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--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
112 For more information about how this fits with the other
113 documentation, see @rlearning{About the documentation}.
119 @w{@expansion{}@strong{\word\}}@c
122 @expansion{}@ref{\word\, @strong{\word\}}@c
127 * Musical terms A-Z::
128 * Duration names notes and rests::
132 @node Musical terms A-Z
133 @chapter Musical terms A-Z
135 Languages in this order.
137 @item UK - British English (where it differs from American English)
163 * ancient minor scale::
168 * ascending interval::
170 * augmented interval::
206 * compound interval::
210 * conjunct movement::
223 * descending interval::
226 * diminished interval::
230 * disjunct movement::
232 * dissonant interval::
234 * dominant ninth chord::
235 * dominant seventh chord::
237 * dot (augmentation dot)::
239 * double appoggiatura::
241 * double dotted note::
244 * double time signature::
251 * ecclesiastical mode::
258 * equal temperament::
277 * functional harmony::
293 * inverted interval::
308 * long appoggiatura::
314 * meantone temperament::
321 * mensural notation::
325 * metronomic indication::
337 * multi-measure rest::
367 * polymetric time signature::
372 * Pythagorean comma::
401 * sixty-fourth note::
402 * sixty-fourth rest::
432 * thirty-second note::
433 * thirty-second rest::
440 * transposing instrument::
495 Abbreviated @samp{a2} or @samp{a 2}.
499 @item An indication in orchestral scores that a single part notated on a single
500 staff that normally carries parts for two players (e.g. first and second oboes)
501 is to be played by both players.
503 @item Or conversely, that two pitches or parts notated on a staff that normally
504 carries a single part (e.g. first violin) are to be played by different players,
505 or groups of players (@q{desks}).
519 F: accelerando, en accélérant,
520 D: accelerando, schneller werden,
524 FI: accelerando, kiihdyttäen.
539 FI: aksentti, korostus.
541 The stress of one tone over others.
553 @section acciaccatura
555 A grace note which takes its time from the rest or note preceding the
556 principal note to which it is attached. The acciaccatura is drawn as a
557 small eighth note (quaver) with a line drawn through the flag and
562 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
568 ES: alteración accidental,
570 F: altération accidentelle,
571 D: Versetzungszeichen, Akzidenz,
572 NL: toevallig (verplaatsings)teken,
574 S: tillfälligt förtecken,
575 FI: tilapäinen etumerkki.
577 An accidental has the effect of an @ref{alteration} of a note. A
578 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
579 @ref{whole tone}, a flat lowers it by a semitone and a double flat
580 lowers it by a whole tone. A natural cancels the effect of a previous
581 accidental, or a sharp or flat in the key signature.
583 @lilypond[fragment,notime,line-width=13.0\cm]
584 \set Score.automaticBars = ##f
586 \context Staff \relative c'' {
587 \set Staff.extraNatural = ##f
588 gisis1 gis g! ges geses
591 \override Lyrics .LyricText #'self-alignment-X = #-1
592 "db. sharp" sharp natural flat "db. flat"
608 FI: adagio, hitaasti.
610 It.@: comfortable, easy.
614 @item Slow tempo, slower -- especially in even meter -- than
615 @ref{andante} and faster than @ref{largo}.
617 @item A movement in slow tempo, especially the second (slow) movement
618 of @ref{sonata}s, symphonies, etc.
629 D: Allegro, Schnell, Fröhlich, Lustig,
633 FI: allegro, nopeasti.
635 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
636 tempo, especially the first and last movements of a @ref{sonata}.
646 NL: verhoging of verlaging,
651 An alteration is the modification, raising or lowering, of a note's
652 pitch. It is established by an @ref{accidental}.
665 FI: altto, matala naisääni.
667 A female voice of low range (@emph{contralto}). Originally the alto
668 was a high male voice (hence the name), which by the use of falsetto
669 reached the height of the female voice. This type of voice is also
670 known as @ref{countertenor}.
676 ES: clave de do en tercera,
677 I: chiave di contralto,
678 F: clef d'ut troisième ligne,
679 D: Altschlüssel, Bratschenschlüssel,
685 C clef setting middle C on the middle line of the staff.
702 FI: ambitus, ääniala, soitinala.
704 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
705 Denotes a range of pitches for a given voice in a part of music. It may
706 also denote the pitch range that a musical instrument is capable of playing.
707 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
722 An anacrusis (also known as pickup or upbeat) is an incomplete measure
723 of music before a section of music. It also refers to the initial
724 note(s) of a melody occurring in that incomplete measure.
728 @ref{measure}, @ref{meter}.
730 @lilypond[fragment,line-width=13.0\cm]
734 \partial 4 f4 | bes4. a8 bes4 c |
735 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
739 @node ancient minor scale
740 @section ancient minor scale
742 ES: escala menor natural,
743 I: scala minore naturale,
744 F: forme du mode mineur ancien, troisème mode, mode hellénique,
745 D: reines Moll, natürliches Moll,
746 NL: authentieke mineurtoonladder,
749 FI: luonnollinen molliasteikko.
751 @lilypond[fragment,notime,line-width=13.0\cm]
752 \set Score.automaticBars = ##f
759 @ref{diatonic scale}.
774 Walking tempo/character.
778 @section appoggiatura
782 F: appoggiature, (port de voix),
783 D: Vorschlag, Vorhalt
787 FI: appoggiatura, etuhele.
789 Ornamental note, usually a second, that is melodically connected with
790 the main note following it. In music before the 19th century
791 appoggiature were usually performed on the beat, after that mostly
792 before the beat. While the short appoggiatura is performed as a short
793 note regardless of the duration of the main note the duration of the
794 long appoggiatura is proportional to that of the main note.
796 @lilypond[line-width=13.0\cm]
797 \context Voice \relative c'' {
801 %\override Score.TextScript #'font-style = #'large
802 <d a fis>4_"notation" r
803 { \override Stem #'flag-style = #'()
805 \revert Stem #'flag-style
808 { \override Stem #'flag-style = #'()
810 \revert Stem #'flag-style
813 \cadenzaOn a4 \bar "||" \cadenzaOff
815 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
816 \cadenzaOn a4 \bar "||" \cadenzaOff
820 An appoggiatura may have more notes preceding the main note.
822 @lilypond[line-width=13.0\cm]
826 % \override Score.TextScript #'font-style = #'large
827 \grace { bes16 } as8_"notation" as16 bes as8 g |
828 \grace { as16[( bes] } < c as >4-)
829 \grace { as16[( bes] } < c as >4-) \bar "||"
830 \grace { bes16 } as8_"performance" as16 bes as8 g |
831 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
832 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
844 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
846 DK: arpeggio, akkordbrydning,
848 FI: arpeggio, murtosointu.
850 @lilypond[fragment,line-width=13.0\cm]
851 \context PianoStaff <<
852 \context Staff = SA \relative c'' {
855 r8 g16 c e g, c e r8 g,16 c e g, c e |
856 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
857 \context Staff = SB \relative c' {
859 << \context Voice = va {
861 r16 e8. ( e4) r16 e8. ( e4) |
862 r16 d8. ( d4) r16 d8. ( d4) }
863 \context Voice = vb {
872 @section articulation
881 FI: artikulaatio, ilmaisu.
883 Articulation refers to notation which indicates how a note or notes
884 should be played. Slurs, accents, staccato, and legato are all
885 examples of articulation.
888 @node ascending interval
889 @section ascending interval
891 ES: intervalo ascendente,
892 I: intervallo ascendente,
893 F: intervalle ascendant,
894 D: steigendes Intervall,
895 NL: stijgend interval,
896 DK: stigende interval,
897 S: stigande intervall,
898 FI: nouseva intervalli.
900 A distance between a starting lower note and a higher ending note.
903 @node augmented interval
904 @section augmented interval
906 ES: intervalo aumentado,
907 I: intervallo aumentato,
908 F: intervalle augmenté,
909 D: übermäßiges Intervall,
910 NL: overmatig interval,
911 DK: forstørret interval,
912 S: överstigande intervall,
913 FI: ylinouseva intervalli.
921 @section augmentation
932 @c TODO: add definition.
934 This is a placeholder for augmentation (wrt mensural notation).
938 @ref{diminution}, @ref{mensural notation}.
946 F: manuscrit, autographe
947 D: Autograph, Handschrift,
949 DK: håndskrift, autograf,
951 FI: käsinkirjoitettu nuotti.
955 @item A manuscript written in the composer's own hand.
957 @item Music prepared for photoreproduction by freehand drawing, with
958 the aid of a straightedge ruler and T-square only, which attempts to
959 emulate engraving. This required more skill than did engraving.
1002 ES: barra, línea divisoria,
1003 I: stanghetta, barra (di divisione),
1004 F: barre (de mesure),
1022 FI: baritoni, keskikorkuinen miesääni.
1024 The male voice intermediate between the @ref{bass} and the
1027 @c F: clef de troisième ligne dropped
1031 @section baritone clef
1033 ES: clave de fa en tercera,
1034 I: chiave di baritono,
1035 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1036 D: Baritonschlüssel,
1042 C or F clef setting middle C on the upper staff line.
1046 @ref{C clef}, @ref{F clef}.
1059 FI: basso, matala miesääni.
1063 @item The lowest male voice.
1065 @item Sometimes, especially in jazz music, used as an abbreviation for
1078 ES: clave de fa en cuarta,
1080 F: clef de fa quatrième ligne,
1087 A clef setting with middle C on the first top ledger line.
1106 Line connecting a series of notes (shorter than a quarter note). The
1107 number of beams determines the note value of the connected notes.
1109 @lilypond[fragment,notime,line-width=13.0\cm]
1110 \set Score.automaticBars = ##f
1111 %\override TextScript #'font-style = #'large
1113 g8_"1/8"[ g g g] s16
1114 g16_"1/16"[ g g g] s16
1115 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1116 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1121 @ref{feathered beam}.
1127 ES: tiempo, parte (de compás)
1130 D: Takt, Taktschlag, Zeit (im Takt),
1136 Note value used for counting, most often half-, fourth-, and eighth
1137 notes. The base counting value and the number of them per measure is
1138 indicated at the start of the music.
1140 @lilypond[fragment,line-width=13.0\cm]
1143 \relative c'' { g4 c b a | g1 \bar "||"}
1145 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1150 @section beat repeat
1154 @ref{percent repeat}.
1168 ES: llave, corchete,
1171 D: Klammer, Akkolade,
1172 NL: accolade, teksthaak,
1175 FI: yhdistävä sulkumerkki.
1177 Symbol at the start of a system connecting staves.
1179 Curly braces are used for connecting piano staves, and sometimes for connecting
1180 the staves of like instruments in an orchestral score when written on different
1181 staves (e.g. first and second flutes):
1183 @lilypond[fragment,ragged-right]
1184 \context GrandStaff <<
1185 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1186 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1189 Angular brackets for connecting parts in an orchestral or choral score:
1191 @lilypond[fragment,ragged-right]
1192 \context StaffGroup <<
1193 % \set StaffGroup.minVerticalAlign = #12
1194 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1195 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1222 NL: koper (blazers),
1225 S: brassinstrument, mässingsinstrument,
1228 A family of blown musical instruments made of brass, all using a cup
1229 formed mouth piece. The brass instruments commonly used in a symphony
1230 orchestra are trumpet, trombone, french horn, and tube.
1234 @section breath mark
1239 D: Atemzeichen, Trennungszeichen,
1240 NL: repercussieteken,
1241 DK: vejrtrækningstegn,
1245 Indication of where to breathe in vocal and wind instrument parts.
1251 ES: cuadrada, breve,
1258 FI: brevis, kaksoiskokonuotti.
1260 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1261 The shortest note value generally used in white mensural notation, hence the
1262 name, which originally meant @q{of short duration}.
1264 @lilypond[fragment,notime,ragged-right]
1265 \set Score.automaticBars = ##f
1266 \relative c'' { g\breve }
1271 @ref{mensural notation}, @ref{note value}.
1305 Clef symbol indicating the position of the middle C. Used on all note
1308 @lilypond[fragment,notime,line-width=13.0\cm]
1309 \set Score.automaticBars = ##f
1310 \override Score.Clef #'full-size-change = ##t
1312 \context Staff \relative c' {
1314 \clef mezzosoprano c
1319 \context Lyrics \lyrics {
1320 \override Lyrics .LyricText #'self-alignment-X = #-1
1321 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1337 FI: kadenssi, lopuke.
1341 @ref{harmonic cadence}, @ref{functional harmony}.
1354 FI: kadenssi, lopuke.
1356 An extended, improvisatory style section inserted near the end of
1357 movement. The purpose of a cadenza is to give singers or players a
1358 chance to exhibit their technical skill and -- not last -- their
1359 ability to improvise. Since the middle of the 19th century, however,
1360 most cadenzas have been written down by the composer.
