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, Kurt Kroon
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.
133 @item UK - British English (where it differs from American English)
159 * ancient minor scale::
164 * ascending interval::
166 * augmented interval::
201 * compound interval::
205 * conjunct movement::
218 * descending interval::
220 * diminished interval::
224 * disjunct movement::
226 * dissonant interval::
227 * dominant ninth chord::
228 * dominant seventh chord::
231 * dot (augmentation dot)::
233 * double appoggiatura::
235 * double dotted note::
238 * double time signature::
246 * ecclesiastical mode::
253 * equal temperament::
272 * functional harmony::
288 * inverted interval::
303 * long appoggiatura::
309 * meantone temperament::
315 * mensural notation::
318 * metronomic indication::
330 * multi-measure rest::
359 * polymetric time signature::
364 * Pythagorean comma::
392 * sixty-fourth note::
393 * sixty-fourth rest::
422 * thirty-second note::
423 * thirty-second rest::
430 * transposing instrument::
484 Abbreviated @samp{a2} or @samp{a 2}.
488 @item An indication in orchestral scores that a single part notated on a single
489 staff that normally carries parts for two players (e.g. first and second oboes)
490 is to be played by both players.
492 @item Or conversely, that two pitches or parts notated on a staff that normally
493 carries a single part (e.g. first violin) are to be played by different players,
494 or groups of players (@q{desks}).
513 FI: aksentti, korostus.
515 The stress of one tone over others.
529 ES: alteración accidental,
531 F: altération accidentelle,
532 D: Versetzungszeichen, Akzidenz,
533 NL: toevallig (verplaatsings)teken,
535 S: tillfälligt förtecken,
536 FI: tilapäinen etumerkki.
538 An accidental has the effect of an @ref{alteration} of a note. A
539 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
540 @ref{whole tone}, a flat lowers it by a semitone and a double flat
541 lowers it by a whole tone. A natural cancels the effect of a previous
542 accidental, or a sharp or flat in the key signature.
544 @lilypond[fragment,notime,line-width=13.0\cm]
545 \set Score.automaticBars = ##f
547 \context Staff \relative c'' {
548 \set Staff.extraNatural = ##f
549 gisis1 gis g! ges geses
552 \override Lyrics .LyricText #'self-alignment-X = #-1
553 "db. sharp" sharp natural flat "db. flat"
564 F: accelerando, en accélérant,
565 D: accelerando, schneller werden,
569 FI: accelerando, kiihdyttäen.
575 @section acciaccatura
577 A grace note which takes its time from the rest or note preceding the
578 principal note to which it is attached. The acciaccatura is drawn as a
579 small eighth note (quaver) with a line drawn through the flag and
584 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
597 FI: adagio, hitaasti.
599 It.@: comfortable, easy.
603 @item Slow tempo, slower -- especially in even meter -- than
604 @ref{andante} and faster than @ref{largo}.
606 @item A movement in slow tempo, especially the second (slow) movement
607 of @ref{sonata}s, symphonies, etc.
618 D: Allegro, Schnell, Fröhlich, Lustig,
622 FI: allegro, nopeasti.
624 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
625 tempo, especially the first and last movements of a @ref{sonata}.
635 NL: verhoging of verlaging,
640 An alteration is the modification, raising or lowering, of a note's
641 pitch. It is established by an @ref{accidental}.
654 FI: altto, matala naisääni.
656 A female voice of low range (@emph{contralto}). Originally the alto
657 was a high male voice (hence the name), which by the use of falsetto
658 reached the height of the female voice. This type of voice is also
659 known as @ref{counter tenor}.
665 ES: clave de do en tercera,
666 I: chiave di contralto,
667 F: clef d'ut troisième ligne,
668 D: Altschlüssel, Bratschenschlüssel,
674 C clef setting middle C on the middle line of the staff.
691 FI: ambitus, ääniala, soitinala.
693 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
694 Denotes a range of pitches for a given voice in a part of music. It may
695 also denote the pitch range that a musical instrument is capable of playing.
696 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
711 An anacrusis (also known as pickup or upbeat) is an incomplete measure
712 of music before a section of music. It also refers to the initial
713 note(s) of a melody occurring in that incomplete measure.
717 @ref{measure}, @ref{meter}.
719 @lilypond[fragment,line-width=13.0\cm]
723 \partial 4 f4 | bes4. a8 bes4 c |
724 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
728 @node ancient minor scale
729 @section ancient minor scale
731 ES: escala menor antigua,
732 I: scala minore naturale,
733 F: forme du mode mineur ancien, troisème mode, mode hellénique,
734 D: reines Moll, natürliches Moll,
735 NL: authentieke mineurtoonladder,
738 FI: luonnollinen molliasteikko.
740 @lilypond[fragment,notime,line-width=13.0\cm]
741 \set Score.automaticBars = ##f
748 @ref{diatonic scale}.
763 Walking tempo/character.
767 @section appoggiatura
771 F: appoggiature, (port de voix),
772 D: Vorschlag, Vorhalt
776 FI: appoggiatura, etuhele.
778 Ornamental note, usually a second, that is melodically connected with
779 the main note following it. In music before the 19th century
780 appoggiature were usually performed on the beat, after that mostly
781 before the beat. While the short appoggiatura is performed as a short
782 note regardless of the duration of the main note the duration of the
783 long appoggiatura is proportional to that of the main note.
785 @lilypond[line-width=13.0\cm]
786 \context Voice \relative c'' {
790 %\override Score.TextScript #'font-style = #'large
791 <d a fis>4_"notation" r
792 { \override Stem #'flag-style = #'()
794 \revert Stem #'flag-style
797 { \override Stem #'flag-style = #'()
799 \revert Stem #'flag-style
802 \cadenzaOn a4 \bar "||" \cadenzaOff
804 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
805 \cadenzaOn a4 \bar "||" \cadenzaOff
809 An appoggiatura may have more notes preceding the main note.
811 @lilypond[line-width=13.0\cm]
815 % \override Score.TextScript #'font-style = #'large
816 \grace { bes16 } as8_"notation" as16 bes as8 g |
817 \grace { as16[( bes] } < c as >4-)
818 \grace { as16[( bes] } < c as >4-) \bar "||"
819 \grace { bes16 } as8_"performance" as16 bes as8 g |
820 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
821 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
833 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
835 DK: arpeggio, akkordbrydning,
837 FI: arpeggio, murtosointu.
839 @lilypond[fragment,line-width=13.0\cm]
840 \context PianoStaff <<
841 \context Staff = SA \relative c'' {
844 r8 g16 c e g, c e r8 g,16 c e g, c e |
845 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
846 \context Staff = SB \relative c' {
848 << \context Voice = va {
850 r16 e8. ( e4) r16 e8. ( e4) |
851 r16 d8. ( d4) r16 d8. ( d4) }
852 \context Voice = vb {
861 @section articulation
870 FI: artikulaatio, ilmaisu.
872 Articulation refers to notation which indicates how a note or notes
873 should be played. Slurs, accents, staccato, and legato are all
874 examples of articulation.
877 @node ascending interval
878 @section ascending interval
880 ES: intervalo ascendente,
881 I: intervallo ascendente,
882 F: intervalle ascendant,
883 D: steigendes Intervall,
884 NL: stijgend interval,
885 DK:@w{ }stigende interval,
886 S: stigande intervall,
887 FI: nouseva intervalli.
889 A distance between a starting lower note and a higher ending note.
892 @node augmented interval
893 @section augmented interval
895 ES: intervalo aumentado,
896 I: intervallo aumentato,
897 F: intervalle augmenté,
898 D: übermäßiges Intervall,
899 NL: overmatig interval,
900 DK: forstørret interval,
901 S: överstigande intervall,
902 FI: ylinouseva intervalli.
910 @section augmentation
921 @c TODO: add definition.
923 This is a placeholder for augmentation (wrt mensural notation).
927 @ref{diminution}, @ref{mensural notation}.
935 F: manuscrit, autographe
936 D: Autograph, Handschrift,
938 DK: håndskrift, autograf,
940 FI: käsinkirjoitettu nuotti.
944 @item A manuscript in the composer's own hand.
946 @item Music prepared for photoreproduction by freehand drawing, with
947 the aid of a straightedge ruler and T-square only, which attempts to
948 emulate engraving. This required more skill than did engraving.
991 ES: barra, línea divisoria,
992 I: stanghetta, barra (di divisione),
993 F: barre (de mesure),
1011 FI: baritoni, keskikorkuinen miesääni.
1013 The male voice intermediate between the @ref{bass} and the
1016 @c F: clef de troisième ligne dropped
1020 @section baritone clef
1022 ES: clave de fa en tercera,
1023 I: chiave di baritono,
1024 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1025 D: Baritonschlüssel,
1031 C or F clef setting middle C on the upper staff line.
1035 @ref{C clef}, @ref{F clef}.
1041 ES: clave de fa en cuarta,
1043 F: clef de fa quatrième ligne,
1050 A clef setting with middle C on the first top ledger line.
1067 FI: basso, matala miesääni.
1071 @item The lowest male voice.
1073 @item Sometimes, especially in jazz music, used as an abbreviation for
1095 Line connecting a series of notes (shorter than a quarter note). The
1096 number of beams determines the note value of the connected notes.
1098 @lilypond[fragment,notime,line-width=13.0\cm]
1099 \set Score.automaticBars = ##f
1100 %\override TextScript #'font-style = #'large
1102 g8_"1/8"[ g g g] s16
1103 g16_"1/16"[ g g g] s16
1104 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1105 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1110 @ref{feathered beam}.
1116 ES: tiempo, parte (de compás)
1119 D: Takt, Taktschlag, Zeit (im Takt),
1125 Note value used for counting, most often half-, fourth-, and eighth
1126 notes. The base counting value and the number of them per measure is
1127 indicated at the start of the music.
1129 @lilypond[fragment,line-width=13.0\cm]
1132 \relative c'' { g4 c b a | g1 \bar "||"}
1134 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1149 ES: llave, corchete,
1152 D: Klammer, Akkolade,
1153 NL: accolade, teksthaak,
1156 FI: yhdistävä sulkumerkki.
1158 Symbol at the start of a system connecting staves.
1160 Curly braces are used for connecting piano staves, and sometimes for connecting
1161 the staves of like instruments in an orchestral score when written on different
1162 staves (e.g. first and second flutes):
1164 @lilypond[fragment,ragged-right]
1165 \context GrandStaff <<
1166 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1167 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1170 Angular brackets for connecting parts in an orchestral or choral score:
1172 @lilypond[fragment,ragged-right]
1173 \context StaffGroup <<
1174 % \set StaffGroup.minVerticalAlign = #12
1175 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1176 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1203 NL: koper (blazers),
1206 S: brassinstrument, mässingsinstrument,
1209 A family of blown musical instruments made of brass, all using a cup
1210 formed mouth piece. The brass instruments commonly used in a symphony
1211 orchestra are trumpet, trombone, french horn, and tube.
1215 @section breath mark
1220 D: Atemzeichen, Trennungszeichen,
1221 NL: repercussieteken,
1222 DK: vejrtrækningstegn,
1226 Indication of where to breathe in vocal and wind instrument parts.
1232 ES: cuadrada, breve,
1239 FI: brevis, kaksoiskokonuotti.
1241 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1242 The shortest note value generally used in white mensural notation, hence the
1243 name, which originally meant @q{of short duration}.
1245 @lilypond[fragment,notime,ragged-right]
1246 \set Score.automaticBars = ##f
1247 \relative c'' { g\breve }
1252 @ref{mensural notation}, @ref{note value}.
1286 Clef symbol indicating the position of the middle C. Used on all note
1289 @lilypond[fragment,notime,line-width=13.0\cm]
1290 \set Score.automaticBars = ##f
1291 \override Score.Clef #'full-size-change = ##t
1293 \context Staff \relative c' {
1295 \clef mezzosoprano c
1300 \context Lyrics \lyrics {
1301 \override Lyrics .LyricText #'self-alignment-X = #-1
1302 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1318 FI: kadenssi, lopuke.
1322 @ref{harmonic cadence}, @ref{functional harmony}.
