1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
39 @c Updates to the German translation by Till Rettig, 12/07
41 Copyright @copyright{} 1999--2007 by the authors
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
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
99 Permission is granted to copy, distribute and/or modify this document
100 under the terms of the GNU Free Documentation License, Version 1.1
101 or any later version published by the Free Software Foundation,
102 without Invariant Sections.
108 @c @everyheading @| @thispage @|
109 @c @evenheading @thispage @| @|
110 @c @oddheading @| @| @thispage @|
112 @include macros.itexi
117 @w{@expansion{}@strong{\word\}}@c
120 @expansion{}@ref{\word\, @strong{\word\}}@c
125 * Musical terms A-Z::
126 * 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::
261 * functional harmony::
276 * inverted interval::
289 * long appoggiatura::
295 * meantone temperament::
303 * metronomic indication::
314 * multi-measure rest::
342 * Pythagorean comma::
365 * short appoggiatura::
369 * sixty-fourth note::
370 * sixty-fourth rest::
399 * thirty-second note::
400 * thirty-second rest::
456 FI: aksentti, korostus.
458 The stress of one tone over others.
472 ES: alteración accidental,
474 F: altération accidentelle,
475 D: Versetzungszeichen, Akzidenz,
476 NL: toevallig (verplaatsings)teken,
478 S: tillfälligt förtecken,
479 FI: tilapäinen etumerkki.
481 An accidental has the effect of an @ref{alteration} of a note. A
482 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
483 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
484 lowers it by a whole tone. A natural cancels the effect of a previous
487 @lilypond[fragment,notime,line-width=13.0\cm]
488 \set Score.automaticBars = ##f
490 \context Staff \relative c'' {
491 \set Staff.extraNatural = ##f
492 gisis1 gis g! ges geses
495 \override Lyrics .LyricText #'self-alignment-X = #-1
496 "db. sharp" sharp natural flat "db. flat"
507 F: accelerando, en accélérant,
508 D: accelerando, schneller werden,
512 FI: accelerando, kiihdyttäen.
527 FI: adagio, hitaasti.
529 It.@: comfortable, easy.
530 1.@tie{}Slow tempo, slower -- especially in even meter -- than
531 @ref{andante} and faster than @ref{largo}.
532 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
533 @ref{sonata}s, symphonies, etc.
542 D: Allegro, Schnell, Fröhlich, Lustig,
546 FI: allegro, nopeasti.
548 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
549 tempo, especially the first and last movements of a @ref{sonata}.
559 NL: verhoging of verlaging,
564 An alteration is the modification, raising or lowering, of a note's
565 pitch. It is established by an @ref{accidental}.
578 FI: altto, matala naisääni.
580 A female voice of low range (@emph{contralto}). Originally the alto was a
581 high male voice (hence the name), which by the use of falsetto reached the
582 height of the female voice. This type of voice is also known as
589 ES: clave de do en tercera,
590 I: chiave di contralto,
591 F: clef d'ut troisième ligne,
592 D: Altschlüssel, Bratschenschlüssel,
598 C clef setting middle C on the middle line of the staff.
615 FI: ambitus, ääniala, soitinala.
617 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
618 of pitches for a given voice in a part of music. It may also denote
619 the pitch range that a musical instrument is capable of playing.
634 An anacrusis (also known as pickup or upbeat) is an incomplete measure
635 of music before a section of music. It also refers to the initial note(s)
636 of a melody occurring in that incomplete measure.
640 @ref{measure}, @ref{meter}.
642 @lilypond[fragment,line-width=13.0\cm]
646 \partial 4 f4 | bes4. a8 bes4 c |
647 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
651 @node ancient minor scale
652 @section ancient minor scale
654 ES: escala menor antigua,
655 I: scala minore naturale,
656 F: forme du mode mineur ancien, troisème mode, mode hellénique,
657 D: reines Moll, natürliches Moll,
658 NL: authentieke mineurtoonladder,
661 FI: luonnollinen molliasteikko.
665 @ref{diatonic scale}.
667 @lilypond[fragment,notime,line-width=13.0\cm]
668 \set Score.automaticBars = ##f
686 Walking tempo/character.
690 @section appoggiatura
694 F: appoggiature, (port de voix),
695 D: Vorschlag, Vorhalt
699 FI: appoggiatura, etuhele.
701 Ornamental note, usually a second, that is melodically connected with the
702 main note following it. In music before the 19th century appoggiature were
703 usually performed on the beat, after that mostly before the beat. While the
704 short appoggiatura is performed as a short note regardless of the duration of
705 the main note the duration of the long appoggiatura is proportional to that of
708 @lilypond[line-width=13.0\cm]
709 \context Voice \relative c'' {
713 %\override Score.TextScript #'font-style = #'large
714 <d a fis>4_"notation" r
715 { \override Stem #'flag-style = #'()
717 \revert Stem #'flag-style
720 { \override Stem #'flag-style = #'()
722 \revert Stem #'flag-style
725 \cadenzaOn a4 \bar "||" \cadenzaOff
727 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
728 \cadenzaOn a4 \bar "||" \cadenzaOff
732 An appoggiatura may have more notes preceding the main note.
734 @lilypond[line-width=13.0\cm]
738 % \override Score.TextScript #'font-style = #'large
739 \grace { bes16 } as8_"notation" as16 bes as8 g |
740 \grace { as16[( bes] } < c as >4-)
741 \grace { as16[( bes] } < c as >4-) \bar "||"
742 \grace { bes16 } as8_"performance" as16 bes as8 g |
743 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
744 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
756 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
758 DK: arpeggio, akkordbrydning,
760 FI: arpeggio, murtosointu.
762 @lilypond[fragment,line-width=13.0\cm]
763 \context PianoStaff <<
764 \context Staff = SA \relative c'' {
767 r8 g16 c e g, c e r8 g,16 c e g, c e |
768 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
769 \context Staff = SB \relative c' {
771 << \context Voice = va {
773 r16 e8. ( e4) r16 e8. ( e4) |
774 r16 d8. ( d4) r16 d8. ( d4) }
775 \context Voice = vb {
784 @section articulation
793 FI: artikulaatio, ilmaisu.
795 Articulation refers to notation which indicates how a note or notes should
796 be played. Slurs, accents, staccato, and legato are all examples of
800 @node ascending interval
801 @section ascending interval
803 ES: intervalo ascendente,
804 I: intervallo ascendente,
805 F: intervalle ascendant,
806 D: steigendes Intervall,
807 NL: stijgend interval,
808 DK:@w{ }stigende interval,
809 S: stigande intervall,
810 FI: nouseva intervalli.
812 A distance between a starting lower note and a higher ending note.
815 @node augmented interval
816 @section augmented interval
818 ES: intervalo aumentado,
819 I: intervallo aumentato,
820 F: intervalle augmenté,
821 D: übermäßiges Intervall,
822 NL: overmatig interval,
823 DK: forstørret interval,
824 S: överstigande intervall,
825 FI: ylinouseva intervalli.
837 F: manuscrit, autographe
838 D: Autograph, Handschrift,
840 DK: håndskrift, autograf,
842 FI: käsinkirjoitettu nuotti.
844 1.@tie{}A manuscript in the composer's own hand.
845 2.@tie{}Music prepared for photoreproduction by freehand drawing,
846 with the aid of a straightedge ruler and T-square only,
847 which attempts to emulate engraving.
848 This required more skill than did engraving.
887 ES: barra, línea divisoria,
888 I: stanghetta, barra (di divisione),
889 F: barre (de mesure),
907 FI: baritoni, keskikorkuinen miesääni.
909 The male voice intermediate between the @ref{bass} and the
912 @c F: clef de troisième ligne dropped
916 @section baritone clef
918 ES: clave de fa en tercera,
919 I: chiave di baritono,
920 F: clef d' Ut cinquième ligne, clef de Fa troisième,
927 C or F clef setting middle C on the upper staff line.
931 @ref{C clef}, @ref{F clef}.
937 ES: clave de fa en cuarta,
939 F: clef de fa quatrième ligne,
946 A clef setting with middle C on the first top ledger line.
963 FI: basso, matala miesääni.
965 1.@tie{}The lowest male voice.
966 2.@tie{}Sometimes, especially in jazz music, used as
967 an abbreviation for double bass.
986 Line connecting a series of notes (shorter than a quarter note).
987 The number of beams determines the note value of the connected notes.
989 @lilypond[fragment,notime,line-width=13.0\cm]
990 \set Score.automaticBars = ##f
991 %\override TextScript #'font-style = #'large
994 g16_"1/16"[ g g g] s16
995 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
996 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1001 @ref{feathered beam}.
1007 ES: tiempo, parte (de compás)
1010 D: Takt, Taktschlag, Zeit (im Takt),
1016 Note value used for counting, most often half-, fourth-, and eighth notes.
1017 The base counting value and the number of them per measure is indicated at
1018 the start of the music.
1020 @lilypond[fragment,line-width=13.0\cm]
1023 \relative c'' { g4 c b a | g1 \bar "||"}
1025 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1040 ES: llave, corchete,
1043 D: Klammer, Akkolade,
1044 NL: accolade, teksthaak,
1047 FI: yhdistävä sulkumerkki.
1049 Symbol at the start of a system connecting staves. Curly braces are used
1050 for connecting piano staves, angular brackets for connecting parts in an
1051 orchestral or choral score.
1053 @lilypond[fragment,ragged-right]
1054 \context GrandStaff <<
1055 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1056 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1059 @lilypond[fragment,ragged-right]
1060 \context StaffGroup <<
1061 % \set StaffGroup.minVerticalAlign = #12
1062 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1063 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1073 NL: koper (blazers),
1076 S: brassinstrument, mässingsinstrument,
1079 A family of blown musical instruments made of brass, all using a cup formed
1080 mouth piece. The brass instruments commonly used in a symphony orchestra are
1081 trumpet, trombone, french horn, and tube.
