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::
205 * compound interval::
209 * conjunct movement::
222 * descending interval::
224 * diminished interval::
228 * disjunct movement::
230 * dissonant interval::
231 * dominant ninth chord::
232 * dominant seventh chord::
235 * dot (augmentation dot)::
237 * double appoggiatura::
239 * double dotted note::
242 * double time signature::
250 * ecclesiastical mode::
257 * equal temperament::
276 * functional harmony::
292 * inverted interval::
307 * long appoggiatura::
313 * meantone temperament::
319 * mensural notation::
322 * metronomic indication::
334 * multi-measure rest::
364 * polymetric time signature::
369 * Pythagorean comma::
397 * sixty-fourth note::
398 * sixty-fourth rest::
427 * thirty-second note::
428 * thirty-second rest::
435 * transposing instrument::
490 Abbreviated @samp{a2} or @samp{a 2}.
494 @item An indication in orchestral scores that a single part notated on a single
495 staff that normally carries parts for two players (e.g. first and second oboes)
496 is to be played by both players.
498 @item Or conversely, that two pitches or parts notated on a staff that normally
499 carries a single part (e.g. first violin) are to be played by different players,
500 or groups of players (@q{desks}).
519 FI: aksentti, korostus.
521 The stress of one tone over others.
535 ES: alteración accidental,
537 F: altération accidentelle,
538 D: Versetzungszeichen, Akzidenz,
539 NL: toevallig (verplaatsings)teken,
541 S: tillfälligt förtecken,
542 FI: tilapäinen etumerkki.
544 An accidental has the effect of an @ref{alteration} of a note. A
545 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
546 @ref{whole tone}, a flat lowers it by a semitone and a double flat
547 lowers it by a whole tone. A natural cancels the effect of a previous
548 accidental, or a sharp or flat in the key signature.
550 @lilypond[fragment,notime,line-width=13.0\cm]
551 \set Score.automaticBars = ##f
553 \context Staff \relative c'' {
554 \set Staff.extraNatural = ##f
555 gisis1 gis g! ges geses
558 \override Lyrics .LyricText #'self-alignment-X = #-1
559 "db. sharp" sharp natural flat "db. flat"
570 F: accelerando, en accélérant,
571 D: accelerando, schneller werden,
575 FI: accelerando, kiihdyttäen.
581 @section acciaccatura
583 A grace note which takes its time from the rest or note preceding the
584 principal note to which it is attached. The acciaccatura is drawn as a
585 small eighth note (quaver) with a line drawn through the flag and
590 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
603 FI: adagio, hitaasti.
605 It.@: comfortable, easy.
609 @item Slow tempo, slower -- especially in even meter -- than
610 @ref{andante} and faster than @ref{largo}.
612 @item A movement in slow tempo, especially the second (slow) movement
613 of @ref{sonata}s, symphonies, etc.
624 D: Allegro, Schnell, Fröhlich, Lustig,
628 FI: allegro, nopeasti.
630 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
631 tempo, especially the first and last movements of a @ref{sonata}.
641 NL: verhoging of verlaging,
646 An alteration is the modification, raising or lowering, of a note's
647 pitch. It is established by an @ref{accidental}.
660 FI: altto, matala naisääni.
662 A female voice of low range (@emph{contralto}). Originally the alto
663 was a high male voice (hence the name), which by the use of falsetto
664 reached the height of the female voice. This type of voice is also
665 known as @ref{counter tenor}.
671 ES: clave de do en tercera,
672 I: chiave di contralto,
673 F: clef d'ut troisième ligne,
674 D: Altschlüssel, Bratschenschlüssel,
680 C clef setting middle C on the middle line of the staff.
697 FI: ambitus, ääniala, soitinala.
699 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
700 Denotes a range of pitches for a given voice in a part of music. It may
701 also denote the pitch range that a musical instrument is capable of playing.
702 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
717 An anacrusis (also known as pickup or upbeat) is an incomplete measure
718 of music before a section of music. It also refers to the initial
719 note(s) of a melody occurring in that incomplete measure.
723 @ref{measure}, @ref{meter}.
725 @lilypond[fragment,line-width=13.0\cm]
729 \partial 4 f4 | bes4. a8 bes4 c |
730 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
734 @node ancient minor scale
735 @section ancient minor scale
737 ES: escala menor antigua,
738 I: scala minore naturale,
739 F: forme du mode mineur ancien, troisème mode, mode hellénique,
740 D: reines Moll, natürliches Moll,
741 NL: authentieke mineurtoonladder,
744 FI: luonnollinen molliasteikko.
746 @lilypond[fragment,notime,line-width=13.0\cm]
747 \set Score.automaticBars = ##f
754 @ref{diatonic scale}.
769 Walking tempo/character.
773 @section appoggiatura
777 F: appoggiature, (port de voix),
778 D: Vorschlag, Vorhalt
782 FI: appoggiatura, etuhele.
784 Ornamental note, usually a second, that is melodically connected with
785 the main note following it. In music before the 19th century
786 appoggiature were usually performed on the beat, after that mostly
787 before the beat. While the short appoggiatura is performed as a short
788 note regardless of the duration of the main note the duration of the
789 long appoggiatura is proportional to that of the main note.
791 @lilypond[line-width=13.0\cm]
792 \context Voice \relative c'' {
796 %\override Score.TextScript #'font-style = #'large
797 <d a fis>4_"notation" r
798 { \override Stem #'flag-style = #'()
800 \revert Stem #'flag-style
803 { \override Stem #'flag-style = #'()
805 \revert Stem #'flag-style
808 \cadenzaOn a4 \bar "||" \cadenzaOff
810 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
811 \cadenzaOn a4 \bar "||" \cadenzaOff
815 An appoggiatura may have more notes preceding the main note.
817 @lilypond[line-width=13.0\cm]
821 % \override Score.TextScript #'font-style = #'large
822 \grace { bes16 } as8_"notation" as16 bes as8 g |
823 \grace { as16[( bes] } < c as >4-)
824 \grace { as16[( bes] } < c as >4-) \bar "||"
825 \grace { bes16 } as8_"performance" as16 bes as8 g |
826 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
827 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
839 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
841 DK: arpeggio, akkordbrydning,
843 FI: arpeggio, murtosointu.
845 @lilypond[fragment,line-width=13.0\cm]
846 \context PianoStaff <<
847 \context Staff = SA \relative c'' {
850 r8 g16 c e g, c e r8 g,16 c e g, c e |
851 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
852 \context Staff = SB \relative c' {
854 << \context Voice = va {
856 r16 e8. ( e4) r16 e8. ( e4) |
857 r16 d8. ( d4) r16 d8. ( d4) }
858 \context Voice = vb {
867 @section articulation
876 FI: artikulaatio, ilmaisu.
878 Articulation refers to notation which indicates how a note or notes
879 should be played. Slurs, accents, staccato, and legato are all
880 examples of articulation.
883 @node ascending interval
884 @section ascending interval
886 ES: intervalo ascendente,
887 I: intervallo ascendente,
888 F: intervalle ascendant,
889 D: steigendes Intervall,
890 NL: stijgend interval,
891 DK: stigende interval,
892 S: stigande intervall,
893 FI: nouseva intervalli.
895 A distance between a starting lower note and a higher ending note.
898 @node augmented interval
899 @section augmented interval
901 ES: intervalo aumentado,
902 I: intervallo aumentato,
903 F: intervalle augmenté,
904 D: übermäßiges Intervall,
905 NL: overmatig interval,
906 DK: forstørret interval,
907 S: överstigande intervall,
908 FI: ylinouseva intervalli.
916 @section augmentation
927 @c TODO: add definition.
929 This is a placeholder for augmentation (wrt mensural notation).
933 @ref{diminution}, @ref{mensural notation}.
941 F: manuscrit, autographe
942 D: Autograph, Handschrift,
944 DK: håndskrift, autograf,
946 FI: käsinkirjoitettu nuotti.
950 @item A manuscript written in the composer's own hand.
952 @item Music prepared for photoreproduction by freehand drawing, with
953 the aid of a straightedge ruler and T-square only, which attempts to
954 emulate engraving. This required more skill than did engraving.
997 ES: barra, línea divisoria,
998 I: stanghetta, barra (di divisione),
999 F: barre (de mesure),
1017 FI: baritoni, keskikorkuinen miesääni.
1019 The male voice intermediate between the @ref{bass} and the
1022 @c F: clef de troisième ligne dropped
1026 @section baritone clef
1028 ES: clave de fa en tercera,
1029 I: chiave di baritono,
1030 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1031 D: Baritonschlüssel,
1037 C or F clef setting middle C on the upper staff line.
1041 @ref{C clef}, @ref{F clef}.
1047 ES: clave de fa en cuarta,
1049 F: clef de fa quatrième ligne,
1056 A clef setting with middle C on the first top ledger line.
1073 FI: basso, matala miesääni.
1077 @item The lowest male voice.
1079 @item Sometimes, especially in jazz music, used as an abbreviation for
1101 Line connecting a series of notes (shorter than a quarter note). The
1102 number of beams determines the note value of the connected notes.
1104 @lilypond[fragment,notime,line-width=13.0\cm]
1105 \set Score.automaticBars = ##f
1106 %\override TextScript #'font-style = #'large
1108 g8_"1/8"[ g g g] s16
1109 g16_"1/16"[ g g g] s16
1110 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1111 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1116 @ref{feathered beam}.
1122 ES: tiempo, parte (de compás)
1125 D: Takt, Taktschlag, Zeit (im Takt),
1131 Note value used for counting, most often half-, fourth-, and eighth
1132 notes. The base counting value and the number of them per measure is
1133 indicated at the start of the music.
1135 @lilypond[fragment,line-width=13.0\cm]
1138 \relative c'' { g4 c b a | g1 \bar "||"}
1140 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1155 ES: llave, corchete,
1158 D: Klammer, Akkolade,
1159 NL: accolade, teksthaak,
1162 FI: yhdistävä sulkumerkki.
1164 Symbol at the start of a system connecting staves.
1166 Curly braces are used for connecting piano staves, and sometimes for connecting
1167 the staves of like instruments in an orchestral score when written on different
1168 staves (e.g. first and second flutes):
1170 @lilypond[fragment,ragged-right]
1171 \context GrandStaff <<
1172 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1173 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1176 Angular brackets for connecting parts in an orchestral or choral score:
1178 @lilypond[fragment,ragged-right]
1179 \context StaffGroup <<
1180 % \set StaffGroup.minVerticalAlign = #12
1181 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1182 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1209 NL: koper (blazers),
1212 S: brassinstrument, mässingsinstrument,
1215 A family of blown musical instruments made of brass, all using a cup
1216 formed mouth piece. The brass instruments commonly used in a symphony
1217 orchestra are trumpet, trombone, french horn, and tube.
1221 @section breath mark
1226 D: Atemzeichen, Trennungszeichen,
1227 NL: repercussieteken,
1228 DK: vejrtrækningstegn,
1232 Indication of where to breathe in vocal and wind instrument parts.
1238 ES: cuadrada, breve,
1245 FI: brevis, kaksoiskokonuotti.
1247 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1248 The shortest note value generally used in white mensural notation, hence the
1249 name, which originally meant @q{of short duration}.
1251 @lilypond[fragment,notime,ragged-right]
1252 \set Score.automaticBars = ##f
1253 \relative c'' { g\breve }
1258 @ref{mensural notation}, @ref{note value}.
1292 Clef symbol indicating the position of the middle C. Used on all note
1295 @lilypond[fragment,notime,line-width=13.0\cm]
1296 \set Score.automaticBars = ##f
1297 \override Score.Clef #'full-size-change = ##t
1299 \context Staff \relative c' {
1301 \clef mezzosoprano c
1306 \context Lyrics \lyrics {
1307 \override Lyrics .LyricText #'self-alignment-X = #-1
1308 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1324 FI: kadenssi, lopuke.
1328 @ref{harmonic cadence}, @ref{functional harmony}.
1341 FI: kadenssi, lopuke.
1343 An extended, improvisatory style section inserted near the end of
1344 movement. The purpose of a cadenza is to give singers or players a
1345 chance to exhibit their technical skill and -- not last -- their
1346 ability to improvise. Since the middle of the 19th century, however,
1347 most cadenzas have been written down by the composer.
1360 FI: kaanon, tarkka jäljittely.
1377 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1378 viritysjärjestelmässä.
1380 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1381 (1/100 of an equally tempered @ref{semitone}).
1385 @ref{equal temperament}.