1335 FI: kadenssi, lopuke.
1337 An extended, improvisatory style section inserted near the end of
1338 movement. The purpose of a cadenza is to give singers or players a
1339 chance to exhibit their technical skill and -- not last -- their
1340 ability to improvise. Since the middle of the 19th century, however,
1341 most cadenzas have been written down by the composer.
1354 FI: kaanon, tarkka jäljittely.
1371 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1372 viritysjärjestelmässä.
1374 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1375 (1/100 of an equally tempered @ref{semitone}).
1379 @ref{equal temperament}.
1402 Three or more tones sounding simultaneously. In traditional European
1403 music the base chord is a @emph{triad} consisting of 2@w{ }thirds.
1404 @emph{Major} (major + minor @ref{third}) as well as @emph{minor}
1405 (minor + major third) chords may be extended with more thirds.
1406 Four-tone @emph{seventh chords} and five-tone @emph{ninth} major
1407 chords are most often used as dominants (@ref{functional harmony}). A
1408 special case is chords having no third above the lower notes to define
1409 their quality as major or minor. Such chords are denoted open chords
1411 @lilypond[fragment,notime,line-width=13.0\cm]
1412 \set Score.automaticBars = ##f
1413 %\override TextScript #'font-style = #'large
1415 \context Staff \relative c'' {
1416 \set Staff.extraNatural = ##f
1436 @node chromatic scale
1437 @section chromatic scale
1439 ES: escala cromática,
1441 F: gamme chromatique,
1442 D: chro@-ma@-ti@-sche Tonleiter,
1443 NL: chromatische toonladder,
1444 DK: kromatisk skala,
1446 FI: kromaattinen asteikko.
1448 A scale consisting of all 12 @ref{semitone}s.
1450 @lilypond[fragment,notime,line-width=13.0\cm]
1451 \set Score.automaticBars = ##f
1452 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1457 @section chromaticism
1468 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1472 @section church mode
1474 ES: modo eclesiástico,
1475 I: modo ecclesiastico,
1476 F: mode ecclésiastique,
1481 FI: moodi, kirkkosävellaji.
1485 @ref{diatonic scale}.
1494 D: Schlüssel, Notenschlüssel,
1498 FI: avain, nuottiavain.
1502 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1504 The clef indicates which lines of the staff correspond to which
1505 pitches. The three clef symbols in common use are:
1507 @lilypond[ragged-right,quote]
1510 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1511 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1512 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1517 Imagine a large staff of 11 lines centered on middle C, sometimes
1518 called a @q{grand staff}, with the bottom line representing low G and
1519 the top line high F:
1521 @lilypond[ragged-right,quote]
1524 %-- Treble Staff --%
1526 % Allow this staff to be placed close to the others
1527 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1528 % Allow the treble clef to overlap the lower staves:
1529 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1530 \override Staff.Clef #'stencil = ##f % No clef required
1532 s1^\markup { "g," \transparent "g" }
1533 s^ \markup { "b," \transparent "g" }
1534 s^ \markup { "d" \transparent "g" }
1535 s^ \markup { "f" \transparent "g" }
1536 s^ \markup { "a" \transparent "g" }
1537 s^ \markup { \with-color #red c' \transparent "g"}
1538 e'^\markup { "e'" \transparent "g" }
1539 g'^\markup { "g'" \transparent "g" }
1540 b'^\markup { "b'" \transparent "g" }
1541 d''^\markup { "d''" \transparent "g" }
1542 f''^\markup { "f ''" \transparent "g" }
1545 %-- Alto Staff reduced to a single line on middle C --%
1547 \override Staff.StaffSymbol #'line-count = 1 % One line only
1548 \override Staff.StaffSymbol #'color = #red % Coloured red
1549 \override Staff.Clef #'stencil = ##f % No clef required
1552 % Allow this staff to be placed close to the others
1553 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1554 % Specify height to give correct spacing between treble and bass staves
1555 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1557 s1 s s s s % Space along to align horizonatally
1558 \override NoteHead #'color = #red
1560 s1 s s s s s % Keep staff (ie the red line) showing
1564 % Allow this staff to be placed close to the others
1565 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1566 \override Staff.Clef #'stencil = ##f % No clef required
1569 s s s s s s s % Keep staff showing
1573 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1574 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1576 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1577 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1579 % Remove all barlines
1580 \context { \Score \override BarLine #'stencil = ##f
1582 % Remove time signature from all staves
1583 \context { \Staff \remove Time_signature_engraver
1589 Staves of five lines are usually used, and the clef superimposed on
1590 them indicates which five lines have been selected from this
1591 @samp{grand staff}. For example, the treble or G clef indicates that
1592 the top five lines have been selected:
1594 @lilypond[ragged-right,quote]
1597 %-- Treble Staff --%
1599 % Allow this staff to be placed close to the others
1600 \override Staff.VerticalAxisGroup
1601 #'minimum-Y-extent = #'(0 . 0)
1602 % Allow the treble clef to overlap the lower staves:
1603 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1604 \override Staff.Clef #'stencil = ##f % No clef required here
1606 s1^\markup { "g," \transparent "g" }
1607 s^ \markup { "b," \transparent "g" }
1608 s^ \markup { "d" \transparent "g" }
1609 s^ \markup { "f" \transparent "g" }
1610 s^ \markup { "a" \transparent "g" }
1611 s^ \markup { \with-color #red c' \transparent "g"}
1612 \stopStaff \startStaff
1613 \clef "C" % Dummy to force next clef to be printed
1614 s % Need at least one note for \clef to take effect
1615 \override Staff.Clef #'stencil = ##t % Clef now required
1616 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1618 e'^\markup { "e'" \transparent "g" }
1619 g'^\markup { "g'" \transparent "g" }
1620 b'^\markup { "b'" \transparent "g" }
1621 d''^\markup { "d''" \transparent "g" }
1622 f''^\markup { "f ''" \transparent "g" }
1624 %-- Alto Staff reduced to a single line on middle C --%
1626 \override Staff.StaffSymbol #'line-count = 1 % One line only
1627 \override Staff.StaffSymbol #'color = #red % Coloured red
1628 \override Staff.Clef #'stencil = ##f % No clef required
1631 % Allow this staff to be placed close to the others
1632 \override Staff.VerticalAxisGroup
1633 #'minimum-Y-extent = #'(0 . 0)
1634 % Specify height to give correct spacing between the staves
1635 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1637 s1 s s s s % Space along to align horizonatally
1638 \override NoteHead #'color = #red
1640 % s1 s s s s % Keep staff (ie the red line) showing
1644 % Allow this staff to be placed close to the others
1645 \override Staff.VerticalAxisGroup
1646 #'minimum-Y-extent = #'(0 . 0)
1647 \override Staff.Clef #'stencil = ##f % No clef required
1650 % s s s s s s % Keep staff showing
1654 % Reduce horizontal spacing so semibreves can be used
1655 % without exceeding 1 line
1656 \context { \Score \override SpacingSpanner
1657 #'base-shortest-duration = #(ly:make-moment 1 1)
1659 % Reduce apparent vertical size of note heads to
1660 % permit them to overlap other grobs vertically
1661 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1663 % Remove all barlines
1664 \context { \Score \override BarLine #'stencil = ##f
1666 % Remove time signature from all staves
1667 \context { \Staff \remove Time_signature_engraver
1673 The @q{curl} of the G clef is centered on the line that represents the
1676 In the same way, the bass or F clef indicates that the bottom five
1677 lines have been selected from the @samp{grand staff}, and the alto or
1678 C clef indicates the middle five lines have been selected. This
1679 relationship is shown below, where the notes show an arpeggio on a C
1682 @lilypond[ragged-right,quote]
1685 %-- Treble Staff --%
1686 \new Staff = "G" \with {
1687 \remove Time_signature_engraver
1690 % The following two overrides are required to make the two middle C's overlap
1691 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1692 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1694 \override Staff.Clef #'Y-extent = #'(0 . 0)
1696 s1 s s s s e' g' c''
1699 \new Staff = "C" \with {
1700 \remove Time_signature_engraver
1703 \override Staff.StaffSymbol #'line-count = 1
1704 \override Staff.StaffSymbol #'stencil = ##f
1705 \once \override Staff.Clef #'stencil = ##f
1706 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1707 \override Score.BarLine #'stencil = ##f
1709 % The following two overrides are required to align the C staff to the G and F staves
1710 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1711 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1714 \stopStaff \startStaff
1715 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1716 \revert Staff.StaffSymbol #'stencil
1717 \override Staff.StaffSymbol #'color = #red
1718 b'1 % A frig. This really shows as a middle C in the score
1720 \stopStaff \startStaff
1721 \override Staff.StaffSymbol #'line-count = 5
1722 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1723 \override Staff.Clef #'Y-extent = #'(0 . 0)
1724 \revert Staff.StaffSymbol #'color
1725 \stopStaff \startStaff
1727 s1 s s c e g c' e' g' c''
1730 \new Staff = "F" \with {
1731 \remove Time_signature_engraver
1734 \override Staff.Clef #'Y-extent = #'(0 . 0)
1735 % The following two overrides are required to make the two middle C's overlap
1736 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1737 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1745 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1748 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1751 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1768 FI: klusteri, cluster.
1770 A @emph{cluster} is a range of simultaneously sounding pitches that
1771 may change over time. The set of available pitches to apply usually
1772 depends on the acoustic source. Thus, in piano music, a cluster
1773 typically consists of a continuous range of the semitones as provided
1774 by the piano's fixed set of a chromatic scale. In choral music, each
1775 singer of the choir typically may sing an arbitrary pitch within the
1776 cluster's range that is not bound to any diatonic, chromatic or other
1777 scale. In electronic music, a cluster (theoretically) may even cover
1778 a continuous range of pitches, thus resulting in colored noise, such
1781 Clusters can be denoted in the context of ordinary staff notation by
1782 engraving simple geometrical shapes that replace ordinary notation of
1783 notes. Ordinary notes as musical events specify starting time and
1784 duration of pitches; however, the duration of a note is expressed by
1785 the shape of the note head rather than by the horizontal graphical
1786 extent of the note symbol. In contrast, the shape of a cluster
1787 geometrically describes the development of a range of pitches
1788 (vertical extent) over time (horizontal extent). Still, the
1789 geometrical shape of a cluster covers the area in which any single
1790 pitch contained in the cluster would be notated as an ordinary note.
1792 @lilypond[fragment,relative=2,ragged-right]
1793 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1807 FI: komma, korvinkuultava ero äänenkorkeudessa.
1809 Difference in pitch between a note derived from pure tuning and the
1810 same note derived from some other tuning method.
1814 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1819 @section common meter
1829 @section common time
1840 4/4 time. The symbol, which resembles a capital letter C, derives from
1845 @ref{mensural notation}, @ref{meter}.
1851 ES: intervalo invertido,
1853 F: intervalle complémentaire,
1854 D: Komplementärintervall,
1855 NL: complementair interval,
1856 DK: komplementærinterval,
1857 S: komplementärintervall (?),
1858 FI: täydentävä intervalli.
1862 @ref{inverted interval}.
1865 @node compound interval
1866 @section compound interval
1868 ES: intervalo compuesto,
1869 I: intervallo composto,
1870 F: intervalle composé,
1871 D: weites Intervall,
1872 NL: samengesteld interval,
1873 DK: sammensat interval,
1874 S: sammansatt intervall,
1875 FI: oktaavia laajempi intervalli.
1877 Intervals larger than an octave.
1884 @node compound meter
1885 @section compound meter
1896 A meter that includes a triplet subdivision within the beat, such as
1901 @ref{meter}, @ref{simple meter}.
1905 @section compound time
1919 A time signature that additively combines two or more unequal meters, e.g.
1920 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1922 @c @lsr{Rhythms/compound-time-signatures.ly}.
1925 A meter that includes a triplet subdivision within the beat: see
1926 @ref{compound meter}.
