1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 12/07
42 Copyright @copyright{} 1999--2008 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by:
73 @item @b{Christian Mondrup}: Original author of LilyPond glossary, Danish,
74 @item @b{François Pinard}: Original glossary of GNU music project, French,
76 @item @b{Han-Wen Nienhuys}: Dutch,
77 @item @b{Jan Nieuwenhuizen}: Dutch,
79 @item @b{Neil Jerram}: English,
80 @item @b{Kurtis Kroon}: English,
82 @item @b{Heikki Junes}: Finnish,
84 @item @b{Bjoern Jacke}: German,
86 @item @b{Adrian Mariano}: Italian,
88 @item @b{David González}: Spanish,
90 @item @b{Mats Bengtsson}: Swedish,
94 with additional contributions: thanks to all who have contributed.
98 The list is rather long ...
104 @item Rune Zedeler, @emph{pace}
117 @item Andrew Hawryluk
119 @item Kieren MacMillan
120 @item Patrick McCarty
122 @item Carl D. Sorensen
128 @item Risto Vääräniemi
134 @item Reinhold Kainhofer
137 @item Thomas Scharkowski
152 @item Simon Dahlbacka
159 Copyright 1999--2008 by the authors
161 Permission is granted to copy, distribute and/or modify this document
162 under the terms of the GNU Free Documentation License, Version 1.1
163 or any later version published by the Free Software Foundation,
164 without Invariant Sections.
170 @c @everyheading @| @thispage @|
171 @c @evenheading @thispage @| @|
172 @c @oddheading @| @| @thispage @|
174 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
175 For more information about how this fits with the other
176 documentation, see @rlearning{About the documentation}.
182 @w{@expansion{}@strong{\word\}}@c
185 @expansion{}@ref{\word\, @strong{\word\}}@c
190 * Musical terms A-Z::
191 * Duration names notes and rests::
196 @node Musical terms A-Z
197 @chapter Musical terms A-Z
199 Languages in this order.
201 @item UK - British English (where it differs from American English)
229 * ancient minor scale::
234 * ascending interval::
236 * augmented interval::
273 * compound interval::
277 * conjunct movement::
291 * descending interval::
294 * diminished interval::
298 * disjunct movement::
300 * dissonant interval::
304 * dominant ninth chord::
305 * dominant seventh chord::
307 * dot (augmentation dot)::
309 * double appoggiatura::
311 * double dotted note::
314 * double time signature::
321 * ecclesiastical mode::
328 * equal temperament::
349 * functional harmony::
369 * inverted interval::
384 * long appoggiatura::
390 * meantone temperament::
397 * mensural notation::
401 * metronomic indication::
414 * multi-measure rest::
444 * polymetric time signature::
449 * Pythagorean comma::
479 * sixty-fourth note::
480 * sixty-fourth rest::
511 * thirty-second note::
512 * thirty-second rest::
519 * transposing instrument::
574 Abbreviated @notation{a2} or @notation{a 2}.
578 @item An indication in orchestral scores that a single part notated on a single
579 staff that normally carries parts for two players (e.g. first and second oboes)
580 is to be played by both players.
582 @item Or conversely, that two pitches or parts notated on a staff that normally
583 carries a single part (e.g. first violin) are to be played by different players,
584 or groups of players (@q{desks}).
598 F: accelerando, en accélérant,
599 D: accelerando, schneller werden,
603 FI: accelerando, kiihdyttäen.
605 [Italian: @q{speed up, accelerate}.]
624 FI: aksentti, korostus.
626 The stress of one tone over others.
641 @section acciaccatura
643 A grace note which takes its time from the rest or note preceding the
644 principal note to which it is attached. The acciaccatura is drawn as a
645 small eighth note (quaver) with a line drawn through the flag and
650 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
656 ES: alteración accidental,
658 F: altération accidentelle,
659 D: Versetzungszeichen, Akzidenz,
660 NL: toevallig (verplaatsings)teken,
662 S: tillfälligt förtecken,
663 FI: tilapäinen etumerkki.
665 An accidental alters a note by:
669 @item Raising its pitch:
671 @item A @notation{double sharp}, by two semitones (a whole tone)
672 @item A @notation{sharp}, by one semitone
675 @item Lowering its pitch:
677 @item A @notation{flat}, by one semitone
678 @item A @notation{double flat}, by two semitones (a whole tone)
681 @item Canceling the effects of the key signature or previous accidentals.
684 @lilypond[fragment,notime,line-width=13.0\cm]
685 \set Score.automaticBars = ##f
687 \context Staff \relative c'' {
688 \set Staff.extraNatural = ##f
689 gisis1 gis g! ges geses
692 \override Lyrics .LyricText #'self-alignment-X = #-1
693 "db. sharp" sharp natural flat "db. flat"
700 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
713 FI: adagio, hitaasti.
715 [Italian: @q{comfortable, easy}.]
719 @item Slow tempo, slower -- especially in even meter -- than @notation{andante}
720 and faster than @notation{largo}.
722 @item A movement in slow tempo, especially the second (slow) movement
723 of sonatas, symphonies, etc.
729 @ref{andante}, @ref{largo}, @ref{sonata}.
742 FI: häviten olemattomiin.
744 [Italian: @q{to nothing}.] Used with @notation{decrescendo} to indicate
745 that the sound should fade away to nothing.
747 @notation{Al niente} is indicated by circling the tip of the hairpin:
749 @lilypond[fragment,ragged-right]
751 \override Hairpin #'circled-tip = ##t
758 or with the actual phrase @notation{al niente}. This may be easier with
759 text markup, rather than as part of the @notation{decrescendo} text:
761 @lilypond[fragment,ragged-right]
766 c\!-\markup { \italic "al niente" }
770 Since one does not crescendo @emph{to} nothing, it is not correct to use
771 @notation{al niente} with @notation{crescendo}. Instead, one should use
772 @emph{dal niente} (@notation{@b{from} nothing}).
776 @ref{crescendo}, @ref{decrescendo}, @ref{hairpin}.
785 D: Allegro, Schnell, Fröhlich, Lustig,
789 FI: allegro, nopeasti.
791 [Italian: @q{cheerful}.] Quick tempo. Also used as a title for pieces in a quick
792 tempo, especially the first and last movements of a sonata.
806 NL: verhoging of verlaging,
811 An alteration is the modification, raising or lowering, of a note's
812 pitch. It is established by an accidental.
829 FI: altto, matala naisääni.
831 A female voice of low range (@emph{contralto}). Originally the alto
832 was a high male voice (hence the name), which by the use of falsetto
833 reached the height of the female voice. This type of voice is also
834 known as countertenor.
844 ES: clave de do en tercera,
845 I: chiave di contralto,
846 F: clef d'ut troisième ligne,
847 D: Altschlüssel, Bratschenschlüssel,
853 C clef setting middle C on the middle line of the staff.
870 FI: ambitus, ääniala, soitinala.
872 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
873 Denotes a range of pitches for a given voice in a part of music. It may
874 also denote the pitch range that a musical instrument is capable of playing.
875 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
894 An anacrusis (also known as pickup or upbeat) is an incomplete measure
895 of music before a section of music. It also refers to the initial
896 note(s) of a melody occurring in that incomplete measure.
898 @lilypond[fragment,line-width=13.0\cm]
902 \partial 4 f4 | bes4. a8 bes4 c |
903 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
908 @ref{measure}, @ref{meter}.
911 @node ancient minor scale
912 @section ancient minor scale
914 ES: escala menor natural,
915 I: scala minore naturale,
916 F: forme du mode mineur ancien, troisème mode, mode hellénique,
917 D: reines Moll, natürliches Moll,
918 NL: authentieke mineurtoonladder,
921 FI: luonnollinen molliasteikko.
923 Also called @q{natural minor scale}.
925 @lilypond[fragment,notime,line-width=13.0\cm]
926 \set Score.automaticBars = ##f
933 @ref{diatonic scale}.
948 [Italian: present participle of @emph{andare}, @q{to walk}.]
950 Walking tempo/character.
958 @section appoggiatura
962 F: appoggiature, (port de voix),
963 D: Vorschlag, Vorhalt
967 FI: appoggiatura, etuhele.
969 Ornamental note, usually a second, that is melodically connected with
970 the main note following it. In music before the 19th century
971 appoggiature were usually performed on the beat, after that mostly
972 before the beat. While the short appoggiatura is performed as a short
973 note regardless of the duration of the main note the duration of the
974 long appoggiatura is proportional to that of the main note.
976 @lilypond[line-width=13.0\cm]
977 \context Voice \relative c'' {
981 %\override Score.TextScript #'font-style = #'large
982 <d a fis>4_"notation" r
983 { \override Stem #'flag-style = #'()
985 \revert Stem #'flag-style
988 { \override Stem #'flag-style = #'()
990 \revert Stem #'flag-style
993 \cadenzaOn a4 \bar "||" \cadenzaOff
995 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
996 \cadenzaOn a4 \bar "||" \cadenzaOff
1000 An appoggiatura may have more notes preceding the main note.
1002 @lilypond[line-width=13.0\cm]
1006 % \override Score.TextScript #'font-style = #'large
1007 \grace { bes16 } as8_"notation" as16 bes as8 g |
1008 \grace { as16[( bes] } < c as >4-)
1009 \grace { as16[( bes] } < c as >4-) \bar "||"
1010 \grace { bes16 } as8_"performance" as16 bes as8 g |
1011 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
1012 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
1028 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
1029 NL: gebroken akoord,
1030 DK: arpeggio, akkordbrydning,
1032 FI: arpeggio, murtosointu.
1034 [Italian: @q{harp-like, played like a harp}.]
1036 @lilypond[fragment,line-width=13.0\cm]
1037 \context PianoStaff <<
1038 \context Staff = SA \relative c'' {
1041 r8 g16 c e g, c e r8 g,16 c e g, c e |
1042 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
1043 \context Staff = SB \relative c' {
1045 << \context Voice = va {
1047 r16 e8. ( e4) r16 e8. ( e4) |
1048 r16 d8. ( d4) r16 d8. ( d4) }
1049 \context Voice = vb {
1062 @section articulation
1071 FI: artikulaatio, ilmaisu.
1073 Articulation refers to notation which indicates how a note or notes
1074 should be played. Slurs, accents, staccato, and legato are all
1075 examples of articulation.
1082 @node ascending interval
1083 @section ascending interval
1085 ES: intervalo ascendente,
1086 I: intervallo ascendente,
1087 F: intervalle ascendant,
1088 D: steigendes Intervall,
1089 NL: stijgend interval,
1090 DK: stigende interval,
1091 S: stigande intervall,
1092 FI: nouseva intervalli.
1094 A distance between a starting lower note and a higher ending note.
1101 @node augmented interval
1102 @section augmented interval
1104 ES: intervalo aumentado,
1105 I: intervallo aumentato,
1106 F: intervalle augmenté,
1107 D: übermäßiges Intervall,
1108 NL: overmatig interval,
1109 DK: forstørret interval,
1110 S: överstigande intervall,
1111 FI: ylinouseva intervalli.
1119 @section augmentation
1128 FI: aika-arvojen pidentäminen.
1130 @c TODO: add definition.
1132 This is a placeholder for augmentation (wrt mensural notation).
1136 @ref{diminution}, @ref{mensural notation}.
1144 F: manuscrit, autographe
1145 D: Autograph, Handschrift,
1147 DK: håndskrift, autograf,
1149 FI: käsinkirjoitettu nuotti.
1153 @item A manuscript written in the composer's own hand.
1155 @item Music prepared for photoreproduction by freehand drawing, with
1156 the aid of a straightedge ruler and T-square only, which attempts to
1157 emulate engraving. This required more skill than did engraving.
1182 @ref{H}, @ref{Pitch names}
1204 ES: barra, línea divisoria,
1205 I: stanghetta, barra (di divisione),
1206 F: barre (de mesure),
1213 A vertical line through the staff (or through multiple staves) that
1214 separates measures. Used very infrequently during the Renaissance (mostly
1215 in secular music, or in sacred music to indicate congruences between parts
1216 in otherwise-unmetered music).
1233 FI: baritoni, keskikorkuinen miesääni.
1235 The male voice intermediate in pitch between the bass and the tenor.
1237 @c F: clef de troisième ligne dropped
1241 @ref{bass}, @ref{tenor}.
1245 @section baritone clef
1247 ES: clave de fa en tercera,
1248 I: chiave di baritono,
1249 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1250 D: Baritonschlüssel,
1256 C or F clef setting middle C on the upper staff line.
1260 @ref{C clef}, @ref{F clef}.
1273 FI: basso, matala miesääni.
1277 @item The lowest male voice.
1279 @item Sometimes, especially in jazz music, used as an abbreviation for
1292 ES: clave de fa en cuarta,
1294 F: clef de fa quatrième ligne,
1301 A clef setting with middle C on the first top ledger line.
1320 Line connecting a series of notes (shorter than a quarter note). The
1321 number of beams determines the note value of the connected notes.
1323 @lilypond[fragment,notime,line-width=13.0\cm]
1324 \set Score.automaticBars = ##f
1325 %\override TextScript #'font-style = #'large
1327 g8_"1/8"[ g g g] s16
1328 g16_"1/16"[ g g g] s16
1329 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1330 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1335 @ref{feathered beam}.
1341 ES: tiempo, parte (de compás)
1344 D: Takt, Taktschlag, Zeit (im Takt),
1350 Note value used for counting, most often half-, fourth-, and eighth notes.
1351 The base counting value and the number of them in each measure is indicated
1352 at the start of the music by the @notation{time signature}.
1354 @lilypond[fragment,line-width=13.0\cm]
1357 \relative c'' { g4 c b a | g1 \bar "||"}
1359 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1364 @ref{time signature}.
1368 @section beat repeat
1372 @ref{percent repeat}.
1386 ES: llave, corchete,
1389 D: Klammer, Akkolade,
1390 NL: accolade, teksthaak,
1393 FI: yhdistävä sulkumerkki.
1395 Symbol at the start of a system connecting staves.
1397 Curly braces are used for connecting piano staves, and sometimes for connecting
1398 the staves of like instruments in an orchestral score when written on different
1399 staves (e.g. first and second flutes):
1401 @lilypond[fragment,ragged-right]
1402 \context GrandStaff <<
1403 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1404 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1407 Angular brackets for connecting parts in an orchestral or choral score:
1409 @lilypond[fragment,ragged-right]
1410 \context StaffGroup <<
1411 % \set StaffGroup.minVerticalAlign = #12
1412 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1413 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1444 NL: koper (blazers),
1447 S: brassinstrument, mässingsinstrument,
1450 A family of blown musical instruments made of brass, all using a cup
1451 formed mouth piece. The brass instruments commonly used in a symphony
1452 orchestra are trumpet, trombone, french horn, and tube.
