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
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
99 Permission is granted to copy, distribute and/or modify this document
100 under the terms of the GNU Free Documentation License, Version 1.1
101 or any later version published by the Free Software Foundation,
102 without Invariant Sections.
108 @c @everyheading @| @thispage @|
109 @c @evenheading @thispage @| @|
110 @c @oddheading @| @| @thispage @|
112 @include macros.itexi
117 @w{@expansion{}@strong{\word\}}@c
120 @expansion{}@ref{\word\, @strong{\word\}}@c
125 * Musical terms A-Z::
126 * Duration names notes and rests::
130 @node Musical terms A-Z
131 @chapter Musical terms A-Z
133 Languages in this order.
140 @item UK - British English
159 * ancient minor scale::
164 * ascending interval::
165 * augmented interval::
197 * compound interval::
199 * conjunct movement::
212 * descending interval::
214 * diminished interval::
217 * disjunct movement::
219 * dissonant interval::
220 * dominant ninth chord::
221 * dominant seventh chord::
224 * dot (augmentation dot)::
226 * double appoggiatura::
228 * double dotted note::
238 * ecclesiastical mode::
245 * equal temperament::
261 * functional harmony::
276 * inverted interval::
289 * long appoggiatura::
295 * meantone temperament::
303 * metronomic indication::
314 * multi-measure rest::
342 * Pythagorean comma::
365 * short appoggiatura::
369 * sixty-fourth note::
370 * sixty-fourth rest::
399 * thirty-second note::
400 * thirty-second rest::
455 FI: aksentti, korostus.
457 The stress of one tone over others.
471 ES: alteración accidental,
473 F: altération accidentelle,
474 D: Versetzungszeichen, Akzidenz,
475 NL: toevallig (verplaatsings)teken,
477 S: tillfälligt förtecken,
478 FI: tilapäinen etumerkki.
480 An accidental has the effect of an @ref{alteration} of a note. A
481 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
482 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
483 lowers it by a whole tone. A natural cancels the effect of a previous
486 @lilypond[fragment,notime,line-width=13.0\cm]
487 \set Score.automaticBars = ##f
489 \context Staff \relative c'' {
490 \set Staff.extraNatural = ##f
491 gisis1 gis g! ges geses
494 \override Lyrics .LyricText #'self-alignment-X = #-1
495 "db. sharp" sharp natural flat "db. flat"
506 F: accelerando, en accélérant,
507 D: accelerando, schneller werden,
511 FI: accelerando, kiihdyttäen.
526 FI: adagio, hitaasti.
528 It.@: comfortable, easy.
529 1.@tie{}Slow tempo, slower -- especially in even meter -- than
530 @ref{andante} and faster than @ref{largo}.
531 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
532 @ref{sonata}s, symphonies, etc.
541 D: Allegro, Schnell, Fröhlich, Lustig,
545 FI: allegro, nopeasti.
547 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
548 tempo, especially the first and last movements of a @ref{sonata}.
558 NL: verhoging of verlaging,
563 An alteration is the modification, raising or lowering, of a note's
564 pitch. It is established by an @ref{accidental}.
577 FI: altto, matala naisääni.
579 A female voice of low range (@emph{contralto}). Originally the alto was a
580 high male voice (hence the name), which by the use of falsetto reached the
581 height of the female voice. This type of voice is also known as
588 ES: clave de do en tercera,
589 I: chiave di contralto,
590 F: clef d'ut troisième ligne,
591 D: Altschlüssel, Bratschenschlüssel,
597 C clef setting middle C on the middle line of the staff.
614 FI: ambitus, ääniala, soitinala.
616 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
617 of pitches for a given voice in a part of music. It may also denote
618 the pitch range that a musical instrument is capable of playing.
633 An anacrusis (also known as pickup or upbeat) is an incomplete measure
634 of music before a section of music. It also refers to the initial note(s)
635 of a melody occurring in that incomplete measure.
639 @ref{measure}, @ref{meter}.
641 @lilypond[fragment,line-width=13.0\cm]
645 \partial 4 f4 | bes4. a8 bes4 c |
646 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
650 @node ancient minor scale
651 @section ancient minor scale
653 ES: escala menor antigua,
654 I: scala minore naturale,
655 F: forme du mode mineur ancien, troisème mode, mode hellénique,
656 D: reines Moll, natürliches Moll,
657 NL: authentieke mineurtoonladder,
660 FI: luonnollinen molliasteikko.
664 @ref{diatonic scale}.
666 @lilypond[fragment,notime,line-width=13.0\cm]
667 \set Score.automaticBars = ##f
685 Walking tempo/character.
689 @section appoggiatura
693 F: appoggiature, (port de voix),
694 D: Vorschlag, Vorhalt
698 FI: appoggiatura, etuhele.
700 Ornamental note, usually a second, that is melodically connected with the
701 main note following it. In music before the 19th century appoggiature were
702 usually performed on the beat, after that mostly before the beat. While the
703 short appoggiatura is performed as a short note regardless of the duration of
704 the main note the duration of the long appoggiatura is proportional to that of
707 @lilypond[line-width=13.0\cm]
708 \context Voice \relative c'' {
712 %\override Score.TextScript #'font-style = #'large
713 <d a fis>4_"notation" r
714 { \override Stem #'flag-style = #'()
716 \revert Stem #'flag-style
719 { \override Stem #'flag-style = #'()
721 \revert Stem #'flag-style
724 \cadenzaOn a4 \bar "||" \cadenzaOff
726 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
727 \cadenzaOn a4 \bar "||" \cadenzaOff
731 An appoggiatura may have more notes preceding the main note.
733 @lilypond[line-width=13.0\cm]
737 % \override Score.TextScript #'font-style = #'large
738 \grace { bes16 } as8_"notation" as16 bes as8 g |
739 \grace { as16[( bes] } < c as >4-)
740 \grace { as16[( bes] } < c as >4-) \bar "||"
741 \grace { bes16 } as8_"performance" as16 bes as8 g |
742 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
743 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
755 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
757 DK: arpeggio, akkordbrydning,
759 FI: arpeggio, murtosointu.
761 @lilypond[fragment,line-width=13.0\cm]
762 \context PianoStaff <<
763 \context Staff = SA \relative c'' {
766 r8 g16 c e g, c e r8 g,16 c e g, c e |
767 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
768 \context Staff = SB \relative c' {
770 << \context Voice = va {
772 r16 e8. ( e4) r16 e8. ( e4) |
773 r16 d8. ( d4) r16 d8. ( d4) }
774 \context Voice = vb {
783 @section articulation
792 FI: artikulaatio, ilmaisu.
794 Articulation refers to notation which indicates how a note or notes should
795 be played. Slurs, accents, staccato, and legato are all examples of
799 @node ascending interval
800 @section ascending interval
802 ES: intervalo ascendente,
803 I: intervallo ascendente,
804 F: intervalle ascendant,
805 D: steigendes Intervall,
806 NL: stijgend interval,
807 DK:@w{ }stigende interval,
808 S: stigande intervall,
809 FI: nouseva intervalli.
811 A distance between a starting lower note and a higher ending note.
814 @node augmented interval
815 @section augmented interval
817 ES: intervalo aumentado,
818 I: intervallo aumentato,
819 F: intervalle augmenté,
820 D: übermäßiges Intervall,
821 NL: overmatig interval,
822 DK: forstørret interval,
823 S: överstigande intervall,
824 FI: ylinouseva intervalli.
836 F: manuscrit, autographe
837 D: Autograph, Handschrift,
839 DK: håndskrift, autograf,
841 FI: käsinkirjoitettu nuotti.
843 1.@tie{}A manuscript in the composer's own hand.
844 2.@tie{}Music prepared for photoreproduction by freehand drawing,
845 with the aid of a straightedge ruler and T-square only,
846 which attempts to emulate engraving.
847 This required more skill than did engraving.
886 ES: barra, línea divisoria,
887 I: stanghetta, barra (di divisione),
888 F: barre (de mesure),
906 FI: baritoni, keskikorkuinen miesääni.
908 The male voice intermediate between the @ref{bass} and the
911 @c F: clef de troisième ligne dropped
915 @section baritone clef
917 ES: clave de fa en tercera,
918 I: chiave di baritono,
919 F: clef d' Ut cinquième ligne, clef de Fa troisième,
926 C or F clef setting middle C on the upper staff line.
930 @ref{C clef}, @ref{F clef}.
936 ES: clave de fa en cuarta,
938 F: clef de fa quatrième ligne,
945 A clef setting with middle C on the first top ledger line.
962 FI: basso, matala miesääni.
964 1.@tie{}The lowest male voice.
965 2.@tie{}Sometimes, especially in jazz music, used as
966 an abbreviation for double bass.
985 Line connecting a series of notes (shorter than a quarter note).
986 The number of beams determines the note value of the connected notes.
988 @lilypond[fragment,notime,line-width=13.0\cm]
989 \set Score.automaticBars = ##f
990 %\override TextScript #'font-style = #'large
993 g16_"1/16"[ g g g] s16
994 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
995 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1000 @ref{feathered beam}.
1006 ES: tiempo, parte (de compás)
1009 D: Takt, Taktschlag, Zeit (im Takt),
1015 Note value used for counting, most often half-, fourth-, and eighth notes.
1016 The base counting value and the number of them per measure is indicated at
1017 the start of the music.
1019 @lilypond[fragment,line-width=13.0\cm]
1022 \relative c'' { g4 c b a | g1 \bar "||"}
1024 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1039 ES: llave, corchete,
1042 D: Klammer, Akkolade,
1043 NL: accolade, teksthaak,
1046 FI: yhdistävä sulkumerkki.
1048 Symbol at the start of a system connecting staves. Curly braces are used
1049 for connecting piano staves, angular brackets for connecting parts in an
1050 orchestral or choral score.
