1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c TODO: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
97 Permission is granted to copy, distribute and/or modify this document
98 under the terms of the GNU Free Documentation License, Version 1.1
99 or any later version published by the Free Software Foundation,
100 without Invariant Sections.
106 @c @everyheading @| @thispage @|
107 @c @evenheading @thispage @| @|
108 @c @oddheading @| @| @thispage @|
110 @include macros.itexi
115 @w{@expansion{}@strong{\word\}}@c
118 @expansion{}@ref{\word\, @strong{\word\}}@c
123 * Musical terms A-Z::
124 * Duration names notes and rests::
128 @node Musical terms A-Z
129 @chapter Musical terms A-Z
131 Languages in this order.
138 @item UK - British English
158 * ancient minor scale::
163 * ascending interval::
164 * augmented interval::
197 * compound interval::
198 * conjunct movement::
211 * descending interval::
213 * diminished interval::
216 * disjunct movement::
218 * dissonant interval::
220 * dominant ninth chord::
221 * dominant seventh chord::
223 * dot (augmentation dot)::
225 * double appoggiatura::
227 * double dotted note::
237 * ecclesiastical mode::
244 * equal temperament::
260 * functional harmony::
275 * inverted interval::
288 * long appoggiatura::
294 * meantone temperament::
302 * metronomic indication::
314 * multi-measure rest::
341 * Pythagorean comma::
367 * sixty-fourth note::
368 * sixty-fourth rest::
397 * thirty-second note::
398 * thirty-second rest::
449 F: accelerando, en accélérant,
450 D: accelerando, schneller werden,
454 FI: accelerando, kiihdyttäen.
469 FI: aksentti, korostus.
471 The stress of one tone over others.
483 @section acciaccatura
485 A grace note which takes its time from the rest or note preceding the
486 principal note to which it is attached. The acciaccatura is drawn as a
487 small eighth note (quaver) with a line drawn through the flag and
492 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
498 ES: alteración accidental,
500 F: altération accidentelle,
501 D: Versetzungszeichen, Akzidenz,
502 NL: toevallig (verplaatsings)teken,
504 S: tillfälligt förtecken,
505 FI: tilapäinen etumerkki.
507 An accidental has the effect of an @ref{alteration} of a note. A
508 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
509 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
510 lowers it by a whole tone. A natural cancels the effect of a previous
513 @lilypond[fragment,notime,line-width=13.0\cm]
514 \set Score.automaticBars = ##f
516 \context Staff \relative c'' {
517 \set Staff.extraNatural = ##f
518 gisis1 gis g! ges geses
521 \override Lyrics .LyricText #'self-alignment-X = #-1
522 "db. sharp" sharp natural flat "db. flat"
538 FI: adagio, hitaasti.
540 It.@: comfortable, easy.
541 1.@tie{}Slow tempo, slower -- especially in even meter -- than
542 @ref{andante} and faster than @ref{largo}.
543 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
544 @ref{sonata}s, symphonies, etc.
553 D: Allegro, Schnell, Fröhlich, Lustig,
557 FI: allegro, nopeasti.
559 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
560 tempo, especially the first and last movements of a @ref{sonata}.
570 NL: verhoging of verlaging,
575 An alteration is the modification, raising or lowering, of a note's
576 pitch. It is established by an @ref{accidental}.
589 FI: altto, matala naisääni.
591 A female voice of low range (@emph{contralto}). Originally the alto was a
592 high male voice (hence the name), which by the use of falsetto reached the
593 height of the female voice. This type of voice is also known as
600 ES: clave de do en tercera,
601 I: chiave di contralto,
602 F: clef d'ut troisième ligne,
603 D: Altschlüssel, Bratschenschlüssel,
609 C clef setting middle C on the middle line of the staff.
626 FI: ambitus, ääniala, soitinala.
628 The term ambit (from Latin: ambitus, plural: ambitus) denotes a range
629 of pitches for a given voice in a part of music. It may also denote
630 the pitch range that a musical instrument is capable of playing.
645 An anacrusis (also known as pickup or upbeat) is an incomplete measure
646 of music before a section of music. It also refers to the initial note(s)
647 of a melody occurring in that incomplete measure.
651 @ref{measure}, @ref{meter}.
653 @lilypond[fragment,line-width=13.0\cm]
657 \partial 4 f4 | bes4. a8 bes4 c |
658 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
662 @node ancient minor scale
663 @section ancient minor scale
665 ES: escala menor antigua,
666 I: scala minore naturale,
667 F: forme du mode mineur ancien, troisème mode, mode hellénique,
668 D: reines Moll, natürliches Moll,
669 NL: authentieke mineurtoonladder,
672 FI: luonnollinen molliasteikko.
676 @ref{diatonic scale}.
678 @lilypond[fragment,notime,line-width=13.0\cm]
679 \set Score.automaticBars = ##f
697 Walking tempo/character.
701 @section appoggiatura
705 F: appoggiature, (port de voix),
706 D: Vorschlag, Vorhalt
710 FI: appoggiatura, etuhele.
712 Ornamental note, usually a second, that is melodically connected with the
713 main note following it. In music before the 19th century appoggiature were
714 usually performed on the beat, after that mostly before the beat. While the
715 short appoggiatura is performed as a short note regardless of the duration of
716 the main note the duration of the long appoggiatura is proportional to that of
719 @lilypond[line-width=13.0\cm]
720 \context Voice \relative c'' {
724 %\override Score.TextScript #'font-style = #'large
725 <d a fis>4_"notation" r
726 { \override Stem #'flag-style = #'()
728 \revert Stem #'flag-style
731 { \override Stem #'flag-style = #'()
733 \revert Stem #'flag-style
736 \cadenzaOn a4 \bar "||" \cadenzaOff
738 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
739 \cadenzaOn a4 \bar "||" \cadenzaOff
743 An appoggiatura may have more notes preceding the main note.
745 @lilypond[line-width=13.0\cm]
749 % \override Score.TextScript #'font-style = #'large
750 \grace { bes16 } as8_"notation" as16 bes as8 g |
751 \grace { as16[( bes] } < c as >4-)
752 \grace { as16[( bes] } < c as >4-) \bar "||"
753 \grace { bes16 } as8_"performance" as16 bes as8 g |
754 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
755 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
767 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
769 DK: arpeggio, akkordbrydning,
771 FI: arpeggio, murtosointu.
773 @lilypond[fragment,line-width=13.0\cm]
774 \context PianoStaff <<
775 \context Staff = SA \relative c'' {
778 r8 g16 c e g, c e r8 g,16 c e g, c e |
779 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
780 \context Staff = SB \relative c' {
782 << \context Voice = va {
784 r16 e8. ( e4) r16 e8. ( e4) |
785 r16 d8. ( d4) r16 d8. ( d4) }
786 \context Voice = vb {
795 @section articulation
804 FI: artikulaatio, ilmaisu.
806 Articulation refers to notation which indicates how a note or notes should
807 be played. Slurs, accents, staccato, and legato are all examples of
811 @node ascending interval
812 @section ascending interval
814 ES: intervalo ascendente,
815 I: intervallo ascendente,
816 F: intervalle ascendant,
817 D: steigendes Intervall,
818 NL: stijgend interval,
819 DK:@w{ }stigende interval,
820 S: stigande intervall,
821 FI: nouseva intervalli.
823 A distance between a starting lower note and a higher ending note.
826 @node augmented interval
827 @section augmented interval
829 ES: intervalo aumentado,
830 I: intervallo aumentato,
831 F: intervalle augmenté,
832 D: übermäßiges Intervall,
833 NL: overmatig interval,
834 DK: forstørret interval,
835 S: överstigande intervall,
836 FI: ylinouseva intervalli.
848 F: manuscrit, autographe
849 D: Autograph, Handschrift,
851 DK: håndskrift, autograf,
853 FI: käsinkirjoitettu nuotti.
855 1.@tie{}A manuscript in the composer's own hand.
856 2.@tie{}Music prepared for photoreproduction by freehand drawing,
857 with the aid of a straightedge ruler and T-square only,
858 which attempts to emulate engraving.
859 This required more skill than did engraving.
898 ES: barra, línea divisoria,
899 I: stanghetta, barra (di divisione),
900 F: barre (de mesure),
918 FI: baritoni, keskikorkuinen miesääni.
920 The male voice intermediate between the @ref{bass} and the
923 @c F: clef de troisième ligne dropped
927 @section baritone clef
929 ES: clave de fa en tercera,
930 I: chiave di baritono,
931 F: clef d' Ut cinquième ligne, clef de Fa troisième,
938 C or F clef setting middle C on the upper staff line.
942 @ref{C clef}, @ref{F clef}.
955 FI: basso, matala miesääni.
957 1.@tie{}The lowest male voice.
958 2.@tie{}Sometimes, especially in jazz music, used as
959 an abbreviation for double bass.
969 ES: clave de fa en cuarta,
971 F: clef de fa quatrième ligne,
978 A clef setting with middle C on the first top ledger line.
997 Line connecting a series of notes (shorter than a quarter note).
998 The number of beams determines the note value of the connected notes.
1000 @lilypond[fragment,notime,line-width=13.0\cm]
1001 \set Score.automaticBars = ##f
1002 %\override TextScript #'font-style = #'large
1004 g8_"1/8"[ g g g] s16
1005 g16_"1/16"[ g g g] s16
1006 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1007 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1012 @ref{feathered beam}.
1018 ES: tiempo, parte (de compás)
1021 D: Takt, Taktschlag, Zeit (im Takt),
1027 Note value used for counting, most often half-, fourth-, and eighth notes.
1028 The base counting value and the number of them per measure is indicated at
1029 the start of the music.
1031 @lilypond[fragment,line-width=13.0\cm]
1034 \relative c'' { g4 c b a | g1 \bar "||"}
1036 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1051 ES: llave, corchete,
1054 D: Klammer, Akkolade,
1055 NL: accolade, teksthaak,
1058 FI: yhdistävä sulkumerkki.
1060 Symbol at the start of a system connecting staves. Curly braces are used
1061 for connecting piano staves, angular brackets for connecting parts in an
1062 orchestral or choral score.