1408 Three or more tones sounding simultaneously. In traditional European music the
1409 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1410 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1411 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1412 @emph{ninth} major chords are most often used as dominants (@ref{functional
1413 harmony}). A special case is chords having no third above the lower notes to
1414 define their quality as major or minor: such chords are called @q{open chords}.
1416 @lilypond[fragment,notime,line-width=13.0\cm]
1417 \set Score.automaticBars = ##f
1418 %\override TextScript #'font-style = #'large
1420 \context Staff \relative c'' {
1421 \set Staff.extraNatural = ##f
1441 @node chromatic scale
1442 @section chromatic scale
1444 ES: escala cromática,
1446 F: gamme chromatique,
1447 D: chro@-ma@-ti@-sche Tonleiter,
1448 NL: chromatische toonladder,
1449 DK: kromatisk skala,
1451 FI: kromaattinen asteikko.
1453 A scale consisting of all 12 @ref{semitone}s.
1455 @lilypond[fragment,notime,line-width=13.0\cm]
1456 \set Score.automaticBars = ##f
1457 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1462 @section chromaticism
1473 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1477 @section church mode
1479 ES: modo eclesiástico,
1480 I: modo ecclesiastico,
1481 F: mode ecclésiastique,
1486 FI: moodi, kirkkosävellaji.
1490 @ref{diatonic scale}.
1499 D: Schlüssel, Notenschlüssel,
1503 FI: avain, nuottiavain.
1507 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1509 The clef indicates which lines of the staff correspond to which
1510 pitches. The three clef symbols in common use are:
1512 @lilypond[ragged-right,quote]
1515 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1516 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1517 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1522 Imagine a large staff of 11 lines centered on middle C, sometimes
1523 called a @q{grand staff}, with the bottom line representing low G and
1524 the top line high F:
1526 @lilypond[ragged-right,quote]
1529 %-- Treble Staff --%
1531 % Allow this staff to be placed close to the others
1532 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1533 % Allow the treble clef to overlap the lower staves:
1534 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1535 \override Staff.Clef #'stencil = ##f % No clef required
1537 s1^\markup { "g," \transparent "g" }
1538 s^ \markup { "b," \transparent "g" }
1539 s^ \markup { "d" \transparent "g" }
1540 s^ \markup { "f" \transparent "g" }
1541 s^ \markup { "a" \transparent "g" }
1542 s^ \markup { \with-color #red c' \transparent "g"}
1543 e'^\markup { "e'" \transparent "g" }
1544 g'^\markup { "g'" \transparent "g" }
1545 b'^\markup { "b'" \transparent "g" }
1546 d''^\markup { "d''" \transparent "g" }
1547 f''^\markup { "f ''" \transparent "g" }
1550 %-- Alto Staff reduced to a single line on middle C --%
1552 \override Staff.StaffSymbol #'line-count = 1 % One line only
1553 \override Staff.StaffSymbol #'color = #red % Coloured red
1554 \override Staff.Clef #'stencil = ##f % No clef required
1557 % Allow this staff to be placed close to the others
1558 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1559 % Specify height to give correct spacing between treble and bass staves
1560 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1562 s1 s s s s % Space along to align horizonatally
1563 \override NoteHead #'color = #red
1565 s1 s s s s s % Keep staff (ie the red line) showing
1569 % Allow this staff to be placed close to the others
1570 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1571 \override Staff.Clef #'stencil = ##f % No clef required
1574 s s s s s s s % Keep staff showing
1578 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1579 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1581 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1582 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1584 % Remove all barlines
1585 \context { \Score \override BarLine #'stencil = ##f
1587 % Remove time signature from all staves
1588 \context { \Staff \remove Time_signature_engraver
1594 Staves of five lines are usually used, and the clef superimposed on
1595 them indicates which five lines have been selected from this
1596 @samp{grand staff}. For example, the treble or G clef indicates that
1597 the top five lines have been selected:
1599 @lilypond[ragged-right,quote]
1602 %-- Treble Staff --%
1604 % Allow this staff to be placed close to the others
1605 \override Staff.VerticalAxisGroup
1606 #'minimum-Y-extent = #'(0 . 0)
1607 % Allow the treble clef to overlap the lower staves:
1608 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1609 \override Staff.Clef #'stencil = ##f % No clef required here
1611 s1^\markup { "g," \transparent "g" }
1612 s^ \markup { "b," \transparent "g" }
1613 s^ \markup { "d" \transparent "g" }
1614 s^ \markup { "f" \transparent "g" }
1615 s^ \markup { "a" \transparent "g" }
1616 s^ \markup { \with-color #red c' \transparent "g"}
1617 \stopStaff \startStaff
1618 \clef "C" % Dummy to force next clef to be printed
1619 s % Need at least one note for \clef to take effect
1620 \override Staff.Clef #'stencil = ##t % Clef now required
1621 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1623 e'^\markup { "e'" \transparent "g" }
1624 g'^\markup { "g'" \transparent "g" }
1625 b'^\markup { "b'" \transparent "g" }
1626 d''^\markup { "d''" \transparent "g" }
1627 f''^\markup { "f ''" \transparent "g" }
1629 %-- Alto Staff reduced to a single line on middle C --%
1631 \override Staff.StaffSymbol #'line-count = 1 % One line only
1632 \override Staff.StaffSymbol #'color = #red % Coloured red
1633 \override Staff.Clef #'stencil = ##f % No clef required
1636 % Allow this staff to be placed close to the others
1637 \override Staff.VerticalAxisGroup
1638 #'minimum-Y-extent = #'(0 . 0)
1639 % Specify height to give correct spacing between the staves
1640 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1642 s1 s s s s % Space along to align horizonatally
1643 \override NoteHead #'color = #red
1645 % s1 s s s s % Keep staff (ie the red line) showing
1649 % Allow this staff to be placed close to the others
1650 \override Staff.VerticalAxisGroup
1651 #'minimum-Y-extent = #'(0 . 0)
1652 \override Staff.Clef #'stencil = ##f % No clef required
1655 % s s s s s s % Keep staff showing
1659 % Reduce horizontal spacing so semibreves can be used
1660 % without exceeding 1 line
1661 \context { \Score \override SpacingSpanner
1662 #'base-shortest-duration = #(ly:make-moment 1 1)
1664 % Reduce apparent vertical size of note heads to
1665 % permit them to overlap other grobs vertically
1666 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1668 % Remove all barlines
1669 \context { \Score \override BarLine #'stencil = ##f
1671 % Remove time signature from all staves
1672 \context { \Staff \remove Time_signature_engraver
1678 The @q{curl} of the G clef is centered on the line that represents the
1681 In the same way, the bass or F clef indicates that the bottom five
1682 lines have been selected from the @samp{grand staff}, and the alto or
1683 C clef indicates the middle five lines have been selected. This
1684 relationship is shown below, where the notes show an arpeggio on a C
1687 @lilypond[ragged-right,quote]
1690 %-- Treble Staff --%
1691 \new Staff = "G" \with {
1692 \remove Time_signature_engraver
1695 % The following two overrides are required to make the two middle C's overlap
1696 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1697 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1699 \override Staff.Clef #'Y-extent = #'(0 . 0)
1701 s1 s s s s e' g' c''
1704 \new Staff = "C" \with {
1705 \remove Time_signature_engraver
1708 \override Staff.StaffSymbol #'line-count = 1
1709 \override Staff.StaffSymbol #'stencil = ##f
1710 \once \override Staff.Clef #'stencil = ##f
1711 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1712 \override Score.BarLine #'stencil = ##f
1714 % The following two overrides are required to align the C staff to the G and F staves
1715 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1716 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1719 \stopStaff \startStaff
1720 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1721 \revert Staff.StaffSymbol #'stencil
1722 \override Staff.StaffSymbol #'color = #red
1723 b'1 % A frig. This really shows as a middle C in the score
1725 \stopStaff \startStaff
1726 \override Staff.StaffSymbol #'line-count = 5
1727 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1728 \override Staff.Clef #'Y-extent = #'(0 . 0)
1729 \revert Staff.StaffSymbol #'color
1730 \stopStaff \startStaff
1732 s1 s s c e g c' e' g' c''
1735 \new Staff = "F" \with {
1736 \remove Time_signature_engraver
1739 \override Staff.Clef #'Y-extent = #'(0 . 0)
1740 % The following two overrides are required to make the two middle C's overlap
1741 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1742 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1750 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1753 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1756 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1773 FI: klusteri, cluster.
1775 A @emph{cluster} is a range of simultaneously sounding pitches that
1776 may change over time. The set of available pitches to apply usually
1777 depends on the acoustic source. Thus, in piano music, a cluster
1778 typically consists of a continuous range of the semitones as provided
1779 by the piano's fixed set of a chromatic scale. In choral music, each
1780 singer of the choir typically may sing an arbitrary pitch within the
1781 cluster's range that is not bound to any diatonic, chromatic or other
1782 scale. In electronic music, a cluster (theoretically) may even cover
1783 a continuous range of pitches, thus resulting in colored noise, such
1786 Clusters can be denoted in the context of ordinary staff notation by
1787 engraving simple geometrical shapes that replace ordinary notation of
1788 notes. Ordinary notes as musical events specify starting time and
1789 duration of pitches; however, the duration of a note is expressed by
1790 the shape of the note head rather than by the horizontal graphical
1791 extent of the note symbol. In contrast, the shape of a cluster
1792 geometrically describes the development of a range of pitches
1793 (vertical extent) over time (horizontal extent). Still, the
1794 geometrical shape of a cluster covers the area in which any single
1795 pitch contained in the cluster would be notated as an ordinary note.
1797 @lilypond[fragment,relative=2,ragged-right]
1798 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1812 FI: komma, korvinkuultava ero äänenkorkeudessa.
1814 Difference in pitch between a note derived from pure tuning and the
1815 same note derived from some other tuning method.
1819 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1824 @section common meter
1834 @section common time
1845 4/4 time. The symbol, which resembles a capital letter C, derives from
1850 @ref{mensural notation}, @ref{meter}.
1856 ES: intervalo invertido,
1858 F: intervalle complémentaire,
1859 D: Komplementärintervall,
1860 NL: complementair interval,
1861 DK: komplementærinterval,
1862 S: komplementärintervall (?),
1863 FI: täydentävä intervalli.
1867 @ref{inverted interval}.
1870 @node compound interval
1871 @section compound interval
1873 ES: intervalo compuesto,
1874 I: intervallo composto,
1875 F: intervalle composé,
1876 D: weites Intervall,
1877 NL: samengesteld interval,
1878 DK: sammensat interval,
1879 S: sammansatt intervall,
1880 FI: oktaavia laajempi intervalli.
1882 Intervals larger than an octave.
1889 @node compound meter
1890 @section compound meter
1901 A meter that includes a triplet subdivision within the beat, such as
1906 @ref{meter}, @ref{simple meter}.
1910 @section compound time
1924 A meter that includes a triplet subdivision within the beat: see
1925 @ref{compound meter}.
1928 A time signature that additively combines two or more unequal meters, e.g.
1929 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1931 @lilypond[fragment,line-width=13.0\cm]
1932 #(define (compound-time grob one two three num)
1934 (ly:grob-layout grob)
1935 '(((baseline-skip . 2)
1937 (font-family . number)))
1939 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1943 #(set-time-signature 8 8 '(3 2 3))
1944 \override Staff.TimeSignature #'stencil
1945 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1946 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1947 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1948 \set Staff.beatGrouping = #'(3 2 3)
1950 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1958 @ref{compound meter}, @ref{meter}.
1962 @section concert pitch
1973 The pitch at which the piano and other nontransposing instruments play: such
1974 instruments are said to be @q{in C}. The following list includes some (but not
1975 all) instruments that play in concert pitch:
1989 @item tenor trombone
2004 The trombones are a special case: although they are said to be @q{in F} (alto or
2005 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2006 their parts' transposition. (In fact, the trombones' parts are written at
2007 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2008 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2011 Instruments that play @q{in C} but in a different octave than what is written
2012 are, technically speaking, @emph{transposing instruments}:
2016 @item piccolo (plays an octave higher)
2017 @item celesta (plays an octave higher)
2018 @item double-bass (plays an octave lower)
2024 @ref{transposing instrument}.
2027 @node conjunct movement
2028 @section conjunct movement
2030 ES: movimiento conjunto,
2032 F: mouvement conjoint,
2033 D: schritt@-weise, stufenweise Bewegung,
2034 NL: stapsgewijze, trapsgewijze beweging,
2035 DK: trinvis bevægelse,
2037 FI: asteittainen liike.
2039 Progressing melodically by intervals of a second. The opposite of a
2040 @ref{disjunct movement}.
