1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c FIXME: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
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 @include macros.itexi
116 @w{@expansion{}@strong{\word\}}@c
119 @expansion{}@ref{\word\, @strong{\word\}}@c
124 * Musical terms A-Z::
125 * Duration names notes and rests::
130 @node Musical terms A-Z
131 @chapter Musical terms A-Z
133 Languages in this order.
140 @item UK - British English
159 * ancient minor scale::
164 * ascending interval::
165 * augmented interval::
197 * compound interval::
199 * conjunct movement::
212 * descending interval::
214 * diminished interval::
217 * disjunct movement::
219 * dissonant interval::
220 * dominant ninth chord::
221 * dominant seventh chord::
224 * dot (augmentation dot)::
226 * double appoggiatura::
228 * double dotted note::
238 * ecclesiastical mode::
245 * equal temperament::
260 * functional harmony::
275 * inverted interval::
288 * long appoggiatura::
294 * meantone temperament::
302 * metronomic indication::
340 * Pythagorean comma::
363 * short appoggiatura::
367 * sixty-fourth note::
368 * sixty-fourth rest::
397 * thirty-second note::
398 * thirty-second rest::
451 FI: aksentti, korostus.
453 The stress of one tone over others.
465 ES: alteración accidental,
467 F: altération accidentelle,
468 D: Vorzeichen, Versetzungszeichen, Akzidenz,
469 NL: toevallig (verplaatsings)teken,
471 S: tillfälligt förtecken,
472 FI: tilapäinen etumerkki.
474 An accidental has the effect of an @ref{alteration} of a note. A
475 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
476 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
477 lowers it by a whole tone. A natural cancels the effect of a previous
480 @lilypond[fragment,notime,line-width=13.0\cm]
481 \set Score.automaticBars = ##f
483 \context Staff \relative c'' {
484 \set Staff.extraNatural = ##f
485 gisis1 gis g! ges geses
488 \override Lyrics .LyricText #'self-alignment-X = #-1
489 "db. sharp" sharp natural flat "db. flat"
499 F: accelerando, en accélérant,
500 D: accelerando, schneller werden,
504 FI: accelerando, kiihdyttäen.
518 FI: adagio, hitaasti.
520 It.@: comfortable, easy.
521 1.@tie{}Slow tempo, slower -- especially in even meter -- than
522 @ref{andante} and faster than @ref{largo}.
523 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
524 @ref{sonata}s, symphonies, etc.
532 D: Allegro, Schnell, Fröhlich, Lustig,
536 FI: allegro, nopeasti.
538 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
539 tempo, especially the first and last movements of a @ref{sonata}.
548 NL: verhoging of verlaging,
553 An alteration is the modification, raising or lowering, of a note's
554 pitch. It is established by an @ref{accidental}.
566 FI: altto, matala naisääni.
568 A female voice of low range (@emph{contralto}). Originally the alto was a
569 high male voice (hence the name), which by the use of falsetto reached the
570 height of the female voice. This type of voice is also known as
576 ES: clave de do en tercera,
577 I: chiave di contralto,
578 F: clef d'ut troisième ligne,
579 D: Altschlüssel, Bratschenschlüssel,
585 C clef setting middle C on the middle line of the staff.
601 FI: ambitus, ääniala, soitinala.
603 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
604 of pitches for a given voice in a part of music. It may also denote
605 the pitch range that a musical instrument is capable of playing.
619 An anacrusis (also known as pickup or upbeat) is an incomplete measure
620 of music before a section of music. It also refers to the initial note(s)
621 of a melody occurring in that incomplete measure.
625 @ref{measure}, @ref{meter}.
627 @lilypond[fragment,line-width=13.0\cm]
631 \partial 4 f4 | bes4. a8 bes4 c |
632 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
635 @node ancient minor scale
636 @section ancient minor scale
638 ES: escala menor antigua,
639 I: scala minore naturale,
640 F: forme du mode mineur ancien, troisème mode, mode hellénique
642 NL: authentieke mineurtoonladder,
645 FI: luonnollinen molliasteikko.
649 @ref{diatonic scale}.
651 @lilypond[fragment,notime,line-width=13.0\cm]
652 \set Score.automaticBars = ##f
669 Walking tempo/character.
672 @section appoggiatura
676 F: appoggiature, (port de voix),
681 FI: appoggiatura, etuhele.
683 Ornamental note, usually a second, that is melodically connected with the
684 main note following it. In music before the 19th century appoggiature were
685 usually performed on the beat, after that mostly before the beat. While the
686 short appoggiatura is performed as a short note regardless of the duration of
687 the main note the duration of the long appoggiatura is proportional to that of
690 @lilypond[line-width=13.0\cm]
691 \context Voice \relative c'' {
695 %\override Score.TextScript #'font-style = #'large
696 <d a fis>4_"notation" r
697 { \override Stem #'flag-style = #'()
699 \revert Stem #'flag-style
702 { \override Stem #'flag-style = #'()
704 \revert Stem #'flag-style
707 \cadenzaOn a4 \bar "||" \cadenzaOff
709 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
710 \cadenzaOn a4 \bar "||" \cadenzaOff
714 An appoggiatura may have more notes preceding the main note.
716 @lilypond[line-width=13.0\cm]
720 % \override Score.TextScript #'font-style = #'large
721 \grace { bes16 } as8_"notation" as16 bes as8 g |
722 \grace { as16[( bes] } < c as >4-)
723 \grace { as16[( bes] } < c as >4-) \bar "||"
724 \grace { bes16 } as8_"performance" as16 bes as8 g |
725 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
726 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
737 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
739 DK: arpeggio, akkordbrydning,
741 FI: arpeggio, murtosointu.
743 @lilypond[fragment,line-width=13.0\cm]
744 \context PianoStaff <<
745 \context Staff = SA \relative c'' {
748 r8 g16 c e g, c e r8 g,16 c e g, c e |
749 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
750 \context Staff = SB \relative c' {
752 << \context Voice = va {
754 r16 e8. ( e4) r16 e8. ( e4) |
755 r16 d8. ( d4) r16 d8. ( d4) }
756 \context Voice = vb {
764 @section articulation
775 Articulation refers to notation which indicates how a note or notes should
776 be played. Slurs, accents, staccato, and legato are all examples of
779 @node ascending interval
780 @section ascending interval
782 ES: intervalo ascendente,
783 I: intervallo ascendente,
784 F: intervalle ascendant,
785 D: steigendes Intervall,
786 NL: stijgend interval,
787 DK:@w{ }stigende interval,
788 S: stigande intervall,
789 FI: nouseva intervalli.
791 A distance between a starting lower note and a higher ending note.
793 @node augmented interval
794 @section augmented interval
796 ES: intervalo aumentado,
797 I: intervallo aumentato,
798 F: intervalle augmenté,
799 D: übermäßiges Intervall,
800 NL: overmatig interval,
801 DK: forstørret interval,
802 S: överstigande intervall,
803 FI: ylinouseva intervalli.
814 F: manuscrit, autographe
815 D: Autograph, Handschrift,
817 DK: håndskrift, autograf,
819 FI: käsinkirjoitettu nuotti.
821 1.@tie{}A manuscript in the composer's own hand.
822 2.@tie{}Music prepared for photoreproduction by freehand drawing,
823 with the aid of a straightedge ruler and T-square only,
824 which attempts to emulate engraving.
825 This required more skill than did engraving.
860 ES: barra, línea divisoria,
861 I: stanghetta, barra (di divisione),
862 F: barre (de mesure),
879 FI: baritoni, keskikorkuinen miesääni.
881 The male voice intermediate between the @ref{bass} and the
884 @c F: clef de troisième ligne dropped
887 @section baritone clef
889 ES: clave de fa en tercera,
890 I: chiave di baritono,
891 F: clef d' Ut cinquième ligne, clef de Fa troisième,
898 C or F clef setting middle C on the upper staff line.
902 @ref{C clef}, @ref{F clef}.
907 ES: clave de fa en cuarta,
909 F: clef de fa quatrième ligne,
916 A clef setting with middle C on the first top ledger line.
932 FI: basso, matala miesääni.
934 1.@tie{}The lowest male voice.
935 2.@tie{}Sometimes, especially in jazz music, used as
936 an abbreviation for double bass.
954 Line connecting a series of notes (shorter than a quarter note).
955 The number of beams determines the note value of the connected notes.
957 @lilypond[fragment,notime,line-width=13.0\cm]
958 \set Score.automaticBars = ##f
959 %\override TextScript #'font-style = #'large
962 g16_"1/16"[ g g g] s16
963 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
964 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
970 ES: tiempo, parte (de compás)
973 D: Takt, Taktschlag, Zeit (im Takt),
979 Note value used for counting, most often half-, fourth-, and eighth notes.
980 The base counting value and the number of them per measure is indicated at
981 the start of the music.
983 @lilypond[fragment,line-width=13.0\cm]
986 \relative c'' { g4 c b a | g1 \bar "||"}
988 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1001 ES: llave, corchete,
1004 D: Klammer, Akkolade,
1005 NL: accolade, teksthaak,
1008 FI: yhdistävä sulkumerkki.
1010 Symbol at the start of a system connecting staves. Curly braces are used
1011 for connecting piano staves, angular brackets for connecting parts in an
1012 orchestral or choral score.
1014 @lilypond[fragment,ragged-right]
1015 \context GrandStaff <<
1016 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1017 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1020 @lilypond[fragment,ragged-right]
1021 \context StaffGroup <<
1022 % \set StaffGroup.minVerticalAlign = #12
1023 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1024 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1033 NL: koper (blazers),
1036 S: brassinstrument, mässingsinstrument,
1039 A family of blown musical instruments made of brass, all using a cup formed
1040 mouth piece. The brass instruments commonly used in a symphony orchestra are
1041 trumpet, trombone, french horn, and tube.
