1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 12/07
42 Copyright @copyright{} 1999--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
112 For more information about how this fits with the other
113 documentation, see @rlearning{About the documentation}.
119 @w{@expansion{}@strong{\word\}}@c
122 @expansion{}@ref{\word\, @strong{\word\}}@c
127 * Musical terms A-Z::
128 * Duration names notes and rests::
132 @node Musical terms A-Z
133 @chapter Musical terms A-Z
135 Languages in this order.
137 @item UK - British English (where it differs from American English)
163 * ancient minor scale::
168 * ascending interval::
170 * augmented interval::
206 * compound interval::
210 * conjunct movement::
223 * descending interval::
225 * diminished interval::
229 * disjunct movement::
231 * dissonant interval::
232 * dominant ninth chord::
233 * dominant seventh chord::
236 * dot (augmentation dot)::
238 * double appoggiatura::
240 * double dotted note::
243 * double time signature::
251 * ecclesiastical mode::
258 * equal temperament::
277 * functional harmony::
293 * inverted interval::
308 * long appoggiatura::
314 * meantone temperament::
321 * mensural notation::
324 * metronomic indication::
336 * multi-measure rest::
367 * polymetric time signature::
372 * Pythagorean comma::
401 * sixty-fourth note::
402 * sixty-fourth rest::
432 * thirty-second note::
433 * thirty-second rest::
440 * transposing instrument::
495 Abbreviated @samp{a2} or @samp{a 2}.
499 @item An indication in orchestral scores that a single part notated on a single
500 staff that normally carries parts for two players (e.g. first and second oboes)
501 is to be played by both players.
503 @item Or conversely, that two pitches or parts notated on a staff that normally
504 carries a single part (e.g. first violin) are to be played by different players,
505 or groups of players (@q{desks}).
524 FI: aksentti, korostus.
526 The stress of one tone over others.
540 ES: alteración accidental,
542 F: altération accidentelle,
543 D: Versetzungszeichen, Akzidenz,
544 NL: toevallig (verplaatsings)teken,
546 S: tillfälligt förtecken,
547 FI: tilapäinen etumerkki.
549 An accidental has the effect of an @ref{alteration} of a note. A
550 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
551 @ref{whole tone}, a flat lowers it by a semitone and a double flat
552 lowers it by a whole tone. A natural cancels the effect of a previous
553 accidental, or a sharp or flat in the key signature.
555 @lilypond[fragment,notime,line-width=13.0\cm]
556 \set Score.automaticBars = ##f
558 \context Staff \relative c'' {
559 \set Staff.extraNatural = ##f
560 gisis1 gis g! ges geses
563 \override Lyrics .LyricText #'self-alignment-X = #-1
564 "db. sharp" sharp natural flat "db. flat"
575 F: accelerando, en accélérant,
576 D: accelerando, schneller werden,
580 FI: accelerando, kiihdyttäen.
586 @section acciaccatura
588 A grace note which takes its time from the rest or note preceding the
589 principal note to which it is attached. The acciaccatura is drawn as a
590 small eighth note (quaver) with a line drawn through the flag and
595 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
608 FI: adagio, hitaasti.
610 It.@: comfortable, easy.
614 @item Slow tempo, slower -- especially in even meter -- than
615 @ref{andante} and faster than @ref{largo}.
617 @item A movement in slow tempo, especially the second (slow) movement
618 of @ref{sonata}s, symphonies, etc.
629 D: Allegro, Schnell, Fröhlich, Lustig,
633 FI: allegro, nopeasti.
635 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
636 tempo, especially the first and last movements of a @ref{sonata}.
646 NL: verhoging of verlaging,
651 An alteration is the modification, raising or lowering, of a note's
652 pitch. It is established by an @ref{accidental}.
665 FI: altto, matala naisääni.
667 A female voice of low range (@emph{contralto}). Originally the alto
668 was a high male voice (hence the name), which by the use of falsetto
669 reached the height of the female voice. This type of voice is also
670 known as @ref{counter tenor}.
676 ES: clave de do en tercera,
677 I: chiave di contralto,
678 F: clef d'ut troisième ligne,
679 D: Altschlüssel, Bratschenschlüssel,
685 C clef setting middle C on the middle line of the staff.
702 FI: ambitus, ääniala, soitinala.
704 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
705 Denotes a range of pitches for a given voice in a part of music. It may
706 also denote the pitch range that a musical instrument is capable of playing.
707 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
722 An anacrusis (also known as pickup or upbeat) is an incomplete measure
723 of music before a section of music. It also refers to the initial
724 note(s) of a melody occurring in that incomplete measure.
728 @ref{measure}, @ref{meter}.
730 @lilypond[fragment,line-width=13.0\cm]
734 \partial 4 f4 | bes4. a8 bes4 c |
735 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
739 @node ancient minor scale
740 @section ancient minor scale
742 ES: escala menor antigua,
743 I: scala minore naturale,
744 F: forme du mode mineur ancien, troisème mode, mode hellénique,
745 D: reines Moll, natürliches Moll,
746 NL: authentieke mineurtoonladder,
749 FI: luonnollinen molliasteikko.
751 @lilypond[fragment,notime,line-width=13.0\cm]
752 \set Score.automaticBars = ##f
759 @ref{diatonic scale}.