1373 FI: kaanon, tarkka jäljittely.
1390 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1391 viritysjärjestelmässä.
1393 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1394 (1/100 of an equally tempered @ref{semitone}).
1398 @ref{equal temperament}.
1421 Three or more tones sounding simultaneously. In traditional European music the
1422 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1423 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1424 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1425 @emph{ninth} major chords are most often used as dominants (@ref{functional
1426 harmony}). A special case is chords having no third above the lower notes to
1427 define their quality as major or minor: such chords are called @q{open chords}.
1429 @lilypond[fragment,notime,line-width=13.0\cm]
1430 \set Score.automaticBars = ##f
1431 %\override TextScript #'font-style = #'large
1433 \context Staff \relative c'' {
1434 \set Staff.extraNatural = ##f
1454 @node chromatic scale
1455 @section chromatic scale
1457 ES: escala cromática,
1459 F: gamme chromatique,
1460 D: chro@-ma@-ti@-sche Tonleiter,
1461 NL: chromatische toonladder,
1462 DK: kromatisk skala,
1464 FI: kromaattinen asteikko.
1466 A scale consisting of all 12 @ref{semitone}s.
1468 @lilypond[fragment,notime,line-width=13.0\cm]
1469 \set Score.automaticBars = ##f
1470 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1475 @section chromaticism
1486 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1490 @section church mode
1492 ES: modo eclesiástico,
1493 I: modo ecclesiastico,
1494 F: mode ecclésiastique,
1499 FI: moodi, kirkkosävellaji.
1503 @ref{diatonic scale}.
1512 D: Schlüssel, Notenschlüssel,
1516 FI: avain, nuottiavain.
1520 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1522 The clef indicates which lines of the staff correspond to which
1523 pitches. The three clef symbols in common use are:
1525 @lilypond[ragged-right,quote]
1528 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1529 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1530 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1535 Imagine a large staff of 11 lines centered on middle C, sometimes
1536 called a @q{grand staff}, with the bottom line representing low G and
1537 the top line high F:
1539 @lilypond[ragged-right,quote]
1542 %-- Treble Staff --%
1544 % Allow this staff to be placed close to the others
1545 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1546 % Allow the treble clef to overlap the lower staves:
1547 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1548 \override Staff.Clef #'stencil = ##f % No clef required
1550 s1^\markup { "g," \transparent "g" }
1551 s^ \markup { "b," \transparent "g" }
1552 s^ \markup { "d" \transparent "g" }
1553 s^ \markup { "f" \transparent "g" }
1554 s^ \markup { "a" \transparent "g" }
1555 s^ \markup { \with-color #red c' \transparent "g"}
1556 e'^\markup { "e'" \transparent "g" }
1557 g'^\markup { "g'" \transparent "g" }
1558 b'^\markup { "b'" \transparent "g" }
1559 d''^\markup { "d''" \transparent "g" }
1560 f''^\markup { "f ''" \transparent "g" }
1563 %-- Alto Staff reduced to a single line on middle C --%
1565 \override Staff.StaffSymbol #'line-count = 1 % One line only
1566 \override Staff.StaffSymbol #'color = #red % Coloured red
1567 \override Staff.Clef #'stencil = ##f % No clef required
1570 % Allow this staff to be placed close to the others
1571 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1572 % Specify height to give correct spacing between treble and bass staves
1573 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1575 s1 s s s s % Space along to align horizonatally
1576 \override NoteHead #'color = #red
1578 s1 s s s s s % Keep staff (ie the red line) showing
1582 % Allow this staff to be placed close to the others
1583 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1584 \override Staff.Clef #'stencil = ##f % No clef required
1587 s s s s s s s % Keep staff showing
1591 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1592 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1594 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1595 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1597 % Remove all barlines
1598 \context { \Score \override BarLine #'stencil = ##f
1600 % Remove time signature from all staves
1601 \context { \Staff \remove Time_signature_engraver
1607 Staves of five lines are usually used, and the clef superimposed on
1608 them indicates which five lines have been selected from this
1609 @samp{grand staff}. For example, the treble or G clef indicates that
1610 the top five lines have been selected:
1612 @lilypond[ragged-right,quote]
1615 %-- Treble Staff --%
1617 % Allow this staff to be placed close to the others
1618 \override Staff.VerticalAxisGroup
1619 #'minimum-Y-extent = #'(0 . 0)
1620 % Allow the treble clef to overlap the lower staves:
1621 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1622 \override Staff.Clef #'stencil = ##f % No clef required here
1624 s1^\markup { "g," \transparent "g" }
1625 s^ \markup { "b," \transparent "g" }
1626 s^ \markup { "d" \transparent "g" }
1627 s^ \markup { "f" \transparent "g" }
1628 s^ \markup { "a" \transparent "g" }
1629 s^ \markup { \with-color #red c' \transparent "g"}
1630 \stopStaff \startStaff
1631 \clef "C" % Dummy to force next clef to be printed
1632 s % Need at least one note for \clef to take effect
1633 \override Staff.Clef #'stencil = ##t % Clef now required
1634 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1636 e'^\markup { "e'" \transparent "g" }
1637 g'^\markup { "g'" \transparent "g" }
1638 b'^\markup { "b'" \transparent "g" }
1639 d''^\markup { "d''" \transparent "g" }
1640 f''^\markup { "f ''" \transparent "g" }
1642 %-- Alto Staff reduced to a single line on middle C --%
1644 \override Staff.StaffSymbol #'line-count = 1 % One line only
1645 \override Staff.StaffSymbol #'color = #red % Coloured red
1646 \override Staff.Clef #'stencil = ##f % No clef required
1649 % Allow this staff to be placed close to the others
1650 \override Staff.VerticalAxisGroup
1651 #'minimum-Y-extent = #'(0 . 0)
1652 % Specify height to give correct spacing between the staves
1653 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1655 s1 s s s s % Space along to align horizonatally
1656 \override NoteHead #'color = #red
1658 % s1 s s s s % Keep staff (ie the red line) showing
1662 % Allow this staff to be placed close to the others
1663 \override Staff.VerticalAxisGroup
1664 #'minimum-Y-extent = #'(0 . 0)
1665 \override Staff.Clef #'stencil = ##f % No clef required
1668 % s s s s s s % Keep staff showing
1672 % Reduce horizontal spacing so semibreves can be used
1673 % without exceeding 1 line
1674 \context { \Score \override SpacingSpanner
1675 #'base-shortest-duration = #(ly:make-moment 1 1)
1677 % Reduce apparent vertical size of note heads to
1678 % permit them to overlap other grobs vertically
1679 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1681 % Remove all barlines
1682 \context { \Score \override BarLine #'stencil = ##f
1684 % Remove time signature from all staves
1685 \context { \Staff \remove Time_signature_engraver
1691 The @q{curl} of the G clef is centered on the line that represents the
1694 In the same way, the bass or F clef indicates that the bottom five
1695 lines have been selected from the @samp{grand staff}, and the alto or
1696 C clef indicates the middle five lines have been selected. This
1697 relationship is shown below, where the notes show an arpeggio on a C
1700 @lilypond[ragged-right,quote]
1703 %-- Treble Staff --%
1704 \new Staff = "G" \with {
1705 \remove Time_signature_engraver
1708 % The following two overrides are required to make the two middle C's overlap
1709 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1710 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1712 \override Staff.Clef #'Y-extent = #'(0 . 0)
1714 s1 s s s s e' g' c''
1717 \new Staff = "C" \with {
1718 \remove Time_signature_engraver
1721 \override Staff.StaffSymbol #'line-count = 1
1722 \override Staff.StaffSymbol #'stencil = ##f
1723 \once \override Staff.Clef #'stencil = ##f
1724 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1725 \override Score.BarLine #'stencil = ##f
1727 % The following two overrides are required to align the C staff to the G and F staves
1728 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1729 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1732 \stopStaff \startStaff
1733 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1734 \revert Staff.StaffSymbol #'stencil
1735 \override Staff.StaffSymbol #'color = #red
1736 b'1 % A frig. This really shows as a middle C in the score
1738 \stopStaff \startStaff
1739 \override Staff.StaffSymbol #'line-count = 5
1740 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1741 \override Staff.Clef #'Y-extent = #'(0 . 0)
1742 \revert Staff.StaffSymbol #'color
1743 \stopStaff \startStaff
1745 s1 s s c e g c' e' g' c''
1748 \new Staff = "F" \with {
1749 \remove Time_signature_engraver
1752 \override Staff.Clef #'Y-extent = #'(0 . 0)
1753 % The following two overrides are required to make the two middle C's overlap
1754 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1755 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1763 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1766 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1769 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1786 FI: klusteri, cluster.
1788 A @emph{cluster} is a range of simultaneously sounding pitches that
1789 may change over time. The set of available pitches to apply usually
1790 depends on the acoustic source. Thus, in piano music, a cluster
1791 typically consists of a continuous range of the semitones as provided
1792 by the piano's fixed set of a chromatic scale. In choral music, each
1793 singer of the choir typically may sing an arbitrary pitch within the
1794 cluster's range that is not bound to any diatonic, chromatic or other
1795 scale. In electronic music, a cluster (theoretically) may even cover
1796 a continuous range of pitches, thus resulting in colored noise, such
1799 Clusters can be denoted in the context of ordinary staff notation by
1800 engraving simple geometrical shapes that replace ordinary notation of
1801 notes. Ordinary notes as musical events specify starting time and
1802 duration of pitches; however, the duration of a note is expressed by
1803 the shape of the note head rather than by the horizontal graphical
1804 extent of the note symbol. In contrast, the shape of a cluster
1805 geometrically describes the development of a range of pitches
1806 (vertical extent) over time (horizontal extent). Still, the
1807 geometrical shape of a cluster covers the area in which any single
1808 pitch contained in the cluster would be notated as an ordinary note.
1810 @lilypond[fragment,relative=2,ragged-right]
1811 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1825 FI: komma, korvinkuultava ero äänenkorkeudessa.
1827 Difference in pitch between a note derived from pure tuning and the
1828 same note derived from some other tuning method.
1832 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1837 @section common meter
1847 @section common time
1858 4/4 time. The symbol, which resembles a capital letter C, derives from
1863 @ref{mensural notation}, @ref{meter}.
1869 ES: intervalo invertido,
1871 F: intervalle complémentaire,
1872 D: Komplementärintervall,
1873 NL: complementair interval,
1874 DK: komplementærinterval,
1875 S: komplementärintervall (?),
1876 FI: täydentävä intervalli.
1880 @ref{inverted interval}.
1883 @node compound interval
1884 @section compound interval
1886 ES: intervalo compuesto,
1887 I: intervallo composto,
1888 F: intervalle composé,
1889 D: weites Intervall,
1890 NL: samengesteld interval,
1891 DK: sammensat interval,
1892 S: sammansatt intervall,
1893 FI: oktaavia laajempi intervalli.
1895 Intervals larger than an octave.
1902 @node compound meter
1903 @section compound meter
1905 ES: compás compuesto, compás de subdivisión ternaria,
1914 A meter that includes a triplet subdivision within the beat, such as
1919 @ref{meter}, @ref{simple meter}.
1923 @section compound time
1925 ES: compás compuesto, compás de amalgama (def. 2),
1937 A meter that includes a triplet subdivision within the beat: see
1938 @ref{compound meter}.
1941 A time signature that additively combines two or more unequal meters, e.g.
1942 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1944 @lilypond[fragment,line-width=13.0\cm]
1945 #(define (compound-time grob one two three num)
1947 (ly:grob-layout grob)
1948 '(((baseline-skip . 2)
1950 (font-family . number)))
1952 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1956 #(set-time-signature 8 8 '(3 2 3))
1957 \override Staff.TimeSignature #'stencil
1958 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1959 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1960 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1961 \set Staff.beatGrouping = #'(3 2 3)
1963 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1971 @ref{compound meter}, @ref{meter}.
1975 @section concert pitch
1977 ES: en Do, afinación de concierto,
1986 The pitch at which the piano and other nontransposing instruments play: such
1987 instruments are said to be @q{in C}. The following list includes some (but not
1988 all) instruments that play in concert pitch:
2002 @item tenor trombone
2017 The trombones are a special case: although they are said to be @q{in F} (alto or
2018 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2019 their parts' transposition. (In fact, the trombones' parts are written at
2020 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2021 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2024 Instruments that play @q{in C} but in a different octave than what is written
2025 are, technically speaking, @emph{transposing instruments}:
2029 @item piccolo (plays an octave higher)
2030 @item celesta (plays an octave higher)
2031 @item double-bass (plays an octave lower)
2037 @ref{transposing instrument}.
2040 @node conjunct movement
2041 @section conjunct movement
2043 ES: movimiento conjunto,
2045 F: mouvement conjoint,
2046 D: schritt@-weise, stufenweise Bewegung,
2047 NL: stapsgewijze, trapsgewijze beweging,
2048 DK: trinvis bevægelse,
2050 FI: asteittainen liike.
2052 Progressing melodically by intervals of a second. The opposite of a
2053 @ref{disjunct movement}.