1044 @section breath mark
1049 D: Atemzeichen, Trennungszeichen,
1050 NL: repercussieteken,
1051 DK: vejrtrækningstegn,
1055 Indication of where to breathe in vocal and wind instrument parts.
1059 ES: cuadrada, breve,
1068 @ref{note value}, twice as long as a whole note. Mainly used
1071 @lilypond[fragment,notime,ragged-right]
1072 \set Score.automaticBars = ##f
1073 \relative c'' { g\breve }
1104 Clef symbol indicating the position of the middle C. Used on all note
1107 @lilypond[fragment,notime,line-width=13.0\cm]
1108 \set Score.automaticBars = ##f
1109 \override Score.Clef #'full-size-change = ##t
1111 \context Staff \relative c' {
1113 \clef mezzosoprano c
1118 \context Lyrics \lyrics {
1119 \override Lyrics .LyricText #'self-alignment-X = #-1
1120 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1135 FI: kadenssi, lopuke.
1139 @ref{harmonic cadence}, @ref{functional harmony}.
1151 FI: kadenssi, lopuke.
1153 An extended, improvisatory style section inserted near the end of
1154 movement. The purpose of a cadenza is to give singers or players a chance
1155 to exhibit their technical skill and -- not last -- their ability to
1156 improvise. Since the middle of the 19th century, however, most cadences have
1157 been written down by the composer.
1169 FI: kaanon, tarkka jäljittely.
1185 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1186 viritysjärjestelmässä.
1188 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1189 of an equally tempered @ref{semitone}).
1193 @ref{equal temperament}.
1214 Three or more tones sounding simultaneously. In traditional European music
1216 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1218 minor @ref{third}) as well as @emph{minor} (minor + major third)
1219 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1220 and five-tone @emph{ninth} major chords are most often used as dominants
1221 (@ref{functional harmony}). A special case is chords having no
1222 third above the lower notes to define their quality as major or minor. Such
1223 chords are denoted open chords
1225 @lilypond[fragment,notime,line-width=13.0\cm]
1226 \set Score.automaticBars = ##f
1227 %\override TextScript #'font-style = #'large
1229 \context Staff \relative c'' {
1230 \set Staff.extraNatural = ##f
1249 @node chromatic scale
1250 @section chromatic scale
1252 ES: escala cromática,
1254 F: gamme chromatique,
1255 D: chro@-ma@-ti@-sche Tonleiter,
1256 NL: chromatische toonladder,
1257 DK: kromatisk skala,
1259 FI: kromaattinen asteikko.
1261 A scale consisting of all 12 @ref{semitone}s.
1263 @lilypond[fragment,notime,line-width=13.0\cm]
1264 \set Score.automaticBars = ##f
1265 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1269 @section chromaticism
1280 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1283 @section church mode
1285 ES: modo eclesiástico,
1286 I: modo ecclesiastico,
1287 F: mode ecclésiastique,
1292 FI: moodi, kirkkosävellaji.
1296 @ref{diatonic scale}.
1304 D: Schlüssel, Notenschlüssel,
1308 FI: avain, nuottiavain.
1312 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1314 The clef indicates which lines of the staff correspond to which
1315 pitches. The three clef symbols in common use are:
1317 @lilypond[ragged-right,quote]
1320 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1321 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1322 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1327 Imagine a large staff of 11 lines centered on middle C, sometimes
1328 called a @q{grand staff}, with the bottom line representing low G
1329 and the top line high F:
1331 @lilypond[ragged-right,quote]
1334 %-- Treble Staff --%
1336 % Allow this staff to be placed close to the others
1337 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1338 % Allow the treble clef to overlap the lower staves:
1339 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1340 \override Staff.Clef #'stencil = ##f % No clef required
1342 s1^\markup { "g," \transparent "g" }
1343 s^ \markup { "b," \transparent "g" }
1344 s^ \markup { "d" \transparent "g" }
1345 s^ \markup { "f" \transparent "g" }
1346 s^ \markup { "a" \transparent "g" }
1347 s^ \markup { \with-color #red c' \transparent "g"}
1348 e'^\markup { "e'" \transparent "g" }
1349 g'^\markup { "g'" \transparent "g" }
1350 b'^\markup { "b'" \transparent "g" }
1351 d''^\markup { "d''" \transparent "g" }
1352 f''^\markup { "f ''" \transparent "g" }
1355 %-- Alto Staff reduced to a single line on middle C --%
1357 \override Staff.StaffSymbol #'line-count = 1 % One line only
1358 \override Staff.StaffSymbol #'color = #red % Coloured red
1359 \override Staff.Clef #'stencil = ##f % No clef required
1362 % Allow this staff to be placed close to the others
1363 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1364 % Specify height to give correct spacing between treble and bass staves
1365 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1367 s1 s s s s % Space along to align horizonatally
1368 \override NoteHead #'color = #red
1370 s1 s s s s s % Keep staff (ie the red line) showing
1374 % Allow this staff to be placed close to the others
1375 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1376 \override Staff.Clef #'stencil = ##f % No clef required
1379 s s s s s s s % Keep staff showing
1383 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1384 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1386 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1387 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1389 % Remove all barlines
1390 \context { \Score \override BarLine #'stencil = ##f
1392 % Remove time signature from all staves
1393 \context { \Staff \remove Time_signature_engraver
1399 Staves of five lines are usually used, and the clef superimposed on them
1400 indicates which five lines have been selected from this @samp{grand staff}.
1401 For example, the treble or G clef indicates that the top five
1402 lines have been selected:
1404 @lilypond[ragged-right,quote]
1407 %-- Treble Staff --%
1409 % Allow this staff to be placed close to the others
1410 \override Staff.VerticalAxisGroup
1411 #'minimum-Y-extent = #'(0 . 0)
1412 % Allow the treble clef to overlap the lower staves:
1413 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1414 \override Staff.Clef #'stencil = ##f % No clef required here
1416 s1^\markup { "g," \transparent "g" }
1417 s^ \markup { "b," \transparent "g" }
1418 s^ \markup { "d" \transparent "g" }
1419 s^ \markup { "f" \transparent "g" }
1420 s^ \markup { "a" \transparent "g" }
1421 s^ \markup { \with-color #red c' \transparent "g"}
1422 \stopStaff \startStaff
1423 \clef "C" % Dummy to force next clef to be printed
1424 s % Need at least one note for \clef to take effect
1425 \override Staff.Clef #'stencil = ##t % Clef now required
1426 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1428 e'^\markup { "e'" \transparent "g" }
1429 g'^\markup { "g'" \transparent "g" }
1430 b'^\markup { "b'" \transparent "g" }
1431 d''^\markup { "d''" \transparent "g" }
1432 f''^\markup { "f ''" \transparent "g" }
1434 %-- Alto Staff reduced to a single line on middle C --%
1436 \override Staff.StaffSymbol #'line-count = 1 % One line only
1437 \override Staff.StaffSymbol #'color = #red % Coloured red
1438 \override Staff.Clef #'stencil = ##f % No clef required
1441 % Allow this staff to be placed close to the others
1442 \override Staff.VerticalAxisGroup
1443 #'minimum-Y-extent = #'(0 . 0)
1444 % Specify height to give correct spacing between the staves
1445 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1447 s1 s s s s % Space along to align horizonatally
1448 \override NoteHead #'color = #red
1450 % s1 s s s s % Keep staff (ie the red line) showing
1454 % Allow this staff to be placed close to the others
1455 \override Staff.VerticalAxisGroup
1456 #'minimum-Y-extent = #'(0 . 0)
1457 \override Staff.Clef #'stencil = ##f % No clef required
1460 % s s s s s s % Keep staff showing
1464 % Reduce horizontal spacing so semibreves can be used
1465 % without exceeding 1 line
1466 \context { \Score \override SpacingSpanner
1467 #'base-shortest-duration = #(ly:make-moment 1 1)
1469 % Reduce apparent vertical size of note heads to
1470 % permit them to overlap other grobs vertically
1471 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1473 % Remove all barlines
1474 \context { \Score \override BarLine #'stencil = ##f
1476 % Remove time signature from all staves
1477 \context { \Staff \remove Time_signature_engraver
1483 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1485 In the same way, the bass or F clef indicates that the bottom five lines
1486 have been selected from the @samp{grand staff}, and the alto or C clef
1487 indicates the middle five lines have been selected. This relationship is
1488 shown below, where the notes show an arpeggio on a C major chord.