1930 @ref{compound meter}
1935 @c @lsr{Rhythms/compound-time-signatures.ly}
1939 @section concert pitch
1950 The pitch at which the piano and other nontransposing instruments play: such
1951 instruments are said to be @q{in C}. The following list includes some (but not
1952 all) instruments that play in concert pitch:
1966 @item tenor trombone
1981 The trombones are a special case: although they are said to be @q{in F} (alto or
1982 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
1983 their parts' transposition. (In fact, the trombones' parts are written at
1984 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
1985 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
1988 Instruments that play @q{in C} but in a different octave than what is written
1989 are, technically speaking, @emph{transposing instruments}:
1993 @item piccolo (plays an octave higher)
1994 @item celesta (plays an octave higher)
1995 @item double-bass (plays an octave lower)
2001 @ref{transposing instrument}.
2004 @node conjunct movement
2005 @section conjunct movement
2007 ES: movimiento conjunto,
2009 F: mouvement conjoint,
2010 D: schritt@-weise, stufenweise Bewegung,
2011 NL: stapsgewijze, trapsgewijze beweging,
2012 DK: trinvis bevægelse,
2014 FI: asteittainen liike.
2016 Progressing melodically by intervals of a second. The opposite of a
2017 @ref{disjunct movement}.
2019 @lilypond[fragment,line-width=13.0\cm]
2020 \key g \major \time 4/4
2021 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2035 FI: konsonanssi, sopusointi.
2060 @section counterpoint
2069 FI: kontrapunkti, ääni ääntä vastaan.
2071 From Latin @emph{punctus contra punctum}, note against note. The
2072 combination into a single musical fabric of lines or parts which have
2073 distinct melodic significance. A frequently used polyphonic technique
2074 is imitation, in its strictest form found in the canon needing only
2075 one part to be written down while the other parts are performed with a
2076 given displacement. Imitation is also the contrapunctal technique
2077 used in the @emph{fugue} which, since the music of the baroque era,
2078 has been one of the most popular polyphonic composition methods.
2080 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2081 \set Score.implicitTimeSignatureVisibility = #all-invisible
2082 \override Score.TimeSignature #'break-visibility = #all-invisible
2083 \context PianoStaff <<
2084 \context Staff = SA \relative c' {
2088 << \context Voice = rha {
2090 r1 | r2 r8 g'8 bes d, |
2091 cis4 d r8 e!16 f g8 f16 e |
2092 f8 g16 a bes8 a16 g a8
2094 \context Voice = rhb {
2100 \context Staff = SB \relative c' {
2103 << \context Voice = lha {
2105 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2106 r8 a16 g f8 g16 a bes8 g e! cis' |
2109 \context Voice = lhb {
2119 @section counter tenor
2124 D: Countertenor, Kontratenor,
2127 S: kontratenor, counter tenor,
2136 @section copying music
2138 A music copyist did fast freehand scores and parts on preprinted staff
2139 lines for performance. Some of their conventions (e.g., the placement
2140 of note heads on stems) varied slightly from those of engravers. Some
2141 of their working methods were superior and could well be adopted by
2144 @c Copying music required more skill than engraving. Flagged for NPOV
2153 D: Crescendo, lauter werden,
2157 FI: cresendo, voimistuen.
2159 Increasing volume. Indicated by a rightwards opening horizontal wedge
2160 or the abbreviation @samp{cresc.}.
2162 @lilypond[fragment,ragged-right]
2163 \key g \major \time 4/4
2164 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2173 F: petites notes précédent l'entrée d'un instrument, réplique,
2180 In a separate part notes belonging to another part with the purpose of
2181 hinting when to start playing. Usually printed in a smaller type.
2190 D: Notenzeiger, Custos,
2196 A custos (plural: custodes) is a staff symbol that appears at the end
2197 of a staff line with monophonic musical contents (i.e., with a single
2198 voice). It anticipates the pitch of the first note of the following
2199 line and thus helps the player or singer to manage line breaks during
2200 performance, thus enhancing readability of a score.
2202 Custodes were frequently used in music notation until the 16th
2203 century. There were different appearences for different notation
2204 styles. Nowadays, they have survived only in special forms of musical
2205 notation such as via the Editio Vaticana dating back to the beginning
2211 % \override Staff.Custos #'neutral-position = #4
2212 \override Staff.Custos #'neutral-direction = #down
2213 \override Staff.Custos #'style = #'hufnagel
2221 \consists Custos_engraver
2253 F: da capo, depuis le commencement,
2254 D: da capo, von Anfang,
2258 FI: da capo, alusta.
2260 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2261 the beginning to the end or to a certain place marked @emph{fine}.
2269 F: dal segno, depuis le signe,
2270 D: dal segno, ab dem Zeichen,
2274 FI: dal segno, lähtien merkistä.
2276 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2277 another place frequently near the beginning marked by a sign:
2279 @lilypond[fragment,ragged-right]
2280 %\override TextScript #'font-style = #'large
2281 \override TextScript #'font-shape = #'italic
2282 \key g \major \time 4/4
2287 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2294 @section decrescendo
2298 D: Decrescendo, leiser werden,
2302 FI: decresendo, hiljentyen.
2304 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2305 or the abbreviation @samp{decresc.}.
2307 @lilypond[fragment,ragged-right]
2309 \key g \major \time 4/4
2310 d4 \> c b a | g1 \! \bar "|."
2315 @node descending interval
2316 @section descending interval
2318 ES: intervalo descendente,
2319 I: intervallo discendente,
2320 F: intervalle descendant,
2321 D: fallendes Intervall, absteigendes Intervall,
2322 NL: dalend interval,
2323 DK: faldende interval,
2324 S: fallande intervall,
2325 FI: laskeva intervalli.
2327 A distance between a starting higher note and a lower ending note.
2330 @node diatonic scale
2331 @section diatonic scale
2333 ES: escala diatónica,
2335 F: gamme diatonique,
2336 D: diatonische Tonleiter,
2337 NL: diatonische toonladder,
2338 DK: diatonisk skala,
2340 FI: diatoninen asteikko.
2342 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2343 Scales played on the white keys of a piano keybord are diatonic; and these
2344 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2346 These @q{modes} are used in gregorian chant and in pre-baroque early music
2347 but also to some extent in newer jazz music.
2349 @lilypond[fragment,notime,ragged-right]
2350 \set Score.automaticBars = ##f
2351 %\override Score.LyricText #'font-style = #'large
2352 %\override Score.TextScript #'font-style = #'large
2354 \context Staff \relative c' {
2356 \override TextScript #'padding = #-4
2357 e^"~~ S" f g a b^"~~ S" c
2359 \context Lyrics \lyrics {
2365 @lilypond[fragment,notime,ragged-right]
2366 \set Score.automaticBars = ##f
2368 \context Staff \relative c' {
2370 \override TextScript #'padding = #-4
2371 e^"~~ S" f g a b^"~~ S" c d
2379 @lilypond[fragment,notime,ragged-right]
2380 \set Score.automaticBars = ##f
2383 \override TextScript #'padding = #-4
2384 e1^"~~ S" f g a b^"~~ S" c d e
2392 @lilypond[fragment,notime,ragged-right]
2393 \set Score.automaticBars = ##f
2397 \override TextScript #'padding = #-4
2398 b^"~~ S" c d e^"~~ S" f
2406 @lilypond[fragment,notime,ragged-right]
2407 \set Score.automaticBars = ##f
2411 \override TextScript #'padding = #-4
2412 b^"~~ S" c d e^"~~ S" f g }
2419 @lilypond[fragment,notime,ragged-right]
2420 \set Score.automaticBars = ##f
2421 %\override Score.LyricText #'font-style = #'large
2422 %\override Score.TextScript #'font-style = #'large
2426 \override TextScript #'padding = #-4
2427 b^"~~ S" c d e^"~~ S" f g a
2435 @lilypond[fragment,notime,ragged-right]
2436 \set Score.automaticBars = ##f
2437 %\override Score.LyricText #'font-style = #'large
2438 %\override Score.TextScript #'font-style = #'large
2441 \override TextScript #'padding = #-4
2442 b^"~~ S" c d e^"~~ S" f g a b
2450 From the beginning of the 17th century the scales used in European
2451 compositional music are primarily the major and the minor scales. In
2452 the harmonic minor scale type an augmented second (A) occurs between
2453 the 6th and 7th tone.
2455 @lilypond[fragment,notime,ragged-right]
2456 \set Score.automaticBars = ##f
2460 \override TextScript #'padding = #-4
2461 e^"~~ S" f g a b^"~~ S" c
2469 @lilypond[fragment,notime,ragged-right]
2470 \set Score.automaticBars = ##f
2474 \override TextScript #'padding = #-4
2475 b^"~~ S" c d e^"~~ S" f g a
2483 @lilypond[fragment,notime,ragged-right]
2484 \set Score.automaticBars = ##f
2488 \override TextScript #'padding = #-4
2489 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2491 \context Lyrics \lyrics {
2497 @lilypond[fragment,notime,line-width=13.0\cm]
2498 \set Score.automaticBars = ##f
2499 %\override Score.LyricText #'font-style = #'large
2500 %\override Score.TextScript #'font-style = #'large
2504 \override TextScript #'padding = #-4
2505 b^"~~ S" c d e fis gis^"~~ S"
2506 a g! f!^"~~ S" e d c^"~~ S" b a
2515 @node diminished interval
2516 @section diminished interval
2518 ES: intervalo disminuido,
2519 I: intervallo diminuito,
2520 F: intervalle diminué,
2521 D: vermindertes Intervall,
2522 NL: verminderd interval,
2523 DK: formindsket interval,
2524 S: förminskat intervall,
2525 FI: vähennetty intervalli.
2542 FI: diminuendo, hiljentyen.
2561 @c TODO: add definition
2563 This is a placeholder for diminution (wrt mensural notation).
2567 @ref{augmentation}, @ref{mensural notation}.
2587 @node disjunct movement
2588 @section disjunct movement
2590 ES: movimiento disjunto,
2592 F: mouvement disjoint,
2593 D: sprunghafte Bewegung,
2594 NL: sprongsgewijze beweging,
2595 DK: springende bevægelse,
2596 S: hoppande rörelse,
2597 FI: melodian hyppivä liike.
2599 Progressing melodically by intervals larger than a major second, as
2600 opposed to @ref{conjunct movement}.
2602 @lilypond[fragment,ragged-right]
2607 a4. gis8 b a e cis |
2608 fis2 d4. \bar "||" }
2615 @ref{dissonant interval}.
2618 @node dissonant interval
2619 @section dissonant interval
2621 ES: intervalo disonante, disonancia,
2622 I: intervallo dissonante, dissonanza,
2625 NL: dissonant interval, dissonant,
2626 DK: dissonerende interval, dissonans,
2628 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2635 @node dominant ninth chord
2636 @section dominant ninth chord
2638 ES: acorde de novena de dominante,
2639 I: accordo di nona di dominante,
2640 F: accord de neuvième dominante,
2641 D: Domi@-nant@-nonen@-akkord,
2642 NL: dominant noon akkoord,
2643 DK: dominantnoneakkord,
2644 S: dominantnonackord,
2645 FI: dominanttinoonisointu.
2649 @ref{chord}, @ref{functional harmony}.
2652 @node dominant seventh chord
2653 @section dominant seventh chord
2655 ES: acorde de séptima de dominante,
2656 I: accordo di settima di dominante,
2657 F: accord de septième dominante,
2658 D: Dominantseptakkord,
2659 NL: dominant septiem akkoord,
2660 DK: dominantseptimakkord,
2661 S: dominantseptimackord,
2662 FI: dominanttiseptimisointu.
2666 @ref{chord}, @ref{functional harmony}.
2679 FI: dominantti, huippusointu.
2681 The fifth @ref{scale degree} in @ref{functional harmony}.
2685 @section dorian mode
2690 D: dorisch, dorischer Kirchenton,
2691 NL: dorische toonladder,
2698 @ref{diatonic scale}.
2701 @node dot (augmentation dot)
2702 @section dot (augmentation dot)
2705 I: punto (di valore),
2707 D: Punkt (Verlängerungspunkt),
2715 @ref{dotted note}, @ref{note value}.