2055 @lilypond[fragment,line-width=13.0\cm]
2056 \key g \major \time 4/4
2057 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2071 FI: konsonanssi, sopusointi.
2096 @section copying music
2098 A music copyist did fast freehand scores and parts on preprinted staff
2099 lines for performance. Some of their conventions (e.g., the placement
2100 of note heads on stems) varied slightly from those of engravers. Some
2101 of their working methods were superior and could well be adopted by
2104 @c Copying music required more skill than engraving. Flagged for NPOV
2108 @section counterpoint
2117 FI: kontrapunkti, ääni ääntä vastaan.
2119 From Latin @emph{punctus contra punctum}, note against note. The
2120 combination into a single musical fabric of lines or parts which have
2121 distinct melodic significance. A frequently used polyphonic technique
2122 is imitation, in its strictest form found in the canon needing only
2123 one part to be written down while the other parts are performed with a
2124 given displacement. Imitation is also the contrapunctal technique
2125 used in the @emph{fugue} which, since the music of the baroque era,
2126 has been one of the most popular polyphonic composition methods.
2128 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2129 \set Score.implicitTimeSignatureVisibility = #all-invisible
2130 \override Score.TimeSignature #'break-visibility = #all-invisible
2131 \context PianoStaff <<
2132 \context Staff = SA \relative c' {
2136 << \context Voice = rha {
2138 r1 | r2 r8 g'8 bes d, |
2139 cis4 d r8 e!16 f g8 f16 e |
2140 f8 g16 a bes8 a16 g a8
2142 \context Voice = rhb {
2148 \context Staff = SB \relative c' {
2151 << \context Voice = lha {
2153 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2154 r8 a16 g f8 g16 a bes8 g e! cis' |
2157 \context Voice = lhb {
2167 @section countertenor
2172 D: Countertenor, Kontratenor,
2175 S: kontratenor, counter tenor,
2189 D: Crescendo, lauter werden,
2193 FI: cresendo, voimistuen.
2195 Increasing volume. Indicated by a rightwards opening horizontal wedge
2196 or the abbreviation @samp{cresc.}.
2198 @lilypond[fragment,ragged-right]
2199 \key g \major \time 4/4
2200 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2209 F: petites notes précédent l'entrée d'un instrument, réplique,
2216 In a separate part notes belonging to another part with the purpose of
2217 hinting when to start playing. Usually printed in a smaller type.
2226 D: Notenzeiger, Custos,
2232 A custos (plural: custodes) is a staff symbol that appears at the end
2233 of a staff line with monophonic musical contents (i.e., with a single
2234 voice). It anticipates the pitch of the first note of the following
2235 line and thus helps the player or singer to manage line breaks during
2236 performance, thus enhancing readability of a score.
2238 Custodes were frequently used in music notation until the 16th
2239 century. There were different appearences for different notation
2240 styles. Nowadays, they have survived only in special forms of musical
2241 notation such as via the Editio Vaticana dating back to the beginning
2247 % \override Staff.Custos #'neutral-position = #4
2248 \override Staff.Custos #'neutral-direction = #down
2249 \override Staff.Custos #'style = #'hufnagel
2257 \consists Custos_engraver
2289 F: da capo, depuis le commencement,
2290 D: da capo, von Anfang,
2294 FI: da capo, alusta.
2296 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2297 the beginning to the end or to a certain place marked @emph{fine}.
2305 F: dal segno, depuis le signe,
2306 D: dal segno, ab dem Zeichen,
2310 FI: dal segno, lähtien merkistä.
2312 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2313 another place frequently near the beginning marked by a sign:
2315 @lilypond[fragment,ragged-right]
2316 %\override TextScript #'font-style = #'large
2317 \override TextScript #'font-shape = #'italic
2318 \key g \major \time 4/4
2323 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2330 @section decrescendo
2334 D: Decrescendo, leiser werden,
2338 FI: decresendo, hiljentyen.
2340 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2341 or the abbreviation @samp{decresc.}.
2343 @lilypond[fragment,ragged-right]
2345 \key g \major \time 4/4
2346 d4 \> c b a | g1 \! \bar "|."
2351 @node descending interval
2352 @section descending interval
2354 ES: intervalo descendente,
2355 I: intervallo discendente,
2356 F: intervalle descendant,
2357 D: fallendes Intervall, absteigendes Intervall,
2358 NL: dalend interval,
2359 DK: faldende interval,
2360 S: fallande intervall,
2361 FI: laskeva intervalli.
2363 A distance between a starting higher note and a lower ending note.
2366 @node diatonic scale
2367 @section diatonic scale
2369 ES: escala diatónica,
2371 F: gamme diatonique,
2372 D: diatonische Tonleiter,
2373 NL: diatonische toonladder,
2374 DK: diatonisk skala,
2376 FI: diatoninen asteikko.
2378 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2379 Scales played on the white keys of a piano keybord are diatonic; and these
2380 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2382 These @q{modes} are used in gregorian chant and in pre-baroque early music
2383 but also to some extent in newer jazz music.
2385 @lilypond[fragment,notime,ragged-right]
2386 \set Score.automaticBars = ##f
2387 %\override Score.LyricText #'font-style = #'large
2388 %\override Score.TextScript #'font-style = #'large
2390 \context Staff \relative c' {
2392 \override TextScript #'padding = #-4
2393 e^"~~ S" f g a b^"~~ S" c
2395 \context Lyrics \lyrics {
2401 @lilypond[fragment,notime,ragged-right]
2402 \set Score.automaticBars = ##f
2404 \context Staff \relative c' {
2406 \override TextScript #'padding = #-4
2407 e^"~~ S" f g a b^"~~ S" c d
2415 @lilypond[fragment,notime,ragged-right]
2416 \set Score.automaticBars = ##f
2419 \override TextScript #'padding = #-4
2420 e1^"~~ S" f g a b^"~~ S" c d e
2428 @lilypond[fragment,notime,ragged-right]
2429 \set Score.automaticBars = ##f
2433 \override TextScript #'padding = #-4
2434 b^"~~ S" c d e^"~~ S" f
2442 @lilypond[fragment,notime,ragged-right]
2443 \set Score.automaticBars = ##f
2447 \override TextScript #'padding = #-4
2448 b^"~~ S" c d e^"~~ S" f g }
2455 @lilypond[fragment,notime,ragged-right]
2456 \set Score.automaticBars = ##f
2457 %\override Score.LyricText #'font-style = #'large
2458 %\override Score.TextScript #'font-style = #'large
2462 \override TextScript #'padding = #-4
2463 b^"~~ S" c d e^"~~ S" f g a
2471 @lilypond[fragment,notime,ragged-right]
2472 \set Score.automaticBars = ##f
2473 %\override Score.LyricText #'font-style = #'large
2474 %\override Score.TextScript #'font-style = #'large
2477 \override TextScript #'padding = #-4
2478 b1^"~~ S" c d e^"~~ S" f g a b
2486 From the beginning of the 17th century the scales used in European
2487 compositional music are primarily the major and the minor scales. In
2488 the harmonic minor scale type an augmented second (A) occurs between
2489 the 6th and 7th tone.
2491 @lilypond[fragment,notime,ragged-right]
2492 \set Score.automaticBars = ##f
2496 \override TextScript #'padding = #-4
2497 e^"~~ S" f g a b^"~~ S" c
2505 @lilypond[fragment,notime,ragged-right]
2506 \set Score.automaticBars = ##f
2510 \override TextScript #'padding = #-4
2511 b^"~~ S" c d e^"~~ S" f g a
2519 @lilypond[fragment,notime,ragged-right]
2520 \set Score.automaticBars = ##f
2524 \override TextScript #'padding = #-4
2525 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2527 \context Lyrics \lyrics {
2533 @lilypond[fragment,notime,line-width=13.0\cm]
2534 \set Score.automaticBars = ##f
2535 %\override Score.LyricText #'font-style = #'large
2536 %\override Score.TextScript #'font-style = #'large
2540 \override TextScript #'padding = #-4
2541 b^"~~ S" c d e fis gis^"~~ S" a
2544 "Melodic minor ascending"
2549 @lilypond[fragment,notime,line-width=13.0\cm]
2550 \set Score.automaticBars = ##f
2551 %\override Score.LyricText #'font-style = #'large
2552 %\override Score.TextScript #'font-style = #'large
2556 \override TextScript #'padding = #-4
2557 a g! f!^"~~ S" e d c^"~~ S" b a
2560 "Melodic minor descending"
2567 @section didymic comma
2571 @ref{syntonic comma}.
2574 @node diminished interval
2575 @section diminished interval
2577 ES: intervalo disminuido,
2578 I: intervallo diminuito,
2579 F: intervalle diminué,
2580 D: vermindertes Intervall,
2581 NL: verminderd interval,
2582 DK: formindsket interval,
2583 S: förminskat intervall,
2584 FI: vähennetty intervalli.
2601 FI: diminuendo, hiljentyen.
2620 @c TODO: add definition
2622 This is a placeholder for diminution (wrt mensural notation).
2626 @ref{augmentation}, @ref{mensural notation}.
2646 @node disjunct movement
2647 @section disjunct movement
2649 ES: movimiento disjunto,
2651 F: mouvement disjoint,
2652 D: sprunghafte Bewegung,
2653 NL: sprongsgewijze beweging,
2654 DK: springende bevægelse,
2655 S: hoppande rörelse,
2656 FI: melodian hyppivä liike.
2658 Progressing melodically by intervals larger than a major second, as
2659 opposed to @ref{conjunct movement}.
2661 @lilypond[fragment,ragged-right]
2666 a4. gis8 b a e cis |
2667 fis2 d4. \bar "||" }
2674 @ref{dissonant interval}.
2677 @node dissonant interval
2678 @section dissonant interval
2680 ES: intervalo disonante, disonancia,
2681 I: intervallo dissonante, dissonanza,
2684 NL: dissonant interval, dissonant,
2685 DK: dissonerende interval, dissonans,
2687 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2704 FI: dominantti, huippusointu.
2706 The fifth @ref{scale degree} in @ref{functional harmony}.
2709 @node dominant ninth chord
2710 @section dominant ninth chord
2712 ES: acorde de novena de dominante,
2713 I: accordo di nona di dominante,
2714 F: accord de neuvième dominante,
2715 D: Domi@-nant@-nonen@-akkord,
2716 NL: dominant noon akkoord,
2717 DK: dominantnoneakkord,
2718 S: dominantnonackord,
2719 FI: dominanttinoonisointu.
2723 @ref{chord}, @ref{functional harmony}.
2726 @node dominant seventh chord
2727 @section dominant seventh chord
2729 ES: acorde de séptima de dominante,
2730 I: accordo di settima di dominante,
2731 F: accord de septième dominante,
2732 D: Dominantseptakkord,
2733 NL: dominant septiem akkoord,
2734 DK: dominantseptimakkord,
2735 S: dominantseptimackord,
2736 FI: dominanttiseptimisointu.
2740 @ref{chord}, @ref{functional harmony}.
2744 @section dorian mode
2749 D: dorisch, dorischer Kirchenton,
2750 NL: dorische toonladder,
2757 @ref{diatonic scale}.
2760 @node dot (augmentation dot)
2761 @section dot (augmentation dot)
2764 I: punto (di valore),
2766 D: Punkt (Verlängerungspunkt),
2774 @ref{dotted note}, @ref{note value}.
2778 @section dotted note
2780 ES: nota con puntillo,
2784 NL: gepuncteerde noot,
2787 FI: pisteellinen nuotti.
2794 @node double appoggiatura
2795 @section double appoggiatura
2797 ES: apoyatura doble,
2798 I: appoggiatura doppia,
2799 F: appoggiature double,
2800 D: doppelter Vorschlag,
2801 NL: dubbele voorslag,
2802 DK: dobbelt forslag,
2804 FI: kaksoisappogiatura, kaksoisetuhele.
2811 @node double bar line
2812 @section double bar line
2818 NL: dubbele maatstreep,
2821 FI: kaksoistahtiviiva.
2823 Indicates the end of a section within a movement.
2826 @node double dotted note
2827 @section double dotted note
2829 ES: nota con doble puntillo,
2830 I: nota doppiamente puntata,
2831 F: note doublement pointée,
2832 D: doppelt punktierte Note,
2833 NL: dubbelgepuncteerde noot,
2834 DK: dob@-belt@-punk@-te@-ret node,
2835 S: dub@-bel@-punk@-te@-rad not,
2836 FI: kaksoispisteellinen nuotti.
2844 @section double flat
2853 FI: kaksoisalennusmerkki.
2861 @section double sharp
2863 ES: doble sostenido,
2868 DK: dob@-belt@-kryds,
2870 FI: kaksoisylennysmerkki.
2877 @node double time signature
2878 @section double time signature
2891 @ref{polymetric time signature}.