2042 @lilypond[fragment,line-width=13.0\cm]
2043 \key g \major \time 4/4
2044 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2058 FI: konsonanssi, sopusointi.
2083 @section counterpoint
2092 FI: kontrapunkti, ääni ääntä vastaan.
2094 From Latin @emph{punctus contra punctum}, note against note. The
2095 combination into a single musical fabric of lines or parts which have
2096 distinct melodic significance. A frequently used polyphonic technique
2097 is imitation, in its strictest form found in the canon needing only
2098 one part to be written down while the other parts are performed with a
2099 given displacement. Imitation is also the contrapunctal technique
2100 used in the @emph{fugue} which, since the music of the baroque era,
2101 has been one of the most popular polyphonic composition methods.
2103 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2104 \set Score.implicitTimeSignatureVisibility = #all-invisible
2105 \override Score.TimeSignature #'break-visibility = #all-invisible
2106 \context PianoStaff <<
2107 \context Staff = SA \relative c' {
2111 << \context Voice = rha {
2113 r1 | r2 r8 g'8 bes d, |
2114 cis4 d r8 e!16 f g8 f16 e |
2115 f8 g16 a bes8 a16 g a8
2117 \context Voice = rhb {
2123 \context Staff = SB \relative c' {
2126 << \context Voice = lha {
2128 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2129 r8 a16 g f8 g16 a bes8 g e! cis' |
2132 \context Voice = lhb {
2142 @section counter tenor
2147 D: Countertenor, Kontratenor,
2150 S: kontratenor, counter tenor,
2159 @section copying music
2161 A music copyist did fast freehand scores and parts on preprinted staff
2162 lines for performance. Some of their conventions (e.g., the placement
2163 of note heads on stems) varied slightly from those of engravers. Some
2164 of their working methods were superior and could well be adopted by
2167 @c Copying music required more skill than engraving. Flagged for NPOV
2176 D: Crescendo, lauter werden,
2180 FI: cresendo, voimistuen.
2182 Increasing volume. Indicated by a rightwards opening horizontal wedge
2183 or the abbreviation @samp{cresc.}.
2185 @lilypond[fragment,ragged-right]
2186 \key g \major \time 4/4
2187 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2196 F: petites notes précédent l'entrée d'un instrument, réplique,
2203 In a separate part notes belonging to another part with the purpose of
2204 hinting when to start playing. Usually printed in a smaller type.
2213 D: Notenzeiger, Custos,
2219 A custos (plural: custodes) is a staff symbol that appears at the end
2220 of a staff line with monophonic musical contents (i.e., with a single
2221 voice). It anticipates the pitch of the first note of the following
2222 line and thus helps the player or singer to manage line breaks during
2223 performance, thus enhancing readability of a score.
2225 Custodes were frequently used in music notation until the 16th
2226 century. There were different appearences for different notation
2227 styles. Nowadays, they have survived only in special forms of musical
2228 notation such as via the Editio Vaticana dating back to the beginning
2234 % \override Staff.Custos #'neutral-position = #4
2235 \override Staff.Custos #'neutral-direction = #down
2236 \override Staff.Custos #'style = #'hufnagel
2244 \consists Custos_engraver
2276 F: da capo, depuis le commencement,
2277 D: da capo, von Anfang,
2281 FI: da capo, alusta.
2283 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2284 the beginning to the end or to a certain place marked @emph{fine}.
2292 F: dal segno, depuis le signe,
2293 D: dal segno, ab dem Zeichen,
2297 FI: dal segno, lähtien merkistä.
2299 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2300 another place frequently near the beginning marked by a sign:
2302 @lilypond[fragment,ragged-right]
2303 %\override TextScript #'font-style = #'large
2304 \override TextScript #'font-shape = #'italic
2305 \key g \major \time 4/4
2310 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2317 @section decrescendo
2321 D: Decrescendo, leiser werden,
2325 FI: decresendo, hiljentyen.
2327 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2328 or the abbreviation @samp{decresc.}.
2330 @lilypond[fragment,ragged-right]
2332 \key g \major \time 4/4
2333 d4 \> c b a | g1 \! \bar "|."
2338 @node descending interval
2339 @section descending interval
2341 ES: intervalo descendente,
2342 I: intervallo discendente,
2343 F: intervalle descendant,
2344 D: fallendes Intervall, absteigendes Intervall,
2345 NL: dalend interval,
2346 DK: faldende interval,
2347 S: fallande intervall,
2348 FI: laskeva intervalli.
2350 A distance between a starting higher note and a lower ending note.
2353 @node diatonic scale
2354 @section diatonic scale
2356 ES: escala diatónica,
2358 F: gamme diatonique,
2359 D: diatonische Tonleiter,
2360 NL: diatonische toonladder,
2361 DK: diatonisk skala,
2363 FI: diatoninen asteikko.
2365 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2366 Scales played on the white keys of a piano keybord are diatonic; and these
2367 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2369 These @q{modes} are used in gregorian chant and in pre-baroque early music
2370 but also to some extent in newer jazz music.
2372 @lilypond[fragment,notime,ragged-right]
2373 \set Score.automaticBars = ##f
2374 %\override Score.LyricText #'font-style = #'large
2375 %\override Score.TextScript #'font-style = #'large
2377 \context Staff \relative c' {
2379 \override TextScript #'padding = #-4
2380 e^"~~ S" f g a b^"~~ S" c
2382 \context Lyrics \lyrics {
2388 @lilypond[fragment,notime,ragged-right]
2389 \set Score.automaticBars = ##f
2391 \context Staff \relative c' {
2393 \override TextScript #'padding = #-4
2394 e^"~~ S" f g a b^"~~ S" c d
2402 @lilypond[fragment,notime,ragged-right]
2403 \set Score.automaticBars = ##f
2406 \override TextScript #'padding = #-4
2407 e1^"~~ S" f g a b^"~~ S" c d e
2415 @lilypond[fragment,notime,ragged-right]
2416 \set Score.automaticBars = ##f
2420 \override TextScript #'padding = #-4
2421 b^"~~ S" c d e^"~~ S" f
2429 @lilypond[fragment,notime,ragged-right]
2430 \set Score.automaticBars = ##f
2434 \override TextScript #'padding = #-4
2435 b^"~~ S" c d e^"~~ S" f g }
2442 @lilypond[fragment,notime,ragged-right]
2443 \set Score.automaticBars = ##f
2444 %\override Score.LyricText #'font-style = #'large
2445 %\override Score.TextScript #'font-style = #'large
2449 \override TextScript #'padding = #-4
2450 b^"~~ S" c d e^"~~ S" f g a
2458 @lilypond[fragment,notime,ragged-right]
2459 \set Score.automaticBars = ##f
2460 %\override Score.LyricText #'font-style = #'large
2461 %\override Score.TextScript #'font-style = #'large
2464 \override TextScript #'padding = #-4
2465 b^"~~ S" c d e^"~~ S" f g a b
2473 From the beginning of the 17th century the scales used in European
2474 compositional music are primarily the major and the minor scales. In
2475 the harmonic minor scale type an augmented second (A) occurs between
2476 the 6th and 7th tone.
2478 @lilypond[fragment,notime,ragged-right]
2479 \set Score.automaticBars = ##f
2483 \override TextScript #'padding = #-4
2484 e^"~~ S" f g a b^"~~ S" c
2492 @lilypond[fragment,notime,ragged-right]
2493 \set Score.automaticBars = ##f
2497 \override TextScript #'padding = #-4
2498 b^"~~ S" c d e^"~~ S" f g a
2506 @lilypond[fragment,notime,ragged-right]
2507 \set Score.automaticBars = ##f
2511 \override TextScript #'padding = #-4
2512 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2514 \context Lyrics \lyrics {
2520 @lilypond[fragment,notime,line-width=13.0\cm]
2521 \set Score.automaticBars = ##f
2522 %\override Score.LyricText #'font-style = #'large
2523 %\override Score.TextScript #'font-style = #'large
2527 \override TextScript #'padding = #-4
2528 b^"~~ S" c d e fis gis^"~~ S"
2529 a g! f!^"~~ S" e d c^"~~ S" b a
2538 @node diminished interval
2539 @section diminished interval
2541 ES: intervalo disminuido,
2542 I: intervallo diminuito,
2543 F: intervalle diminué,
2544 D: vermindertes Intervall,
2545 NL: verminderd interval,
2546 DK: formindsket interval,
2547 S: förminskat intervall,
2548 FI: vähennetty intervalli.
2565 FI: diminuendo, hiljentyen.
2584 @c TODO: add definition
2586 This is a placeholder for diminution (wrt mensural notation).
2590 @ref{augmentation}, @ref{mensural notation}.
2610 @node disjunct movement
2611 @section disjunct movement
2613 ES: movimiento disjunto,
2615 F: mouvement disjoint,
2616 D: sprunghafte Bewegung,
2617 NL: sprongsgewijze beweging,
2618 DK: springende bevægelse,
2619 S: hoppande rörelse,
2620 FI: melodian hyppivä liike.
2622 Progressing melodically by intervals larger than a major second, as
2623 opposed to @ref{conjunct movement}.
2625 @lilypond[fragment,ragged-right]
2630 a4. gis8 b a e cis |
2631 fis2 d4. \bar "||" }
2638 @ref{dissonant interval}.
2641 @node dissonant interval
2642 @section dissonant interval
2644 ES: intervalo disonante, disonancia,
2645 I: intervallo dissonante, dissonanza,
2648 NL: dissonant interval, dissonant,
2649 DK: dissonerende interval, dissonans,
2651 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2658 @node dominant ninth chord
2659 @section dominant ninth chord
2661 ES: acorde de novena de dominante,
2662 I: accordo di nona di dominante,
2663 F: accord de neuvième dominante,
2664 D: Domi@-nant@-nonen@-akkord,
2665 NL: dominant noon akkoord,
2666 DK: dominantnoneakkord,
2667 S: dominantnonackord,
2668 FI: dominanttinoonisointu.
2672 @ref{chord}, @ref{functional harmony}.
2675 @node dominant seventh chord
2676 @section dominant seventh chord
2678 ES: acorde de séptima de dominante,
2679 I: accordo di settima di dominante,
2680 F: accord de septième dominante,
2681 D: Dominantseptakkord,
2682 NL: dominant septiem akkoord,
2683 DK: dominantseptimakkord,
2684 S: dominantseptimackord,
2685 FI: dominanttiseptimisointu.
2689 @ref{chord}, @ref{functional harmony}.
2702 FI: dominantti, huippusointu.
2704 The fifth @ref{scale degree} in @ref{functional harmony}.
2708 @section dorian mode
2713 D: dorisch, dorischer Kirchenton,
2714 NL: dorische toonladder,
2721 @ref{diatonic scale}.
2724 @node dot (augmentation dot)
2725 @section dot (augmentation dot)
2728 I: punto (di valore),
2730 D: Punkt (Verlängerungspunkt),
2738 @ref{dotted note}, @ref{note value}.
2742 @section dotted note
2744 ES: nota con puntillo,
2748 NL: gepuncteerde noot,
2751 FI: pisteellinen nuotti.
2758 @node double appoggiatura
2759 @section double appoggiatura
2761 ES: apoyatura doble,
2762 I: appoggiatura doppia,
2763 F: appoggiature double,
2764 D: doppelter Vorschlag,
2765 NL: dubbele voorslag,
2766 DK: dobbelt forslag,
2768 FI: kaksoisappogiatura, kaksoisetuhele.
2775 @node double bar line
2776 @section double bar line
2782 NL: dubbele maatstreep,
2785 FI: kaksoistahtiviiva.
2787 Indicates the end of a section within a movement.
2790 @node double dotted note
2791 @section double dotted note
2793 ES: nota con doble puntillo,
2794 I: nota doppiamente puntata,
2795 F: note doublement pointée,
2796 D: doppelt punktierte Note,
2797 NL: dubbelgepuncteerde noot,
2798 DK: dob@-belt@-punk@-te@-ret node,
2799 S: dub@-bel@-punk@-te@-rad not,
2800 FI: kaksoispisteellinen nuotti.
2808 @section double flat
2817 FI: kaksoisalennusmerkki.
2825 @section double sharp
2827 ES: doble sostenido,
2832 DK: dob@-belt@-kryds,
2834 FI: kaksoisylennysmerkki.
2841 @node double time signature
2842 @section double time signature
2855 @ref{polymetric time signature}.