1052 @lilypond[fragment,ragged-right]
1053 \context GrandStaff <<
1054 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1055 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1058 @lilypond[fragment,ragged-right]
1059 \context StaffGroup <<
1060 % \set StaffGroup.minVerticalAlign = #12
1061 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1062 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1072 NL: koper (blazers),
1075 S: brassinstrument, mässingsinstrument,
1078 A family of blown musical instruments made of brass, all using a cup formed
1079 mouth piece. The brass instruments commonly used in a symphony orchestra are
1080 trumpet, trombone, french horn, and tube.
1084 @section breath mark
1089 D: Atemzeichen, Trennungszeichen,
1090 NL: repercussieteken,
1091 DK: vejrtrækningstegn,
1095 Indication of where to breathe in vocal and wind instrument parts.
1100 ES: cuadrada, breve,
1109 @ref{note value}, twice as long as a whole note. Mainly used
1112 @lilypond[fragment,notime,ragged-right]
1113 \set Score.automaticBars = ##f
1114 \relative c'' { g\breve }
1147 Clef symbol indicating the position of the middle C. Used on all note
1150 @lilypond[fragment,notime,line-width=13.0\cm]
1151 \set Score.automaticBars = ##f
1152 \override Score.Clef #'full-size-change = ##t
1154 \context Staff \relative c' {
1156 \clef mezzosoprano c
1161 \context Lyrics \lyrics {
1162 \override Lyrics .LyricText #'self-alignment-X = #-1
1163 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1179 FI: kadenssi, lopuke.
1183 @ref{harmonic cadence}, @ref{functional harmony}.
1196 FI: kadenssi, lopuke.
1198 An extended, improvisatory style section inserted near the end of
1199 movement. The purpose of a cadenza is to give singers or players a chance
1200 to exhibit their technical skill and -- not last -- their ability to
1201 improvise. Since the middle of the 19th century, however, most cadences have
1202 been written down by the composer.
1215 FI: kaanon, tarkka jäljittely.
1232 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1233 viritysjärjestelmässä.
1235 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1236 of an equally tempered @ref{semitone}).
1240 @ref{equal temperament}.
1263 Three or more tones sounding simultaneously. In traditional European music
1265 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1267 minor @ref{third}) as well as @emph{minor} (minor + major third)
1268 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1269 and five-tone @emph{ninth} major chords are most often used as dominants
1270 (@ref{functional harmony}). A special case is chords having no
1271 third above the lower notes to define their quality as major or minor. Such
1272 chords are denoted open chords
1274 @lilypond[fragment,notime,line-width=13.0\cm]
1275 \set Score.automaticBars = ##f
1276 %\override TextScript #'font-style = #'large
1278 \context Staff \relative c'' {
1279 \set Staff.extraNatural = ##f
1299 @node chromatic scale
1300 @section chromatic scale
1302 ES: escala cromática,
1304 F: gamme chromatique,
1305 D: chro@-ma@-ti@-sche Tonleiter,
1306 NL: chromatische toonladder,
1307 DK: kromatisk skala,
1309 FI: kromaattinen asteikko.
1311 A scale consisting of all 12 @ref{semitone}s.
1313 @lilypond[fragment,notime,line-width=13.0\cm]
1314 \set Score.automaticBars = ##f
1315 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1320 @section chromaticism
1331 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1335 @section church mode
1337 ES: modo eclesiástico,
1338 I: modo ecclesiastico,
1339 F: mode ecclésiastique,
1344 FI: moodi, kirkkosävellaji.
1348 @ref{diatonic scale}.
1357 D: Schlüssel, Notenschlüssel,
1361 FI: avain, nuottiavain.
1365 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1367 The clef indicates which lines of the staff correspond to which
1368 pitches. The three clef symbols in common use are:
1370 @lilypond[ragged-right,quote]
1373 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1374 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1375 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1380 Imagine a large staff of 11 lines centered on middle C, sometimes
1381 called a @q{grand staff}, with the bottom line representing low G
1382 and the top line high F:
1384 @lilypond[ragged-right,quote]
1387 %-- Treble Staff --%
1389 % Allow this staff to be placed close to the others
1390 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1391 % Allow the treble clef to overlap the lower staves:
1392 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1393 \override Staff.Clef #'stencil = ##f % No clef required
1395 s1^\markup { "g," \transparent "g" }
1396 s^ \markup { "b," \transparent "g" }
1397 s^ \markup { "d" \transparent "g" }
1398 s^ \markup { "f" \transparent "g" }
1399 s^ \markup { "a" \transparent "g" }
1400 s^ \markup { \with-color #red c' \transparent "g"}
1401 e'^\markup { "e'" \transparent "g" }
1402 g'^\markup { "g'" \transparent "g" }
1403 b'^\markup { "b'" \transparent "g" }
1404 d''^\markup { "d''" \transparent "g" }
1405 f''^\markup { "f ''" \transparent "g" }
1408 %-- Alto Staff reduced to a single line on middle C --%
1410 \override Staff.StaffSymbol #'line-count = 1 % One line only
1411 \override Staff.StaffSymbol #'color = #red % Coloured red
1412 \override Staff.Clef #'stencil = ##f % No clef required
1415 % Allow this staff to be placed close to the others
1416 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1417 % Specify height to give correct spacing between treble and bass staves
1418 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1420 s1 s s s s % Space along to align horizonatally
1421 \override NoteHead #'color = #red
1423 s1 s s s s s % Keep staff (ie the red line) showing
1427 % Allow this staff to be placed close to the others
1428 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1429 \override Staff.Clef #'stencil = ##f % No clef required
1432 s s s s s s s % Keep staff showing
1436 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1437 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1439 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1440 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1442 % Remove all barlines
1443 \context { \Score \override BarLine #'stencil = ##f
1445 % Remove time signature from all staves
1446 \context { \Staff \remove Time_signature_engraver
1452 Staves of five lines are usually used, and the clef superimposed on them
1453 indicates which five lines have been selected from this @samp{grand staff}.
1454 For example, the treble or G clef indicates that the top five
1455 lines have been selected:
1457 @lilypond[ragged-right,quote]
1460 %-- Treble Staff --%
1462 % Allow this staff to be placed close to the others
1463 \override Staff.VerticalAxisGroup
1464 #'minimum-Y-extent = #'(0 . 0)
1465 % Allow the treble clef to overlap the lower staves:
1466 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1467 \override Staff.Clef #'stencil = ##f % No clef required here
1469 s1^\markup { "g," \transparent "g" }
1470 s^ \markup { "b," \transparent "g" }
1471 s^ \markup { "d" \transparent "g" }
1472 s^ \markup { "f" \transparent "g" }
1473 s^ \markup { "a" \transparent "g" }
1474 s^ \markup { \with-color #red c' \transparent "g"}
1475 \stopStaff \startStaff
1476 \clef "C" % Dummy to force next clef to be printed
1477 s % Need at least one note for \clef to take effect
1478 \override Staff.Clef #'stencil = ##t % Clef now required
1479 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1481 e'^\markup { "e'" \transparent "g" }
1482 g'^\markup { "g'" \transparent "g" }
1483 b'^\markup { "b'" \transparent "g" }
1484 d''^\markup { "d''" \transparent "g" }
1485 f''^\markup { "f ''" \transparent "g" }
1487 %-- Alto Staff reduced to a single line on middle C --%
1489 \override Staff.StaffSymbol #'line-count = 1 % One line only
1490 \override Staff.StaffSymbol #'color = #red % Coloured red
1491 \override Staff.Clef #'stencil = ##f % No clef required
1494 % Allow this staff to be placed close to the others
1495 \override Staff.VerticalAxisGroup
1496 #'minimum-Y-extent = #'(0 . 0)
1497 % Specify height to give correct spacing between the staves
1498 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1500 s1 s s s s % Space along to align horizonatally
1501 \override NoteHead #'color = #red
1503 % s1 s s s s % Keep staff (ie the red line) showing
1507 % Allow this staff to be placed close to the others
1508 \override Staff.VerticalAxisGroup
1509 #'minimum-Y-extent = #'(0 . 0)
1510 \override Staff.Clef #'stencil = ##f % No clef required
1513 % s s s s s s % Keep staff showing
1517 % Reduce horizontal spacing so semibreves can be used
1518 % without exceeding 1 line
1519 \context { \Score \override SpacingSpanner
1520 #'base-shortest-duration = #(ly:make-moment 1 1)
1522 % Reduce apparent vertical size of note heads to
1523 % permit them to overlap other grobs vertically
1524 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1526 % Remove all barlines
1527 \context { \Score \override BarLine #'stencil = ##f
1529 % Remove time signature from all staves
1530 \context { \Staff \remove Time_signature_engraver
1536 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1538 In the same way, the bass or F clef indicates that the bottom five lines
1539 have been selected from the @samp{grand staff}, and the alto or C clef
1540 indicates the middle five lines have been selected. This relationship is
1541 shown below, where the notes show an arpeggio on a C major chord.
1543 @lilypond[ragged-right,quote]
1546 %-- Treble Staff --%
1547 \new Staff = "G" \with {
1548 \remove Time_signature_engraver
1551 % The following two overrides are required to make the two middle C's overlap
1552 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1553 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1555 \override Staff.Clef #'Y-extent = #'(0 . 0)
1557 s1 s s s s e' g' c''
1560 \new Staff = "C" \with {
1561 \remove Time_signature_engraver
1564 \override Staff.StaffSymbol #'line-count = 1
1565 \override Staff.StaffSymbol #'stencil = ##f
1566 \once \override Staff.Clef #'stencil = ##f
1567 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1568 \override Score.BarLine #'stencil = ##f
1570 % The following two overrides are required to align the C staff to the G and F staves
1571 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1572 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1575 \stopStaff \startStaff
1576 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1577 \revert Staff.StaffSymbol #'stencil
1578 \override Staff.StaffSymbol #'color = #red
1579 b'1 % A frig. This really shows as a middle C in the score
1581 \stopStaff \startStaff
1582 \override Staff.StaffSymbol #'line-count = 5
1583 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1584 \override Staff.Clef #'Y-extent = #'(0 . 0)
1585 \revert Staff.StaffSymbol #'color
1586 \stopStaff \startStaff
1588 s1 s s c e g c' e' g' c''
1591 \new Staff = "F" \with {
1592 \remove Time_signature_engraver
1595 \override Staff.Clef #'Y-extent = #'(0 . 0)
1596 % The following two overrides are required to make the two middle C's overlap
1597 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1598 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1606 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1609 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1612 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1625 FI: klusteri, cluster.
