
5340 ES: silencio de negra,
5341 I: pausa di semiminima,
5346 DK:@w{ }fjerdedelspause,
5348 FI: neljännesosatauko.
5358 ES: cinquillo, quintillo.
5373 @section rallentando
5378 D: rallentando, langsamer werden,
5382 FI: rallerdando, hidastuen.
5384 Abbreviation "rall.".
5390 @section relative key
5393 I: tonalità relativa,
5394 F: tonalité relative,
5396 NL: paralleltoonsoort,
5397 DK: paralleltoneart,
5399 FI: rinnakkaissävellaji.
5401 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5403 @lilypond[fragment,notime,line-width=13.0\cm]
5404 \set Score.automaticBars = ##f
5405 %\override Score.TextScript #'font-style = #'large
5408 es1_"e flat major" f g as bes c d es
5413 @lilypond[fragment,notime,line-width=13.0\cm]
5414 \set Score.automaticBars = ##f
5415 %\override Score.TextScript #'font-style = #'large
5418 c1_"c minor" d es f g a! b! c \bar "||"
5428 F: barre de reprise,
5431 DK: gen@-ta@-gel@-se,
5435 @lilypond[fragment,line-width=13.0\cm]
5439 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5456 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5457 @c specify the rest's value.
5478 @item Metrical rhythm in which every time value is a multiple or
5479 fraction of a fixed unit of time, called @ref{beat}, and in which the
5480 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5481 The basic scheme of time values is called @ref{meter}.
5483 @item Measured rhythm which lacks regularly recurrent accent. In
5484 modern notation such music appears as a free alternation of different
5487 @item Free rhythm, i.e., the use of temporal values having no common
5488 metrical unit (beat).
5499 D: ritardando, langsamer werden,
5503 FI: ritardando, hidastuen,
5505 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5518 FI: ritenuto, hidastaen.
5520 Immediate reduction of speed.
5533 FI: asteikko, sävelasteikko.
5537 @ref{diatonic scale}.
5541 @section scale degree
5543 ES: grado (de la escala),
5544 I: grado della scala,
5545 F: degré [de la gamme],
5547 NL: trap [van de toonladder],
5550 FI: sävelaste, asteikon sävel.
5552 Names and symbols used in harmonic analysis to denote tones of the
5553 scale as roots of chords. The most important are degrees I = tonic
5554 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5556 @lilypond[fragment,notime,line-width=13.0\cm]
5557 \set Score.automaticBars = ##f
5559 \context Staff \relative c' {
5563 << { I II III IV V VI VII I }
5571 @ref{functional harmony}.
5579 F: à cordes ravallées,
5586 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5587 tuning of stringed instruments, particularly lutes or violins. Used
5592 @item facilitate pitch combinations that would otherwise be difficult
5595 @item alter the characteristic timbre of the instrument, for example,
5596 to increase brilliance)
5598 @item reinforce certain sonorities or tonalities by making them
5599 available on open strings
5601 @item imitate other instruments
5607 Tunings that could be called @var{scordatura} first appeared early in
5608 the 16th Century and became commonplace in the 17th.
5617 D: Partitur (full score), Klavierauszug (vocal score),
5623 A copy of orchestral, choral, or chamber music showing what each
5624 instrument is to play, each voice to sing, having each part arranged
5625 one underneath the other on different staves @ref{staff}.
5640 The @ref{interval} between two neigbouring tones of a scale. A
5641 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5642 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5643 degrees in question.
5658 The @ref{interval} of a minor second. The (usually) smallest interval
5659 in European composed music. The interval between two neighbouring
5660 tones on the piano keyboard -- including black and white keys -- is a
5661 semitone. An octave may be divided into 12@w{ }semitones.
5662 @ref{interval}, @ref{chromatic scale}.
5664 @lilypond[fragment,notime,line-width=13.0\cm]
5665 \set Score.automaticBars = ##f
5666 \relative c'' { g1 gis s a bes s b! c }
5692 @ref{sextuplet}, @ref{note value}.
5738 @section simple meter
5750 A meter in which the basic beat is subdivided in two: that is, a meter
5751 that does not include triplet subdivision of the beat.
5755 @ref{compound meter}, @ref{meter}.