1460 @section breath mark
1465 D: Atemzeichen, Trennungszeichen,
1466 NL: repercussieteken,
1467 DK: vejrtrækningstegn,
1471 Indication of where to breathe in vocal and wind instrument parts.
1482 @item US: breve, double-whole note,
1483 @item ES: cuadrada, breve,
1490 @item FI: brevis, kaksoiskokonuotti.
1493 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1494 The shortest note value generally used in white mensural notation, hence the
1495 name, which originally meant @q{of short duration}.
1497 @lilypond[fragment,notime,ragged-right]
1498 \set Score.automaticBars = ##f
1499 \relative c'' { g\breve }
1504 @ref{mensural notation}, @ref{note value}.
1538 Clef symbol indicating the position of the middle C. Used on all note
1541 @lilypond[fragment,notime,line-width=13.0\cm]
1542 \set Score.automaticBars = ##f
1543 \override Score.Clef #'full-size-change = ##t
1545 \context Staff \relative c' {
1547 \clef mezzosoprano c
1552 \context Lyrics \lyrics {
1553 \override Lyrics .LyricText #'self-alignment-X = #-1
1554 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1574 FI: kadenssi, lopuke.
1578 @ref{harmonic cadence}, @ref{functional harmony}.
1591 FI: kadenssi, lopuke.
1593 An extended, improvisatory style section inserted near the end of
1594 movement. The purpose of a cadenza is to give singers or players a
1595 chance to exhibit their technical skill and -- not last -- their
1596 ability to improvise. Since the middle of the 19th century, however,
1597 most cadenzas have been written down by the composer.
1616 [Latin: from the supine of @emph{caedere} @q{to cut down}.]
1618 The break between two musical phrases, sometimes (but not always) marked by a
1619 rest or a breath mark.
1636 FI: kaanon, tarkka jäljittely.
1653 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1654 viritysjärjestelmässä.
1656 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1657 (1/100 of an equally tempered semitone).
1661 @ref{equal temperament}, @ref{semitone}.
1684 Three or more tones sounding simultaneously. In traditional European music
1685 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1686 (major + minor third) as well as @emph{minor} (minor + major third) chords
1687 may be extended with more thirds. Four-tone @emph{seventh chords} and
1688 five-tone @emph{ninth} major chords are most often used as dominants
1689 (functional harmony). Chords having no third above the lower notes to
1690 define their mood are a special case called @q{open chords}. The lack of
1691 the middle third means their quality is ambivalent -- neither major nor
1694 @lilypond[fragment,notime,line-width=13.0\cm]
1695 \set Score.automaticBars = ##f
1696 %\override TextScript #'font-style = #'large
1698 \context Staff \relative c'' {
1699 \set Staff.extraNatural = ##f
1720 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1724 @node chromatic scale
1725 @section chromatic scale
1727 ES: escala cromática,
1729 F: gamme chromatique,
1730 D: chro@-ma@-ti@-sche Tonleiter,
1731 NL: chromatische toonladder,
1732 DK: kromatisk skala,
1734 FI: kromaattinen asteikko.
1736 A scale consisting of all 12 semitones.
1738 @lilypond[fragment,notime,line-width=13.0\cm]
1739 \set Score.automaticBars = ##f
1740 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1749 @section chromaticism
1760 Using tones extraneous to a diatonic scale (minor, major).
1764 @ref{diatonic scale}.
1768 @section church mode
1770 ES: modo eclesiástico,
1771 I: modo ecclesiastico,
1772 F: mode ecclésiastique,
1777 FI: moodi, kirkkosävellaji.
1781 @ref{diatonic scale}.
1790 D: Schlüssel, Notenschlüssel,
1794 FI: avain, nuottiavain.
1796 The clef indicates which lines of the staff correspond to which
1797 pitches. The three clef symbols in common use are:
1799 @lilypond[ragged-right,quote]
1802 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1803 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1804 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1809 Imagine a large staff of 11 lines centered on middle C, sometimes
1810 called a @q{grand staff}, with the bottom line representing low G and
1811 the top line high F:
1813 @lilypond[ragged-right,quote]
1816 %-- Treble Staff --%
1818 % Allow this staff to be placed close to the others
1819 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1820 % Allow the treble clef to overlap the lower staves:
1821 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1822 \override Staff.Clef #'stencil = ##f % No clef required
1824 s1^\markup { "g," \transparent "g" }
1825 s^ \markup { "b," \transparent "g" }
1826 s^ \markup { "d" \transparent "g" }
1827 s^ \markup { "f" \transparent "g" }
1828 s^ \markup { "a" \transparent "g" }
1829 s^ \markup { \with-color #red c' \transparent "g"}
1830 e'^\markup { "e'" \transparent "g" }
1831 g'^\markup { "g'" \transparent "g" }
1832 b'^\markup { "b'" \transparent "g" }
1833 d''^\markup { "d''" \transparent "g" }
1834 f''^\markup { "f ''" \transparent "g" }
1837 %-- Alto Staff reduced to a single line on middle C --%
1839 \override Staff.StaffSymbol #'line-count = 1 % One line only
1840 \override Staff.StaffSymbol #'color = #red % Coloured red
1841 \override Staff.Clef #'stencil = ##f % No clef required
1844 % Allow this staff to be placed close to the others
1845 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1846 % Specify height to give correct spacing between treble and bass staves
1847 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1849 s1 s s s s % Space along to align horizonatally
1850 \override NoteHead #'color = #red
1852 s1 s s s s s % Keep staff (ie the red line) showing
1856 % Allow this staff to be placed close to the others
1857 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1858 \override Staff.Clef #'stencil = ##f % No clef required
1861 s s s s s s s % Keep staff showing
1865 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1866 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1868 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1869 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1871 % Remove all barlines
1872 \context { \Score \override BarLine #'stencil = ##f
1874 % Remove time signature from all staves
1875 \context { \Staff \remove Time_signature_engraver
1881 Staves of five lines are usually used, and the clef superimposed on
1882 them indicates which five lines have been selected from this
1883 @samp{grand staff}. For example, the treble or G clef indicates that
1884 the top five lines have been selected:
1886 @lilypond[ragged-right,quote]
1889 %-- Treble Staff --%
1891 % Allow this staff to be placed close to the others
1892 \override Staff.VerticalAxisGroup
1893 #'minimum-Y-extent = #'(0 . 0)
1894 % Allow the treble clef to overlap the lower staves:
1895 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1896 \override Staff.Clef #'stencil = ##f % No clef required here
1898 s1^\markup { "g," \transparent "g" }
1899 s^ \markup { "b," \transparent "g" }
1900 s^ \markup { "d" \transparent "g" }
1901 s^ \markup { "f" \transparent "g" }
1902 s^ \markup { "a" \transparent "g" }
1903 s^ \markup { \with-color #red c' \transparent "g"}
1904 \stopStaff \startStaff
1905 \clef "C" % Dummy to force next clef to be printed
1906 s % Need at least one note for \clef to take effect
1907 \override Staff.Clef #'stencil = ##t % Clef now required
1908 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1910 e'^\markup { "e'" \transparent "g" }
1911 g'^\markup { "g'" \transparent "g" }
1912 b'^\markup { "b'" \transparent "g" }
1913 d''^\markup { "d''" \transparent "g" }
1914 f''^\markup { "f ''" \transparent "g" }
1916 %-- Alto Staff reduced to a single line on middle C --%
1918 \override Staff.StaffSymbol #'line-count = 1 % One line only
1919 \override Staff.StaffSymbol #'color = #red % Coloured red
1920 \override Staff.Clef #'stencil = ##f % No clef required
1923 % Allow this staff to be placed close to the others
1924 \override Staff.VerticalAxisGroup
1925 #'minimum-Y-extent = #'(0 . 0)
1926 % Specify height to give correct spacing between the staves
1927 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1929 s1 s s s s % Space along to align horizonatally
1930 \override NoteHead #'color = #red
1932 % s1 s s s s % Keep staff (ie the red line) showing
1936 % Allow this staff to be placed close to the others
1937 \override Staff.VerticalAxisGroup
1938 #'minimum-Y-extent = #'(0 . 0)
1939 \override Staff.Clef #'stencil = ##f % No clef required
1942 % s s s s s s % Keep staff showing
1946 % Reduce horizontal spacing so semibreves can be used
1947 % without exceeding 1 line
1948 \context { \Score \override SpacingSpanner
1949 #'base-shortest-duration = #(ly:make-moment 1 1)
1951 % Reduce apparent vertical size of note heads to
1952 % permit them to overlap other grobs vertically
1953 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1955 % Remove all barlines
1956 \context { \Score \override BarLine #'stencil = ##f
1958 % Remove time signature from all staves
1959 \context { \Staff \remove Time_signature_engraver
1965 The @q{curl} of the G clef is centered on the line that represents the
1968 In the same way, the bass or F clef indicates that the bottom five
1969 lines have been selected from the @samp{grand staff}, and the alto or
1970 C clef indicates the middle five lines have been selected. This
1971 relationship is shown below, where the notes show an arpeggio on a C
1974 @lilypond[ragged-right,quote]
1977 %-- Treble Staff --%
1978 \new Staff = "G" \with {
1979 \remove Time_signature_engraver
1982 % The following two overrides are required to make the two middle C's overlap
1983 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1984 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1986 \override Staff.Clef #'Y-extent = #'(0 . 0)
1988 s1 s s s s e' g' c''
1991 \new Staff = "C" \with {
1992 \remove Time_signature_engraver
1995 \override Staff.StaffSymbol #'line-count = 1
1996 \override Staff.StaffSymbol #'stencil = ##f
1997 \once \override Staff.Clef #'stencil = ##f
1998 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1999 \override Score.BarLine #'stencil = ##f
2001 % The following two overrides are required to align the C staff to the G and F staves
2002 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2003 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2006 \stopStaff \startStaff
2007 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
2008 \revert Staff.StaffSymbol #'stencil
2009 \override Staff.StaffSymbol #'color = #red
2010 b'1 % A frig. This really shows as a middle C in the score
2012 \stopStaff \startStaff
2013 \override Staff.StaffSymbol #'line-count = 5
2014 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
2015 \override Staff.Clef #'Y-extent = #'(0 . 0)
2016 \revert Staff.StaffSymbol #'color
2017 \stopStaff \startStaff
2019 s1 s s c e g c' e' g' c''
2022 \new Staff = "F" \with {
2023 \remove Time_signature_engraver
2026 \override Staff.Clef #'Y-extent = #'(0 . 0)
2027 % The following two overrides are required to make the two middle C's overlap
2028 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
2029 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
2037 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
2040 \Score \override NoteHead #'Y-extent = #'(0 . 0)
2043 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
2051 @ref{C clef}, @ref{F clef}, @ref{G clef}.
2064 FI: klusteri, cluster.
2066 A @emph{cluster} is a range of simultaneously sounding pitches that
2067 may change over time. The set of available pitches to apply usually
2068 depends on the acoustic source. Thus, in piano music, a cluster
2069 typically consists of a continuous range of the semitones as provided
2070 by the piano's fixed set of a chromatic scale. In choral music, each
2071 singer of the choir typically may sing an arbitrary pitch within the
2072 cluster's range that is not bound to any diatonic, chromatic or other
2073 scale. In electronic music, a cluster (theoretically) may even cover
2074 a continuous range of pitches, thus resulting in colored noise, such
2077 Clusters can be denoted in the context of ordinary staff notation by
2078 engraving simple geometrical shapes that replace ordinary notation of
2079 notes. Ordinary notes as musical events specify starting time and
2080 duration of pitches; however, the duration of a note is expressed by
2081 the shape of the note head rather than by the horizontal graphical
2082 extent of the note symbol. In contrast, the shape of a cluster
2083 geometrically describes the development of a range of pitches
2084 (vertical extent) over time (horizontal extent). Still, the
2085 geometrical shape of a cluster covers the area in which any single
2086 pitch contained in the cluster would be notated as an ordinary note.
2088 @lilypond[fragment,relative=2,ragged-right]
2089 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
2107 FI: komma, korvinkuultava ero äänenkorkeudessa.
2109 Difference in pitch between a note derived from pure tuning and the
2110 same note derived from some other tuning method.
2114 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
2119 @section common meter
2121 Another name for @ref{common time}.
2124 @ref{common time}, @ref{meter}.
2128 @section common time
2139 4/4 time. The symbol, which resembles a capital letter C, comes from
2144 @ref{mensural notation}, @ref{meter}.
2150 ES: intervalo invertido,
2152 F: intervalle complémentaire,
2153 D: Komplementärintervall,
2154 NL: complementair interval,
2155 DK: komplementærinterval,
2156 S: komplementärintervall (?),
2157 FI: täydentävä intervalli.
2161 @ref{inverted interval}.
2164 @node compound interval
2165 @section compound interval
2167 ES: intervalo compuesto,
2168 I: intervallo composto,
2169 F: intervalle composé,
2170 D: weites Intervall,
2171 NL: samengesteld interval,
2172 DK: sammensat interval,
2173 S: sammansatt intervall,
2174 FI: oktaavia laajempi intervalli.
2176 Intervals larger than an octave.
2183 @node compound meter
2184 @section compound meter
2186 ES: compás compuesto, compás de subdivisión ternaria,
2193 FI: kolmijakoinen tahtilaji.
2195 A meter that includes a triplet subdivision within the beat, such as
2200 @ref{meter}, @ref{simple meter}.
2204 @section compound time
2206 ES: compás compuesto, compás de amalgama (def. 2),
2213 FI: yhdistetty tahtilajiosoitus.
2218 A meter that includes a triplet subdivision within the beat: see
2219 @ref{compound meter}.
2222 A time signature that additively combines two or more unequal meters, e.g.,
2223 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
2225 @lilypond[fragment,line-width=13.0\cm]
2226 #(define (compound-time grob one two three num)
2227 (grob-interpret-markup grob
2229 #:override '(baseline-skip . 0)
2232 #:left-column (one num)
2234 #:left-column (two num)
2236 #:left-column (three num)))))
2240 #(set-time-signature 8 8 '(3 2 3))
2241 \override Staff.TimeSignature #'stencil = #(lambda (grob)
2242 (compound-time grob "3" "2" "3" "8"))
2243 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
2244 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
2256 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2260 @section concert pitch
2262 ES: en Do, afinación de concierto,
2269 FI: konserttikorkeus.
2271 The pitch at which the piano and other nontransposing instruments play: such
2272 instruments are said to be @q{in C}. The following list includes some (but not
2273 all) instruments that play in concert pitch:
2275 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2277 @multitable {alto trombone} {tenor trombone} {bass trombone}
2278 @headitem Woodwinds @tab Brass @tab Strings
2291 @item tenor trombone
2305 The trombones are a special case: although they are said to be @q{in F} (alto or
2306 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2307 their parts' transposition. (In fact, the trombones' parts are written at
2308 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2309 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2312 Instruments that play @q{in C} but in a different octave than what is written
2313 are, technically speaking, @emph{transposing instruments}:
2317 @item piccolo (plays an octave higher)
2318 @item celesta (plays an octave higher)
2319 @item double-bass (plays an octave lower)
2325 @ref{transposing instrument}.