1085 @section breath mark
1090 D: Atemzeichen, Trennungszeichen,
1091 NL: repercussieteken,
1092 DK: vejrtrækningstegn,
1096 Indication of where to breathe in vocal and wind instrument parts.
1101 ES: cuadrada, breve,
1110 @ref{note value}, twice as long as a whole note. Mainly used
1113 @lilypond[fragment,notime,ragged-right]
1114 \set Score.automaticBars = ##f
1115 \relative c'' { g\breve }
1148 Clef symbol indicating the position of the middle C. Used on all note
1151 @lilypond[fragment,notime,line-width=13.0\cm]
1152 \set Score.automaticBars = ##f
1153 \override Score.Clef #'full-size-change = ##t
1155 \context Staff \relative c' {
1157 \clef mezzosoprano c
1162 \context Lyrics \lyrics {
1163 \override Lyrics .LyricText #'self-alignment-X = #-1
1164 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1180 FI: kadenssi, lopuke.
1184 @ref{harmonic cadence}, @ref{functional harmony}.
1197 FI: kadenssi, lopuke.
1199 An extended, improvisatory style section inserted near the end of
1200 movement. The purpose of a cadenza is to give singers or players a chance
1201 to exhibit their technical skill and -- not last -- their ability to
1202 improvise. Since the middle of the 19th century, however, most cadences have
1203 been written down by the composer.
1216 FI: kaanon, tarkka jäljittely.
1233 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1234 viritysjärjestelmässä.
1236 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1237 of an equally tempered @ref{semitone}).
1241 @ref{equal temperament}.
1264 Three or more tones sounding simultaneously. In traditional European music
1266 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1268 minor @ref{third}) as well as @emph{minor} (minor + major third)
1269 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1270 and five-tone @emph{ninth} major chords are most often used as dominants
1271 (@ref{functional harmony}). A special case is chords having no
1272 third above the lower notes to define their quality as major or minor. Such
1273 chords are denoted open chords
1275 @lilypond[fragment,notime,line-width=13.0\cm]
1276 \set Score.automaticBars = ##f
1277 %\override TextScript #'font-style = #'large
1279 \context Staff \relative c'' {
1280 \set Staff.extraNatural = ##f
1300 @node chromatic scale
1301 @section chromatic scale
1303 ES: escala cromática,
1305 F: gamme chromatique,
1306 D: chro@-ma@-ti@-sche Tonleiter,
1307 NL: chromatische toonladder,
1308 DK: kromatisk skala,
1310 FI: kromaattinen asteikko.
1312 A scale consisting of all 12 @ref{semitone}s.
1314 @lilypond[fragment,notime,line-width=13.0\cm]
1315 \set Score.automaticBars = ##f
1316 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1321 @section chromaticism
1332 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1336 @section church mode
1338 ES: modo eclesiástico,
1339 I: modo ecclesiastico,
1340 F: mode ecclésiastique,
1345 FI: moodi, kirkkosävellaji.
1349 @ref{diatonic scale}.
1358 D: Schlüssel, Notenschlüssel,
1362 FI: avain, nuottiavain.
1366 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1368 The clef indicates which lines of the staff correspond to which
1369 pitches. The three clef symbols in common use are:
1371 @lilypond[ragged-right,quote]
1374 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1375 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1376 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1381 Imagine a large staff of 11 lines centered on middle C, sometimes
1382 called a @q{grand staff}, with the bottom line representing low G
1383 and the top line high F:
1385 @lilypond[ragged-right,quote]
1388 %-- Treble Staff --%
1390 % Allow this staff to be placed close to the others
1391 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1392 % Allow the treble clef to overlap the lower staves:
1393 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1394 \override Staff.Clef #'stencil = ##f % No clef required
1396 s1^\markup { "g," \transparent "g" }
1397 s^ \markup { "b," \transparent "g" }
1398 s^ \markup { "d" \transparent "g" }
1399 s^ \markup { "f" \transparent "g" }
1400 s^ \markup { "a" \transparent "g" }
1401 s^ \markup { \with-color #red c' \transparent "g"}
1402 e'^\markup { "e'" \transparent "g" }
1403 g'^\markup { "g'" \transparent "g" }
1404 b'^\markup { "b'" \transparent "g" }
1405 d''^\markup { "d''" \transparent "g" }
1406 f''^\markup { "f ''" \transparent "g" }
1409 %-- Alto Staff reduced to a single line on middle C --%
1411 \override Staff.StaffSymbol #'line-count = 1 % One line only
1412 \override Staff.StaffSymbol #'color = #red % Coloured red
1413 \override Staff.Clef #'stencil = ##f % No clef required
1416 % Allow this staff to be placed close to the others
1417 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1418 % Specify height to give correct spacing between treble and bass staves
1419 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1421 s1 s s s s % Space along to align horizonatally
1422 \override NoteHead #'color = #red
1424 s1 s s s s s % Keep staff (ie the red line) showing
1428 % Allow this staff to be placed close to the others
1429 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1430 \override Staff.Clef #'stencil = ##f % No clef required
1433 s s s s s s s % Keep staff showing
1437 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1438 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1440 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1441 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1443 % Remove all barlines
1444 \context { \Score \override BarLine #'stencil = ##f
1446 % Remove time signature from all staves
1447 \context { \Staff \remove Time_signature_engraver
1453 Staves of five lines are usually used, and the clef superimposed on them
1454 indicates which five lines have been selected from this @samp{grand staff}.
1455 For example, the treble or G clef indicates that the top five
1456 lines have been selected:
1458 @lilypond[ragged-right,quote]
1461 %-- Treble Staff --%
1463 % Allow this staff to be placed close to the others
1464 \override Staff.VerticalAxisGroup
1465 #'minimum-Y-extent = #'(0 . 0)
1466 % Allow the treble clef to overlap the lower staves:
1467 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1468 \override Staff.Clef #'stencil = ##f % No clef required here
1470 s1^\markup { "g," \transparent "g" }
1471 s^ \markup { "b," \transparent "g" }
1472 s^ \markup { "d" \transparent "g" }
1473 s^ \markup { "f" \transparent "g" }
1474 s^ \markup { "a" \transparent "g" }
1475 s^ \markup { \with-color #red c' \transparent "g"}
1476 \stopStaff \startStaff
1477 \clef "C" % Dummy to force next clef to be printed
1478 s % Need at least one note for \clef to take effect
1479 \override Staff.Clef #'stencil = ##t % Clef now required
1480 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1482 e'^\markup { "e'" \transparent "g" }
1483 g'^\markup { "g'" \transparent "g" }
1484 b'^\markup { "b'" \transparent "g" }
1485 d''^\markup { "d''" \transparent "g" }
1486 f''^\markup { "f ''" \transparent "g" }
1488 %-- Alto Staff reduced to a single line on middle C --%
1490 \override Staff.StaffSymbol #'line-count = 1 % One line only
1491 \override Staff.StaffSymbol #'color = #red % Coloured red
1492 \override Staff.Clef #'stencil = ##f % No clef required
1495 % Allow this staff to be placed close to the others
1496 \override Staff.VerticalAxisGroup
1497 #'minimum-Y-extent = #'(0 . 0)
1498 % Specify height to give correct spacing between the staves
1499 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1501 s1 s s s s % Space along to align horizonatally
1502 \override NoteHead #'color = #red
1504 % s1 s s s s % Keep staff (ie the red line) showing
1508 % Allow this staff to be placed close to the others
1509 \override Staff.VerticalAxisGroup
1510 #'minimum-Y-extent = #'(0 . 0)
1511 \override Staff.Clef #'stencil = ##f % No clef required
1514 % s s s s s s % Keep staff showing
1518 % Reduce horizontal spacing so semibreves can be used
1519 % without exceeding 1 line
1520 \context { \Score \override SpacingSpanner
1521 #'base-shortest-duration = #(ly:make-moment 1 1)
1523 % Reduce apparent vertical size of note heads to
1524 % permit them to overlap other grobs vertically
1525 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1527 % Remove all barlines
1528 \context { \Score \override BarLine #'stencil = ##f
1530 % Remove time signature from all staves
1531 \context { \Staff \remove Time_signature_engraver
1537 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1539 In the same way, the bass or F clef indicates that the bottom five lines
1540 have been selected from the @samp{grand staff}, and the alto or C clef
1541 indicates the middle five lines have been selected. This relationship is
1542 shown below, where the notes show an arpeggio on a C major chord.
1544 @lilypond[ragged-right,quote]
1547 %-- Treble Staff --%
1548 \new Staff = "G" \with {
1549 \remove Time_signature_engraver
1552 % The following two overrides are required to make the two middle C's overlap
1553 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1554 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1556 \override Staff.Clef #'Y-extent = #'(0 . 0)
1558 s1 s s s s e' g' c''
1561 \new Staff = "C" \with {
1562 \remove Time_signature_engraver
1565 \override Staff.StaffSymbol #'line-count = 1
1566 \override Staff.StaffSymbol #'stencil = ##f
1567 \once \override Staff.Clef #'stencil = ##f
1568 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1569 \override Score.BarLine #'stencil = ##f
1571 % The following two overrides are required to align the C staff to the G and F staves
1572 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1573 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1576 \stopStaff \startStaff
1577 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1578 \revert Staff.StaffSymbol #'stencil
1579 \override Staff.StaffSymbol #'color = #red
1580 b'1 % A frig. This really shows as a middle C in the score
1582 \stopStaff \startStaff
1583 \override Staff.StaffSymbol #'line-count = 5
1584 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1585 \override Staff.Clef #'Y-extent = #'(0 . 0)
1586 \revert Staff.StaffSymbol #'color
1587 \stopStaff \startStaff
1589 s1 s s c e g c' e' g' c''
1592 \new Staff = "F" \with {
1593 \remove Time_signature_engraver
1596 \override Staff.Clef #'Y-extent = #'(0 . 0)
1597 % The following two overrides are required to make the two middle C's overlap
1598 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1599 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1607 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1610 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1613 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1626 FI: klusteri, cluster.