2859 @section double trill
2865 NL: dubbele triller,
2870 A simultaneous trill on two notes, usually in the distance of a third.
2874 @section duple meter
2879 D: in zwei, grader Takt,
2880 NL: tweedelige maatsoort,
2917 FI: kesto, aika-arvo.
2925 @section didymic comma
2929 @ref{syntonic comma}.
2938 D: Dynamik, Lautstärke,
2944 The aspect of music relating to degrees of loudness, or changes from
2945 one degree to another. The terms, abbreviations, and symbols used to
2946 indicate this information are called dynamic marks.
2950 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2973 @node ecclesiastical mode
2974 @section ecclesiastical mode
2982 @section eighth note
2989 @item D: Achtel, Achtelnote
2990 @item NL: achtste noot
2991 @item DK: ottendedelsnode
2992 @item S: åttondelsnot
2993 @item FI: kahdeksasosanuotti
3002 @section eighth rest
3005 @item UK: quaver rest
3006 @item ES: silencio de corchea
3007 @item I: pausa di croma
3008 @item F: demi-soupir
3009 @item D: Achtelpause
3010 @item NL: achtste rust
3011 @item DK: ottendedelspause
3012 @item S: åttonddelspaus
3013 @item FI: kahdeksasosatauko
3024 @c TODO: add languages
3035 The singing of several syllables on a single note. Elision may be indicated
3036 by a lyric tie, which is looks like (and serves the same function) as a
3045 @section embellishment
3058 D: Notenstich, Notendruck
3064 Engraving means incising or etching a metal plate for printing.
3065 Photoengraving means drawing music with ink in a manner similar to
3066 drafting or engineering drawing, using similar tools.
3068 The traditional process of music printing is done through cutting in a
3069 plate of metal. Now also the term for the art of music typesetting.
3084 Two notes, intervals, or scales are enharmonic if they have different
3085 names but equal pitch.
3087 @lilypond[fragment,notime,line-width=13.0\cm]
3088 \set Score.automaticBars = ##f
3090 \context Staff \relative c'' {
3091 gis1 as <des g,!> <cis g!>
3093 \context Lyrics \lyrics {
3094 \override Lyrics .LyricText #'self-alignment-X = #-1
3095 "g sharp " "a flat " "dim fifth " "augm fourth"
3101 @node equal temperament
3102 @section equal temperament
3104 ES: temperamento igual,
3105 I: temperamento equabile,
3106 F: tempérament égal,
3107 D: gleichschwebende Stimmung,
3108 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3109 DK: ligesvævende temperatur,
3110 S: liksvävande temperatur,
3113 Tuning system dividing the octave into 12 equal @ref{semitone}s
3114 (precisely 100 @ref{cent}s).
3121 @node expression mark
3122 @section expression mark
3125 I: segno d'espressione,
3126 F: signe d'expression, indication de nuance,
3128 NL: voordrachtsteken,
3129 DK: foredragsbetegnelse,
3130 S: föredragsbeteckning,
3131 FI: nyanssiosoitus, esitysmerkki.
3133 Performance indications concerning:
3137 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3139 @item tempo (for example @ref{andante}, @ref{allegro}).
3145 @section extender line
3147 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3149 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3156 The generic term for a line (or dash) of arbitrary length that extends
3157 text (without indicating the musical @emph{function} of that text).
3159 Used in many contexts, for example:
3163 @item In vocal music to indicate the syllable for a melisma. Called
3164 @q{extension} in the
3165 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3169 In figured (or thorough) bass to indicate that:
3173 @item The extended note should be held through a change in harmony, when applied
3174 to one figure --OR--
3175 @item The chord thus represented should be held above a moving bass line, when
3176 applied to more than one figure.
3177 @item These uses were not completely standardized, and some composers used a
3178 single extender line to indicate the latter case.
3183 In string music to indicate that all notes in the passage thus indicated should
3184 be played on the same string. On the violin, for example, a series of notes to
3185 be played on the G string would be indicated @samp{sul G}, another series to be
3186 played on the D string would be indicated @samp{sul D}, and so on.
3189 With an octave mark to indicate that a passage is to be played higher or lower
3190 by the given number of octaves.
3196 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3231 The position between the dots of the key symbol is the line of the F
3232 below central@w{ }C. Used on the third, fourth and fifth note line.
3233 A digit@w{ }8 above the clef symbol indicates that the notes must be
3234 played an octave higher (for example, bass recorder) while 8@w{ }below
3235 the clef symbol indicates playing an octave lower (for example, on
3236 double bass @ref{strings}).
3238 @lilypond[fragment,notime,line-width=13.0\cm]
3239 \set Score.automaticBars = ##f
3240 \override Staff.Clef #'full-size-change = ##t
3268 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3271 @node feathered beam
3272 @section feathered beam
3276 F: liens de croches en soufflet,
3277 D: gespreizter Balken,
3283 A type of beam used to indicate that a small group of notes should be
3284 played at an increasing or decreasing tempo -- depending on the
3285 direction of @q{feathering} -- but without changing the overall tempo
3290 Internals Reference: @ruser{Manual beams}
3298 F: point d'orgue, point d'arrêt,
3303 FI: fermaatti, pidäke.
3305 Prolonged note or rest of indefinite duration.
3307 @lilypond[fragment,ragged-right]
3310 a4 b c2^\fermata \bar "|."
3333 @section figured bass
3337 @ref{thorough bass}.
3352 The methodical use of fingers in the playing of instruments.
3359 I: coda (uncinata), bandiera,
3367 Ornament at the end of the stem of a note used for notes with values
3368 less than a quarter note. The number of flags determines the
3371 @lilypond[fragment,notime,ragged-right]
3372 \set Score.automaticBars = ##f
3373 %\override Score.TextScript #'font-style = #'large
3418 FI: forte, voimakkaasti.
3420 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3421 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3441 @node Frenched score
3442 @section Frenched score
3453 A @q{condensed} score, produced by omitting staves for instruments that are not
3454 playing at the moment, and by moving up additional systems from following pages
3455 to take up the space thus liberated, which reduces the total number of pages
3456 used to print the work.
3458 The specific rules for @q{frenching} a score differ from publisher to publisher.
3459 If you are producing scores for eventual publication by a commercial publisher,
3460 you may wish to procure a copy of their style manual.
3464 @ref{Frenched staff}.
3467 @node Frenched staff
3468 @section Frenched staff
3479 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3480 measures or sections removed. This would be useful for producing, for example,
3481 an @emph{ossia} staff.
3488 @node Frenched staves
3489 @section Frenched staves
3500 The plural of @ref{Frenched staff}, @emph{q.v.}.
3520 @node functional harmony
3521 @section functional harmony
3523 ES: armonía funcional,
3524 I: armonia funzionale,
3525 F: étude des functions,
3527 NL: functionele harmonie,
3528 DK: funktionsanalyse, funktionsharmonik,
3530 FI: harmoniajärjestelmä.
3532 A system of harmonic analysis. It is based on the idea that, in a
3533 given key, there are only three functionally different chords: tonic
3534 (T, the chord on the first note of the scale), subdominant (S, the
3535 chord on the fourth note), and dominant (D, the chord on the fifth
3536 note). Others are considered to be variants of the base chords.
3538 @lilypond[fragment,notime,line-width=13.0\cm]
3539 \set Score.automaticBars = ##f
3541 \context Voice \relative c'' {
3542 <g e c >1 < a f d > < b g e >
3543 <c a f > < d b g > < e c a > < f d b > }
3544 \context Lyrics \lyrics {
3545 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3575 D: G-Schlüssel, Violinschlüssel,
3581 A clef symbol indicating the G above middle@w{ }C. Used on the first
3582 and second note lines. A digit 8 above the clef symbol indicates that
3583 the notes must be played an octave higher while 8 below the clef
3584 symbol indicates playing or singing an octave lower (most tenor parts
3585 in choral scores are notated like that).
3587 @lilypond[fragment,notime,ragged-right]
3589 \set Score.automaticBars = ##f
3590 \override Staff.Clef #'full-size-change = ##t
3593 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3603 \context Lyrics \lyrics {
3604 \override Lyrics . LyricText #'X-offset = #-5
3605 "french violin clef"
3624 FI: glissando, liukuen.
3626 Letting the pitch slide fluently from one note to the other.
3630 @section grace notes
3632 ES: notas de adorno,
3635 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3641 Notes printed in small types to indicate that their time values are not
3642 counted in the rhythm of the bar.
3646 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3651 @section grand staff
3653 ES: sistema de piano,
3656 D: Akkolade, Klaviersystem,
3659 S: ackolad, böjd klammer,
3660 FI: kaksoisnuottiviivasto.
3662 A combination of two staves with a brace. Usually used for piano music.
3679 FI: grave, raskaasti.
3706 Letter name used for @samp{B natural} in German and Scandinavian
3707 usage. In the standard usage of these countries, @samp{B} means
3712 @ref{Pitch names}, @ref{B}
3722 D: Halbe, halbe Note,
3737 ES: silencio de blanca,
3751 @node harmonic cadence
3752 @section harmonic cadence
3754 ES: cadencia (armónica),
3755 I: cadenza (armonica),
3756 F: cadence harmonique,
3758 NL: harmonische cadens,
3759 DK: harmonisk kadence,
3760 S: (harmonisk) kadens,
3761 FI: harmoninen kadenssi.
3763 A sequence of chords that terminates a musical phrase or section.
3765 @ref{functional harmony}.
3767 @lilypond[fragment,ragged-right]
3768 \context PianoStaff <<
3769 \context Staff = SA \relative c'' {
3773 \partial 4 < c g e >4 |
3774 < c a f > < b g d > < c g e >2
3777 \context Staff = SB \relative c {
3779 \partial 4 c4 | f, g c2
3797 D: Harmonie, Zusammenklang,
3801 FI: harmonia, yhteissointi.
3803 Tones sounding simultaneously. Two note harmonies fall into the
3804 categories @emph{consonances} and @emph{dissonances}.
3808 @lilypond[fragment,notime,line-width=13.0\cm]
3809 \set Score.automaticBars = ##f
3810 %\override Score.TextScript #'font-style = #'large
3811 \context Voice \relative c'' {
3824 @lilypond[fragment,notime,line-width=13.0\cm]
3825 \set Score.automaticBars = ##f
3826 %\override Score.TextScript #'font-style = #'large
3827 \context Voice \relative c'' {
3828 <g a>1_"second " s s
3829 <g f'>_"seventh " s s
3834 Three note harmony @ref{chord}.
3849 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3850 the use of three notes of equal value in the time normally occupied by
3851 of two notes of equal value. The resulting rhythm can be expressed in
3852 modern terms as a substitution (for example) of a bar in 3/2 for one
3853 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3854 hemiola is most frequently as a special effect (or @emph{affect}) at
3857 For example, this phrase in 6/4 time
3859 @lilypond[fragment,line-width=13.0\cm]
3863 c2. e | d2 c d | c1. \bar "||" }
3866 may be thought of having alternating time signatures
3868 @lilypond[fragment,line-width=13.0\cm]
3872 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3875 and is therefore a polymeter (second definition) of considerable antiquity.
3879 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3892 FI: homofonia, yksiäänisyys.
3894 Music in which one voice leads melodically followed by the other
3895 voices more or less in the same rhythm. In contrast to
3909 FI: intervalli, kahden sävelen korkeusero.
3911 Difference in pitch between two notes. Intervals may be perfect,
3912 minor, major, diminished, or augmented. The augmented fourth and the
3913 diminished fifth are identical (@ref{enharmonic}) and are called
3914 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3915 addition of such two intervals forms an octave.
3917 @lilypond[fragment,notime,line-width=13.0\cm]
3918 \set Score.automaticBars = ##f
3920 \context Voice \relative c'' {
3930 \context Lyrics \lyrics {
3931 "unison " "second " "second " "second "
3932 "third " "third " "third " "third"
3937 @lilypond[fragment,notime,line-width=13.0\cm]
3938 \set Score.automaticBars = ##f
3940 \context Staff \relative c'' {
3951 "fourth " "fourth " "fifth " "fifth "
3952 "sixth " "sixth " "sixth " "sixth"
3957 @lilypond[fragment,notime,line-width=13.0\cm]
3958 \set Score.automaticBars = ##f
3960 \context Staff \relative c'' {
3961 < gis f'! >1^"dimin"
3970 \context Lyrics \lyrics {
3971 "seventh " "seventh " "seventh " "octave "
3972 "ninth " "ninth " "tenth " "tenth"
3978 @node inverted interval
3979 @section inverted interval
3981 ES: intervalo invertido,
3982 I: intervallo rivolto,
3983 F: intervalle reversé,
3984 D: umgekehrtes Intervall,
3985 NL: interval inversie,
3986 DK: omvendingsinterval,
3987 S: intervallets omvändning,
3988 FI: käänteisintervalli.
3990 The difference between an interval and an octave.
3992 @lilypond[fragment,notime,line-width=13.0\cm]
3993 \set Score.automaticBars = ##f
3994 %\override Score.TextScript #'font-style = #'large
3995 \context Staff \relative c'' {
3996 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3997 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3998 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4003 @node just intonation
4004 @section just intonation
4006 ES: entonación justa,
4007 I: intonazione giusta,
4008 F: intonation juste,
4015 Tuning system in which the notes are obtained by adding and subtracting
4016 natural fifths and thirds.