1064 @lilypond[fragment,ragged-right]
1065 \context GrandStaff <<
1066 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1067 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1070 @lilypond[fragment,ragged-right]
1071 \context StaffGroup <<
1072 % \set StaffGroup.minVerticalAlign = #12
1073 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1074 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1084 NL: koper (blazers),
1087 S: brassinstrument, mässingsinstrument,
1090 A family of blown musical instruments made of brass, all using a cup formed
1091 mouth piece. The brass instruments commonly used in a symphony orchestra are
1092 trumpet, trombone, french horn, and tube.
1096 @section breath mark
1101 D: Atemzeichen, Trennungszeichen,
1102 NL: repercussieteken,
1103 DK: vejrtrækningstegn,
1107 Indication of where to breathe in vocal and wind instrument parts.
1112 ES: cuadrada, breve,
1121 @ref{note value}, twice as long as a whole note. Mainly used
1124 @lilypond[fragment,notime,ragged-right]
1125 \set Score.automaticBars = ##f
1126 \relative c'' { g\breve }
1159 Clef symbol indicating the position of the middle C. Used on all note
1162 @lilypond[fragment,notime,line-width=13.0\cm]
1163 \set Score.automaticBars = ##f
1164 \override Score.Clef #'full-size-change = ##t
1166 \context Staff \relative c' {
1168 \clef mezzosoprano c
1173 \context Lyrics \lyrics {
1174 \override Lyrics .LyricText #'self-alignment-X = #-1
1175 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1191 FI: kadenssi, lopuke.
1195 @ref{harmonic cadence}, @ref{functional harmony}.
1208 FI: kadenssi, lopuke.
1210 An extended, improvisatory style section inserted near the end of
1211 movement. The purpose of a cadenza is to give singers or players a chance
1212 to exhibit their technical skill and -- not last -- their ability to
1213 improvise. Since the middle of the 19th century, however, most cadences have
1214 been written down by the composer.
1227 FI: kaanon, tarkka jäljittely.
1244 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1245 viritysjärjestelmässä.
1247 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1248 of an equally tempered @ref{semitone}).
1252 @ref{equal temperament}.
1275 Three or more tones sounding simultaneously. In traditional European music
1277 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1279 minor @ref{third}) as well as @emph{minor} (minor + major third)
1280 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1281 and five-tone @emph{ninth} major chords are most often used as dominants
1282 (@ref{functional harmony}). A special case is chords having no
1283 third above the lower notes to define their quality as major or minor. Such
1284 chords are denoted open chords
1286 @lilypond[fragment,notime,line-width=13.0\cm]
1287 \set Score.automaticBars = ##f
1288 %\override TextScript #'font-style = #'large
1290 \context Staff \relative c'' {
1291 \set Staff.extraNatural = ##f
1311 @node chromatic scale
1312 @section chromatic scale
1314 ES: escala cromática,
1316 F: gamme chromatique,
1317 D: chro@-ma@-ti@-sche Tonleiter,
1318 NL: chromatische toonladder,
1319 DK: kromatisk skala,
1321 FI: kromaattinen asteikko.
1323 A scale consisting of all 12 @ref{semitone}s.
1325 @lilypond[fragment,notime,line-width=13.0\cm]
1326 \set Score.automaticBars = ##f
1327 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1332 @section chromaticism
1343 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1347 @section church mode
1349 ES: modo eclesiástico,
1350 I: modo ecclesiastico,
1351 F: mode ecclésiastique,
1356 FI: moodi, kirkkosävellaji.
1360 @ref{diatonic scale}.
1369 D: Schlüssel, Notenschlüssel,
1373 FI: avain, nuottiavain.
1377 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1379 The clef indicates which lines of the staff correspond to which
1380 pitches. The three clef symbols in common use are:
1382 @lilypond[ragged-right,quote]
1385 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1386 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1387 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1392 Imagine a large staff of 11 lines centered on middle C, sometimes
1393 called a @q{grand staff}, with the bottom line representing low G
1394 and the top line high F:
1396 @lilypond[ragged-right,quote]
1399 %-- Treble Staff --%
1401 % Allow this staff to be placed close to the others
1402 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1403 % Allow the treble clef to overlap the lower staves:
1404 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1405 \override Staff.Clef #'stencil = ##f % No clef required
1407 s1^\markup { "g," \transparent "g" }
1408 s^ \markup { "b," \transparent "g" }
1409 s^ \markup { "d" \transparent "g" }
1410 s^ \markup { "f" \transparent "g" }
1411 s^ \markup { "a" \transparent "g" }
1412 s^ \markup { \with-color #red c' \transparent "g"}
1413 e'^\markup { "e'" \transparent "g" }
1414 g'^\markup { "g'" \transparent "g" }
1415 b'^\markup { "b'" \transparent "g" }
1416 d''^\markup { "d''" \transparent "g" }
1417 f''^\markup { "f ''" \transparent "g" }
1420 %-- Alto Staff reduced to a single line on middle C --%
1422 \override Staff.StaffSymbol #'line-count = 1 % One line only
1423 \override Staff.StaffSymbol #'color = #red % Coloured red
1424 \override Staff.Clef #'stencil = ##f % No clef required
1427 % Allow this staff to be placed close to the others
1428 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1429 % Specify height to give correct spacing between treble and bass staves
1430 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1432 s1 s s s s % Space along to align horizonatally
1433 \override NoteHead #'color = #red
1435 s1 s s s s s % Keep staff (ie the red line) showing
1439 % Allow this staff to be placed close to the others
1440 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1441 \override Staff.Clef #'stencil = ##f % No clef required
1444 s s s s s s s % Keep staff showing
1448 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1449 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1451 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1452 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1454 % Remove all barlines
1455 \context { \Score \override BarLine #'stencil = ##f
1457 % Remove time signature from all staves
1458 \context { \Staff \remove Time_signature_engraver
1464 Staves of five lines are usually used, and the clef superimposed on them
1465 indicates which five lines have been selected from this @samp{grand staff}.
1466 For example, the treble or G clef indicates that the top five
1467 lines have been selected:
1469 @lilypond[ragged-right,quote]
1472 %-- Treble Staff --%
1474 % Allow this staff to be placed close to the others
1475 \override Staff.VerticalAxisGroup
1476 #'minimum-Y-extent = #'(0 . 0)
1477 % Allow the treble clef to overlap the lower staves:
1478 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1479 \override Staff.Clef #'stencil = ##f % No clef required here
1481 s1^\markup { "g," \transparent "g" }
1482 s^ \markup { "b," \transparent "g" }
1483 s^ \markup { "d" \transparent "g" }
1484 s^ \markup { "f" \transparent "g" }
1485 s^ \markup { "a" \transparent "g" }
1486 s^ \markup { \with-color #red c' \transparent "g"}
1487 \stopStaff \startStaff
1488 \clef "C" % Dummy to force next clef to be printed
1489 s % Need at least one note for \clef to take effect
1490 \override Staff.Clef #'stencil = ##t % Clef now required
1491 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1493 e'^\markup { "e'" \transparent "g" }
1494 g'^\markup { "g'" \transparent "g" }
1495 b'^\markup { "b'" \transparent "g" }
1496 d''^\markup { "d''" \transparent "g" }
1497 f''^\markup { "f ''" \transparent "g" }
1499 %-- Alto Staff reduced to a single line on middle C --%
1501 \override Staff.StaffSymbol #'line-count = 1 % One line only
1502 \override Staff.StaffSymbol #'color = #red % Coloured red
1503 \override Staff.Clef #'stencil = ##f % No clef required
1506 % Allow this staff to be placed close to the others
1507 \override Staff.VerticalAxisGroup
1508 #'minimum-Y-extent = #'(0 . 0)
1509 % Specify height to give correct spacing between the staves
1510 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1512 s1 s s s s % Space along to align horizonatally
1513 \override NoteHead #'color = #red
1515 % s1 s s s s % Keep staff (ie the red line) showing
1519 % Allow this staff to be placed close to the others
1520 \override Staff.VerticalAxisGroup
1521 #'minimum-Y-extent = #'(0 . 0)
1522 \override Staff.Clef #'stencil = ##f % No clef required
1525 % s s s s s s % Keep staff showing
1529 % Reduce horizontal spacing so semibreves can be used
1530 % without exceeding 1 line
1531 \context { \Score \override SpacingSpanner
1532 #'base-shortest-duration = #(ly:make-moment 1 1)
1534 % Reduce apparent vertical size of note heads to
1535 % permit them to overlap other grobs vertically
1536 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1538 % Remove all barlines
1539 \context { \Score \override BarLine #'stencil = ##f
1541 % Remove time signature from all staves
1542 \context { \Staff \remove Time_signature_engraver
1548 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1550 In the same way, the bass or F clef indicates that the bottom five lines
1551 have been selected from the @samp{grand staff}, and the alto or C clef
1552 indicates the middle five lines have been selected. This relationship is
1553 shown below, where the notes show an arpeggio on a C major chord.
1555 @lilypond[ragged-right,quote]
1558 %-- Treble Staff --%
1559 \new Staff = "G" \with {
1560 \remove Time_signature_engraver
1563 % The following two overrides are required to make the two middle C's overlap
1564 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1565 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1567 \override Staff.Clef #'Y-extent = #'(0 . 0)
1569 s1 s s s s e' g' c''
1572 \new Staff = "C" \with {
1573 \remove Time_signature_engraver
1576 \override Staff.StaffSymbol #'line-count = 1
1577 \override Staff.StaffSymbol #'stencil = ##f
1578 \once \override Staff.Clef #'stencil = ##f
1579 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1580 \override Score.BarLine #'stencil = ##f
1582 % The following two overrides are required to align the C staff to the G and F staves
1583 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1584 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1587 \stopStaff \startStaff
1588 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1589 \revert Staff.StaffSymbol #'stencil
1590 \override Staff.StaffSymbol #'color = #red
1591 b'1 % A frig. This really shows as a middle C in the score
1593 \stopStaff \startStaff
1594 \override Staff.StaffSymbol #'line-count = 5
1595 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1596 \override Staff.Clef #'Y-extent = #'(0 . 0)
1597 \revert Staff.StaffSymbol #'color
1598 \stopStaff \startStaff
1600 s1 s s c e g c' e' g' c''
1603 \new Staff = "F" \with {
1604 \remove Time_signature_engraver
1607 \override Staff.Clef #'Y-extent = #'(0 . 0)
1608 % The following two overrides are required to make the two middle C's overlap
1609 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1610 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1618 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1621 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1624 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1636 FI: klusteri, cluster.