1628 A @emph{cluster} is a range of simultaneously sounding pitches that
1629 may change over time. The set of available pitches to apply usually
1630 depends on the acoustic source. Thus, in piano music, a cluster
1631 typically consists of a continuous range of the semitones as provided
1632 by the piano's fixed set of a chromatic scale. In choral music, each
1633 singer of the choir typically may sing an arbitrary pitch within the
1634 cluster's range that is not bound to any diatonic, chromatic or other
1635 scale. In electronic music, a cluster (theoretically) may even cover
1636 a continuous range of pitches, thus resulting in colored noise, such
1639 Clusters can be denoted in the context of ordinary staff notation by
1640 engraving simple geometrical shapes that replace ordinary notation of
1641 notes. Ordinary notes as musical events specify starting time and
1642 duration of pitches; however, the duration of a note is expressed by
1643 the shape of the note head rather than by the horizontal graphical
1644 extent of the note symbol. In contrast, the shape of a cluster
1645 geometrically describes the development of a range of pitches
1646 (vertical extent) over time (horizontal extent). Still, the
1647 geometrical shape of a cluster covers the area in which any single
1648 pitch contained in the cluster would be notated as an ordinary note.
1650 @lilypond[fragment,relative=2,ragged-right]
1651 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1665 FI: komma, korvinkuultava ero äänenkorkeudessa.
1667 Difference in pitch between a note derived from pure tuning and the same note
1668 derived from some other tuning method.
1676 @section common meter
1683 @node compound interval
1684 @section compound interval
1686 ES: intervalo compuesto,
1687 I: intervallo composto,
1688 F: intervalle composé,
1689 D: weites Intervall,
1690 NL: samengesteld interval,
1691 DK: sammensat interval,
1692 S: sammansatt intervall,
1693 FI: oktaavia laajempi intervalli.
1695 Intervals larger than an octave.
1705 ES: intervalo invertido,
1707 F: intervalle complémentaire,
1708 D: Komplementärintervall,
1709 NL: complementair interval,
1710 DK: komplementærinterval,
1711 S: komplementärintervall (?),
1712 FI: täydentävä intervalli.
1716 @ref{inverted interval}.
1719 @node conjunct movement
1720 @section conjunct movement
1722 ES: movimiento conjunto,
1724 F: mouvement conjoint,
1725 D: schritt@-weise, stufenweise Bewegung,
1726 NL: stapsgewijze, trapsgewijze beweging,
1727 DK: trinvis bevægelse,
1729 FI: asteittainen liike.
1731 Progressing melodically by intervals of a second. The opposite of a
1732 @ref{disjunct movement}.
1734 @lilypond[fragment,line-width=13.0\cm]
1735 \key g \major \time 4/4
1736 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1750 FI: konsonanssi, sopusointi.
1775 @section counterpoint
1784 FI: kontrapunkti, ääni ääntä vastaan.
1786 From latin @emph{punctus contra punctum}, note against note. The combination
1787 into a single musical fabric of lines or parts which have distinct melodic
1788 significance. A frequently used polyphonic technique is imitation, in its
1789 strictest form found in the canon needing only one part to be written down
1790 while the other parts are performed with a given displacement. Imitation is
1791 also the contrapunctal technique used in the @emph{fugue} which, since the
1792 music of the baroque era, has been one of the most popular polyphonic
1793 composition methods.
1795 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1796 \set Score.implicitTimeSignatureVisibility = #all-invisible
1797 \override Score.TimeSignature #'break-visibility = #all-invisible
1798 \context PianoStaff <<
1799 \context Staff = SA \relative c' {
1803 << \context Voice = rha {
1805 r1 | r2 r8 g'8 bes d, |
1806 cis4 d r8 e!16 f g8 f16 e |
1807 f8 g16 a bes8 a16 g a8
1809 \context Voice = rhb {
1815 \context Staff = SB \relative c' {
1818 << \context Voice = lha {
1820 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1821 r8 a16 g f8 g16 a bes8 g e! cis' |
1824 \context Voice = lhb {
1834 @section counter tenor
1839 D: Countertenor, Kontratenor,
1842 S: kontratenor, counter tenor,
1851 @section copying music
1853 A music copyist did fast freehand scores and parts on preprinted staff lines
1854 for performance. Some of their conventions (e.g., the placement of note heads
1855 on stems) varied slightly from those of engravers. Some of their working
1856 methods were superior and could well be adopted by music typesetters. This
1857 required more skill than engraving.
1866 D: Crescendo, lauter werden,
1870 FI: cresendo, voimistuen.
1872 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1873 abbreviation @samp{cresc.}.
1875 @lilypond[fragment,ragged-right]
1876 \key g \major \time 4/4
1877 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1886 F: petites notes précédent l'entrée d'un instrument, réplique,
1893 In a separate part notes belonging to another part with the purpose of hinting
1894 when to start playing. Usually printed in a smaller type.
1901 D: Notenzeiger, Custos.
1903 A custos is a staff symbol that appears at the end of a staff line
1904 with monophonic musical contents (i.e., with a single voice). It
1905 anticipates the pitch of the first note of the following line and thus
1906 helps the player or singer to manage line breaks during performance,
1907 thus enhancing readability of a score.
1909 Custodes were frequently used in music notation until the 16th
1910 century. There were different appearences for different notation
1911 styles. Nowadays, they have survived only in special forms of musical
1912 notation such as via the editio vaticana dating back to the beginning
1918 % \override Staff.Custos #'neutral-position = #4
1919 \override Staff.Custos #'neutral-direction = #down
1920 \override Staff.Custos #'style = #'hufnagel
1928 \consists Custos_engraver
1958 F: da capo, depuis le commencement,
1959 D: da capo, von Anfang,
1963 FI: da capo, alusta.
1965 The term indicates repetition of the piece from the beginning to the end or
1966 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1974 F: dal segno, depuis le signe,
1975 D: dal segno, ab dem Zeichen,
1979 FI: dal segno, lähtien merkistä.
1981 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1982 another place frequently near the beginning marked by a sign:
1984 @lilypond[fragment,ragged-right]
1985 %\override TextScript #'font-style = #'large
1986 \override TextScript #'font-shape = #'italic
1987 \key g \major \time 4/4
1992 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1999 @section decrescendo
2003 D: Decrescendo, leiser werden,
2007 FI: decresendo, hiljentyen.
2009 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2010 or the abbreviation @samp{decresc.}.
2012 @lilypond[fragment,ragged-right]
2014 \key g \major \time 4/4
2015 d4 \> c b a | g1 \! \bar "|."
2020 @node descending interval
2021 @section descending interval
2023 ES: intervalo descendente,
2024 I: intervallo discendente,
2025 F: intervalle descendant,
2026 D: fallendes Intervall, absteigendes Intervall,
2027 NL: dalend interval,
2028 DK: faldende interval,
2029 S: fallande intervall,
2030 FI: laskeva intervalli.
2032 A distance between a starting higher note and a lower ending note.
2035 @node diatonic scale
2036 @section diatonic scale
2038 ES: escala diatónica,
2040 F: gamme diatonique,
2041 D: diatonische Tonleiter,
2042 NL: diatonische toonladder,
2043 DK: diatonisk skala,
2045 FI: diatoninen asteikko.
2047 A scale consisting of 5@w{ }@ref{whole tone}s and
2048 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2049 of a piano keybord are diatonic.
2051 The church modes are used in gregorial chant and in pre-baroque early
2052 music but also to some extent in newer jazz music.
2054 @lilypond[fragment,notime,ragged-right]
2055 \set Score.automaticBars = ##f
2056 %\override Score.LyricText #'font-style = #'large
2057 %\override Score.TextScript #'font-style = #'large
2059 \context Staff \relative c' {
2061 \override TextScript #'padding = #-4
2062 e^"~~ S" f g a b^"~~ S" c
2064 \context Lyrics \lyrics {
2070 @lilypond[fragment,notime,ragged-right]
2071 \set Score.automaticBars = ##f
2073 \context Staff \relative c' {
2075 \override TextScript #'padding = #-4
2076 e^"~~ S" f g a b^"~~ S" c d
2084 @lilypond[fragment,notime,ragged-right]
2085 \set Score.automaticBars = ##f
2088 \override TextScript #'padding = #-4
2089 e1^"~~ S" f g a b^"~~ S" c d e
2097 @lilypond[fragment,notime,ragged-right]
2098 \set Score.automaticBars = ##f
2102 \override TextScript #'padding = #-4
2103 b^"~~ S" c d e^"~~ S" f
2111 @lilypond[fragment,notime,ragged-right]
2112 \set Score.automaticBars = ##f
2116 \override TextScript #'padding = #-4
2117 b^"~~ S" c d e^"~~ S" f g }
2124 @lilypond[fragment,notime,ragged-right]
2125 \set Score.automaticBars = ##f
2126 %\override Score.LyricText #'font-style = #'large
2127 %\override Score.TextScript #'font-style = #'large
2131 \override TextScript #'padding = #-4
2132 b^"~~ S" c d e^"~~ S" f g a
2140 From the beginning of the 17th century the scales used in European
2141 compositional music are primarily the major and the minor scales. In the
2142 harmonic minor scale type an augmented second (A) occurs between the 6th and
2145 @lilypond[fragment,notime,ragged-right]
2146 \set Score.automaticBars = ##f
2150 \override TextScript #'padding = #-4
2151 e^"~~ S" f g a b^"~~ S" c
2159 @lilypond[fragment,notime,ragged-right]
2160 \set Score.automaticBars = ##f
2164 \override TextScript #'padding = #-4
2165 b^"~~ S" c d e^"~~ S" f g a
2173 @lilypond[fragment,notime,ragged-right]
2174 \set Score.automaticBars = ##f
2178 \override TextScript #'padding = #-4
2179 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2181 \context Lyrics \lyrics {
2187 @lilypond[fragment,notime,line-width=13.0\cm]
2188 \set Score.automaticBars = ##f
2189 %\override Score.LyricText #'font-style = #'large
2190 %\override Score.TextScript #'font-style = #'large
2194 \override TextScript #'padding = #-4
2195 b^"~~ S" c d e fis gis^"~~ S"