2895 @section double trill
2901 NL: dubbele triller,
2906 A simultaneous trill on two notes, usually in the distance of a third.
2910 @section duple meter
2915 D: in zwei, grader Takt,
2916 NL: tweedelige maatsoort,
2953 FI: kesto, aika-arvo.
2963 ES: dinámica, matices,
2966 D: Dynamik, Lautstärke,
2972 The aspect of music relating to degrees of loudness, or changes from
2973 one degree to another. The terms, abbreviations, and symbols used to
2974 indicate this information are called dynamic marks.
2978 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3001 @node ecclesiastical mode
3002 @section ecclesiastical mode
3010 @section eighth note
3017 @item D: Achtel, Achtelnote
3018 @item NL: achtste noot
3019 @item DK: ottendedelsnode
3020 @item S: åttondelsnot
3021 @item FI: kahdeksasosanuotti
3030 @section eighth rest
3033 @item UK: quaver rest
3034 @item ES: silencio de corchea
3035 @item I: pausa di croma
3036 @item F: demi-soupir
3037 @item D: Achtelpause
3038 @item NL: achtste rust
3039 @item DK: ottendedelspause
3040 @item S: åttonddelspaus
3041 @item FI: kahdeksasosatauko
3052 @c TODO: add languages
3063 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3066 The singing of several syllables on a single note. Elision may be indicated
3067 by a lyric tie, which is looks like (and serves the same function) as a
3076 @section embellishment
3089 D: Notenstich, Notendruck
3095 Engraving means incising or etching a metal plate for printing.
3096 Photoengraving means drawing music with ink in a manner similar to
3097 drafting or engineering drawing, using similar tools.
3099 The traditional process of music printing is done through cutting in a
3100 plate of metal. Now also the term for the art of music typesetting.
3115 Two notes, intervals, or scales are enharmonic if they have different
3116 names but equal pitch.
3118 @lilypond[fragment,notime,line-width=13.0\cm]
3119 \set Score.automaticBars = ##f
3121 \context Staff \relative c'' {
3122 gis1 as <des g,!> <cis g!>
3124 \context Lyrics \lyrics {
3125 \override Lyrics .LyricText #'self-alignment-X = #-1
3126 "g sharp " "a flat " "dim fifth " "augm fourth"
3132 @node equal temperament
3133 @section equal temperament
3135 ES: temperamento igual,
3136 I: temperamento equabile,
3137 F: tempérament égal,
3138 D: gleichschwebende Stimmung,
3139 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3140 DK: ligesvævende temperatur,
3141 S: liksvävande temperatur,
3144 Tuning system dividing the octave into 12 equal @ref{semitone}s
3145 (precisely 100 @ref{cent}s).
3152 @node expression mark
3153 @section expression mark
3156 I: segno d'espressione,
3157 F: signe d'expression, indication de nuance,
3159 NL: voordrachtsteken,
3160 DK: foredragsbetegnelse,
3161 S: föredragsbeteckning,
3162 FI: nyanssiosoitus, esitysmerkki.
3164 Performance indications concerning:
3168 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3170 @item tempo (for example @ref{andante}, @ref{allegro}).
3176 @section extender line
3178 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3180 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3187 The generic term for a line (or dash) of arbitrary length that extends
3188 text (without indicating the musical @emph{function} of that text).
3190 Used in many contexts, for example:
3194 @item In vocal music to indicate the syllable for a melisma. Called
3195 @q{extension} in the
3196 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3200 In figured (or thorough) bass to indicate that:
3204 @item The extended note should be held through a change in harmony, when applied
3205 to one figure --OR--
3206 @item The chord thus represented should be held above a moving bass line, when
3207 applied to more than one figure.
3208 @item These uses were not completely standardized, and some composers used a
3209 single extender line to indicate the latter case.
3214 In string music to indicate that all notes in the passage thus indicated should
3215 be played on the same string. On the violin, for example, a series of notes to
3216 be played on the G string would be indicated @samp{sul G}, another series to be
3217 played on the D string would be indicated @samp{sul D}, and so on.
3220 With an octave mark to indicate that a passage is to be played higher or lower
3221 by the given number of octaves.
3227 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3262 The position between the dots of the key symbol is the line of the F
3263 below central@w{ }C. Used on the third, fourth and fifth note line.
3264 A digit@w{ }8 above the clef symbol indicates that the notes must be
3265 played an octave higher (for example, bass recorder) while 8@w{ }below
3266 the clef symbol indicates playing an octave lower (for example, on
3267 double bass @ref{strings}).
3269 @lilypond[fragment,notime,line-width=13.0\cm]
3270 \set Score.automaticBars = ##f
3271 \override Staff.Clef #'full-size-change = ##t
3299 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3302 @node feathered beam
3303 @section feathered beam
3307 F: liens de croches en soufflet,
3308 D: gespreizter Balken,
3314 A type of beam used to indicate that a small group of notes should be
3315 played at an increasing or decreasing tempo -- depending on the
3316 direction of @q{feathering} -- but without changing the overall tempo
3321 Internals Reference: @ruser{Manual beams}
3329 F: point d'orgue, point d'arrêt,
3334 FI: fermaatti, pidäke.
3336 Prolonged note or rest of indefinite duration.
3338 @lilypond[fragment,ragged-right]
3341 a4 b c2^\fermata \bar "|."
3364 @section figured bass
3368 @ref{thorough bass}.
3383 The methodical use of fingers in the playing of instruments.
3390 I: coda (uncinata), bandiera,
3398 Ornament at the end of the stem of a note used for notes with values
3399 less than a quarter note. The number of flags determines the
3402 @lilypond[fragment,notime,ragged-right]
3403 \set Score.automaticBars = ##f
3404 %\override Score.TextScript #'font-style = #'large
3449 FI: forte, voimakkaasti.
3451 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3452 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3472 @node Frenched score
3473 @section Frenched score
3475 ES: partitura a la francesa,
3484 A @q{condensed} score, produced by omitting staves for instruments that are not
3485 playing at the moment, and by moving up additional systems from following pages
3486 to take up the space thus liberated, which reduces the total number of pages
3487 used to print the work.
3489 The specific rules for @q{frenching} a score differ from publisher to publisher.
3490 If you are producing scores for eventual publication by a commercial publisher,
3491 you may wish to procure a copy of their style manual.
3495 @ref{Frenched staff}.
3498 @node Frenched staff
3499 @section Frenched staff
3501 ES: pentagrama a la francesa,
3510 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3511 measures or sections removed. This would be useful for producing, for example,
3512 an @emph{ossia} staff.
3519 @node Frenched staves
3520 @section Frenched staves
3522 ES: pentagramas a la francesa,
3531 The plural of @ref{Frenched staff}, @emph{q.v.}.
3551 @node functional harmony
3552 @section functional harmony
3554 ES: armonía funcional,
3555 I: armonia funzionale,
3556 F: étude des functions,
3558 NL: functionele harmonie,
3559 DK: funktionsanalyse, funktionsharmonik,
3561 FI: harmoniajärjestelmä.
3563 A system of harmonic analysis. It is based on the idea that, in a
3564 given key, there are only three functionally different chords: tonic
3565 (T, the chord on the first note of the scale), subdominant (S, the
3566 chord on the fourth note), and dominant (D, the chord on the fifth
3567 note). Others are considered to be variants of the base chords.
3569 @lilypond[fragment,notime,line-width=13.0\cm]
3570 \set Score.automaticBars = ##f
3572 \context Voice \relative c'' {
3573 <g e c >1 < a f d > < b g e >
3574 <c a f > < d b g > < e c a > < f d b > }
3575 \context Lyrics \lyrics {
3576 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3606 D: G-Schlüssel, Violinschlüssel,
3612 A clef symbol indicating the G above middle@w{ }C. Used on the first
3613 and second note lines. A digit 8 above the clef symbol indicates that
3614 the notes must be played an octave higher while 8 below the clef
3615 symbol indicates playing or singing an octave lower (most tenor parts
3616 in choral scores are notated like that).
3618 @lilypond[fragment,notime,ragged-right]
3620 \set Score.automaticBars = ##f
3621 \override Staff.Clef #'full-size-change = ##t
3624 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3634 \context Lyrics \lyrics {
3635 \override Lyrics . LyricText #'X-offset = #-5
3636 "french violin clef"
3655 FI: glissando, liukuen.
3657 Letting the pitch slide fluently from one note to the other.
3661 @section grace notes
3663 ES: notas de adorno,
3666 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3672 Notes printed in small types to indicate that their time values are not
3673 counted in the rhythm of the bar.
3677 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3682 @section grand staff
3684 ES: sistema de piano,
3687 D: Akkolade, Klaviersystem,
3690 S: ackolad, böjd klammer,
3691 FI: kaksoisnuottiviivasto.
3693 A combination of two staves with a brace. Usually used for piano music.
3710 FI: grave, raskaasti.
3737 Letter name used for @samp{B natural} in German and Scandinavian
3738 usage. In the standard usage of these countries, @samp{B} means
3743 @ref{Pitch names}, @ref{B}
3753 D: Halbe, halbe Note,
3768 ES: silencio de blanca,
3782 @node harmonic cadence
3783 @section harmonic cadence
3785 ES: cadencia (armónica),
3786 I: cadenza (armonica),
3787 F: cadence harmonique,
3789 NL: harmonische cadens,
3790 DK: harmonisk kadence,
3791 S: (harmonisk) kadens,
3792 FI: harmoninen kadenssi.
3794 A sequence of chords that terminates a musical phrase or section.
3796 @ref{functional harmony}.
3798 @lilypond[fragment,ragged-right]
3799 \context PianoStaff <<
3800 \context Staff = SA \relative c'' {
3804 \partial 4 < c g e >4 |
3805 < c a f > < b g d > < c g e >2
3808 \context Staff = SB \relative c {
3810 \partial 4 c4 | f, g c2
3828 D: Harmonie, Zusammenklang,
3832 FI: harmonia, yhteissointi.
3834 Tones sounding simultaneously. Two note harmonies fall into the
3835 categories @emph{consonances} and @emph{dissonances}.
3839 @lilypond[fragment,notime,line-width=13.0\cm]
3840 \set Score.automaticBars = ##f
3841 %\override Score.TextScript #'font-style = #'large
3842 \context Voice \relative c'' {
3855 @lilypond[fragment,notime,line-width=13.0\cm]
3856 \set Score.automaticBars = ##f
3857 %\override Score.TextScript #'font-style = #'large
3858 \context Voice \relative c'' {
3859 <g a>1_"second " s s
3860 <g f'>_"seventh " s s
3865 Three note harmony @ref{chord}.
3880 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3881 the use of three notes of equal value in the time normally occupied by
3882 of two notes of equal value. The resulting rhythm can be expressed in
3883 modern terms as a substitution (for example) of a bar in 3/2 for one
3884 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3885 hemiola is most frequently as a special effect (or @emph{affect}) at
3888 For example, this phrase in 6/4 time
3890 @lilypond[fragment,line-width=13.0\cm]
3894 c2. e | d2 c d | c1. \bar "||" }
3897 may be thought of having alternating time signatures
3899 @lilypond[fragment,line-width=13.0\cm]
3903 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3906 and is therefore a polymeter (second definition) of considerable antiquity.
3910 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3923 FI: homofonia, yksiäänisyys.
3925 Music in which one voice leads melodically followed by the other
3926 voices more or less in the same rhythm. In contrast to
3940 FI: intervalli, kahden sävelen korkeusero.
3942 Difference in pitch between two notes. Intervals may be perfect,
3943 minor, major, diminished, or augmented. The augmented fourth and the
3944 diminished fifth are identical (@ref{enharmonic}) and are called
3945 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3946 addition of such two intervals forms an octave.
3948 @lilypond[fragment,notime,line-width=13.0\cm]
3949 \set Score.automaticBars = ##f
3951 \context Voice \relative c'' {
3961 \context Lyrics \lyrics {
3962 "unison " "second " "second " "second "
3963 "third " "third " "third " "third"
3968 @lilypond[fragment,notime,line-width=13.0\cm]
3969 \set Score.automaticBars = ##f
3971 \context Staff \relative c'' {
3982 "fourth " "fourth " "fifth " "fifth "
3983 "sixth " "sixth " "sixth " "sixth"
3988 @lilypond[fragment,notime,line-width=13.0\cm]
3989 \set Score.automaticBars = ##f
3991 \context Staff \relative c'' {
3992 < gis f'! >1^"dimin"
4001 \context Lyrics \lyrics {
4002 "seventh " "seventh " "seventh " "octave "
4003 "ninth " "ninth " "tenth " "tenth"
4009 @node inverted interval
4010 @section inverted interval
4012 ES: intervalo invertido,
4013 I: intervallo rivolto,
4014 F: intervalle reversé,
4015 D: umgekehrtes Intervall,
4016 NL: interval inversie,
4017 DK: omvendingsinterval,
4018 S: intervallets omvändning,
4019 FI: käänteisintervalli.
4021 The difference between an interval and an octave.
4023 @lilypond[fragment,notime,line-width=13.0\cm]
4024 \set Score.automaticBars = ##f
4025 %\override Score.TextScript #'font-style = #'large
4026 \context Staff \relative c'' {
4027 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4028 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4029 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4034 @node just intonation
4035 @section just intonation
4037 ES: entonación justa,
4038 I: intonazione giusta,
4039 F: intonation juste,
4046 Tuning system in which the notes are obtained by adding and subtracting
4047 natural fifths and thirds.