1638 A @emph{cluster} is a range of simultaneously sounding pitches that
1639 may change over time. The set of available pitches to apply usually
1640 depends on the acoustic source. Thus, in piano music, a cluster
1641 typically consists of a continuous range of the semitones as provided
1642 by the piano's fixed set of a chromatic scale. In choral music, each
1643 singer of the choir typically may sing an arbitrary pitch within the
1644 cluster's range that is not bound to any diatonic, chromatic or other
1645 scale. In electronic music, a cluster (theoretically) may even cover
1646 a continuous range of pitches, thus resulting in colored noise, such
1649 Clusters can be denoted in the context of ordinary staff notation by
1650 engraving simple geometrical shapes that replace ordinary notation of
1651 notes. Ordinary notes as musical events specify starting time and
1652 duration of pitches; however, the duration of a note is expressed by
1653 the shape of the note head rather than by the horizontal graphical
1654 extent of the note symbol. In contrast, the shape of a cluster
1655 geometrically describes the development of a range of pitches
1656 (vertical extent) over time (horizontal extent). Still, the
1657 geometrical shape of a cluster covers the area in which any single
1658 pitch contained in the cluster would be notated as an ordinary note.
1660 @lilypond[fragment,relative=2,ragged-right]
1661 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1675 FI: komma, korvinkuultava ero äänenkorkeudessa.
1677 Difference in pitch between a note derived from pure tuning and the same note
1678 derived from some other tuning method.
1686 @section common meter
1696 ES: intervalo invertido,
1698 F: intervalle complémentaire,
1699 D: Komplementärintervall,
1700 NL: complementair interval,
1701 DK: komplementærinterval,
1702 S: komplementärintervall (?),
1703 FI: täydentävä intervalli.
1707 @ref{inverted interval}.
1710 @node compound interval
1711 @section compound interval
1713 ES: intervalo compuesto,
1714 I: intervallo composto,
1715 F: intervalle composé,
1716 D: weites Intervall,
1717 NL: samengesteld interval,
1718 DK: sammensat interval,
1719 S: sammansatt intervall,
1720 FI: oktaavia laajempi intervalli.
1722 Intervals larger than an octave.
1729 @node conjunct movement
1730 @section conjunct movement
1732 ES: movimiento conjunto,
1734 F: mouvement conjoint,
1735 D: schritt@-weise, stufenweise Bewegung,
1736 NL: stapsgewijze, trapsgewijze beweging,
1737 DK: trinvis bevægelse,
1739 FI: asteittainen liike.
1741 Progressing melodically by intervals of a second. The opposite of a
1742 @ref{disjunct movement}.
1744 @lilypond[fragment,line-width=13.0\cm]
1745 \key g \major \time 4/4
1746 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1760 FI: konsonanssi, sopusointi.
1785 @section copying music
1787 A music copyist did fast freehand scores and parts on preprinted staff lines
1788 for performance. Some of their conventions (e.g., the placement of note heads
1789 on stems) varied slightly from those of engravers. Some of their working
1790 methods were superior and could well be adopted by music typesetters. This
1791 required more skill than engraving.
1795 @section counter tenor
1800 D: Countertenor, Kontratenor,
1803 S: kontratenor, counter tenor,
1812 @section counterpoint
1821 FI: kontrapunkti, ääni ääntä vastaan.
1823 From Latin @emph{punctus contra punctum}, note against note. The combination
1824 into a single musical fabric of lines or parts which have distinct melodic
1825 significance. A frequently used polyphonic technique is imitation, in its
1826 strictest form found in the canon needing only one part to be written down
1827 while the other parts are performed with a given displacement. Imitation is
1828 also the contrapunctal technique used in the @emph{fugue} which, since the
1829 music of the baroque era, has been one of the most popular polyphonic
1830 composition methods.
1832 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1833 \set Score.implicitTimeSignatureVisibility = #all-invisible
1834 \override Score.TimeSignature #'break-visibility = #all-invisible
1835 \context PianoStaff <<
1836 \context Staff = SA \relative c' {
1840 << \context Voice = rha {
1842 r1 | r2 r8 g'8 bes d, |
1843 cis4 d r8 e!16 f g8 f16 e |
1844 f8 g16 a bes8 a16 g a8
1846 \context Voice = rhb {
1852 \context Staff = SB \relative c' {
1855 << \context Voice = lha {
1857 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1858 r8 a16 g f8 g16 a bes8 g e! cis' |
1861 \context Voice = lhb {
1876 D: Crescendo, lauter werden,
1880 FI: cresendo, voimistuen.
1882 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1883 abbreviation @samp{cresc.}.
1885 @lilypond[fragment,ragged-right]
1886 \key g \major \time 4/4
1887 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1896 F: petites notes précédent l'entrée d'un instrument, réplique,
1903 In a separate part notes belonging to another part with the purpose of hinting
1904 when to start playing. Usually printed in a smaller type.
1911 D: Notenzeiger, Custos.
1913 A custos (plural: custodes) is a staff symbol that appears at the
1914 end of a staff line with monophonic musical contents (i.e., with a
1915 single voice). It anticipates the pitch of the first note of the
1916 following line and thus helps the player or singer to manage line
1917 breaks during performance, thus enhancing readability of a score.
1919 Custodes were frequently used in music notation until the 16th
1920 century. There were different appearences for different notation
1921 styles. Nowadays, they have survived only in special forms of musical
1922 notation such as via the editio vaticana dating back to the beginning
1928 % \override Staff.Custos #'neutral-position = #4
1929 \override Staff.Custos #'neutral-direction = #down
1930 \override Staff.Custos #'style = #'hufnagel
1938 \consists Custos_engraver
1968 F: da capo, depuis le commencement,
1969 D: da capo, von Anfang,
1973 FI: da capo, alusta.
1975 The term indicates repetition of the piece from the beginning to the end or
1976 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1984 F: dal segno, depuis le signe,
1985 D: dal segno, ab dem Zeichen,
1989 FI: dal segno, lähtien merkistä.
1991 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1992 another place frequently near the beginning marked by a sign:
1994 @lilypond[fragment,ragged-right]
1995 %\override TextScript #'font-style = #'large
1996 \override TextScript #'font-shape = #'italic
1997 \key g \major \time 4/4
2002 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2009 @section decrescendo
2013 D: Decrescendo, leiser werden,
2017 FI: decresendo, hiljentyen.
2019 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2020 or the abbreviation @samp{decresc.}.
2022 @lilypond[fragment,ragged-right]
2024 \key g \major \time 4/4
2025 d4 \> c b a | g1 \! \bar "|."
2030 @node descending interval
2031 @section descending interval
2033 ES: intervalo descendente,
2034 I: intervallo discendente,
2035 F: intervalle descendant,
2036 D: fallendes Intervall, absteigendes Intervall,
2037 NL: dalend interval,
2038 DK: faldende interval,
2039 S: fallande intervall,
2040 FI: laskeva intervalli.
2042 A distance between a starting higher note and a lower ending note.
2045 @node diatonic scale
2046 @section diatonic scale
2048 ES: escala diatónica,
2050 F: gamme diatonique,
2051 D: diatonische Tonleiter,
2052 NL: diatonische toonladder,
2053 DK: diatonisk skala,
2055 FI: diatoninen asteikko.
2057 A scale consisting of 5@w{ }@ref{whole tone}s and
2058 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2059 of a piano keybord are diatonic.
2061 The church modes are used in gregorial chant and in pre-baroque early
2062 music but also to some extent in newer jazz music.
2064 @lilypond[fragment,notime,ragged-right]
2065 \set Score.automaticBars = ##f
2066 %\override Score.LyricText #'font-style = #'large
2067 %\override Score.TextScript #'font-style = #'large
2069 \context Staff \relative c' {
2071 \override TextScript #'padding = #-4
2072 e^"~~ S" f g a b^"~~ S" c
2074 \context Lyrics \lyrics {
2080 @lilypond[fragment,notime,ragged-right]
2081 \set Score.automaticBars = ##f
2083 \context Staff \relative c' {
2085 \override TextScript #'padding = #-4
2086 e^"~~ S" f g a b^"~~ S" c d
2094 @lilypond[fragment,notime,ragged-right]
2095 \set Score.automaticBars = ##f
2098 \override TextScript #'padding = #-4
2099 e1^"~~ S" f g a b^"~~ S" c d e
2107 @lilypond[fragment,notime,ragged-right]
2108 \set Score.automaticBars = ##f
2112 \override TextScript #'padding = #-4
2113 b^"~~ S" c d e^"~~ S" f
2121 @lilypond[fragment,notime,ragged-right]
2122 \set Score.automaticBars = ##f
2126 \override TextScript #'padding = #-4
2127 b^"~~ S" c d e^"~~ S" f g }
2134 @lilypond[fragment,notime,ragged-right]
2135 \set Score.automaticBars = ##f
2136 %\override Score.LyricText #'font-style = #'large
2137 %\override Score.TextScript #'font-style = #'large
2141 \override TextScript #'padding = #-4
2142 b^"~~ S" c d e^"~~ S" f g a
2150 From the beginning of the 17th century the scales used in European
2151 compositional music are primarily the major and the minor scales. In the
2152 harmonic minor scale type an augmented second (A) occurs between the 6th and
2155 @lilypond[fragment,notime,ragged-right]
2156 \set Score.automaticBars = ##f
2160 \override TextScript #'padding = #-4
2161 e^"~~ S" f g a b^"~~ S" c
2169 @lilypond[fragment,notime,ragged-right]
2170 \set Score.automaticBars = ##f
2174 \override TextScript #'padding = #-4
2175 b^"~~ S" c d e^"~~ S" f g a
2183 @lilypond[fragment,notime,ragged-right]
2184 \set Score.automaticBars = ##f
2188 \override TextScript #'padding = #-4
2189 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2191 \context Lyrics \lyrics {
2197 @lilypond[fragment,notime,line-width=13.0\cm]
2198 \set Score.automaticBars = ##f
2199 %\override Score.LyricText #'font-style = #'large
2200 %\override Score.TextScript #'font-style = #'large
2204 \override TextScript #'padding = #-4
2205 b^"~~ S" c d e fis gis^"~~ S"