2328 @node conjunct movement
2329 @section conjunct movement
2331 ES: movimiento conjunto,
2333 F: mouvement conjoint,
2334 D: schritt@-weise, stufenweise Bewegung,
2335 NL: stapsgewijze, trapsgewijze beweging,
2336 DK: trinvis bevægelse,
2338 FI: asteittainen liike.
2340 Progressing melodically by intervals of a second, as contrasted with
2341 @emph{disjunct movement}.
2343 @lilypond[fragment,line-width=13.0\cm]
2344 \key g \major \time 4/4
2345 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2350 @ref{disjunct movement}.
2363 FI: konsonanssi, sopusointi.
2388 @section copying music
2390 A music copyist did fast freehand scores and parts on preprinted staff
2391 lines for performance. Some of their conventions (e.g., the placement
2392 of note heads on stems) varied slightly from those of engravers. Some
2393 of their working methods were superior and could well be adopted by
2396 @c Copying music required more skill than engraving. Flagged for NPOV
2404 @section counterpoint
2413 FI: kontrapunkti, ääni ääntä vastaan.
2415 From Latin @emph{punctus contra punctum}, note against note. The
2416 combination into a single musical fabric of lines or parts which have
2417 distinct melodic significance. A frequently used polyphonic technique
2418 is imitation, in its strictest form found in the canon needing only
2419 one part to be written down while the other parts are performed with a
2420 given displacement. Imitation is also the contrapunctal technique
2421 used in the @emph{fugue} which, since the music of the baroque era,
2422 has been one of the most popular polyphonic composition methods.
2424 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2425 \set Score.implicitTimeSignatureVisibility = #all-invisible
2426 \override Score.TimeSignature #'break-visibility = #all-invisible
2427 \context PianoStaff <<
2428 \context Staff = SA \relative c' {
2432 << \context Voice = rha {
2434 r1 | r2 r8 g'8 bes d, |
2435 cis4 d r8 e!16 f g8 f16 e |
2436 f8 g16 a bes8 a16 g a8
2438 \context Voice = rhb {
2444 \context Staff = SB \relative c' {
2447 << \context Voice = lha {
2449 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2450 r8 a16 g f8 g16 a bes8 g e! cis' |
2453 \context Voice = lhb {
2467 @section countertenor
2472 D: Countertenor, Kontratenor,
2475 S: kontratenor, counter tenor,
2489 D: Crescendo, lauter werden,
2493 FI: cresendo, voimistuen.
2495 Increasing volume. Indicated by a rightwards opening horizontal wedge
2496 (hairpin) or the abbreviation @notation{cresc.}.
2498 @lilypond[fragment,ragged-right]
2499 \key g \major \time 4/4
2500 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2505 @ref{decrescendo}, @ref{hairpin}.
2513 F: petites notes précédent l'entrée d'un instrument, réplique,
2520 In a separate part notes belonging to another part with the purpose of
2521 hinting when to start playing. Usually printed in a smaller type.
2534 D: Notenzeiger, Custos,
2540 A custos (plural: custodes) is a staff symbol that appears at the end of a
2541 staff line with monophonic musical contents (i.e., with a single voice). It
2542 anticipates the pitch of the first note of the following line and thus helps
2543 the player or singer to manage line breaks during performance, which
2544 enhances the readability of a score.
2546 Custodes were frequently used in music notation until the 16th century.
2547 There were different appearences for different notation styles. Nowadays,
2548 they have survived only in special forms of musical notation such as the
2549 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2554 % \override Staff.Custos #'neutral-position = #4
2555 \override Staff.Custos #'neutral-direction = #down
2556 \override Staff.Custos #'style = #'hufnagel
2564 \consists Custos_engraver
2600 F: da capo, depuis le commencement,
2601 D: da capo, von Anfang,
2605 FI: da capo, alusta.
2607 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2608 the beginning to the end or to a certain place marked @emph{fine}.
2625 FI: tyhjästä ilmaantuen.
2627 [Italian: @q{from nothing}.] Used with @notation{crescendo} to indicate
2628 that the sound should gradually increase from nothing.
2640 F: dal segno, depuis le signe,
2641 D: dal segno, ab dem Zeichen,
2645 FI: dal segno, lähtien merkistä.
2647 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2648 another place frequently near the beginning marked by a sign
2651 @lilypond[fragment,ragged-right]
2652 %\override TextScript #'font-style = #'large
2653 \override TextScript #'font-shape = #'italic
2654 \key g \major \time 4/4
2659 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2670 @section decrescendo
2674 D: Decrescendo, leiser werden,
2678 FI: decresendo, hiljentyen.
2680 Decreasing tone volume. Indicated by a leftwards opening horizontal
2681 wedge (hairpin) or the abbreviation @notation{decresc.}.
2683 @lilypond[fragment,ragged-right]
2685 \key g \major \time 4/4
2686 d4 \> c b a | g1 \! \bar "|."
2692 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2695 @node descending interval
2696 @section descending interval
2698 ES: intervalo descendente,
2699 I: intervallo discendente,
2700 F: intervalle descendant,
2701 D: fallendes Intervall, absteigendes Intervall,
2702 NL: dalend interval,
2703 DK: faldende interval,
2704 S: fallande intervall,
2705 FI: laskeva intervalli.
2707 A distance between a starting higher note and a lower ending note.
2714 @node diatonic scale
2715 @section diatonic scale
2717 ES: escala diatónica,
2719 F: gamme diatonique,
2720 D: diatonische Tonleiter,
2721 NL: diatonische toonladder,
2722 DK: diatonisk skala,
2724 FI: diatoninen asteikko.
2726 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2727 played on the white keys of a piano keybord are diatonic. These scales
2728 are sometimes called, somewhat inaccurately, @q{church modes}).
2730 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2731 but also to some extent in newer jazz music.
2733 @lilypond[fragment,notime,ragged-right]
2734 \set Score.automaticBars = ##f
2735 %\override Score.LyricText #'font-style = #'large
2736 %\override Score.TextScript #'font-style = #'large
2738 \context Staff \relative c' {
2740 \override TextScript #'padding = #-4
2741 e^"~~ S" f g a b^"~~ S" c
2743 \context Lyrics \lyrics {
2749 @lilypond[fragment,notime,ragged-right]
2750 \set Score.automaticBars = ##f
2752 \context Staff \relative c' {
2754 \override TextScript #'padding = #-4
2755 e^"~~ S" f g a b^"~~ S" c d
2763 @lilypond[fragment,notime,ragged-right]
2764 \set Score.automaticBars = ##f
2767 \override TextScript #'padding = #-4
2768 e1^"~~ S" f g a b^"~~ S" c d e
2776 @lilypond[fragment,notime,ragged-right]
2777 \set Score.automaticBars = ##f
2781 \override TextScript #'padding = #-4
2782 b^"~~ S" c d e^"~~ S" f
2790 @lilypond[fragment,notime,ragged-right]
2791 \set Score.automaticBars = ##f
2795 \override TextScript #'padding = #-4
2796 b^"~~ S" c d e^"~~ S" f g }
2803 @lilypond[fragment,notime,ragged-right]
2804 \set Score.automaticBars = ##f
2805 %\override Score.LyricText #'font-style = #'large
2806 %\override Score.TextScript #'font-style = #'large
2810 \override TextScript #'padding = #-4
2811 b^"~~ S" c d e^"~~ S" f g a
2819 @lilypond[fragment,notime,ragged-right]
2820 \set Score.automaticBars = ##f
2821 %\override Score.LyricText #'font-style = #'large
2822 %\override Score.TextScript #'font-style = #'large
2825 \override TextScript #'padding = #-4
2826 b1^"~~ S" c d e^"~~ S" f g a b
2834 From the beginning of the 17th century the scales used in European
2835 compositional music are primarily the major and the minor scales. In
2836 the harmonic minor scale type an augmented second (A) occurs between
2837 the 6th and 7th tone.
2839 @lilypond[fragment,notime,ragged-right]
2840 \set Score.automaticBars = ##f
2844 \override TextScript #'padding = #-4
2845 e^"~~ S" f g a b^"~~ S" c
2853 @lilypond[fragment,notime,ragged-right]
2854 \set Score.automaticBars = ##f
2858 \override TextScript #'padding = #-4
2859 b^"~~ S" c d e^"~~ S" f g a
2862 "Ancient (or Natural) minor"
2867 @lilypond[fragment,notime,ragged-right]
2868 \set Score.automaticBars = ##f
2872 \override TextScript #'padding = #-4
2873 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2875 \context Lyrics \lyrics {
2881 @lilypond[fragment,notime,line-width=13.0\cm]
2882 \set Score.automaticBars = ##f
2883 %\override Score.LyricText #'font-style = #'large
2884 %\override Score.TextScript #'font-style = #'large
2888 \override TextScript #'padding = #-4
2889 b^"~~ S" c d e fis gis^"~~ S" a
2892 "Melodic minor ascending"
2897 @lilypond[fragment,notime,line-width=13.0\cm]
2898 \set Score.automaticBars = ##f
2899 %\override Score.LyricText #'font-style = #'large
2900 %\override Score.TextScript #'font-style = #'large
2904 \override TextScript #'padding = #-4
2905 a g! f!^"~~ S" e d c^"~~ S" b a
2908 "Melodic minor descending"
2915 @ref{semitone}, @ref{whole tone}.
2919 @section didymic comma
2923 @ref{syntonic comma}.
2926 @node diminished interval
2927 @section diminished interval
2929 ES: intervalo disminuido,
2930 I: intervallo diminuito,
2931 F: intervalle diminué,
2932 D: vermindertes Intervall,
2933 NL: verminderd interval,
2934 DK: formindsket interval,
2935 S: förminskat intervall,
2936 FI: vähennetty intervalli.
2953 FI: diminuendo, hiljentyen.
2970 FI: aika-arvojen tihennys.
2972 This is a stub for diminution (@emph{wrt} mensural notation).
2976 @ref{augmentation}, @ref{mensural notation}.
2996 @node disjunct movement
2997 @section disjunct movement
2999 ES: movimiento disjunto,
3001 F: mouvement disjoint,
3002 D: sprunghafte Bewegung,
3003 NL: sprongsgewijze beweging,
3004 DK: springende bevægelse,
3005 S: hoppande rörelse,
3006 FI: melodian hyppivä liike.
3008 Progressing melodically by intervals larger than a major second, as contrasted
3009 with conjunct movement.
3011 @lilypond[fragment,ragged-right]
3016 a4. gis8 b a e cis |
3017 fis2 d4. \bar "||" }
3022 @ref{conjunct movement}.
3028 Another name for @ref{dissonant interval}.
3032 @ref{dissonant interval}, @ref{harmony}.
3035 @node dissonant interval
3036 @section dissonant interval
3038 ES: intervalo disonante, disonancia,
3039 I: intervallo dissonante, dissonanza,
3042 NL: dissonant interval, dissonant,
3043 DK: dissonerende interval, dissonans,
3045 FI: dissonanssi, dissonoiva intervalli, riitasointi.
3064 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
3065 vertical stroke through part or all of the staff that serves to
3066 structure a chant into phrases and sections. There are four types:
3070 @item @emph{divisio minima}, a short pause
3072 @item @emph{divisio maior}, a medium pause
3074 @item @emph{divisio maxima}, a long pause
3076 @item @emph{finalis}, to indicate the end of a chant, or the end of a
3077 section in a long antiphonal or responsorial chant.
3081 TODO: musical example here?
3100 Indicator for a indeterminately rising pitch bend. Compare with
3101 @emph{glissando}, which has determinate starting and ending pitches.
3105 @ref{fall}, @ref{glissando}.
3118 FI: dominantti, huippusointu.
3120 The fifth @emph{scale degree} in @emph{functional harmony}.
3124 @ref{functional harmony}, @ref{scale degree}.
3127 @node dominant ninth chord
3128 @section dominant ninth chord
3130 ES: acorde de novena de dominante,
3131 I: accordo di nona di dominante,
3132 F: accord de neuvième dominante,
3133 D: Domi@-nant@-nonen@-akkord,
3134 NL: dominant noon akkoord,
3135 DK: dominantnoneakkord,
3136 S: dominantnonackord,
3137 FI: dominanttinoonisointu.
3141 @ref{chord}, @ref{functional harmony}.
3144 @node dominant seventh chord
3145 @section dominant seventh chord
3147 ES: acorde de séptima de dominante,
3148 I: accordo di settima di dominante,
3149 F: accord de septième dominante,
3150 D: Dominantseptakkord,
3151 NL: dominant septiem akkoord,
3152 DK: dominantseptimakkord,
3153 S: dominantseptimackord,
3154 FI: dominanttiseptimisointu.
3158 @ref{chord}, @ref{functional harmony}.
3162 @section dorian mode
3167 D: dorisch, dorischer Kirchenton,
3168 NL: dorische toonladder,
3175 @ref{diatonic scale}.
3178 @node dot (augmentation dot)
3179 @section dot (augmentation dot)
3182 I: punto (di valore),
3184 D: Punkt (Verlängerungspunkt),
3192 @ref{dotted note}, @ref{note value}.
3196 @section dotted note
3198 ES: nota con puntillo,
3202 NL: gepuncteerde noot,
3205 FI: pisteellinen nuotti.
3212 @node double appoggiatura
3213 @section double appoggiatura
3215 ES: apoyatura doble,
3216 I: appoggiatura doppia,
3217 F: appoggiature double,
3218 D: doppelter Vorschlag,
3219 NL: dubbele voorslag,
3220 DK: dobbelt forslag,
3222 FI: kaksoisappogiatura, kaksoisetuhele.
3229 @node double bar line
3230 @section double bar line
3236 NL: dubbele maatstreep,
3239 FI: kaksoistahtiviiva.
3241 Indicates the end of a section within a movement.
3248 @node double dotted note
3249 @section double dotted note
3251 ES: nota con doble puntillo,
3252 I: nota doppiamente puntata,
3253 F: note doublement pointée,
3254 D: doppelt punktierte Note,
3255 NL: dubbelgepuncteerde noot,
3256 DK: dob@-belt@-punk@-te@-ret node,
3257 S: dub@-bel@-punk@-te@-rad not,
3258 FI: kaksoispisteellinen nuotti.
3266 @section double flat
3275 FI: kaksoisalennusmerkki.
3283 @section double sharp
3285 ES: doble sostenido,
3290 DK: dob@-belt@-kryds,
3292 FI: kaksoisylennysmerkki.
3299 @node double time signature
3300 @section double time signature
3309 FI: kaksois-aika-arvomerkintä.
3313 @ref{polymetric time signature}.