1490 @lilypond[ragged-right,quote]
1493 %-- Treble Staff --%
1494 \new Staff = "G" \with {
1495 \remove Time_signature_engraver
1498 % The following two overrides are required to make the two middle C's overlap
1499 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1500 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1502 \override Staff.Clef #'Y-extent = #'(0 . 0)
1504 s1 s s s s e' g' c''
1507 \new Staff = "C" \with {
1508 \remove Time_signature_engraver
1511 \override Staff.StaffSymbol #'line-count = 1
1512 \override Staff.StaffSymbol #'stencil = ##f
1513 \once \override Staff.Clef #'stencil = ##f
1514 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1515 \override Score.BarLine #'stencil = ##f
1517 % The following two overrides are required to align the C staff to the G and F staves
1518 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1519 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1522 \stopStaff \startStaff
1523 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1524 \revert Staff.StaffSymbol #'stencil
1525 \override Staff.StaffSymbol #'color = #red
1526 b'1 % A frig. This really shows as a middle C in the score
1528 \stopStaff \startStaff
1529 \override Staff.StaffSymbol #'line-count = 5
1530 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1531 \override Staff.Clef #'Y-extent = #'(0 . 0)
1532 \revert Staff.StaffSymbol #'color
1533 \stopStaff \startStaff
1535 s1 s s c e g c' e' g' c''
1538 \new Staff = "F" \with {
1539 \remove Time_signature_engraver
1542 \override Staff.Clef #'Y-extent = #'(0 . 0)
1543 % The following two overrides are required to make the two middle C's overlap
1544 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1545 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1553 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1556 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1559 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1571 A @emph{cluster} is a range of simultaneously sounding pitches that
1572 may change over time. The set of available pitches to apply usually
1573 depends on the acoustic source. Thus, in piano music, a cluster
1574 typically consists of a continuous range of the semitones as provided
1575 by the piano's fixed set of a chromatic scale. In choral music, each
1576 singer of the choir typically may sing an arbitrary pitch within the
1577 cluster's range that is not bound to any diatonic, chromatic or other
1578 scale. In electronic music, a cluster (theoretically) may even cover
1579 a continuous range of pitches, thus resulting in colored noise, such
1582 Clusters can be denoted in the context of ordinary staff notation by
1583 engraving simple geometrical shapes that replace ordinary notation of
1584 notes. Ordinary notes as musical events specify starting time and
1585 duration of pitches; however, the duration of a note is expressed by
1586 the shape of the note head rather than by the horizontal graphical
1587 extent of the note symbol. In contrast, the shape of a cluster
1588 geometrically describes the development of a range of pitches
1589 (vertical extent) over time (horizontal extent). Still, the
1590 geometrical shape of a cluster covers the area in which any single
1591 pitch contained in the cluster would be notated as an ordinary note.
1593 @lilypond[fragment,relative=2,ragged-right]
1594 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1607 FI: komma, korvinkuultava ero äänenkorkeudessa.
1609 Difference in pitch between a note derived from pure tuning and the same note
1610 derived from some other tuning method.
1617 @section common meter
1623 @node compound interval
1624 @section compound interval
1626 ES: intervalo compuesto,
1627 I: intervallo composto,
1628 F: intervalle composé,
1629 D: weites Intervall,
1630 NL: samengesteld interval,
1631 DK: sammensat interval,
1632 S: sammansatt intervall,
1633 FI: oktaavia laajempi intervalli.
1635 Intervals larger than an octave.
1644 ES: intervalo invertido,
1646 F: intervalle complémentaire,
1647 D: Komplementärintervall,
1648 NL: complementair interval,
1649 DK: komplementærinterval,
1650 S: komplementärintervall (?),
1651 FI: täydentävä intervalli.
1655 @ref{inverted interval}.
1657 @node conjunct movement
1658 @section conjunct movement
1660 ES: movimiento conjunto,
1662 F: mouvement conjoint,
1663 D: schritt@-weise, stufenweise Bewegung,
1664 NL: stapsgewijze, trapsgewijze beweging,
1665 DK: trinvis bevægelse,
1667 FI: asteittainen liike.
1669 Progressing melodically by intervals of a second. The opposite of a
1670 @ref{disjunct movement}.
1672 @lilypond[fragment,line-width=13.0\cm]
1673 \key g \major \time 4/4
1674 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1687 FI: konsonanssi, sopusointi.
1710 @section counterpoint
1719 FI: kontrapunkti, ääni ääntä vastaan.
1721 From latin @emph{punctus contra punctum}, note against note. The combination
1722 into a single musical fabric of lines or parts which have distinct melodic
1723 significance. A frequently used polyphonic technique is imitation, in its
1724 strictest form found in the canon needing only one part to be written down
1725 while the other parts are performed with a given displacement. Imitation is
1726 also the contrapunctal technique used in the @emph{fugue} which, since the
1727 music of the baroque era, has been one of the most popular polyphonic
1728 composition methods.
1730 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1731 \set Score.implicitTimeSignatureVisibility = #all-invisible
1732 \override Score.TimeSignature #'break-visibility = #all-invisible
1733 \context PianoStaff <<
1734 \context Staff = SA \relative c' {
1738 << \context Voice = rha {
1740 r1 | r2 r8 g'8 bes d, |
1741 cis4 d r8 e!16 f g8 f16 e |
1742 f8 g16 a bes8 a16 g a8
1744 \context Voice = rhb {
1750 \context Staff = SB \relative c' {
1753 << \context Voice = lha {
1755 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1756 r8 a16 g f8 g16 a bes8 g e! cis' |
1759 \context Voice = lhb {
1768 @section counter tenor
1773 D: Countertenor, Kontratenor,
1776 S: kontratenor, counter tenor,
1784 @section copying music
1786 A music copyist did fast freehand scores and parts on preprinted staff lines
1787 for performance. Some of their conventions (e.g., the placement of note heads
1788 on stems) varied slightly from those of engravers. Some of their working
1789 methods were superior and could well be adopted by music typesetters. This
1790 required more skill than engraving.
1798 D: Crescendo, lauter werden,
1802 FI: cresendo, voimistuen.
1804 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1805 abbreviation @samp{cresc.}.
1807 @lilypond[fragment,ragged-right]
1808 \key g \major \time 4/4
1809 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1817 F: petites notes précédent l'entrée d'un instrument, réplique,
1824 In a separate part notes belonging to another part with the purpose of hinting
1825 when to start playing. Usually printed in a smaller type.
1833 A custos is a staff symbol that appears at the end of a staff line
1834 with monophonic musical contents (i.e., with a single voice). It
1835 anticipates the pitch of the first note of the following line and thus
1836 helps the player or singer to manage line breaks during performance,
1837 thus enhancing readability of a score.
1839 Custodes were frequently used in music notation until the 16th
1840 century. There were different appearences for different notation
1841 styles. Nowadays, they have survived only in special forms of musical
1842 notation such as via the editio vaticana dating back to the beginning
1848 % \override Staff.Custos #'neutral-position = #4
1849 \override Staff.Custos #'neutral-direction = #down
1850 \override Staff.Custos #'style = #'hufnagel
1858 \consists Custos_engraver
1886 F: da capo, depuis le commencement,
1887 D: da capo, von Anfang,
1891 FI: da capo, alusta.
1893 The term indicates repetition of the piece from the beginning to the end or
1894 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1901 F: dal segno, depuis le signe,
1902 D: dal segno, ab dem Zeichen,
1906 FI: dal segno, lähtien merkistä.
1908 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1909 another place frequently near the beginning marked by a sign:
1911 @lilypond[fragment,ragged-right]
1912 %\override TextScript #'font-style = #'large
1913 \override TextScript #'font-shape = #'italic
1914 \key g \major \time 4/4
1919 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1925 @section decrescendo
1929 D: Decrescendo, leiser werden,
1933 FI: decresendo, hiljentyen.
1935 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
1936 or the abbreviation @samp{decresc.}.
1938 @lilypond[fragment,ragged-right]
1940 \key g \major \time 4/4
1941 d4 \> c b a | g1 \! \bar "|."
1945 @node descending interval
1946 @section descending interval
1948 ES: intervalo descendente,
1949 I: intervallo discendente,
1950 F: intervalle descendant,
1951 D: fallendes Intervall, absteigendes Intervall,
1952 NL: dalend interval,
1953 DK: faldende interval,
1954 S: fallande intervall,
1955 FI: laskeva intervalli.
1957 A distance between a starting higher note and a lower ending note.
1959 @node diatonic scale
1960 @section diatonic scale
1962 ES: escala diatónica,
1964 F: gamme diatonique,
1965 D: diatonische Tonleiter,
1966 NL: diatonische toonladder,
1967 DK: diatonisk skala,
1969 FI: diatoninen asteikko.
1971 A scale consisting of 5@w{ }@ref{whole tone}s and
1972 2@w{ }@ref{semitone}s (S). Scales played on the white keys
1973 of a piano keybord are diatonic.
1975 The church modes are used in gregorial chant and in pre-baroque early
1976 music but also to some extent in newer jazz music.
1978 @lilypond[fragment,notime,ragged-right]
1979 \set Score.automaticBars = ##f
1980 %\override Score.LyricText #'font-style = #'large
1981 %\override Score.TextScript #'font-style = #'large
1983 \context Staff \relative c' {
1985 \override TextScript #'padding = #-4
1986 e^"~~ S" f g a b^"~~ S" c
1988 \context Lyrics \lyrics {
1994 @lilypond[fragment,notime,ragged-right]
1995 \set Score.automaticBars = ##f
1997 \context Staff \relative c' {
1999 \override TextScript #'padding = #-4
2000 e^"~~ S" f g a b^"~~ S" c d
2008 @lilypond[fragment,notime,ragged-right]
2009 \set Score.automaticBars = ##f
2012 \override TextScript #'padding = #-4
2013 e1^"~~ S" f g a b^"~~ S" c d e
2021 @lilypond[fragment,notime,ragged-right]
2022 \set Score.automaticBars = ##f
2026 \override TextScript #'padding = #-4
2027 b^"~~ S" c d e^"~~ S" f
2035 @lilypond[fragment,notime,ragged-right]
2036 \set Score.automaticBars = ##f
2040 \override TextScript #'padding = #-4
2041 b^"~~ S" c d e^"~~ S" f g }
2048 @lilypond[fragment,notime,ragged-right]
2049 \set Score.automaticBars = ##f
2050 %\override Score.LyricText #'font-style = #'large
2051 %\override Score.TextScript #'font-style = #'large
2055 \override TextScript #'padding = #-4
2056 b^"~~ S" c d e^"~~ S" f g a
2064 From the beginning of the 17th century the scales used in European
2065 compositional music are primarily the major and the minor scales. In the
2066 harmonic minor scale type an augmented second (A) occurs between the 6th and
2069 @lilypond[fragment,notime,ragged-right]
2070 \set Score.automaticBars = ##f
2074 \override TextScript #'padding = #-4
2075 e^"~~ S" f g a b^"~~ S" c
2083 @lilypond[fragment,notime,ragged-right]
2084 \set Score.automaticBars = ##f
2088 \override TextScript #'padding = #-4
2089 b^"~~ S" c d e^"~~ S" f g a
2097 @lilypond[fragment,notime,ragged-right]
2098 \set Score.automaticBars = ##f
2102 \override TextScript #'padding = #-4
2103 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2105 \context Lyrics \lyrics {
2111 @lilypond[fragment,notime,line-width=13.0\cm]
2112 \set Score.automaticBars = ##f
2113 %\override Score.LyricText #'font-style = #'large
2114 %\override Score.TextScript #'font-style = #'large
2118 \override TextScript #'padding = #-4
2119 b^"~~ S" c d e fis gis^"~~ S"