2196 a g! f!^"~~ S" e d c^"~~ S" b a
2205 @node diminished interval
2206 @section diminished interval
2208 ES: intervalo disminuido,
2209 I: intervallo diminuito,
2210 F: intervalle diminué,
2211 D: vermindertes Intervall,
2212 NL: verminderd interval,
2213 DK: formindsket interval,
2214 S: förminskat intervall,
2215 FI: vähennetty intervalli.
2232 FI: diminuendo, hiljentyen.
2254 @node disjunct movement
2255 @section disjunct movement
2257 ES: movimiento disjunto,
2259 F: mouvement disjoint,
2260 D: sprunghafte Bewegung,
2261 NL: sprongsgewijze beweging,
2262 DK: springende bevægelse,
2263 S: hoppande rörelse,
2264 FI: melodian hyppivä liike.
2266 Progressing melodically by intervals larger than a major second.
2267 Opposite of @ref{conjunct movement}.
2269 @lilypond[fragment,ragged-right]
2274 a4. gis8 b a e cis |
2275 fis2 d4. \bar "||" }
2282 @ref{dissonant interval}.
2285 @node dissonant interval
2286 @section dissonant interval
2288 ES: intervalo disonante, disonancia,
2289 I: intervallo dissonante, dissonanza,
2292 NL: dissonant interval; dissonant,
2293 DK: dissonerende interval, dissonans,
2295 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2302 @node dominant ninth chord
2303 @section dominant ninth chord
2305 ES: acorde de novena de dominante,
2306 I: accordo di nona di dominante,
2307 F: accord de neuvième dominante,
2308 D: Domi@-nant@-nonen@-akkord,
2309 NL: dominant noon akkoord,
2310 DK: dominantnoneakkord,
2311 S: dominantnonackord,
2312 FI: dominanttinoonisointu.
2316 @ref{chord}, @ref{functional harmony}.
2319 @node dominant seventh chord
2320 @section dominant seventh chord
2322 ES: acorde de séptima de dominante,
2323 I: accordo di settima di dominante,
2324 F: accord de septième dominante,
2325 D: Dominantseptakkord,
2326 NL: dominant septiem akkoord,
2327 DK: dominantseptimakkord,
2328 S: dominantseptimackord,
2329 FI: dominanttiseptimisointu.
2333 @ref{chord}, @ref{functional harmony}.
2346 FI: dominantti, huippusointu.
2348 The fifth @ref{scale degree} in @ref{functional harmony}.
2352 @section dorian mode
2357 D: dorisch, dorischer Kirchenton,
2358 NL: dorische toonladder,
2365 @ref{diatonic scale}.
2368 @node dot (augmentation dot)
2369 @section dot (augmentation dot)
2372 I: punto (di valore),
2374 D: Punkt (Verlängerungspunkt),
2380 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2388 @section dotted note
2390 ES: nota con puntillo,
2394 NL: gepuncteerde noot,
2397 FI: pisteellinen nuotti.
2404 @node double appoggiatura
2405 @section double appoggiatura
2407 ES: apoyatura doble,
2408 I: appoggiatura doppia,
2409 F: appoggiature double,
2410 D: doppelter Vorschlag,
2411 NL: dubbele voorslag,
2412 DK: dobbelt forslag,
2414 FI: kaksoisappogiatura, kaksoisetuhele.
2421 @node double bar line
2422 @section double bar line
2428 NL: dubbele maatstreep,
2431 FI: kaksoistahtiviiva.
2433 Indicates the end of a section within a movement.
2436 @node double dotted note
2437 @section double dotted note
2439 ES: nota con doble puntillo,
2440 I: nota doppiamente puntata,
2441 F: note doublement pointée,
2442 D: doppelt punktierte Note,
2443 NL: dubbelgepuncteerde noot,
2444 DK: dob@-belt@-punk@-te@-ret node,
2445 S: dub@-bel@-punk@-te@-rad not,
2446 FI: kaksoispisteellinen nuotti.
2454 @section double flat
2463 FI: kaksoisalennusmerkki.
2471 @section double sharp
2473 ES: doble sostenido,
2478 DK: dob@-belt@-kryds,
2480 FI: kaksoisylennysmerkki.
2488 @section double trill
2494 NL: dubbele triller,
2499 A simultaneous trill on two notes, usually in the distance of a third.
2503 @section duple meter
2508 D: in zwei, grader Takt,
2509 NL: tweedelige maatsoort,
2546 FI: kesto, aika-arvo.
2554 @section dydimic comma
2558 @ref{syntonic comma}.
2567 D: Dynamik, Lautstärke,
2573 The aspect of music relating to degrees of loudness, or changes from one
2574 degree to another. The terms, abbreviations, and symbols used to indicate
2575 this information are called dynamic marks.
2579 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2599 @node ecclesiastical mode
2600 @section ecclesiastical mode
2608 @section eighth note
2614 D: Achtel, Achtelnote,
2616 DK: ottendedelsnode,
2618 FI: kahdeksasosanuotti.
2626 @section eighth rest
2628 ES: silencio de corchea,
2634 DK: ottendedelspause,
2636 FI: kahdeksasosatauko.
2646 FIXME: languages, definition
2650 @section embellishment
2663 D: Notenstich, Notendruck
2669 Engraving means incising or etching a metal plate for
2670 printing. Photoengraving means drawing music with ink in a manner
2671 similar to drafting or engineering drawing, using similar tools.
2673 The traditional process of music printing is done through cutting in a
2674 plate of metal. Now also the term for the art of music typesetting.
2689 Two notes, intervals, or scales are enharmonic if they have different names
2692 @lilypond[fragment,notime,line-width=13.0\cm]
2693 \set Score.automaticBars = ##f
2695 \context Staff \relative c'' {
2696 gis1 as <des g,!> <cis g!>
2698 \context Lyrics \lyrics {
2699 \override Lyrics .LyricText #'self-alignment-X = #-1
2700 "g sharp " "a flat " "dim fifth " "augm fourth"
2706 @node equal temperament
2707 @section equal temperament
2709 ES: temperamento igual,
2710 I: temperamento equabile,
2711 F: tempérament égal,
2712 D: gleichschwebende Stimmung,
2713 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2714 DK: ligesvævende temperatur,
2715 S: liksvävande temperatur,
2718 Tuning system dividing the octave into 12 equal @ref{semitone}s
2719 (precisely 100 @ref{cent}s).
2726 @node expression mark
2727 @section expression mark
2730 I: segno d'espressione,
2731 F: signe d'expression, indication de nuance,
2733 NL: voordrachtsteken,
2734 DK: foredragsbetegnelse,
2735 S: föredragsbeteckning,
2736 FI: nyanssiosoitus, esitysmerkki.
2738 Performance indications concerning 1. volume, dynamics (for example
2739 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2740 @ref{andante}, @ref{allegro}).
2744 @section extender line
2746 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2748 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2755 The generic term for a line (or dash) of arbitrary length that
2756 extends text (without indicating the musical @emph{function} of
2759 Used in many contexts, for example:
2763 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2765 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2768 In figured (or thorough) bass to indicate that:
2772 @item The extended note should be held through a change in
2773 harmony, when applied to one figure --OR--
2775 @item The chord thus represented should be held above a moving
2776 bass line, when applied to more than one figure.
2778 @item These uses were not completely standardized, and some
2779 composers used a single extender line to indicate the
2785 In string music to indicate that all notes in the passage thus indicated
2786 should be played on the same string. On the violin, for example, a series
2787 of notes to be played on the G string would be indicated @samp{sul G},
2788 another series to be played on the D string would be indicated @samp{sul D},
2795 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2827 The position between the dots of the key symbol is the line of the F below
2828 central@w{ }C. Used on the third, fourth and fifth note line. A
2829 digit@w{ }8 above the clef symbol indicates that the notes must be played
2830 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2831 symbol indicates playing an octave lower (for example, on double bass
2834 @lilypond[fragment,notime,line-width=13.0\cm]
2835 \set Score.automaticBars = ##f
2836 \override Staff.Clef #'full-size-change = ##t
2864 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2867 @node feathered beam
2868 @section feathered beam
2872 F: liens de croches en soufflet,
2873 D: gespreizter Balken,
2879 A type of beam used to indicate that a small group of notes should be
2880 played at an increasing or decreasing tempo -- depending on the
2881 direction of @q{feathering} -- but without changing the overall tempo
2886 Internals Reference: @ruser{Manual beams}
2894 F: point d'orgue, point d'arrêt,
2899 FI: fermaatti, pidäke.
2901 Prolonged note or rest of indefinite duration.
2903 @lilypond[fragment,ragged-right]
2906 a4 b c2^\fermata \bar "|."
2929 @section figured bass
2933 @ref{thorough bass}.