2719 @section dotted note
2721 ES: nota con puntillo,
2725 NL: gepuncteerde noot,
2728 FI: pisteellinen nuotti.
2735 @node double appoggiatura
2736 @section double appoggiatura
2738 ES: apoyatura doble,
2739 I: appoggiatura doppia,
2740 F: appoggiature double,
2741 D: doppelter Vorschlag,
2742 NL: dubbele voorslag,
2743 DK: dobbelt forslag,
2745 FI: kaksoisappogiatura, kaksoisetuhele.
2752 @node double bar line
2753 @section double bar line
2759 NL: dubbele maatstreep,
2762 FI: kaksoistahtiviiva.
2764 Indicates the end of a section within a movement.
2767 @node double dotted note
2768 @section double dotted note
2770 ES: nota con doble puntillo,
2771 I: nota doppiamente puntata,
2772 F: note doublement pointée,
2773 D: doppelt punktierte Note,
2774 NL: dubbelgepuncteerde noot,
2775 DK: dob@-belt@-punk@-te@-ret node,
2776 S: dub@-bel@-punk@-te@-rad not,
2777 FI: kaksoispisteellinen nuotti.
2785 @section double flat
2794 FI: kaksoisalennusmerkki.
2802 @section double sharp
2804 ES: doble sostenido,
2809 DK: dob@-belt@-kryds,
2811 FI: kaksoisylennysmerkki.
2818 @node double time signature
2819 @section double time signature
2832 @ref{polymetric time signature}.
2836 @section double trill
2842 NL: dubbele triller,
2847 A simultaneous trill on two notes, usually in the distance of a third.
2851 @section duple meter
2856 D: in zwei, grader Takt,
2857 NL: tweedelige maatsoort,
2894 FI: kesto, aika-arvo.
2902 @section didymic comma
2906 @ref{syntonic comma}.
2915 D: Dynamik, Lautstärke,
2921 The aspect of music relating to degrees of loudness, or changes from
2922 one degree to another. The terms, abbreviations, and symbols used to
2923 indicate this information are called dynamic marks.
2927 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2950 @node ecclesiastical mode
2951 @section ecclesiastical mode
2959 @section eighth note
2966 @item D: Achtel, Achtelnote
2967 @item NL: achtste noot
2968 @item DK: ottendedelsnode
2969 @item S: åttondelsnot
2970 @item FI: kahdeksasosanuotti
2979 @section eighth rest
2982 @item UK: quaver rest
2983 @item ES: silencio de corchea
2984 @item I: pausa di croma
2985 @item F: demi-soupir
2986 @item D: Achtelpause
2987 @item NL: achtste rust
2988 @item DK: ottendedelspause
2989 @item S: åttonddelspaus
2990 @item FI: kahdeksasosatauko
3001 @c TODO: add languages
3012 The singing of several syllables on a single note. Elision may be indicated
3013 by a lyric tie, which is looks like (and serves the same function) as a
3022 @section embellishment
3035 D: Notenstich, Notendruck
3041 Engraving means incising or etching a metal plate for printing.
3042 Photoengraving means drawing music with ink in a manner similar to
3043 drafting or engineering drawing, using similar tools.
3045 The traditional process of music printing is done through cutting in a
3046 plate of metal. Now also the term for the art of music typesetting.
3061 Two notes, intervals, or scales are enharmonic if they have different
3062 names but equal pitch.
3064 @lilypond[fragment,notime,line-width=13.0\cm]
3065 \set Score.automaticBars = ##f
3067 \context Staff \relative c'' {
3068 gis1 as <des g,!> <cis g!>
3070 \context Lyrics \lyrics {
3071 \override Lyrics .LyricText #'self-alignment-X = #-1
3072 "g sharp " "a flat " "dim fifth " "augm fourth"
3078 @node equal temperament
3079 @section equal temperament
3081 ES: temperamento igual,
3082 I: temperamento equabile,
3083 F: tempérament égal,
3084 D: gleichschwebende Stimmung,
3085 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3086 DK: ligesvævende temperatur,
3087 S: liksvävande temperatur,
3090 Tuning system dividing the octave into 12 equal @ref{semitone}s
3091 (precisely 100 @ref{cent}s).
3098 @node expression mark
3099 @section expression mark
3102 I: segno d'espressione,
3103 F: signe d'expression, indication de nuance,
3105 NL: voordrachtsteken,
3106 DK: foredragsbetegnelse,
3107 S: föredragsbeteckning,
3108 FI: nyanssiosoitus, esitysmerkki.
3110 Performance indications concerning:
3114 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3116 @item tempo (for example @ref{andante}, @ref{allegro}).
3122 @section extender line
3124 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3126 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3133 The generic term for a line (or dash) of arbitrary length that extends
3134 text (without indicating the musical @emph{function} of that text).
3136 Used in many contexts, for example:
3140 @item In vocal music to indicate the syllable for a melisma. Called
3141 @q{extension} in the
3142 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3146 In figured (or thorough) bass to indicate that:
3150 @item The extended note should be held through a change in
3151 harmony, when applied to one figure --OR--
3153 @item The chord thus represented should be held above a moving
3154 bass line, when applied to more than one figure.
3156 @item These uses were not completely standardized, and some
3157 composers used a single extender line to indicate the
3163 In string music to indicate that all notes in the passage thus
3164 indicated should be played on the same string. On the violin, for
3165 example, a series of notes to be played on the G string would be
3166 indicated @samp{sul G}, another series to be played on the D string
3167 would be indicated @samp{sul D}, and so on.
3170 With an octave indication (also called @emph{octavation}, q.v.) to indicate that
3171 a passage is to be played higher or lower by the given number of octaves.
3177 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octavation}.
3211 The position between the dots of the key symbol is the line of the F
3212 below central@w{ }C. Used on the third, fourth and fifth note line.
3213 A digit@w{ }8 above the clef symbol indicates that the notes must be
3214 played an octave higher (for example, bass recorder) while 8@w{ }below
3215 the clef symbol indicates playing an octave lower (for example, on
3216 double bass @ref{strings}).
3218 @lilypond[fragment,notime,line-width=13.0\cm]
3219 \set Score.automaticBars = ##f
3220 \override Staff.Clef #'full-size-change = ##t
3248 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3251 @node feathered beam
3252 @section feathered beam
3256 F: liens de croches en soufflet,
3257 D: gespreizter Balken,
3263 A type of beam used to indicate that a small group of notes should be
3264 played at an increasing or decreasing tempo -- depending on the
3265 direction of @q{feathering} -- but without changing the overall tempo
3270 Internals Reference: @ruser{Manual beams}
3278 F: point d'orgue, point d'arrêt,
3283 FI: fermaatti, pidäke.
3285 Prolonged note or rest of indefinite duration.
3287 @lilypond[fragment,ragged-right]
3290 a4 b c2^\fermata \bar "|."
3313 @section figured bass
3317 @ref{thorough bass}.
3332 The methodical use of fingers in the playing of instruments.
3339 I: coda (uncinata), bandiera,
3347 Ornament at the end of the stem of a note used for notes with values
3348 less than a quarter note. The number of flags determines the
3351 @lilypond[fragment,notime,ragged-right]
3352 \set Score.automaticBars = ##f
3353 %\override Score.TextScript #'font-style = #'large
3398 FI: forte, voimakkaasti.
3400 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3401 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3421 @node Frenched score
3422 @section Frenched score
3433 A @q{condensed} score, produced by omitting staves for instruments that are not
3434 playing at the moment, and by moving up additional systems from following pages
3435 to take up the space thus liberated, which reduces the total number of pages
3436 used to print the work.
3438 The specific rules for @q{frenching} a score differ from publisher to publisher.
3439 If you are producing scores for eventual publication by a commercial publisher,
3440 you may wish to procure a copy of their style manual.
3444 @ref{Frenched staff}.
3447 @node Frenched staff
3448 @section Frenched staff
3459 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3460 measures or sections removed. This would be useful for producing, for example,
3461 an @emph{ossia} staff.
3468 @node Frenched staves
3469 @section Frenched staves
3480 The plural of @ref{Frenched staff}, @emph{q.v.}.
3500 @node functional harmony
3501 @section functional harmony
3503 ES: armonía funcional,
3504 I: armonia funzionale,
3505 F: étude des functions,
3507 NL: functionele harmonie,
3508 DK: funktionsanalyse, funktionsharmonik,
3510 FI: harmoniajärjestelmä.
3512 A system of harmonic analysis. It is based on the idea that, in a
3513 given key, there are only three functionally different chords: tonic
3514 (T, the chord on the first note of the scale), subdominant (S, the
3515 chord on the fourth note), and dominant (D, the chord on the fifth
3516 note). Others are considered to be variants of the base chords.
3518 @lilypond[fragment,notime,line-width=13.0\cm]
3519 \set Score.automaticBars = ##f
3521 \context Voice \relative c'' {
3522 <g e c >1 < a f d > < b g e >
3523 <c a f > < d b g > < e c a > < f d b > }
3524 \context Lyrics \lyrics {
3525 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3555 D: G-Schlüssel, Violinschlüssel,
3561 A clef symbol indicating the G above middle@w{ }C. Used on the first
3562 and second note lines. A digit 8 above the clef symbol indicates that
3563 the notes must be played an octave higher while 8 below the clef
3564 symbol indicates playing or singing an octave lower (most tenor parts
3565 in choral scores are notated like that).
3567 @lilypond[fragment,notime,ragged-right]
3569 \set Score.automaticBars = ##f
3570 \override Staff.Clef #'full-size-change = ##t
3573 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3583 \context Lyrics \lyrics {
3584 \override Lyrics . LyricText #'X-offset = #-5
3585 "french violin clef"
3604 FI: glissando, liukuen.
3606 Letting the pitch slide fluently from one note to the other.
3610 @section grace notes
3612 ES: notas de adorno,
3615 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3621 Notes printed in small types to indicate that their time values are not
3622 counted in the rhythm of the bar.
3626 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3631 @section grand staff
3633 ES: sistema de piano,
3636 D: Akkolade, Klaviersystem,
3639 S: ackolad, böjd klammer,
3640 FI: kaksoisnuottiviivasto.
3642 A combination of two staves with a brace. Usually used for piano music.
3659 FI: grave, raskaasti.
3686 Letter name used for @samp{B natural} in German and Scandinavian
3687 usage. In the standard usage of these countries, @samp{B} means
3692 @ref{Pitch names}, @ref{B}
3702 D: Halbe, halbe Note,
3717 ES: silencio de blanca,
3731 @node harmonic cadence
3732 @section harmonic cadence
3734 ES: cadencia (armónica),
3735 I: cadenza (armonica),
3736 F: cadence harmonique,
3738 NL: harmonische cadens,
3739 DK: harmonisk kadence,
3740 S: (harmonisk) kadens,
3741 FI: harmoninen kadenssi.
3743 A sequence of chords that terminates a musical phrase or section.
3745 @ref{functional harmony}.
3747 @lilypond[fragment,ragged-right]
3748 \context PianoStaff <<
3749 \context Staff = SA \relative c'' {
3753 \partial 4 < c g e >4 |
3754 < c a f > < b g d > < c g e >2
3757 \context Staff = SB \relative c {
3759 \partial 4 c4 | f, g c2
3777 D: Harmonie, Zusammenklang,
3781 FI: harmonia, yhteissointi.
3783 Tones sounding simultaneously. Two note harmonies fall into the
3784 categories @emph{consonances} and @emph{dissonances}.
3788 @lilypond[fragment,notime,line-width=13.0\cm]
3789 \set Score.automaticBars = ##f
3790 %\override Score.TextScript #'font-style = #'large
3791 \context Voice \relative c'' {
3804 @lilypond[fragment,notime,line-width=13.0\cm]
3805 \set Score.automaticBars = ##f
3806 %\override Score.TextScript #'font-style = #'large
3807 \context Voice \relative c'' {
3808 <g a>1_"second " s s
3809 <g f'>_"seventh " s s
3814 Three note harmony @ref{chord}.
3829 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3830 the use of three notes of equal value in the time normally occupied by
3831 of two notes of equal value. The resulting rhythm can be expressed in
3832 modern terms as a substitution (for example) of a bar in 3/2 for one
3833 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3834 hemiola is most frequently as a special effect (or @emph{affect}) at
3837 For example, this phrase in 6/4 time
3839 @lilypond[fragment,line-width=13.0\cm]
3843 c2. e | d2 c d | c1. \bar "||" }
3846 may be thought of having alternating time signatures
3848 @lilypond[fragment,line-width=13.0\cm]
3852 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3855 and is therefore a polymeter (second definition) of considerable antiquity.