1627 A @emph{cluster} is a range of simultaneously sounding pitches that
1628 may change over time. The set of available pitches to apply usually
1629 depends on the acoustic source. Thus, in piano music, a cluster
1630 typically consists of a continuous range of the semitones as provided
1631 by the piano's fixed set of a chromatic scale. In choral music, each
1632 singer of the choir typically may sing an arbitrary pitch within the
1633 cluster's range that is not bound to any diatonic, chromatic or other
1634 scale. In electronic music, a cluster (theoretically) may even cover
1635 a continuous range of pitches, thus resulting in colored noise, such
1638 Clusters can be denoted in the context of ordinary staff notation by
1639 engraving simple geometrical shapes that replace ordinary notation of
1640 notes. Ordinary notes as musical events specify starting time and
1641 duration of pitches; however, the duration of a note is expressed by
1642 the shape of the note head rather than by the horizontal graphical
1643 extent of the note symbol. In contrast, the shape of a cluster
1644 geometrically describes the development of a range of pitches
1645 (vertical extent) over time (horizontal extent). Still, the
1646 geometrical shape of a cluster covers the area in which any single
1647 pitch contained in the cluster would be notated as an ordinary note.
1649 @lilypond[fragment,relative=2,ragged-right]
1650 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1664 FI: komma, korvinkuultava ero äänenkorkeudessa.
1666 Difference in pitch between a note derived from pure tuning and the same note
1667 derived from some other tuning method.
1675 @section common meter
1682 @node compound interval
1683 @section compound interval
1685 ES: intervalo compuesto,
1686 I: intervallo composto,
1687 F: intervalle composé,
1688 D: weites Intervall,
1689 NL: samengesteld interval,
1690 DK: sammensat interval,
1691 S: sammansatt intervall,
1692 FI: oktaavia laajempi intervalli.
1694 Intervals larger than an octave.
1704 ES: intervalo invertido,
1706 F: intervalle complémentaire,
1707 D: Komplementärintervall,
1708 NL: complementair interval,
1709 DK: komplementærinterval,
1710 S: komplementärintervall (?),
1711 FI: täydentävä intervalli.
1715 @ref{inverted interval}.
1718 @node conjunct movement
1719 @section conjunct movement
1721 ES: movimiento conjunto,
1723 F: mouvement conjoint,
1724 D: schritt@-weise, stufenweise Bewegung,
1725 NL: stapsgewijze, trapsgewijze beweging,
1726 DK: trinvis bevægelse,
1728 FI: asteittainen liike.
1730 Progressing melodically by intervals of a second. The opposite of a
1731 @ref{disjunct movement}.
1733 @lilypond[fragment,line-width=13.0\cm]
1734 \key g \major \time 4/4
1735 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1749 FI: konsonanssi, sopusointi.
1774 @section counterpoint
1783 FI: kontrapunkti, ääni ääntä vastaan.
1785 From latin @emph{punctus contra punctum}, note against note. The combination
1786 into a single musical fabric of lines or parts which have distinct melodic
1787 significance. A frequently used polyphonic technique is imitation, in its
1788 strictest form found in the canon needing only one part to be written down
1789 while the other parts are performed with a given displacement. Imitation is
1790 also the contrapunctal technique used in the @emph{fugue} which, since the
1791 music of the baroque era, has been one of the most popular polyphonic
1792 composition methods.
1794 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1795 \set Score.implicitTimeSignatureVisibility = #all-invisible
1796 \override Score.TimeSignature #'break-visibility = #all-invisible
1797 \context PianoStaff <<
1798 \context Staff = SA \relative c' {
1802 << \context Voice = rha {
1804 r1 | r2 r8 g'8 bes d, |
1805 cis4 d r8 e!16 f g8 f16 e |
1806 f8 g16 a bes8 a16 g a8
1808 \context Voice = rhb {
1814 \context Staff = SB \relative c' {
1817 << \context Voice = lha {
1819 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1820 r8 a16 g f8 g16 a bes8 g e! cis' |
1823 \context Voice = lhb {
1833 @section counter tenor
1838 D: Countertenor, Kontratenor,
1841 S: kontratenor, counter tenor,
1850 @section copying music
1852 A music copyist did fast freehand scores and parts on preprinted staff lines
1853 for performance. Some of their conventions (e.g., the placement of note heads
1854 on stems) varied slightly from those of engravers. Some of their working
1855 methods were superior and could well be adopted by music typesetters. This
1856 required more skill than engraving.
1865 D: Crescendo, lauter werden,
1869 FI: cresendo, voimistuen.
1871 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1872 abbreviation @samp{cresc.}.
1874 @lilypond[fragment,ragged-right]
1875 \key g \major \time 4/4
1876 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1885 F: petites notes précédent l'entrée d'un instrument, réplique,
1892 In a separate part notes belonging to another part with the purpose of hinting
1893 when to start playing. Usually printed in a smaller type.
1900 D: Notenzeiger, Custos.
1902 A custos is a staff symbol that appears at the end of a staff line
1903 with monophonic musical contents (i.e., with a single voice). It
1904 anticipates the pitch of the first note of the following line and thus
1905 helps the player or singer to manage line breaks during performance,
1906 thus enhancing readability of a score.
1908 Custodes were frequently used in music notation until the 16th
1909 century. There were different appearences for different notation
1910 styles. Nowadays, they have survived only in special forms of musical
1911 notation such as via the editio vaticana dating back to the beginning
1917 % \override Staff.Custos #'neutral-position = #4
1918 \override Staff.Custos #'neutral-direction = #down
1919 \override Staff.Custos #'style = #'hufnagel
1927 \consists Custos_engraver
1957 F: da capo, depuis le commencement,
1958 D: da capo, von Anfang,
1962 FI: da capo, alusta.
1964 The term indicates repetition of the piece from the beginning to the end or
1965 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1973 F: dal segno, depuis le signe,
1974 D: dal segno, ab dem Zeichen,
1978 FI: dal segno, lähtien merkistä.
1980 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1981 another place frequently near the beginning marked by a sign:
1983 @lilypond[fragment,ragged-right]
1984 %\override TextScript #'font-style = #'large
1985 \override TextScript #'font-shape = #'italic
1986 \key g \major \time 4/4
1991 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1998 @section decrescendo
2002 D: Decrescendo, leiser werden,
2006 FI: decresendo, hiljentyen.
2008 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2009 or the abbreviation @samp{decresc.}.
2011 @lilypond[fragment,ragged-right]
2013 \key g \major \time 4/4
2014 d4 \> c b a | g1 \! \bar "|."
2019 @node descending interval
2020 @section descending interval
2022 ES: intervalo descendente,
2023 I: intervallo discendente,
2024 F: intervalle descendant,
2025 D: fallendes Intervall, absteigendes Intervall,
2026 NL: dalend interval,
2027 DK: faldende interval,
2028 S: fallande intervall,
2029 FI: laskeva intervalli.
2031 A distance between a starting higher note and a lower ending note.
2034 @node diatonic scale
2035 @section diatonic scale
2037 ES: escala diatónica,
2039 F: gamme diatonique,
2040 D: diatonische Tonleiter,
2041 NL: diatonische toonladder,
2042 DK: diatonisk skala,
2044 FI: diatoninen asteikko.
2046 A scale consisting of 5@w{ }@ref{whole tone}s and
2047 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2048 of a piano keybord are diatonic.
2050 The church modes are used in gregorial chant and in pre-baroque early
2051 music but also to some extent in newer jazz music.
2053 @lilypond[fragment,notime,ragged-right]
2054 \set Score.automaticBars = ##f
2055 %\override Score.LyricText #'font-style = #'large
2056 %\override Score.TextScript #'font-style = #'large
2058 \context Staff \relative c' {
2060 \override TextScript #'padding = #-4
2061 e^"~~ S" f g a b^"~~ S" c
2063 \context Lyrics \lyrics {
2069 @lilypond[fragment,notime,ragged-right]
2070 \set Score.automaticBars = ##f
2072 \context Staff \relative c' {
2074 \override TextScript #'padding = #-4
2075 e^"~~ S" f g a b^"~~ S" c d
2083 @lilypond[fragment,notime,ragged-right]
2084 \set Score.automaticBars = ##f
2087 \override TextScript #'padding = #-4
2088 e1^"~~ S" f g a b^"~~ S" c d e
2096 @lilypond[fragment,notime,ragged-right]
2097 \set Score.automaticBars = ##f
2101 \override TextScript #'padding = #-4
2102 b^"~~ S" c d e^"~~ S" f
2110 @lilypond[fragment,notime,ragged-right]
2111 \set Score.automaticBars = ##f
2115 \override TextScript #'padding = #-4
2116 b^"~~ S" c d e^"~~ S" f g }
2123 @lilypond[fragment,notime,ragged-right]
2124 \set Score.automaticBars = ##f
2125 %\override Score.LyricText #'font-style = #'large
2126 %\override Score.TextScript #'font-style = #'large
2130 \override TextScript #'padding = #-4
2131 b^"~~ S" c d e^"~~ S" f g a
2139 From the beginning of the 17th century the scales used in European
2140 compositional music are primarily the major and the minor scales. In the
2141 harmonic minor scale type an augmented second (A) occurs between the 6th and
2144 @lilypond[fragment,notime,ragged-right]
2145 \set Score.automaticBars = ##f
2149 \override TextScript #'padding = #-4
2150 e^"~~ S" f g a b^"~~ S" c
2158 @lilypond[fragment,notime,ragged-right]
2159 \set Score.automaticBars = ##f
2163 \override TextScript #'padding = #-4
2164 b^"~~ S" c d e^"~~ S" f g a
2172 @lilypond[fragment,notime,ragged-right]
2173 \set Score.automaticBars = ##f
2177 \override TextScript #'padding = #-4
2178 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2180 \context Lyrics \lyrics {
2186 @lilypond[fragment,notime,line-width=13.0\cm]
2187 \set Score.automaticBars = ##f
2188 %\override Score.LyricText #'font-style = #'large
2189 %\override Score.TextScript #'font-style = #'large
2193 \override TextScript #'padding = #-4
2194 b^"~~ S" c d e fis gis^"~~ S"