2948 The methodical use of fingers in the playing of instruments.
2955 I: coda (uncinata), bandiera,
2963 Ornament at the end of the stem of a note used for notes with values
2964 less than a quarter note. The number of flags determines the
2967 @lilypond[fragment,notime,ragged-right]
2968 \set Score.automaticBars = ##f
2969 %\override Score.TextScript #'font-style = #'large
3014 FI: forte, voimakkaasti.
3016 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3017 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3054 @node functional harmony
3055 @section functional harmony
3057 ES: armonía funcional,
3058 I: armonia funzionale,
3059 F: étude des functions,
3061 NL: functionele harmonie,
3062 DK: funktionsanalyse, funktionsharmonik,
3064 FI: harmoniajärjestelmä.
3066 A system of harmonic analysis. It is based on the idea that, in a given key,
3067 there are only three functionally different chords: tonic (T, the chord on the
3068 first note of the scale), subdominant (S, the chord on the fourth note), and
3069 dominant (D, the chord on the fifth note). Others are considered to be
3070 variants of the base chords.
3072 @lilypond[fragment,notime,line-width=13.0\cm]
3073 \set Score.automaticBars = ##f
3075 \context Voice \relative c'' {
3076 <g e c >1 < a f d > < b g e >
3077 <c a f > < d b g > < e c a > < f d b > }
3078 \context Lyrics \lyrics {
3079 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3107 D: G-Schlüssel, Violinschlüssel,
3113 A clef symbol indicating the G above central@w{ }C. Used on the first
3114 and second note lines. A digit 8 above the clef symbol indicates that
3115 the notes must be played an octave higher while 8 below the clef symbol
3116 indicates playing or singing an octave lower (most tenor parts in choral
3117 scores are notated like that).
3119 @lilypond[fragment,notime,ragged-right]
3121 \set Score.automaticBars = ##f
3122 \override Staff.Clef #'full-size-change = ##t
3125 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3135 \context Lyrics \lyrics {
3136 \override Lyrics . LyricText #'X-offset = #-5
3137 "french violin clef"
3156 FI: glissando, liukuen.
3158 Letting the pitch slide fluently from one note to the other.
3162 @section grace notes
3164 ES: notas de adorno,
3167 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3173 Notes printed in small types to indicate that their time values are not
3174 counted in the rhythm of the bar.
3180 @section grand staff
3182 ES: sistema de piano,
3185 D: Akkolade, Klaviersystem,
3188 S: ackolad, böjd klammer,
3189 FI: kaksoisnuottiviivasto.
3191 A combination of two staves with a brace. Usually used for piano music.
3208 FI: grave, raskaasti.
3233 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3234 standard usage of these countries, @samp{B} means @samp{B flat}.
3238 @ref{Pitch names}, @ref{B}
3248 D: Halbe, halbe Note,
3262 ES: silencio de blanca,
3277 @node harmonic cadence
3278 @section harmonic cadence
3280 ES: cadencia (armónica),
3281 I: cadenza (armonica),
3282 F: cadence harmonique,
3284 NL: harmonische cadens,
3285 DK: harmonisk kadence,
3286 S: (harmonisk) kadens,
3287 FI: harmoninen kadenssi.
3289 A sequence of chords that terminates a musical phrase or
3292 @ref{functional harmony}.
3294 @lilypond[fragment,ragged-right]
3295 \context PianoStaff <<
3296 \context Staff = SA \relative c'' {
3300 \partial 4 < c g e >4 |
3301 < c a f > < b g d > < c g e >2
3304 \context Staff = SB \relative c {
3306 \partial 4 c4 | f, g c2
3324 D: Harmonie, Zusammenklang,
3328 FI: harmonia, yhteissointi.
3330 Tones sounding simultaneously. Two note harmonies fall into the categories
3331 @emph{consonances} and @emph{dissonances}.
3335 @lilypond[fragment,notime,line-width=13.0\cm]
3336 \set Score.automaticBars = ##f
3337 %\override Score.TextScript #'font-style = #'large
3338 \context Voice \relative c'' {
3351 @lilypond[fragment,notime,line-width=13.0\cm]
3352 \set Score.automaticBars = ##f
3353 %\override Score.TextScript #'font-style = #'large
3354 \context Voice \relative c'' {
3355 <g a>1_"second " s s
3356 <g f'>_"seventh " s s
3361 Three note harmony @ref{chord}.
3374 FI: homofonia, yksiäänisyys.
3376 Music in which one voice leads melodically followed by the other voices more
3377 or less in the same rhythm. In contrast to @ref{polyphony}.
3390 FI: intervalli, kahden sävelen korkeusero.
3392 Difference in pitch between two notes. Intervals may be perfect, minor,
3393 major, diminished, or augmented. The augmented fourth and the diminished fifth
3394 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3395 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3398 @lilypond[fragment,notime,line-width=13.0\cm]
3399 \set Score.automaticBars = ##f
3401 \context Voice \relative c'' {
3411 \context Lyrics \lyrics {
3412 "unison " "second " "second " "second "
3413 "third " "third " "third " "third"
3418 @lilypond[fragment,notime,line-width=13.0\cm]
3419 \set Score.automaticBars = ##f
3421 \context Staff \relative c'' {
3432 "fourth " "fourth " "fifth " "fifth "
3433 "sixth " "sixth " "sixth " "sixth"
3438 @lilypond[fragment,notime,line-width=13.0\cm]
3439 \set Score.automaticBars = ##f
3441 \context Staff \relative c'' {
3442 < gis f'! >1^"dimin"
3451 \context Lyrics \lyrics {
3452 "seventh " "seventh " "seventh " "octave "
3453 "ninth " "ninth " "tenth " "tenth"
3459 @node inverted interval
3460 @section inverted interval
3462 ES: intervalo invertido,
3463 I: intervallo rivolto,
3464 F: intervalle reversé,
3465 D: umgekehrtes Intervall,
3466 NL: interval inversie,
3467 DK: omvendingsinterval,
3468 S: intervallets omvändning,
3469 FI: käänteisintervalli.
3471 The difference between an interval and an octave.
3473 @lilypond[fragment,notime,line-width=13.0\cm]
3474 \set Score.automaticBars = ##f
3475 %\override Score.TextScript #'font-style = #'large
3476 \context Staff \relative c'' {
3477 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3478 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3479 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3484 @node just intonation
3485 @section just intonation
3487 ES: entonación justa,
3488 I: intonazione giusta,
3489 F: intonation juste,
3496 Tuning system in which the notes are obtained by adding and subtracting
3497 natural fifths and thirds.
3514 According to the 12@w{ }tones of the @ref{chromatic scale}
3515 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3519 @ref{key signature}.
3523 @section key signature
3525 ES: armadura (de la clave),
3526 I: armatura di chiave,
3527 F: armure, armature [de la clé],
3528 D: Vorzeichen, Tonart,
3529 NL: toon@-soort (voortekens),
3532 FI: sävellajiosoitus.
3534 The sharps or flats appearing at the beginning of each staff indicating the
3546 D: Largo, Langsam, Breit,
3550 FI: largo, hitaasti, leveästi.
3552 Very slow in tempo, usually combined with great
3553 expressiveness. @emph{Larghetto} is less slow than largo.
3557 @section leading note
3568 The seventh @ref{scale degree}, a @ref{semitone} below
3569 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3570 upwards) to the tonic scale degree.
3574 @section ledger line
3576 ES: línea adicional,
3577 I: tagli addizionali,
3578 F: ligne supplémentaire,
3585 A ledger line is an extension of the staff.
3587 @lilypond[fragment,notime,ragged-right]
3588 \set Score.automaticBars = ##f
3589 \relative c'' { a,1 s c'' }
3599 D: legato, gebunden,
3605 To be performed (a) without any perceptible interruption between the notes,
3606 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3609 @lilypond[fragment,notime,line-width=13.0\cm]
3610 \set Score.automaticBars = ##f
3612 \context Staff \relative c'' {
3613 c4-( d e-) \bar "||"
3614 c4-- d-- e-- \bar "||"
3615 c4-.-( d-. e-.-) \bar "||"
3616 c4-. d-. e-. \bar "||"
3629 @section legato curve
3633 @ref{slur}, @ref{legato}.
3647 ES: estanque de nenúfares,
3648 I: stagno del giglio,
3652 NL: le@-lie@-vij@-ver,
3657 A pond with lilies floating in it, also the name of a music typesetter.
3667 A ligature is a coherent graphical symbol that represents at least two
3668 distinct notes. Ligatures originally appeared in the manuscripts of
3669 Gregorian chant notation roughly since the 9th century to denote
3670 ascending or descending sequences of notes. In early notation,
3671 ligatures were used for monophonic tunes (Gregorian chant) and very
3672 soon denoted also the way of performance in the sense of articulation.
3673 With the invention of the metric system of the white mensural
3674 notation, the need for ligatures to denote such patterns disappeared.
3683 D: Linie, Notenlinie,
3687 FI: viiva, nuottiviiva.
3694 @node long appoggiatura
3695 @section long appoggiatura
3697 ES: apoyatura larga,
3698 I: appoggiatura lunga,
3699 F: appoggiature longue,
3704 FI: pitkä appoggiatura, pitkä etuhele.
3723 Note value: double length of @ref{breve}.
3725 @lilypond[fragment,notime,ragged-right]
3726 \set Score.automaticBars = ##f
3728 \override NoteHead #'style = #'mensural
3741 ES: letra (de la canción),
3744 D: Liedtext, Gesangtext,
3763 FIXME: add languages
3770 @node major interval
3771 @section major interval
3773 ES: intervalo mayor,
3774 I: intervallo maggiore,
3775 F: intervalle majeur,
3776 D: großes Intervall,
3780 FI: suuri intervalli.
3801 @ref{diatonic scale}.
3804 @node meantone temperament
3805 @section meantone temperament
3807 ES: afinación mesotónica,
3808 I: accordatura mesotonica,
3809 F: tempérament mésotonique,
3810 D: mitteltönige Stimmung,
3811 NL: middenstemming, middentoonstemming,
3812 DK: middeltonetemperatur,
3813 S: medeltonstemperatur,
3814 FI: keskisävelviritys.
3816 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3817 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3818 @ref{temperament} only a limited set of keys are playable.