4064 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4065 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4069 @ref{key signature}.
4073 @section key signature
4075 ES: armadura (de la clave),
4076 I: armatura di chiave,
4077 F: armure, armature [de la clé],
4078 D: Vorzeichen, Tonart,
4079 NL: toon@-soort (voortekens),
4082 FI: sävellajiosoitus.
4084 The sharps or flats appearing at the beginning of each staff indicating the
4090 @node laissez vibrer
4091 @section laissez vibrer
4102 [From French, @q{Let vibrate}]. Most frequently associated with harp
4103 parts. Marked @samp{l.v.} in the score.
4112 D: Largo, Langsam, Breit,
4116 FI: largo, hitaasti, leveästi.
4118 Very slow in tempo, usually combined with great expressiveness.
4119 @emph{Larghetto} is less slow than largo.
4123 @section leading note
4134 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4135 called because of its strong tendency to @q{lead up} (resolve upwards)
4136 to the tonic scale degree.
4140 @section ledger line
4142 ES: línea adicional,
4143 I: tagli addizionali,
4144 F: ligne supplémentaire,
4151 A ledger line is an extension of the staff.
4153 @lilypond[fragment,notime,ragged-right]
4154 \set Score.automaticBars = ##f
4155 \relative c'' { a,1 s c'' }
4165 D: legato, gebunden,
4171 To be performed (a) without any perceptible interruption between the
4172 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4173 @emph{portato}, and (d) @ref{staccato}.
4175 @lilypond[fragment,notime,line-width=13.0\cm]
4176 \set Score.automaticBars = ##f
4178 \context Staff \relative c'' {
4179 c4-( d e-) \bar "||"
4180 c4-- d-- e-- \bar "||"
4181 c4-.-( d-. e-.-) \bar "||"
4182 c4-. d-. e-. \bar "||"
4195 @section legato curve
4199 @ref{slur}, @ref{legato}.
4222 A ligature is a coherent graphical symbol that represents at least two
4223 distinct notes. Ligatures originally appeared in the manuscripts of
4224 Gregorian chant notation roughly since the 9th century to denote ascending
4225 or descending sequences of notes. In early notation, ligatures were used
4226 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4227 performance in the sense of articulation. With the invention of the metric
4228 system of the white mensural notation, the need for ligatures to denote such
4229 patterns disappeared.
4233 @ref{mensural notation}.
4240 ES: estanque de nenúfares,
4241 I: stagno del giglio,
4242 F: étang de nénuphars, étang de nymphéas,
4244 NL: le@-lie@-vij@-ver,
4249 A pond with lilies floating in it.
4250 Also, the name of a music typesetting program.
4259 D: Linie, Notenlinie,
4263 FI: viiva, nuottiviiva.
4282 [From Italian, @q{place}]. Instruction to play the following passage at the
4283 written pitch. Cancels octave mark (q.v.).
4287 @ref{octave mark}, @ref{octave marking}.
4290 @node long appoggiatura
4291 @section long appoggiatura
4293 ES: apoyatura larga,
4294 I: appoggiatura lunga,
4295 F: appoggiature longue,
4300 FI: pitkä appoggiatura, pitkä etuhele.
4319 Note value: double length of @ref{breve}.
4321 @lilypond[fragment,notime,ragged-right]
4322 \set Score.automaticBars = ##f
4324 \override NoteHead #'style = #'mensural
4337 ES: ligadura de letra,
4346 @c TODO: add languages
4356 ES: letra (de la canción),
4359 D: Liedtext, Gesangtext,
4380 @ref{diatonic scale}.
4383 @node major interval
4384 @section major interval
4386 ES: intervalo mayor,
4387 I: intervallo maggiore,
4388 F: intervalle majeur,
4389 D: großes Intervall,
4393 FI: suuri intervalli.
4400 @node meantone temperament
4401 @section meantone temperament
4403 ES: afinación mesotónica,
4404 I: accordatura mesotonica,
4405 F: tempérament mésotonique,
4406 D: mitteltönige Stimmung,
4407 NL: middenstemming, middentoonstemming,
4408 DK: middeltonetemperatur,
4409 S: medeltonstemperatur,
4410 FI: keskisävelviritys.
4412 Temperament yielding acoustically pure thirds by decreasing the
4413 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4414 character of this @ref{temperament} only a limited set of keys are
4415 playable. Used for tuning keyboard instruments for performance of
4431 A group of @ref{beat}s (units of musical time) the first of which
4432 bears an accent. Such groups in numbers of two or more recur
4433 consistently throughout the composition and are marked from each other
4439 @node measure repeat
4440 @section measure repeat
4444 @ref{percent repeat}.
4451 I: mediante, modale,
4461 @item The third @b{scale degree}.
4463 @item A @ref{chord} having its base tone a third from that of another
4464 chord. For example, the tonic chord may be replaced by its lower
4465 mediant (variant tonic).
4470 @ref{functional harmony}, @ref{relative key}.
4483 FI: melisma, laulettavan tavun sävelkuvio.
4485 A melisma (plural, from Greek: melismata) is a group of notes or tones
4486 sung on one syllable, especially as applied to liturgical chant.
4490 @section melisma line
4492 @c TODO: add languages
4494 ES: línea de melisma,
4505 @ref{extender line}.
4508 @node melodic cadence
4509 @section melodic cadence
4516 @node mensural notation
4517 @section mensural notation
4519 @c TODO: add languages
4521 ES: notación mensural,
4530 A system of duration notation whose principles were first established in the
4531 mid-13th century, and that (with various changes) remained in use until about
4532 1600. As such, it is the basis for the notation of rhythms in Western musical
4535 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4536 of the notation's principles, so the notation of this earliest period is called
4537 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4538 and semibreve -- each of which was normally equivalent to three of the next
4541 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4542 added several note values (the minim, semiminim and fusa) and extended Franco's
4543 principles to govern the relationship between these values. They also put the
4544 duple division of note values on an equal footing with the earlier (preferred)
4547 TODO: continue description of French and Italian black notation, and the
4548 relationship betwixt them.
4550 @b{White or void mensural notation}
4552 In the 15th century, hollow (or void) notes began to substitute for the earlier
4553 solid black ones, which were then free to assume the function of red (or
4554 colored) notes in the earlier notation. ...
4556 TODO: add to definition (including summary info on proportional notation)
4560 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4561 @c TODO: more cross-references?
4569 F: indication de mesure, mesure,
4576 The pattern of note values and accents in a composition or a section thereof.
4577 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4578 by grouping beats and by subdividing the primary beat.
4580 @b{By grouping beats}:
4584 @item @b{duple}: groups of two.
4585 @item @b{triple}: groups of three.
4586 @item @b{quadruple}: groups of four. A special case of duple meter.
4587 @item @b{quintuple}: groups of five beats.
4588 @item @b{sextuple} meter: groups of six. A special case of:
4592 @item duple meter, subdivided in three; or
4593 @item triple meter, subdivided in two.
4597 @item @b{septuple} meter: groups of seven.
4602 Other than triple meter and its subdivided variants (see below), meters that
4603 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4604 frequently used prior to the 20th Century.
4606 @b{By subdividing the primary beat}:
4610 @item simple: groups of two.
4614 @item duple: 2/2, 2/4, 2/8
4615 @item triple: 3/2, 3/4, 3/8
4616 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4620 @item compound: groups of three.
4626 @item quadruple: 12/8
4632 Time signatures are placed at the beginning of a composition (or section) to
4633 indicate the meter. For instance, a piece written in simple triple meter with a
4634 beat on each quarter note is conventionally written with a time signature of
4635 3/4. Here are some combinations of the two classifications above:
4637 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4639 @lilypond[fragment,line-width=13.0\cm]
4643 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4646 Simple triple meter:
4648 @lilypond[fragment,line-width=13.0\cm]
4652 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4655 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4657 @lilypond[fragment,line-width=13.0\cm]
4661 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4664 Simple quintuple meter (B. Marcello, 1686-1739):
4666 @lilypond[fragment,line-width=13.0\cm]
4670 r4 cis8 bis ais4 dis c8 ais |
4671 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4674 Compound duple meter (unknown):
4676 @lilypond[fragment,line-width=13.0\cm]
4680 f8 f g a bes16 a g f |
4681 g8 g bes a c16 a bes g
4685 Compound triple meter (J.S. Bach, 1685-1750):
4687 @lilypond[fragment,line-width=13.0\cm]
4691 r8 g'( a) b( d c) c( e d) |
4692 d( g fis) g( d b) g( a b)
4696 Compound quadruple meter (P. Yon, 1886-1943):
4698 @lilypond[fragment,line-width=13.0\cm]
4702 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4703 e4 e8 fis( gis) a b4.~ b4 b8
4707 @b{@q{Monometer} vs Polymeter}
4709 TODO: add information from discussion on lilypond-user related to polymeter.
4713 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4728 Device indicating the exact tempo of a piece.
4730 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4731 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4732 divisions, and patented it as a "metronome". The inevitable lawsuit that
4733 followed acknowledged Winkler as the creator, but by then Mälzel had already
4734 sold many of them, and people had taken to calling it a Mälzel Metronome.
4738 @ref{metronome mark}.
4741 @node metronome mark
4742 @section metronome mark
4744 ES: indicación metronómica,
4745 I: indicazione metronomica,
4746 F: indication métronomique,
4748 NL: metronoom aanduiding,
4750 S: metronomangivelse,
4751 FI: metronomiosoitus.
4753 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4754 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4762 @node metronomic indication
4763 @section metronomic indication
4767 @ref{metronome mark}
4771 @section mezzo-soprano
4782 The female voice between @ref{soprano} and @ref{contralto}.
4791 D: eingestrichenes@w{ }c,
4793 DK: enstreget@w{ }c,
4794 S: ettstruket@w{ }c,
4797 First C below the 440 Hz A.
4799 @lilypond[fragment,notime,ragged-right]
4800 \set Score.automaticBars = ##f
4801 \override Staff.Clef #'full-size-change = ##t
4824 @ref{diatonic scale}.
4827 @node minor interval
4828 @section minor interval
4830 ES: intervalo menor,
4831 I: intervallo minore,
4832 F: intervalle mineur,
4833 D: kleines Intervall,
4837 FI: pieni intervalli.
4844 @node mixolydian mode
4845 @section mixolydian mode
4849 @ref{diatonic scale}.
4858 D: Kirchentonart, Modus,
4862 FI: moodi, kirkkosävelasteikko.
4866 @ref{church mode}, @ref{diatonic scale}.
4879 FI: modulaatio, sävellajin vaihdos.
4881 Moving from one @ref{key} to another. For example, the second subject
4882 of a @ref{sonata form} movement modulates to the dominant key if the
4883 key is major and to the @ref{relative key} if the key is minor.
4895 FI: mordent, korukuvio.
4920 FI: teema, sävelaihe.
4922 The briefest intelligible and self-contained fragment of a musical
4925 @lilypond[line-width=13.0\cm]
4928 \set Score.implicitTimeSignatureVisibility = #all-invisible
4929 \override Score.TimeSignature #'break-visibility = #all-invisible
4932 \partial 8 g16\startGroup fis |
4933 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4934 g8 g,16 a b8 cis d16 s
4938 \Staff \consists "Horizontal_bracket_engraver"
4956 Greater musical works like @ref{symphony} and @ref{sonata} most often
4957 consist of several -- more or less -- independant pieces called
4961 @node multi-measure rest
4962 @section multi-measure rest
4964 ES: compases de espera,
4968 D: mehrtaktige Pause, Kirchenpause,
4971 FI: usean tahdin mittainen tauko.
4973 Multi-measure rests are conventionally typeset with a combination of
4974 longa, breve and whole rests for shorter and a long horizontal bar for
4975 longer spans of rest, with a number above to indicate the duration (in
4976 measures) of the rest. The former style is called @q{Kirchenpausen} in
4977 German, as a reminiscence of its use in Renaissance vocal polyphony.
4979 @lilypond[fragment,ragged-right]
4982 \set Score.skipBars = ##t R1*3
4984 \set Score.skipBars = ##t R1*122
4991 @ref{longa}, @ref{breve}.