2206 a g! f!^"~~ S" e d c^"~~ S" b a
2215 @node diminished interval
2216 @section diminished interval
2218 ES: intervalo disminuido,
2219 I: intervallo diminuito,
2220 F: intervalle diminué,
2221 D: vermindertes Intervall,
2222 NL: verminderd interval,
2223 DK: formindsket interval,
2224 S: förminskat intervall,
2225 FI: vähennetty intervalli.
2242 FI: diminuendo, hiljentyen.
2266 @node disjunct movement
2267 @section disjunct movement
2269 ES: movimiento disjunto,
2271 F: mouvement disjoint,
2272 D: sprunghafte Bewegung,
2273 NL: sprongsgewijze beweging,
2274 DK: springende bevægelse,
2275 S: hoppande rörelse,
2276 FI: melodian hyppivä liike.
2278 Progressing melodically by intervals larger than a major second.
2279 Opposite of @ref{conjunct movement}.
2281 @lilypond[fragment,ragged-right]
2286 a4. gis8 b a e cis |
2287 fis2 d4. \bar "||" }
2294 @ref{dissonant interval}.
2297 @node dissonant interval
2298 @section dissonant interval
2300 ES: intervalo disonante, disonancia,
2301 I: intervallo dissonante, dissonanza,
2304 NL: dissonant interval, dissonant,
2305 DK: dissonerende interval, dissonans,
2307 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2324 FI: dominantti, huippusointu.
2326 The fifth @ref{scale degree} in @ref{functional harmony}.
2329 @node dominant ninth chord
2330 @section dominant ninth chord
2332 ES: acorde de novena de dominante,
2333 I: accordo di nona di dominante,
2334 F: accord de neuvième dominante,
2335 D: Domi@-nant@-nonen@-akkord,
2336 NL: dominant noon akkoord,
2337 DK: dominantnoneakkord,
2338 S: dominantnonackord,
2339 FI: dominanttinoonisointu.
2343 @ref{chord}, @ref{functional harmony}.
2346 @node dominant seventh chord
2347 @section dominant seventh chord
2349 ES: acorde de séptima de dominante,
2350 I: accordo di settima di dominante,
2351 F: accord de septième dominante,
2352 D: Dominantseptakkord,
2353 NL: dominant septiem akkoord,
2354 DK: dominantseptimakkord,
2355 S: dominantseptimackord,
2356 FI: dominanttiseptimisointu.
2360 @ref{chord}, @ref{functional harmony}.
2364 @section dorian mode
2369 D: dorisch, dorischer Kirchenton,
2370 NL: dorische toonladder,
2377 @ref{diatonic scale}.
2380 @node dot (augmentation dot)
2381 @section dot (augmentation dot)
2384 I: punto (di valore),
2386 D: Punkt (Verlängerungspunkt),
2394 @ref{dotted note}, @ref{note value}.
2398 @section dotted note
2400 ES: nota con puntillo,
2404 NL: gepuncteerde noot,
2407 FI: pisteellinen nuotti.
2414 @node double appoggiatura
2415 @section double appoggiatura
2417 ES: apoyatura doble,
2418 I: appoggiatura doppia,
2419 F: appoggiature double,
2420 D: doppelter Vorschlag,
2421 NL: dubbele voorslag,
2422 DK: dobbelt forslag,
2424 FI: kaksoisappogiatura, kaksoisetuhele.
2431 @node double bar line
2432 @section double bar line
2438 NL: dubbele maatstreep,
2441 FI: kaksoistahtiviiva.
2443 Indicates the end of a section within a movement.
2446 @node double dotted note
2447 @section double dotted note
2449 ES: nota con doble puntillo,
2450 I: nota doppiamente puntata,
2451 F: note doublement pointée,
2452 D: doppelt punktierte Note,
2453 NL: dubbelgepuncteerde noot,
2454 DK: dob@-belt@-punk@-te@-ret node,
2455 S: dub@-bel@-punk@-te@-rad not,
2456 FI: kaksoispisteellinen nuotti.
2464 @section double flat
2473 FI: kaksoisalennusmerkki.
2481 @section double sharp
2483 ES: doble sostenido,
2488 DK: dob@-belt@-kryds,
2490 FI: kaksoisylennysmerkki.
2498 @section double trill
2504 NL: dubbele triller,
2509 A simultaneous trill on two notes, usually in the distance of a third.
2513 @section duple meter
2518 D: in zwei, grader Takt,
2519 NL: tweedelige maatsoort,
2556 FI: kesto, aika-arvo.
2564 @section dydimic comma
2568 @ref{syntonic comma}.
2577 D: Dynamik, Lautstärke,
2583 The aspect of music relating to degrees of loudness, or changes from one
2584 degree to another. The terms, abbreviations, and symbols used to indicate
2585 this information are called dynamic marks.
2589 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2609 @node ecclesiastical mode
2610 @section ecclesiastical mode
2618 @section eighth note
2624 D: Achtel, Achtelnote,
2626 DK: ottendedelsnode,
2628 FI: kahdeksasosanuotti.
2636 @section eighth rest
2638 ES: silencio de corchea,
2644 DK: ottendedelspause,
2646 FI: kahdeksasosatauko.
2656 @c TODO: add languages
2667 @c TODO definition -- referenced from lyric tie
2671 @section embellishment
2684 D: Notenstich, Notendruck
2690 Engraving means incising or etching a metal plate for
2691 printing. Photoengraving means drawing music with ink in a manner
2692 similar to drafting or engineering drawing, using similar tools.
2694 The traditional process of music printing is done through cutting in a
2695 plate of metal. Now also the term for the art of music typesetting.
2710 Two notes, intervals, or scales are enharmonic if they have different names
2713 @lilypond[fragment,notime,line-width=13.0\cm]
2714 \set Score.automaticBars = ##f
2716 \context Staff \relative c'' {
2717 gis1 as <des g,!> <cis g!>
2719 \context Lyrics \lyrics {
2720 \override Lyrics .LyricText #'self-alignment-X = #-1
2721 "g sharp " "a flat " "dim fifth " "augm fourth"
2727 @node equal temperament
2728 @section equal temperament
2730 ES: temperamento igual,
2731 I: temperamento equabile,
2732 F: tempérament égal,
2733 D: gleichschwebende Stimmung,
2734 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2735 DK: ligesvævende temperatur,
2736 S: liksvävande temperatur,
2739 Tuning system dividing the octave into 12 equal @ref{semitone}s
2740 (precisely 100 @ref{cent}s).
2747 @node expression mark
2748 @section expression mark
2751 I: segno d'espressione,
2752 F: signe d'expression, indication de nuance,
2754 NL: voordrachtsteken,
2755 DK: foredragsbetegnelse,
2756 S: föredragsbeteckning,
2757 FI: nyanssiosoitus, esitysmerkki.
2759 Performance indications concerning 1. volume, dynamics (for example
2760 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2761 @ref{andante}, @ref{allegro}).
2765 @section extender line
2767 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2769 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2776 The generic term for a line (or dash) of arbitrary length that
2777 extends text (without indicating the musical @emph{function} of
2780 Used in many contexts, for example:
2784 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2786 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2789 In figured (or thorough) bass to indicate that:
2793 @item The extended note should be held through a change in
2794 harmony, when applied to one figure --OR--
2796 @item The chord thus represented should be held above a moving
2797 bass line, when applied to more than one figure.
2799 @item These uses were not completely standardized, and some
2800 composers used a single extender line to indicate the
2806 In string music to indicate that all notes in the passage thus indicated
2807 should be played on the same string. On the violin, for example, a series
2808 of notes to be played on the G string would be indicated @samp{sul G},
2809 another series to be played on the D string would be indicated @samp{sul D},
2816 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2848 The position between the dots of the key symbol is the line of the F below
2849 central@w{ }C. Used on the third, fourth and fifth note line. A
2850 digit@w{ }8 above the clef symbol indicates that the notes must be played
2851 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2852 symbol indicates playing an octave lower (for example, on double bass
2855 @lilypond[fragment,notime,line-width=13.0\cm]
2856 \set Score.automaticBars = ##f
2857 \override Staff.Clef #'full-size-change = ##t
2885 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2888 @node feathered beam
2889 @section feathered beam
2893 F: liens de croches en soufflet,
2894 D: gespreizter Balken,
2900 A type of beam used to indicate that a small group of notes should be
2901 played at an increasing or decreasing tempo -- depending on the
2902 direction of @q{feathering} -- but without changing the overall tempo
2907 Internals Reference: @ruser{Manual beams}
2915 F: point d'orgue, point d'arrêt,
2920 FI: fermaatti, pidäke.
2922 Prolonged note or rest of indefinite duration.
2924 @lilypond[fragment,ragged-right]
2927 a4 b c2^\fermata \bar "|."
2950 @section figured bass
2954 @ref{thorough bass}.