4033 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4034 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4038 @ref{key signature}.
4042 @section key signature
4044 ES: armadura (de la clave),
4045 I: armatura di chiave,
4046 F: armure, armature [de la clé],
4047 D: Vorzeichen, Tonart,
4048 NL: toon@-soort (voortekens),
4051 FI: sävellajiosoitus.
4053 The sharps or flats appearing at the beginning of each staff indicating the
4059 @node laissez vibrer
4060 @section laissez vibrer
4071 [From French, @q{Let vibrate}]. Most frequently associated with harp
4072 parts. Marked @samp{l.v.} in the score.
4081 D: Largo, Langsam, Breit,
4085 FI: largo, hitaasti, leveästi.
4087 Very slow in tempo, usually combined with great expressiveness.
4088 @emph{Larghetto} is less slow than largo.
4092 @section leading note
4103 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4104 called because of its strong tendency to @q{lead up} (resolve upwards)
4105 to the tonic scale degree.
4109 @section ledger line
4111 ES: línea adicional,
4112 I: tagli addizionali,
4113 F: ligne supplémentaire,
4120 A ledger line is an extension of the staff.
4122 @lilypond[fragment,notime,ragged-right]
4123 \set Score.automaticBars = ##f
4124 \relative c'' { a,1 s c'' }
4134 D: legato, gebunden,
4140 To be performed (a) without any perceptible interruption between the
4141 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4142 @emph{portato}, and (d) @ref{staccato}.
4144 @lilypond[fragment,notime,line-width=13.0\cm]
4145 \set Score.automaticBars = ##f
4147 \context Staff \relative c'' {
4148 c4-( d e-) \bar "||"
4149 c4-- d-- e-- \bar "||"
4150 c4-.-( d-. e-.-) \bar "||"
4151 c4-. d-. e-. \bar "||"
4164 @section legato curve
4168 @ref{slur}, @ref{legato}.
4183 ES: estanque de nenúfares,
4184 I: stagno del giglio,
4185 F: étang de nénuphars, étang de nymphéas,
4187 NL: le@-lie@-vij@-ver,
4192 A pond with lilies floating in it.
4193 Also, the name of a music typesetting program.
4208 A ligature is a coherent graphical symbol that represents at least two
4209 distinct notes. Ligatures originally appeared in the manuscripts of
4210 Gregorian chant notation roughly since the 9th century to denote ascending
4211 or descending sequences of notes. In early notation, ligatures were used
4212 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4213 performance in the sense of articulation. With the invention of the metric
4214 system of the white mensural notation, the need for ligatures to denote such
4215 patterns disappeared.
4219 @ref{mensural notation}.
4228 D: Linie, Notenlinie,
4232 FI: viiva, nuottiviiva.
4251 [From Italian, @q{place}]. Instruction to play the following passage at the
4252 written pitch. Cancels octave mark (q.v.).
4256 @ref{octave mark}, @ref{octave marking}.
4259 @node long appoggiatura
4260 @section long appoggiatura
4262 ES: apoyatura larga,
4263 I: appoggiatura lunga,
4264 F: appoggiature longue,
4269 FI: pitkä appoggiatura, pitkä etuhele.
4288 Note value: double length of @ref{breve}.
4290 @lilypond[fragment,notime,ragged-right]
4291 \set Score.automaticBars = ##f
4293 \override NoteHead #'style = #'mensural
4306 ES: letra (de la canción),
4309 D: Liedtext, Gesangtext,
4328 @c TODO: add languages
4335 @node major interval
4336 @section major interval
4338 ES: intervalo mayor,
4339 I: intervallo maggiore,
4340 F: intervalle majeur,
4341 D: großes Intervall,
4345 FI: suuri intervalli.
4366 @ref{diatonic scale}.
4369 @node meantone temperament
4370 @section meantone temperament
4372 ES: afinación mesotónica,
4373 I: accordatura mesotonica,
4374 F: tempérament mésotonique,
4375 D: mitteltönige Stimmung,
4376 NL: middenstemming, middentoonstemming,
4377 DK: middeltonetemperatur,
4378 S: medeltonstemperatur,
4379 FI: keskisävelviritys.
4381 Temperament yielding acoustically pure thirds by decreasing the
4382 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4383 character of this @ref{temperament} only a limited set of keys are
4384 playable. Used for tuning keyboard instruments for performance of
4400 A group of @ref{beat}s (units of musical time) the first of which
4401 bears an accent. Such groups in numbers of two or more recur
4402 consistently throughout the composition and are marked from each other
4412 I: mediante, modale,
4422 @item The third @b{scale degree}.
4424 @item A @ref{chord} having its base tone a third from that of another
4425 chord. For example, the tonic chord may be replaced by its lower
4426 mediant (variant tonic).
4431 @ref{functional harmony}, @ref{relative key}.
4444 FI: melisma, laulettavan tavun sävelkuvio.
4446 A melisma (plural, from Greek: melismata) is a group of notes or tones
4447 sung on one syllable, especially as applied to liturgical chant.
4451 @section melisma line
4453 @c TODO: add languages
4466 @ref{extender line}.
4469 @node melodic cadence
4470 @section melodic cadence
4477 @node mensural notation
4478 @section mensural notation
4480 @c TODO: add languages
4491 A system of duration notation whose principles were first established in the
4492 mid-13th century, and that (with various changes) remained in use until about
4493 1600. As such, it forms the basis of the notation of rhythms in Western musical
4496 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4497 of the notation's principles, so the notation of this earliest period is called
4498 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4499 and semibreve -- each of which was normally equivalent to three of the next
4502 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4503 added several note values (the minim, semiminim and fusa) and extended Franco's
4504 principles to govern the relationship between these values. They also put the
4505 duple division of note values on an equal footing with the earlier (preferred)
4508 TODO: continue description of French and Italian black notation, and the
4509 relationship betwixt them.
4511 @b{White or void mensural notation}
4513 In the 15th century, hollow (or void) notes began to substitute for the earlier
4514 solid black ones, which were then free to assume the function of red (or
4515 colored) notes in the earlier notation. ...
4517 TODO: add to definition (including summary info on proportional notation)
4521 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4522 @c TODO: more cross-references?
4530 F: indication de mesure, mesure,
4537 The pattern of note values and accents in a composition or a section thereof.
4538 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4539 by grouping beats and by subdividing the primary beat.
4541 @b{By grouping beats}:
4545 @item @b{duple}: groups of two.
4546 @item @b{triple}: groups of three.
4547 @item @b{quadruple}: groups of four. A special case of duple meter.
4548 @item @b{quintuple}: groups of five beats.
4549 @item @b{sextuple} meter: groups of six. A special case of:
4553 @item duple meter, subdivided in three; or
4554 @item triple meter, subdivided in two.
4558 @item @b{septuple} meter: groups of seven.
4563 Other than triple meter and its subdivided variants (see below), meters that
4564 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4565 frequently used prior to the 20th Century.
4567 @b{By subdividing the primary beat}:
4571 @item simple: groups of two.
4575 @item duple: 2/2, 2/4, 2/8
4576 @item triple: 3/2, 3/4, 3/8
4577 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4581 @item compound: groups of three.
4587 @item quadruple: 12/8
4593 Time signatures are placed at the beginning of a composition (or section) to
4594 indicate the meter. For instance, a piece written in simple triple meter with a
4595 beat on each quarter note is conventionally written with a time signature of
4596 3/4. Here are some combinations of the two classifications above:
4598 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4600 @lilypond[fragment,line-width=13.0\cm]
4604 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4607 Simple triple meter:
4609 @lilypond[fragment,line-width=13.0\cm]
4613 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4616 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4618 @lilypond[fragment,line-width=13.0\cm]
4622 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4625 Simple quintuple meter (B. Marcello, 1686-1739):
4627 @lilypond[fragment,line-width=13.0\cm]
4631 r4 cis8 bis ais4 dis c8 ais |
4632 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4635 Compound duple meter (unknown):
4637 @lilypond[fragment,line-width=13.0\cm]
4641 f8 f g a bes16 a g f |
4642 g8 g bes a c16 a bes g
4646 Compound triple meter (J.S. Bach, 1685-1750):
4648 @lilypond[fragment,line-width=13.0\cm]
4652 r8 g'( a) b( d c) c( e d) |
4653 d( g fis) g( d b) g( a b)
4657 Compound quadruple meter (P. Yon, 1886-1943):
4659 @lilypond[fragment,line-width=13.0\cm]
4663 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4664 e4 e8 fis( gis) a b4.~ b4 b8
4668 @b{@q{Monometer} vs Polymeter}
4670 TODO: add information from discussion on lilypond-user related to polymeter.
4674 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4689 Device indicating the exact tempo of a piece.
4691 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4692 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4693 divisions, and patented it as a "metronome". The inevitable lawsuit that
4694 followed acknowledged Winkler as the creator, but by then Mälzel had already
4695 sold many of them, and people had taken to calling it a Mälzel Metronome.
4699 @ref{metronome mark}.
4702 @node metronomic indication
4703 @section metronomic indication
4707 @ref{metronome mark}
4710 @node metronome mark
4711 @section metronome mark
4713 ES: indicación metronómica,
4714 I: indicazione metronomica,
4715 F: indication métronomique,
4717 NL: metronoom aanduiding,
4719 S: metronomangivelse,
4720 FI: metronomiosoitus.
4722 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4723 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4732 @section mezzo-soprano
4743 The female voice between @ref{soprano} and @ref{contralto}.
4752 D: eingestrichenes@w{ }c,
4754 DK: enstreget@w{ }c,
4755 S: ettstruket@w{ }c,
4758 First C below the 440 Hz A.
4760 @lilypond[fragment,notime,ragged-right]
4761 \set Score.automaticBars = ##f
4762 \override Staff.Clef #'full-size-change = ##t
4785 @ref{diatonic scale}.
4788 @node minor interval
4789 @section minor interval
4791 ES: intervalo menor,
4792 I: intervallo minore,
4793 F: intervalle mineur,
4794 D: kleines Intervall,
4798 FI: pieni intervalli.
4811 D: Kirchentonart, Modus,
4815 FI: moodi, kirkkosävelasteikko.
4819 @ref{church mode}, @ref{diatonic scale}.
4832 FI: modulaatio, sävellajin vaihdos.
4834 Moving from one @ref{key} to another. For example, the second subject
4835 of a @ref{sonata form} movement modulates to the dominant key if the
4836 key is major and to the @ref{relative key} if the key is minor.
4848 FI: mordent, korukuvio.
4873 FI: teema, sävelaihe.
4875 The briefest intelligible and self-contained fragment of a musical
4878 @lilypond[line-width=13.0\cm]
4881 \set Score.implicitTimeSignatureVisibility = #all-invisible
4882 \override Score.TimeSignature #'break-visibility = #all-invisible
4885 \partial 8 g16\startGroup fis |
4886 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4887 g8 g,16 a b8 cis d16 s
4891 \Staff \consists "Horizontal_bracket_engraver"
4909 Greater musical works like @ref{symphony} and @ref{sonata} most often
4910 consist of several -- more or less -- independant pieces called
4914 @node multi-measure rest
4915 @section multi-measure rest
4917 ES: compases de espera,
4921 D: mehrtaktige Pause, Kirchenpause,
4924 FI: usean tahdin mittainen tauko.
4926 Multi-measure rests are conventionally typeset with a combination of
4927 longa, breve and whole rests for shorter and a long horizontal bar for
4928 longer spans of rest, with a number above to indicate the duration (in
4929 measures) of the rest. The former style is called @q{Kirchenpausen} in
4930 German, as a reminiscence of its use in Renaissance vocal polyphony.
4932 @lilypond[fragment,ragged-right]
4935 \set Score.skipBars = ##t R1*3
4937 \set Score.skipBars = ##t R1*122
4944 @ref{longa}, @ref{breve}.