5000 D: Auflösungszeichen,
5001 NL: herstellingsteken,
5002 DK: op@-løsningstegn,
5003 S: återställningstecken,
5011 @node neighbour tones
5012 @section neighbour tones
5016 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5057 Notes are signs by means of which music is fixed in writing. The term is also
5058 used for the sound indicated by a note, and even for the key of the piano
5059 which produces the sound. However, a clear distinction between the terms tone
5060 and @ref{note} is strongly recommended. Briefly, one sees a note,
5068 I: testa, testina, capocchia,
5076 A head-like sign which indicates pitch by its position on a
5077 @ref{staff} provided with a @ref{clef}, and duration
5078 by a variety of shapes such as hollow or black heads with or without
5079 @ref{stem}s, @ref{flag}s, etc. For percussion
5080 instruments (often having no defined pitch) the note head may indicate the
5095 ES: valor (duración),
5097 F: durée, valeur (d'une note),
5102 FI: nuotin aika-arvo.
5104 Note values (durations) are measured as fractions, normally 1/2, of
5105 the next higher note value. The longest duration normally used is
5106 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5107 double-length note value @emph{longa} or the quadruple-length note
5108 value @emph{maxima} are used.
5110 @c TODO -- add maxima to this example, in a way that doesn't break it.
5112 @lilypond[fragment,notime,line-width=13.0\cm]
5113 %\override Score.TextScript #'font-style = #'large
5114 \set Score.automaticBars = ##f
5116 \override NoteHead #'style = #'mensural
5117 a\longa_"longa" a\breve_"breve"
5118 \revert NoteHead #'style
5119 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5120 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5123 @c TODO -- add maxima rest to this example
5125 @lilypond[fragment,notime,line-width=13.0\cm]
5126 %\override Score.TextScript #'font-style = #'large
5127 \set Score.automaticBars = ##f
5129 r\longa_"longa" r\breve_"breve"
5130 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5131 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5134 An augmentation dot after a note multiplies the duration by one and a
5135 half. Another dot adds yet a fourth of the duration.
5137 @lilypond[fragment,line-width=13.0\cm]
5138 %\override Score.TextScript #'font-style = #'large
5141 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5142 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5145 Alternatively note values may be subdivided by other ratios. Most common is
5146 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5147 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5148 dotted notes are also frequently used.
5150 @lilypond[fragment,line-width=13.0\cm]
5151 %\override Score.TextScript #'font-style = #'large
5154 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5155 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5159 @lilypond[fragment,line-width=13.0\cm]
5162 \times 3/2 {g4_"duplets" g} |
5164 \times 6/4 {g8_"quadruplets" g g g} |
5165 g8 g g g g4 \bar "||"
5175 @ref{octave marking}.
5190 The interval of an octave, sometimes abbreviated @samp{8ve}.
5192 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5193 bracket, or @samp{loco} see octave marking.
5197 @ref{interval}, @ref{octave marking}.
5201 @section octave mark
5203 ES: indicación de octava,
5212 The phrase, abbreviation, or other mark used (with or without an extender line
5213 or bracket) to indicate that the music is to be played in a different octave:
5217 @item @samp{15ma}: play two octaves higher
5218 @item @samp{8va}: play one octave higher
5219 @item @samp{8vb}: play one octave lower
5220 @item @samp{8va} (written below the passage): same as @samp{8vb}
5221 @item @samp{15vb}: play two octaves lower
5222 @item @samp{15va} (written below the passage): same as @samp{15vb}
5226 For longer passages, it may be more practical to mark the octave change at the
5227 beginning with a phrase (see the list below for examples), but without a bracket
5228 or extender line. Then, when the music returns to the written pitch, the octave
5229 change is cancelled with the word @emph{loco} (q.v.).
5231 To parallel the list above:
5235 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5236 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5237 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5238 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5242 In the phrases above, @emph{quindicesima} is sometimes replaced with
5243 @emph{quindecima}, which is Latin.
5245 Finally, the music on an entire staff can be marked to be played in a different
5246 octave by putting an 8 or 15 above or below the clef at the beginning. This
5247 octave mark can be applied to any clef, but it is most frequently used with the
5252 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5255 @node octave marking
5256 @section octave marking
5265 FI: oktaavamerkintä.
5267 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5268 that it is to be played in a different octave. If applied to the clef at the
5269 beginning of the staff, all music on that staff is to played at the indicated
5272 For a list of the specific marks used, see @ref{octave mark}.
5276 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5280 @section octave sign
5291 I: abbellimento, fioriture,
5292 F: agrément, ornement,
5293 D: Verzierung, Ornament,
5299 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5300 with the diatonic @ref{second} above it. In the music from the
5301 middle of the 19th century and onwards the trill is performed with the main
5302 note first while in the music from the preceding baroque and classic periods
5303 the upper note is played first.
5305 @lilypond[fragment,line-width=13.0\cm]
5307 \context Staff = sa {
5308 % \override Score.TextScript #'font-style = #'large
5310 c2._"pre-1850" b4\trill | c1 \bar "||"
5311 c2._"post-1850" b4\trill | c1 \bar "||"
5315 c2. c32 b c b c b c b | c1
5316 c2. b32 c b c \times 4/5 { b c b c b } | c1
5321 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5323 @emph{prall} (inverted mordent).
5325 @lilypond[fragment,line-width=13.0\cm]
5327 \context Staff = sa {
5328 % \override Score.TextScript #'font-style = #'large
5330 a4_"turn" b\turn c2 \bar "||"
5331 g4_"mordent" a b\mordent a \bar "||"
5332 e'4_"prall" d\prall c2 \bar "||"
5338 e'4 e32[ d e d ~ d8] c2
5345 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5358 FI: ossia, vaihtoehtoinen esitystapa.
5360 Ossia (otherwise) marks an alternative. It is an added staff or piano
5361 score, usually only a few measures long, which presents another version
5362 of the music, for example for small hands.
5375 FI: stemma, instrumenttiosuus.
5379 @item In instrumental or choral music, the music for a single
5380 instrument or voice.
5382 @item in contrapuntal music, a single melodic line in the contrapuntal
5408 @node percent repeat
5409 @section percent repeat
5411 LilyPond-specific term to indicate the repetition of a musical expression on a
5412 single staff, as opposed to the more usual definition of repeat, which affects
5413 all parts. The musical expression can be anything from a single note or note
5414 pattern to one or more measures. There are other names for this symbol:
5419 @item slash mark, or slash repeat
5421 @item measure (or multi-measure) repeat
5425 @lilypond[fragment,line-width=13.0\cm]
5428 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5429 \repeat percent 2 { c4 e g b_"Measure repeat" }
5430 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5437 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5438 Vermont Music Dictionary}.
5447 D: Schlagzeug, Schlagwerk,
5453 A family of musical instruments which are played on by striking or
5454 shaking. Percussion instruments commonly used in a symphony orchestra are
5455 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5456 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5460 @node perfect interval
5461 @section perfect interval
5463 ES: intervalo justo,
5464 I: intervallo giusto,
5465 F: intervalle juste,
5466 D: reines Intervall,
5470 FI: puhdas intervalli.
5489 A natural division of the melodic line, comparable to a sentence of speech.
5502 FI: fraseeraus, jäsentäminen.
5504 The clear rendering in musical performance of the @ref{phrase}s of
5505 the melody. Phrasing may be indicated by a @ref{slur}.
5520 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5521 @emph{mezzo piano} (@b{mp}) medium soft.
5529 F: anacrouse, levée,
5555 @item The perceived quality of a sound that is primarily a function of its
5556 fundamental frequency.
5558 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5560 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5561 association of a particular frequency with a particular pitch name, e.g., c' =
5578 NL: pizzicato, getokkeld,
5581 FI: pizzicato, näppäillen.
5583 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5590 ES: compás polimétrico,
5601 @item The simultaneous use of two or more meters, in two or more parts.
5603 @item The @emph{successive} use of different meters in one or more parts.
5609 @ref{polymetric} (adj.)
5624 Using two or more metric frameworks simultaneously or in alternation.
5628 @ref{polymeter} (noun)
5631 @node polymetric time signature
5632 @section polymetric time signature
5634 ES: compás polimétrico,
5643 A time signature that indicates regularly alternating polymetric time.
5656 D: Polyphonie, Mehrstimmigkeit,
5660 FI: polyfonia, moniäänisyys.
5662 Music written in a combination of several simultaneous voices (parts)
5663 of a more or less pronounced individuality.
5682 D: Presto, Sehr schnell,
5683 NL: presto, Sehr schnell,
5686 FI: presto, hyvin nopeasti.
5688 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5689 denotes the highest possible degree of speed.
5704 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5705 relationship between the note values that follow with those that precede; or
5706 between the note values of a passage and the @q{normal} relationship of note
5707 values to the metrical pulse.
5709 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5713 @ref{mensural notation}
5716 @node Pythagorean comma
5717 @section Pythagorean comma
5719 ES: coma pitagórica,
5720 I: comma pitagorico,
5721 F: comma pythagoricien,
5722 D: Pythagoräisches Komma,
5723 NL: komma van Pythagoras,
5724 DK: pythagoræisk komma,
5725 S: pytagoreiskt komma,
5726 FI: pytagorinen komma.
5728 A sequence of fifths starting on C eventually circles back to C, but this C,
5729 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5730 by adding 7 octaves. The difference between those two pitches is called the
5735 @ref{cent}, @ref{temperament}.
5755 @section quarter note
5760 @item I: semiminima, nera
5762 @item D: Viertel, Viertelnote
5764 @item DK: fjerdedelsnode
5765 @item S: fjärdedelsnot
5766 @item FI: neljäsosanuotti
5775 @section quarter rest
5778 @item UK: crotchet rest
5779 @item ES: silencio de negra
5780 @item I: pausa di semiminima
5782 @item D: Viertelpause
5784 @item DK: fjerdedelspause
5785 @item S: fjärdedelspaus
5786 @item FI: neljäsosatauko
5795 @section quarter tone
5797 ES: cuarto de tonno,
5806 An interval equal to half a semitone.
5816 ES: cinquillo, quintillo.
5831 @section rallentando
5836 D: rallentando, langsamer werden,
5840 FI: rallerdando, hidastuen.
5842 Abbreviation "rall.".
5848 @section relative key
5851 I: tonalità relativa,
5852 F: tonalité relative,
5854 NL: paralleltoonsoort,
5855 DK: paralleltoneart,
5857 FI: rinnakkaissävellaji.
5859 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5861 @lilypond[fragment,notime,line-width=13.0\cm]
5862 \set Score.automaticBars = ##f
5863 %\override Score.TextScript #'font-style = #'large
5866 es1_"e flat major" f g as bes c d es
5871 @lilypond[fragment,notime,line-width=13.0\cm]
5872 \set Score.automaticBars = ##f
5873 %\override Score.TextScript #'font-style = #'large
5876 c1_"c minor" d es f g a! b! c \bar "||"
5886 F: barre de reprise,
5889 DK: gen@-ta@-gel@-se,
5893 @lilypond[fragment,line-width=13.0\cm]
5897 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5914 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5915 @c specify the rest's value.
5936 @item Metrical rhythm in which every time value is a multiple or
5937 fraction of a fixed unit of time, called @ref{beat}, and in which the
5938 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5939 The basic scheme of time values is called @ref{meter}.
5941 @item Measured rhythm which lacks regularly recurrent accent. In
5942 modern notation such music appears as a free alternation of different
5945 @item Free rhythm, i.e., the use of temporal values having no common
5946 metrical unit (beat).
5957 D: ritardando, langsamer werden,
5961 FI: ritardando, hidastuen,
5963 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5976 FI: ritenuto, hidastaen.
5978 Immediate reduction of speed.
5991 FI: asteikko, sävelasteikko.
5995 @ref{diatonic scale}.
5999 @section scale degree
6001 ES: grado (de la escala),
6002 I: grado della scala,
6003 F: degré [de la gamme],
6005 NL: trap [van de toonladder],
6008 FI: sävelaste, asteikon sävel.
6010 Names and symbols used in harmonic analysis to denote tones of the
6011 scale as roots of chords. The most important are degrees I = tonic
6012 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6014 @lilypond[fragment,notime,line-width=13.0\cm]
6015 \set Score.automaticBars = ##f
6017 \context Staff \relative c' {
6021 << { I II III IV V VI VII I }
6029 @ref{functional harmony}.
6037 F: à cordes ravallées,
6044 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6045 tuning of stringed instruments, particularly lutes or violins. Used
6050 @item facilitate pitch combinations that would otherwise be difficult
6053 @item alter the characteristic timbre of the instrument, for example,
6054 to increase brilliance)
6056 @item reinforce certain sonorities or tonalities by making them
6057 available on open strings
6059 @item imitate other instruments
6065 Tunings that could be called @var{scordatura} first appeared early in
6066 the 16th Century and became commonplace in the 17th.