3317 @section double trill
3323 NL: dubbele triller,
3328 A simultaneous trill on two notes, usually in the distance of a third.
3336 @section duple meter
3341 D: in zwei, grader Takt,
3342 NL: tweedelige maatsoort,
3379 FI: kesto, aika-arvo.
3389 ES: dinámica, matices,
3392 D: Dynamik, Lautstärke,
3396 FI: äänen voimakkuusvaihtelu, dynamiikka.
3398 The aspect of music relating to degrees of loudness, or changes from
3399 one degree to another. The terms, abbreviations, and symbols used to
3400 indicate this information are called dynamic marks.
3404 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3427 @node ecclesiastical mode
3428 @section ecclesiastical mode
3432 @ref{church mode}, @ref{diatonic scale}.
3436 @section eighth note
3443 @item D: Achtel, Achtelnote
3444 @item NL: achtste noot
3445 @item DK: ottendedelsnode
3446 @item S: åttondelsnot
3447 @item FI: kahdeksasosanuotti
3456 @section eighth rest
3459 @item UK: quaver rest
3460 @item ES: silencio de corchea
3461 @item I: pausa di croma
3462 @item F: demi-soupir
3463 @item D: Achtelpause
3464 @item NL: achtste rust
3465 @item DK: ottendedelspause
3466 @item S: åttonddelspaus
3467 @item FI: kahdeksasosatauko
3478 @c TODO: add languages
3487 FI: tavujen yhdistäminen yhteen ääneen.
3489 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3490 @emph{συναλοιφην} @q{to smear together}].
3492 The singing of several syllables on a single note. Elision may be indicated
3493 by a lyric tie, which looks like (and serves the same function) as a musical
3502 @section embellishment
3515 D: Notenstich, Notendruck
3521 Engraving means incising or etching a metal plate for printing.
3522 Photoengraving means drawing music with ink in a manner similar to
3523 drafting or engineering drawing, using similar tools.
3525 The traditional process of music printing is done through cutting in a
3526 plate of metal. Now also the term for the art of music typesetting.
3545 Two notes, intervals, or scales are enharmonic if they have different
3546 names but equal pitch.
3548 @lilypond[fragment,notime,line-width=13.0\cm]
3549 \set Score.automaticBars = ##f
3551 \context Staff \relative c'' {
3552 gis1 as <des g,!> <cis g!>
3554 \context Lyrics \lyrics {
3555 \override Lyrics .LyricText #'self-alignment-X = #-1
3556 "g sharp " "a flat " "dim fifth " "augm fourth"
3566 @node equal temperament
3567 @section equal temperament
3569 ES: temperamento igual,
3570 I: temperamento equabile,
3571 F: tempérament égal,
3572 D: gleichschwebende Stimmung,
3573 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3574 DK: ligesvævende temperatur,
3575 S: liksvävande temperatur,
3578 A tuning system that divides the octave into 12 equal semitones (each of
3579 which is precisely equal to 100 cents).
3583 @ref{cent}, @ref{semitone}, @ref{temperament}.
3586 @node expression mark
3587 @section expression mark
3590 I: segno d'espressione,
3591 F: signe d'expression, indication de nuance,
3593 NL: voordrachtsteken,
3594 DK: foredragsbetegnelse,
3595 S: föredragsbeteckning,
3596 FI: nyanssiosoitus, esitysmerkki.
3598 Performance indications concerning:
3602 @item volume, dynamics (for example, @notation{forte},
3603 @notation{crescendo}),
3605 @item tempo (for example, @notation{andante}, @notation{allegro}).
3611 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3615 @section extender line
3617 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3619 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3626 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3627 extends text (without indicating the musical @emph{function} of that text).
3629 Used in many contexts, for example:
3633 @item In vocal music to indicate the syllable for a melisma. Called
3634 @q{extension} in the
3635 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3639 In figured bass to indicate that:
3643 @item The extended note should be held through a change in harmony, when applied
3644 to one figure --OR--
3645 @item The chord thus represented should be held above a moving bass line, when
3646 applied to more than one figure.
3647 @item These uses were not completely standardized, and some composers used a
3648 single extender line to indicate the latter case.
3653 In string music to indicate that all notes in the passage thus indicated should
3654 be played on the same string. On the violin, for example, a series of notes to
3655 be played on the G string would be indicated @notation{sul G}, another series to be
3656 played on the D string would be indicated @notation{sul D}, and so on.
3659 With an octave mark to indicate that a passage is to be played higher or lower
3660 by the given number of octaves.
3666 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3667 @ref{octave marking}.
3701 The position between the dots of the key symbol is the line of the F
3702 below central@w{ }C. Used on the third, fourth and fifth note line.
3703 A digit@w{ }8 above the clef symbol indicates that the notes must be
3704 played an octave higher (for example, bass recorder) while 8@w{ }below
3705 the clef symbol indicates playing an octave lower (for example, on the
3708 @lilypond[fragment,notime,line-width=13.0\cm]
3709 \set Score.automaticBars = ##f
3710 \override Staff.Clef #'full-size-change = ##t
3736 @ref{baritone clef}, @ref{strings}.
3751 Indicator for a indeterminately falling pitch bend. Compare with
3752 @emph{glissando}, which has determinate starting and ending pitches.
3756 @ref{doit}, @ref{glissando}.
3759 @node feathered beam
3760 @section feathered beam
3764 F: liens de croches en soufflet,
3765 D: gespreizter Balken,
3771 A type of beam used to indicate that a small group of notes should be
3772 played at an increasing or decreasing tempo -- depending on the
3773 direction of @q{feathering} -- but without changing the overall tempo
3778 Internals Reference: @ruser{Manual beams}
3784 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3788 F: point d'orgue, point d'arrêt,
3793 FI: fermaatti, pidäke.
3795 Prolonged note or rest of indefinite duration.
3797 @lilypond[fragment,ragged-right]
3800 a4 b c2^\fermata \bar "|."
3827 @section figured bass
3830 I: basso continuo, basso numerato,
3831 F: basse chiffrée, basse continue,
3832 D: Generalbass, bezifferter Bass,
3833 NL: basso continuo, becijferde bas
3836 FI: kenraalibasso, numeroitu basso.
3838 Also called @q{thorough bass}.
3840 A method of indicating an accompaniment part by the bass notes only,
3841 together with figures designating the chief intervals and chords to be
3842 played above the bass notes.
3844 TODO: Make the upper clef smaller, since it's usually "realized" in performance.
3846 @lilypond[fragment,line-width=13.0\cm]
3847 \context GrandStaff <<
3848 \context Staff = lh \relative c'' {
3852 << \context Voice = rha {
3855 \context Voice = rhb {
3857 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3861 \context Staff = rh \relative c' {
3864 es8 c d bes c as bes16 as g f | es4
3866 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3873 @ref{chord}, @ref{interval}.
3888 Figures to the side or above the note that methodically indicate which
3889 fingers to use while playing a passage.
3900 I: coda (uncinata), bandiera,
3908 Ornament at the end of the stem of a note used for notes with values less
3909 than a quarter note. The number of flags determines the note value.
3911 @lilypond[fragment,notime,ragged-right]
3912 \set Score.automaticBars = ##f
3913 %\override Score.TextScript #'font-style = #'large
3939 An articulation for string players that means the note or passage is to
3940 be played in harmonics.
3946 @item A duct flute similar to the recorder.
3948 @item An organ stop of flute scale at 1' or 2' pitch.
3954 @ref{articulation}, @ref{harmonics}.
3992 FI: forte, voimakkaasti.
3994 [Italian: @q{loud}.]
3996 Abbreviated @notation{@b{f}}. Variants include:
3999 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
4000 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
4025 @node Frenched score
4026 @section Frenched score
4028 ES: partitura a la francesa,
4035 FI: partituuri francesan tapaan.
4037 A @q{condensed} score, produced by omitting staves for instruments that are not
4038 playing at the moment, and by moving up additional systems from following pages
4039 to take up the space thus liberated, which reduces the total number of pages
4040 used to print the work.
4042 The specific rules for @q{frenching} a score differ from publisher to publisher.
4043 If you are producing scores for eventual publication by a commercial publisher,
4044 you may wish to procure a copy of their style manual.
4048 @ref{Frenched staff}.
4051 @node Frenched staff
4052 @section Frenched staff
4054 ES: pentagrama a la francesa,
4061 FI: karsittu nuotinnus.
4063 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
4064 Frenched staff has unneeded measures or sections removed. This is useful
4065 for producing, for example, an @emph{ossia} staff.
4072 @node Frenched staves
4073 @section Frenched staves
4075 Plural of @ref{Frenched staff}.
4095 @node functional harmony
4096 @section functional harmony
4098 ES: armonía funcional,
4099 I: armonia funzionale,
4100 F: étude des functions,
4102 NL: functionele harmonie,
4103 DK: funktionsanalyse, funktionsharmonik,
4105 FI: harmoniajärjestelmä.
4107 A system of harmonic analysis.
4109 It is based on the idea that, in a given key, there are only three
4110 functionally different chords: tonic (T, the chord on the first note of the
4111 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
4112 chord on the fifth note). Others are considered to be variants of the base
4115 TODO: what does the @q{p} mean in Sp, Dp, Tp?
4117 @lilypond[fragment,notime,line-width=13.0\cm]
4118 \set Score.automaticBars = ##f
4120 \context Voice \relative c'' {
4121 <g e c >1 < a f d > < b g e >
4122 <c a f > < d b g > < e c a > < f d b > }
4123 \context Lyrics \lyrics {
4124 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
4158 D: G-Schlüssel, Violinschlüssel,
4164 A clef symbol that indicates G above middle@w{ }C. Used on the first and
4165 second note lines. A digit 8 above the clef symbol indicates that the notes
4166 must be played an octave higher while 8 below the clef symbol indicates
4167 playing or singing an octave lower (used most frequently to notate the tenor
4168 part in modern choral scores).
4170 @lilypond[fragment,notime,ragged-right]
4172 \set Score.automaticBars = ##f
4173 \override Staff.Clef #'full-size-change = ##t
4176 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
4186 \context Lyrics \lyrics {
4187 \override Lyrics . LyricText #'X-offset = #-5
4188 "french violin clef"
4211 FI: glissando, liukuen.
4213 Letting the pitch slide fluently from one note to the other.
4221 @section grace notes
4223 ES: notas de adorno,
4226 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
4232 Notes printed in small types to indicate that their time values are not
4233 counted in the rhythm of the bar.
4237 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4242 @section grand staff
4244 ES: sistema de piano,
4247 D: Akkolade, Klaviersystem,
4250 S: ackolad, böjd klammer,
4251 FI: kaksoisnuottiviivasto.
4253 A combination of two staves with a brace. Usually used for piano music.
4270 FI: grave, raskaasti.
4272 [Italian] Slow, solemn.
4301 Letter name used for @notation{B natural} in German and Scandinavian
4302 usage. In the standard usage of these countries, @notation{B} means
4307 @ref{Pitch names}, @ref{B}.
4313 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4316 @lilypond[fragment,ragged-right]
4326 @ref{crescendo}, @ref{decrescendo}.
4337 @item D: Halbe, halbe Note,
4338 @item NL: halve noot,
4341 @item FI: puolinuotti.
4353 @item UK: minim rest,
4354 @item ES: silencio de blanca,
4355 @item I: pausa di minima,
4356 @item F: demi-pause,
4357 @item D: halbe Pause,
4358 @item NL: halve, rust,
4359 @item DK: halvnodespause,
4361 @item FI: puolitauko.
4369 @node harmonic cadence
4370 @section harmonic cadence
4372 ES: cadencia (armónica),
4373 I: cadenza (armonica),
4374 F: cadence harmonique,
4376 NL: harmonische cadens,
4377 DK: harmonisk kadence,
4378 S: (harmonisk) kadens,
4379 FI: harmoninen kadenssi.
4381 A sequence of chords that terminates a musical phrase or section.
4383 @lilypond[fragment,ragged-right]
4384 \context PianoStaff <<
4385 \context Staff = SA \relative c'' {
4389 \partial 4 < c g e >4 |
4390 < c a f > < b g d > < c g e >2
4393 \context Staff = SB \relative c {
4395 \partial 4 c4 | f, g c2
4408 @ref{functional harmony}.
4414 ES: sonidos del flautín,
4416 F: flageolet, sons harmoniques,
4421 FI: harmoniset äänet, huiluäänet.
4423 The general class of pitches produced by sounding the second or higher
4424 harmonic of a tone producer: string, column of air, and so on.
4426 On stringed instruments, these pitches sound rather flute-like; hence,
4427 their name in languages other than English. They are produced by
4428 lightly touching the string at a node for the desired mode of vibration
4429 while it is being bowed or plucked.
4431 For instruments of the violin family, there are two types of harmonics:
4432 natural harmonics, which are those played on the open string; and
4433 artificial harmonics, which are produced on stopped strings.
4446 D: Harmonie, Zusammenklang,
4450 FI: harmonia, yhteissointi.
4452 Tones sounding simultaneously. Two note harmonies fall into the
4453 categories @emph{consonances} and @emph{dissonances}.
4457 @lilypond[fragment,notime,line-width=13.0\cm]
4458 \set Score.automaticBars = ##f
4459 %\override Score.TextScript #'font-style = #'large
4460 \context Voice \relative c'' {
4473 @lilypond[fragment,notime,line-width=13.0\cm]
4474 \set Score.automaticBars = ##f
4475 %\override Score.TextScript #'font-style = #'large
4476 \context Voice \relative c'' {
4477 <g a>1_"second " s s
4478 <g f'>_"seventh " s s
4483 For harmony that uses three or more notes, see @ref{chord}.
4502 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4504 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4505 time normally occupied by two. The resulting rhythm can be expressed in modern
4506 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4507 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4508 as a special effect (or @emph{affect}) at cadences.
4510 For example, this phrase in 6/4 time
4512 @lilypond[fragment,line-width=13.0\cm]
4516 c2. e | d2 c d | c1. \bar "||" }
4519 may be thought of having alternating time signatures
4521 @lilypond[fragment,line-width=13.0\cm]
4525 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4528 and is therefore a polymeter (second definition) of considerable antiquity.
4532 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4545 FI: homofonia, yksiäänisyys.