2120 a g! f!^"~~ S" e d c^"~~ S" b a
2128 @node diminished interval
2129 @section diminished interval
2131 ES: intervalo disminuido,
2132 I: intervallo diminuito,
2133 F: intervalle diminué,
2134 D: vermindertes Intervall,
2135 NL: verminderd interval,
2136 DK: formindsket interval,
2137 S: förminskat intervall,
2138 FI: vähennetty intervalli.
2154 FI: diminuendo, hiljentyen.
2176 @node disjunct movement
2177 @section disjunct movement
2179 ES: movimiento disjunto,
2181 F: mouvement disjoint,
2182 D: sprunghafte Bewegung,
2183 NL: sprongsgewijze beweging,
2184 DK: springende bevægelse,
2185 S: hoppande rörelse,
2186 FI: melodian hyppivä liike.
2188 Progressing melodically by intervals larger than a major second.
2189 Opposite of @ref{conjunct movement}.
2191 @lilypond[fragment,ragged-right]
2196 a4. gis8 b a e cis |
2197 fis2 d4. \bar "||" }
2203 @ref{dissonant interval}.
2205 @node dissonant interval
2206 @section dissonant interval
2208 ES: intervalo disonante, disonancia,
2209 I: intervallo dissonante, dissonanza,
2212 NL: dissonant interval; dissonant,
2213 DK: dissonerende interval, dissonans,
2215 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2221 @node dominant ninth chord
2222 @section dominant ninth chord
2224 ES: acorde de novena de dominante,
2225 I: accordo di nona di dominante,
2226 F: accord de neuvième dominante,
2227 D: Domi@-nant@-nonen@-akkord,
2228 NL: dominant noon akkoord,
2229 DK: dominantnoneakkord,
2230 S: dominantnonackord,
2231 FI: dominanttinoonisointu.
2235 @ref{chord}, @ref{functional harmony}.
2237 @node dominant seventh chord
2238 @section dominant seventh chord
2240 ES: acorde de séptima de dominante,
2241 I: accordo di settima di dominante,
2242 F: accord de septième dominante,
2243 D: Dominantseptakkord,
2244 NL: dominant septiem akkoord,
2245 DK: dominantseptimakkord,
2246 S: dominantseptimackord,
2247 FI: dominanttiseptimisointu.
2251 @ref{chord}, @ref{functional harmony}.
2263 FI: dominantti, huippusointu.
2265 The fifth @ref{scale degree} in @ref{functional harmony}.
2268 @section dorian mode
2273 D: dorisch, dorischer Kirchenton,
2274 NL: dorische toonladder,
2281 @ref{diatonic scale}.
2283 @node dot (augmentation dot)
2284 @section dot (augmentation dot)
2287 I: punto (di valore),
2289 D: Punkt (Verlängerungspunkt),
2295 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2302 @section dotted note
2304 ES: nota con puntillo,
2308 NL: gepuncteerde noot,
2311 FI: pisteellinen nuotti.
2317 @node double appoggiatura
2318 @section double appoggiatura
2320 ES: apoyatura doble,
2321 I: appoggiatura doppia,
2322 F: appoggiature double,
2323 D: doppelter Vorschlag,
2324 NL: dubbele voorslag,
2325 DK: dobbelt forslag,
2327 FI: kaksoisappogiatura, kaksoisetuhele.
2333 @node double bar line
2334 @section double bar line
2340 NL: dubbele maatstreep,
2343 FI: kaksoistahtiviiva.
2345 Indicates the end of a section within a movement.
2347 @node double dotted note
2348 @section double dotted note
2350 ES: nota con doble puntillo,
2351 I: nota doppiamente puntata,
2352 F: note doublement pointée,
2353 D: doppelt punktierte Note,
2354 NL: dubbelgepuncteerde noot,
2355 DK: dob@-belt@-punk@-te@-ret node,
2356 S: dub@-bel@-punk@-te@-rad not,
2357 FI: kaksoispisteellinen nuotti.
2364 @section double flat
2373 FI: kaksoisalennusmerkki.
2380 @section double sharp
2382 ES: doble sostenido,
2387 DK: dob@-belt@-kryds,
2389 FI: kaksoisylennysmerkki.
2396 @section double trill
2402 NL: dubbele triller,
2407 A simultaneous trill on two notes, usually in the distance of a third.
2410 @section duple meter
2416 NL: tweedelige maatsoort,
2451 FI: kesto, aika-arvo.
2458 @section dydimic comma
2462 @ref{syntonic comma}.
2476 The aspect of music relating to degrees of loudness, or changes from one
2477 degree to another. The terms, abbreviations, and symbols used to indicate
2478 this information are called dynamic marks.
2482 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2500 @node ecclesiastical mode
2501 @section ecclesiastical mode
2508 @section eighth note
2514 D: Achtel, Achtelnote,
2516 DK: ottendedelsnode,
2518 FI: kahdeksasosanuotti.
2525 @section eighth rest
2527 ES: silencio de corchea,
2533 DK: ottendedelspause,
2535 FI: kahdeksasosatauko.
2544 FIXME: languages, definition
2547 @section embellishment
2559 D: Notenstechen, Notendruck
2565 Engraving means incising or etching a metal plate for
2566 printing. Photoengraving means drawing music with ink in a manner
2567 similar to drafting or engineering drawing, using similar tools.
2569 The traditional process of music printing is done through cutting in a
2570 plate of metal. Now also the term for the art of music typesetting.
2584 Two notes, intervals, or scales are enharmonic if they have different names
2587 @lilypond[fragment,notime,line-width=13.0\cm]
2588 \set Score.automaticBars = ##f
2590 \context Staff \relative c'' {
2591 gis1 as <des g,!> <cis g!>
2593 \context Lyrics \lyrics {
2594 \override Lyrics .LyricText #'self-alignment-X = #-1
2595 "g sharp " "a flat " "dim fifth " "augm fourth"
2600 @node equal temperament
2601 @section equal temperament
2603 ES: temperamento igual,
2604 I: temperamento equabile,
2605 F: tempérament égal,
2606 D: gleichschwebende Stimmung,
2607 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2608 DK: ligesvævende temperatur,
2609 S: liksvävande temperatur,
2612 Tuning system dividing the octave into 12 equal @ref{semitone}s
2613 (precisely 100 @ref{cent}s).
2619 @node expression mark
2620 @section expression mark
2623 I: segno d'espressione,
2624 F: signe d'expression, indication de nuance,
2626 NL: voordrachtsteken,
2627 DK: foredragsbetegnelse,
2628 S: föredragsbeteckning,
2629 FI: nyanssiosoitus, esitysmerkki.
2631 Performance indications concerning 1. volume, dynamics (for example
2632 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2633 @ref{andante}, @ref{allegro}).
2636 @section extender line
2638 FIXME: add languages
2640 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2642 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2649 The generic term for a line (or dash) of arbitrary length that
2650 extends text (without indicating the musical @emph{function} of
2653 Used in many contexts, for example:
2657 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2659 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2662 In figured (or thorough) bass to indicate that:
2666 @item The extended note should be held through a change in
2667 harmony, when applied to one figure --OR--
2669 @item The chord thus represented should be held above a moving
2670 bass line, when applied to more than one figure.
2672 @item These uses were not completely standardized, and some
2673 composers used a single extender line to indicate the
2679 In string music to indicate that all notes in the passage thus indicated
2680 should be played on the same string. On the violin, for example, a series
2681 of notes to be played on the G string would be indicated @samp{sul G},
2682 another series to be played on the D string would be indicated @samp{sul D},
2689 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2719 The position between the dots of the key symbol is the line of the F below
2720 central@w{ }C. Used on the third, fourth and fifth note line. A
2721 digit@w{ }8 above the clef symbol indicates that the notes must be played
2722 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2723 symbol indicates playing an octave lower (for example, on double bass
2726 @lilypond[fragment,notime,line-width=13.0\cm]
2727 \set Score.automaticBars = ##f
2728 \override Staff.Clef #'full-size-change = ##t
2756 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2763 F: point d'orgue, point d'arrêt,
2768 FI: fermaatti, pidäke.
2770 Prolonged note or rest of indefinite duration.
2772 @lilypond[fragment,ragged-right]
2775 a4 b c2^\fermata \bar "|."
2796 @section figured bass
2800 @ref{thorough bass}.
2814 The methodical use of fingers in the playing of instruments.
2820 I: coda (uncinata), bandiera,
2828 Ornament at the end of the stem of a note used for notes with values
2829 less than a quarter note. The number of flags determines the
2832 @lilypond[fragment,notime,ragged-right]
2833 \set Score.automaticBars = ##f
2834 %\override Score.TextScript #'font-style = #'large
2876 FI: forte, voimakkaasti.
2878 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
2879 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
2913 @node functional harmony
2914 @section functional harmony
2916 ES: armonía funcional,
2917 I: armonia funzionale,
2918 F: étude des functions,
2920 NL: functionele harmonie,
2921 DK: funktionsanalyse, funktionsharmonik,
2923 FI: harmoniajärjestelmä.
2925 A system of harmonic analysis. It is based on the idea that, in a given key,
2926 there are only three functionally different chords: tonic (T, the chord on the
2927 first note of the scale), subdominant (S, the chord on the fourth note), and
2928 dominant (D, the chord on the fifth note). Others are considered to be
2929 variants of the base chords.