3859 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3872 FI: homofonia, yksiäänisyys.
3874 Music in which one voice leads melodically followed by the other
3875 voices more or less in the same rhythm. In contrast to
3889 FI: intervalli, kahden sävelen korkeusero.
3891 Difference in pitch between two notes. Intervals may be perfect,
3892 minor, major, diminished, or augmented. The augmented fourth and the
3893 diminished fifth are identical (@ref{enharmonic}) and are called
3894 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3895 addition of such two intervals forms an octave.
3897 @lilypond[fragment,notime,line-width=13.0\cm]
3898 \set Score.automaticBars = ##f
3900 \context Voice \relative c'' {
3910 \context Lyrics \lyrics {
3911 "unison " "second " "second " "second "
3912 "third " "third " "third " "third"
3917 @lilypond[fragment,notime,line-width=13.0\cm]
3918 \set Score.automaticBars = ##f
3920 \context Staff \relative c'' {
3931 "fourth " "fourth " "fifth " "fifth "
3932 "sixth " "sixth " "sixth " "sixth"
3937 @lilypond[fragment,notime,line-width=13.0\cm]
3938 \set Score.automaticBars = ##f
3940 \context Staff \relative c'' {
3941 < gis f'! >1^"dimin"
3950 \context Lyrics \lyrics {
3951 "seventh " "seventh " "seventh " "octave "
3952 "ninth " "ninth " "tenth " "tenth"
3958 @node inverted interval
3959 @section inverted interval
3961 ES: intervalo invertido,
3962 I: intervallo rivolto,
3963 F: intervalle reversé,
3964 D: umgekehrtes Intervall,
3965 NL: interval inversie,
3966 DK: omvendingsinterval,
3967 S: intervallets omvändning,
3968 FI: käänteisintervalli.
3970 The difference between an interval and an octave.
3972 @lilypond[fragment,notime,line-width=13.0\cm]
3973 \set Score.automaticBars = ##f
3974 %\override Score.TextScript #'font-style = #'large
3975 \context Staff \relative c'' {
3976 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3977 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3978 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3983 @node just intonation
3984 @section just intonation
3986 ES: entonación justa,
3987 I: intonazione giusta,
3988 F: intonation juste,
3995 Tuning system in which the notes are obtained by adding and subtracting
3996 natural fifths and thirds.
4013 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4014 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4018 @ref{key signature}.
4022 @section key signature
4024 ES: armadura (de la clave),
4025 I: armatura di chiave,
4026 F: armure, armature [de la clé],
4027 D: Vorzeichen, Tonart,
4028 NL: toon@-soort (voortekens),
4031 FI: sävellajiosoitus.
4033 The sharps or flats appearing at the beginning of each staff indicating the
4039 @node laissez vibrer
4040 @section laissez vibrer
4051 [From French, @q{Let vibrate}]. Most frequently associated with harp
4052 parts. Marked @samp{l.v.} in the score.
4061 D: Largo, Langsam, Breit,
4065 FI: largo, hitaasti, leveästi.
4067 Very slow in tempo, usually combined with great expressiveness.
4068 @emph{Larghetto} is less slow than largo.
4072 @section leading note
4083 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4084 called because of its strong tendency to @q{lead up} (resolve upwards)
4085 to the tonic scale degree.
4089 @section ledger line
4091 ES: línea adicional,
4092 I: tagli addizionali,
4093 F: ligne supplémentaire,
4100 A ledger line is an extension of the staff.
4102 @lilypond[fragment,notime,ragged-right]
4103 \set Score.automaticBars = ##f
4104 \relative c'' { a,1 s c'' }
4114 D: legato, gebunden,
4120 To be performed (a) without any perceptible interruption between the
4121 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4122 @emph{portato}, and (d) @ref{staccato}.
4124 @lilypond[fragment,notime,line-width=13.0\cm]
4125 \set Score.automaticBars = ##f
4127 \context Staff \relative c'' {
4128 c4-( d e-) \bar "||"
4129 c4-- d-- e-- \bar "||"
4130 c4-.-( d-. e-.-) \bar "||"
4131 c4-. d-. e-. \bar "||"
4144 @section legato curve
4148 @ref{slur}, @ref{legato}.
4163 ES: estanque de nenúfares,
4164 I: stagno del giglio,
4165 F: étang de nénuphars, étang de nymphéas,
4167 NL: le@-lie@-vij@-ver,
4172 A pond with lilies floating in it.
4173 Also, the name of a music typesetting program.
4188 A ligature is a coherent graphical symbol that represents at least two
4189 distinct notes. Ligatures originally appeared in the manuscripts of
4190 Gregorian chant notation roughly since the 9th century to denote ascending
4191 or descending sequences of notes. In early notation, ligatures were used
4192 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4193 performance in the sense of articulation. With the invention of the metric
4194 system of the white mensural notation, the need for ligatures to denote such
4195 patterns disappeared.
4199 @ref{mensural notation}.
4208 D: Linie, Notenlinie,
4212 FI: viiva, nuottiviiva.
4231 [From Italian, @q{place}]. Instruction to play the following passage at the
4232 written pitch. Cancels octavation (q.v.).
4239 @node long appoggiatura
4240 @section long appoggiatura
4242 ES: apoyatura larga,
4243 I: appoggiatura lunga,
4244 F: appoggiature longue,
4249 FI: pitkä appoggiatura, pitkä etuhele.
4268 Note value: double length of @ref{breve}.
4270 @lilypond[fragment,notime,ragged-right]
4271 \set Score.automaticBars = ##f
4273 \override NoteHead #'style = #'mensural
4286 ES: letra (de la canción),
4289 D: Liedtext, Gesangtext,
4308 @c TODO: add languages
4315 @node major interval
4316 @section major interval
4318 ES: intervalo mayor,
4319 I: intervallo maggiore,
4320 F: intervalle majeur,
4321 D: großes Intervall,
4325 FI: suuri intervalli.
4346 @ref{diatonic scale}.
4349 @node meantone temperament
4350 @section meantone temperament
4352 ES: afinación mesotónica,
4353 I: accordatura mesotonica,
4354 F: tempérament mésotonique,
4355 D: mitteltönige Stimmung,
4356 NL: middenstemming, middentoonstemming,
4357 DK: middeltonetemperatur,
4358 S: medeltonstemperatur,
4359 FI: keskisävelviritys.
4361 Temperament yielding acoustically pure thirds by decreasing the
4362 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4363 character of this @ref{temperament} only a limited set of keys are
4364 playable. Used for tuning keyboard instruments for performance of
4380 A group of @ref{beat}s (units of musical time) the first of which
4381 bears an accent. Such groups in numbers of two or more recur
4382 consistently throughout the composition and are marked from each other
4392 I: mediante, modale,
4402 @item The third @b{scale degree}.
4404 @item A @ref{chord} having its base tone a third from that of another
4405 chord. For example, the tonic chord may be replaced by its lower
4406 mediant (variant tonic).
4411 @ref{functional harmony}, @ref{relative key}.
4424 FI: melisma, laulettavan tavun sävelkuvio.
4426 A melisma (plural, from Greek: melismata) is a group of notes or tones
4427 sung on one syllable, especially as applied to liturgical chant.
4431 @section melisma line
4433 @c TODO: add languages
4446 @ref{extender line}.
4449 @node melodic cadence
4450 @section melodic cadence
4457 @node mensural notation
4458 @section mensural notation
4460 @c TODO: add languages
4471 The system of music notation that was first developed in the mid-13th
4472 century, and which forms the basis of modern musical notation. From its
4473 creation by Franco of Cologne until the 15th century,
4475 @c TODO: add definition (inc. info on proportional notation)
4479 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4480 @c TODO: more cross-references?
4488 F: indication de mesure, mesure,
4495 The basic pattern of @ref{note value}s and @ref{accent}s that remains
4496 unaltered throughout a composition or a section of it. Meters can be
4497 @emph{duple} or @emph{triple} depending on how the beat is grouped in
4498 the composition (or in sections thereof):
4502 @item In duple meters, the beat recurs in groups of two.
4504 @item In triple meters, the beat recurs in groups of three.
4508 Other recurrence patterns are possible:
4512 @item Quadruple meter: groups of four. A special case of duple meter.
4514 @item Quintuple meter: groups of five
4516 @item Sextuple meter: groups of six. A special case of:
4519 @item Duple meter, subdivided in three (less frequent); or
4520 @item Triple meter, subdivided in two (more frequent).
4523 @item Septuple meter: groups of seven.
4529 Other than quadruple and sextuple meters, these other recurrence
4530 patterns were not frequently used prior to the 20th Century.
4532 In addition to classification by primary beat grouping, meters can be further
4533 classified by how the primary beat is subdivided: if in two, the meter is
4534 @emph{simple}; if in three, the meter is @emph{compound}.
4541 @item duple: 2/2, 2/4, 2/8
4542 @item triple: 3/2, 3/4, 3/8
4543 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4546 @item Compound meter
4551 @item quadruple: 12/8
4556 Time signatures are placed at the beginning of a composition (or
4557 section) to indicate the meter. For instance, a piece written in
4558 simple triple meter with a beat on each quarter note has a time
4563 @lilypond[fragment,line-width=13.0\cm]
4567 c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
4570 Simple triple meter:
4572 @lilypond[fragment,line-width=13.0\cm]
4576 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4579 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4581 @lilypond[fragment,line-width=13.0\cm]
4585 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4588 Simple quintuple meter (B. Marcello, 1686-1739):
4590 @lilypond[fragment,line-width=13.0\cm]
4594 r4 cis8 bis ais4 dis c8 ais |
4595 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4598 Compound duple meter (unknown):
4600 @lilypond[fragment,line-width=13.0\cm]
4604 f8 f g a bes16 a g f |
4605 g8 g bes a c16 a bes g
4609 Compound triple meter (J.S. Bach, 1685-1750):
4611 @lilypond[fragment,line-width=13.0\cm]
4615 r8 g'( a) b( d c) c( e d) |
4616 d( g fis) g( d b) g( a b)
4620 Compound quadruple meter (P. Yon, 1886-1943):
4622 @lilypond[fragment,line-width=13.0\cm]
4626 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4627 e4 e8 fis( gis) a b4.~ b4 b8
4633 @ref{hemiola}, @ref{time signature}
4648 Device indicating the exact tempo of a piece.
4650 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4651 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4652 divisions, and patented it as a "metronome". The inevitable lawsuit that
4653 followed acknowledged Winkler as the creator, but by then Mälzel had already
4654 sold many of them, and people had taken to calling it a Mälzel Metronome.
4658 @ref{metronome mark}.
4661 @node metronomic indication
4662 @section metronomic indication
4666 @ref{metronome mark}
4669 @node metronome mark
4670 @section metronome mark
4672 ES: indicación metronómica,
4673 I: indicazione metronomica,
4674 F: indication métronomique,
4676 NL: metronoom aanduiding,
4678 S: metronomangivelse,
4679 FI: metronomiosoitus.
4681 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4682 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4691 @section mezzo-soprano
4702 The female voice between @ref{soprano} and @ref{contralto}.
4711 D: eingestrichenes@w{ }c,
4713 DK: enstreget@w{ }c,
4714 S: ettstruket@w{ }c,
4717 First C below the 440 Hz A.
4719 @lilypond[fragment,notime,ragged-right]
4720 \set Score.automaticBars = ##f
4721 \override Staff.Clef #'full-size-change = ##t
4744 @ref{diatonic scale}.
4747 @node minor interval
4748 @section minor interval
4750 ES: intervalo menor,
4751 I: intervallo minore,
4752 F: intervalle mineur,
4753 D: kleines Intervall,
4757 FI: pieni intervalli.
4770 D: Kirchentonart, Modus,
4774 FI: moodi, kirkkosävelasteikko.
4778 @ref{church mode}, @ref{diatonic scale}.
4791 FI: modulaatio, sävellajin vaihdos.
4793 Moving from one @ref{key} to another. For example, the second subject
4794 of a @ref{sonata form} movement modulates to the dominant key if the
4795 key is major and to the @ref{relative key} if the key is minor.