4547 Music in which one voice leads melodically supported by the other voices in
4548 the same rhythm (more or less). In contrast to @emph{polyphony}.
4564 FI: säkeiden tavumäärät.
4566 A group or list of numbers that indicate the number of syllables in a line
4567 of a hymn's verse. Different hymnals have different ways of noting the hymn
4568 meter: for example, consider a hymn that has four lines in two couplets
4569 alternating regularly between eight and seven syllables. The @emph{English
4570 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4571 or 8@w{ }7@w{ }8@w{ }7.
4573 Some frequently-used hymn meters have traditional names:
4576 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4577 @item 86.86 is called Common Meter (CM or C.M.)
4578 @item 88.88 is called Long Meter (LM or L.M.)
4581 Some hymns and their tunes are doubled versions of a simpler meter: for
4582 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4583 87.87D. The traditional names above also have doubled versions:
4586 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4587 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4588 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4606 FI: intervalli, kahden sävelen korkeusero.
4608 Difference in pitch between two notes. Intervals may be perfect, minor,
4609 major, diminished, or augmented. The augmented fourth and the diminished
4610 fifth are identical (or @emph{enharmonic}) and are called @emph{tritonus}
4611 because they consist of three whole tones. The addition of such two
4612 intervals forms an octave.
4614 @lilypond[fragment,notime,line-width=13.0\cm]
4615 \set Score.automaticBars = ##f
4617 \context Voice \relative c'' {
4627 \context Lyrics \lyrics {
4628 "unison " "second " "second " "second "
4629 "third " "third " "third " "third"
4634 @lilypond[fragment,notime,line-width=13.0\cm]
4635 \set Score.automaticBars = ##f
4637 \context Staff \relative c'' {
4648 "fourth " "fourth " "fifth " "fifth "
4649 "sixth " "sixth " "sixth " "sixth"
4654 @lilypond[fragment,notime,line-width=13.0\cm]
4655 \set Score.automaticBars = ##f
4657 \context Staff \relative c'' {
4658 < gis f'! >1^"dimin"
4667 \context Lyrics \lyrics {
4668 "seventh " "seventh " "seventh " "octave "
4669 "ninth " "ninth " "tenth " "tenth"
4676 @ref{enharmonic}, @ref{whole tone}.
4691 When a chord sounds with a bass note that differs from the root of the
4692 chord, it is said to be @emph{inverted}. The number of inversions that a
4693 chord can have is one fewer than the number of constituent notes. For
4694 example, triads (which have three constituent notes) can have three
4695 positions, two of which are inversions:
4699 The root note is in the bass, and above that are the third and the fifth. A
4700 triad built on the first scale degree, for example, is marked @notation{I}.
4702 @item First inversion
4703 The third is in the bass, and above it are the fifth and the root. This
4704 creates an interval of a sixth and a third above the bass note, and so is
4705 marked in figured Roman notation as @notation{6/3}. This is commonly
4706 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4707 characteristic interval of the inversion, and so always implies
4710 @item Second inversion
4711 The fifth is in the bass, and above it are the root and the third. This
4712 creates an interval of a sixth and a fourth above the bass note, and so is
4713 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4714 unstable chord position.
4722 @node inverted interval
4723 @section inverted interval
4725 ES: intervalo invertido,
4726 I: intervallo rivolto,
4727 F: intervalle reversé,
4728 D: umgekehrtes Intervall,
4729 NL: interval inversie,
4730 DK: omvendingsinterval,
4731 S: intervallets omvändning,
4732 FI: käänteisintervalli.
4734 The difference between an interval and an octave.
4736 @lilypond[fragment,notime,line-width=13.0\cm]
4737 \set Score.automaticBars = ##f
4738 %\override Score.TextScript #'font-style = #'large
4739 \context Staff \relative c'' {
4740 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4741 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4742 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4751 @node just intonation
4752 @section just intonation
4754 ES: entonación justa,
4755 I: intonazione giusta,
4756 F: intonation juste,
4763 Tuning system in which the notes are obtained by adding and subtracting
4764 natural fifths and thirds.
4783 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4784 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4788 @ref{chromatic scale}, @ref{key signature}.
4792 @section key signature
4794 ES: armadura (de la clave),
4795 I: armatura di chiave,
4796 F: armure, armature [de la clé],
4797 D: Vorzeichen, Tonart,
4798 NL: toon@-soort (voortekens),
4801 FI: sävellajiosoitus.
4803 The sharps or flats appearing at the beginning of each staff indicating the
4811 @node laissez vibrer
4812 @section laissez vibrer
4823 [French: @q{Let vibrate}.] Most frequently associated with harp
4824 parts. Marked @notation{l.v.} in the score.
4837 D: Largo, Langsam, Breit,
4841 FI: largo, hitaasti, leveästi.
4843 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4844 expressiveness. @emph{Larghetto} is less slow than largo.
4848 @section leading note
4859 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4860 called because of its strong tendency to @q{lead up} (resolve upwards)
4861 to the tonic scale degree.
4865 @ref{scale degree}, @ref{semitone}.
4869 @section ledger line
4871 ES: línea adicional,
4872 I: tagli addizionali,
4873 F: ligne supplémentaire,
4880 A ledger line is an extension of the staff.
4882 @lilypond[fragment,notime,ragged-right]
4883 \set Score.automaticBars = ##f
4884 \relative c'' { a,1 s c'' }
4898 D: legato, gebunden,
4904 To be performed (a) without any perceptible interruption between the
4905 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4906 @notation{portato}, or (d) @notation{staccato}.
4908 @lilypond[fragment,notime,line-width=13.0\cm]
4909 \set Score.automaticBars = ##f
4911 \context Staff \relative c'' {
4912 c4-( d e-) \bar "||"
4913 c4-- d-- e-- \bar "||"
4914 c4-.-( d-. e-.-) \bar "||"
4915 c4-. d-. e-. \bar "||"
4932 @section legato curve
4936 @ref{slur}, @ref{legato}.
4959 A ligature is a coherent graphical symbol that represents at least two
4960 distinct notes. Ligatures originally appeared in the manuscripts of
4961 Gregorian chant notation around the 9th century to denote ascending or
4962 descending sequences of notes. In early notation, ligatures were used for
4963 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4964 performance in the sense of articulation. With the invention of the metric
4965 system of the white mensural notation, the need for ligatures to denote such
4966 patterns disappeared.
4970 @ref{mensural notation}.
4977 ES: estanque de nenúfares,
4978 I: stagno del giglio,
4979 F: étang de nénuphars, étang de nymphéas,
4981 NL: le@-lie@-vij@-ver,
4986 A pond with lilies floating in it.
4988 Also, the name of a music typesetting program.
5001 D: Linie, Notenlinie,
5005 FI: viiva, nuottiviiva.
5022 FI: kirjoitetussa äänenkorkeudessa.
5024 [Italian: @q{place}.] Instruction to play the following passage at the
5025 written pitch. Cancels octave mark (q.v.).
5029 @ref{octave mark}, @ref{octave marking}.
5032 @node long appoggiatura
5033 @section long appoggiatura
5035 ES: apoyatura larga,
5036 I: appoggiatura lunga,
5037 F: appoggiature longue,
5042 FI: pitkä appoggiatura, pitkä etuhele.
5053 @item US: long, longa,
5064 Note value: double length of @notation{breve}.
5066 @lilypond[fragment,notime,ragged-right]
5067 \set Score.automaticBars = ##f
5069 \override NoteHead #'style = #'mensural
5076 @ref{breve}, @ref{note value}.
5082 ES: ligadura de letra,
5089 FI: sidonta sanoituksessa.
5091 @c TODO: add languages
5101 ES: letra (de la canción),
5104 D: Liedtext, Gesangtext,
5131 @ref{diatonic scale}.
5134 @node major interval
5135 @section major interval
5137 ES: intervalo mayor,
5138 I: intervallo maggiore,
5139 F: intervalle majeur,
5140 D: großes Intervall,
5144 FI: suuri intervalli.
5151 @node meantone temperament
5152 @section meantone temperament
5154 ES: afinación mesotónica,
5155 I: accordatura mesotonica,
5156 F: tempérament mésotonique,
5157 D: mitteltönige Stimmung,
5158 NL: middenstemming, middentoonstemming,
5159 DK: middeltonetemperatur,
5160 S: medeltonstemperatur,
5161 FI: keskisävelviritys.
5163 Temperament yielding acoustically pure thirds by decreasing the natural
5164 fifth by 16@w{ }cents. Due to the non-circular character of this
5165 temperament only a limited set of keys are playable. Used for tuning
5166 keyboard instruments for performance of pre-1650 music.
5170 @ref{cent}, @ref{temperament}.
5185 A group of beats (units of musical time) the first of which bears an accent.
5186 Such groups in numbers of two or more recur consistently throughout the
5187 composition and are separated from each other by bar lines.
5191 @ref{bar line}, @ref{beat}, @ref{meter}.
5194 @node measure repeat
5195 @section measure repeat
5199 @ref{percent repeat}.
5206 I: mediante, modale,
5216 @item The third @b{scale degree}.
5218 @item A @emph{chord} having its base tone a third from that of another
5219 chord. For example, the tonic chord may be replaced by its lower
5220 mediant (variant tonic).
5226 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
5239 FI: melisma, laulettavan tavun sävelkuvio.
5241 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
5242 on one syllable, especially as applied to liturgical chant.
5250 @section melisma line
5252 @c TODO: add languages
5254 ES: línea de melisma,
5265 @ref{extender line}.
5268 @node melodic cadence
5269 @section melodic cadence
5276 @node mensural notation
5277 @section mensural notation
5279 @c TODO: add languages
5281 ES: notación mensural,
5288 FI: mensuraalinuotinnus.
5290 A system of duration notation whose principles were first established in the
5291 mid-13th century, and that (with various changes) remained in use until about
5292 1600. As such, it is the basis for the notation of rhythms in Western musical
5295 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5296 of the notation's principles, so the notation of this earliest period is called
5297 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5298 and semibreve -- each of which was normally equivalent to three of the next
5301 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5302 added several note values (the minim, semiminim and fusa) and extended Franco's
5303 principles to govern the relationship between these values. They also put the
5304 duple division of note values on an equal footing with the earlier (preferred)
5307 TODO: continue description of French and Italian black notation, and the
5308 relationship betwixt them.
5310 @b{White or void mensural notation}
5312 In the 15th century, hollow (or void) notes began to substitute for the earlier
5313 solid black ones, which were then free to assume the function of red (or
5314 colored) notes in the earlier notation. ...
5316 TODO: add to definition (including summary info on proportional notation)
5320 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5321 @c TODO: more cross-references?
5329 F: indication de mesure, mesure,
5336 The pattern of note values and accents in a composition or a section thereof.
5337 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5338 by grouping beats and by subdividing the primary beat.
5340 @b{By grouping beats}:
5344 @item @b{duple}: groups of two.
5345 @item @b{triple}: groups of three.
5346 @item @b{quadruple}: groups of four. A special case of duple meter.
5347 @item @b{quintuple}: groups of five beats.
5348 @item @b{sextuple} meter: groups of six. A special case of:
5352 @item duple meter, subdivided in three; or
5353 @item triple meter, subdivided in two.
5357 @item @b{septuple} meter: groups of seven.
5362 Other than triple meter and its subdivided variants (see below), meters that
5363 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5364 frequently used prior to the 20th Century.
5366 @b{By subdividing the primary beat}:
5370 @item simple: subdivided in groups of two.
5374 @item duple: 2/2, 2/4, 2/8
5375 @item triple: 3/2, 3/4, 3/8
5376 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5380 @item compound: subdivided in groups of three.
5386 @item quadruple: 12/8
5392 Time signatures are placed at the beginning of a composition (or section) to
5393 indicate the meter. For instance, a piece written in simple triple meter with a
5394 beat on each quarter note is conventionally written with a time signature of
5395 3/4. Here are some combinations of the two classifications above:
5397 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5399 @lilypond[fragment,line-width=13.0\cm]
5403 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5406 Simple triple meter:
5408 @lilypond[fragment,line-width=13.0\cm]
5412 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5415 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5417 @lilypond[fragment,line-width=13.0\cm]
5421 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5424 Simple quintuple meter (B. Marcello, 1686-1739):
5426 @lilypond[fragment,line-width=13.0\cm]
5430 r4 cis8 bis ais4 dis c8 ais |
5431 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5434 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5435 the source, with sharps in the accompaniment where the voice has flats and
5439 Compound duple meter (unknown):
5441 @lilypond[fragment,line-width=13.0\cm]
5445 f8 f g a bes16 a g f |
5446 g8 g bes a c16 a bes g
5450 Compound triple meter (J.S. Bach, 1685-1750):
5452 @lilypond[fragment,line-width=13.0\cm]
5456 r8 g'( a) b( d c) c( e d) |
5457 d( g fis) g( d b) g( a b)
5461 Compound quadruple meter (P. Yon, 1886-1943):
5463 @lilypond[fragment,line-width=13.0\cm]
5467 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5468 e4 e8 fis( gis) a b4.~ b4 b8
5472 @b{@q{Monometer} vs Polymeter}
5474 TODO: add information from discussion on lilypond-user related to polymeter.
5478 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5493 Device used to indicate the exact tempo of a piece.
5495 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5496 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5497 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5498 followed acknowledged Winkler as the creator, but by then Mälzel had already
5499 sold many of them, and people had taken to calling it a Mälzel Metronome.
5503 @ref{metronome mark}.
5506 @node metronome mark
5507 @section metronome mark
5509 ES: indicación metronómica,
5510 I: indicazione metronomica,
5511 F: indication métronomique,
5513 NL: metronoom aanduiding,
5515 S: metronomangivelse,
5516 FI: metronomiosoitus.
5518 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5519 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5527 @node metronomic indication
5528 @section metronomic indication
5532 @ref{metronome mark}
5545 FI: kohtalaisen, melko.
5547 [Italian: @q{medium}.]
5549 Used to qualify other indications, such as:
5555 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5557 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5563 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5575 @section mezzo-soprano
5586 The female voice between soprano and contralto.
5590 @ref{soprano}, @ref{contralto}.
5599 D: eingestrichenes@w{ }c,
5601 DK: enstreget@w{ }c,
5602 S: ettstruket@w{ }c,
5605 First C below the 440 Hz A.
5607 @lilypond[fragment,notime,ragged-right]
5608 \set Score.automaticBars = ##f
5609 \override Staff.Clef #'full-size-change = ##t
5636 @ref{diatonic scale}.
5639 @node minor interval
5640 @section minor interval
5642 ES: intervalo menor,
5643 I: intervallo minore,
5644 F: intervalle mineur,
5645 D: kleines Intervall,
5649 FI: pieni intervalli.
5656 @node mixolydian mode
5657 @section mixolydian mode
5661 @ref{diatonic scale}.