6075 D: Partitur (full score), Klavierauszug (vocal score),
6081 A copy of orchestral, choral, or chamber music showing what each
6082 instrument is to play, each voice to sing, having each part arranged
6083 one underneath the other on different staves @ref{staff}.
6098 The @ref{interval} between two neigbouring tones of a scale. A
6099 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6100 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6101 degrees in question.
6116 The interval of a minor second. The (usually) smallest interval in European
6117 composed music. The interval between two neighbouring tones on the piano
6118 keyboard -- including black and white keys -- is a semitone. An octave may
6119 be divided into 12@w{ }semitones.
6121 @lilypond[fragment,notime,line-width=13.0\cm]
6122 \set Score.automaticBars = ##f
6123 \relative c'' { g1 gis s a bes s b! c }
6128 @ref{interval}, @ref{chromatic scale}.
6153 @ref{sextuplet}, @ref{note value}.
6210 [From It, @q{in the same manner}] Performance direction: the music thus marked
6211 is to be played in the same manner (i.e. with the same articulations, dynamics,
6212 etc.) as the music that precedes it.
6216 TODO: Where else could I refer the reader?
6220 @section simple meter
6222 ES: compás simple, compás de subdivisión binaria,
6231 A meter in which the basic beat is subdivided in two: that is, a meter
6232 that does not include triplet subdivision of the beat.
6236 @ref{compound meter}, @ref{meter}.
6239 @node sixteenth note
6240 @section sixteenth note
6243 @item UK: semiquaver
6244 @item ES: semicorchea
6246 @item F: double croche
6247 @item D: Sechzehntel, Sechzehntelnote
6248 @item NL: zes@-ti@-ende noot
6249 @item DK: sekstendedelsnode
6250 @item S: sextondelsnot
6251 @item FI: kuudestoistaosanuotti
6259 @node sixteenth rest
6260 @section sixteenth rest
6263 @item UK: semiquaver rest
6264 @item ES: silencio de semicorchea
6265 @item I: pausa di semicroma
6266 @item F: quart de soupir
6267 @item D: Sechzehntelpause
6268 @item NL: zestiende rust
6269 @item DK: sekstendedelspause
6270 @item S: sextondelspaus
6271 @item FI: kuudestoistaosatauko
6296 @node sixty-fourth note
6297 @section sixty-fourth note
6300 @item UK: hemidemisemiquaver
6302 @item I: semibiscroma
6303 @item F: quadruple croche
6304 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6305 @item NL: vierenzestigste noot
6306 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6307 @item S: sextiofjärdedelsnot
6308 @item FI: kuudeskymmenesneljäsosanuotti
6316 @node sixty-fourth rest
6317 @section sixty-fourth rest
6320 @item UK: hemidemisemiquaver rest
6321 @item ES: silencio de semifusa
6322 @item I: pausa di semibiscroma
6323 @item F: seizième de soupir
6324 @item D: Vierundsechzigstelpause
6325 @item NL: vierenzestigste rust
6326 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6327 @item S: sextiofjärdedelspaus
6328 @item FI: kuudeskymmenesneljäsosatauko
6337 @section slash repeat
6341 @ref{percent repeat}.
6347 ES: ligadura (de expresión),
6348 I: legatura (di portamento or espressiva),
6350 D: Bogen (Legatobogen, Phrasierungsbogen),
6351 NL: fraseringsboog, legatoboog, streekboog,
6352 DK: legatobue, fraseringsbue,
6356 A slur above or below a group of notes indicates that they are to be
6357 played @ref{legato}, e.g., with one stroke of the violin bow or with
6358 one breath in singing.
6362 @section solmization
6371 FI: suhteelliset laulunimet.
6373 General term for systems of designating the degrees of the
6374 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6375 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6393 In its present-day meaning a sonata denotes an instrumental
6394 composition for piano or for some other instrument with piano
6395 accompaniment, which consists of three or four independant pieces,
6400 @section sonata form
6404 F: [en] forme de sonate,
6406 NL: hoofdvorm, sonatevorm,
6411 A form used frequently for single movements of the @ref{sonata},
6412 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6413 into three sections called @emph{exposition}, @emph{development} and
6414 @emph{recapitulation}. In the exposition the composer introduces some
6415 musical ideas, consisting of a number of themes; in the development
6416 section the composer @q{develops} this material, and in the
6417 recapitulation the composer repeats the exposition, with certain
6418 modifications. The exposition contains a number of themes that fall
6419 into two groups, often called first and second subject. Other
6420 melodies occurring in each group are considered as continuations of
6421 these two. The second theme is in another key, normally in the key of
6422 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6423 @ref{relative key} if the tonic is @ref{minor}.
6444 FI: sopraano, korkea naisääni.
6446 The highest female voice.
6454 F: staccato, piqué, détaché,
6459 FI: staccato, lyhyesti, terävästi.
6461 Playing the note(s) short. Staccato is indicated by a dot above or
6462 below the note head.
6464 @lilypond[fragment,ragged-right]
6469 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6479 I: pentagramma, rigo (musicale),
6481 D: Notensystem, Notenzeile,
6482 NL: (noten)balk, partij,
6487 A staff (plural: staves) is a series of (normally five) horizontal
6488 lines upon and between which the musical notes are written, thus
6489 indicating (in connection with a @ref{clef}) their pitch. Staves for
6490 @ref{percussion} instruments may have fewer lines.
6507 D: Hals, Notenhals, Stiel,
6513 Vertical line above or below a @ref{note head} shorter than a
6518 @lilypond[fragment,notime,line-width=13.0\cm]
6519 \set Score.autoBeaming = ##f
6520 \set Score.automaticBars = ##f
6521 %\override Score.TextScript #'font-style = #'large
6543 A family of stringed musical instruments played with a bow. Strings
6544 commonly used in a symphony orchestra are violin, viola, violoncello,
6549 @section strong beat
6554 D: betonter Taktteil oder Taktschlag,
6556 D: betonet taktslag,
6557 S: betonat taktslag,
6558 FI: tahdin vahva isku.
6562 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6566 @section subdominant
6575 FI: subdominantti, alidominantti.
6577 The fourth @ref{scale degree}.
6579 @ref{functional harmony}.
6594 The sixth @ref{scale degree}.
6607 FI: subtoonika, alitoonika.
6609 The seventh @ref{scale degree}.
6615 ES: sobre la cuerda de Sol,
6618 D: auf G, auf der G-Saite,
6624 Indicates that the indicated passage (or note) should be played on the
6629 @section superdominant
6640 The sixth @ref{scale degree}.
6655 The second @ref{scale degree}.
6664 D: Sinfonie, Symphonie,
6670 A symphony may be defined as a @ref{sonata} for orchestra.
6674 @section syncopation
6685 Any deliberate upsetting of the normal pulse of @ref{meter},
6686 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6687 rhythm rests upon the grouping of equal beats into groups of two or
6688 three, with a regularly recurrent accent on the first beat of each
6689 group. Any deviation from this scheme is felt as a disturbance or
6690 contradiction between the underlaying (normal) pulse and the actual
6693 @lilypond[fragment,ragged-right]
6698 e c'4 e,8 c'4 e,8 c' ( | c2)
6703 @node syntonic comma
6704 @section syntonic comma
6706 ES: coma sintónica, coma de Dídimo,
6707 I: comma sintonico (o didimico),
6708 F: comma syntonique,
6709 D: syntonisches Komma,
6710 NL: syntonische komma,
6711 DK: syntonisk komma,
6712 S: syntoniskt komma,
6713 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6714 Pytagorisessa viritysjärjestelmässä.
6716 Difference between the natural third and the third obtained by
6717 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6726 D: Notensystem, Partitur,
6730 FI: nuottijärjestelmä.
6732 The collection of staves (@ref{staff}), two or more, as used for writing
6733 down of keyboard, chamber, choral, or orchestral music.
6737 @section temperament
6742 D: Stimmung, Tem@-pe@-ra@-tur,
6743 NL: stemming, temperatuur,
6746 FI: viritysjärjestelmä.
6748 Systems of tuning in which the intervals deviate from the acoustically
6751 @ref{meantone temperament}, @ref{equal temperament}.
6754 @node tempo indication
6755 @section tempo indication
6757 ES: indicación de tempo,
6758 I: indicazione di tempo,
6759 F: indication de tempo,
6760 D: Zeitmaß, Tempobezeichnung,
6761 NL: tempo aanduiding,
6766 The rate of speed of a composition or a section thereof, ranging from
6767 the slowest to the quickest, as is indicated by tempo marks as
6768 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6782 FI: tenori, korkea miesääni.
6784 The highest male voice (apart from @ref{countertenor}).
6807 ES: subrayado (tenuto),
6816 An indication that a particular note should be held for the whole
6817 length, although this can vary depending on the composer and era.
6837 @node thirty-second note
6838 @section thirty-second note
6841 @item UK: demisemiquaver
6844 @item F: triple croche
6845 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6846 @item NL: twee-endertig@-ste (32e) noot
6847 @item DK: toogtredivtedelsnode
6848 @item S: trettiotvåondelsnot
6849 @item FI: kolmaskymmeneskahdesosanuotti
6857 @node thirty-second rest
6858 @section thirty-second rest
6861 @item UK: demisemiquaver rest
6862 @item ES: silencio de fusa
6863 @item I: pausa di biscroma
6864 @item F: huitième de soupir
6865 @item D: Zweiunddreissigstel@-pause
6866 @item NL: twee-endertig@-ste (32e) rust
6867 @item DK: toogtredivtedelspause
6868 @item S: trettiotvåondelspaus
6869 @item FI: kolmaskymmeneskahdesosatauko
6878 @section thorough bass
6881 I: basso continuo, basso numerato,
6882 F: basse chiffrée, basse continue,
6883 D: Generalbass, bezifferter Bass,
6884 NL: basso continuo, becijferde bas
6887 FI: kenraalibasso, numeroitu basso.
6889 Also called @q{figured bass}.
6891 A method of indicating an accompaniment part by the bass notes only, together
6892 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
6893 above the bass notes.
6895 @lilypond[fragment,line-width=13.0\cm]
6896 \context GrandStaff <<
6897 \context Staff = lh \relative c'' {
6901 << \context Voice = rha {
6904 \context Voice = rhb {
6906 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6910 \context Staff = rh \relative c' {
6913 es8 c d bes c as bes16 as g f | es4
6915 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6924 ES: ligadura de prolongación, ligadura de unión,
6925 I: legatura (di valore),
6927 D: Haltebogen, Bindebogen,
6928 NL: overbinding, bindingsboog,
6930 S: bindebåge, överbindning,
6933 A curved line, identical in appearance with the @ref{slur}, which
6934 connects two succesive notes of the same pitch, and which has the
6935 function of uniting them into a single sound (tone) equal to the
6938 @lilypond[fragment,notime,ragged-right]
6939 \set Score.automaticBars = ##f
6940 \relative c'' { g2 ~ g4. }
6952 @node time signature
6953 @section time signature
6955 ES: indicación de compás,
6957 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6958 D: Taktangabe, Angabe der Taktart,
6961 S: taktartssignatur,
6964 The sign placed at the beginning of a composition to indicate its
6965 meter. It most often takes the form of a fraction, but a few signs
6966 derived from mensural notation and proportions are also employed.
6970 @ref{mensural notation}, @ref{meter}.
6985 A sound of definite pitch and duration, as distinct from @emph{noise}.
6986 Tone is a primary building material of music.
6988 Music from the 20th century may be based on atonal sounds.
7003 The first @ref{scale degree}.
7007 @ref{functional harmony}.
7010 @node transposing instrument
7011 @section transposing instrument
7013 ES: instrumento transpositor,
7022 Instruments whose notated pitch is different from their sounded pitch. Except
7023 for those whose notated and sounding pitches differ by one or more octaves (to
7024 reduce the number of ledger lines needed), most such instruments are identified
7025 by the letter name of the pitch class of their fundamental. The pitch class is
7026 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7027 the instrument plays a notated C.
7029 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7030 the B-flat one tone lower. If played on the A clarinet, the same written
7031 note sounds the A (one and half tones -- a minor third -- lower).
7033 Not all transposing instruments include the pitch class in their name:
7037 @item English horn (in F)
7039 @item Alto flute (in G)
7045 @ref{concert pitch}.
7049 @section transposition
7060 Shifting a melody up or down in pitch, while keeping the same
7063 @lilypond[fragment,line-width=13.0\cm]
7068 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7073 @lilypond[fragment,line-width=13.0\cm]
7076 \transpose c bes \relative c'' {
7078 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7085 @section treble clef
7088 I: chiave di violino,
7090 D: Violinschlüssel, Sopranschlüssel,
7113 On stringed instruments:
7117 @item The quick reiteration of the same tone, produced by a rapid
7118 up-and-down movement of the bow.
7120 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7121 in the distance of a third (@ref{interval}).