5758 @node sixteenth note
5759 @section sixteenth note
5765 D: Sechzehntel, Sechzehntelnote,
5766 NL: zes@-ti@-ende noot,
5767 DK: sekstendedelsnode,
5769 FI: kuudestoistaosanuotti.
5776 @node sixteenth rest
5777 @section sixteenth rest
5779 ES: silencio de semicorchea,
5780 I: pausa di semicroma,
5782 UK: semiquaver rest,
5783 D: Sechzehntelpause,
5785 DK: sekstendedelspause,
5811 @node sixty-fourth note
5812 @section sixty-fourth note
5816 F: quadruple croche,
5817 UK: hemidemisemiquaver,
5818 D: Vierundsechzigstel, Vierundsechzigstelnote,
5819 NL: vierenzestigste noot,
5820 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5821 S: sextiofjärdedelsnot,
5822 FI: kuudeskymmenesneljäsosanuotti.
5829 @node sixty-fourth rest
5830 @section sixty-fourth rest
5832 ES: silencio de semifusa,
5833 I: pausa di semibiscroma,
5834 F: seizième de soupir,
5835 UK: hemidemisemiquaver rest,
5836 D: Vierundsechzigstelpause,
5837 NL: vierenzestigste rust,
5838 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5839 S: sextiofjärdedelspaus,
5840 FI: kuudeskymmenesneljäsosatauko.
5850 ES: ligadura (de expresión),
5851 I: legatura (di portamento or espressiva),
5853 D: Bogen (Legatobogen, Phrasierungsbogen),
5854 NL: fraseringsboog, legatoboog, streekboog,
5855 DK: legatobue, fraseringsbue,
5859 A slur above or below a group of notes indicates that they are to be
5860 played @ref{legato}, e.g., with one stroke of the violin bow or with
5861 one breath in singing.
5865 @section solmization
5874 FI: suhteelliset laulunimet.
5876 General term for systems of designating the degrees of the
5877 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5878 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5896 In its present-day meaning a sonata denotes an instrumental
5897 composition for piano or for some other instrument with piano
5898 accompaniment, which consists of three or four independant pieces,
5903 @section sonata form
5907 F: [en] forme de sonate,
5909 NL: hoofdvorm, sonatevorm,
5914 A form used frequently for single movements of the @ref{sonata},
5915 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5916 into three sections called @emph{exposition}, @emph{development} and
5917 @emph{recapitulation}. In the exposition the composer introduces some
5918 musical ideas, consisting of a number of themes; in the development
5919 section the composer @q{develops} this material, and in the
5920 recapitulation the composer repeats the exposition, with certain
5921 modifications. The exposition contains a number of themes that fall
5922 into two groups, often called first and second subject. Other
5923 melodies occurring in each group are considered as continuations of
5924 these two. The second theme is in another key, normally in the key of
5925 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5926 @ref{relative key} if the tonic is @ref{minor}.
5947 FI: sopraano, korkea naisääni.
5949 The highest female voice.
5957 F: staccato, piqué, détaché,
5962 FI: staccato, lyhyesti, terävästi.
5964 Playing the note(s) short. Staccato is indicated by a dot above or
5965 below the note head.
5967 @lilypond[fragment,ragged-right]
5972 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5982 I: pentagramma, rigo (musicale),
5984 D: Notensystem, Notenzeile,
5985 NL: (noten)balk, partij,
5990 A staff (plural: staves) is a series of (normally five) horizontal
5991 lines upon and between which the musical notes are written, thus
5992 indicating (in connection with a @ref{clef}) their pitch. Staves for
5993 @ref{percussion} instruments may have fewer lines.
6010 D: Hals, Notenhals, Stiel,
6016 Vertical line above or below a @ref{note head} shorter than a
6021 @lilypond[fragment,notime,line-width=13.0\cm]
6022 \set Score.autoBeaming = ##f
6023 \set Score.automaticBars = ##f
6024 %\override Score.TextScript #'font-style = #'large
6046 A family of stringed musical instruments played with a bow. Strings
6047 commonly used in a symphony orchestra are violin, viola, violoncello,
6052 @section strong beat
6057 D: betonter Taktteil oder Taktschlag,
6059 D: betonet taktslag,
6060 S: betonat taktslag,
6061 FI: tahdin vahva isku.
6065 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6069 @section subdominant
6078 FI: subdominantti, alidominantti.
6080 The fourth @ref{scale degree}.
6082 @ref{functional harmony}.