2931 @lilypond[fragment,notime,line-width=13.0\cm]
2932 \set Score.automaticBars = ##f
2934 \context Voice \relative c'' {
2935 <g e c >1 < a f d > < b g e >
2936 <c a f > < d b g > < e c a > < f d b > }
2937 \context Lyrics \lyrics {
2938 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
2964 D: G-Schlüssel, Violinschlüssel,
2970 A clef symbol indicating the G above central@w{ }C. Used on the first
2971 and second note lines. A digit 8 above the clef symbol indicates that
2972 the notes must be played an octave higher while 8 below the clef symbol
2973 indicates playing or singing an octave lower (most tenor parts in choral
2974 scores are notated like that).
2976 @lilypond[fragment,notime,ragged-right]
2978 \set Score.automaticBars = ##f
2979 \override Staff.Clef #'full-size-change = ##t
2982 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
2992 \context Lyrics \lyrics {
2993 \override Lyrics . LyricText #'X-offset = #-5
2994 "french violin clef"
3012 FI: glissando, liukuen.
3014 Letting the pitch slide fluently from one note to the other.
3017 @section grace notes
3019 ES: notas de adorno,
3022 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3028 Notes printed in small types to indicate that their time values are not
3029 counted in the rhythm of the bar.
3034 @section grand staff
3036 ES: sistema de piano,
3042 S: ackolad, böjd klammer,
3043 FI: kaksoisnuottiviivasto.
3045 A combination of two staves with a brace. Usually used for piano music.
3061 FI: grave, raskaasti.
3084 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3085 standard usage of these countries, @samp{B} means @samp{B flat}.
3089 @ref{Pitch names}, @ref{B}
3098 D: Halbe, halbe Note,
3111 ES: silencio de blanca,
3125 @node harmonic cadence
3126 @section harmonic cadence
3128 ES: cadencia (armónica),
3129 I: cadenza (armonica),
3130 F: cadence harmonique,
3132 NL: harmonische cadens,
3133 DK: harmonisk kadence,
3134 S: (harmonisk) kadens,
3135 FI: harmoninen kadenssi.
3137 A sequence of chords that terminates a musical phrase or
3140 @ref{functional harmony}.
3142 @lilypond[fragment,ragged-right]
3143 \context PianoStaff <<
3144 \context Staff = SA \relative c'' {
3148 \partial 4 < c g e >4 |
3149 < c a f > < b g d > < c g e >2
3152 \context Staff = SB \relative c {
3154 \partial 4 c4 | f, g c2
3171 D: Harmonie, Zusammenklang,
3175 FI: harmonia, yhteissointi.
3177 Tones sounding simultaneously. Two note harmonies fall into the categories
3178 @emph{consonances} and @emph{dissonances}.
3182 @lilypond[fragment,notime,line-width=13.0\cm]
3183 \set Score.automaticBars = ##f
3184 %\override Score.TextScript #'font-style = #'large
3185 \context Voice \relative c'' {
3198 @lilypond[fragment,notime,line-width=13.0\cm]
3199 \set Score.automaticBars = ##f
3200 %\override Score.TextScript #'font-style = #'large
3201 \context Voice \relative c'' {
3202 <g a>1_"second " s s
3203 <g f'>_"seventh " s s
3208 Three note harmony @ref{chord}.
3220 FI: homofonia, yksiäänisyys.
3222 Music in which one voice leads melodically followed by the other voices more
3223 or less in the same rhythm. In contrast to @ref{polyphony}.
3235 FI: intervalli, kahden sävelen korkeusero.
3237 Difference in pitch between two notes. Intervals may be perfect, minor,
3238 major, diminished, or augmented. The augmented fourth and the diminished fifth
3239 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3240 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3243 @lilypond[fragment,notime,line-width=13.0\cm]
3244 \set Score.automaticBars = ##f
3246 \context Voice \relative c'' {
3256 \context Lyrics \lyrics {
3257 "unison " "second " "second " "second "
3258 "third " "third " "third " "third"
3263 @lilypond[fragment,notime,line-width=13.0\cm]
3264 \set Score.automaticBars = ##f
3266 \context Staff \relative c'' {
3277 "fourth " "fourth " "fifth " "fifth "
3278 "sixth " "sixth " "sixth " "sixth"
3283 @lilypond[fragment,notime,line-width=13.0\cm]
3284 \set Score.automaticBars = ##f
3286 \context Staff \relative c'' {
3287 < gis f'! >1^"dimin"
3296 \context Lyrics \lyrics {
3297 "seventh " "seventh " "seventh " "octave "
3298 "ninth " "ninth " "tenth " "tenth"
3303 @node inverted interval
3304 @section inverted interval
3306 ES: intervalo invertido,
3307 I: intervallo rivolto,
3308 F: intervalle reversé,
3309 D: umgekehrtes Intervall,
3310 NL: interval inversie,
3311 DK: omvendingsinterval,
3312 S: intervallets omvändning,
3313 FI: käänteisintervalli.
3315 The difference between an interval and an octave.
3317 @lilypond[fragment,notime,line-width=13.0\cm]
3318 \set Score.automaticBars = ##f
3319 %\override Score.TextScript #'font-style = #'large
3320 \context Staff \relative c'' {
3321 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3322 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3323 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3327 @node just intonation
3328 @section just intonation
3330 ES: entonación justa,
3331 I: intonazione giusta,
3332 F: intonation juste,
3339 Tuning system in which the notes are obtained by adding and subtracting
3340 natural fifths and thirds.
3356 According to the 12@w{ }tones of the @ref{chromatic scale}
3357 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3361 @ref{key signature}.
3364 @section key signature
3366 ES: armadura (de la clave),
3367 I: armatura di chiave,
3368 F: armure, armature [de la clé],
3369 D: Vorzeichen, Tonart,
3370 NL: toon@-soort (voortekens),
3373 FI: sävellajiosoitus.
3375 The sharps or flats appearing at the beginning of each staff indicating the
3386 D: Largo, Langsam, Breit,
3390 FI: largo, hitaasti, leveästi.
3392 Very slow in tempo, usually combined with great
3393 expressiveness. @emph{Larghetto} is less slow than largo.
3396 @section leading note
3407 The seventh @ref{scale degree}, a @ref{semitone} below
3408 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3409 upwards) to the tonic scale degree.
3412 @section ledger line
3414 ES: línea adicional,
3415 I: tagli addizionali,
3416 F: ligne supplémentaire,
3423 A ledger line is an extension of the staff.
3425 @lilypond[fragment,notime,ragged-right]
3426 \set Score.automaticBars = ##f
3427 \relative c'' { a,1 s c'' }
3442 To be performed (a) without any perceptible interruption between the notes,
3443 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3446 @lilypond[fragment,notime,line-width=13.0\cm]
3447 \set Score.automaticBars = ##f
3449 \context Staff \relative c'' {
3450 c4-( d e-) \bar "||"
3451 c4-- d-- e-- \bar "||"
3452 c4-.-( d-. e-.-) \bar "||"
3453 c4-. d-. e-. \bar "||"
3465 @section legato curve
3469 @ref{slur}, @ref{legato}.
3481 ES: estanque de nenúfares,
3482 I: stagno del giglio,
3486 NL: le@-lie@-vij@-ver,
3491 A pond with lilies floating in it, also the name of a music typesetter.
3498 A ligature is a coherent graphical symbol that represents at least two
3499 distinct notes. Ligatures originally appeared in the manuscripts of
3500 Gregorian chant notation roughly since the 9th century to denote
3501 ascending or descending sequences of notes. In early notation,
3502 ligatures were used for monophonic tunes (Gregorian chant) and very
3503 soon denoted also the way of performance in the sense of articulation.
3504 With the invention of the metric system of the white mensural
3505 notation, the need for ligatures to denote such patterns disappeared.
3513 D: Linie, Notenlinie,
3517 FI: viiva, nuottiviiva.
3523 @node long appoggiatura
3524 @section long appoggiatura
3526 ES: apoyatura larga,
3527 I: appoggiatura lunga,
3528 F: appoggiature longue,
3529 D: langer Vorschlag,
3533 FI: pitkä appoggiatura, pitkä etuhele.
3551 Note value: double length of @ref{breve}.
3553 @lilypond[fragment,notime,ragged-right]
3554 \set Score.automaticBars = ##f
3556 \override NoteHead #'style = #'mensural
3568 ES: letra (de la canción),
3580 FIXME: add languages
3586 @node major interval
3587 @section major interval
3589 ES: intervalo mayor,
3590 I: intervallo maggiore,
3591 F: intervalle majeur,
3592 D: großes Intervall,
3596 FI: suuri intervalli.
3616 @ref{diatonic scale}.
3618 @node meantone temperament
3619 @section meantone temperament
3621 ES: afinación mesotónica,
3622 I: accordatura mesotonica,
3623 F: tempérament mésotonique,
3624 D: mitteltönige Stimmung,
3625 NL: middenstemming, middentoonstemming,
3626 DK: middeltonetemperatur,
3627 S: medeltonstemperatur,
3628 FI: keskisävelviritys.
3630 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3631 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3632 @ref{temperament} only a limited set of keys are playable.