3819 Used for tuning keyboard instruments for performance of pre-1650 music.
3834 A group of @ref{beat}s (units of musical time) the first of which
3835 bears an accent. Such groups in numbers of two or more recur consistently
3836 throughout the composition and are marked from each other by
3846 I: mediante, modale,
3854 1.@tie{}The third @b{scale degree}.
3855 2.@tie{}A @ref{chord} having its base tone
3856 a third from that of another chord. For example, the tonic chord may be
3857 replaced by its lower mediant (variant tonic).
3860 harmony}, @ref{relative key}.
3870 FI: melisma, laulettavan tavun sävelkuvio.
3872 A melisma (plural: melismata) is a group of notes or tones sung on one
3873 syllable in plainsong
3877 @section melisma line
3879 FIXME: add languages
3883 @ref{extender line}.
3886 @node melodic cadence
3887 @section melodic cadence
3899 F: indication de mesure, mesure,
3906 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3907 unaltered throughout a composition or a section of it. For instance,
3908 3/4 meter means that the basic @ref{note value}s are quarter notes and
3909 that a @ref{measure} consists of three of those. According to whether
3910 there are two, three, or four units to the measure, one speaks of
3911 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3912 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3915 @lilypond[fragment,line-width=13.0\cm]
3919 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3922 @lilypond[fragment,line-width=13.0\cm]
3926 f8 f f f a16 g a f |
3927 c'8 c c c e16 d e c \bar "||"}
3930 @lilypond[fragment,line-width=13.0\cm]
3934 d4 b8 g b d d c a4 |
3935 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3951 Device indicating the exact tempo of a piece.
3957 @node metronomic indication
3958 @section metronomic indication
3960 ES: indicación metronómica,
3961 I: indicazione metronomica,
3962 F: indication métronomique,
3964 NL: metronoom aanduiding,
3966 S: metronomangivelse,
3967 FI: metronomiosoitus.
3969 Exact tempo indication (in beats per minute). Also denoted by
3970 M.M.@: (Mälzels Metronom).
3974 @section mezzo-soprano
3985 The female voice between @ref{soprano} and @ref{contralto}.
3994 D: eingestrichenes@w{ }c,
3996 DK: enstreget@w{ }c,
3997 S: ettstruket@w{ }c,
4000 First C below the 440 Hz A.
4002 @lilypond[fragment,notime,ragged-right]
4003 \set Score.automaticBars = ##f
4004 \override Staff.Clef #'full-size-change = ##t
4027 @ref{diatonic scale}.
4030 @node minor interval
4031 @section minor interval
4033 ES: intervalo menor,
4034 I: intervallo minore,
4035 F: intervalle mineur,
4036 D: kleines Intervall,
4040 FI: pieni intervalli.
4053 D: Kirchentonart, Modus,
4057 FI: moodi, kirkkosävelasteikko.
4061 @ref{church mode}, @ref{diatonic scale}.
4074 FI: modulaatio, sävellajin vaihdos.
4076 Moving from one @ref{key} to another. For example, the second
4077 subject of a @ref{sonata form} movement modulates to the dominant
4078 key if the key is major and to the @ref{relative key} if the key
4091 FI: mordent, korukuvio.
4116 FI: teema, sävelaihe.
4118 The briefest intelligible and self-contained fragment of a musical theme or
4121 @lilypond[line-width=13.0\cm]
4124 \set Score.implicitTimeSignatureVisibility = #all-invisible
4125 \override Score.TimeSignature #'break-visibility = #all-invisible
4128 \partial 8 g16\startGroup fis |
4129 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4130 g8 g,16 a b8 cis d16 s
4134 \Staff \consists "Horizontal_bracket_engraver"
4152 Greater musical works like @ref{symphony} and
4153 @ref{sonata} most often consist of several -- more or less --
4154 independant pieces called movements.
4157 @node multi-measure rest
4158 @section multi-measure rest
4160 ES: compases de espera,
4164 D: mehrtaktige Pause, Kirchenpause,
4167 FI: usean tahdin mittainen tauko.
4169 Multi-measure rests are conventionally typeset with a combination of longa,
4170 breve and whole rests for shorter and a long horizontal bar for longer
4171 spans of rest, with a number above to indicate the duration (in measures)
4172 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4173 reminiscence of its use in Renaissance vocal polyphony.
4175 @lilypond[fragment,ragged-right]
4178 \set Score.skipBars = ##t R1*3
4180 \set Score.skipBars = ##t R1*122
4187 @node mixolydian mode
4188 @section mixolydian mode
4192 @ref{diatonic scale}.
4196 @section natural sign
4201 D: Auflösungszeichen,
4202 NL: herstellingsteken,
4203 DK: op@-løsningstegn,
4204 S: återställningstecken,
4212 @node neighbour tones
4213 @section neighbour tones
4257 Notes are signs by means of which music is fixed in writing. The term is also
4258 used for the sound indicated by a note, and even for the key of the piano
4259 which produces the sound. However, a clear distinction between the terms tone
4260 and @ref{note} is strongly recommended. Briefly, one sees a note,
4268 I: testa, testina, capocchia,
4276 A head-like sign which indicates pitch by its position on a
4277 @ref{staff} provided with a @ref{clef}, and duration
4278 by a variety of shapes such as hollow or black heads with or without
4279 @ref{stem}s, @ref{flag}s, etc. For percussion
4280 instruments (often having no defined pitch) the note head may indicate the
4287 ES: valor (duración),
4289 F: durée, valeur (d'une note),
4294 FI: nuotin aika-arvo.
4296 Note values (durations) are measured as fractions, normally 1/2, of
4297 the next higher note value. The longest duration normally used is
4298 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4299 double-length note value @emph{longa} or the quadruple-length note
4300 value @emph{maxima} are used.
4302 @c TODO -- add maxima to this example
4304 @lilypond[fragment,notime,line-width=13.0\cm]
4305 %\override Score.TextScript #'font-style = #'large
4306 \set Score.automaticBars = ##f
4308 \override NoteHead #'style = #'mensural
4309 a\longa_"longa" a\breve_"breve"
4310 \revert NoteHead #'style
4311 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4312 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4315 @c TODO -- add maxima rest to this example
4317 @lilypond[fragment,notime,line-width=13.0\cm]
4318 %\override Score.TextScript #'font-style = #'large
4319 \set Score.automaticBars = ##f
4321 r\longa_"longa" r\breve_"breve"
4322 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4323 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4326 An augmentation dot after a note multiplies the duration by one and a
4327 half. Another dot adds yet a fourth of the duration.
4329 @lilypond[fragment,line-width=13.0\cm]
4330 %\override Score.TextScript #'font-style = #'large
4333 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4334 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4337 Alternatively note values may be subdivided by other ratios. Most common is
4338 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4339 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4340 dotted notes are also frequently used.
4342 @lilypond[fragment,line-width=13.0\cm]
4343 %\override Score.TextScript #'font-style = #'large
4346 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4347 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4351 @lilypond[fragment,line-width=13.0\cm]
4354 \times 3/2 {g4_"duplets" g} |
4356 \times 6/4 {g8_"quadruplets" g g g} |
4357 g8 g g g g4 \bar "||"
4363 @section octave sign
4367 @ref{G clef}, @ref{F clef}.
4391 I: abbellimento, fioriture,
4392 F: agrément, ornement,
4393 D: Verzierung, Ornament,
4399 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4400 with the diatonic @ref{second} above it. In the music from the
4401 middle of the 19th century and onwards the trill is performed with the main
4402 note first while in the music from the preceding baroque and classic periods
4403 the upper note is played first.
4405 @lilypond[fragment,line-width=13.0\cm]
4407 \context Staff = sa {
4408 % \override Score.TextScript #'font-style = #'large
4410 c2._"pre-1850" b4\trill | c1 \bar "||"
4411 c2._"post-1850" b4\trill | c1 \bar "||"
4415 c2. c32 b c b c b c b | c1
4416 c2. b32 c b c \times 4/5 { b c b c b } | c1
4421 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4423 @emph{prall} (inverted mordent).
4425 @lilypond[fragment,line-width=13.0\cm]
4427 \context Staff = sa {
4428 % \override Score.TextScript #'font-style = #'large
4430 a4_"turn" b\turn c2 \bar "||"
4431 g4_"mordent" a b\mordent a \bar "||"
4432 e'4_"prall" d\prall c2 \bar "||"
4438 e'4 e32[ d e d ~ d8] c2
4458 FI: ossia, vaihtoehtoinen esitystapa.
4460 Ossia (otherwise) marks an alternative. It is an added staff or piano
4461 score, usually only a few measures long, which presents another version
4462 of the music, for example for small hands.
4483 FI: stemma, instrumenttiosuus.
4485 1.@tie{}In instrumental or choral music the music for the single instrument
4486 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4487 melodic line of the contrapunctal web.
4512 D: Schlagzeug, Schlagwerk,
4518 A family of musical instruments which are played on by striking or
4519 shaking. Percussion instruments commonly used in a symphony orchestra are
4520 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4521 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4525 @node perfect interval
4526 @section perfect interval
4528 ES: intervalo justo,
4529 I: intervallo giusto,
4530 F: intervalle juste,
4531 D: reines Intervall,
4535 FI: puhdas intervalli.
4554 A natural division of the melodic line, comparable to a sentence of speech.
4567 FI: fraseeraus, jäsentäminen.
4569 The clear rendering in musical performance of the @ref{phrase}s of
4570 the melody. Phrasing may be indicated by a @ref{slur}.
4578 F: anacrouse, levée,
4602 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4603 @emph{mezzo piano} (@b{mp}) medium soft.