4807 FI: mordent, korukuvio.
4832 FI: teema, sävelaihe.
4834 The briefest intelligible and self-contained fragment of a musical
4837 @lilypond[line-width=13.0\cm]
4840 \set Score.implicitTimeSignatureVisibility = #all-invisible
4841 \override Score.TimeSignature #'break-visibility = #all-invisible
4844 \partial 8 g16\startGroup fis |
4845 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4846 g8 g,16 a b8 cis d16 s
4850 \Staff \consists "Horizontal_bracket_engraver"
4868 Greater musical works like @ref{symphony} and @ref{sonata} most often
4869 consist of several -- more or less -- independant pieces called
4873 @node multi-measure rest
4874 @section multi-measure rest
4876 ES: compases de espera,
4880 D: mehrtaktige Pause, Kirchenpause,
4883 FI: usean tahdin mittainen tauko.
4885 Multi-measure rests are conventionally typeset with a combination of
4886 longa, breve and whole rests for shorter and a long horizontal bar for
4887 longer spans of rest, with a number above to indicate the duration (in
4888 measures) of the rest. The former style is called @q{Kirchenpausen} in
4889 German, as a reminiscence of its use in Renaissance vocal polyphony.
4891 @lilypond[fragment,ragged-right]
4894 \set Score.skipBars = ##t R1*3
4896 \set Score.skipBars = ##t R1*122
4903 @ref{longa}, @ref{breve}.
4906 @node mixolydian mode
4907 @section mixolydian mode
4911 @ref{diatonic scale}.
4920 D: Auflösungszeichen,
4921 NL: herstellingsteken,
4922 DK: op@-løsningstegn,
4923 S: återställningstecken,
4931 @node neighbour tones
4932 @section neighbour tones
4936 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4977 Notes are signs by means of which music is fixed in writing. The term is also
4978 used for the sound indicated by a note, and even for the key of the piano
4979 which produces the sound. However, a clear distinction between the terms tone
4980 and @ref{note} is strongly recommended. Briefly, one sees a note,
4988 I: testa, testina, capocchia,
4996 A head-like sign which indicates pitch by its position on a
4997 @ref{staff} provided with a @ref{clef}, and duration
4998 by a variety of shapes such as hollow or black heads with or without
4999 @ref{stem}s, @ref{flag}s, etc. For percussion
5000 instruments (often having no defined pitch) the note head may indicate the
5015 ES: valor (duración),
5017 F: durée, valeur (d'une note),
5022 FI: nuotin aika-arvo.
5024 Note values (durations) are measured as fractions, normally 1/2, of
5025 the next higher note value. The longest duration normally used is
5026 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5027 double-length note value @emph{longa} or the quadruple-length note
5028 value @emph{maxima} are used.
5030 @c TODO -- add maxima to this example, in a way that doesn't break it.
5032 @lilypond[fragment,notime,line-width=13.0\cm]
5033 %\override Score.TextScript #'font-style = #'large
5034 \set Score.automaticBars = ##f
5036 \override NoteHead #'style = #'mensural
5037 a\longa_"longa" a\breve_"breve"
5038 \revert NoteHead #'style
5039 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5040 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5043 @c TODO -- add maxima rest to this example
5045 @lilypond[fragment,notime,line-width=13.0\cm]
5046 %\override Score.TextScript #'font-style = #'large
5047 \set Score.automaticBars = ##f
5049 r\longa_"longa" r\breve_"breve"
5050 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5051 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5054 An augmentation dot after a note multiplies the duration by one and a
5055 half. Another dot adds yet a fourth of the duration.
5057 @lilypond[fragment,line-width=13.0\cm]
5058 %\override Score.TextScript #'font-style = #'large
5061 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5062 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5065 Alternatively note values may be subdivided by other ratios. Most common is
5066 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5067 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5068 dotted notes are also frequently used.
5070 @lilypond[fragment,line-width=13.0\cm]
5071 %\override Score.TextScript #'font-style = #'large
5074 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5075 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5079 @lilypond[fragment,line-width=13.0\cm]
5082 \times 3/2 {g4_"duplets" g} |
5084 \times 6/4 {g8_"quadruplets" g g g} |
5085 g8 g g g g4 \bar "||"
5100 FI: oktaavamerkintä.
5102 The use of a phrase or abbreviation with an extender line or bracket to indicate
5103 that a passage is to be played in a different octave:
5107 @item @samp{15ma}: play two octaves higher
5108 @item @samp{8va}: play one octave higher
5109 @item @samp{8vb}: play one octave lower
5110 @item @samp{8va} written below the passage: same as @samp{8vb}
5111 @item @samp{15vb}: play two octaves lower
5112 @item @samp{15va} written below the passage: same as @samp{15vb}
5116 Another practice, which may be useful for longer passages, is to indicate the
5117 different octave with a phrase at the beginning (see below). When the music
5118 returns to the written pitch, the octavation is cancelled with the word
5121 To parallel the list above:
5125 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5126 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5127 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5128 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5132 @emph{Quindicesima} can be replaced with @emph{quindecima}, which is Latin.
5136 @ref{interval}, @ref{loco}, @ref{octave}.
5151 The interval of an octave, sometimes abbreviated @samp{8ve}.
5153 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5154 bracket, or @samp{loco} see octavation.
5158 @ref{interval}, @ref{octavation}.
5161 @node octave marking
5162 @section octave marking
5170 @section octave sign
5181 Putting 8 or 15 above or below the clef to indicate that the entire part is
5182 played in the indicated octave: a clef-wide octavation. An octave sign can be
5183 applied to any clef, though it is most frequently used with the G and F clefs.
5187 @ref{G clef}, @ref{F clef}.
5194 I: abbellimento, fioriture,
5195 F: agrément, ornement,
5196 D: Verzierung, Ornament,
5202 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5203 with the diatonic @ref{second} above it. In the music from the
5204 middle of the 19th century and onwards the trill is performed with the main
5205 note first while in the music from the preceding baroque and classic periods
5206 the upper note is played first.
5208 @lilypond[fragment,line-width=13.0\cm]
5210 \context Staff = sa {
5211 % \override Score.TextScript #'font-style = #'large
5213 c2._"pre-1850" b4\trill | c1 \bar "||"
5214 c2._"post-1850" b4\trill | c1 \bar "||"
5218 c2. c32 b c b c b c b | c1
5219 c2. b32 c b c \times 4/5 { b c b c b } | c1
5224 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5226 @emph{prall} (inverted mordent).
5228 @lilypond[fragment,line-width=13.0\cm]
5230 \context Staff = sa {
5231 % \override Score.TextScript #'font-style = #'large
5233 a4_"turn" b\turn c2 \bar "||"
5234 g4_"mordent" a b\mordent a \bar "||"
5235 e'4_"prall" d\prall c2 \bar "||"
5241 e'4 e32[ d e d ~ d8] c2
5248 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5261 FI: ossia, vaihtoehtoinen esitystapa.
5263 Ossia (otherwise) marks an alternative. It is an added staff or piano
5264 score, usually only a few measures long, which presents another version
5265 of the music, for example for small hands.
5278 FI: stemma, instrumenttiosuus.
5282 @item In instrumental or choral music, the music for a single
5283 instrument or voice.
5285 @item in contrapuntal music, a single melodic line in the contrapuntal
5317 D: Schlagzeug, Schlagwerk,
5323 A family of musical instruments which are played on by striking or
5324 shaking. Percussion instruments commonly used in a symphony orchestra are
5325 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5326 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5330 @node perfect interval
5331 @section perfect interval
5333 ES: intervalo justo,
5334 I: intervallo giusto,
5335 F: intervalle juste,
5336 D: reines Intervall,
5340 FI: puhdas intervalli.
5359 A natural division of the melodic line, comparable to a sentence of speech.
5372 FI: fraseeraus, jäsentäminen.
5374 The clear rendering in musical performance of the @ref{phrase}s of
5375 the melody. Phrasing may be indicated by a @ref{slur}.
5383 F: anacrouse, levée,
5407 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5408 @emph{mezzo piano} (@b{mp}) medium soft.
5431 NL: pizzicato, getokkeld,
5434 FI: pizzicato, näppäillen.
5436 Abbr. @emph{pizz}. Play by plucking the strings. (Technique for
5437 stringed instruments.)
5454 @item The simultaneous use of two or more meters, in two or more parts.
5456 @item The @emph{successive} use of different meters in one or more parts.
5462 @ref{polymetric} (adj.)
5477 Using two or more metric frameworks simultaneously or in regular
5482 @ref{polymeter} (noun)
5485 @node polymetric time signature
5486 @section polymetric time signature
5497 Time signature indicating regularly alternating polymetric time.
5510 D: Polyphonie, Mehrstimmigkeit,
5514 FI: polyfonia, moniäänisyys.
5516 Music written in a combination of several simultaneous voices (parts)
5517 of a more or less pronounced individuality.
5536 D: Presto, Sehr schnell,
5537 NL: presto, Sehr schnell,
5540 FI: presto, hyvin nopeasti.
5542 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5543 denotes the highest possible degree of speed.
5558 [From Latin @emph{proportio}] In mensural notation, a ratio that
5559 expresses the relationship between the note values that follow with
5560 those that precede; or between the note values of a passage and an
5561 assumed @q{normal} relationship of note values to the metrical pulse.
5563 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5567 @ref{mensural notation}
5570 @node Pythagorean comma
5571 @section Pythagorean comma
5573 ES: coma pitagórica,
5574 I: comma pitagorico,
5575 F: comma pythagoricien,
5576 D: Pythagoräisches Komma,
5577 NL: komma van Pythagoras,
5578 DK: pythagoræisk komma,
5579 S: pytagoreiskt komma,
5580 FI: pytagorinen komma.
5582 A sequence of fifths starting on C eventually circles back to C, but this C,
5583 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5584 by adding 7 octaves. The difference between those two pitches is called the
5589 @ref{cent}, @ref{temperament}.
5609 @section quarter note
5614 @item I: semiminima, nera
5616 @item D: Viertel, Viertelnote
5618 @item DK: fjerdedelsnode
5619 @item S: fjärdedelsnot
5620 @item FI: neljäsosanuotti
5629 @section quarter rest
5632 @item UK: crotchet rest
5633 @item ES: silencio de negra
5634 @item I: pausa di semiminima
5636 @item D: Viertelpause
5638 @item DK: fjerdedelspause
5639 @item S: fjärdedelspaus
5640 @item FI: neljäsosatauko
5649 @section quarter tone
5660 An interval equal to half a semitone.
5670 ES: cinquillo, quintillo.
5685 @section rallentando
5690 D: rallentando, langsamer werden,
5694 FI: rallerdando, hidastuen.
5696 Abbreviation "rall.".
5702 @section relative key
5705 I: tonalità relativa,
5706 F: tonalité relative,
5708 NL: paralleltoonsoort,
5709 DK: paralleltoneart,
5711 FI: rinnakkaissävellaji.
5713 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5715 @lilypond[fragment,notime,line-width=13.0\cm]
5716 \set Score.automaticBars = ##f
5717 %\override Score.TextScript #'font-style = #'large
5720 es1_"e flat major" f g as bes c d es
5725 @lilypond[fragment,notime,line-width=13.0\cm]
5726 \set Score.automaticBars = ##f
5727 %\override Score.TextScript #'font-style = #'large
5730 c1_"c minor" d es f g a! b! c \bar "||"
5740 F: barre de reprise,
5743 DK: gen@-ta@-gel@-se,
5747 @lilypond[fragment,line-width=13.0\cm]
5751 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5768 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5769 @c specify the rest's value.
5790 @item Metrical rhythm in which every time value is a multiple or
5791 fraction of a fixed unit of time, called @ref{beat}, and in which the
5792 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5793 The basic scheme of time values is called @ref{meter}.
5795 @item Measured rhythm which lacks regularly recurrent accent. In
5796 modern notation such music appears as a free alternation of different
5799 @item Free rhythm, i.e., the use of temporal values having no common
5800 metrical unit (beat).
5811 D: ritardando, langsamer werden,
5815 FI: ritardando, hidastuen,
5817 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5830 FI: ritenuto, hidastaen.