4947 @node mixolydian mode
4948 @section mixolydian mode
4952 @ref{diatonic scale}.
4961 D: Auflösungszeichen,
4962 NL: herstellingsteken,
4963 DK: op@-løsningstegn,
4964 S: återställningstecken,
4972 @node neighbour tones
4973 @section neighbour tones
4977 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5018 Notes are signs by means of which music is fixed in writing. The term is also
5019 used for the sound indicated by a note, and even for the key of the piano
5020 which produces the sound. However, a clear distinction between the terms tone
5021 and @ref{note} is strongly recommended. Briefly, one sees a note,
5029 I: testa, testina, capocchia,
5037 A head-like sign which indicates pitch by its position on a
5038 @ref{staff} provided with a @ref{clef}, and duration
5039 by a variety of shapes such as hollow or black heads with or without
5040 @ref{stem}s, @ref{flag}s, etc. For percussion
5041 instruments (often having no defined pitch) the note head may indicate the
5056 ES: valor (duración),
5058 F: durée, valeur (d'une note),
5063 FI: nuotin aika-arvo.
5065 Note values (durations) are measured as fractions, normally 1/2, of
5066 the next higher note value. The longest duration normally used is
5067 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5068 double-length note value @emph{longa} or the quadruple-length note
5069 value @emph{maxima} are used.
5071 @c TODO -- add maxima to this example, in a way that doesn't break it.
5073 @lilypond[fragment,notime,line-width=13.0\cm]
5074 %\override Score.TextScript #'font-style = #'large
5075 \set Score.automaticBars = ##f
5077 \override NoteHead #'style = #'mensural
5078 a\longa_"longa" a\breve_"breve"
5079 \revert NoteHead #'style
5080 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5081 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5084 @c TODO -- add maxima rest to this example
5086 @lilypond[fragment,notime,line-width=13.0\cm]
5087 %\override Score.TextScript #'font-style = #'large
5088 \set Score.automaticBars = ##f
5090 r\longa_"longa" r\breve_"breve"
5091 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5092 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5095 An augmentation dot after a note multiplies the duration by one and a
5096 half. Another dot adds yet a fourth of the duration.
5098 @lilypond[fragment,line-width=13.0\cm]
5099 %\override Score.TextScript #'font-style = #'large
5102 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5103 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5106 Alternatively note values may be subdivided by other ratios. Most common is
5107 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5108 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5109 dotted notes are also frequently used.
5111 @lilypond[fragment,line-width=13.0\cm]
5112 %\override Score.TextScript #'font-style = #'large
5115 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5116 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5120 @lilypond[fragment,line-width=13.0\cm]
5123 \times 3/2 {g4_"duplets" g} |
5125 \times 6/4 {g8_"quadruplets" g g g} |
5126 g8 g g g g4 \bar "||"
5136 @ref{octave marking}.
5151 The interval of an octave, sometimes abbreviated @samp{8ve}.
5153 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5154 bracket, or @samp{loco} see octave marking.
5158 @ref{interval}, @ref{octave marking}.
5162 @section octave mark
5173 The phrase, abbreviation, or other mark used (with or without an extender line
5174 or bracket) to indicate that the music is to be played in a different octave:
5178 @item @samp{15ma}: play two octaves higher
5179 @item @samp{8va}: play one octave higher
5180 @item @samp{8vb}: play one octave lower
5181 @item @samp{8va} (written below the passage): same as @samp{8vb}
5182 @item @samp{15vb}: play two octaves lower
5183 @item @samp{15va} (written below the passage): same as @samp{15vb}
5187 For longer passages, it may be more practical to mark the octave change at the
5188 beginning with a phrase (see the list below for examples), but without a bracket
5189 or extender line. Then, when the music returns to the written pitch, the octave
5190 change is cancelled with the word @emph{loco} (q.v.).
5192 To parallel the list above:
5196 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5197 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5198 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5199 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5203 In the phrases above, @emph{quindicesima} is sometimes replaced with
5204 @emph{quindecima}, which is Latin.
5206 Finally, the music on an entire staff can be marked to be played in a different
5207 octave by putting an 8 or 15 above or below the clef at the beginning. This
5208 octave mark can be applied to any clef, but it is most frequently used with the
5213 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5216 @node octave marking
5217 @section octave marking
5226 FI: oktaavamerkintä.
5228 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5229 that it is to be played in a different octave. If applied to the clef at the
5230 beginning of the staff, all music on that staff is to played at the indicated
5233 For a list of the specific marks used, see @ref{octave mark}.
5237 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5241 @section octave sign
5252 I: abbellimento, fioriture,
5253 F: agrément, ornement,
5254 D: Verzierung, Ornament,
5260 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5261 with the diatonic @ref{second} above it. In the music from the
5262 middle of the 19th century and onwards the trill is performed with the main
5263 note first while in the music from the preceding baroque and classic periods
5264 the upper note is played first.
5266 @lilypond[fragment,line-width=13.0\cm]
5268 \context Staff = sa {
5269 % \override Score.TextScript #'font-style = #'large
5271 c2._"pre-1850" b4\trill | c1 \bar "||"
5272 c2._"post-1850" b4\trill | c1 \bar "||"
5276 c2. c32 b c b c b c b | c1
5277 c2. b32 c b c \times 4/5 { b c b c b } | c1
5282 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5284 @emph{prall} (inverted mordent).
5286 @lilypond[fragment,line-width=13.0\cm]
5288 \context Staff = sa {
5289 % \override Score.TextScript #'font-style = #'large
5291 a4_"turn" b\turn c2 \bar "||"
5292 g4_"mordent" a b\mordent a \bar "||"
5293 e'4_"prall" d\prall c2 \bar "||"
5299 e'4 e32[ d e d ~ d8] c2
5306 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5319 FI: ossia, vaihtoehtoinen esitystapa.
5321 Ossia (otherwise) marks an alternative. It is an added staff or piano
5322 score, usually only a few measures long, which presents another version
5323 of the music, for example for small hands.
5336 FI: stemma, instrumenttiosuus.
5340 @item In instrumental or choral music, the music for a single
5341 instrument or voice.
5343 @item in contrapuntal music, a single melodic line in the contrapuntal
5375 D: Schlagzeug, Schlagwerk,
5381 A family of musical instruments which are played on by striking or
5382 shaking. Percussion instruments commonly used in a symphony orchestra are
5383 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5384 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5388 @node perfect interval
5389 @section perfect interval
5391 ES: intervalo justo,
5392 I: intervallo giusto,
5393 F: intervalle juste,
5394 D: reines Intervall,
5398 FI: puhdas intervalli.
5417 A natural division of the melodic line, comparable to a sentence of speech.
5430 FI: fraseeraus, jäsentäminen.
5432 The clear rendering in musical performance of the @ref{phrase}s of
5433 the melody. Phrasing may be indicated by a @ref{slur}.
5441 F: anacrouse, levée,
5465 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5466 @emph{mezzo piano} (@b{mp}) medium soft.
5483 @item The perceived quality of a sound that is primarily a function of its
5484 fundamental frequency.
5486 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5488 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5489 association of a particular frequency with a particular pitch name, e.g., c' =
5506 NL: pizzicato, getokkeld,
5509 FI: pizzicato, näppäillen.
5511 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5529 @item The simultaneous use of two or more meters, in two or more parts.
5531 @item The @emph{successive} use of different meters in one or more parts.
5537 @ref{polymetric} (adj.)
5552 Using two or more metric frameworks simultaneously or in alternation.
5556 @ref{polymeter} (noun)
5559 @node polymetric time signature
5560 @section polymetric time signature
5571 A time signature that indicates regularly alternating polymetric time.
5584 D: Polyphonie, Mehrstimmigkeit,
5588 FI: polyfonia, moniäänisyys.
5590 Music written in a combination of several simultaneous voices (parts)
5591 of a more or less pronounced individuality.
5610 D: Presto, Sehr schnell,
5611 NL: presto, Sehr schnell,
5614 FI: presto, hyvin nopeasti.
5616 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5617 denotes the highest possible degree of speed.
5632 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5633 relationship between the note values that follow with those that precede; or
5634 between the note values of a passage and the @q{normal} relationship of note
5635 values to the metrical pulse.
5637 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5641 @ref{mensural notation}
5644 @node Pythagorean comma
5645 @section Pythagorean comma
5647 ES: coma pitagórica,
5648 I: comma pitagorico,
5649 F: comma pythagoricien,
5650 D: Pythagoräisches Komma,
5651 NL: komma van Pythagoras,
5652 DK: pythagoræisk komma,
5653 S: pytagoreiskt komma,
5654 FI: pytagorinen komma.
5656 A sequence of fifths starting on C eventually circles back to C, but this C,
5657 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5658 by adding 7 octaves. The difference between those two pitches is called the
5663 @ref{cent}, @ref{temperament}.
5683 @section quarter note
5688 @item I: semiminima, nera
5690 @item D: Viertel, Viertelnote
5692 @item DK: fjerdedelsnode
5693 @item S: fjärdedelsnot
5694 @item FI: neljäsosanuotti
5703 @section quarter rest
5706 @item UK: crotchet rest
5707 @item ES: silencio de negra
5708 @item I: pausa di semiminima
5710 @item D: Viertelpause
5712 @item DK: fjerdedelspause
5713 @item S: fjärdedelspaus
5714 @item FI: neljäsosatauko
5723 @section quarter tone
5734 An interval equal to half a semitone.
5744 ES: cinquillo, quintillo.
5759 @section rallentando
5764 D: rallentando, langsamer werden,
5768 FI: rallerdando, hidastuen.
5770 Abbreviation "rall.".
5776 @section relative key
5779 I: tonalità relativa,
5780 F: tonalité relative,
5782 NL: paralleltoonsoort,
5783 DK: paralleltoneart,
5785 FI: rinnakkaissävellaji.
5787 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5789 @lilypond[fragment,notime,line-width=13.0\cm]
5790 \set Score.automaticBars = ##f
5791 %\override Score.TextScript #'font-style = #'large
5794 es1_"e flat major" f g as bes c d es
5799 @lilypond[fragment,notime,line-width=13.0\cm]
5800 \set Score.automaticBars = ##f
5801 %\override Score.TextScript #'font-style = #'large
5804 c1_"c minor" d es f g a! b! c \bar "||"
5814 F: barre de reprise,
5817 DK: gen@-ta@-gel@-se,
5821 @lilypond[fragment,line-width=13.0\cm]
5825 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5842 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5843 @c specify the rest's value.
5864 @item Metrical rhythm in which every time value is a multiple or
5865 fraction of a fixed unit of time, called @ref{beat}, and in which the
5866 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5867 The basic scheme of time values is called @ref{meter}.
5869 @item Measured rhythm which lacks regularly recurrent accent. In
5870 modern notation such music appears as a free alternation of different
5873 @item Free rhythm, i.e., the use of temporal values having no common
5874 metrical unit (beat).
5885 D: ritardando, langsamer werden,
5889 FI: ritardando, hidastuen,
5891 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5904 FI: ritenuto, hidastaen.
5906 Immediate reduction of speed.
5919 FI: asteikko, sävelasteikko.
5923 @ref{diatonic scale}.
5927 @section scale degree
5929 ES: grado (de la escala),
5930 I: grado della scala,
5931 F: degré [de la gamme],
5933 NL: trap [van de toonladder],
5936 FI: sävelaste, asteikon sävel.
5938 Names and symbols used in harmonic analysis to denote tones of the
5939 scale as roots of chords. The most important are degrees I = tonic
5940 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5942 @lilypond[fragment,notime,line-width=13.0\cm]
5943 \set Score.automaticBars = ##f
5945 \context Staff \relative c' {
5949 << { I II III IV V VI VII I }
5957 @ref{functional harmony}.
5965 F: à cordes ravallées,
5972 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
5973 tuning of stringed instruments, particularly lutes or violins. Used
5978 @item facilitate pitch combinations that would otherwise be difficult
5981 @item alter the characteristic timbre of the instrument, for example,
5982 to increase brilliance)
5984 @item reinforce certain sonorities or tonalities by making them
5985 available on open strings
5987 @item imitate other instruments
5993 Tunings that could be called @var{scordatura} first appeared early in
5994 the 16th Century and became commonplace in the 17th.
6003 D: Partitur (full score), Klavierauszug (vocal score),
6009 A copy of orchestral, choral, or chamber music showing what each
6010 instrument is to play, each voice to sing, having each part arranged
6011 one underneath the other on different staves @ref{staff}.