3633 Used for tuning keyboard instruments for performance of pre-1650 music.
3647 A group of @ref{beat}s (units of musical time) the first of which
3648 bears an accent. Such groups in numbers of two or more recur consistently
3649 throughout the composition and are marked from each other by
3658 I: mediante, modale,
3666 1.@tie{}The third @b{scale degree}.
3667 2.@tie{}A @ref{chord} having its base tone
3668 a third from that of another chord. For example, the tonic chord may be
3669 replaced by its lower mediant (variant tonic).
3672 harmony}, @ref{relative key}.
3680 FI: melisma, laulettavan tavun sävelkuvio.
3682 A melisma (plural: melismata) is a group of notes or tones sung on one
3683 syllable in plainsong
3686 @section melisma line
3688 FIXME: add languages
3692 @ref{extender line}.
3694 @node melodic cadence
3695 @section melodic cadence
3706 F: indication de mesure, mesure,
3713 The basic scheme of @ref{note value}s and
3714 @ref{accent}s which remains unaltered throughout a composition
3715 or a section of it. For instance, 3/4 meter means that the basic
3716 @ref{note value}s are quarter notes and that a
3717 @ref{measure} consists of three of those. According to
3718 whether there are two, three, or four units to the measure,
3719 one speaks of @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3720 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common meter.
3722 @lilypond[fragment,line-width=13.0\cm]
3726 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3729 @lilypond[fragment,line-width=13.0\cm]
3733 f8 f f f a16 g a f |
3734 c'8 c c c e16 d e c \bar "||"}
3737 @lilypond[fragment,line-width=13.0\cm]
3741 d4 b8 g b d d c a4 |
3742 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3757 Device indicating the exact tempo of a piece.
3762 @node metronomic indication
3763 @section metronomic indication
3765 ES: indicación metronómica,
3766 I: indicazione metronomica,
3767 F: indication métronomique,
3769 NL: metronoom aanduiding,
3771 S: metronomangivelse,
3772 FI: metronomiosoitus.
3774 Exact tempo indication (in beats per minute). Also denoted by
3775 M.M.@: (Mälzels Metronom).
3778 @section mezzo-soprano
3789 The female voice between @ref{soprano} and @ref{contralto}.
3797 D: eingestrichenes@w{ }c,
3799 DK: enstreget@w{ }c,
3800 S: ettstruket@w{ }c,
3803 First C below the 440 Hz A.
3805 @lilypond[fragment,notime,ragged-right]
3806 \set Score.automaticBars = ##f
3807 \override Staff.Clef #'full-size-change = ##t
3829 @ref{diatonic scale}.
3831 @node minor interval
3832 @section minor interval
3834 ES: intervalo menor,
3835 I: intervallo minore,
3836 F: intervalle mineur,
3837 D: kleines Intervall,
3841 FI: pieni intervalli.
3857 FI: moodi, kirkkosävelasteikko.
3861 @ref{church mode}, @ref{diatonic scale}.
3873 FI: modulaatio, sävellajin vaihdos.
3875 Moving from one @ref{key} to another. For example, the second
3876 subject of a @ref{sonata form} movement modulates to the dominant
3877 key if the key is major and to the @ref{relative key} if the key
3889 FI: mordent, korukuvio.
3912 FI: teema, sävelaihe.
3914 The briefest intelligible and self-contained fragment of a musical theme or
3917 @lilypond[line-width=13.0\cm]
3920 \set Score.implicitTimeSignatureVisibility = #all-invisible
3921 \override Score.TimeSignature #'break-visibility = #all-invisible
3924 \partial 8 g16\startGroup fis |
3925 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
3926 g8 g,16 a b8 cis d16 s
3930 \Staff \consists "Horizontal_bracket_engraver"
3947 Greater musical works like @ref{symphony} and
3948 @ref{sonata} most often consist of several -- more or less --
3949 independant pieces called movements.
3952 @section multibar rest
3954 ES: compases de espera,
3958 D: mehrtaktige Pause,
3961 FI: usean tahdin mittainen tauko.
3963 @lilypond[fragment,ragged-right]
3966 \set Score.skipBars = ##t R1*3
3971 @node mixolydian mode
3972 @section mixolydian mode
3976 @ref{diatonic scale}.
3979 @section natural sign
3984 D: Auflösungszeichen,
3985 NL: herstellingsteken,
3986 DK: op@-løsningstegn,
3987 S: återställningstecken,
3994 @node neighbour tones
3995 @section neighbour tones
4036 Notes are signs by means of which music is fixed in writing. The term is also
4037 used for the sound indicated by a note, and even for the key of the piano
4038 which produces the sound. However, a clear distinction between the terms tone
4039 and @ref{note} is strongly recommended. Briefly, one sees a note,
4046 I: testa, testina, capocchia,
4054 A head-like sign which indicates pitch by its position on a
4055 @ref{staff} provided with a @ref{clef}, and duration
4056 by a variety of shapes such as hollow or black heads with or without
4057 @ref{stem}s, @ref{flag}s, etc. For percussion
4058 instruments (often having no defined pitch) the note head may indicate the
4064 ES: valor (duración),
4066 F: durée, valeur (d'une note),
4071 FI: nuotin aika-arvo.
4073 Note values (durations) are measured as fractions, normally 1/2, of the next
4074 higher note value. The longest duration normally used is called
4076 but sometimes (mostly in pre-baroque music) the double length note value
4077 @emph{longa} is used.
4079 @lilypond[fragment,notime,line-width=13.0\cm]
4080 %\override Score.TextScript #'font-style = #'large
4081 \set Score.automaticBars = ##f
4083 \override NoteHead #'style = #'mensural
4084 a\longa_"longa" a\breve_"breve"
4085 \revert NoteHead #'style
4086 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4087 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4090 @lilypond[fragment,notime,line-width=13.0\cm]
4091 %\override Score.TextScript #'font-style = #'large
4092 \set Score.automaticBars = ##f
4094 r\longa_"longa" r\breve_"breve"
4095 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4096 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4099 An augmentation dot after a note multiplies the duration by one and a
4100 half. Another dot adds yet a fourth of the duration.
4102 @lilypond[fragment,line-width=13.0\cm]
4103 %\override Score.TextScript #'font-style = #'large
4106 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4107 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4110 Alternatively note values may be subdivided by other ratios. Most common is
4111 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4112 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4113 dotted notes are also frequently used.
4115 @lilypond[fragment,line-width=13.0\cm]
4116 %\override Score.TextScript #'font-style = #'large
4119 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4120 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4124 @lilypond[fragment,line-width=13.0\cm]
4127 \times 3/2 {g4_"duplets" g} |
4129 \times 6/4 {g8_"quadruplets" g g g} |
4130 g8 g g g g4 \bar "||"
4135 @section octave sign
4139 @ref{G clef}, @ref{F clef}.
4161 I: abbellimento, fioriture,
4162 F: agrément, ornement,
4163 D: Verzierung, Ornament,
4169 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4170 with the diatonic @ref{second} above it. In the music from the
4171 middle of the 19th century and onwards the trill is performed with the main
4172 note first while in the music from the preceding baroque and classic periods
4173 the upper note is played first.
4175 @lilypond[fragment,line-width=13.0\cm]
4177 \context Staff = sa {
4178 % \override Score.TextScript #'font-style = #'large
4180 c2._"pre-1850" b4\trill | c1 \bar "||"
4181 c2._"post-1850" b4\trill | c1 \bar "||"
4185 c2. c32 b c b c b c b | c1
4186 c2. b32 c b c \times 4/5 { b c b c b } | c1
4191 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4193 @emph{prall} (inverted mordent).
4195 @lilypond[fragment,line-width=13.0\cm]
4197 \context Staff = sa {
4198 % \override Score.TextScript #'font-style = #'large
4200 a4_"turn" b\turn c2 \bar "||"
4201 g4_"mordent" a b\mordent a \bar "||"
4202 e'4_"prall" d\prall c2 \bar "||"
4208 e'4 e32[ d e d ~ d8] c2
4227 FI: ossia, vaihtoehtoinen esitystapa.
4229 Ossia (otherwise) marks an alternative. It is an added staff or piano
4230 score, usually only a few measures long, which presents another version
4231 of the music, for example for small hands.
4243 FI: stemma, instrumenttiosuus.
4245 1.@tie{}In instrumental or choral music the music for the single instrument
4246 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4247 melodic line of the contrapunctal web.
4269 D: Schlagzeug, Schlagwerk,
4275 A family of musical instruments which are played on by striking or
4276 shaking. Percussion instruments commonly used in a symphony orchestra are
4277 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4278 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4281 @node perfect interval
4282 @section perfect interval
4284 ES: intervalo justo,
4285 I: intervallo giusto,
4286 F: intervalle juste,
4287 D: reines Intervall,
4291 FI: puhdas intervalli.
4309 A natural division of the melodic line, comparable to a sentence of speech.
4321 FI: fraseeraus, jäsentäminen.
4323 The clear rendering in musical performance of the @ref{phrase}s of
4324 the melody. Phrasing may be indicated by a @ref{slur}.
4331 F: anacrouse, levée,
4354 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4355 @emph{mezzo piano} (@b{mp}) medium soft.
4376 NL: pizzicato, getokkeld,
4379 FI: pizzicato, näppäillen.
4381 Play by plucking the strings.
4389 D: Polyphonie, Mehrstimmigkeit,
4393 FI: polyfonia, moniäänisyys.
4395 Music written in a combination of several simultaneous voices (parts) of a
4396 more or less pronounced individuality.
4413 D: Presto, Sehr schnell,
4414 NL: presto, Sehr schnell,
4417 FI: presto, hyvin nopeasti.
4419 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4420 denotes the highest possible degree of speed.