6097 The sixth @ref{scale degree}.
6110 FI: subtoonika, alitoonika.
6112 The seventh @ref{scale degree}.
6121 D: auf G, auf der G-Saite,
6127 Indicates that the indicated passage (or note) should be played on the
6132 @section superdominant
6143 The sixth @ref{scale degree}.
6158 The second @ref{scale degree}.
6167 D: Sinfonie, Symphonie,
6173 A symphony may be defined as a @ref{sonata} for orchestra.
6177 @section syncopation
6188 Any deliberate upsetting of the normal pulse of @ref{meter},
6189 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6190 rhythm rests upon the grouping of equal beats into groups of two or
6191 three, with a regularly recurrent accent on the first beat of each
6192 group. Any deviation from this scheme is felt as a disturbance or
6193 contradiction between the underlaying (normal) pulse and the actual
6196 @lilypond[fragment,ragged-right]
6201 e c'4 e,8 c'4 e,8 c' ( | c2)
6206 @node syntonic comma
6207 @section syntonic comma
6210 I: comma sintonico (o didimico),
6211 F: comma syntonique,
6212 D: syntonisches Komma,
6213 NL: syntonische komma,
6214 DK: syntonisk komma,
6215 S: syntoniskt komma,
6216 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6217 Pytagorisessa viritysjärjestelmässä.
6219 Difference between the natural third and the third obtained by
6220 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6229 D: Notensystem, Partitur,
6233 FI: nuottijärjestelmä.
6235 The collection of staves (@ref{staff}), two or more, as used for writing
6236 down of keyboard, chamber, choral, or orchestral music.
6240 @section temperament
6245 D: Stimmung, Tem@-pe@-ra@-tur,
6246 NL: stemming, temperatuur,
6249 FI: viritysjärjestelmä.
6251 Systems of tuning in which the intervals deviate from the acoustically
6254 @ref{meantone temperament}, @ref{equal temperament}.
6257 @node tempo indication
6258 @section tempo indication
6260 ES: indicación de tempo,
6261 I: indicazione di tempo,
6262 F: indication de tempo,
6263 D: Zeitmaß, Tempobezeichnung,
6264 NL: tempo aanduiding,
6269 The rate of speed of a composition or a section thereof, ranging from
6270 the slowest to the quickest, as is indicated by tempo marks as
6271 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6285 FI: tenori, korkea miesääni.
6287 The highest male voice (apart from @ref{counter tenor}).
6310 ES: subrayado (tenuto),
6319 An indication that a particular note should be held for the whole
6320 length, although this can vary depending on the composer and era.
6340 @node thirty-second note
6341 @section thirty-second note
6347 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
6348 NL: twee-endertig@-ste noot,
6349 DK: toogtredivtedelsnode,
6350 S: trettiotvåondelsnot,
6351 FI: kolmanneskymmeneskahdesosanuotti.
6358 @node thirty-second rest
6359 @section thirty-second rest
6361 ES: silencio de fusa,
6362 I: pausa di biscroma,
6363 F: huitième de soupir,
6364 UK: demisemiquaver rest,
6365 D: Zweiunddreissigstel@-pause,
6367 DK: toogtredivtedelspause,
6368 S: trettiotvåondelspaus,
6369 FI: kolmanneskymmeneskahdesosatauko.
6377 @section thorough bass
6380 I: basso continuo, basso numerato,
6381 F: basse chiffrée, basse continue,
6382 D: Generalbass, bezifferter Bass,
6383 NL: basso continuo, becijferde bas
6386 FI: kenraalibasso, numeroitu basso.
6388 A method of indicating an accompaniment part by the bass notes only,
6389 together with figures designating the chief @ref{interval}s and
6390 @ref{chord}s to be played above the bass notes.