2195 a g! f!^"~~ S" e d c^"~~ S" b a
2204 @node diminished interval
2205 @section diminished interval
2207 ES: intervalo disminuido,
2208 I: intervallo diminuito,
2209 F: intervalle diminué,
2210 D: vermindertes Intervall,
2211 NL: verminderd interval,
2212 DK: formindsket interval,
2213 S: förminskat intervall,
2214 FI: vähennetty intervalli.
2231 FI: diminuendo, hiljentyen.
2253 @node disjunct movement
2254 @section disjunct movement
2256 ES: movimiento disjunto,
2258 F: mouvement disjoint,
2259 D: sprunghafte Bewegung,
2260 NL: sprongsgewijze beweging,
2261 DK: springende bevægelse,
2262 S: hoppande rörelse,
2263 FI: melodian hyppivä liike.
2265 Progressing melodically by intervals larger than a major second.
2266 Opposite of @ref{conjunct movement}.
2268 @lilypond[fragment,ragged-right]
2273 a4. gis8 b a e cis |
2274 fis2 d4. \bar "||" }
2281 @ref{dissonant interval}.
2284 @node dissonant interval
2285 @section dissonant interval
2287 ES: intervalo disonante, disonancia,
2288 I: intervallo dissonante, dissonanza,
2291 NL: dissonant interval; dissonant,
2292 DK: dissonerende interval, dissonans,
2294 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2301 @node dominant ninth chord
2302 @section dominant ninth chord
2304 ES: acorde de novena de dominante,
2305 I: accordo di nona di dominante,
2306 F: accord de neuvième dominante,
2307 D: Domi@-nant@-nonen@-akkord,
2308 NL: dominant noon akkoord,
2309 DK: dominantnoneakkord,
2310 S: dominantnonackord,
2311 FI: dominanttinoonisointu.
2315 @ref{chord}, @ref{functional harmony}.
2318 @node dominant seventh chord
2319 @section dominant seventh chord
2321 ES: acorde de séptima de dominante,
2322 I: accordo di settima di dominante,
2323 F: accord de septième dominante,
2324 D: Dominantseptakkord,
2325 NL: dominant septiem akkoord,
2326 DK: dominantseptimakkord,
2327 S: dominantseptimackord,
2328 FI: dominanttiseptimisointu.
2332 @ref{chord}, @ref{functional harmony}.
2345 FI: dominantti, huippusointu.
2347 The fifth @ref{scale degree} in @ref{functional harmony}.
2351 @section dorian mode
2356 D: dorisch, dorischer Kirchenton,
2357 NL: dorische toonladder,
2364 @ref{diatonic scale}.
2367 @node dot (augmentation dot)
2368 @section dot (augmentation dot)
2371 I: punto (di valore),
2373 D: Punkt (Verlängerungspunkt),
2379 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2387 @section dotted note
2389 ES: nota con puntillo,
2393 NL: gepuncteerde noot,
2396 FI: pisteellinen nuotti.
2403 @node double appoggiatura
2404 @section double appoggiatura
2406 ES: apoyatura doble,
2407 I: appoggiatura doppia,
2408 F: appoggiature double,
2409 D: doppelter Vorschlag,
2410 NL: dubbele voorslag,
2411 DK: dobbelt forslag,
2413 FI: kaksoisappogiatura, kaksoisetuhele.
2420 @node double bar line
2421 @section double bar line
2427 NL: dubbele maatstreep,
2430 FI: kaksoistahtiviiva.
2432 Indicates the end of a section within a movement.
2435 @node double dotted note
2436 @section double dotted note
2438 ES: nota con doble puntillo,
2439 I: nota doppiamente puntata,
2440 F: note doublement pointée,
2441 D: doppelt punktierte Note,
2442 NL: dubbelgepuncteerde noot,
2443 DK: dob@-belt@-punk@-te@-ret node,
2444 S: dub@-bel@-punk@-te@-rad not,
2445 FI: kaksoispisteellinen nuotti.
2453 @section double flat
2462 FI: kaksoisalennusmerkki.
2470 @section double sharp
2472 ES: doble sostenido,
2477 DK: dob@-belt@-kryds,
2479 FI: kaksoisylennysmerkki.
2487 @section double trill
2493 NL: dubbele triller,
2498 A simultaneous trill on two notes, usually in the distance of a third.
2502 @section duple meter
2507 D: in zwei, grader Takt,
2508 NL: tweedelige maatsoort,
2545 FI: kesto, aika-arvo.
2553 @section dydimic comma
2557 @ref{syntonic comma}.
2566 D: Dynamik, Lautstärke,
2572 The aspect of music relating to degrees of loudness, or changes from one
2573 degree to another. The terms, abbreviations, and symbols used to indicate
2574 this information are called dynamic marks.
2578 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2598 @node ecclesiastical mode
2599 @section ecclesiastical mode
2607 @section eighth note
2613 D: Achtel, Achtelnote,
2615 DK: ottendedelsnode,
2617 FI: kahdeksasosanuotti.
2625 @section eighth rest
2627 ES: silencio de corchea,
2633 DK: ottendedelspause,
2635 FI: kahdeksasosatauko.
2645 FIXME: languages, definition
2649 @section embellishment
2662 D: Notenstich, Notendruck
2668 Engraving means incising or etching a metal plate for
2669 printing. Photoengraving means drawing music with ink in a manner
2670 similar to drafting or engineering drawing, using similar tools.
2672 The traditional process of music printing is done through cutting in a
2673 plate of metal. Now also the term for the art of music typesetting.
2688 Two notes, intervals, or scales are enharmonic if they have different names
2691 @lilypond[fragment,notime,line-width=13.0\cm]
2692 \set Score.automaticBars = ##f
2694 \context Staff \relative c'' {
2695 gis1 as <des g,!> <cis g!>
2697 \context Lyrics \lyrics {
2698 \override Lyrics .LyricText #'self-alignment-X = #-1
2699 "g sharp " "a flat " "dim fifth " "augm fourth"
2705 @node equal temperament
2706 @section equal temperament
2708 ES: temperamento igual,
2709 I: temperamento equabile,
2710 F: tempérament égal,
2711 D: gleichschwebende Stimmung,
2712 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2713 DK: ligesvævende temperatur,
2714 S: liksvävande temperatur,
2717 Tuning system dividing the octave into 12 equal @ref{semitone}s
2718 (precisely 100 @ref{cent}s).
2725 @node expression mark
2726 @section expression mark
2729 I: segno d'espressione,
2730 F: signe d'expression, indication de nuance,
2732 NL: voordrachtsteken,
2733 DK: foredragsbetegnelse,
2734 S: föredragsbeteckning,
2735 FI: nyanssiosoitus, esitysmerkki.
2737 Performance indications concerning 1. volume, dynamics (for example
2738 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2739 @ref{andante}, @ref{allegro}).
2743 @section extender line
2745 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2747 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2754 The generic term for a line (or dash) of arbitrary length that
2755 extends text (without indicating the musical @emph{function} of
2758 Used in many contexts, for example:
2762 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2764 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2767 In figured (or thorough) bass to indicate that:
2771 @item The extended note should be held through a change in
2772 harmony, when applied to one figure --OR--
2774 @item The chord thus represented should be held above a moving
2775 bass line, when applied to more than one figure.
2777 @item These uses were not completely standardized, and some
2778 composers used a single extender line to indicate the
2784 In string music to indicate that all notes in the passage thus indicated
2785 should be played on the same string. On the violin, for example, a series
2786 of notes to be played on the G string would be indicated @samp{sul G},
2787 another series to be played on the D string would be indicated @samp{sul D},
2794 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2826 The position between the dots of the key symbol is the line of the F below
2827 central@w{ }C. Used on the third, fourth and fifth note line. A
2828 digit@w{ }8 above the clef symbol indicates that the notes must be played
2829 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2830 symbol indicates playing an octave lower (for example, on double bass
2833 @lilypond[fragment,notime,line-width=13.0\cm]
2834 \set Score.automaticBars = ##f
2835 \override Staff.Clef #'full-size-change = ##t
2863 @node feathered beam
2864 @section feathered beam
2868 F: liens de croches en soufflet,
2869 D: gespreizter Balken,
2875 A type of beam used to indicate that a small group of notes should be
2876 played at an increasing or decreasing tempo -- depending on the
2877 direction of @q{feathering} -- but without changing the overall tempo
2882 Internals Reference: @ruser{Manual beams}
2890 F: point d'orgue, point d'arrêt, @c 'point d'orgue' on a note, 'point d'arret' on a rest.
2895 FI: fermaatti, pidäke.
2897 Prolonged note or rest of indefinite duration.
2899 @lilypond[fragment,ragged-right]
2902 a4 b c2^\fermata \bar "|."
2925 @section figured bass
2929 @ref{thorough bass}.