2969 The methodical use of fingers in the playing of instruments.
2976 I: coda (uncinata), bandiera,
2984 Ornament at the end of the stem of a note used for notes with values
2985 less than a quarter note. The number of flags determines the
2988 @lilypond[fragment,notime,ragged-right]
2989 \set Score.automaticBars = ##f
2990 %\override Score.TextScript #'font-style = #'large
3035 FI: forte, voimakkaasti.
3037 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3038 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3075 @node functional harmony
3076 @section functional harmony
3078 ES: armonía funcional,
3079 I: armonia funzionale,
3080 F: étude des functions,
3082 NL: functionele harmonie,
3083 DK: funktionsanalyse, funktionsharmonik,
3085 FI: harmoniajärjestelmä.
3087 A system of harmonic analysis. It is based on the idea that, in a given key,
3088 there are only three functionally different chords: tonic (T, the chord on the
3089 first note of the scale), subdominant (S, the chord on the fourth note), and
3090 dominant (D, the chord on the fifth note). Others are considered to be
3091 variants of the base chords.
3093 @lilypond[fragment,notime,line-width=13.0\cm]
3094 \set Score.automaticBars = ##f
3096 \context Voice \relative c'' {
3097 <g e c >1 < a f d > < b g e >
3098 <c a f > < d b g > < e c a > < f d b > }
3099 \context Lyrics \lyrics {
3100 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3128 D: G-Schlüssel, Violinschlüssel,
3134 A clef symbol indicating the G above central@w{ }C. Used on the first
3135 and second note lines. A digit 8 above the clef symbol indicates that
3136 the notes must be played an octave higher while 8 below the clef symbol
3137 indicates playing or singing an octave lower (most tenor parts in choral
3138 scores are notated like that).
3140 @lilypond[fragment,notime,ragged-right]
3142 \set Score.automaticBars = ##f
3143 \override Staff.Clef #'full-size-change = ##t
3146 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3156 \context Lyrics \lyrics {
3157 \override Lyrics . LyricText #'X-offset = #-5
3158 "french violin clef"
3177 FI: glissando, liukuen.
3179 Letting the pitch slide fluently from one note to the other.
3183 @section grace notes
3185 ES: notas de adorno,
3188 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3194 Notes printed in small types to indicate that their time values are not
3195 counted in the rhythm of the bar.
3199 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
3203 @section grand staff
3205 ES: sistema de piano,
3208 D: Akkolade, Klaviersystem,
3211 S: ackolad, böjd klammer,
3212 FI: kaksoisnuottiviivasto.
3214 A combination of two staves with a brace. Usually used for piano music.
3231 FI: grave, raskaasti.
3256 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3257 standard usage of these countries, @samp{B} means @samp{B flat}.
3261 @ref{Pitch names}, @ref{B}
3271 D: Halbe, halbe Note,
3285 ES: silencio de blanca,
3300 @node harmonic cadence
3301 @section harmonic cadence
3303 ES: cadencia (armónica),
3304 I: cadenza (armonica),
3305 F: cadence harmonique,
3307 NL: harmonische cadens,
3308 DK: harmonisk kadence,
3309 S: (harmonisk) kadens,
3310 FI: harmoninen kadenssi.
3312 A sequence of chords that terminates a musical phrase or
3315 @ref{functional harmony}.
3317 @lilypond[fragment,ragged-right]
3318 \context PianoStaff <<
3319 \context Staff = SA \relative c'' {
3323 \partial 4 < c g e >4 |
3324 < c a f > < b g d > < c g e >2
3327 \context Staff = SB \relative c {
3329 \partial 4 c4 | f, g c2
3347 D: Harmonie, Zusammenklang,
3351 FI: harmonia, yhteissointi.
3353 Tones sounding simultaneously. Two note harmonies fall into the categories
3354 @emph{consonances} and @emph{dissonances}.
3358 @lilypond[fragment,notime,line-width=13.0\cm]
3359 \set Score.automaticBars = ##f
3360 %\override Score.TextScript #'font-style = #'large
3361 \context Voice \relative c'' {
3374 @lilypond[fragment,notime,line-width=13.0\cm]
3375 \set Score.automaticBars = ##f
3376 %\override Score.TextScript #'font-style = #'large
3377 \context Voice \relative c'' {
3378 <g a>1_"second " s s
3379 <g f'>_"seventh " s s
3384 Three note harmony @ref{chord}.
3397 FI: homofonia, yksiäänisyys.
3399 Music in which one voice leads melodically followed by the other voices more
3400 or less in the same rhythm. In contrast to @ref{polyphony}.
3413 FI: intervalli, kahden sävelen korkeusero.
3415 Difference in pitch between two notes. Intervals may be perfect, minor,
3416 major, diminished, or augmented. The augmented fourth and the diminished fifth
3417 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3418 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3421 @lilypond[fragment,notime,line-width=13.0\cm]
3422 \set Score.automaticBars = ##f
3424 \context Voice \relative c'' {
3434 \context Lyrics \lyrics {
3435 "unison " "second " "second " "second "
3436 "third " "third " "third " "third"
3441 @lilypond[fragment,notime,line-width=13.0\cm]
3442 \set Score.automaticBars = ##f
3444 \context Staff \relative c'' {
3455 "fourth " "fourth " "fifth " "fifth "
3456 "sixth " "sixth " "sixth " "sixth"
3461 @lilypond[fragment,notime,line-width=13.0\cm]
3462 \set Score.automaticBars = ##f
3464 \context Staff \relative c'' {
3465 < gis f'! >1^"dimin"
3474 \context Lyrics \lyrics {
3475 "seventh " "seventh " "seventh " "octave "
3476 "ninth " "ninth " "tenth " "tenth"
3482 @node inverted interval
3483 @section inverted interval
3485 ES: intervalo invertido,
3486 I: intervallo rivolto,
3487 F: intervalle reversé,
3488 D: umgekehrtes Intervall,
3489 NL: interval inversie,
3490 DK: omvendingsinterval,
3491 S: intervallets omvändning,
3492 FI: käänteisintervalli.
3494 The difference between an interval and an octave.
3496 @lilypond[fragment,notime,line-width=13.0\cm]
3497 \set Score.automaticBars = ##f
3498 %\override Score.TextScript #'font-style = #'large
3499 \context Staff \relative c'' {
3500 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3501 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3502 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3507 @node just intonation
3508 @section just intonation
3510 ES: entonación justa,
3511 I: intonazione giusta,
3512 F: intonation juste,
3519 Tuning system in which the notes are obtained by adding and subtracting
3520 natural fifths and thirds.
3537 According to the 12@w{ }tones of the @ref{chromatic scale}
3538 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3542 @ref{key signature}.
3546 @section key signature
3548 ES: armadura (de la clave),
3549 I: armatura di chiave,
3550 F: armure, armature [de la clé],
3551 D: Vorzeichen, Tonart,
3552 NL: toon@-soort (voortekens),
3555 FI: sävellajiosoitus.
3557 The sharps or flats appearing at the beginning of each staff indicating the
3569 D: Largo, Langsam, Breit,
3573 FI: largo, hitaasti, leveästi.
3575 Very slow in tempo, usually combined with great
3576 expressiveness. @emph{Larghetto} is less slow than largo.
3580 @section leading note
3591 The seventh @ref{scale degree}, a @ref{semitone} below
3592 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3593 upwards) to the tonic scale degree.
3597 @section ledger line
3599 ES: línea adicional,
3600 I: tagli addizionali,
3601 F: ligne supplémentaire,
3608 A ledger line is an extension of the staff.
3610 @lilypond[fragment,notime,ragged-right]
3611 \set Score.automaticBars = ##f
3612 \relative c'' { a,1 s c'' }
3622 D: legato, gebunden,
3628 To be performed (a) without any perceptible interruption between the notes,
3629 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3632 @lilypond[fragment,notime,line-width=13.0\cm]
3633 \set Score.automaticBars = ##f
3635 \context Staff \relative c'' {
3636 c4-( d e-) \bar "||"
3637 c4-- d-- e-- \bar "||"
3638 c4-.-( d-. e-.-) \bar "||"
3639 c4-. d-. e-. \bar "||"
3652 @section legato curve
3656 @ref{slur}, @ref{legato}.
3679 A ligature is a coherent graphical symbol that represents at least two
3680 distinct notes. Ligatures originally appeared in the manuscripts of
3681 Gregorian chant notation roughly since the 9th century to denote
3682 ascending or descending sequences of notes. In early notation,
3683 ligatures were used for monophonic tunes (Gregorian chant) and very
3684 soon denoted also the way of performance in the sense of articulation.
3685 With the invention of the metric system of the white mensural
3686 notation, the need for ligatures to denote such patterns disappeared.
3692 ES: estanque de nenúfares,
3693 I: stagno del giglio,
3697 NL: le@-lie@-vij@-ver,
3702 A pond with lilies floating in it, also the name of a music typesetter.
3711 D: Linie, Notenlinie,
3715 FI: viiva, nuottiviiva.
3722 @node long appoggiatura
3723 @section long appoggiatura
3725 ES: apoyatura larga,
3726 I: appoggiatura lunga,
3727 F: appoggiature longue,
3732 FI: pitkä appoggiatura, pitkä etuhele.
3751 Note value: double length of @ref{breve}.
3753 @lilypond[fragment,notime,ragged-right]
3754 \set Score.automaticBars = ##f
3756 \override NoteHead #'style = #'mensural
3778 @c TODO: add languages
3788 ES: letra (de la canción),
3791 D: Liedtext, Gesangtext,
3812 @ref{diatonic scale}.
3815 @node major interval
3816 @section major interval
3818 ES: intervalo mayor,
3819 I: intervallo maggiore,
3820 F: intervalle majeur,
3821 D: großes Intervall,
3825 FI: suuri intervalli.
3832 @node meantone temperament
3833 @section meantone temperament
3835 ES: afinación mesotónica,
3836 I: accordatura mesotonica,
3837 F: tempérament mésotonique,
3838 D: mitteltönige Stimmung,
3839 NL: middenstemming, middentoonstemming,
3840 DK: middeltonetemperatur,
3841 S: medeltonstemperatur,
3842 FI: keskisävelviritys.
3844 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3845 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3846 @ref{temperament} only a limited set of keys are playable.