7125 @lilypond[fragment,notime,ragged-right]
7126 \set Score.automaticBars = ##f
7127 %\override Score.TextScript #'font-style = #'large
7130 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7131 \repeat tremolo 8 { e32_"b" g }
7145 F: triade, accord parfait, accord de trois sons,
7162 F: trille, tremblement, battement (cadence),
7175 @section triple meter
7177 ES: compás ternario,
7180 D: in drei, ungerader Takt,
7181 NL: driedelige maatsoort,
7226 @section tuning fork
7228 ES: diapasón, horquilla de afinación,
7229 I: diapason, corista,
7237 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7238 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7239 standard. Tuning forks for other pitches are available.
7249 A non-standard subdivision of a beat or part of a beat, usually
7250 indicated with a bracket and a number indicating the number of
7255 @ref{triplet}, @ref{note value}.
7261 ES: grupeto (circular),
7285 FI: unisono, yksiäänisesti.
7287 Playing of the same notes or the same melody by various instruments
7288 (voices) or by the whole orchestra (choir), either at exactly the same
7289 pitch or in a different octave.
7297 F: anacrouse, levée,
7319 FI: ääni, lauluääni.
7329 @item @ref{mezzo-soprano}
7331 @item @ref{contralto}
7335 @item @ref{baritone}
7341 @item A melodic layer or part of a polyphonic composition.
7349 ES: vez, primera y segunda vez,
7358 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7359 or second ending. LilyPond extends this idea to any number, and allows any text
7360 (not just a number) -- to serve as the @q{volta} text.
7367 I: tempo debole, arsi,
7369 D: unbetonter Taktteil oder Taktschlag,
7371 DK: ubetonet taktslag,
7372 S: obetonat taktslag,
7373 FI: tahdin heikko isku.
7377 @ref{beat}, @ref{measure}, @ref{rhythm}.
7388 @item D: Ganze, ganze Note
7392 @item FI: kokonuotti
7404 @item UK: semibreve rest
7405 @item ES: silencio de redonda
7406 @item I: pausa di semibreve
7408 @item D: ganze Pause, ganztaktige Pause
7410 @item DK: helnodespause
7432 The interval of a major second. The interval between two tones
7433 on the piano keyboard with exactly one key between them -- including
7434 black and white keys -- is a whole tone.
7453 A family of blown wooden musical instruments. Today some of these
7454 instruments are actually made from metal. The woodwind instruments
7455 commonly used in a symphony orchestra are flute, oboe, clarinet,
7456 saxophone, and bassoon.
7459 @node Duration names notes and rests
7460 @chapter Duration names notes and rests
7462 @multitable @columnfractions .12 .22 .22 .22 .22
7464 @headitem Lang. @tab note name
7468 @item @strong{US} @tab long
7472 @item @strong{UK} @tab longa
7476 @item @strong{ES} @tab longa
7477 @tab silencio de longa
7479 @tab silencio de cuadrada
7480 @item @strong{IT} @tab longa
7484 @item @strong{FR} @tab longa
7485 @tab quadruple-pause
7488 @item @strong{DE} @tab Longa
7492 @item @strong{NL} @tab longa
7496 @item @strong{DK} @tab longa
7497 @tab longanodespause
7499 @tab brevis(nodes)pause
7500 @item @strong{SE} @tab longa
7504 @item @strong{FI} @tab longa-nuotti
7506 @tab brevis-nuotti, kaksoiskokonuotti
7507 @tab brevis-tauko, kaksoiskokotauko
7511 @multitable @columnfractions .12 .22 .22 .22 .22
7513 @headitem Lang. @tab note name
7517 @item @strong{US} @tab whole note
7521 @item @strong{UK} @tab semibreve
7525 @item @strong{ES} @tab redonda
7526 @tab silencio de redonda
7528 @tab silencio de blanca
7529 @item @strong{IT} @tab semibreve
7530 @tab pause di semibreve
7532 @tab pausa di minima
7533 @item @strong{FR} @tab ronde
7537 @item @strong{DE} @tab ganze Note
7541 @item @strong{NL} @tab hele noot
7545 @item @strong{DK} @tab helnode
7549 @item @strong{SE} @tab helnot
7553 @item @strong{FI} @tab kokonuotti
7560 @multitable @columnfractions .12 .22 .22 .22 .22
7562 @headitem Lang. @tab note name
7566 @item @strong{US} @tab quarter note
7570 @item @strong{UK} @tab crotchet
7574 @item @strong{ES} @tab negra
7575 @tab silencio de negra
7577 @tab silencio de corchea
7578 @item @strong{IT} @tab semiminima, nera
7579 @tab pausa di semiminima, pausa di nera
7582 @item @strong{FR} @tab noire
7586 @item @strong{DE} @tab Viertelnote
7590 @item @strong{NL} @tab kwartnoot
7594 @item @strong{DK} @tab fjerdedelsnode
7595 @tab fjerdedelspause
7596 @tab ottendedelsnode
7597 @tab ottendedelspause
7598 @item @strong{SE} @tab fjärdedelsnot
7602 @item @strong{FI} @tab neljäsosanuotti
7604 @tab kahdeksasosanuotti
7605 @tab kahdeksasosatauko
7609 * About the French naming system: @emph{croche} refers to the note's "hook".
7610 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7611 hook}, @q{trebled hook}, and so on.
7613 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7614 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7615 a @emph{soupir}, and so on.
7617 Each of the following tables contains one type of note and its matching rest,
7618 with abbreviations that apply to both notes and rests. Just switch the part
7619 that means @q{note} with the part that means @q{rest}, for example:
7623 @item English: 16th @strong{note}, 16th @strong{rest}
7624 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7625 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7629 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7630 duration name. If you know of one that I missed, please send it to me, care of
7631 the lilypond-user discussion list.
7633 @multitable @columnfractions .10 .35 .35 .20
7635 @headitem Lang. @tab Note name
7638 @item @strong{US} @tab sixteenth note
7641 @item @strong{UK} @tab semiquaver
7642 @tab semiquaver rest
7644 @item @strong{ES} @tab semicorchea
7645 @tab silencio de semicorchea
7647 @item @strong{IT} @tab semicroma
7648 @tab pausa di semicroma
7650 @item @strong{FR} @tab double croche
7651 @tab quart de soupir
7653 @item @strong{DE} @tab Sechzehntelnote
7654 @tab Sechzehntelpause
7656 @item @strong{NL} @tab zestiende noot
7659 @item @strong{DK} @tab sekstendedelsnode
7660 @tab sekstendedelspause
7662 @item @strong{SE} @tab sextondelsnot
7665 @item @strong{FI} @tab kuudestoistaosanuotti
7666 @tab kuudestoistaosatauko
7671 @multitable @columnfractions .10 .35 .35 .20
7673 @headitem Lang. @tab Note name
7676 @item @strong{US} @tab thirty-second note
7677 @tab thirty-second rest
7679 @item @strong{UK} @tab demisemiquaver
7680 @tab demisemiquaver rest
7682 @item @strong{ES} @tab fusa
7683 @tab silencio de fusa
7685 @item @strong{IT} @tab biscroma
7686 @tab pausa di biscroma
7688 @item @strong{FR} @tab triple croche
7689 @tab huitième de soupir
7691 @item @strong{DE} @tab Zweiunddreißigstelnote
7692 @tab Zweiunddreißigstelpause
7694 @item @strong{NL} @tab tweeendertigste noot
7695 @tab tweeendertigste rust
7697 @item @strong{DK} @tab toogtredivtedelsnode
7698 @tab toogtredivtedelspause
7700 @item @strong{SE} @tab trettiotvåondelsnot
7701 @tab trettiotvåondelspaus
7703 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7704 @tab kolmaskymmeneskahdesosatauko
7709 @multitable @columnfractions .10 .35 .35 .20
7711 @headitem Lang. @tab Note name
7714 @item @strong{US} @tab sixty-fourth note
7715 @tab sixty-fourth rest
7717 @item @strong{UK} @tab hemidemisemiquaver
7718 @tab hemidemisemiquaver rest
7720 @item @strong{ES} @tab semifusa
7721 @tab silencio de semifusa
7723 @item @strong{IT} @tab semibiscroma
7724 @tab pausa di semibiscroma
7726 @item @strong{FR} @tab quadruple croche
7727 @tab seizième de soupir
7729 @item @strong{DE} @tab Vierundsechzigstelnote
7730 @tab Vierundsechzigstelpause
7732 @item @strong{NL} @tab vierenzestigste noot
7733 @tab vierenzestigste rust
7735 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7736 @tab fireogtredsindstyvendedelspause
7738 @item @strong{SE} @tab sextiofjärdedelsnot
7739 @tab sextiofjärdedelspaus
7741 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7742 @tab kuudeskymmenesneljäsosatauko
7747 @multitable @columnfractions .10 .35 .35 .20
7749 @headitem Lang. @tab Note name
7752 @item @strong{US} @tab one-hundred-twenty-eighth note
7753 @tab one-hundred-twenty-eighth rest
7755 @item @strong{UK} @tab semihemidemisemiquaver
7756 @tab semihemidemisemiquaver rest
7758 @item @strong{ES} @tab garrapatea
7759 @tab silencio de garrapatea
7761 @item @strong{IT} @tab fusa
7764 @item @strong{FR} @tab quintuple croche
7765 @tab trente-deuxième de soupir @tab -
7766 @item @strong{DE} @tab Hundertundachtundzwanzigstel
7767 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7768 @item @strong{NL} @tab honderdachtentwintigste noot
7769 @tab honderdachtentwintigste rust
7771 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7772 @tab hundredeotteogtyvendedelspause
7774 @item @strong{SE} @tab hundratjugoåttondelsnot
7775 @tab hundratjugoåttondelspaus
7777 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7778 @tab sadaskahdeskymmeneskahdeksasosatauko
7783 @multitable @columnfractions .10 .35 .35 .20
7785 @headitem Lang. @tab Note name
7788 @item @strong{US} @tab two-hundred-fifty-sixth note
7789 @tab two-hundred-fifty-sixth rest
7791 @item @strong{UK} @tab demisemihemidemisemiquaver
7792 @tab demisemihemidemisemiquaver rest
7794 @item @strong{ES} @tab semigarrapatea
7795 @tab silencio de semigarrapatea @tab -
7796 @item @strong{IT} @tab semifusa
7797 @tab pausa di semifusa
7799 @item @strong{FR} @tab sextuple croche
7800 @tab soixante-quatrième de soupir @tab -
7801 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
7802 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7803 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7804 @tab tweehonderdzesenvijftigste rust
7806 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7807 @tab tohundredeseksoghalvtredsendedelspause
7809 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7810 @tab tvåhundrafemtiosjättedelspaus
7812 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7813 @tab kahdessadasviideskymmeneskuudesosatauko
7820 @ref{mensural notation}
7824 @chapter Pitch names
7826 @c -is/-es endings for Danish per Rune Zedeler
7827 @c and for Finnish per Risto Vääräniemi
7828 @c -iss/-ess endings for Swedish per Mats Bengtsson
7829 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7831 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7833 @tab ES @tab I @tab F @tab D
7834 @tab NL @tab DK @tab S @tab FI
7835 @item @strong{c} @tab do @tab do @tab ut @tab C
7836 @tab c @tab c @tab c @tab c
7837 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7838 @tab cis @tab cis @tab ciss @tab cis
7839 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7840 @tab des @tab des @tab dess @tab des
7841 @item @strong{d} @tab re @tab re @tab ré @tab D
7842 @tab d @tab d @tab d @tab d
7843 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7844 @tab dis @tab dis @tab diss @tab dis
7845 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7846 @tab es @tab es @tab ess @tab es
7847 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7848 @tab e @tab e @tab e @tab e
7849 @item @strong{f-flat} = e
7850 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7851 @tab fes @tab fes @tab fess @tab fes
7852 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7853 @tab f @tab f @tab f @tab f
7854 @item @strong{e-sharp} = f
7855 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7856 @tab eis @tab eis @tab eiss @tab eis
7857 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7858 @tab fis @tab fis @tab fiss @tab fis
7859 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7860 @tab ges @tab ges @tab gess @tab ges
7861 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7862 @tab g @tab g @tab g @tab g
7863 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7864 @tab gis @tab gis @tab giss @tab gis
7865 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7866 @tab as @tab as @tab ass @tab as
7867 @item @strong{a} @tab la @tab la @tab la @tab A
7868 @tab a @tab a @tab a @tab a
7869 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7870 @tab ais @tab ais @tab aiss @tab ais
7871 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7872 @tab bes @tab b @tab b @tab b
7873 @item @strong{b} @tab si @tab si @tab si @tab H
7874 @tab b @tab h @tab h @tab h
7882 @node Literature used
7883 @unnumberedsec Literature used
7886 @item The Harvard Dictionary of Music, London 1944. Many more or less
7887 literal quotes from its articles have been included into the item
7890 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7892 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7895 @item Oxford Advanced Learner's Dictionary of Current English, Third
7898 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7900 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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