5832 Immediate reduction of speed.
5845 FI: asteikko, sävelasteikko.
5849 @ref{diatonic scale}.
5853 @section scale degree
5855 ES: grado (de la escala),
5856 I: grado della scala,
5857 F: degré [de la gamme],
5859 NL: trap [van de toonladder],
5862 FI: sävelaste, asteikon sävel.
5864 Names and symbols used in harmonic analysis to denote tones of the
5865 scale as roots of chords. The most important are degrees I = tonic
5866 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5868 @lilypond[fragment,notime,line-width=13.0\cm]
5869 \set Score.automaticBars = ##f
5871 \context Staff \relative c' {
5875 << { I II III IV V VI VII I }
5883 @ref{functional harmony}.
5891 F: à cordes ravallées,
5898 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5899 tuning of stringed instruments, particularly lutes or violins. Used
5904 @item facilitate pitch combinations that would otherwise be difficult
5907 @item alter the characteristic timbre of the instrument, for example,
5908 to increase brilliance)
5910 @item reinforce certain sonorities or tonalities by making them
5911 available on open strings
5913 @item imitate other instruments
5919 Tunings that could be called @var{scordatura} first appeared early in
5920 the 16th Century and became commonplace in the 17th.
5929 D: Partitur (full score), Klavierauszug (vocal score),
5935 A copy of orchestral, choral, or chamber music showing what each
5936 instrument is to play, each voice to sing, having each part arranged
5937 one underneath the other on different staves @ref{staff}.
5952 The @ref{interval} between two neigbouring tones of a scale. A
5953 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5954 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5955 degrees in question.
5970 The interval of a minor second. The (usually) smallest interval in European
5971 composed music. The interval between two neighbouring tones on the piano
5972 keyboard -- including black and white keys -- is a semitone. An octave may
5973 be divided into 12@w{ }semitones.
5975 @lilypond[fragment,notime,line-width=13.0\cm]
5976 \set Score.automaticBars = ##f
5977 \relative c'' { g1 gis s a bes s b! c }
5982 @ref{interval}, @ref{chromatic scale}.
6007 @ref{sextuplet}, @ref{note value}.
6053 @section simple meter
6064 A meter in which the basic beat is subdivided in two: that is, a meter
6065 that does not include triplet subdivision of the beat.
6069 @ref{compound meter}, @ref{meter}.
6072 @node sixteenth note
6073 @section sixteenth note
6076 @item UK: semiquaver
6077 @item ES: semicorchea
6079 @item F: double croche
6080 @item D: Sechzehntel, Sechzehntelnote
6081 @item NL: zes@-ti@-ende noot
6082 @item DK: sekstendedelsnode
6083 @item S: sextondelsnot
6084 @item FI: kuudestoistaosanuotti
6092 @node sixteenth rest
6093 @section sixteenth rest
6096 @item UK: semiquaver rest
6097 @item ES: silencio de semicorchea
6098 @item I: pausa di semicroma
6099 @item F: quart de soupir
6100 @item D: Sechzehntelpause
6101 @item NL: zestiende rust
6102 @item DK: sekstendedelspause
6103 @item S: sextondelspaus
6104 @item FI: kuudestoistaosatauko
6129 @node sixty-fourth note
6130 @section sixty-fourth note
6133 @item UK: hemidemisemiquaver
6135 @item I: semibiscroma
6136 @item F: quadruple croche
6137 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6138 @item NL: vierenzestigste noot
6139 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6140 @item S: sextiofjärdedelsnot
6141 @item FI: kuudeskymmenesneljäsosanuotti
6149 @node sixty-fourth rest
6150 @section sixty-fourth rest
6153 @item UK: hemidemisemiquaver rest
6154 @item ES: silencio de semifusa
6155 @item I: pausa di semibiscroma
6156 @item F: seizième de soupir
6157 @item D: Vierundsechzigstelpause
6158 @item NL: vierenzestigste rust
6159 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6160 @item S: sextiofjärdedelspaus
6161 @item FI: kuudeskymmenesneljäsosatauko
6172 ES: ligadura (de expresión),
6173 I: legatura (di portamento or espressiva),
6175 D: Bogen (Legatobogen, Phrasierungsbogen),
6176 NL: fraseringsboog, legatoboog, streekboog,
6177 DK: legatobue, fraseringsbue,
6181 A slur above or below a group of notes indicates that they are to be
6182 played @ref{legato}, e.g., with one stroke of the violin bow or with
6183 one breath in singing.
6187 @section solmization
6196 FI: suhteelliset laulunimet.
6198 General term for systems of designating the degrees of the
6199 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6200 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6218 In its present-day meaning a sonata denotes an instrumental
6219 composition for piano or for some other instrument with piano
6220 accompaniment, which consists of three or four independant pieces,
6225 @section sonata form
6229 F: [en] forme de sonate,
6231 NL: hoofdvorm, sonatevorm,
6236 A form used frequently for single movements of the @ref{sonata},
6237 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6238 into three sections called @emph{exposition}, @emph{development} and
6239 @emph{recapitulation}. In the exposition the composer introduces some
6240 musical ideas, consisting of a number of themes; in the development
6241 section the composer @q{develops} this material, and in the
6242 recapitulation the composer repeats the exposition, with certain
6243 modifications. The exposition contains a number of themes that fall
6244 into two groups, often called first and second subject. Other
6245 melodies occurring in each group are considered as continuations of
6246 these two. The second theme is in another key, normally in the key of
6247 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6248 @ref{relative key} if the tonic is @ref{minor}.
6269 FI: sopraano, korkea naisääni.
6271 The highest female voice.
6279 F: staccato, piqué, détaché,
6284 FI: staccato, lyhyesti, terävästi.
6286 Playing the note(s) short. Staccato is indicated by a dot above or
6287 below the note head.
6289 @lilypond[fragment,ragged-right]
6294 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6304 I: pentagramma, rigo (musicale),
6306 D: Notensystem, Notenzeile,
6307 NL: (noten)balk, partij,
6312 A staff (plural: staves) is a series of (normally five) horizontal
6313 lines upon and between which the musical notes are written, thus
6314 indicating (in connection with a @ref{clef}) their pitch. Staves for
6315 @ref{percussion} instruments may have fewer lines.
6332 D: Hals, Notenhals, Stiel,
6338 Vertical line above or below a @ref{note head} shorter than a
6343 @lilypond[fragment,notime,line-width=13.0\cm]
6344 \set Score.autoBeaming = ##f
6345 \set Score.automaticBars = ##f
6346 %\override Score.TextScript #'font-style = #'large
6368 A family of stringed musical instruments played with a bow. Strings
6369 commonly used in a symphony orchestra are violin, viola, violoncello,
6374 @section strong beat
6379 D: betonter Taktteil oder Taktschlag,
6381 D: betonet taktslag,
6382 S: betonat taktslag,
6383 FI: tahdin vahva isku.
6387 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6391 @section subdominant
6400 FI: subdominantti, alidominantti.
6402 The fourth @ref{scale degree}.
6404 @ref{functional harmony}.
6419 The sixth @ref{scale degree}.
6432 FI: subtoonika, alitoonika.
6434 The seventh @ref{scale degree}.
6443 D: auf G, auf der G-Saite,
6449 Indicates that the indicated passage (or note) should be played on the
6454 @section superdominant
6465 The sixth @ref{scale degree}.
6480 The second @ref{scale degree}.
6489 D: Sinfonie, Symphonie,
6495 A symphony may be defined as a @ref{sonata} for orchestra.
6499 @section syncopation
6510 Any deliberate upsetting of the normal pulse of @ref{meter},
6511 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6512 rhythm rests upon the grouping of equal beats into groups of two or
6513 three, with a regularly recurrent accent on the first beat of each
6514 group. Any deviation from this scheme is felt as a disturbance or
6515 contradiction between the underlaying (normal) pulse and the actual
6518 @lilypond[fragment,ragged-right]
6523 e c'4 e,8 c'4 e,8 c' ( | c2)
6528 @node syntonic comma
6529 @section syntonic comma
6532 I: comma sintonico (o didimico),
6533 F: comma syntonique,
6534 D: syntonisches Komma,
6535 NL: syntonische komma,
6536 DK: syntonisk komma,
6537 S: syntoniskt komma,
6538 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6539 Pytagorisessa viritysjärjestelmässä.
6541 Difference between the natural third and the third obtained by
6542 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6551 D: Notensystem, Partitur,
6555 FI: nuottijärjestelmä.
6557 The collection of staves (@ref{staff}), two or more, as used for writing
6558 down of keyboard, chamber, choral, or orchestral music.
6562 @section temperament
6567 D: Stimmung, Tem@-pe@-ra@-tur,
6568 NL: stemming, temperatuur,
6571 FI: viritysjärjestelmä.
6573 Systems of tuning in which the intervals deviate from the acoustically
6576 @ref{meantone temperament}, @ref{equal temperament}.
6579 @node tempo indication
6580 @section tempo indication
6582 ES: indicación de tempo,
6583 I: indicazione di tempo,
6584 F: indication de tempo,
6585 D: Zeitmaß, Tempobezeichnung,
6586 NL: tempo aanduiding,
6591 The rate of speed of a composition or a section thereof, ranging from
6592 the slowest to the quickest, as is indicated by tempo marks as
6593 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6607 FI: tenori, korkea miesääni.
6609 The highest male voice (apart from @ref{counter tenor}).
6632 ES: subrayado (tenuto),
6641 An indication that a particular note should be held for the whole
6642 length, although this can vary depending on the composer and era.
6662 @node thirty-second note
6663 @section thirty-second note
6666 @item UK: demisemiquaver
6669 @item F: triple croche
6670 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6671 @item NL: twee-endertig@-ste (32e) noot
6672 @item DK: toogtredivtedelsnode
6673 @item S: trettiotvåondelsnot
6674 @item FI: kolmaskymmeneskahdesosanuotti
6682 @node thirty-second rest
6683 @section thirty-second rest
6686 @item UK: demisemiquaver rest
6687 @item ES: silencio de fusa
6688 @item I: pausa di biscroma
6689 @item F: huitième de soupir
6690 @item D: Zweiunddreissigstel@-pause
6691 @item NL: twee-endertig@-ste (32e) rust
6692 @item DK: toogtredivtedelspause
6693 @item S: trettiotvåondelspaus
6694 @item FI: kolmaskymmeneskahdesosatauko
6703 @section thorough bass
6706 I: basso continuo, basso numerato,
6707 F: basse chiffrée, basse continue,
6708 D: Generalbass, bezifferter Bass,
6709 NL: basso continuo, becijferde bas
6712 FI: kenraalibasso, numeroitu basso.
6714 A method of indicating an accompaniment part by the bass notes only,
6715 together with figures designating the chief @ref{interval}s and
6716 @ref{chord}s to be played above the bass notes.
6718 @lilypond[fragment,line-width=13.0\cm]
6719 \context GrandStaff <<
6720 \context Staff = lh \relative c'' {
6724 << \context Voice = rha {
6727 \context Voice = rhb {
6729 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6733 \context Staff = rh \relative c' {
6736 es8 c d bes c as bes16 as g f | es4
6738 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6747 ES: ligadura de prolongación,
6748 I: legatura (di valore),
6750 D: Haltebogen, Bindebogen,
6751 NL: overbinding, bindingsboog,
6753 S: bindebåge, överbindning,
6756 A curved line, identical in appearance with the @ref{slur}, which
6757 connects two succesive notes of the same pitch, and which has the
6758 function of uniting them into a single sound (tone) equal to the
6761 @lilypond[fragment,notime,ragged-right]
6762 \set Score.automaticBars = ##f
6763 \relative c'' { g2 ~ g4. }
6775 @node time signature
6776 @section time signature
6778 ES: indicación de compás,
6780 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6781 D: Taktangabe, Angabe der Taktart,
6784 S: taktartssignatur,
6787 The sign placed at the beginning of a composition to indicate its
6788 meter. It most often takes the form of a fraction, but a few signs
6789 derived from mensural notation and proportions are also employed.
6793 @ref{mensural notation}, @ref{meter}.