2944 The methodical use of fingers in the playing of instruments.
2951 I: coda (uncinata), bandiera,
2959 Ornament at the end of the stem of a note used for notes with values
2960 less than a quarter note. The number of flags determines the
2963 @lilypond[fragment,notime,ragged-right]
2964 \set Score.automaticBars = ##f
2965 %\override Score.TextScript #'font-style = #'large
3010 FI: forte, voimakkaasti.
3012 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3013 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3050 @node functional harmony
3051 @section functional harmony
3053 ES: armonía funcional,
3054 I: armonia funzionale,
3055 F: étude des functions,
3057 NL: functionele harmonie,
3058 DK: funktionsanalyse, funktionsharmonik,
3060 FI: harmoniajärjestelmä.
3062 A system of harmonic analysis. It is based on the idea that, in a given key,
3063 there are only three functionally different chords: tonic (T, the chord on the
3064 first note of the scale), subdominant (S, the chord on the fourth note), and
3065 dominant (D, the chord on the fifth note). Others are considered to be
3066 variants of the base chords.
3068 @lilypond[fragment,notime,line-width=13.0\cm]
3069 \set Score.automaticBars = ##f
3071 \context Voice \relative c'' {
3072 <g e c >1 < a f d > < b g e >
3073 <c a f > < d b g > < e c a > < f d b > }
3074 \context Lyrics \lyrics {
3075 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3103 D: G-Schlüssel, Violinschlüssel,
3109 A clef symbol indicating the G above central@w{ }C. Used on the first
3110 and second note lines. A digit 8 above the clef symbol indicates that
3111 the notes must be played an octave higher while 8 below the clef symbol
3112 indicates playing or singing an octave lower (most tenor parts in choral
3113 scores are notated like that).
3115 @lilypond[fragment,notime,ragged-right]
3117 \set Score.automaticBars = ##f
3118 \override Staff.Clef #'full-size-change = ##t
3121 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3131 \context Lyrics \lyrics {
3132 \override Lyrics . LyricText #'X-offset = #-5
3133 "french violin clef"
3152 FI: glissando, liukuen.
3154 Letting the pitch slide fluently from one note to the other.
3158 @section grace notes
3160 ES: notas de adorno,
3163 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3169 Notes printed in small types to indicate that their time values are not
3170 counted in the rhythm of the bar.
3176 @section grand staff
3178 ES: sistema de piano,
3181 D: Akkolade, Klaviersystem,
3184 S: ackolad, böjd klammer,
3185 FI: kaksoisnuottiviivasto.
3187 A combination of two staves with a brace. Usually used for piano music.
3204 FI: grave, raskaasti.
3229 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3230 standard usage of these countries, @samp{B} means @samp{B flat}.
3234 @ref{Pitch names}, @ref{B}
3244 D: Halbe, halbe Note,
3258 ES: silencio de blanca,
3273 @node harmonic cadence
3274 @section harmonic cadence
3276 ES: cadencia (armónica),
3277 I: cadenza (armonica),
3278 F: cadence harmonique,
3280 NL: harmonische cadens,
3281 DK: harmonisk kadence,
3282 S: (harmonisk) kadens,
3283 FI: harmoninen kadenssi.
3285 A sequence of chords that terminates a musical phrase or
3288 @ref{functional harmony}.
3290 @lilypond[fragment,ragged-right]
3291 \context PianoStaff <<
3292 \context Staff = SA \relative c'' {
3296 \partial 4 < c g e >4 |
3297 < c a f > < b g d > < c g e >2
3300 \context Staff = SB \relative c {
3302 \partial 4 c4 | f, g c2
3320 D: Harmonie, Zusammenklang,
3324 FI: harmonia, yhteissointi.
3326 Tones sounding simultaneously. Two note harmonies fall into the categories
3327 @emph{consonances} and @emph{dissonances}.
3331 @lilypond[fragment,notime,line-width=13.0\cm]
3332 \set Score.automaticBars = ##f
3333 %\override Score.TextScript #'font-style = #'large
3334 \context Voice \relative c'' {
3347 @lilypond[fragment,notime,line-width=13.0\cm]
3348 \set Score.automaticBars = ##f
3349 %\override Score.TextScript #'font-style = #'large
3350 \context Voice \relative c'' {
3351 <g a>1_"second " s s
3352 <g f'>_"seventh " s s
3357 Three note harmony @ref{chord}.
3370 FI: homofonia, yksiäänisyys.
3372 Music in which one voice leads melodically followed by the other voices more
3373 or less in the same rhythm. In contrast to @ref{polyphony}.
3386 FI: intervalli, kahden sävelen korkeusero.
3388 Difference in pitch between two notes. Intervals may be perfect, minor,
3389 major, diminished, or augmented. The augmented fourth and the diminished fifth
3390 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3391 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3394 @lilypond[fragment,notime,line-width=13.0\cm]
3395 \set Score.automaticBars = ##f
3397 \context Voice \relative c'' {
3407 \context Lyrics \lyrics {
3408 "unison " "second " "second " "second "
3409 "third " "third " "third " "third"
3414 @lilypond[fragment,notime,line-width=13.0\cm]
3415 \set Score.automaticBars = ##f
3417 \context Staff \relative c'' {
3428 "fourth " "fourth " "fifth " "fifth "
3429 "sixth " "sixth " "sixth " "sixth"
3434 @lilypond[fragment,notime,line-width=13.0\cm]
3435 \set Score.automaticBars = ##f
3437 \context Staff \relative c'' {
3438 < gis f'! >1^"dimin"
3447 \context Lyrics \lyrics {
3448 "seventh " "seventh " "seventh " "octave "
3449 "ninth " "ninth " "tenth " "tenth"
3455 @node inverted interval
3456 @section inverted interval
3458 ES: intervalo invertido,
3459 I: intervallo rivolto,
3460 F: intervalle reversé,
3461 D: umgekehrtes Intervall,
3462 NL: interval inversie,
3463 DK: omvendingsinterval,
3464 S: intervallets omvändning,
3465 FI: käänteisintervalli.
3467 The difference between an interval and an octave.
3469 @lilypond[fragment,notime,line-width=13.0\cm]
3470 \set Score.automaticBars = ##f
3471 %\override Score.TextScript #'font-style = #'large
3472 \context Staff \relative c'' {
3473 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3474 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3475 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3480 @node just intonation
3481 @section just intonation
3483 ES: entonación justa,
3484 I: intonazione giusta,
3485 F: intonation juste,
3492 Tuning system in which the notes are obtained by adding and subtracting
3493 natural fifths and thirds.
3510 According to the 12@w{ }tones of the @ref{chromatic scale}
3511 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3515 @ref{key signature}.
3519 @section key signature
3521 ES: armadura (de la clave),
3522 I: armatura di chiave,
3523 F: armure, armature [de la clé],
3524 D: Vorzeichen, Tonart,
3525 NL: toon@-soort (voortekens),
3528 FI: sävellajiosoitus.
3530 The sharps or flats appearing at the beginning of each staff indicating the
3542 D: Largo, Langsam, Breit,
3546 FI: largo, hitaasti, leveästi.
3548 Very slow in tempo, usually combined with great
3549 expressiveness. @emph{Larghetto} is less slow than largo.
3553 @section leading note
3564 The seventh @ref{scale degree}, a @ref{semitone} below
3565 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3566 upwards) to the tonic scale degree.
3570 @section ledger line
3572 ES: línea adicional,
3573 I: tagli addizionali,
3574 F: ligne supplémentaire,
3581 A ledger line is an extension of the staff.
3583 @lilypond[fragment,notime,ragged-right]
3584 \set Score.automaticBars = ##f
3585 \relative c'' { a,1 s c'' }
3595 D: legato, gebunden,
3601 To be performed (a) without any perceptible interruption between the notes,
3602 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3605 @lilypond[fragment,notime,line-width=13.0\cm]
3606 \set Score.automaticBars = ##f
3608 \context Staff \relative c'' {
3609 c4-( d e-) \bar "||"
3610 c4-- d-- e-- \bar "||"
3611 c4-.-( d-. e-.-) \bar "||"
3612 c4-. d-. e-. \bar "||"
3625 @section legato curve
3629 @ref{slur}, @ref{legato}.
3643 ES: estanque de nenúfares,
3644 I: stagno del giglio,
3648 NL: le@-lie@-vij@-ver,
3653 A pond with lilies floating in it, also the name of a music typesetter.
3663 A ligature is a coherent graphical symbol that represents at least two
3664 distinct notes. Ligatures originally appeared in the manuscripts of
3665 Gregorian chant notation roughly since the 9th century to denote
3666 ascending or descending sequences of notes. In early notation,
3667 ligatures were used for monophonic tunes (Gregorian chant) and very
3668 soon denoted also the way of performance in the sense of articulation.
3669 With the invention of the metric system of the white mensural
3670 notation, the need for ligatures to denote such patterns disappeared.
3679 D: Linie, Notenlinie,
3683 FI: viiva, nuottiviiva.
3690 @node long appoggiatura
3691 @section long appoggiatura
3693 ES: apoyatura larga,
3694 I: appoggiatura lunga,
3695 F: appoggiature longue,
3700 FI: pitkä appoggiatura, pitkä etuhele.
3719 Note value: double length of @ref{breve}.
3721 @lilypond[fragment,notime,ragged-right]
3722 \set Score.automaticBars = ##f
3724 \override NoteHead #'style = #'mensural
3737 ES: letra (de la canción),
3740 D: Liedtext, Gesangtext,
3759 FIXME: add languages
3766 @node major interval
3767 @section major interval
3769 ES: intervalo mayor,
3770 I: intervallo maggiore,
3771 F: intervalle majeur,
3772 D: großes Intervall,
3776 FI: suuri intervalli.
3797 @ref{diatonic scale}.