5670 D: Kirchentonart, Modus,
5674 FI: moodi, kirkkosävelasteikko.
5678 @ref{church mode}, @ref{diatonic scale}.
5691 FI: modulaatio, sävellajin vaihdos.
5693 Moving from one @ref{key} to another. For example, the second subject
5694 of a @ref{sonata form} movement modulates to the dominant key if the
5695 key is major and to the @ref{relative key} if the key is minor.
5711 FI: mordent, korukuvio.
5736 FI: teema, sävelaihe.
5738 The briefest intelligible and self-contained fragment of a musical
5741 @lilypond[line-width=13.0\cm]
5744 \set Score.implicitTimeSignatureVisibility = #all-invisible
5745 \override Score.TimeSignature #'break-visibility = #all-invisible
5748 \partial 8 g16\startGroup fis |
5749 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5750 g8 g,16 a b8 cis d16 s
5754 \Staff \consists "Horizontal_bracket_engraver"
5776 Greater musical works like @ref{symphony} and @ref{sonata} most often
5777 consist of several -- more or less -- independant pieces called
5785 @node multi-measure rest
5786 @section multi-measure rest
5788 ES: compases de espera,
5792 D: mehrtaktige Pause, Kirchenpause,
5795 FI: usean tahdin mittainen tauko.
5797 Multi-measure rests are conventionally typeset with a combination of
5798 longa, breve and whole rests for shorter and a long horizontal bar for
5799 longer spans of rest, with a number above to indicate the duration (in
5800 measures) of the rest. The former style is called @q{Kirchenpausen} in
5801 German, as a reminiscence of its use in Renaissance vocal polyphony.
5803 @lilypond[fragment,ragged-right]
5806 \set Score.skipBars = ##t R1*3
5808 \set Score.skipBars = ##t R1*122
5815 @ref{longa}, @ref{breve}.
5824 D: Auflösungszeichen,
5825 NL: herstellingsteken,
5826 DK: op@-løsningstegn,
5827 S: återställningstecken,
5835 @node neighbor tones
5836 @section neighbor tones
5840 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5881 Notes are signs by means of which music is fixed in writing. The term is also
5882 used for the sound indicated by a note, and even for the key of the piano
5883 which produces the sound. However, a clear distinction between the terms tone
5884 and @ref{note} is strongly recommended. Briefly, one sees a note,
5896 I: testa, testina, capocchia,
5904 A head-like sign which indicates pitch by its position on a @notation{staff}
5905 provided with a @notation{clef}, and duration by a variety of shapes such as
5906 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5907 For percussion instruments (often having no defined pitch) the note head may
5908 indicate the instrument.
5912 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5926 ES: valor (duración),
5928 F: durée, valeur (d'une note),
5933 FI: nuotin aika-arvo.
5935 Note values (durations) are measured as fractions -- normally half -- of the
5936 next higher note value. The longest duration in current use is the
5937 @emph{breve}, but sometimes (especially music from the Baroque or earlier) the
5938 double-length note value @emph{longa} or the quadruple-length note value
5939 @emph{maxima} are used.
5941 @c TODO -- add maxima to this example, in a way that doesn't break it.
5943 @lilypond[fragment,notime,line-width=13.0\cm]
5944 %\override Score.TextScript #'font-style = #'large
5945 \set Score.automaticBars = ##f
5947 \override NoteHead #'style = #'mensural
5948 a\longa_"longa" a\breve_"breve"
5949 \revert NoteHead #'style
5950 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5951 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5954 @c TODO -- add maxima rest to this example
5956 @lilypond[fragment,notime,line-width=13.0\cm]
5957 %\override Score.TextScript #'font-style = #'large
5958 \set Score.automaticBars = ##f
5960 r\longa_"longa" r\breve_"breve"
5961 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5962 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5965 An augmentation dot after a note multiplies the duration by one and a
5966 half. Another dot adds yet a fourth of the duration.
5968 @lilypond[fragment,line-width=13.0\cm]
5969 %\override Score.TextScript #'font-style = #'large
5972 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5973 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5976 Alternatively note values may be subdivided by other ratios. Most common is
5977 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5978 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5979 dotted notes are also frequently used.
5981 @lilypond[fragment,line-width=13.0\cm]
5982 %\override Score.TextScript #'font-style = #'large
5985 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5986 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5990 @lilypond[fragment,line-width=13.0\cm]
5993 \times 3/2 {g4_"duplets" g} |
5995 \times 6/4 {g8_"quadruplets" g g g} |
5996 g8 g g g g4 \bar "||"
6010 @ref{octave marking}.
6025 The interval of an octave, sometimes abbreviated @notation{8ve}.
6027 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
6028 bracket, or @notation{loco} see octave marking.
6032 @ref{interval}, @ref{octave marking}.
6036 @section octave mark
6038 ES: indicación de octava,
6047 The phrase, abbreviation, or other mark used (with or without an extender line
6048 or bracket) to indicate that the music is to be played in a different octave:
6052 @item @notation{15ma}: play two octaves higher
6053 @item @notation{8va}: play one octave higher
6054 @item @notation{8vb}: play one octave lower
6055 @item @notation{8va} (written below the passage): unusual, same as
6057 @item @notation{15vb}: play two octaves lower
6058 @item @notation{15va} (written below the passage): unusual, same as
6063 For longer passages, it may be more practical to mark the octave change at the
6064 beginning with a phrase (see the list below for examples), but without a bracket
6065 or extender line. Then, when the music returns to the written pitch, the octave
6066 change is cancelled with the word @notation{loco} (q.v.).
6068 To parallel the list above:
6072 @item @notation{15ma}: @notation{alla quindicesima (alta)}
6073 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
6074 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
6075 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
6079 In the phrases above, @notation{quindicesima} is sometimes replaced with
6080 @notation{quindecima}, which is Latin.
6082 Finally, the music on an entire staff can be marked to be played in a
6083 different octave by putting a small 8 or 15 above or below the clef at the
6084 beginning. This octave mark can be applied to any clef, but it is most
6085 frequently used with the G and F clefs.
6089 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
6092 @node octave marking
6093 @section octave marking
6102 FI: oktaavamerkintä.
6104 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
6105 that it is to be played in a different octave. If applied to the clef at the
6106 beginning of the staff, all music on that staff is to played at the indicated
6109 For a list of the specific marks used, see @ref{octave mark}.
6113 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
6117 @section octave sign
6128 I: abbellimento, fioriture,
6129 F: agrément, ornement,
6130 D: Verzierung, Ornament,
6136 Most commonly used is the @emph{trill}, the rapid alternation of a given note
6137 with the diatonic @ref{second} above it. In the music from the
6138 middle of the 19th century and onwards the trill is performed with the main
6139 note first while in the music from the preceding baroque and classic periods
6140 the upper note is played first.
6142 @lilypond[fragment,line-width=13.0\cm]
6144 \context Staff = sa {
6145 % \override Score.TextScript #'font-style = #'large
6147 c2._"pre-1850" b4\trill | c1 \bar "||"
6148 c2._"post-1850" b4\trill | c1 \bar "||"
6152 c2. c32 b c b c b c b | c1
6153 c2. b32 c b c \times 4/5 { b c b c b } | c1
6158 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
6160 @emph{prall} (inverted mordent).
6162 @lilypond[fragment,line-width=13.0\cm]
6164 \context Staff = sa {
6165 % \override Score.TextScript #'font-style = #'large
6167 a4_"turn" b\turn c2 \bar "||"
6168 g4_"mordent" a b\mordent a \bar "||"
6169 e'4_"prall" d\prall c2 \bar "||"
6175 e'4 e32[ d e d ~ d8] c2
6182 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
6195 FI: ossia, vaihtoehtoinen esitystapa.
6197 Ossia (otherwise) marks an alternative. It is an added staff or piano
6198 score, usually only a few measures long, which presents another version
6199 of the music, for example for small hands.
6216 FI: stemma, instrumenttiosuus.
6220 @item In instrumental or choral music, the music for a single
6221 instrument or voice.
6223 @item in contrapuntal music, a single melodic line in the contrapuntal
6249 @node percent repeat
6250 @section percent repeat
6252 LilyPond-specific term to indicate the repetition of a musical expression on a
6253 single staff, as opposed to the more usual definition of repeat, which affects
6254 all parts. The musical expression can be anything from a single note or note
6255 pattern to one or more measures. There are other names for this symbol:
6260 @item slash mark, or slash repeat
6262 @item measure (or multi-measure) repeat
6266 @lilypond[fragment,line-width=13.0\cm]
6269 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6270 \repeat percent 2 { c4 e g b_"Measure repeat" }
6271 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6278 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6279 Vermont Music Dictionary}.
6288 D: Schlagzeug, Schlagwerk,
6294 A family of musical instruments which are played on by striking or
6295 shaking. Percussion instruments commonly used in a symphony orchestra are
6296 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6297 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6305 @node perfect interval
6306 @section perfect interval
6308 ES: intervalo justo,
6309 I: intervallo giusto,
6310 F: intervalle juste,
6311 D: reines Intervall,
6315 FI: puhdas intervalli.
6334 A natural division of the melodic line, comparable to a sentence of speech.
6351 FI: fraseeraus, jäsentäminen.
6353 The clear rendering in musical performance of the @notation{phrases} of the
6354 melody. Phrasing may be indicated by a @notation{slur}.
6358 @ref{phrase}, @ref{slur}.
6373 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6374 @emph{mezzo piano} (@b{mp}) medium soft.
6386 F: anacrouse, levée,
6412 @item The perceived quality of a sound that is primarily a function of its
6413 fundamental frequency.
6415 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6417 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6418 association of a particular frequency with a particular pitch name, e.g., c' =
6435 NL: pizzicato, getokkeld,
6438 FI: pizzicato, näppäillen.
6440 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6451 ES: compás polimétrico,
6458 FI: monia tahtiosoituksia sisältävä.
6462 @item The @emph{simultaneous} use of two or more meters, in two or more
6465 @item The @emph{successive} use of different meters in one or more parts.
6471 @ref{polymetric} (adj.)
6484 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6486 Characterized by @emph{polymeter}: using two or more metric frameworks
6487 simultaneously or in alternation.
6491 @ref{polymeter} (noun)
6494 @node polymetric time signature
6495 @section polymetric time signature
6497 ES: compás polimétrico,
6504 FI: vaihtelevan tahtiosoitusmerkintä.
6506 A time signature that indicates regularly alternating polymetric time.
6519 D: Polyphonie, Mehrstimmigkeit,
6523 FI: polyfonia, moniäänisyys.
6525 Music written in a combination of several simultaneous voices (parts)
6526 of a more or less pronounced individuality.
6536 [Italian: past participle of @emph{portare}, @q{to carry}]
6538 A stroke in which each of several notes is separated slightly within a slur,
6539 without changing the bow's direction. It is used for passages of a
6540 @notation{cantabile} character.
6553 D: Presto, Sehr schnell,
6554 NL: presto, Sehr schnell,
6557 FI: presto, hyvin nopeasti.
6561 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6562 denotes the highest possible degree of speed.
6581 [Latin: @emph{proportio}.] Described in great detail by Gaffurius, in
6582 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6587 @item A ratio that expresses the relationship between the note values that
6588 follow with those that precede;
6590 @item A ratio between the note values of a passage and the @q{normal}
6591 relationship of note values to the metrical pulse. (A special case of the
6596 The most common proportions are:
6599 @item 2:1 (or simply 2), expressed by a vertical line through the
6600 mensuration sign (the origin of the @q{cut-time} time signature), or by
6601 turning the sign backwards
6602 @item 3:1 (or simply 3)
6603 @item 3:2 (@emph{sesquialtera})
6606 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6609 @item 1:2 cancels 2:1
6610 @item 1:3 cancels 3:1
6611 @item 2:3 cancels 3:2
6615 Gaffurius enumerates five basic types of major:minor proportions and their
6619 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6620 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6622 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6623 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6624 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6626 @item Superpartiens, if the major number is one less than twice the minor
6627 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6629 @item Multiplexsuperparticular, if the major number is one more than twice the
6630 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6633 @item Multiplexsuperpartiens, if the major number is one less than some other
6634 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6635 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6639 He then continues to subdivide each type in various ways. For the multiplex
6640 proportions, for example, he indicates how many times greater the major number
6645 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6646 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6648 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6651 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6652 Example: 4:1, 8:2, and 12:3
6656 Other proportions were possible, but whether they were frequently used is
6661 @item 33:9, @emph{triplasuperbipartientetertias}
6662 @item 51:15, @emph{triplasuperbipartientequintas}
6666 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6670 @ref{mensural notation}.
6673 @node Pythagorean comma
6674 @section Pythagorean comma
6676 ES: coma pitagórica,
6677 I: comma pitagorico,
6678 F: comma pythagoricien,
6679 D: Pythagoräisches Komma,
6680 NL: komma van Pythagoras,
6681 DK: pythagoræisk komma,
6682 S: pytagoreiskt komma,
6683 FI: pytagorinen komma.
6685 Originally, the interval by which the sum of six whole tones exceeds the octave
6686 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6688 Modern acoustical theory defines it as the interval by which twelve fifths
6689 exceed seven octaves. To put it another way: A sequence of fifths that starts
6690 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6691 than the C obtained by adding 7 octaves. The difference between those two
6692 pitches is the Pythagorean comma.
6696 @ref{cent}, @ref{temperament}.
6728 The quality of a triad is determined by the precise arrangement of its
6729 intervals. Tertian triads can be described as a series of three notes. The
6730 first element is the root note (or simply @q{root}) of the chord, the second
6731 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6732 the chord. These are described below:
6734 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6735 @headitem Chord name
6736 @tab Component intervals
6739 @item major triad @tab major third/perfect fifth
6741 @tab C, CM, Cma, Cmaj, CΔ
6742 @item minor triad @tab minor third/perfect fifth
6744 @tab Cm, Cmi, Cmin, C-
6745 @item augmented triad @tab major third/augmented fifth
6748 @item diminished triad @tab minor third/diminished fifth
6750 @tab Cm(♭5), Cº, Cdim
6753 There are various types of seventh chords depending on the quality of the
6754 original chord and the quality of the seventh added.