6808 A sound of definite pitch and duration, as distinct from @emph{noise}.
6809 Tone is a primary building material of music.
6811 Music from the 20th century may be based on atonal sounds.
6826 The first @ref{scale degree}.
6830 @ref{functional harmony}.
6833 @node transposing instrument
6834 @section transposing instrument
6845 Instruments whose notated pitch is different from their sounded pitch. Except
6846 for those whose notated and sounding pitches differ by one or more octaves (to
6847 reduce the number of ledger lines needed), most such instruments are identified
6848 by the letter name of the pitch class of their fundamental. The pitch class is
6849 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6850 the instrument plays a notated C.
6852 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6853 the B-flat one tone lower. If played on the A clarinet, the same written
6854 note sounds the A (one and half tones -- a minor third -- lower).
6856 Not all transposing instruments include the pitch class in their name:
6860 @item English horn (in F)
6862 @item Alto flute (in G)
6868 @ref{concert pitch}.
6872 @section transposition
6883 Shifting a melody up or down in pitch, while keeping the same
6886 @lilypond[fragment,line-width=13.0\cm]
6891 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6896 @lilypond[fragment,line-width=13.0\cm]
6899 \transpose c bes \relative c'' {
6901 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6908 @section treble clef
6911 I: chiave di violino,
6913 D: Violinschlüssel, Sopranschlüssel,
6936 On stringed instruments:
6940 @item The quick reiteration of the same tone, produced by a rapid
6941 up-and-down movement of the bow.
6943 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
6944 in the distance of a third (@ref{interval}).
6948 @lilypond[fragment,notime,ragged-right]
6949 \set Score.automaticBars = ##f
6950 %\override Score.TextScript #'font-style = #'large
6953 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6954 \repeat tremolo 8 { e32_"b" g }
6968 F: triade, accord parfait, accord de trois sons,
6985 F: trille, tremblement, battement (cadence),
6998 @section triple meter
7000 ES: compás ternario,
7003 D: in drei, ungerader Takt,
7004 NL: driedelige maatsoort,
7049 @section tuning fork
7052 I: diapason, corista,
7060 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7061 give the international pitch for the tone @emph{a} (440 vibrations per
7068 A non-standard subdivision of a beat or part of a beat, usually
7069 indicated with a bracket and a number indicating the number of
7074 @ref{triplet}, @ref{note value}.
7104 FI: unisono, yksiäänisesti.
7106 Playing of the same notes or the same melody by various instruments
7107 (voices) or by the whole orchestra (choir), either at exactly the same
7108 pitch or in a different octave.
7116 F: anacrouse, levée,
7138 FI: ääni, lauluääni.
7142 @item Human voices: @ref{soprano}, @ref{mezzo-soprano}, @ref{contralto},
7143 @ref{tenor}, @ref{baritone}, @ref{bass}.
7145 @item A melodic layer or part of a polyphonic composition.
7154 I: tempo debole, arsi,
7156 D: unbetonter Taktteil oder Taktschlag,
7158 DK: ubetonet taktslag,
7159 S: obetonat taktslag,
7160 FI: tahdin heikko isku.
7164 @ref{beat}, @ref{measure}, @ref{rhythm}.
7175 @item D: Ganze, ganze Note
7179 @item FI: kokonuotti
7191 @item UK: semibreve rest
7192 @item ES: silencio de redonda
7193 @item I: pausa di semibreve
7195 @item D: ganze Pause, ganztaktige Pause
7197 @item DK: helnodespause
7219 The interval of a major second. The interval between two tones
7220 on the piano keyboard with exactly one key between them -- including
7221 black and white keys -- is a whole tone.
7240 A family of blown wooden musical instruments. Today some of these
7241 instruments are actually made from metal. The woodwind instruments
7242 commonly used in a symphony orchestra are flute, oboe, clarinet,
7243 saxophone, and bassoon.
7246 @node Duration names notes and rests
7247 @chapter Duration names notes and rests
7249 @multitable @columnfractions .12 .22 .22 .22 .22
7268 @tab silencio de longa
7270 @tab silencio de cuadrada
7278 @tab quadruple-pause
7293 @tab longanodespause
7295 @tab brevis(nodes)pause
7304 @tab brevis-nuotti, kaksoiskokonuotti
7305 @tab brevis-tauko, kaksoiskokotauko
7309 @multitable @columnfractions .12 .22 .22 .22 .22
7328 @tab silencio de redonda
7330 @tab silencio de blanca
7333 @tab pause di semibreve
7335 @tab pausa di minima
7369 @multitable @columnfractions .12 .22 .22 .22 .22
7388 @tab silencio de negra
7390 @tab silencio de corchea
7392 @tab semiminima, nera
7393 @tab pausa di semiminima, pausa di nera
7413 @tab fjerdedelspause
7414 @tab ottendedelsnode
7415 @tab ottendedelspause
7422 @tab neljäsosanuotti
7424 @tab kahdeksasosanuotti
7425 @tab kahdeksasosatauko
7429 * About the French naming system: @emph{croche} refers to the note's "hook".
7430 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7431 hook}, @q{trebled hook}, and so on.
7433 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7434 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7435 a @emph{soupir}, and so on.
7437 Each of the following tables contains one type of note and its matching rest,
7438 with abbreviations that apply to both notes and rests. Just switch the part
7439 that means @q{note} with the part that means @q{rest}, for example:
7443 @item English: 16th @strong{note}, 16th @strong{rest}
7444 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7445 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7449 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7450 duration name. If you know of one that I missed, please send it to me, care of
7451 the lilypond-user discussion list.
7453 @multitable @columnfractions .10 .35 .35 .20
7465 @tab semiquaver rest
7469 @tab silencio de semicorchea
7473 @tab pausa di semicroma
7477 @tab quart de soupir
7480 @tab Sechzehntelnote
7481 @tab Sechzehntelpause
7488 @tab sekstendedelsnode
7489 @tab sekstendedelspause
7496 @tab kuudestoistaosanuotti
7497 @tab kuudestoistaosatauko
7502 @multitable @columnfractions .10 .35 .35 .20
7509 @tab thirty-second note
7510 @tab thirty-second rest
7514 @tab demisemiquaver rest
7518 @tab silencio de fusa
7522 @tab pausa di biscroma
7526 @tab huitième de soupir
7529 @tab Zweiunddreißigstelnote
7530 @tab Zweiunddreißigstelpause
7533 @tab tweeendertigste noot
7534 @tab tweeendertigste rust
7537 @tab toogtredivtedelsnode
7538 @tab toogtredivtedelspause
7541 @tab trettiotvåondelsnot
7542 @tab trettiotvåondelspaus
7545 @tab kolmaskymmeneskahdesosanuotti
7546 @tab kolmaskymmeneskahdesosatauko
7551 @multitable @columnfractions .10 .35 .35 .20
7558 @tab sixty-fourth note
7559 @tab sixty-fourth rest
7562 @tab hemidemisemiquaver
7563 @tab hemidemisemiquaver rest
7567 @tab silencio de semifusa
7571 @tab pausa di semibiscroma
7574 @tab quadruple croche
7575 @tab seizième de soupir
7578 @tab Vierundsechzigstelnote
7579 @tab Vierundsechzigstelpause
7582 @tab vierenzestigste noot
7583 @tab vierenzestigste rust
7586 @tab fireogtredsindstyvendedelsnode
7587 @tab fireogtredsindstyvendedelspause
7590 @tab sextiofjärdedelsnot
7591 @tab sextiofjärdedelspaus
7594 @tab kuudeskymmenesneljäsosanuotti
7595 @tab kuudeskymmenesneljäsosatauko
7600 @multitable @columnfractions .10 .35 .35 .20
7607 @tab one-hundred-twenty-eighth note
7608 @tab one-hundred-twenty-eighth rest
7611 @tab semihemidemisemiquaver
7612 @tab semihemidemisemiquaver rest
7615 @tab garrapatea @tab silencio de garrapatea @tab -
7621 @tab quintuple croche
7622 @tab trente-deuxième de soupir @tab -
7624 @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7626 @tab honderdachtentwintigste noot
7627 @tab honderdachtentwintigste rust
7630 @tab hundredeotteogtyvendedelsnode
7631 @tab hundredeotteogtyvendedelspause
7634 @tab hundratjugoåttondelsnot
7635 @tab hundratjugoåttondelspaus
7638 @tab sadaskahdeskymmeneskahdeksasosanuotti
7639 @tab sadaskahdeskymmeneskahdeksasosatauko
7644 @multitable @columnfractions .10 .35 .35 .20
7651 @tab two-hundred-fifty-sixth @tab two-hundred-fifty-sixth @tab 256th note
7653 @tab demisemihemidemisemiquaver
7654 @tab demisemihemidemisemiquaver rest
7657 @tab semigarrapatea @tab silencio de semigarrapatea @tab -
7660 @tab pausa di semifusa
7663 @tab sextuple croche
7664 @tab soixante-quatrième de soupir @tab -
7666 @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7668 @tab tweehonderdzesenvijftigste noot
7669 @tab tweehonderdzesenvijftigste rust
7672 @tab tohundredeseksoghalvtredsendedelsnode
7673 @tab tohundredeseksoghalvtredsendedelspause
7676 @tab tvåhundrafemtiosjättedelsnot
7677 @tab tvåhundrafemtiosjättedelspaus
7680 @tab kahdessadasviideskymmeneskuudesosanuotti
7681 @tab kahdessadasviideskymmeneskuudesosatauko
7688 @ref{mensural notation}
7692 @chapter Pitch names
7694 @c -is/-es endings for Danish per Rune Zedeler
7695 @c and for Finnish per Risto Vääräniemi
7696 @c -iss/-ess endings for Swedish per Mats Bengtsson
7697 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7699 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7701 @tab ES @tab I @tab F @tab D
7702 @tab NL @tab DK @tab S @tab FI
7704 @tab do @tab do @tab ut @tab C
7705 @tab c @tab c @tab c @tab c
7706 @item @strong{c-sharp}
7707 @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7708 @tab cis @tab cis @tab ciss @tab cis
7709 @item @strong{d-flat}
7710 @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7711 @tab des @tab des @tab dess @tab des
7713 @tab re @tab re @tab ré @tab D
7714 @tab d @tab d @tab d @tab d
7715 @item @strong{d-sharp}
7716 @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7717 @tab dis @tab dis @tab diss @tab dis
7718 @item @strong{e-flat}
7719 @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7720 @tab es @tab es @tab ess @tab es
7722 @tab mi @tab mi @tab mi @tab E
7723 @tab e @tab e @tab e @tab e
7724 @item @strong{f-flat} = e
7725 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7726 @tab fes @tab fes @tab fess @tab fes
7728 @tab fa @tab fa @tab fa @tab F
7729 @tab f @tab f @tab f @tab f
7730 @item @strong{e-sharp} = f
7731 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7732 @tab eis @tab eis @tab eiss @tab eis
7733 @item @strong{f-sharp}
7734 @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7735 @tab fis @tab fis @tab fiss @tab fis
7736 @item @strong{g-flat}
7737 @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7738 @tab ges @tab ges @tab gess @tab ges
7740 @tab sol @tab sol @tab sol @tab G
7741 @tab g @tab g @tab g @tab g
7742 @item @strong{g-sharp}
7743 @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7744 @tab gis @tab gis @tab giss @tab gis
7745 @item @strong{a-flat}
7746 @tab la bemol @tab la bemolle @tab la bémol @tab As
7747 @tab as @tab as @tab ass @tab as
7749 @tab la @tab la @tab la @tab A
7750 @tab a @tab a @tab a @tab a
7751 @item @strong{a-sharp}
7752 @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7753 @tab ais @tab ais @tab aiss @tab ais
7754 @item @strong{b-flat}
7755 @tab si bemol @tab si bemolle @tab si bémol @tab B
7756 @tab bes @tab b @tab b @tab b
7758 @tab si @tab si @tab si @tab H
7759 @tab b @tab h @tab h @tab h
7767 @node Literature used
7768 @unnumberedsec Literature used
7771 @item The Harvard Dictionary of Music, London 1944. Many more or less
7772 literal quotes from its articles have been included into the item
7775 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7777 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7780 @item Oxford Advanced Learner's Dictionary of Current English, Third
7783 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7785 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.