6026 The @ref{interval} between two neigbouring tones of a scale. A
6027 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6028 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6029 degrees in question.
6044 The interval of a minor second. The (usually) smallest interval in European
6045 composed music. The interval between two neighbouring tones on the piano
6046 keyboard -- including black and white keys -- is a semitone. An octave may
6047 be divided into 12@w{ }semitones.
6049 @lilypond[fragment,notime,line-width=13.0\cm]
6050 \set Score.automaticBars = ##f
6051 \relative c'' { g1 gis s a bes s b! c }
6056 @ref{interval}, @ref{chromatic scale}.
6081 @ref{sextuplet}, @ref{note value}.
6127 @section simple meter
6138 A meter in which the basic beat is subdivided in two: that is, a meter
6139 that does not include triplet subdivision of the beat.
6143 @ref{compound meter}, @ref{meter}.
6146 @node sixteenth note
6147 @section sixteenth note
6150 @item UK: semiquaver
6151 @item ES: semicorchea
6153 @item F: double croche
6154 @item D: Sechzehntel, Sechzehntelnote
6155 @item NL: zes@-ti@-ende noot
6156 @item DK: sekstendedelsnode
6157 @item S: sextondelsnot
6158 @item FI: kuudestoistaosanuotti
6166 @node sixteenth rest
6167 @section sixteenth rest
6170 @item UK: semiquaver rest
6171 @item ES: silencio de semicorchea
6172 @item I: pausa di semicroma
6173 @item F: quart de soupir
6174 @item D: Sechzehntelpause
6175 @item NL: zestiende rust
6176 @item DK: sekstendedelspause
6177 @item S: sextondelspaus
6178 @item FI: kuudestoistaosatauko
6203 @node sixty-fourth note
6204 @section sixty-fourth note
6207 @item UK: hemidemisemiquaver
6209 @item I: semibiscroma
6210 @item F: quadruple croche
6211 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6212 @item NL: vierenzestigste noot
6213 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6214 @item S: sextiofjärdedelsnot
6215 @item FI: kuudeskymmenesneljäsosanuotti
6223 @node sixty-fourth rest
6224 @section sixty-fourth rest
6227 @item UK: hemidemisemiquaver rest
6228 @item ES: silencio de semifusa
6229 @item I: pausa di semibiscroma
6230 @item F: seizième de soupir
6231 @item D: Vierundsechzigstelpause
6232 @item NL: vierenzestigste rust
6233 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6234 @item S: sextiofjärdedelspaus
6235 @item FI: kuudeskymmenesneljäsosatauko
6246 ES: ligadura (de expresión),
6247 I: legatura (di portamento or espressiva),
6249 D: Bogen (Legatobogen, Phrasierungsbogen),
6250 NL: fraseringsboog, legatoboog, streekboog,
6251 DK: legatobue, fraseringsbue,
6255 A slur above or below a group of notes indicates that they are to be
6256 played @ref{legato}, e.g., with one stroke of the violin bow or with
6257 one breath in singing.
6261 @section solmization
6270 FI: suhteelliset laulunimet.
6272 General term for systems of designating the degrees of the
6273 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6274 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6292 In its present-day meaning a sonata denotes an instrumental
6293 composition for piano or for some other instrument with piano
6294 accompaniment, which consists of three or four independant pieces,
6299 @section sonata form
6303 F: [en] forme de sonate,
6305 NL: hoofdvorm, sonatevorm,
6310 A form used frequently for single movements of the @ref{sonata},
6311 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6312 into three sections called @emph{exposition}, @emph{development} and
6313 @emph{recapitulation}. In the exposition the composer introduces some
6314 musical ideas, consisting of a number of themes; in the development
6315 section the composer @q{develops} this material, and in the
6316 recapitulation the composer repeats the exposition, with certain
6317 modifications. The exposition contains a number of themes that fall
6318 into two groups, often called first and second subject. Other
6319 melodies occurring in each group are considered as continuations of
6320 these two. The second theme is in another key, normally in the key of
6321 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6322 @ref{relative key} if the tonic is @ref{minor}.
6343 FI: sopraano, korkea naisääni.
6345 The highest female voice.
6353 F: staccato, piqué, détaché,
6358 FI: staccato, lyhyesti, terävästi.
6360 Playing the note(s) short. Staccato is indicated by a dot above or
6361 below the note head.
6363 @lilypond[fragment,ragged-right]
6368 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6378 I: pentagramma, rigo (musicale),
6380 D: Notensystem, Notenzeile,
6381 NL: (noten)balk, partij,
6386 A staff (plural: staves) is a series of (normally five) horizontal
6387 lines upon and between which the musical notes are written, thus
6388 indicating (in connection with a @ref{clef}) their pitch. Staves for
6389 @ref{percussion} instruments may have fewer lines.
6406 D: Hals, Notenhals, Stiel,
6412 Vertical line above or below a @ref{note head} shorter than a
6417 @lilypond[fragment,notime,line-width=13.0\cm]
6418 \set Score.autoBeaming = ##f
6419 \set Score.automaticBars = ##f
6420 %\override Score.TextScript #'font-style = #'large
6442 A family of stringed musical instruments played with a bow. Strings
6443 commonly used in a symphony orchestra are violin, viola, violoncello,
6448 @section strong beat
6453 D: betonter Taktteil oder Taktschlag,
6455 D: betonet taktslag,
6456 S: betonat taktslag,
6457 FI: tahdin vahva isku.
6461 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6465 @section subdominant
6474 FI: subdominantti, alidominantti.
6476 The fourth @ref{scale degree}.
6478 @ref{functional harmony}.
6493 The sixth @ref{scale degree}.
6506 FI: subtoonika, alitoonika.
6508 The seventh @ref{scale degree}.
6517 D: auf G, auf der G-Saite,
6523 Indicates that the indicated passage (or note) should be played on the
6528 @section superdominant
6539 The sixth @ref{scale degree}.
6554 The second @ref{scale degree}.
6563 D: Sinfonie, Symphonie,
6569 A symphony may be defined as a @ref{sonata} for orchestra.
6573 @section syncopation
6584 Any deliberate upsetting of the normal pulse of @ref{meter},
6585 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6586 rhythm rests upon the grouping of equal beats into groups of two or
6587 three, with a regularly recurrent accent on the first beat of each
6588 group. Any deviation from this scheme is felt as a disturbance or
6589 contradiction between the underlaying (normal) pulse and the actual
6592 @lilypond[fragment,ragged-right]
6597 e c'4 e,8 c'4 e,8 c' ( | c2)
6602 @node syntonic comma
6603 @section syntonic comma
6606 I: comma sintonico (o didimico),
6607 F: comma syntonique,
6608 D: syntonisches Komma,
6609 NL: syntonische komma,
6610 DK: syntonisk komma,
6611 S: syntoniskt komma,
6612 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6613 Pytagorisessa viritysjärjestelmässä.
6615 Difference between the natural third and the third obtained by
6616 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6625 D: Notensystem, Partitur,
6629 FI: nuottijärjestelmä.
6631 The collection of staves (@ref{staff}), two or more, as used for writing
6632 down of keyboard, chamber, choral, or orchestral music.
6636 @section temperament
6641 D: Stimmung, Tem@-pe@-ra@-tur,
6642 NL: stemming, temperatuur,
6645 FI: viritysjärjestelmä.
6647 Systems of tuning in which the intervals deviate from the acoustically
6650 @ref{meantone temperament}, @ref{equal temperament}.
6653 @node tempo indication
6654 @section tempo indication
6656 ES: indicación de tempo,
6657 I: indicazione di tempo,
6658 F: indication de tempo,
6659 D: Zeitmaß, Tempobezeichnung,
6660 NL: tempo aanduiding,
6665 The rate of speed of a composition or a section thereof, ranging from
6666 the slowest to the quickest, as is indicated by tempo marks as
6667 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6681 FI: tenori, korkea miesääni.
6683 The highest male voice (apart from @ref{counter tenor}).
6706 ES: subrayado (tenuto),
6715 An indication that a particular note should be held for the whole
6716 length, although this can vary depending on the composer and era.
6736 @node thirty-second note
6737 @section thirty-second note
6740 @item UK: demisemiquaver
6743 @item F: triple croche
6744 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6745 @item NL: twee-endertig@-ste (32e) noot
6746 @item DK: toogtredivtedelsnode
6747 @item S: trettiotvåondelsnot
6748 @item FI: kolmaskymmeneskahdesosanuotti
6756 @node thirty-second rest
6757 @section thirty-second rest
6760 @item UK: demisemiquaver rest
6761 @item ES: silencio de fusa
6762 @item I: pausa di biscroma
6763 @item F: huitième de soupir
6764 @item D: Zweiunddreissigstel@-pause
6765 @item NL: twee-endertig@-ste (32e) rust
6766 @item DK: toogtredivtedelspause
6767 @item S: trettiotvåondelspaus
6768 @item FI: kolmaskymmeneskahdesosatauko
6777 @section thorough bass
6780 I: basso continuo, basso numerato,
6781 F: basse chiffrée, basse continue,
6782 D: Generalbass, bezifferter Bass,
6783 NL: basso continuo, becijferde bas
6786 FI: kenraalibasso, numeroitu basso.
6788 A method of indicating an accompaniment part by the bass notes only,
6789 together with figures designating the chief @ref{interval}s and
6790 @ref{chord}s to be played above the bass notes.
6792 @lilypond[fragment,line-width=13.0\cm]
6793 \context GrandStaff <<
6794 \context Staff = lh \relative c'' {
6798 << \context Voice = rha {
6801 \context Voice = rhb {
6803 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6807 \context Staff = rh \relative c' {
6810 es8 c d bes c as bes16 as g f | es4
6812 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6821 ES: ligadura de prolongación,
6822 I: legatura (di valore),
6824 D: Haltebogen, Bindebogen,
6825 NL: overbinding, bindingsboog,
6827 S: bindebåge, överbindning,
6830 A curved line, identical in appearance with the @ref{slur}, which
6831 connects two succesive notes of the same pitch, and which has the
6832 function of uniting them into a single sound (tone) equal to the
6835 @lilypond[fragment,notime,ragged-right]
6836 \set Score.automaticBars = ##f
6837 \relative c'' { g2 ~ g4. }
6849 @node time signature
6850 @section time signature
6852 ES: indicación de compás,
6854 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6855 D: Taktangabe, Angabe der Taktart,
6858 S: taktartssignatur,
6861 The sign placed at the beginning of a composition to indicate its
6862 meter. It most often takes the form of a fraction, but a few signs
6863 derived from mensural notation and proportions are also employed.
6867 @ref{mensural notation}, @ref{meter}.
6882 A sound of definite pitch and duration, as distinct from @emph{noise}.
6883 Tone is a primary building material of music.
6885 Music from the 20th century may be based on atonal sounds.
6900 The first @ref{scale degree}.
6904 @ref{functional harmony}.
6907 @node transposing instrument
6908 @section transposing instrument
6919 Instruments whose notated pitch is different from their sounded pitch. Except
6920 for those whose notated and sounding pitches differ by one or more octaves (to
6921 reduce the number of ledger lines needed), most such instruments are identified
6922 by the letter name of the pitch class of their fundamental. The pitch class is
6923 the note that @emph{sounds} (disregarding the octave in which it sounds) when
6924 the instrument plays a notated C.
6926 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
6927 the B-flat one tone lower. If played on the A clarinet, the same written
6928 note sounds the A (one and half tones -- a minor third -- lower).
6930 Not all transposing instruments include the pitch class in their name:
6934 @item English horn (in F)
6936 @item Alto flute (in G)
6942 @ref{concert pitch}.
6946 @section transposition
6957 Shifting a melody up or down in pitch, while keeping the same
6960 @lilypond[fragment,line-width=13.0\cm]
6965 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6970 @lilypond[fragment,line-width=13.0\cm]
6973 \transpose c bes \relative c'' {
6975 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
6982 @section treble clef
6985 I: chiave di violino,
6987 D: Violinschlüssel, Sopranschlüssel,
7010 On stringed instruments:
7014 @item The quick reiteration of the same tone, produced by a rapid
7015 up-and-down movement of the bow.
7017 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7018 in the distance of a third (@ref{interval}).