4626 NL: pizzicato, getokkeld,
4629 FI: pizzicato, näppäillen.
4631 Play by plucking the strings.
4640 D: Polyphonie, Mehrstimmigkeit,
4644 FI: polyfonia, moniäänisyys.
4646 Music written in a combination of several simultaneous voices (parts) of a
4647 more or less pronounced individuality.
4666 D: Presto, Sehr schnell,
4667 NL: presto, Sehr schnell,
4670 FI: presto, hyvin nopeasti.
4672 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4673 denotes the highest possible degree of speed.
4676 @node Pythagorean comma
4677 @section Pythagorean comma
4679 ES: coma pitagórica,
4680 I: comma pitagorico,
4681 F: comma pythagoricien,
4682 D: Pythagoräisches Komma,
4683 NL: komma van Pythagoras,
4684 DK: pythagoræisk komma,
4685 S: pytagoreiskt komma,
4686 FI: pytagorinen komma.
4688 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4689 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4690 24 @ref{cent}s higher than the@w{ }C obtained by adding
4691 7@w{ }octaves. The difference between those two pitches is called the
4713 @section quarter note
4716 I: semiminima, nera,
4719 D: Viertel, Viertelnote,
4723 FI: neljännesosanuotti.
4731 @section quarter rest
4733 ES: silencio de negra,
4734 I: pausa di semiminima,
4739 DK:@w{ }fjerdedelspause,
4741 FI: neljännesosatauko.
4751 ES: cinquillo, quintillo.
4766 @section rallentando
4771 D: rallentando, langsamer werden,
4775 FI: rallerdando, hidastuen.
4777 Abbreviation "rall.".
4783 @section relative key
4786 I: tonalità relativa,
4787 F: tonalité relative,
4789 NL: paralleltoonsoort,
4790 DK: paralleltoneart,
4792 FI: rinnakkaissävellaji.
4794 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4796 @lilypond[fragment,notime,line-width=13.0\cm]
4797 \set Score.automaticBars = ##f
4798 %\override Score.TextScript #'font-style = #'large
4801 es1_"e flat major" f g as bes c d es
4806 @lilypond[fragment,notime,line-width=13.0\cm]
4807 \set Score.automaticBars = ##f
4808 %\override Score.TextScript #'font-style = #'large
4811 c1_"c minor" d es f g a! b! c \bar "||"
4821 F: barre de reprise,
4824 DK: gen@-ta@-gel@-se,
4828 @lilypond[fragment,line-width=13.0\cm]
4832 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4836 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4837 @c specify the rest's value.
4871 @item Metrical rhythm in which every time value is a multiple or
4872 fraction of a fixed unit of time, called @ref{beat}, and in which the
4873 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4874 The basic scheme of time values is called @ref{meter}.
4876 @item Measured rhythm which lacks regularly recurrent accent. In
4877 modern notation such music appears as a free alternation of different
4880 @item Free rhythm, i.e., the use of temporal values having no common
4881 metrical unit (beat).
4893 D: ritardando, langsamer werden,
4897 FI: ritardando, hidastuen,
4899 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4912 FI: ritenuto, hidastaen.
4914 Immediate reduction of speed.
4927 FI: asteikko, sävelasteikko.
4931 @ref{diatonic scale}.
4935 @section scale degree
4937 ES: grado (de la escala),
4938 I: grado della scala,
4939 F: degré [de la gamme],
4941 NL: trap [van de toonladder],
4944 FI: sävelaste, asteikon sävel.
4946 Names and symbols used in harmonic analysis to denote tones of the
4947 scale as roots of chords. The most important are degrees I = tonic
4948 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4950 @lilypond[fragment,notime,line-width=13.0\cm]
4951 \set Score.automaticBars = ##f
4953 \context Staff \relative c' {
4957 << { I II III IV V VI VII I }
4965 @ref{functional harmony}.
4973 F: à cordes ravallées,
4980 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4981 tuning of stringed instruments, particularly lutes or violins. Used
4986 @item facilitate pitch combinations that would otherwise be difficult
4989 @item alter the characteristic timbre of the instrument, for example,
4990 to increase brilliance)
4992 @item reinforce certain sonorities or tonalities by making them
4993 available on open strings
4995 @item imitate other instruments
5001 Tunings that could be called @var{scordatura} first appeared early in
5002 the 16th Century and became commonplace in the 17th.
5011 D: Partitur (full score), Klavierauszug (vocal score),
5017 A copy of orchestral, choral, or chamber music showing what each
5018 instrument is to play, each voice to sing, having each part arranged
5019 one underneath the other on different staves @ref{staff}.
5034 The @ref{interval} between two neigbouring tones of a scale. A
5035 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5036 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5037 degrees in question.
5052 The @ref{interval} of a minor second. The (usually) smallest interval
5053 in European composed music. The interval between two neighbouring
5054 tones on the piano keyboard -- including black and white keys -- is a
5055 semitone. An octave may be divided into 12@w{ }semitones.
5056 @ref{interval}, @ref{chromatic scale}.
5058 @lilypond[fragment,notime,line-width=13.0\cm]
5059 \set Score.automaticBars = ##f
5060 \relative c'' { g1 gis s a bes s b! c }
5131 @node short appoggiatura
5132 @section short appoggiatura
5139 @node sixteenth note
5140 @section sixteenth note
5146 D: Sechzehntel, Sechzehntelnote,
5147 NL: zes@-ti@-ende noot,
5148 DK: sekstendedelsnode,
5150 FI: kuudestoistaosanuotti.
5157 @node sixteenth rest
5158 @section sixteenth rest
5160 ES: silencio de semicorchea,
5161 I: pausa di semicroma,
5163 UK: semiquaver rest,
5164 D: Sechzehntelpause,
5166 DK: sekstendedelspause,
5192 @node sixty-fourth note
5193 @section sixty-fourth note
5197 F: quadruple croche,
5198 UK: hemidemisemiquaver,
5199 D: Vierundsechzigstel, Vierundsechzigstelnote,
5200 NL: vierenzestigste noot,
5201 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5202 S: sextiofjärdedelsnot,
5203 FI: kuudeskymmenesneljäsosanuotti.
5210 @node sixty-fourth rest
5211 @section sixty-fourth rest
5213 ES: silencio de semifusa,
5214 I: pausa di semibiscroma,
5215 F: seizième de soupir,
5216 UK: hemidemisemiquaver rest,
5217 D: Vierundsechzigstelpause,
5218 NL: vierenzestigste rust,
5219 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5220 S: sextiofjärdedelspaus,
5221 FI: kuudeskymmenesneljäsosatauko.
5232 ES: ligadura (de expresión),
5233 I: legatura (di portamento or espressiva),
5235 D: Bogen (Legatobogen, Phrasierungsbogen),
5236 NL: fraseringsboog, legatoboog, streekboog,
5237 DK: legatobue, fraseringsbue,
5241 A slur above or below a group of notes indicates that they are to be
5242 played @ref{legato}, e.g., with one stroke of the violin bow or with
5243 one breath in singing.
5248 @section solmization
5257 FI: suhteelliset laulunimet.
5259 General term for systems of designating the degrees of the
5260 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5261 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5280 In its present-day meaning a sonata denotes an instrumental
5281 composition for piano or for some other instrument with piano
5282 accompaniment, which consists of three or four independant pieces,
5287 @section sonata form
5291 F: [en] forme de sonate,
5293 NL: hoofdvorm, sonatevorm,
5298 A form used frequently for single movements of the @ref{sonata},
5299 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5300 into three sections called @emph{exposition}, @emph{development} and
5301 @emph{recapitulation}. In the exposition the composer introduces some
5302 musical ideas, consisting of a number of themes; in the development
5303 section the composer @q{develops} this material, and in the
5304 recapitulation the composer repeats the exposition, with certain
5305 modifications. The exposition contains a number of themes that fall
5306 into two groups, often called first and second subject. Other
5307 melodies occurring in each group are considered as continuations of
5308 these two. The second theme is in another key, normally in the key of
5309 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5310 @ref{relative key} if the tonic is @ref{minor}.
5331 FI: sopraano, korkea naisääni.
5333 The highest female voice.
5341 F: staccato, piqué, détaché,
5346 FI: staccato, lyhyesti, terävästi.
5348 Playing the note(s) short. Staccato is indicated by a dot above or
5349 below the note head.
5351 @lilypond[fragment,ragged-right]
5356 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5366 I: pentagramma, rigo (musicale),
5368 D: Notensystem, Notenzeile,
5369 NL: (noten)balk, partij,
5374 A staff (pl. staves) is a series of (normally five) horizontal lines
5375 upon and between which the musical notes are written, thus indicating
5376 (in connection with a @ref{clef}) their pitch. Staves for
5377 @ref{percussion} instruments may have fewer lines.
5394 D: Hals, Notenhals, Stiel,
5400 Vertical line above or below a @ref{note head} shorter than a
5405 @lilypond[fragment,notime,line-width=13.0\cm]
5406 \set Score.autoBeaming = ##f
5407 \set Score.automaticBars = ##f
5408 %\override Score.TextScript #'font-style = #'large
5430 A family of stringed musical instruments played with a bow. Strings
5431 commonly used in a symphony orchestra are violin, viola, violoncello,
5436 @section strong beat
5441 D: betonter Taktteil oder Taktschlag,
5443 D: betonet taktslag,
5444 S: betonat taktslag,
5445 FI: tahdin vahva isku.
5449 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5453 @section subdominant
5462 FI: subdominantti, alidominantti.
5464 The fourth @ref{scale degree}.
5466 @ref{functional harmony}.