3847 Used for tuning keyboard instruments for performance of pre-1650 music.
3862 A group of @ref{beat}s (units of musical time) the first of which
3863 bears an accent. Such groups in numbers of two or more recur consistently
3864 throughout the composition and are marked from each other by
3874 I: mediante, modale,
3882 1.@tie{}The third @b{scale degree}.
3883 2.@tie{}A @ref{chord} having its base tone
3884 a third from that of another chord. For example, the tonic chord may be
3885 replaced by its lower mediant (variant tonic).
3888 harmony}, @ref{relative key}.
3898 FI: melisma, laulettavan tavun sävelkuvio.
3900 A melisma (plural: melismata) is a group of notes or tones sung on one
3901 syllable in plainsong
3905 @section melisma line
3907 @c TODO: add languages
3911 @ref{extender line}.
3914 @node melodic cadence
3915 @section melodic cadence
3927 F: indication de mesure, mesure,
3934 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3935 unaltered throughout a composition or a section of it. For instance,
3936 3/4 meter means that the basic @ref{note value}s are quarter notes and
3937 that a @ref{measure} consists of three of those. According to whether
3938 there are two, three, or four units to the measure, one speaks of
3939 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3940 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3943 @lilypond[fragment,line-width=13.0\cm]
3947 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3950 @lilypond[fragment,line-width=13.0\cm]
3954 f8 f f f a16 g a f |
3955 c'8 c c c e16 d e c \bar "||"}
3958 @lilypond[fragment,line-width=13.0\cm]
3962 d4 b8 g b d d c a4 |
3963 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3979 Device indicating the exact tempo of a piece.
3985 @node metronomic indication
3986 @section metronomic indication
3988 ES: indicación metronómica,
3989 I: indicazione metronomica,
3990 F: indication métronomique,
3992 NL: metronoom aanduiding,
3994 S: metronomangivelse,
3995 FI: metronomiosoitus.
3997 Exact tempo indication (in beats per minute). Also denoted by
3998 M.M.@: (Mälzels Metronom).
4002 @section mezzo-soprano
4013 The female voice between @ref{soprano} and @ref{contralto}.
4022 D: eingestrichenes@w{ }c,
4024 DK: enstreget@w{ }c,
4025 S: ettstruket@w{ }c,
4028 First C below the 440 Hz A.
4030 @lilypond[fragment,notime,ragged-right]
4031 \set Score.automaticBars = ##f
4032 \override Staff.Clef #'full-size-change = ##t
4055 @ref{diatonic scale}.
4058 @node minor interval
4059 @section minor interval
4061 ES: intervalo menor,
4062 I: intervallo minore,
4063 F: intervalle mineur,
4064 D: kleines Intervall,
4068 FI: pieni intervalli.
4075 @node mixolydian mode
4076 @section mixolydian mode
4080 @ref{diatonic scale}.
4089 D: Kirchentonart, Modus,
4093 FI: moodi, kirkkosävelasteikko.
4097 @ref{church mode}, @ref{diatonic scale}.
4110 FI: modulaatio, sävellajin vaihdos.
4112 Moving from one @ref{key} to another. For example, the second
4113 subject of a @ref{sonata form} movement modulates to the dominant
4114 key if the key is major and to the @ref{relative key} if the key
4127 FI: mordent, korukuvio.
4152 FI: teema, sävelaihe.
4154 The briefest intelligible and self-contained fragment of a musical theme or
4157 @lilypond[line-width=13.0\cm]
4160 \set Score.implicitTimeSignatureVisibility = #all-invisible
4161 \override Score.TimeSignature #'break-visibility = #all-invisible
4164 \partial 8 g16\startGroup fis |
4165 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4166 g8 g,16 a b8 cis d16 s
4170 \Staff \consists "Horizontal_bracket_engraver"
4188 Greater musical works like @ref{symphony} and
4189 @ref{sonata} most often consist of several -- more or less --
4190 independant pieces called movements.
4193 @node multi-measure rest
4194 @section multi-measure rest
4196 ES: compases de espera,
4200 D: mehrtaktige Pause, Kirchenpause,
4203 FI: usean tahdin mittainen tauko.
4205 Multi-measure rests are conventionally typeset with a combination of longa,
4206 breve and whole rests for shorter and a long horizontal bar for longer
4207 spans of rest, with a number above to indicate the duration (in measures)
4208 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4209 reminiscence of its use in Renaissance vocal polyphony.
4211 @lilypond[fragment,ragged-right]
4214 \set Score.skipBars = ##t R1*3
4216 \set Score.skipBars = ##t R1*122
4224 @section natural sign
4229 D: Auflösungszeichen,
4230 NL: herstellingsteken,
4231 DK: op@-løsningstegn,
4232 S: återställningstecken,
4240 @node neighbor tones
4241 @section neighbor tones
4245 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
4286 Notes are signs by means of which music is fixed in writing. The term is also
4287 used for the sound indicated by a note, and even for the key of the piano
4288 which produces the sound. However, a clear distinction between the terms tone
4289 and @ref{note} is strongly recommended. Briefly, one sees a note,
4297 I: testa, testina, capocchia,
4305 A head-like sign which indicates pitch by its position on a
4306 @ref{staff} provided with a @ref{clef}, and duration
4307 by a variety of shapes such as hollow or black heads with or without
4308 @ref{stem}s, @ref{flag}s, etc. For percussion
4309 instruments (often having no defined pitch) the note head may indicate the
4316 ES: valor (duración),
4318 F: durée, valeur (d'une note),
4323 FI: nuotin aika-arvo.
4325 Note values (durations) are measured as fractions, normally 1/2, of
4326 the next higher note value. The longest duration normally used is
4327 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4328 double-length note value @emph{longa} or the quadruple-length note
4329 value @emph{maxima} are used.
4331 @c TODO -- add maxima to this example
4333 @lilypond[fragment,notime,line-width=13.0\cm]
4334 %\override Score.TextScript #'font-style = #'large
4335 \set Score.automaticBars = ##f
4337 \override NoteHead #'style = #'mensural
4338 a\longa_"longa" a\breve_"breve"
4339 \revert NoteHead #'style
4340 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4341 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4344 @c TODO -- add maxima rest to this example
4346 @lilypond[fragment,notime,line-width=13.0\cm]
4347 %\override Score.TextScript #'font-style = #'large
4348 \set Score.automaticBars = ##f
4350 r\longa_"longa" r\breve_"breve"
4351 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4352 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4355 An augmentation dot after a note multiplies the duration by one and a
4356 half. Another dot adds yet a fourth of the duration.
4358 @lilypond[fragment,line-width=13.0\cm]
4359 %\override Score.TextScript #'font-style = #'large
4362 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4363 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4366 Alternatively note values may be subdivided by other ratios. Most common is
4367 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4368 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4369 dotted notes are also frequently used.
4371 @lilypond[fragment,line-width=13.0\cm]
4372 %\override Score.TextScript #'font-style = #'large
4375 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4376 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4380 @lilypond[fragment,line-width=13.0\cm]
4383 \times 3/2 {g4_"duplets" g} |
4385 \times 6/4 {g8_"quadruplets" g g g} |
4386 g8 g g g g4 \bar "||"
4409 @section octave sign
4413 @ref{G clef}, @ref{F clef}.
4420 I: abbellimento, fioriture,
4421 F: agrément, ornement,
4422 D: Verzierung, Ornament,
4428 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4429 with the diatonic @ref{second} above it. In the music from the
4430 middle of the 19th century and onwards the trill is performed with the main
4431 note first while in the music from the preceding baroque and classic periods
4432 the upper note is played first.
4434 @lilypond[fragment,line-width=13.0\cm]
4436 \context Staff = sa {
4437 % \override Score.TextScript #'font-style = #'large
4439 c2._"pre-1850" b4\trill | c1 \bar "||"
4440 c2._"post-1850" b4\trill | c1 \bar "||"
4444 c2. c32 b c b c b c b | c1
4445 c2. b32 c b c \times 4/5 { b c b c b } | c1
4450 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4452 @emph{prall} (inverted mordent).
4454 @lilypond[fragment,line-width=13.0\cm]
4456 \context Staff = sa {
4457 % \override Score.TextScript #'font-style = #'large
4459 a4_"turn" b\turn c2 \bar "||"
4460 g4_"mordent" a b\mordent a \bar "||"
4461 e'4_"prall" d\prall c2 \bar "||"
4467 e'4 e32[ d e d ~ d8] c2
4474 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
4487 FI: ossia, vaihtoehtoinen esitystapa.
4489 Ossia (otherwise) marks an alternative. It is an added staff or piano
4490 score, usually only a few measures long, which presents another version
4491 of the music, for example for small hands.
4508 [From Italian] The interval of an octave, abbreviated 8va.
4510 @emph{All'ottava}, @emph{ottava alta}, @emph{ottava sopra}, or
4511 @emph{8va} written above a passage indicates that it should be played
4512 an octave higher than written. @emph{Ottava bassa}, @emph{ottava
4513 sotto}, or @emph{8va} written below a passage indicates that it should
4514 be played an octave lower than written.
4531 FI: stemma, instrumenttiosuus.
4533 1.@tie{}In instrumental or choral music the music for the single instrument
4534 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4535 melodic line of the contrapunctal web.
4560 D: Schlagzeug, Schlagwerk,
4566 A family of musical instruments which are played on by striking or
4567 shaking. Percussion instruments commonly used in a symphony orchestra are
4568 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4569 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4573 @node perfect interval
4574 @section perfect interval
4576 ES: intervalo justo,
4577 I: intervallo giusto,
4578 F: intervalle juste,
4579 D: reines Intervall,
4583 FI: puhdas intervalli.
4602 A natural division of the melodic line, comparable to a sentence of speech.
4615 FI: fraseeraus, jäsentäminen.
4617 The clear rendering in musical performance of the @ref{phrase}s of
4618 the melody. Phrasing may be indicated by a @ref{slur}.