4422 @node Pythagorean comma
4423 @section Pythagorean comma
4425 ES: coma pitagórica,
4426 I: comma pitagorico,
4427 F: comma pythagoricien,
4428 D: Pythagoräisches Komma,
4429 NL: komma van Pythagoras,
4430 DK: pythagoræisk komma,
4431 S: pytagoreiskt komma,
4432 FI: pytagorinen komma.
4434 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4435 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4436 24 @ref{cent}s higher than the@w{ }C obtained by adding
4437 7@w{ }octaves. The difference between those two pitches is called the
4457 @section quarter note
4460 I: semiminima, nera,
4463 D: Viertel, Viertelnote,
4467 FI: neljännesosanuotti.
4474 @section quarter rest
4476 ES: silencio de negra,
4477 I: pausa di semiminima,
4482 DK:@w{ }fjerdedelspause,
4484 FI: neljännesosatauko.
4493 ES: cinquillo, quintillo.
4507 @section rallentando
4512 D: rallentando, langsamer werden,
4516 FI: rallerdando, hidastuen.
4518 Abbreviation "rall.".
4523 @section relative key
4526 I: tonalità relativa,
4527 F: tonalité relative,
4529 NL: paralleltoonsoort,
4530 DK: paralleltoneart,
4532 FI: rinnakkaissävellaji.
4534 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4536 @lilypond[fragment,notime,line-width=13.0\cm]
4537 \set Score.automaticBars = ##f
4538 %\override Score.TextScript #'font-style = #'large
4541 es1_"e flat major" f g as bes c d es
4546 @lilypond[fragment,notime,line-width=13.0\cm]
4547 \set Score.automaticBars = ##f
4548 %\override Score.TextScript #'font-style = #'large
4551 c1_"c minor" d es f g a! b! c \bar "||"
4560 F: barre de reprise,
4563 DK: gen@-ta@-gel@-se,
4567 @lilypond[fragment,line-width=13.0\cm]
4571 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4575 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4576 @c specify the rest's value.
4606 (a) Metrical rhythm in which every time value is a multiple or fraction of a
4607 fixed unit of time, called @ref{beat}, and in which the normal
4608 @ref{accent} recurs in regular intervals, called
4609 @ref{measure}. The basic scheme of time values is called
4610 @ref{meter}. (b) Measured rhythm which lacks regularly recurrent
4611 accent. In modern notation such music appears as a free alternation of
4612 different measures. (c) Free rhythm, i.e., the use of temporal values having
4613 no common metrical unit (beat).
4621 D: Ritardando, langsamer werden,
4625 FI: ritardando, hidastuen,
4627 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4639 FI: ritenuto, hidastaen.
4641 Immediate reduction of speed.
4653 FI: asteikko, sävelasteikko.
4657 @ref{diatonic scale}.
4660 @section scale degree
4662 ES: grado (de la escala),
4663 I: grado della scala,
4664 F: degré [de la gamme],
4666 NL: trap [van de toonladder],
4669 FI: sävelaste, asteikon sävel.
4671 Names and symbols used in harmonic analysis to denote tones of the scale as
4672 roots of chords. The most important are degrees I = tonic (T), IV =
4673 sub@-do@-mi@-nant (S) and V = dominant (D).
4675 @lilypond[fragment,notime,line-width=13.0\cm]
4676 \set Score.automaticBars = ##f
4678 \context Staff \relative c' {
4682 << { I II III IV V VI VII I }
4690 @ref{functional harmony}.
4697 F: à cordes ravallées,
4704 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional tuning of
4705 stringed instruments, particularly lutes or violins. Used to:
4709 @item facilitate pitch combinations that would otherwise be difficult or
4713 alter the characteristic timbre of the instrument, for example, to increase
4716 @item reinforce certain sonorities or tonalities by making them available on
4719 @item imitate other instruments
4724 Tunings that could be called @var{scordatura} first appeared early in the 16th
4725 Century and became commonplace in the 17th.
4733 D: Partitur (full score), Klavierauszug (vocal score),
4739 A copy of orchestral, choral, or chamber music showing what each instrument is
4740 to play, each voice to sing, having each part arranged one underneath the
4741 other on different staves @ref{staff}.
4755 The @ref{interval} between two neigbouring tones of a scale. A
4756 @ref{diatonic scale} consists of alternating
4757 @ref{semitone}s and @ref{whole tone}s, hence the size
4758 of a se@-cond depends on the scale degrees in question.
4772 The @ref{interval} of a minor second. The (usually) smallest
4773 interval in European composed music. The interval between two neighbouring
4774 tones on the piano keyboard -- including black and white keys -- is a
4775 semitone. An octave may be divided into 12@w{ }semitones.
4776 @ref{interval}, @ref{chromatic scale}.
4778 @lilypond[fragment,notime,line-width=13.0\cm]
4779 \set Score.automaticBars = ##f
4780 \relative c'' { g1 gis s a bes s b! c }
4845 @node short appoggiatura
4846 @section short appoggiatura
4852 @node sixteenth note
4853 @section sixteenth note
4859 D: Sechzehntel, Sechzehntelnote,
4860 NL: zes@-ti@-ende noot,
4861 DK: sekstendedelsnode,
4863 FI: kuudestoistaosanuotti.
4869 @node sixteenth rest
4870 @section sixteenth rest
4872 ES: silencio de semicorchea,
4873 I: pausa di semicroma,
4875 UK: semiquaver rest,
4876 D: Sechzehntelpause,
4878 DK: sekstendedelspause,
4902 @node sixty-fourth note
4903 @section sixty-fourth note
4907 F: quadruple croche,
4908 UK: hemidemisemiquaver,
4909 D: Vierundsechzigstel, Vierundsechzigstelnote,
4910 NL: vierenzestigste noot,
4911 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
4912 S: sextiofjärdedelsnot,
4913 FI: kuudeskymmenesneljäsosanuotti.
4919 @node sixty-fourth rest
4920 @section sixty-fourth rest
4922 ES: silencio de semifusa,
4923 I: pausa di semibiscroma,
4924 F: seizième de soupir,
4925 UK: hemidemisemiquaver rest,
4926 D: Vierundsechzigstelpause,
4927 NL: vierenzestigste rust,
4928 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
4929 S: sextiofjärdedelspaus,
4930 FI: kuudeskymmenesneljäsosatauko.
4939 ES: ligadura (de expresión),
4940 I: legatura (di portamento or espressiva),
4942 D: Bogen, Legatobogen, Phrasierungsbogen,
4943 NL: fraseringsboog, legatoboog, streekboog,
4944 DK: legatobue, fraseringsbue,
4948 A slur above or below a group of notes indicates that they are to be played
4949 @ref{legato}, e.g., with one stroke of the violin bow or with one
4953 @section solmization
4962 FI: suhteelliset laulunimet.
4964 General term for systems of designating the degrees of the
4965 @ref{scale}, not by letters, but by syllables (@emph{do}
4966 (@emph{ut}), @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
4983 In its present-day meaning a sonata denotes an instrumental composition for
4984 piano or for some other instrument with piano accompaniment, which consists of
4985 three or four independant pieces, called movements.
4988 @section sonata form
4992 F: [en] forme de sonate,
4994 NL: hoofdvorm, sonatevorm,
4999 A form used frequently for single movements of the @ref{sonata},
5000 @ref{symphony}, quartet, etc. A movement written in sonata form
5001 falls into three sections called @emph{exposition}, @emph{development} and
5002 @emph{recapitulation}. In the exposition the composer introduces some musical
5003 ideas, consisting of a number of themes; in the development section the
5004 composer @q{develops} this material, and in the recapitulation the composer
5005 repeats the exposition, with certain modifications. The exposition contains a
5006 number of themes that fall into two groups, often called first and second
5007 subject. Other melodies occurring in each group are considered as
5008 continuations of these two. The second theme is in another key, normally in
5009 the key of the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5010 @ref{relative key} if the tonic is @ref{minor}.
5029 FI: sopraano, korkea naisääni.
5031 The highest female voice.
5038 F: staccato, piqué, détaché,
5043 FI: staccato, lyhyesti, terävästi.
5045 Playing the note(s) short. Staccato is indicated by a dot above or below the
5048 @lilypond[fragment,ragged-right]
5053 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5062 I: pentagramma, rigo (musicale),
5065 NL: (noten)balk, partij,
5070 A staff (pl. staves) is a series of (normally five) horizontal lines
5071 upon and between which the musical notes are written, thus indicating
5072 (in connection with a @ref{clef}) their pitch. Staves for
5073 @ref{percussion} instruments may have fewer lines.
5088 D: Hals, Notenhals, Stiel,
5094 Vertical line above or below a @ref{note head} shorter than a
5099 @lilypond[fragment,notime,line-width=13.0\cm]
5100 \set Score.autoBeaming = ##f
5101 \set Score.automaticBars = ##f
5102 %\override Score.TextScript #'font-style = #'large
5123 A family of stringed musical instruments played with a bow. Strings commonly
5124 used in a symphony orchestra are violin, viola, violoncello, and double bass.
5127 @section strong beat
5132 D: betonter Taktteil oder Taktschlag,
5134 D: betonet taktslag,
5135 S: betonat taktslag,
5136 FI: tahdin vahva isku.
5140 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5143 @section subdominant
5152 FI: subdominantti, alidominantti.
5154 The fourth @ref{scale degree}.
5156 @ref{functional harmony}.
5170 The sixth @ref{scale degree}.
5182 FI: subtoonika, alitoonika.
5184 The seventh @ref{scale degree}.
5198 Indicates that the indicated passage (or note) should be played on the
5202 @section superdominant
5213 The sixth @ref{scale degree}.
5227 The second @ref{scale degree}.
5235 D: Sinfonie, Symphonie,
5241 A symphony may be defined as a @ref{sonata} for orchestra.
5244 @section syncopation
5255 Any deliberate upsetting of the normal pulse of @ref{meter},
5256 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5257 rhythm rests upon the grouping of equal beats into groups of two or three,
5258 with a regularly recurrent accent on the first beat of each group. Any
5259 deviation from this scheme is felt as a disturbance or contradiction between
5260 the underlaying (normal) pulse and the actual (abnormal) rhythm.