3800 @node meantone temperament
3801 @section meantone temperament
3803 ES: afinación mesotónica,
3804 I: accordatura mesotonica,
3805 F: tempérament mésotonique,
3806 D: mitteltönige Stimmung,
3807 NL: middenstemming, middentoonstemming,
3808 DK: middeltonetemperatur,
3809 S: medeltonstemperatur,
3810 FI: keskisävelviritys.
3812 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3813 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3814 @ref{temperament} only a limited set of keys are playable.
3815 Used for tuning keyboard instruments for performance of pre-1650 music.
3830 A group of @ref{beat}s (units of musical time) the first of which
3831 bears an accent. Such groups in numbers of two or more recur consistently
3832 throughout the composition and are marked from each other by
3842 I: mediante, modale,
3850 1.@tie{}The third @b{scale degree}.
3851 2.@tie{}A @ref{chord} having its base tone
3852 a third from that of another chord. For example, the tonic chord may be
3853 replaced by its lower mediant (variant tonic).
3856 harmony}, @ref{relative key}.
3866 FI: melisma, laulettavan tavun sävelkuvio.
3868 A melisma (plural: melismata) is a group of notes or tones sung on one
3869 syllable in plainsong
3873 @section melisma line
3875 FIXME: add languages
3879 @ref{extender line}.
3882 @node melodic cadence
3883 @section melodic cadence
3895 F: indication de mesure, mesure,
3902 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3903 unaltered throughout a composition or a section of it. For instance,
3904 3/4 meter means that the basic @ref{note value}s are quarter notes and
3905 that a @ref{measure} consists of three of those. According to whether
3906 there are two, three, or four units to the measure, one speaks of
3907 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3908 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3911 @lilypond[fragment,line-width=13.0\cm]
3915 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3918 @lilypond[fragment,line-width=13.0\cm]
3922 f8 f f f a16 g a f |
3923 c'8 c c c e16 d e c \bar "||"}
3926 @lilypond[fragment,line-width=13.0\cm]
3930 d4 b8 g b d d c a4 |
3931 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3947 Device indicating the exact tempo of a piece.
3953 @node metronomic indication
3954 @section metronomic indication
3956 ES: indicación metronómica,
3957 I: indicazione metronomica,
3958 F: indication métronomique,
3960 NL: metronoom aanduiding,
3962 S: metronomangivelse,
3963 FI: metronomiosoitus.
3965 Exact tempo indication (in beats per minute). Also denoted by
3966 M.M.@: (Mälzels Metronom).
3970 @section mezzo-soprano
3981 The female voice between @ref{soprano} and @ref{contralto}.
3990 D: eingestrichenes@w{ }c,
3992 DK: enstreget@w{ }c,
3993 S: ettstruket@w{ }c,
3996 First C below the 440 Hz A.
3998 @lilypond[fragment,notime,ragged-right]
3999 \set Score.automaticBars = ##f
4000 \override Staff.Clef #'full-size-change = ##t
4023 @ref{diatonic scale}.
4026 @node minor interval
4027 @section minor interval
4029 ES: intervalo menor,
4030 I: intervallo minore,
4031 F: intervalle mineur,
4032 D: kleines Intervall,
4036 FI: pieni intervalli.
4049 D: Kirchentonart, Modus,
4053 FI: moodi, kirkkosävelasteikko.
4057 @ref{church mode}, @ref{diatonic scale}.
4070 FI: modulaatio, sävellajin vaihdos.
4072 Moving from one @ref{key} to another. For example, the second
4073 subject of a @ref{sonata form} movement modulates to the dominant
4074 key if the key is major and to the @ref{relative key} if the key
4087 FI: mordent, korukuvio.
4112 FI: teema, sävelaihe.
4114 The briefest intelligible and self-contained fragment of a musical theme or
4117 @lilypond[line-width=13.0\cm]
4120 \set Score.implicitTimeSignatureVisibility = #all-invisible
4121 \override Score.TimeSignature #'break-visibility = #all-invisible
4124 \partial 8 g16\startGroup fis |
4125 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4126 g8 g,16 a b8 cis d16 s
4130 \Staff \consists "Horizontal_bracket_engraver"
4148 Greater musical works like @ref{symphony} and
4149 @ref{sonata} most often consist of several -- more or less --
4150 independant pieces called movements.
4153 @node multi-measure rest
4154 @section multi-measure rest
4156 ES: compases de espera,
4160 D: mehrtaktige Pause, Kirchenpause,
4163 FI: usean tahdin mittainen tauko.
4165 Multi-measure rests are conventionally typeset with a combination of longa,
4166 breve and whole rests for shorter and a long horizontal bar for longer
4167 spans of rest, with a number above to indicate the duration (in measures)
4168 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4169 reminiscence of its use in Renaissance vocal polyphony.
4171 @lilypond[fragment,ragged-right]
4174 \set Score.skipBars = ##t R1*3
4176 \set Score.skipBars = ##t R1*122
4183 @node mixolydian mode
4184 @section mixolydian mode
4188 @ref{diatonic scale}.
4192 @section natural sign
4197 D: Auflösungszeichen,
4198 NL: herstellingsteken,
4199 DK: op@-løsningstegn,
4200 S: återställningstecken,
4208 @node neighbour tones
4209 @section neighbour tones
4253 Notes are signs by means of which music is fixed in writing. The term is also
4254 used for the sound indicated by a note, and even for the key of the piano
4255 which produces the sound. However, a clear distinction between the terms tone
4256 and @ref{note} is strongly recommended. Briefly, one sees a note,
4264 I: testa, testina, capocchia,
4272 A head-like sign which indicates pitch by its position on a
4273 @ref{staff} provided with a @ref{clef}, and duration
4274 by a variety of shapes such as hollow or black heads with or without
4275 @ref{stem}s, @ref{flag}s, etc. For percussion
4276 instruments (often having no defined pitch) the note head may indicate the
4283 ES: valor (duración),
4285 F: durée, valeur (d'une note),
4290 FI: nuotin aika-arvo.
4292 Note values (durations) are measured as fractions, normally 1/2, of
4293 the next higher note value. The longest duration normally used is
4294 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4295 double-length note value @emph{longa} or the quadruple-length note
4296 value @emph{maxima} are used.
4298 @c TODO -- add maxima to this example
4300 @lilypond[fragment,notime,line-width=13.0\cm]
4301 %\override Score.TextScript #'font-style = #'large
4302 \set Score.automaticBars = ##f
4304 \override NoteHead #'style = #'mensural
4305 a\longa_"longa" a\breve_"breve"
4306 \revert NoteHead #'style
4307 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4308 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4311 @c TODO -- add maxima rest to this example
4313 @lilypond[fragment,notime,line-width=13.0\cm]
4314 %\override Score.TextScript #'font-style = #'large
4315 \set Score.automaticBars = ##f
4317 r\longa_"longa" r\breve_"breve"
4318 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4319 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4322 An augmentation dot after a note multiplies the duration by one and a
4323 half. Another dot adds yet a fourth of the duration.
4325 @lilypond[fragment,line-width=13.0\cm]
4326 %\override Score.TextScript #'font-style = #'large
4329 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4330 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4333 Alternatively note values may be subdivided by other ratios. Most common is
4334 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4335 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4336 dotted notes are also frequently used.
4338 @lilypond[fragment,line-width=13.0\cm]
4339 %\override Score.TextScript #'font-style = #'large
4342 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4343 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4347 @lilypond[fragment,line-width=13.0\cm]
4350 \times 3/2 {g4_"duplets" g} |
4352 \times 6/4 {g8_"quadruplets" g g g} |
4353 g8 g g g g4 \bar "||"
4359 @section octave sign
4363 @ref{G clef}, @ref{F clef}.
4387 I: abbellimento, fioriture,
4388 F: agrément, ornement,
4389 D: Verzierung, Ornament,
4395 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4396 with the diatonic @ref{second} above it. In the music from the
4397 middle of the 19th century and onwards the trill is performed with the main
4398 note first while in the music from the preceding baroque and classic periods
4399 the upper note is played first.
4401 @lilypond[fragment,line-width=13.0\cm]
4403 \context Staff = sa {
4404 % \override Score.TextScript #'font-style = #'large
4406 c2._"pre-1850" b4\trill | c1 \bar "||"
4407 c2._"post-1850" b4\trill | c1 \bar "||"
4411 c2. c32 b c b c b c b | c1
4412 c2. b32 c b c \times 4/5 { b c b c b } | c1
4417 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4419 @emph{prall} (inverted mordent).
4421 @lilypond[fragment,line-width=13.0\cm]
4423 \context Staff = sa {
4424 % \override Score.TextScript #'font-style = #'large
4426 a4_"turn" b\turn c2 \bar "||"
4427 g4_"mordent" a b\mordent a \bar "||"
4428 e'4_"prall" d\prall c2 \bar "||"
4434 e'4 e32[ d e d ~ d8] c2
4454 FI: ossia, vaihtoehtoinen esitystapa.
4456 Ossia (otherwise) marks an alternative. It is an added staff or piano
4457 score, usually only a few measures long, which presents another version
4458 of the music, for example for small hands.
4479 FI: stemma, instrumenttiosuus.
4481 1.@tie{}In instrumental or choral music the music for the single instrument
4482 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4483 melodic line of the contrapunctal web.
4508 D: Schlagzeug, Schlagwerk,
4514 A family of musical instruments which are played on by striking or
4515 shaking. Percussion instruments commonly used in a symphony orchestra are
4516 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4517 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4521 @node perfect interval
4522 @section perfect interval
4524 ES: intervalo justo,
4525 I: intervallo giusto,
4526 F: intervalle juste,
4527 D: reines Intervall,
4531 FI: puhdas intervalli.
4550 A natural division of the melodic line, comparable to a sentence of speech.
4563 FI: fraseeraus, jäsentäminen.
4565 The clear rendering in musical performance of the @ref{phrase}s of
4566 the melody. Phrasing may be indicated by a @ref{slur}.