4633 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4634 @emph{mezzo piano} (@b{mp}) medium soft.
4642 F: anacrouse, levée,
4674 NL: pizzicato, getokkeld,
4677 FI: pizzicato, näppäillen.
4679 Play by plucking the strings.
4688 D: Polyphonie, Mehrstimmigkeit,
4692 FI: polyfonia, moniäänisyys.
4694 Music written in a combination of several simultaneous voices (parts) of a
4695 more or less pronounced individuality.
4714 D: Presto, Sehr schnell,
4715 NL: presto, Sehr schnell,
4718 FI: presto, hyvin nopeasti.
4720 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4721 denotes the highest possible degree of speed.
4724 @node Pythagorean comma
4725 @section Pythagorean comma
4727 ES: coma pitagórica,
4728 I: comma pitagorico,
4729 F: comma pythagoricien,
4730 D: Pythagoräisches Komma,
4731 NL: komma van Pythagoras,
4732 DK: pythagoræisk komma,
4733 S: pytagoreiskt komma,
4734 FI: pytagorinen komma.
4736 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4737 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4738 24 @ref{cent}s higher than the@w{ }C obtained by adding
4739 7@w{ }octaves. The difference between those two pitches is called the
4761 @section quarter note
4764 I: semiminima, nera,
4767 D: Viertel, Viertelnote,
4771 FI: neljännesosanuotti.
4779 @section quarter rest
4781 ES: silencio de negra,
4782 I: pausa di semiminima,
4787 DK:@w{ }fjerdedelspause,
4789 FI: neljännesosatauko.
4799 ES: cinquillo, quintillo.
4814 @section rallentando
4819 D: rallentando, langsamer werden,
4823 FI: rallerdando, hidastuen.
4825 Abbreviation "rall.".
4831 @section relative key
4834 I: tonalità relativa,
4835 F: tonalité relative,
4837 NL: paralleltoonsoort,
4838 DK: paralleltoneart,
4840 FI: rinnakkaissävellaji.
4842 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4844 @lilypond[fragment,notime,line-width=13.0\cm]
4845 \set Score.automaticBars = ##f
4846 %\override Score.TextScript #'font-style = #'large
4849 es1_"e flat major" f g as bes c d es
4854 @lilypond[fragment,notime,line-width=13.0\cm]
4855 \set Score.automaticBars = ##f
4856 %\override Score.TextScript #'font-style = #'large
4859 c1_"c minor" d es f g a! b! c \bar "||"
4869 F: barre de reprise,
4872 DK: gen@-ta@-gel@-se,
4876 @lilypond[fragment,line-width=13.0\cm]
4880 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4884 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4885 @c specify the rest's value.
4919 @item Metrical rhythm in which every time value is a multiple or
4920 fraction of a fixed unit of time, called @ref{beat}, and in which the
4921 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4922 The basic scheme of time values is called @ref{meter}.
4924 @item Measured rhythm which lacks regularly recurrent accent. In
4925 modern notation such music appears as a free alternation of different
4928 @item Free rhythm, i.e., the use of temporal values having no common
4929 metrical unit (beat).
4941 D: ritardando, langsamer werden,
4945 FI: ritardando, hidastuen,
4947 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4960 FI: ritenuto, hidastaen.
4962 Immediate reduction of speed.
4975 FI: asteikko, sävelasteikko.
4979 @ref{diatonic scale}.
4983 @section scale degree
4985 ES: grado (de la escala),
4986 I: grado della scala,
4987 F: degré [de la gamme],
4989 NL: trap [van de toonladder],
4992 FI: sävelaste, asteikon sävel.
4994 Names and symbols used in harmonic analysis to denote tones of the
4995 scale as roots of chords. The most important are degrees I = tonic
4996 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4998 @lilypond[fragment,notime,line-width=13.0\cm]
4999 \set Score.automaticBars = ##f
5001 \context Staff \relative c' {
5005 << { I II III IV V VI VII I }
5013 @ref{functional harmony}.
5021 F: à cordes ravallées,
5028 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5029 tuning of stringed instruments, particularly lutes or violins. Used
5034 @item facilitate pitch combinations that would otherwise be difficult
5037 @item alter the characteristic timbre of the instrument, for example,
5038 to increase brilliance)
5040 @item reinforce certain sonorities or tonalities by making them
5041 available on open strings
5043 @item imitate other instruments
5049 Tunings that could be called @var{scordatura} first appeared early in
5050 the 16th Century and became commonplace in the 17th.
5059 D: Partitur (full score), Klavierauszug (vocal score),
5065 A copy of orchestral, choral, or chamber music showing what each
5066 instrument is to play, each voice to sing, having each part arranged
5067 one underneath the other on different staves @ref{staff}.
5082 The @ref{interval} between two neigboring tones of a scale. A
5083 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5084 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5085 degrees in question.
5100 The @ref{interval} of a minor second. The (usually) smallest interval
5101 in European composed music. The interval between two neighboring
5102 tones on the piano keyboard -- including black and white keys -- is a
5103 semitone. An octave may be divided into 12@w{ }semitones.
5104 @ref{interval}, @ref{chromatic scale}.
5106 @lilypond[fragment,notime,line-width=13.0\cm]
5107 \set Score.automaticBars = ##f
5108 \relative c'' { g1 gis s a bes s b! c }
5179 @node sixteenth note
5180 @section sixteenth note
5186 D: Sechzehntel, Sechzehntelnote,
5187 NL: zes@-ti@-ende noot,
5188 DK: sekstendedelsnode,
5190 FI: kuudestoistaosanuotti.
5197 @node sixteenth rest
5198 @section sixteenth rest
5200 ES: silencio de semicorchea,
5201 I: pausa di semicroma,
5203 UK: semiquaver rest,
5204 D: Sechzehntelpause,
5206 DK: sekstendedelspause,
5232 @node sixty-fourth note
5233 @section sixty-fourth note
5237 F: quadruple croche,
5238 UK: hemidemisemiquaver,
5239 D: Vierundsechzigstel, Vierundsechzigstelnote,
5240 NL: vierenzestigste noot,
5241 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5242 S: sextiofjärdedelsnot,
5243 FI: kuudeskymmenesneljäsosanuotti.
5250 @node sixty-fourth rest
5251 @section sixty-fourth rest
5253 ES: silencio de semifusa,
5254 I: pausa di semibiscroma,
5255 F: seizième de soupir,
5256 UK: hemidemisemiquaver rest,
5257 D: Vierundsechzigstelpause,
5258 NL: vierenzestigste rust,
5259 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5260 S: sextiofjärdedelspaus,
5261 FI: kuudeskymmenesneljäsosatauko.
5272 ES: ligadura (de expresión),
5273 I: legatura (di portamento or espressiva),
5275 D: Bogen (Legatobogen, Phrasierungsbogen),
5276 NL: fraseringsboog, legatoboog, streekboog,
5277 DK: legatobue, fraseringsbue,
5281 A slur above or below a group of notes indicates that they are to be
5282 played @ref{legato}, e.g., with one stroke of the violin bow or with
5283 one breath in singing.
5288 @section solmization
5297 FI: suhteelliset laulunimet.
5299 General term for systems of designating the degrees of the
5300 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5301 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5320 In its present-day meaning a sonata denotes an instrumental
5321 composition for piano or for some other instrument with piano
5322 accompaniment, which consists of three or four independant pieces,
5327 @section sonata form
5331 F: [en] forme de sonate,
5333 NL: hoofdvorm, sonatevorm,
5338 A form used frequently for single movements of the @ref{sonata},
5339 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5340 into three sections called @emph{exposition}, @emph{development} and
5341 @emph{recapitulation}. In the exposition the composer introduces some
5342 musical ideas, consisting of a number of themes; in the development
5343 section the composer @q{develops} this material, and in the
5344 recapitulation the composer repeats the exposition, with certain
5345 modifications. The exposition contains a number of themes that fall
5346 into two groups, often called first and second subject. Other
5347 melodies occurring in each group are considered as continuations of
5348 these two. The second theme is in another key, normally in the key of
5349 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5350 @ref{relative key} if the tonic is @ref{minor}.
5371 FI: sopraano, korkea naisääni.
5373 The highest female voice.
5381 F: staccato, piqué, détaché,
5386 FI: staccato, lyhyesti, terävästi.
5388 Playing the note(s) short. Staccato is indicated by a dot above or
5389 below the note head.
5391 @lilypond[fragment,ragged-right]
5396 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5406 I: pentagramma, rigo (musicale),
5408 D: Notensystem, Notenzeile,
5409 NL: (noten)balk, partij,
5414 A staff (plural: staves) is a series of (normally five) horizontal
5415 lines upon and between which the musical notes are written, thus
5416 indicating (in connection with a @ref{clef}) their pitch. Staves for
5417 @ref{percussion} instruments may have fewer lines.
5434 D: Hals, Notenhals, Stiel,
5440 Vertical line above or below a @ref{note head} shorter than a
5445 @lilypond[fragment,notime,line-width=13.0\cm]
5446 \set Score.autoBeaming = ##f
5447 \set Score.automaticBars = ##f
5448 %\override Score.TextScript #'font-style = #'large
5470 A family of stringed musical instruments played with a bow. Strings
5471 commonly used in a symphony orchestra are violin, viola, violoncello,
5476 @section strong beat
5481 D: betonter Taktteil oder Taktschlag,
5483 D: betonet taktslag,
5484 S: betonat taktslag,
5485 FI: tahdin vahva isku.
5489 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5493 @section subdominant
5502 FI: subdominantti, alidominantti.
5504 The fourth @ref{scale degree}.
5506 @ref{functional harmony}.