6392 @lilypond[fragment,line-width=13.0\cm]
6393 \context GrandStaff <<
6394 \context Staff = lh \relative c'' {
6398 << \context Voice = rha {
6401 \context Voice = rhb {
6403 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6407 \context Staff = rh \relative c' {
6410 es8 c d bes c as bes16 as g f | es4
6412 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6421 ES: ligadura de prolongación,
6422 I: legatura (di valore),
6424 D: Haltebogen, Bindebogen,
6425 NL: overbinding, bindingsboog,
6427 S: bindebåge, överbindning,
6430 A curved line, identical in appearance with the @ref{slur}, which
6431 connects two succesive notes of the same pitch, and which has the
6432 function of uniting them into a single sound (tone) equal to the
6435 @lilypond[fragment,notime,ragged-right]
6436 \set Score.automaticBars = ##f
6437 \relative c'' { g2 ~ g4. }
6449 @node time signature
6450 @section time signature
6452 ES: indicación de compás,
6454 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6455 D: Taktangabe, Angabe der Taktart,
6458 S: taktartssignatur,
6461 The sign placed at the beginning of a composition to indicate its
6462 meter. It most often takes the form of a fraction, but a few signs
6463 derived from mensural notation and proportions are also employed.
6467 @ref{mensural notation}, @ref{meter}.
6482 A sound of definite pitch and duration, as distinct from @emph{noise}.
6483 Tone is a primary building material of music.
6485 Music from the 20th century may be based on atonal sounds.
6500 The first @ref{scale degree}.
6504 @ref{functional harmony}.
6507 @node transposing instrument
6508 @section transposing instrument
6519 FIXME: this is a placeholder
6523 @section transposition
6534 Shifting a melody up or down in pitch, while keeping the same
6537 @lilypond[fragment,line-width=13.0\cm]
6542 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6547 @lilypond[fragment,line-width=13.0\cm]
6550 \transpose c bes \relative c'' {
6552 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6559 @section treble clef
6562 I: chiave di violino,
6564 D: Violinschlüssel, Sopranschlüssel,
6566 DK:@w{ }diskantnøgle,
6587 On stringed instruments (@ref{strings}) the quick reiteration of the
6588 same tone, produced by a rapid up-and-down movement of the bow (a).
6589 The term is also used for the rapid alternation (b) between two notes
6590 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
6592 @lilypond[fragment,notime,ragged-right]
6593 \set Score.automaticBars = ##f
6594 %\override Score.TextScript #'font-style = #'large
6597 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6598 \repeat tremolo 8 { e32_"b" g }
6608 F: triade, accord parfait, accord de trois sons,
6625 F: trille, tremblement, battement (cadence),
6638 @section triple meter
6640 ES: compás ternario,
6643 D: in drei, ungerader Takt,
6644 NL: driedelige maatsoort,
6689 @section tuning fork
6692 I: diapason, corista,
6700 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6701 forks give the international pitch for the tone @emph{a} (440
6702 vibrations per second).
6708 A non-standard subdivision of a beat or part of a beat, usually
6709 indicated with a bracket and a number indicating the number of
6714 @ref{triplet}, @ref{note value}.
6744 FI: unisono, yksiäänisesti.
6746 Playing of the same notes or the same melody by various instruments
6747 (voices) or by the whole orchestra (choir), either at exactly the same
6748 pitch or in a different octave.
6756 F: anacrouse, levée,
6778 FI: ääni, lauluääni.
6782 @item Human voices: @ref{soprano}, @ref{mezzo-soprano},
6783 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6785 @item A melodic layer or part of a polyphonic composition.
6794 I: tempo debole, arsi,
6796 D: unbetonter Taktteil oder Taktschlag,
6798 DK: ubetonet taktslag,
6799 S: obetonat taktslag,
6800 FI: tahdin heikko isku.
6804 @ref{beat}, @ref{measure}, @ref{rhythm}.
6814 D: Ganze, ganze Note,
6828 ES: silencio de redonda,
6829 I: pausa di semibreve,
6832 D: ganze Pause, ganztaktige Pause,
6855 The @ref{interval} of a major second. The interval between two tones
6856 on the piano keyboard with exactly one key between them -- including
6857 black and white keys -- is a whole tone.
6872 A family of blown wooden musical instruments. Today some of these
6873 instruments are actually made from metal. The woodwind instruments
6874 commonly used in a symphony orchestra are flute, oboe, clarinet,
6875 saxophone, and bassoon.