5481 The sixth @ref{scale degree}.
5494 FI: subtoonika, alitoonika.
5496 The seventh @ref{scale degree}.
5505 D: auf G, auf der G-Saite,
5511 Indicates that the indicated passage (or note) should be played on the
5516 @section superdominant
5527 The sixth @ref{scale degree}.
5542 The second @ref{scale degree}.
5551 D: Sinfonie, Symphonie,
5557 A symphony may be defined as a @ref{sonata} for orchestra.
5561 @section syncopation
5572 Any deliberate upsetting of the normal pulse of @ref{meter},
5573 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5574 rhythm rests upon the grouping of equal beats into groups of two or
5575 three, with a regularly recurrent accent on the first beat of each
5576 group. Any deviation from this scheme is felt as a disturbance or
5577 contradiction between the underlaying (normal) pulse and the actual
5580 @lilypond[fragment,ragged-right]
5585 e c'4 e,8 c'4 e,8 c' ( | c2)
5591 @node syntonic comma
5592 @section syntonic comma
5595 I: comma sintonico (o didimico),
5596 F: comma syntonique,
5597 D: syntonisches Komma,
5598 NL: syntonische komma,
5599 DK: syntonisk komma,
5600 S: syntoniskt komma,
5601 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5602 Pytagorisessa viritysjärjestelmässä.
5604 Difference between the natural third and the third obtained by
5605 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5615 D: Notensystem, Partitur,
5619 FI: nuottijärjestelmä.
5621 The collection of staves (@ref{staff}), two or more, as used for writing
5622 down of keyboard, chamber, choral, or orchestral music.
5627 @section temperament
5632 D: Stimmung, Tem@-pe@-ra@-tur,
5633 NL: stemming, temperatuur,
5636 FI: viritysjärjestelmä.
5638 Systems of tuning in which the intervals deviate from the acoustically
5641 @ref{meantone temperament}, @ref{equal temperament}.
5644 @node tempo indication
5645 @section tempo indication
5647 ES: indicación de tempo,
5648 I: indicazione di tempo,
5649 F: indication de tempo,
5650 D: Zeitmaß, Tempobezeichnung,
5651 NL: tempo aanduiding,
5656 The rate of speed of a composition or a section thereof, ranging from
5657 the slowest to the quickest, as is indicated by tempo marks as
5658 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5672 FI: tenori, korkea miesääni.
5674 The highest male voice (apart from @ref{counter tenor}).
5697 ES: subrayado (tenuto),
5706 An indication that a particular note should be held for the whole
5707 length, although this can vary depending on the composer and era.
5727 @node thirty-second note
5728 @section thirty-second note
5734 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5735 NL: twee-endertig@-ste noot,
5736 DK: toogtredivtedelsnode,
5737 S: trettiotvåondelsnot,
5738 FI: kolmanneskymmeneskahdesosanuotti.
5745 @node thirty-second rest
5746 @section thirty-second rest
5748 ES: silencio de fusa,
5749 I: pausa di biscroma,
5750 F: huitième de soupir,
5751 UK: demisemiquaver rest,
5752 D: Zweiunddreissigstel@-pause,
5754 DK: toogtredivtedelspause,
5755 S: trettiotvåondelspaus,
5756 FI: kolmanneskymmeneskahdesosatauko.
5764 @section thorough bass
5767 I: basso continuo, basso numerato,
5768 F: basse chiffrée, basse continue,
5769 D: Generalbass, bezifferter Bass,
5770 NL: basso continuo, becijferde bas
5773 FI: kenraalibasso, numeroitu basso.
5775 A method of indicating an accompaniment part by the bass notes only,
5776 together with figures designating the chief @ref{interval}s and
5777 @ref{chord}s to be played above the bass notes.
5779 @lilypond[fragment,line-width=13.0\cm]
5780 \context GrandStaff <<
5781 \context Staff = lh \relative c'' {
5785 << \context Voice = rha {
5788 \context Voice = rhb {
5790 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5794 \context Staff = rh \relative c' {
5797 es8 c d bes c as bes16 as g f | es4
5799 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5808 ES: ligadura de prolongación,
5809 I: legatura (di valore),
5811 D: Haltebogen, Bindebogen,
5812 NL: overbinding, bindingsboog,
5814 S: bindebåge, överbindning,
5817 A curved line, identical in appearance with the @ref{slur}, which
5818 connects two succesive notes of the same pitch, and which has the
5819 function of uniting them into a single sound (tone) equal to the
5822 @lilypond[fragment,notime,ragged-right]
5823 \set Score.automaticBars = ##f
5824 \relative c'' { g2 ~ g4. }
5836 @node time signature
5837 @section time signature
5839 ES: indicación de compás,
5841 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5842 D: Taktangabe, Angabe der Taktart,
5845 S: taktartssignatur,
5865 A sound of definite pitch and duration, as distinct from @emph{noise}.
5866 Tone is a primary building material of music.
5868 Music from the 20th century may be based on atonal sounds.
5883 The first @ref{scale degree}.
5887 @ref{functional harmony}.
5891 @section transposition
5902 Shifting a melody up or down in pitch, while keeping the same
5905 @lilypond[fragment,line-width=13.0\cm]
5910 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5915 @lilypond[fragment,line-width=13.0\cm]
5918 \transpose c bes \relative c'' {
5920 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5927 @section treble clef
5930 I: chiave di violino,
5932 D: Violinschlüssel, Sopranschlüssel,
5934 DK:@w{ }diskantnøgle,
5955 On stringed instruments (@ref{strings}) the quick reiteration of the
5956 same tone, produced by a rapid up-and-down movement of the bow (a).
5957 The term is also used for the rapid alternation (b) between two notes
5958 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5960 @lilypond[fragment,notime,ragged-right]
5961 \set Score.automaticBars = ##f
5962 %\override Score.TextScript #'font-style = #'large
5965 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5966 \repeat tremolo 8 { e32_"b" g }
5976 F: triade, accord parfait, accord de trois sons,
5993 F: trille, tremblement, battement (cadence),
6006 @section triple meter
6008 ES: compás ternario,
6011 D: in drei, ungerader Takt,
6012 NL: driedelige maatsoort,
6057 @section tuning fork
6060 I: diapason, corista,
6068 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6069 forks give the international pitch for the tone @emph{a} (440
6070 vibrations per second).
6076 A non-standard subdivision of a beat or part of a beat, usually
6077 indicated with a bracket and a number indicating the number of
6082 @ref{triplet}, @ref{note value}.
6112 FI: unisono, yksiäänisesti.
6114 Playing of the same notes or the same melody by various instruments
6115 (voices) or by the whole orchestra (choir), either at exactly the same
6116 pitch or in a different octave.
6124 F: anacrouse, levée,
6146 FI: ääni, lauluääni.
6148 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6149 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6150 2.@tie{}A melodic layer or part of a polyphonic composition.
6157 I: tempo debole, arsi,
6159 D: unbetonter Taktteil oder Taktschlag,
6161 DK: ubetonet taktslag,
6162 S: obetonat taktslag,
6163 FI: tahdin heikko isku.
6167 @ref{beat}, @ref{measure}, @ref{rhythm}.
6177 D: Ganze, ganze Note,
6191 ES: silencio de redonda,
6192 I: pausa di semibreve,
6195 D: ganze Pause, ganztaktige Pause,
6219 The @ref{interval} of a major second. The interval between two tones
6220 on the piano keyboard with exactly one key between them -- including
6221 black and white keys -- is a whole tone.
6238 A family of blown wooden musical instruments. Today some of these
6239 instruments are actually made from metal. The woodwind instruments
6240 commonly used in a symphony orchestra are flute, oboe, clarinet,
6241 saxophone, and bassoon.
6246 @node Duration names notes and rests
6247 @chapter Duration names, notes and rests
6250 @item DURATION NAMES, NOTES AND RESTS
6253 @multitable @columnfractions .15 .26 .33 .26
6258 @tab @strong{F (note name / rest name)}
6268 @c extra @items make this table harder to read, so I removed them.
6270 @item @strong{longa}
6283 @item @strong{breve}
6286 @tab brève / double-pause
6296 @item @strong{whole}
6306 @tab koko@-nuotti/@w{-tauko}
6312 @tab blanche / demi-pause
6319 @tab puoli@-nuotti/@w{-tauko}
6322 @item @strong{quarter}
6332 @tab neljännesosa@-nuotti/@w{-tauko}
6335 @item @strong{eighth}
6338 @tab croche / demi-soupir
6345 @tab kahdeksasosa@-nuotti/@w{-tauko}
6348 @item @strong{sixteenth}
6351 @tab double croche / quart de soupir
6358 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6361 @item @strong{thirty-second}
6364 @tab triple croche / huitième de soupir
6366 @tab Zweiunddreissigstel
6367 @tab tweeendertigste
6368 @tab toogtredivtedel
6370 @tab trettiotvåondel
6371 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6374 @item @strong{sixty-fourth}
6375 @tab hemidemisemiquaver
6377 @tab quadruple croche / seizième de soupir
6379 @tab Vierundsechzigstel
6380 @tab vierenzestigste
6381 @tab fireogtred@-sindstyvendedel
6383 @tab sextiofjärdedel
6384 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6393 @chapter Pitch names
6399 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6400 @c the extra @item's between each row makes the table hard to read ... so I removed them
6402 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6404 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6406 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6407 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6409 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6412 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6413 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6415 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6416 @tab Des @tab des @tab des @tab des @tab des
6418 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6421 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6422 @tab Es @tab es @tab es @tab es @tab es
6424 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6427 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6430 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6433 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6434 @tab As @tab as @tab as @tab as @tab as
6436 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6439 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6440 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6442 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6443 @tab B @tab bes @tab b @tab b @tab b
6445 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6458 @node Literature used
6459 @unnumberedsec Literature used
6462 @item The Harvard Dictionary of Music, London 1944. Many
6463 more or less literal quotes from its articles have been included into
6464 the item explanation texts.
6466 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6468 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6471 @item Oxford Advanced Learner's Dictionary of Current English, Third
6474 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
6476 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.