5262 @lilypond[fragment,ragged-right]
5267 e c'4 e,8 c'4 e,8 c' ( | c2)
5271 @node syntonic comma
5272 @section syntonic comma
5275 I: comma sintonico (o didimico),
5276 F: comma syntonique,
5277 D: syntonisches Komma,
5278 NL: syntonische komma,
5279 DK: syntonisk komma,
5280 S: syntoniskt komma,
5281 FI: syntoninen komma, terssien taajuusero luonnollisessa ja Pytagorisessa
5282 viritysjärjestelmässä.
5284 Difference between the natural third and the third obtained by Pythagorean
5285 tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5297 FI: nuottijärjestelmä.
5299 The collection of staves @ref{staff}, two or more, as used for
5300 writing down of keyboard, chamber, choral, or orchestral music.
5303 @section temperament
5308 D: Stimmung, Tem@-pe@-ra@-tur,
5309 NL: stemming, temperatuur,
5312 FI: viritysjärjestelmä.
5314 Systems of tuning in which the intervals deviate from the acoustically pure
5317 @ref{meantone temperament}, @ref{equal temperament}.
5319 @node tempo indication
5320 @section tempo indication
5322 ES: indicación de tempo,
5323 I: indicazione di tempo,
5324 F: indication de tempo,
5325 D: Zeitmaß, Tempobezeichnung,
5326 NL: tempo aanduiding,
5331 The rate of speed of a composition or a section thereof, ranging from the
5332 slowest to the quickest, as is indicated by tempo marks as
5333 @ref{largo}, @ref{adagio}, @ref{andante},
5334 @ref{allegro}, and @ref{presto}.
5346 FI: tenori, korkea miesääni.
5348 The highest male voice (apart from @ref{counter tenor}).
5369 ES: subrayado (tenuto),
5378 An indication that a particular note should be held for the whole
5379 length, although this can vary depending on the composer and era.
5397 @node thirty-second note
5398 @section thirty-second note
5404 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5405 NL: twee-endertig@-ste noot,
5406 DK: toogtredivtedelsnode,
5407 S: trettiotvåondelsnot,
5408 FI: kolmanneskymmeneskahdesosanuotti.
5414 @node thirty-second rest
5415 @section thirty-second rest
5417 ES: silencio de fusa,
5418 I: pausa di biscroma,
5419 F: huitième de soupir,
5420 UK: demisemiquaver rest,
5421 D: Zweiunddreissigstel@-pause,
5423 DK: toogtredivtedelspause,
5424 S: trettiotvåondelspaus,
5425 FI: kolmanneskymmeneskahdesosatauko.
5432 @section thorough bass
5435 I: basso continuo, basso numerato,
5436 F: basse chiffrée, basse continue,
5437 D: Generalbass, bezifferter Bass,
5438 NL: basso continuo, becijferde bas
5441 FI: kenraalibasso, numeroitu basso.
5443 A method of indicating an accompaniment part by the bass notes only, together
5444 with figures designating the chief @ref{interval}s and
5445 @ref{chord}s to be played above the bass notes.
5447 @lilypond[fragment,line-width=13.0\cm]
5448 \context GrandStaff <<
5449 \context Staff = lh \relative c'' {
5453 << \context Voice = rha {
5456 \context Voice = rhb {
5458 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5462 \context Staff = rh \relative c' {
5465 es8 c d bes c as bes16 as g f | es4
5467 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5475 ES: ligadura de prolongación,
5476 I: legatura (di valore),
5479 NL: overbinding, bindingsboog,
5481 S: bindebåge, överbindning,
5484 A curved line, identical in appearance with the @ref{slur}, which
5485 connects two succesive notes of the same pitch, and which has the function of
5486 uniting them into a single sound (tone) equal to the combined durations.
5488 @lilypond[fragment,notime,ragged-right]
5489 \set Score.automaticBars = ##f
5490 \relative c'' { g2 ~ g4. }
5500 @node time signature
5501 @section time signature
5503 ES: indicación de compás,
5505 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5506 D: Taktangabe, Angabe der Taktart,
5509 S: taktartssignatur,
5528 A sound of definite pitch and duration, as distinct from @emph{noise}.
5529 Tone is a primary building material of music.
5530 Music from the 20th century may be based on atonal sounds.
5544 The first @ref{scale degree}.
5548 @ref{functional harmony}.
5551 @section transposition
5562 Shifting a melody up or down in pitch, while keeping the same
5565 @lilypond[fragment,line-width=13.0\cm]
5570 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5575 @lilypond[fragment,line-width=13.0\cm]
5578 \transpose c bes \relative c'' {
5580 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5586 @section treble clef
5589 I: chiave di violino,
5591 D: Violinschlüssel, Sopranschlüssel,
5593 DK:@w{ }diskantnøgle,
5613 On stringed instruments (@ref{strings}) the quick reiteration of
5614 the same tone, produced by a rapid up-and-down movement of the bow
5615 (a). The term is also used for the rapid alternation (b) between two notes of
5616 a @ref{chord}, usually in the distance of a third
5619 @lilypond[fragment,notime,ragged-right]
5620 \set Score.automaticBars = ##f
5621 %\override Score.TextScript #'font-style = #'large
5624 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5625 \repeat tremolo 8 { e32_"b" g }
5634 F: triade, accord parfait, accord de trois sons,
5650 F: trille, tremblement, battement (cadence),
5662 @section triple meter
5664 ES: compás ternario,
5668 NL: driedelige maatsoort,
5710 @section tuning fork
5713 I: diapason, corista,
5721 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
5722 give the international pitch for the tone @emph{a} (440 vibrations per
5751 FI: unisono, yksiäänisesti.
5753 Playing of the same notes or the same melody by various instruments (voices)
5754 or by the whole orchestra (choir), either at exactly the same pitch or in a
5762 F: anacrouse, levée,
5783 FI: ääni, lauluääni.
5785 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
5786 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
5787 2.@tie{}A melodic layer or part of a polyphonic composition.
5793 I: tempo debole, arsi,
5795 D: unbetonter Taktteil oder Taktschlag,
5797 DK: ubetonet taktslag,
5798 S: obetonat taktslag,
5799 FI: tahdin heikko isku.
5803 @ref{beat}, @ref{measure}, @ref{rhythm}.
5812 D: Ganze, ganze Note,
5825 ES: silencio de redonda,
5826 I: pausa di semibreve,
5829 D: ganze Pause, ganztaktige Pause,
5851 The @ref{interval} of a major second. The interval between two
5852 tones on the piano keyboard with exactly one key between them -- including
5853 black and white keys -- is a whole tone.
5867 A family of blown wooden musical instruments. Today some of these instruments
5868 are actually made from metal. The woodwind instruments commonly used in a
5869 symphony orchestra are flute, oboe, clarinet, saxophone, and bassoon.
5871 @node Duration names notes and rests
5872 @chapter Duration names, notes and rests
5875 @item DURATION NAMES, NOTES AND RESTS
5878 @multitable @columnfractions .15 .26 .33 .26
5883 @tab @strong{F (note name / rest name)}
5893 @c extra @items make this table harder to read, so I removed them.
5895 @item @strong{longa}
5908 @item @strong{breve}
5911 @tab brève / double-pause
5921 @item @strong{whole}
5931 @tab koko@-nuotti/@w{-tauko}
5937 @tab blanche / demi-pause
5944 @tab puoli@-nuotti/@w{-tauko}
5947 @item @strong{quarter}
5957 @tab neljännesosa@-nuotti/@w{-tauko}
5960 @item @strong{eighth}
5963 @tab croche / demi-soupir
5970 @tab kahdeksasosa@-nuotti/@w{-tauko}
5973 @item @strong{sixteenth}
5976 @tab double croche / quart de soupir
5983 @tab kuudestoistaosa@-nuotti/@w{-tauko}
5986 @item @strong{thirty-second}
5989 @tab triple croche / huitième de soupir
5991 @tab Zweiunddreissigstel
5992 @tab tweeendertigste
5993 @tab toogtredivtedel
5995 @tab trettiotvåondel
5996 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
5999 @item @strong{sixty-fourth}
6000 @tab hemidemisemiquaver
6002 @tab quadruple croche / seizième de soupir
6004 @tab Vierundsechzigstel
6005 @tab vierenzestigste
6006 @tab fireogtred@-sindstyvendedel
6008 @tab sextiofjärdedel
6009 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6015 @chapter Pitch names
6021 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6022 @c the extra @item's between each row makes the table hard to read ... so I removed them
6024 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6026 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6028 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6029 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6031 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
6033 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
6034 @tab Cis @tab cis @tab cis @tab cis @tab cis
6036 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
6037 @tab des @tab des @tab des @tab des
6039 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
6041 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
6042 @tab es @tab es @tab es @tab es
6044 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
6046 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
6048 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g
6051 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
6052 @tab as @tab as @tab as @tab as
6054 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
6056 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse
6057 @tab Ais @tab ais @tab ais @tab ais @tab ais
6059 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
6060 @tab bes @tab b @tab b @tab b
6062 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
6067 @node Literature used
6068 @unnumbered Literature used
6071 @item The Harvard Dictionary of Music, London 1944. Many more or less
6072 literal quotes from its articles have been included into the item
6075 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6077 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel 1980.
6079 @item Oxford Advanced Learner's Dictionary of Current English, Third Edition
6082 @item Webster's Revised Unabridged Dictionary, Springfield 1913.