6878 @node Duration names notes and rests
6879 @chapter Duration names notes and rests
6881 @multitable @columnfractions .15 .26 .33 .26
6883 @headitem @strong{US}
6886 @tab @strong{F (note name / rest name)}
6896 @item @strong{longa}
6909 @item @strong{breve}
6912 @tab brève / double-pause
6922 @item @strong{whole}
6932 @tab koko@-nuotti/@w{-tauko}
6938 @tab blanche / demi-pause
6945 @tab puoli@-nuotti/@w{-tauko}
6948 @item @strong{quarter}
6958 @tab neljännesosa@-nuotti/@w{-tauko}
6961 @item @strong{eighth}
6964 @tab croche / demi-soupir
6971 @tab kahdeksasosa@-nuotti/@w{-tauko}
6974 @item @strong{sixteenth}
6977 @tab double croche / quart de soupir
6984 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6987 @item @strong{thirty-second}
6990 @tab triple croche / huitième de soupir
6992 @tab Zweiunddreissigstel
6993 @tab tweeendertigste
6994 @tab toogtredivtedel
6996 @tab trettiotvåondel
6997 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
7000 @item @strong{sixty-fourth}
7001 @tab hemidemisemiquaver
7003 @tab quadruple croche / seizième de soupir
7005 @tab Vierundsechzigstel
7006 @tab vierenzestigste
7007 @tab fireogtred@-sindstyvendedel
7009 @tab sextiofjärdedel
7010 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
7017 @chapter Pitch names
7019 @c -is/-es endings for Danish per Rune Zedeler
7020 @c and for Finnish per Risto Vääräniemi
7021 @c -iss/-ess endings for Swedish per Mats Bengtsson
7022 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7024 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7026 @tab ES @tab I @tab F @tab D
7027 @tab NL @tab DK @tab S @tab FI
7029 @tab do @tab do @tab ut @tab C
7030 @tab c @tab c @tab c @tab c
7031 @item @strong{c-sharp}
7032 @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7033 @tab cis @tab cis @tab ciss @tab cis
7034 @item @strong{d-flat}
7035 @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7036 @tab des @tab des @tab dess @tab des
7038 @tab re @tab re @tab ré @tab D
7039 @tab d @tab d @tab d @tab d
7040 @item @strong{d-sharp}
7041 @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7042 @tab dis @tab dis @tab diss @tab dis
7043 @item @strong{e-flat}
7044 @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7045 @tab es @tab es @tab ess @tab es
7047 @tab mi @tab mi @tab mi @tab E
7048 @tab e @tab e @tab e @tab e
7049 @item @strong{f-flat} = e
7050 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7051 @tab fes @tab fes @tab fess @tab fes
7053 @tab fa @tab fa @tab fa @tab F
7054 @tab f @tab f @tab f @tab f
7055 @item @strong{e-sharp} = f
7056 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7057 @tab eis @tab eis @tab eiss @tab eis
7058 @item @strong{f-sharp}
7059 @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7060 @tab fis @tab fis @tab fiss @tab fis
7061 @item @strong{g-flat}
7062 @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7063 @tab ges @tab ges @tab gess @tab ges
7065 @tab sol @tab sol @tab sol @tab G
7066 @tab g @tab g @tab g @tab g
7067 @item @strong{g-sharp}
7068 @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7069 @tab gis @tab gis @tab giss @tab gis
7070 @item @strong{a-flat}
7071 @tab la bemol @tab la bemolle @tab la bémol @tab As
7072 @tab as @tab as @tab ass @tab as
7074 @tab la @tab la @tab la @tab A
7075 @tab a @tab a @tab a @tab a
7076 @item @strong{a-sharp}
7077 @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7078 @tab ais @tab ais @tab aiss @tab ais
7079 @item @strong{b-flat}
7080 @tab si bemol @tab si bemolle @tab si bémol @tab B
7081 @tab bes @tab b @tab b @tab b
7083 @tab si @tab si @tab si @tab H
7084 @tab b @tab h @tab h @tab h
7092 @node Literature used
7093 @unnumberedsec Literature used
7096 @item The Harvard Dictionary of Music, London 1944. Many
7097 more or less literal quotes from its articles have been included into
7098 the item explanation texts.
7100 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7102 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7105 @item Oxford Advanced Learner's Dictionary of Current English, Third
7108 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7110 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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