5521 The sixth @ref{scale degree}.
5534 FI: subtoonika, alitoonika.
5536 The seventh @ref{scale degree}.
5545 D: auf G, auf der G-Saite,
5551 Indicates that the indicated passage (or note) should be played on the
5556 @section superdominant
5567 The sixth @ref{scale degree}.
5582 The second @ref{scale degree}.
5591 D: Sinfonie, Symphonie,
5597 A symphony may be defined as a @ref{sonata} for orchestra.
5601 @section syncopation
5612 Any deliberate upsetting of the normal pulse of @ref{meter},
5613 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5614 rhythm rests upon the grouping of equal beats into groups of two or
5615 three, with a regularly recurrent accent on the first beat of each
5616 group. Any deviation from this scheme is felt as a disturbance or
5617 contradiction between the underlaying (normal) pulse and the actual
5620 @lilypond[fragment,ragged-right]
5625 e c'4 e,8 c'4 e,8 c' ( | c2)
5631 @node syntonic comma
5632 @section syntonic comma
5635 I: comma sintonico (o didimico),
5636 F: comma syntonique,
5637 D: syntonisches Komma,
5638 NL: syntonische komma,
5639 DK: syntonisk komma,
5640 S: syntoniskt komma,
5641 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5642 Pytagorisessa viritysjärjestelmässä.
5644 Difference between the natural third and the third obtained by
5645 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5655 D: Notensystem, Partitur,
5659 FI: nuottijärjestelmä.
5661 The collection of staves (@ref{staff}), two or more, as used for writing
5662 down of keyboard, chamber, choral, or orchestral music.
5666 @section temperament
5671 D: Stimmung, Tem@-pe@-ra@-tur,
5672 NL: stemming, temperatuur,
5675 FI: viritysjärjestelmä.
5677 Systems of tuning in which the intervals deviate from the acoustically
5680 @ref{meantone temperament}, @ref{equal temperament}.
5683 @node tempo indication
5684 @section tempo indication
5686 ES: indicación de tempo,
5687 I: indicazione di tempo,
5688 F: indication de tempo,
5689 D: Zeitmaß, Tempobezeichnung,
5690 NL: tempo aanduiding,
5695 The rate of speed of a composition or a section thereof, ranging from
5696 the slowest to the quickest, as is indicated by tempo marks as
5697 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5711 FI: tenori, korkea miesääni.
5713 The highest male voice (apart from @ref{counter tenor}).
5736 ES: subrayado (tenuto),
5745 An indication that a particular note should be held for the whole
5746 length, although this can vary depending on the composer and era.
5766 @node thirty-second note
5767 @section thirty-second note
5773 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5774 NL: twee-endertig@-ste noot,
5775 DK: toogtredivtedelsnode,
5776 S: trettiotvåondelsnot,
5777 FI: kolmanneskymmeneskahdesosanuotti.
5784 @node thirty-second rest
5785 @section thirty-second rest
5787 ES: silencio de fusa,
5788 I: pausa di biscroma,
5789 F: huitième de soupir,
5790 UK: demisemiquaver rest,
5791 D: Zweiunddreissigstel@-pause,
5793 DK: toogtredivtedelspause,
5794 S: trettiotvåondelspaus,
5795 FI: kolmanneskymmeneskahdesosatauko.
5803 @section thorough bass
5806 I: basso continuo, basso numerato,
5807 F: basse chiffrée, basse continue,
5808 D: Generalbass, bezifferter Bass,
5809 NL: basso continuo, becijferde bas
5812 FI: kenraalibasso, numeroitu basso.
5814 A method of indicating an accompaniment part by the bass notes only,
5815 together with figures designating the chief @ref{interval}s and
5816 @ref{chord}s to be played above the bass notes.
5818 @lilypond[fragment,line-width=13.0\cm]
5819 \context GrandStaff <<
5820 \context Staff = lh \relative c'' {
5824 << \context Voice = rha {
5827 \context Voice = rhb {
5829 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5833 \context Staff = rh \relative c' {
5836 es8 c d bes c as bes16 as g f | es4
5838 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5847 ES: ligadura de prolongación,
5848 I: legatura (di valore),
5850 D: Haltebogen, Bindebogen,
5851 NL: overbinding, bindingsboog,
5853 S: bindebåge, överbindning,
5856 A curved line, identical in appearance with the @ref{slur}, which
5857 connects two succesive notes of the same pitch, and which has the
5858 function of uniting them into a single sound (tone) equal to the
5861 @lilypond[fragment,notime,ragged-right]
5862 \set Score.automaticBars = ##f
5863 \relative c'' { g2 ~ g4. }
5875 @node time signature
5876 @section time signature
5878 ES: indicación de compás,
5880 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5881 D: Taktangabe, Angabe der Taktart,
5884 S: taktartssignatur,
5904 A sound of definite pitch and duration, as distinct from @emph{noise}.
5905 Tone is a primary building material of music.
5907 Music from the 20th century may be based on atonal sounds.
5922 The first @ref{scale degree}.
5926 @ref{functional harmony}.
5930 @section transposition
5941 Shifting a melody up or down in pitch, while keeping the same
5944 @lilypond[fragment,line-width=13.0\cm]
5949 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5954 @lilypond[fragment,line-width=13.0\cm]
5957 \transpose c bes \relative c'' {
5959 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5966 @section treble clef
5969 I: chiave di violino,
5971 D: Violinschlüssel, Sopranschlüssel,
5973 DK:@w{ }diskantnøgle,
5994 On stringed instruments (@ref{strings}) the quick reiteration of the
5995 same tone, produced by a rapid up-and-down movement of the bow (a).
5996 The term is also used for the rapid alternation (b) between two notes
5997 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5999 @lilypond[fragment,notime,ragged-right]
6000 \set Score.automaticBars = ##f
6001 %\override Score.TextScript #'font-style = #'large
6004 f:32 [ e8:16 f:16 g:16 a:16 ] s4
6005 \repeat tremolo 8 { e32_"b" g }
6015 F: triade, accord parfait, accord de trois sons,
6032 F: trille, tremblement, battement (cadence),
6045 @section triple meter
6047 ES: compás ternario,
6050 D: in drei, ungerader Takt,
6051 NL: driedelige maatsoort,
6096 @section tuning fork
6099 I: diapason, corista,
6107 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6108 forks give the international pitch for the tone @emph{a} (440
6109 vibrations per second).
6115 A non-standard subdivision of a beat or part of a beat, usually
6116 indicated with a bracket and a number indicating the number of
6121 @ref{triplet}, @ref{note value}.
6151 FI: unisono, yksiäänisesti.
6153 Playing of the same notes or the same melody by various instruments
6154 (voices) or by the whole orchestra (choir), either at exactly the same
6155 pitch or in a different octave.
6163 F: anacrouse, levée,
6185 FI: ääni, lauluääni.
6187 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6188 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6189 2.@tie{}A melodic layer or part of a polyphonic composition.
6196 I: tempo debole, arsi,
6198 D: unbetonter Taktteil oder Taktschlag,
6200 DK: ubetonet taktslag,
6201 S: obetonat taktslag,
6202 FI: tahdin heikko isku.
6206 @ref{beat}, @ref{measure}, @ref{rhythm}.
6216 D: Ganze, ganze Note,
6230 ES: silencio de redonda,
6231 I: pausa di semibreve,
6234 D: ganze Pause, ganztaktige Pause,
6258 The @ref{interval} of a major second. The interval between two tones
6259 on the piano keyboard with exactly one key between them -- including
6260 black and white keys -- is a whole tone.
6277 A family of blown wooden musical instruments. Today some of these
6278 instruments are actually made from metal. The woodwind instruments
6279 commonly used in a symphony orchestra are flute, oboe, clarinet,
6280 saxophone, and bassoon.
6283 @node Duration names notes and rests
6284 @chapter Duration names, notes and rests
6287 @item DURATION NAMES, NOTES AND RESTS
6290 @multitable @columnfractions .15 .26 .33 .26
6295 @tab @strong{F (note name / rest name)}
6305 @c extra @items make this table harder to read, so I removed them.
6307 @item @strong{longa}
6320 @item @strong{breve}
6323 @tab brève / double-pause
6333 @item @strong{whole}
6343 @tab koko@-nuotti/@w{-tauko}
6349 @tab blanche / demi-pause
6356 @tab puoli@-nuotti/@w{-tauko}
6359 @item @strong{quarter}
6369 @tab neljännesosa@-nuotti/@w{-tauko}
6372 @item @strong{eighth}
6375 @tab croche / demi-soupir
6382 @tab kahdeksasosa@-nuotti/@w{-tauko}
6385 @item @strong{sixteenth}
6388 @tab double croche / quart de soupir
6395 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6398 @item @strong{thirty-second}
6401 @tab triple croche / huitième de soupir
6403 @tab Zweiunddreissigstel
6404 @tab tweeendertigste
6405 @tab toogtredivtedel
6407 @tab trettiotvåondel
6408 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6411 @item @strong{sixty-fourth}
6412 @tab hemidemisemiquaver
6414 @tab quadruple croche / seizième de soupir
6416 @tab Vierundsechzigstel
6417 @tab vierenzestigste
6418 @tab fireogtred@-sindstyvendedel
6420 @tab sextiofjärdedel
6421 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6430 @chapter Pitch names
6436 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6437 @c the extra @item's between each row makes the table hard to read ... so I removed them
6439 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6441 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6443 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6444 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6446 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6449 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6450 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6452 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6453 @tab Des @tab des @tab des @tab des @tab des
6455 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6458 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6459 @tab Es @tab es @tab es @tab es @tab es
6461 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6464 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6467 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6470 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6471 @tab As @tab as @tab as @tab as @tab as
6473 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6476 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6477 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6479 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6480 @tab B @tab bes @tab b @tab b @tab b
6482 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6495 @node Literature used
6496 @unnumberedsec Literature used
6499 @item The Harvard Dictionary of Music, London 1944. Many
6500 more or less literal quotes from its articles have been included into
6501 the item explanation texts.
6503 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6505 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6508 @item Oxford Advanced Learner's Dictionary of Current English, Third
6511 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
6513 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.