6756 Five common types of seventh chords have standard symbols. The chord quality
6757 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6758 and D^m7 are all identical). The last three chords are not commonly used
6767 @section quarter note
6772 @item I: semiminima, nera
6774 @item D: Viertel, Viertelnote
6776 @item DK: fjerdedelsnode
6777 @item S: fjärdedelsnot
6778 @item FI: neljäsosanuotti
6787 @section quarter rest
6790 @item UK: crotchet rest
6791 @item ES: silencio de negra
6792 @item I: pausa di semiminima
6794 @item D: Viertelpause
6796 @item DK: fjerdedelspause
6797 @item S: fjärdedelspaus
6798 @item FI: neljäsosatauko
6807 @section quarter tone
6809 ES: cuarto de tonno,
6816 FI: neljännessävelaskel.
6818 An interval equal to half a semitone.
6828 ES: cinquillo, quintillo.
6843 @section rallentando
6848 D: rallentando, langsamer werden,
6852 FI: rallerdando, hidastuen.
6854 [Italian] A performance indication, abbreviated "rall.".
6862 @section relative key
6865 I: tonalità relativa,
6866 F: tonalité relative,
6868 NL: paralleltoonsoort,
6869 DK: paralleltoneart,
6871 FI: rinnakkaissävellaji.
6873 Major and minor keys that have the same key signature.
6875 @lilypond[fragment,notime,line-width=13.0\cm]
6876 \set Score.automaticBars = ##f
6877 %\override Score.TextScript #'font-style = #'large
6880 es1_"e flat major" f g as bes c d es
6885 @lilypond[fragment,notime,line-width=13.0\cm]
6886 \set Score.automaticBars = ##f
6887 %\override Score.TextScript #'font-style = #'large
6890 c1_"c minor" d es f g a! b! c \bar "||"
6896 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6904 F: barre de reprise,
6907 DK: gen@-ta@-gel@-se,
6911 @lilypond[fragment,line-width=13.0\cm]
6915 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6936 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6937 @c specify the rest's value.
6958 @item Metrical rhythm in which every time value is a multiple or
6959 fraction of a fixed unit of time, called @ref{beat}, and in which the
6960 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6961 The basic scheme of time values is called @ref{meter}.
6963 @item Measured rhythm which lacks regularly recurrent accent. In
6964 modern notation such music appears as a free alternation of different
6967 @item Free rhythm, i.e., the use of temporal values having no common
6968 metrical unit (beat).
6983 D: ritardando, langsamer werden,
6987 FI: ritardando, hidastuen,
6989 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
7006 FI: ritenuto, hidastaen.
7008 Immediate reduction of speed.
7025 FI: asteikko, sävelasteikko.
7029 @ref{diatonic scale}.
7033 @section scale degree
7035 ES: grado (de la escala),
7036 I: grado della scala,
7037 F: degré [de la gamme],
7039 NL: trap [van de toonladder],
7042 FI: sävelaste, asteikon sävel.
7044 Names and symbols used in harmonic analysis to denote tones of the
7045 scale as roots of chords. The most important are degrees I = tonic
7046 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
7048 @lilypond[fragment,notime,line-width=13.0\cm]
7049 \set Score.automaticBars = ##f
7051 \context Staff \relative c' {
7055 << { I II III IV V VI VII I }
7063 @ref{functional harmony}.
7071 F: à cordes ravallées,
7076 FI: epätavallinen viritys.
7078 [Italian: @emph{scordare}, @q{to mistune}.] Unconventional
7079 tuning of stringed instruments, particularly lutes or violins. Used
7084 @item facilitate pitch combinations that would otherwise be difficult
7087 @item alter the characteristic timbre of the instrument, for example,
7088 to increase brilliance
7090 @item reinforce certain sonorities or tonalities by making them
7091 available on open strings
7093 @item imitate other instruments
7099 Tunings that could be called @var{scordatura} first appeared early in
7100 the 16th Century and became commonplace in the 17th.
7113 D: Partitur (full score), Klavierauszug (vocal score),
7119 A copy of orchestral, choral, or chamber music showing what each
7120 instrument is to play, each voice to sing, having each part arranged
7121 one underneath the other on different staves @ref{staff}.
7140 The @ref{interval} between two neigbouring tones of a scale. A
7141 @ref{diatonic scale} consists of alternating @ref{semitone}s and
7142 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
7143 degrees in question.
7162 The interval of a minor second. The (usually) smallest interval in European
7163 composed music. The interval between two neighbouring tones on the piano
7164 keyboard -- including black and white keys -- is a semitone. An octave may
7165 be divided into 12@w{ }semitones.
7167 @lilypond[fragment,notime,line-width=13.0\cm]
7168 \set Score.automaticBars = ##f
7169 \relative c'' { g1 gis s a bes s b! c }
7174 @ref{interval}, @ref{chromatic scale}.
7199 @ref{sextuplet}, @ref{note value}.
7256 [Italian: @q{in the same manner}.] Performance direction: the music thus marked
7257 is to be played in the same manner (i.e. with the same articulations, dynamics,
7258 etc.) as the music that precedes it.
7262 TODO: Where else could I refer the reader?
7266 @section simple meter
7268 ES: compás simple, compás de subdivisión binaria,
7275 FI: kaksijakoinen tahtiosoitus.
7277 A meter in which the basic beat is subdivided in two: that is, a meter
7278 that does not include triplet subdivision of the beat.
7282 @ref{compound meter}, @ref{meter}.
7285 @node sixteenth note
7286 @section sixteenth note
7289 @item UK: semiquaver
7290 @item ES: semicorchea
7292 @item F: double croche
7293 @item D: Sechzehntel, Sechzehntelnote
7294 @item NL: zestiende noot
7295 @item DK: sekstendedelsnode
7296 @item S: sextondelsnot
7297 @item FI: kuudestoistaosanuotti
7305 @node sixteenth rest
7306 @section sixteenth rest
7309 @item UK: semiquaver rest
7310 @item ES: silencio de semicorchea
7311 @item I: pausa di semicroma
7312 @item F: quart de soupir
7313 @item D: Sechzehntelpause
7314 @item NL: zestiende rust
7315 @item DK: sekstendedelspause
7316 @item S: sextondelspaus
7317 @item FI: kuudestoistaosatauko
7342 @node sixty-fourth note
7343 @section sixty-fourth note
7346 @item UK: hemidemisemiquaver
7348 @item I: semibiscroma
7349 @item F: quadruple croche
7350 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7351 @item NL: vierenzestigste noot
7352 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7353 @item S: sextiofjärdedelsnot
7354 @item FI: kuudeskymmenesneljäsosanuotti
7362 @node sixty-fourth rest
7363 @section sixty-fourth rest
7366 @item UK: hemidemisemiquaver rest
7367 @item ES: silencio de semifusa
7368 @item I: pausa di semibiscroma
7369 @item F: seizième de soupir
7370 @item D: Vierundsechzigstelpause
7371 @item NL: vierenzestigste rust
7372 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7373 @item S: sextiofjärdedelspaus
7374 @item FI: kuudeskymmenesneljäsosatauko
7383 @section slash repeat
7387 @ref{percent repeat}.
7393 ES: ligadura (de expresión),
7394 I: legatura (di portamento or espressiva),
7396 D: Bogen (Legatobogen, Phrasierungsbogen),
7397 NL: fraseringsboog, legatoboog, streekboog,
7398 DK: legatobue, fraseringsbue,
7402 A slur above or below a group of notes indicates that they are to be
7403 played @ref{legato}, e.g., with one stroke of the violin bow or with
7404 one breath in singing.
7412 @section solmization
7421 FI: suhteelliset laulunimet.
7423 General term for systems of designating the degrees of the
7424 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7425 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7430 @ref{scale}, @ref{scale degree}.
7445 In its present-day meaning a sonata denotes an instrumental
7446 composition for piano or for some other instrument with piano
7447 accompaniment, which consists of three or four independant pieces,
7456 @section sonata form
7460 F: [en] forme de sonate,
7462 NL: hoofdvorm, sonatevorm,
7467 A form used frequently for single movements of the @emph{sonata},
7468 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7469 three sections called @notation{exposition}, @notation{development} and
7470 @notation{recapitulation}. In the exposition the composer introduces some
7471 musical ideas, consisting of a number of themes; in the development section the
7472 composer @emph{develops} this material, and in the recapitulation the composer
7473 repeats the exposition, with certain modifications. The exposition contains a
7474 number of themes that fall into two groups, often called first and second
7475 subject. Other melodies occurring in each group are considered as continuations
7476 of these two. The second theme is in another key, normally in the key of the
7477 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7478 @notation{relative key} if the tonic is @notation{minor}.
7482 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7483 @ref{symphony}, @ref{tonic}.
7504 FI: sopraano, korkea naisääni.
7506 The highest female voice.
7518 F: staccato, piqué, détaché,
7523 FI: staccato, lyhyesti, terävästi.
7525 Playing the note(s) short. Staccato is indicated by a dot above or
7526 below the note head.
7528 @lilypond[fragment,ragged-right]
7533 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7547 I: pentagramma, rigo (musicale),
7549 D: Notensystem, Notenzeile,
7550 NL: (noten)balk, partij,
7555 A staff (plural: staves) is a series of (normally five) horizontal
7556 lines upon and between which the musical notes are written, thus
7557 indicating (in connection with a @ref{clef}) their pitch. Staves for
7558 @ref{percussion} instruments may have fewer lines.
7579 D: Hals, Notenhals, Stiel,
7585 Vertical line above or below a @ref{note head} shorter than a
7590 @lilypond[fragment,notime,line-width=13.0\cm]
7591 \set Score.autoBeaming = ##f
7592 \set Score.automaticBars = ##f
7593 %\override Score.TextScript #'font-style = #'large
7617 FI: kiihdyttäen, nopeuttaen.
7619 [Italian: @q{pressing}.] Pressing, urging, or hastening the time, as to a
7639 A family of stringed musical instruments played with a bow. Strings
7640 commonly used in a symphony orchestra are violin, viola, violoncello,
7649 @section strong beat
7654 D: betonter Taktteil oder Taktschlag,
7656 D: betonet taktslag,
7657 S: betonat taktslag,
7658 FI: tahdin vahva isku.
7662 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7666 @section subdominant
7675 FI: subdominantti, alidominantti.
7677 The fourth @notation{scale degree}.
7681 @ref{functional harmony}, @ref{scale degree}.
7696 The sixth @notation{scale degree}.
7700 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7713 FI: subtoonika, alitoonika.
7715 The seventh @ref{scale degree}.
7719 @ref{functional harmony}, @ref{scale degree}.
7725 ES: sobre la cuerda de Sol,
7728 D: auf G, auf der G-Saite,
7734 Indicates that the indicated passage (or note) should be played on the
7743 @section superdominant
7754 The sixth @ref{scale degree}.
7758 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7773 The second @ref{scale degree}.
7777 @ref{functional harmony}, @ref{scale degree}.
7786 D: Sinfonie, Symphonie,
7792 A symphony may be defined as a @emph{sonata} for orchestra.
7801 @section syncopation
7812 Any deliberate upsetting of the normal pulse of @ref{meter},
7813 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7814 rhythm rests upon the grouping of equal beats into groups of two or
7815 three, with a regularly recurrent accent on the first beat of each
7816 group. Any deviation from this scheme is felt as a disturbance or
7817 contradiction between the underlaying (normal) pulse and the actual
7820 @lilypond[fragment,ragged-right]
7825 e c'4 e,8 c'4 e,8 c' ( | c2)
7834 @node syntonic comma
7835 @section syntonic comma
7837 ES: coma sintónica, coma de Dídimo,
7838 I: comma sintonico (o didimico),
7839 F: comma syntonique,
7840 D: syntonisches Komma,
7841 NL: syntonische komma,
7842 DK: syntonisk komma,
7843 S: syntoniskt komma,
7844 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7845 Pytagorisessa viritysjärjestelmässä.
7847 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7848 by which the ditone exceeds the pure major third obtained by Pythagorean
7849 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7851 Modern acoustical theory defines it as the interval by which four fifths exceed
7852 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7854 This comma is also known as the comma of Didymus, or didymic comma.
7858 @ref{Pythagorean comma}
7867 D: Notensystem, Partitur,
7871 FI: nuottijärjestelmä.
7873 The collection of staves (@notation{staff}), two or more, as used for writing
7874 down of keyboard, chamber, choral, or orchestral music.
7882 @section temperament
7887 D: Stimmung, Tem@-pe@-ra@-tur,
7888 NL: stemming, temperatuur,
7891 FI: viritysjärjestelmä.
7893 Systems of tuning in which the intervals deviate from the acoustically
7898 @ref{meantone temperament}, @ref{equal temperament}.
7901 @node tempo indication
7902 @section tempo indication
7904 ES: indicación de tempo,
7905 I: indicazione di tempo,
7906 F: indication de tempo,
7907 D: Zeitmaß, Tempobezeichnung,
7908 NL: tempo aanduiding,
7913 The rate of speed of a composition or a section thereof, ranging from the
7914 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7915 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7920 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7934 FI: tenori, korkea miesääni.
7936 The highest @q{natural} male voice (apart from @notation{countertenor}).
7963 ES: subrayado (tenuto),
7972 An indication that a particular note should be held for the whole
7973 length, although this can vary depending on the composer and era.
7997 @node thirty-second note
7998 @section thirty-second note
8001 @item UK: demisemiquaver
8004 @item F: triple croche
8005 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
8006 @item NL: twee@-endertig@-ste (32e) noot
8007 @item DK: toogtredivtedelsnode
8008 @item S: trettiotvåondelsnot
8009 @item FI: kolmaskymmeneskahdesosanuotti
8017 @node thirty-second rest
8018 @section thirty-second rest
8021 @item UK: demisemiquaver rest
8022 @item ES: silencio de fusa
8023 @item I: pausa di biscroma
8024 @item F: huitième de soupir
8025 @item D: Zweiunddreissigstel@-pause
8026 @item NL: twee@-endertig@-ste (32e) rust
8027 @item DK: toogtredivtedelspause
8028 @item S: trettiotvåondelspaus
8029 @item FI: kolmaskymmeneskahdesosatauko
8038 @section thorough bass
8048 ES: ligadura de prolongación, ligadura de unión,
8049 I: legatura (di valore),
8051 D: Haltebogen, Bindebogen,
8052 NL: overbinding, bindingsboog,
8054 S: bindebåge, överbindning,
8057 A curved line, identical in appearance with the @ref{slur}, which
8058 connects two succesive notes of the same pitch, and which has the
8059 function of uniting them into a single sound (tone) equal to the
8062 @lilypond[fragment,notime,ragged-right]
8063 \set Score.automaticBars = ##f
8064 \relative c'' { g2 ~ g4. }
8076 @node time signature
8077 @section time signature
8079 ES: indicación de compás,
8081 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
8082 D: Taktangabe, Angabe der Taktart,
8085 S: taktartssignatur,
8088 The sign placed at the beginning of a composition to indicate its
8089 meter. It most often takes the form of a fraction, but a few signs
8090 derived from mensural notation and proportions are also employed.
8094 @ref{mensural notation}, @ref{meter}.