4574 F: anacrouse, levée,
4598 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4599 @emph{mezzo piano} (@b{mp}) medium soft.
4622 NL: pizzicato, getokkeld,
4625 FI: pizzicato, näppäillen.
4627 Play by plucking the strings.
4636 D: Polyphonie, Mehrstimmigkeit,
4640 FI: polyfonia, moniäänisyys.
4642 Music written in a combination of several simultaneous voices (parts) of a
4643 more or less pronounced individuality.
4662 D: Presto, Sehr schnell,
4663 NL: presto, Sehr schnell,
4666 FI: presto, hyvin nopeasti.
4668 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4669 denotes the highest possible degree of speed.
4672 @node Pythagorean comma
4673 @section Pythagorean comma
4675 ES: coma pitagórica,
4676 I: comma pitagorico,
4677 F: comma pythagoricien,
4678 D: Pythagoräisches Komma,
4679 NL: komma van Pythagoras,
4680 DK: pythagoræisk komma,
4681 S: pytagoreiskt komma,
4682 FI: pytagorinen komma.
4684 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4685 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4686 24 @ref{cent}s higher than the@w{ }C obtained by adding
4687 7@w{ }octaves. The difference between those two pitches is called the
4709 @section quarter note
4712 I: semiminima, nera,
4715 D: Viertel, Viertelnote,
4719 FI: neljännesosanuotti.
4727 @section quarter rest
4729 ES: silencio de negra,
4730 I: pausa di semiminima,
4735 DK:@w{ }fjerdedelspause,
4737 FI: neljännesosatauko.
4747 ES: cinquillo, quintillo.
4762 @section rallentando
4767 D: rallentando, langsamer werden,
4771 FI: rallerdando, hidastuen.
4773 Abbreviation "rall.".
4779 @section relative key
4782 I: tonalità relativa,
4783 F: tonalité relative,
4785 NL: paralleltoonsoort,
4786 DK: paralleltoneart,
4788 FI: rinnakkaissävellaji.
4790 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4792 @lilypond[fragment,notime,line-width=13.0\cm]
4793 \set Score.automaticBars = ##f
4794 %\override Score.TextScript #'font-style = #'large
4797 es1_"e flat major" f g as bes c d es
4802 @lilypond[fragment,notime,line-width=13.0\cm]
4803 \set Score.automaticBars = ##f
4804 %\override Score.TextScript #'font-style = #'large
4807 c1_"c minor" d es f g a! b! c \bar "||"
4817 F: barre de reprise,
4820 DK: gen@-ta@-gel@-se,
4824 @lilypond[fragment,line-width=13.0\cm]
4828 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4832 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4833 @c specify the rest's value.
4867 @item Metrical rhythm in which every time value is a multiple or
4868 fraction of a fixed unit of time, called @ref{beat}, and in which the
4869 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4870 The basic scheme of time values is called @ref{meter}.
4872 @item Measured rhythm which lacks regularly recurrent accent. In
4873 modern notation such music appears as a free alternation of different
4876 @item Free rhythm, i.e., the use of temporal values having no common
4877 metrical unit (beat).
4889 D: ritardando, langsamer werden,
4893 FI: ritardando, hidastuen,
4895 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4908 FI: ritenuto, hidastaen.
4910 Immediate reduction of speed.
4923 FI: asteikko, sävelasteikko.
4927 @ref{diatonic scale}.
4931 @section scale degree
4933 ES: grado (de la escala),
4934 I: grado della scala,
4935 F: degré [de la gamme],
4937 NL: trap [van de toonladder],
4940 FI: sävelaste, asteikon sävel.
4942 Names and symbols used in harmonic analysis to denote tones of the
4943 scale as roots of chords. The most important are degrees I = tonic
4944 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4946 @lilypond[fragment,notime,line-width=13.0\cm]
4947 \set Score.automaticBars = ##f
4949 \context Staff \relative c' {
4953 << { I II III IV V VI VII I }
4961 @ref{functional harmony}.
4969 F: à cordes ravallées,
4976 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4977 tuning of stringed instruments, particularly lutes or violins. Used
4982 @item facilitate pitch combinations that would otherwise be difficult
4985 @item alter the characteristic timbre of the instrument, for example,
4986 to increase brilliance)
4988 @item reinforce certain sonorities or tonalities by making them
4989 available on open strings
4991 @item imitate other instruments
4997 Tunings that could be called @var{scordatura} first appeared early in
4998 the 16th Century and became commonplace in the 17th.
5007 D: Partitur (full score), Klavierauszug (vocal score),
5013 A copy of orchestral, choral, or chamber music showing what each
5014 instrument is to play, each voice to sing, having each part arranged
5015 one underneath the other on different staves @ref{staff}.
5030 The @ref{interval} between two neigbouring tones of a scale. A
5031 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5032 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5033 degrees in question.
5048 The @ref{interval} of a minor second. The (usually) smallest interval
5049 in European composed music. The interval between two neighbouring
5050 tones on the piano keyboard -- including black and white keys -- is a
5051 semitone. An octave may be divided into 12@w{ }semitones.
5052 @ref{interval}, @ref{chromatic scale}.
5054 @lilypond[fragment,notime,line-width=13.0\cm]
5055 \set Score.automaticBars = ##f
5056 \relative c'' { g1 gis s a bes s b! c }
5127 @node short appoggiatura
5128 @section short appoggiatura
5135 @node sixteenth note
5136 @section sixteenth note
5142 D: Sechzehntel, Sechzehntelnote,
5143 NL: zes@-ti@-ende noot,
5144 DK: sekstendedelsnode,
5146 FI: kuudestoistaosanuotti.
5153 @node sixteenth rest
5154 @section sixteenth rest
5156 ES: silencio de semicorchea,
5157 I: pausa di semicroma,
5159 UK: semiquaver rest,
5160 D: Sechzehntelpause,
5162 DK: sekstendedelspause,
5188 @node sixty-fourth note
5189 @section sixty-fourth note
5193 F: quadruple croche,
5194 UK: hemidemisemiquaver,
5195 D: Vierundsechzigstel, Vierundsechzigstelnote,
5196 NL: vierenzestigste noot,
5197 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5198 S: sextiofjärdedelsnot,
5199 FI: kuudeskymmenesneljäsosanuotti.
5206 @node sixty-fourth rest
5207 @section sixty-fourth rest
5209 ES: silencio de semifusa,
5210 I: pausa di semibiscroma,
5211 F: seizième de soupir,
5212 UK: hemidemisemiquaver rest,
5213 D: Vierundsechzigstelpause,
5214 NL: vierenzestigste rust,
5215 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5216 S: sextiofjärdedelspaus,
5217 FI: kuudeskymmenesneljäsosatauko.
5228 ES: ligadura (de expresión),
5229 I: legatura (di portamento or espressiva),
5231 D: Bogen (Legatobogen, Phrasierungsbogen),
5232 NL: fraseringsboog, legatoboog, streekboog,
5233 DK: legatobue, fraseringsbue,
5237 A slur above or below a group of notes indicates that they are to be
5238 played @ref{legato}, e.g., with one stroke of the violin bow or with
5239 one breath in singing.
5244 @section solmization
5253 FI: suhteelliset laulunimet.
5255 General term for systems of designating the degrees of the
5256 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5257 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5276 In its present-day meaning a sonata denotes an instrumental
5277 composition for piano or for some other instrument with piano
5278 accompaniment, which consists of three or four independant pieces,
5283 @section sonata form
5287 F: [en] forme de sonate,
5289 NL: hoofdvorm, sonatevorm,
5294 A form used frequently for single movements of the @ref{sonata},
5295 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5296 into three sections called @emph{exposition}, @emph{development} and
5297 @emph{recapitulation}. In the exposition the composer introduces some
5298 musical ideas, consisting of a number of themes; in the development
5299 section the composer @q{develops} this material, and in the
5300 recapitulation the composer repeats the exposition, with certain
5301 modifications. The exposition contains a number of themes that fall
5302 into two groups, often called first and second subject. Other
5303 melodies occurring in each group are considered as continuations of
5304 these two. The second theme is in another key, normally in the key of
5305 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5306 @ref{relative key} if the tonic is @ref{minor}.
5327 FI: sopraano, korkea naisääni.
5329 The highest female voice.
5337 F: staccato, piqué, détaché,
5342 FI: staccato, lyhyesti, terävästi.
5344 Playing the note(s) short. Staccato is indicated by a dot above or
5345 below the note head.
5347 @lilypond[fragment,ragged-right]
5352 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5362 I: pentagramma, rigo (musicale),
5364 D: Notensystem, Notenzeile,
5365 NL: (noten)balk, partij,
5370 A staff (pl. staves) is a series of (normally five) horizontal lines
5371 upon and between which the musical notes are written, thus indicating
5372 (in connection with a @ref{clef}) their pitch. Staves for
5373 @ref{percussion} instruments may have fewer lines.
5390 D: Hals, Notenhals, Stiel,
5396 Vertical line above or below a @ref{note head} shorter than a
5401 @lilypond[fragment,notime,line-width=13.0\cm]
5402 \set Score.autoBeaming = ##f
5403 \set Score.automaticBars = ##f
5404 %\override Score.TextScript #'font-style = #'large
5426 A family of stringed musical instruments played with a bow. Strings
5427 commonly used in a symphony orchestra are violin, viola, violoncello,
5432 @section strong beat
5437 D: betonter Taktteil oder Taktschlag,
5439 D: betonet taktslag,
5440 S: betonat taktslag,
5441 FI: tahdin vahva isku.
5445 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5449 @section subdominant
5458 FI: subdominantti, alidominantti.
5460 The fourth @ref{scale degree}.
5462 @ref{functional harmony}.