7022 @lilypond[fragment,notime,ragged-right]
7023 \set Score.automaticBars = ##f
7024 %\override Score.TextScript #'font-style = #'large
7027 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7028 \repeat tremolo 8 { e32_"b" g }
7042 F: triade, accord parfait, accord de trois sons,
7059 F: trille, tremblement, battement (cadence),
7072 @section triple meter
7074 ES: compás ternario,
7077 D: in drei, ungerader Takt,
7078 NL: driedelige maatsoort,
7123 @section tuning fork
7126 I: diapason, corista,
7134 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7135 give the international pitch for the tone @emph{a} (440 vibrations per
7142 A non-standard subdivision of a beat or part of a beat, usually
7143 indicated with a bracket and a number indicating the number of
7148 @ref{triplet}, @ref{note value}.
7178 FI: unisono, yksiäänisesti.
7180 Playing of the same notes or the same melody by various instruments
7181 (voices) or by the whole orchestra (choir), either at exactly the same
7182 pitch or in a different octave.
7190 F: anacrouse, levée,
7212 FI: ääni, lauluääni.
7222 @item @ref{mezzo-soprano}
7224 @item @ref{contralto}
7228 @item @ref{baritone}
7234 @item A melodic layer or part of a polyphonic composition.
7251 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7252 or second ending. LilyPond extends this idea to any number, and allows any text
7253 (not just a number) -- to serve as the @q{volta} text.
7260 I: tempo debole, arsi,
7262 D: unbetonter Taktteil oder Taktschlag,
7264 DK: ubetonet taktslag,
7265 S: obetonat taktslag,
7266 FI: tahdin heikko isku.
7270 @ref{beat}, @ref{measure}, @ref{rhythm}.
7281 @item D: Ganze, ganze Note
7285 @item FI: kokonuotti
7297 @item UK: semibreve rest
7298 @item ES: silencio de redonda
7299 @item I: pausa di semibreve
7301 @item D: ganze Pause, ganztaktige Pause
7303 @item DK: helnodespause
7325 The interval of a major second. The interval between two tones
7326 on the piano keyboard with exactly one key between them -- including
7327 black and white keys -- is a whole tone.
7346 A family of blown wooden musical instruments. Today some of these
7347 instruments are actually made from metal. The woodwind instruments
7348 commonly used in a symphony orchestra are flute, oboe, clarinet,
7349 saxophone, and bassoon.
7352 @node Duration names notes and rests
7353 @chapter Duration names notes and rests
7355 @multitable @columnfractions .12 .22 .22 .22 .22
7357 @headitem Lang. @tab note name
7361 @item @strong{US} @tab long
7365 @item @strong{UK} @tab longa
7369 @item @strong{ES} @tab longa
7370 @tab silencio de longa
7372 @tab silencio de cuadrada
7373 @item @strong{IT} @tab longa
7377 @item @strong{FR} @tab longa
7378 @tab quadruple-pause
7381 @item @strong{DE} @tab Longa
7385 @item @strong{NL} @tab longa
7389 @item @strong{DK} @tab longa
7390 @tab longanodespause
7392 @tab brevis(nodes)pause
7393 @item @strong{SE} @tab longa
7397 @item @strong{FI} @tab longa-nuotti
7399 @tab brevis-nuotti, kaksoiskokonuotti
7400 @tab brevis-tauko, kaksoiskokotauko
7404 @multitable @columnfractions .12 .22 .22 .22 .22
7406 @headitem Lang. @tab note name
7410 @item @strong{US} @tab whole note
7414 @item @strong{UK} @tab semibreve
7418 @item @strong{ES} @tab redonda
7419 @tab silencio de redonda
7421 @tab silencio de blanca
7422 @item @strong{IT} @tab semibreve
7423 @tab pause di semibreve
7425 @tab pausa di minima
7426 @item @strong{FR} @tab ronde
7430 @item @strong{DE} @tab ganze Note
7434 @item @strong{NL} @tab hele noot
7438 @item @strong{DK} @tab helnode
7442 @item @strong{SE} @tab helnot
7446 @item @strong{FI} @tab kokonuotti
7453 @multitable @columnfractions .12 .22 .22 .22 .22
7455 @headitem Lang. @tab note name
7459 @item @strong{US} @tab quarter note
7463 @item @strong{UK} @tab crotchet
7467 @item @strong{ES} @tab negra
7468 @tab silencio de negra
7470 @tab silencio de corchea
7471 @item @strong{IT} @tab semiminima, nera
7472 @tab pausa di semiminima, pausa di nera
7475 @item @strong{FR} @tab noire
7479 @item @strong{DE} @tab Viertelnote
7483 @item @strong{NL} @tab kwartnoot
7487 @item @strong{DK} @tab fjerdedelsnode
7488 @tab fjerdedelspause
7489 @tab ottendedelsnode
7490 @tab ottendedelspause
7491 @item @strong{SE} @tab fjärdedelsnot
7495 @item @strong{FI} @tab neljäsosanuotti
7497 @tab kahdeksasosanuotti
7498 @tab kahdeksasosatauko
7502 * About the French naming system: @emph{croche} refers to the note's "hook".
7503 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7504 hook}, @q{trebled hook}, and so on.
7506 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7507 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7508 a @emph{soupir}, and so on.
7510 Each of the following tables contains one type of note and its matching rest,
7511 with abbreviations that apply to both notes and rests. Just switch the part
7512 that means @q{note} with the part that means @q{rest}, for example:
7516 @item English: 16th @strong{note}, 16th @strong{rest}
7517 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7518 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7522 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7523 duration name. If you know of one that I missed, please send it to me, care of
7524 the lilypond-user discussion list.
7526 @multitable @columnfractions .10 .35 .35 .20
7528 @headitem Lang. @tab Note name
7531 @item @strong{US} @tab sixteenth note
7534 @item @strong{UK} @tab semiquaver
7535 @tab semiquaver rest
7537 @item @strong{ES} @tab semicorchea
7538 @tab silencio de semicorchea
7540 @item @strong{IT} @tab semicroma
7541 @tab pausa di semicroma
7543 @item @strong{FR} @tab double croche
7544 @tab quart de soupir
7546 @item @strong{DE} @tab Sechzehntelnote
7547 @tab Sechzehntelpause
7549 @item @strong{NL} @tab zestiende noot
7552 @item @strong{DK} @tab sekstendedelsnode
7553 @tab sekstendedelspause
7555 @item @strong{SE} @tab sextondelsnot
7558 @item @strong{FI} @tab kuudestoistaosanuotti
7559 @tab kuudestoistaosatauko
7564 @multitable @columnfractions .10 .35 .35 .20
7566 @headitem Lang. @tab Note name
7569 @item @strong{US} @tab thirty-second note
7570 @tab thirty-second rest
7572 @item @strong{UK} @tab demisemiquaver
7573 @tab demisemiquaver rest
7575 @item @strong{ES} @tab fusa
7576 @tab silencio de fusa
7578 @item @strong{IT} @tab biscroma
7579 @tab pausa di biscroma
7581 @item @strong{FR} @tab triple croche
7582 @tab huitième de soupir
7584 @item @strong{DE} @tab Zweiunddreißigstelnote
7585 @tab Zweiunddreißigstelpause
7587 @item @strong{NL} @tab tweeendertigste noot
7588 @tab tweeendertigste rust
7590 @item @strong{DK} @tab toogtredivtedelsnode
7591 @tab toogtredivtedelspause
7593 @item @strong{SE} @tab trettiotvåondelsnot
7594 @tab trettiotvåondelspaus
7596 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7597 @tab kolmaskymmeneskahdesosatauko
7602 @multitable @columnfractions .10 .35 .35 .20
7604 @headitem Lang. @tab Note name
7607 @item @strong{US} @tab sixty-fourth note
7608 @tab sixty-fourth rest
7610 @item @strong{UK} @tab hemidemisemiquaver
7611 @tab hemidemisemiquaver rest
7613 @item @strong{ES} @tab semifusa
7614 @tab silencio de semifusa
7616 @item @strong{IT} @tab semibiscroma
7617 @tab pausa di semibiscroma
7619 @item @strong{FR} @tab quadruple croche
7620 @tab seizième de soupir
7622 @item @strong{DE} @tab Vierundsechzigstelnote
7623 @tab Vierundsechzigstelpause
7625 @item @strong{NL} @tab vierenzestigste noot
7626 @tab vierenzestigste rust
7628 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7629 @tab fireogtredsindstyvendedelspause
7631 @item @strong{SE} @tab sextiofjärdedelsnot
7632 @tab sextiofjärdedelspaus
7634 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7635 @tab kuudeskymmenesneljäsosatauko
7640 @multitable @columnfractions .10 .35 .35 .20
7642 @headitem Lang. @tab Note name
7645 @item @strong{US} @tab one-hundred-twenty-eighth note
7646 @tab one-hundred-twenty-eighth rest
7648 @item @strong{UK} @tab semihemidemisemiquaver
7649 @tab semihemidemisemiquaver rest
7651 @item @strong{ES} @tab garrapatea
7652 @tab silencio de garrapatea
7654 @item @strong{IT} @tab fusa
7657 @item @strong{FR} @tab quintuple croche
7658 @tab trente-deuxième de soupir @tab -
7659 @item @strong{DE} @tab Hundertundachtundzwanzigstel @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7660 @item @strong{NL} @tab honderdachtentwintigste noot
7661 @tab honderdachtentwintigste rust
7663 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7664 @tab hundredeotteogtyvendedelspause
7666 @item @strong{SE} @tab hundratjugoåttondelsnot
7667 @tab hundratjugoåttondelspaus
7669 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7670 @tab sadaskahdeskymmeneskahdeksasosatauko
7675 @multitable @columnfractions .10 .35 .35 .20
7677 @headitem Lang. @tab Note name
7680 @item @strong{US} @tab two-hundred-fifty-sixth @tab 256th note
7681 @item @strong{UK} @tab demisemihemidemisemiquaver
7682 @tab demisemihemidemisemiquaver rest
7684 @item @strong{ES} @tab semigarrapatea @tab silencio de semigarrapatea @tab -
7685 @item @strong{IT} @tab semifusa
7686 @tab pausa di semifusa
7688 @item @strong{FR} @tab sextuple croche
7689 @tab soixante-quatrième de soupir @tab -
7690 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7691 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7692 @tab tweehonderdzesenvijftigste rust
7694 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7695 @tab tohundredeseksoghalvtredsendedelspause
7697 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7698 @tab tvåhundrafemtiosjättedelspaus
7700 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7701 @tab kahdessadasviideskymmeneskuudesosatauko
7708 @ref{mensural notation}
7712 @chapter Pitch names
7714 @c -is/-es endings for Danish per Rune Zedeler
7715 @c and for Finnish per Risto Vääräniemi
7716 @c -iss/-ess endings for Swedish per Mats Bengtsson
7717 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7719 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7721 @tab ES @tab I @tab F @tab D
7722 @tab NL @tab DK @tab S @tab FI
7723 @item @strong{c} @tab do @tab do @tab ut @tab C
7724 @tab c @tab c @tab c @tab c
7725 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7726 @tab cis @tab cis @tab ciss @tab cis
7727 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7728 @tab des @tab des @tab dess @tab des
7729 @item @strong{d} @tab re @tab re @tab ré @tab D
7730 @tab d @tab d @tab d @tab d
7731 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7732 @tab dis @tab dis @tab diss @tab dis
7733 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7734 @tab es @tab es @tab ess @tab es
7735 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7736 @tab e @tab e @tab e @tab e
7737 @item @strong{f-flat} = e
7738 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7739 @tab fes @tab fes @tab fess @tab fes
7740 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7741 @tab f @tab f @tab f @tab f
7742 @item @strong{e-sharp} = f
7743 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7744 @tab eis @tab eis @tab eiss @tab eis
7745 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7746 @tab fis @tab fis @tab fiss @tab fis
7747 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7748 @tab ges @tab ges @tab gess @tab ges
7749 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7750 @tab g @tab g @tab g @tab g
7751 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7752 @tab gis @tab gis @tab giss @tab gis
7753 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7754 @tab as @tab as @tab ass @tab as
7755 @item @strong{a} @tab la @tab la @tab la @tab A
7756 @tab a @tab a @tab a @tab a
7757 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7758 @tab ais @tab ais @tab aiss @tab ais
7759 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7760 @tab bes @tab b @tab b @tab b
7761 @item @strong{b} @tab si @tab si @tab si @tab H
7762 @tab b @tab h @tab h @tab h
7770 @node Literature used
7771 @unnumberedsec Literature used
7774 @item The Harvard Dictionary of Music, London 1944. Many more or less
7775 literal quotes from its articles have been included into the item
7778 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7780 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7783 @item Oxford Advanced Learner's Dictionary of Current English, Third
7786 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7788 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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