8109 A sound of definite pitch and duration, as distinct from @emph{noise}.
8110 Tone is a primary building material of music.
8112 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
8131 The first @notation{scale degree}.
8135 @ref{functional harmony}, @ref{scale degree}.
8138 @node transposing instrument
8139 @section transposing instrument
8141 ES: instrumento transpositor,
8148 FI: transponoitava soitin.
8150 Instruments whose notated pitch is different from their sounded pitch. Except
8151 for those whose notated and sounding pitches differ by one or more octaves (to
8152 reduce the number of ledger lines needed), most such instruments are identified
8153 by the letter name of the pitch class of their fundamental. The pitch class is
8154 the note that @emph{sounds} (disregarding the octave in which it sounds) when
8155 the instrument plays a notated C.
8157 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
8158 the B-flat one tone lower. If played on the A clarinet, the same written
8159 note sounds the A (one and half tones -- a minor third -- lower).
8161 Not all transposing instruments include the pitch class in their name:
8165 @item English horn (in F)
8167 @item Alto flute (in G)
8173 @ref{concert pitch}.
8177 @section transposition
8188 Shifting a melody up or down in pitch, while keeping the same
8191 @lilypond[fragment,line-width=13.0\cm]
8196 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8201 @lilypond[fragment,line-width=13.0\cm]
8204 \transpose c bes \relative c'' {
8206 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
8217 @section treble clef
8220 I: chiave di violino,
8222 D: Violinschlüssel, Sopranschlüssel,
8245 On stringed instruments:
8249 @item The quick reiteration of the same tone, produced by a rapid
8250 up-and-down movement of the bow.
8252 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8253 in the distance of a third (@ref{interval}).
8257 @lilypond[fragment,notime,ragged-right]
8258 \set Score.automaticBars = ##f
8259 %\override Score.TextScript #'font-style = #'large
8262 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8263 \repeat tremolo 8 { e32_"b" g }
8277 F: triade, accord parfait, accord de trois sons,
8294 F: trille, tremblement, battement (cadence),
8307 @section triple meter
8309 ES: compás ternario,
8312 D: in drei, ungerader Takt,
8313 NL: driedelige maatsoort,
8358 @section tuning fork
8360 ES: diapasón, horquilla de afinación,
8361 I: diapason, corista,
8369 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8370 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8371 standard. Tuning forks for other pitches are available.
8381 A non-standard subdivision of a beat or part of a beat, usually
8382 indicated with a bracket and a number indicating the number of
8387 @ref{triplet}, @ref{note value}.
8393 ES: grupeto (circular),
8417 FI: unisono, yksiäänisesti.
8419 Playing of the same notes or the same melody by various instruments
8420 (voices) or by the whole orchestra (choir), either at exactly the same
8421 pitch or in a different octave.
8433 F: anacrouse, levée,
8455 FI: ääni, lauluääni.
8463 @item @ref{mezzo-soprano}
8464 @item @ref{contralto}
8466 @item @ref{baritone}
8470 @item A melodic layer or part of a polyphonic composition.
8482 ES: vez, primera y segunda vez,
8489 FI: yksi kertauksen maaleista.
8491 [Italian: @q{time} (instance, not duration).] An ending, such as a first
8492 or second ending. LilyPond extends this idea to any number, and allows any text
8493 (not just a number) -- to serve as the @notation{volta} text.
8504 I: tempo debole, arsi,
8506 D: unbetonter Taktteil oder Taktschlag,
8508 DK: ubetonet taktslag,
8509 S: obetonat taktslag,
8510 FI: tahdin heikko isku.
8514 @ref{beat}, @ref{measure}, @ref{rhythm}.
8525 @item D: Ganze, ganze Note
8529 @item FI: kokonuotti
8541 @item UK: semibreve rest
8542 @item ES: silencio de redonda
8543 @item I: pausa di semibreve
8545 @item D: ganze Pause, ganztaktige Pause
8547 @item DK: helnodespause
8569 The interval of a major second. The interval between two tones
8570 on the piano keyboard with exactly one key between them -- including
8571 black and white keys -- is a whole tone.
8590 A family of blown wooden musical instruments. Today some of these
8591 instruments are actually made from metal. The woodwind instruments
8592 commonly used in a symphony orchestra are flute, oboe, clarinet,
8593 saxophone, and bassoon.
8600 @node Duration names notes and rests
8601 @chapter Duration names notes and rests
8603 @multitable @columnfractions .12 .22 .22 .22 .22
8605 @headitem Lang. @tab note name
8609 @item @strong{US} @tab long
8613 @item @strong{UK} @tab longa
8617 @item @strong{ES} @tab longa
8618 @tab silencio de longa
8620 @tab silencio de cuadrada
8621 @item @strong{IT} @tab longa
8625 @item @strong{FR} @tab longa
8626 @tab quadruple-pause
8629 @item @strong{DE} @tab Longa
8633 @item @strong{NL} @tab longa
8637 @item @strong{DK} @tab longa
8638 @tab longanodespause
8640 @tab brevis(nodes)pause
8641 @item @strong{SE} @tab longa
8645 @item @strong{FI} @tab longa-nuotti
8647 @tab brevis-nuotti, kaksoiskoko@-nuotti
8648 @tab brevis-tauko, kaksoiskoko@-tauko
8652 @multitable @columnfractions .12 .22 .22 .22 .22
8654 @headitem Lang. @tab note name
8658 @item @strong{US} @tab whole note
8662 @item @strong{UK} @tab semibreve
8666 @item @strong{ES} @tab redonda
8667 @tab silencio de redonda
8669 @tab silencio de blanca
8670 @item @strong{IT} @tab semibreve
8671 @tab pause di semibreve
8673 @tab pausa di minima
8674 @item @strong{FR} @tab ronde
8678 @item @strong{DE} @tab ganze Note
8682 @item @strong{NL} @tab hele noot
8686 @item @strong{DK} @tab helnode
8690 @item @strong{SE} @tab helnot
8694 @item @strong{FI} @tab kokonuotti
8701 @multitable @columnfractions .12 .22 .22 .22 .22
8703 @headitem Lang. @tab note name
8707 @item @strong{US} @tab quarter note
8711 @item @strong{UK} @tab crotchet
8715 @item @strong{ES} @tab negra
8716 @tab silencio de negra
8718 @tab silencio de corchea
8719 @item @strong{IT} @tab semiminima, nera
8720 @tab pausa di semiminima, pausa di nera
8723 @item @strong{FR} @tab noire
8727 @item @strong{DE} @tab Viertelnote
8731 @item @strong{NL} @tab kwartnoot
8735 @item @strong{DK} @tab fjerdedelsnode
8736 @tab fjerdedelspause
8737 @tab ottendedelsnode
8738 @tab ottendedelspause
8739 @item @strong{SE} @tab fjärdedelsnot
8743 @item @strong{FI} @tab neljäsosa@-nuotti
8744 @tab neljäsosa@-tauko
8745 @tab kahdeksasosa@-nuotti
8746 @tab kahdeksasosa@-tauko
8750 * About the French naming system: @emph{croche} refers to the note's "hook".
8751 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
8752 hook}, @q{trebled hook}, and so on.
8754 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
8755 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
8756 a @emph{soupir}, and so on.
8758 Each of the following tables contains one type of note and its matching rest,
8759 with abbreviations that apply to both notes and rests. Just switch the part
8760 that means @q{note} with the part that means @q{rest}, for example:
8764 @item English: 16th @strong{note}, 16th @strong{rest}
8765 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8766 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8770 I put a dash @q{-} when I could not find a language-specific abbreviation for a
8771 duration name. If you know of one that I missed, please send it to me, care of
8772 the lilypond-user discussion list.
8774 @multitable @columnfractions .10 .35 .35 .20
8776 @headitem Lang. @tab Note name
8779 @item @strong{US} @tab sixteenth note
8782 @item @strong{UK} @tab semiquaver
8783 @tab semiquaver rest
8785 @item @strong{ES} @tab semicorchea
8786 @tab silencio de semicorchea
8788 @item @strong{IT} @tab semicroma
8789 @tab pausa di semicroma
8791 @item @strong{FR} @tab double croche
8792 @tab quart de soupir
8794 @item @strong{DE} @tab Sechzehntelnote
8795 @tab Sechzehntelpause
8797 @item @strong{NL} @tab zes@-ti@-ende noot
8798 @tab zes@-ti@-ende rust
8800 @item @strong{DK} @tab sekstendedelsnode
8801 @tab sekstendedelspause
8803 @item @strong{SE} @tab sextondelsnot
8806 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8807 @tab kuudes@-toistaosa@-tauko
8812 @multitable @columnfractions .10 .35 .35 .20
8814 @headitem Lang. @tab Note name
8817 @item @strong{US} @tab thirty-second note
8818 @tab thirty-second rest
8820 @item @strong{UK} @tab demisemiquaver
8821 @tab demisemiquaver rest
8823 @item @strong{ES} @tab fusa
8824 @tab silencio de fusa
8826 @item @strong{IT} @tab biscroma
8827 @tab pausa di biscroma
8829 @item @strong{FR} @tab triple croche
8830 @tab huitième de soupir
8832 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8833 @tab Zweiunddreißig@-stelpause
8835 @item @strong{NL} @tab twee@-endertigste noot
8836 @tab twee@-endertigste rust
8838 @item @strong{DK} @tab toogtredivtedelsnode
8839 @tab toogtredivtedelspause
8841 @item @strong{SE} @tab trettio@-tvåondelsnot
8842 @tab trettio@-tvåondelspaus
8844 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8845 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8850 @multitable @columnfractions .10 .35 .35 .20
8852 @headitem Lang. @tab Note name
8855 @item @strong{US} @tab sixty-fourth note
8856 @tab sixty-fourth rest
8858 @item @strong{UK} @tab hemidemisemiquaver
8859 @tab hemidemisemiquaver rest
8861 @item @strong{ES} @tab semifusa
8862 @tab silencio de semifusa
8864 @item @strong{IT} @tab semibiscroma
8865 @tab pausa di semibiscroma
8867 @item @strong{FR} @tab quadruple croche
8868 @tab seizième de soupir
8870 @item @strong{DE} @tab Vierundsechzigstelnote
8871 @tab Vierundsechzigstelpause
8873 @item @strong{NL} @tab vierenzestigste noot
8874 @tab vierenzestigste rust
8876 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8877 @tab fireog@-tredsindstyven@-dedelspause
8879 @item @strong{SE} @tab sextiofjärdedelsnot
8880 @tab sextiofjärdedelspaus
8882 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8883 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8888 @multitable @columnfractions .10 .35 .35 .20
8890 @headitem Lang. @tab Note name
8893 @item @strong{US} @tab one-hundred-twenty-eighth note
8894 @tab one-hundred-twenty-eighth rest
8896 @item @strong{UK} @tab semihemidemisemiquaver
8897 @tab semihemidemisemiquaver rest
8899 @item @strong{ES} @tab garrapatea
8900 @tab silencio de garrapatea
8902 @item @strong{IT} @tab fusa
8905 @item @strong{FR} @tab quintuple croche
8906 @tab trente-deuxième de soupir @tab -
8907 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8908 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8909 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8910 @tab honderd@-acht@-en@-twintigste rust
8912 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8913 @tab hundrede@-otte@-og@-tyvendedels@-pause
8915 @item @strong{SE} @tab hundratjugoåttondelsnot
8916 @tab hundratjugoåttondelspaus
8918 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8919 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8924 @multitable @columnfractions .10 .35 .35 .20
8926 @headitem Lang. @tab Note name
8929 @item @strong{US} @tab two-hundred-fifty-sixth note
8930 @tab two-hundred-fifty-sixth rest
8932 @item @strong{UK} @tab demisemihemidemisemiquaver
8933 @tab demisemihemidemisemiquaver rest
8935 @item @strong{ES} @tab semigarrapatea
8936 @tab silencio de semigarrapatea @tab -
8937 @item @strong{IT} @tab semifusa
8938 @tab pausa di semifusa
8940 @item @strong{FR} @tab sextuple croche
8941 @tab soixante-quatrième de soupir @tab -
8942 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8943 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8944 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8945 @tab tweehonderd@-zesenvijftigste rust
8947 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8948 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8950 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8951 @tab tvåhundra@-femtiosjättedelspaus
8953 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8954 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8961 @ref{mensural notation}
8965 @chapter Pitch names
8967 @c -is/-es endings for Danish per Rune Zedeler, pace
8968 @c and for Finnish per Risto Vääräniemi
8969 @c -iss/-ess endings for Swedish per Mats Bengtsson
8970 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8972 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8974 @tab ES @tab I @tab F @tab D
8975 @tab NL @tab DK @tab S @tab FI
8976 @item @strong{c} @tab do @tab do @tab ut @tab C
8977 @tab c @tab c @tab c @tab c
8978 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8979 @tab cis @tab cis @tab ciss @tab cis
8980 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8981 @tab des @tab des @tab dess @tab des
8982 @item @strong{d} @tab re @tab re @tab ré @tab D
8983 @tab d @tab d @tab d @tab d
8984 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8985 @tab dis @tab dis @tab diss @tab dis
8986 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8987 @tab es @tab es @tab ess @tab es
8988 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8989 @tab e @tab e @tab e @tab e
8990 @item @strong{f-flat} = e
8991 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8992 @tab fes @tab fes @tab fess @tab fes
8993 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8994 @tab f @tab f @tab f @tab f
8995 @item @strong{e-sharp} = f
8996 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8997 @tab eis @tab eis @tab eiss @tab eis
8998 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8999 @tab fis @tab fis @tab fiss @tab fis
9000 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
9001 @tab ges @tab ges @tab gess @tab ges
9002 @item @strong{g} @tab sol @tab sol @tab sol @tab G
9003 @tab g @tab g @tab g @tab g
9004 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
9005 @tab gis @tab gis @tab giss @tab gis
9006 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
9007 @tab as @tab as @tab ass @tab as
9008 @item @strong{a} @tab la @tab la @tab la @tab A
9009 @tab a @tab a @tab a @tab a
9010 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
9011 @tab ais @tab ais @tab aiss @tab ais
9012 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
9013 @tab bes @tab b @tab b @tab b
9014 @item @strong{b} @tab si @tab si @tab si @tab H
9015 @tab b @tab h @tab h @tab h
9023 @node Literature used
9024 @unnumberedsec Literature used
9027 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
9028 Cambridge: Belknap Press (Harvard University Press), 1944.
9030 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
9033 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
9034 Terminologie}. Kassel, 1980.
9036 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
9037 Current English}, 3rd ed. London: Oxford University Press, 1974.
9039 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
9040 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
9042 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
9043 Cambridge: Belknap Press (Harvard University Press), 1986.
9045 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.