5477 The sixth @ref{scale degree}.
5490 FI: subtoonika, alitoonika.
5492 The seventh @ref{scale degree}.
5501 D: auf G, auf der G-Saite,
5507 Indicates that the indicated passage (or note) should be played on the
5512 @section superdominant
5523 The sixth @ref{scale degree}.
5538 The second @ref{scale degree}.
5547 D: Sinfonie, Symphonie,
5553 A symphony may be defined as a @ref{sonata} for orchestra.
5557 @section syncopation
5568 Any deliberate upsetting of the normal pulse of @ref{meter},
5569 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5570 rhythm rests upon the grouping of equal beats into groups of two or
5571 three, with a regularly recurrent accent on the first beat of each
5572 group. Any deviation from this scheme is felt as a disturbance or
5573 contradiction between the underlaying (normal) pulse and the actual
5576 @lilypond[fragment,ragged-right]
5581 e c'4 e,8 c'4 e,8 c' ( | c2)
5587 @node syntonic comma
5588 @section syntonic comma
5591 I: comma sintonico (o didimico),
5592 F: comma syntonique,
5593 D: syntonisches Komma,
5594 NL: syntonische komma,
5595 DK: syntonisk komma,
5596 S: syntoniskt komma,
5597 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5598 Pytagorisessa viritysjärjestelmässä.
5600 Difference between the natural third and the third obtained by
5601 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5611 D: Notensystem, Partitur,
5615 FI: nuottijärjestelmä.
5617 The collection of staves (@ref{staff}), two or more, as used for writing
5618 down of keyboard, chamber, choral, or orchestral music.
5623 @section temperament
5628 D: Stimmung, Tem@-pe@-ra@-tur,
5629 NL: stemming, temperatuur,
5632 FI: viritysjärjestelmä.
5634 Systems of tuning in which the intervals deviate from the acoustically
5637 @ref{meantone temperament}, @ref{equal temperament}.
5640 @node tempo indication
5641 @section tempo indication
5643 ES: indicación de tempo,
5644 I: indicazione di tempo,
5645 F: indication de tempo,
5646 D: Zeitmaß, Tempobezeichnung,
5647 NL: tempo aanduiding,
5652 The rate of speed of a composition or a section thereof, ranging from
5653 the slowest to the quickest, as is indicated by tempo marks as
5654 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5668 FI: tenori, korkea miesääni.
5670 The highest male voice (apart from @ref{counter tenor}).
5693 ES: subrayado (tenuto),
5702 An indication that a particular note should be held for the whole
5703 length, although this can vary depending on the composer and era.
5723 @node thirty-second note
5724 @section thirty-second note
5730 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5731 NL: twee-endertig@-ste noot,
5732 DK: toogtredivtedelsnode,
5733 S: trettiotvåondelsnot,
5734 FI: kolmanneskymmeneskahdesosanuotti.
5741 @node thirty-second rest
5742 @section thirty-second rest
5744 ES: silencio de fusa,
5745 I: pausa di biscroma,
5746 F: huitième de soupir,
5747 UK: demisemiquaver rest,
5748 D: Zweiunddreissigstel@-pause,
5750 DK: toogtredivtedelspause,
5751 S: trettiotvåondelspaus,
5752 FI: kolmanneskymmeneskahdesosatauko.
5760 @section thorough bass
5763 I: basso continuo, basso numerato,
5764 F: basse chiffrée, basse continue,
5765 D: Generalbass, bezifferter Bass,
5766 NL: basso continuo, becijferde bas
5769 FI: kenraalibasso, numeroitu basso.
5771 A method of indicating an accompaniment part by the bass notes only,
5772 together with figures designating the chief @ref{interval}s and
5773 @ref{chord}s to be played above the bass notes.
5775 @lilypond[fragment,line-width=13.0\cm]
5776 \context GrandStaff <<
5777 \context Staff = lh \relative c'' {
5781 << \context Voice = rha {
5784 \context Voice = rhb {
5786 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5790 \context Staff = rh \relative c' {
5793 es8 c d bes c as bes16 as g f | es4
5795 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5804 ES: ligadura de prolongación,
5805 I: legatura (di valore),
5807 D: Haltebogen, Bindebogen,
5808 NL: overbinding, bindingsboog,
5810 S: bindebåge, överbindning,
5813 A curved line, identical in appearance with the @ref{slur}, which
5814 connects two succesive notes of the same pitch, and which has the
5815 function of uniting them into a single sound (tone) equal to the
5818 @lilypond[fragment,notime,ragged-right]
5819 \set Score.automaticBars = ##f
5820 \relative c'' { g2 ~ g4. }
5832 @node time signature
5833 @section time signature
5835 ES: indicación de compás,
5837 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5838 D: Taktangabe, Angabe der Taktart,
5841 S: taktartssignatur,
5861 A sound of definite pitch and duration, as distinct from @emph{noise}.
5862 Tone is a primary building material of music.
5864 Music from the 20th century may be based on atonal sounds.
5879 The first @ref{scale degree}.
5883 @ref{functional harmony}.
5887 @section transposition
5898 Shifting a melody up or down in pitch, while keeping the same
5901 @lilypond[fragment,line-width=13.0\cm]
5906 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5911 @lilypond[fragment,line-width=13.0\cm]
5914 \transpose c bes \relative c'' {
5916 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5923 @section treble clef
5926 I: chiave di violino,
5928 D: Violinschlüssel, Sopranschlüssel,
5930 DK:@w{ }diskantnøgle,
5951 On stringed instruments (@ref{strings}) the quick reiteration of the
5952 same tone, produced by a rapid up-and-down movement of the bow (a).
5953 The term is also used for the rapid alternation (b) between two notes
5954 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5956 @lilypond[fragment,notime,ragged-right]
5957 \set Score.automaticBars = ##f
5958 %\override Score.TextScript #'font-style = #'large
5961 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5962 \repeat tremolo 8 { e32_"b" g }
5972 F: triade, accord parfait, accord de trois sons,
5989 F: trille, tremblement, battement (cadence),
6002 @section triple meter
6004 ES: compás ternario,
6007 D: in drei, ungerader Takt,
6008 NL: driedelige maatsoort,
6053 @section tuning fork
6056 I: diapason, corista,
6064 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6065 forks give the international pitch for the tone @emph{a} (440
6066 vibrations per second).
6096 FI: unisono, yksiäänisesti.
6098 Playing of the same notes or the same melody by various instruments
6099 (voices) or by the whole orchestra (choir), either at exactly the same
6100 pitch or in a different octave.
6108 F: anacrouse, levée,
6130 FI: ääni, lauluääni.
6132 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6133 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6134 2.@tie{}A melodic layer or part of a polyphonic composition.
6141 I: tempo debole, arsi,
6143 D: unbetonter Taktteil oder Taktschlag,
6145 DK: ubetonet taktslag,
6146 S: obetonat taktslag,
6147 FI: tahdin heikko isku.
6151 @ref{beat}, @ref{measure}, @ref{rhythm}.
6161 D: Ganze, ganze Note,
6175 ES: silencio de redonda,
6176 I: pausa di semibreve,
6179 D: ganze Pause, ganztaktige Pause,
6203 The @ref{interval} of a major second. The interval between two tones
6204 on the piano keyboard with exactly one key between them -- including
6205 black and white keys -- is a whole tone.
6222 A family of blown wooden musical instruments. Today some of these
6223 instruments are actually made from metal. The woodwind instruments
6224 commonly used in a symphony orchestra are flute, oboe, clarinet,
6225 saxophone, and bassoon.
6230 @node Duration names notes and rests
6231 @chapter Duration names, notes and rests
6234 @item DURATION NAMES, NOTES AND RESTS
6237 @multitable @columnfractions .15 .26 .33 .26
6242 @tab @strong{F (note name / rest name)}
6252 @c extra @items make this table harder to read, so I removed them.
6254 @item @strong{longa}
6267 @item @strong{breve}
6270 @tab brève / double-pause
6280 @item @strong{whole}
6290 @tab koko@-nuotti/@w{-tauko}
6296 @tab blanche / demi-pause
6303 @tab puoli@-nuotti/@w{-tauko}
6306 @item @strong{quarter}
6316 @tab neljännesosa@-nuotti/@w{-tauko}
6319 @item @strong{eighth}
6322 @tab croche / demi-soupir
6329 @tab kahdeksasosa@-nuotti/@w{-tauko}
6332 @item @strong{sixteenth}
6335 @tab double croche / quart de soupir
6342 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6345 @item @strong{thirty-second}
6348 @tab triple croche / huitième de soupir
6350 @tab Zweiunddreissigstel
6351 @tab tweeendertigste
6352 @tab toogtredivtedel
6354 @tab trettiotvåondel
6355 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6358 @item @strong{sixty-fourth}
6359 @tab hemidemisemiquaver
6361 @tab quadruple croche / seizième de soupir
6363 @tab Vierundsechzigstel
6364 @tab vierenzestigste
6365 @tab fireogtred@-sindstyvendedel
6367 @tab sextiofjärdedel
6368 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6377 @chapter Pitch names
6383 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6384 @c the extra @item's between each row makes the table hard to read ... so I removed them
6386 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6388 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6390 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6391 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6393 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6396 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6397 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6399 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6400 @tab Des @tab des @tab des @tab des @tab des
6402 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6405 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6406 @tab Es @tab es @tab es @tab es @tab es
6408 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6411 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6414 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6417 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6418 @tab As @tab as @tab as @tab as @tab as
6420 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6423 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6424 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6426 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6427 @tab B @tab bes @tab b @tab b @tab b
6429 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6442 @node Literature used
6443 @unnumberedsec Literature used
6446 @item The Harvard Dictionary of Music, London 1944. Many
6447 more or less literal quotes from its articles have been included into
6448 the item explanation texts.
6450 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6452 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6455 @item Oxford Advanced Learner's Dictionary of Current English, Third
6458 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
6460 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.