774 Walking tempo/character.
778 @section appoggiatura
782 F: appoggiature, (port de voix),
783 D: Vorschlag, Vorhalt
787 FI: appoggiatura, etuhele.
789 Ornamental note, usually a second, that is melodically connected with
790 the main note following it. In music before the 19th century
791 appoggiature were usually performed on the beat, after that mostly
792 before the beat. While the short appoggiatura is performed as a short
793 note regardless of the duration of the main note the duration of the
794 long appoggiatura is proportional to that of the main note.
796 @lilypond[line-width=13.0\cm]
797 \context Voice \relative c'' {
801 %\override Score.TextScript #'font-style = #'large
802 <d a fis>4_"notation" r
803 { \override Stem #'flag-style = #'()
805 \revert Stem #'flag-style
808 { \override Stem #'flag-style = #'()
810 \revert Stem #'flag-style
813 \cadenzaOn a4 \bar "||" \cadenzaOff
815 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
816 \cadenzaOn a4 \bar "||" \cadenzaOff
820 An appoggiatura may have more notes preceding the main note.
822 @lilypond[line-width=13.0\cm]
826 % \override Score.TextScript #'font-style = #'large
827 \grace { bes16 } as8_"notation" as16 bes as8 g |
828 \grace { as16[( bes] } < c as >4-)
829 \grace { as16[( bes] } < c as >4-) \bar "||"
830 \grace { bes16 } as8_"performance" as16 bes as8 g |
831 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
832 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
844 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
846 DK: arpeggio, akkordbrydning,
848 FI: arpeggio, murtosointu.
850 @lilypond[fragment,line-width=13.0\cm]
851 \context PianoStaff <<
852 \context Staff = SA \relative c'' {
855 r8 g16 c e g, c e r8 g,16 c e g, c e |
856 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
857 \context Staff = SB \relative c' {
859 << \context Voice = va {
861 r16 e8. ( e4) r16 e8. ( e4) |
862 r16 d8. ( d4) r16 d8. ( d4) }
863 \context Voice = vb {
872 @section articulation
881 FI: artikulaatio, ilmaisu.
883 Articulation refers to notation which indicates how a note or notes
884 should be played. Slurs, accents, staccato, and legato are all
885 examples of articulation.
888 @node ascending interval
889 @section ascending interval
891 ES: intervalo ascendente,
892 I: intervallo ascendente,
893 F: intervalle ascendant,
894 D: steigendes Intervall,
895 NL: stijgend interval,
896 DK: stigende interval,
897 S: stigande intervall,
898 FI: nouseva intervalli.
900 A distance between a starting lower note and a higher ending note.
903 @node augmented interval
904 @section augmented interval
906 ES: intervalo aumentado,
907 I: intervallo aumentato,
908 F: intervalle augmenté,
909 D: übermäßiges Intervall,
910 NL: overmatig interval,
911 DK: forstørret interval,
912 S: överstigande intervall,
913 FI: ylinouseva intervalli.
921 @section augmentation
932 @c TODO: add definition.
934 This is a placeholder for augmentation (wrt mensural notation).
938 @ref{diminution}, @ref{mensural notation}.
946 F: manuscrit, autographe
947 D: Autograph, Handschrift,
949 DK: håndskrift, autograf,
951 FI: käsinkirjoitettu nuotti.
955 @item A manuscript written in the composer's own hand.
957 @item Music prepared for photoreproduction by freehand drawing, with
958 the aid of a straightedge ruler and T-square only, which attempts to
959 emulate engraving. This required more skill than did engraving.
1002 ES: barra, línea divisoria,
1003 I: stanghetta, barra (di divisione),
1004 F: barre (de mesure),
1022 FI: baritoni, keskikorkuinen miesääni.
1024 The male voice intermediate between the @ref{bass} and the
1027 @c F: clef de troisième ligne dropped
1031 @section baritone clef
1033 ES: clave de fa en tercera,
1034 I: chiave di baritono,
1035 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1036 D: Baritonschlüssel,
1042 C or F clef setting middle C on the upper staff line.
1046 @ref{C clef}, @ref{F clef}.
1052 ES: clave de fa en cuarta,
1054 F: clef de fa quatrième ligne,
1061 A clef setting with middle C on the first top ledger line.
1078 FI: basso, matala miesääni.
1082 @item The lowest male voice.
1084 @item Sometimes, especially in jazz music, used as an abbreviation for
1106 Line connecting a series of notes (shorter than a quarter note). The
1107 number of beams determines the note value of the connected notes.
1109 @lilypond[fragment,notime,line-width=13.0\cm]
1110 \set Score.automaticBars = ##f
1111 %\override TextScript #'font-style = #'large
1113 g8_"1/8"[ g g g] s16
1114 g16_"1/16"[ g g g] s16
1115 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1116 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1121 @ref{feathered beam}.
1127 ES: tiempo, parte (de compás)
1130 D: Takt, Taktschlag, Zeit (im Takt),
1136 Note value used for counting, most often half-, fourth-, and eighth
1137 notes. The base counting value and the number of them per measure is
1138 indicated at the start of the music.
1140 @lilypond[fragment,line-width=13.0\cm]
1143 \relative c'' { g4 c b a | g1 \bar "||"}
1145 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1150 @section beat repeat
1154 @ref{percent repeat}.
1168 ES: llave, corchete,
1171 D: Klammer, Akkolade,
1172 NL: accolade, teksthaak,
1175 FI: yhdistävä sulkumerkki.
1177 Symbol at the start of a system connecting staves.
1179 Curly braces are used for connecting piano staves, and sometimes for connecting
1180 the staves of like instruments in an orchestral score when written on different
1181 staves (e.g. first and second flutes):
1183 @lilypond[fragment,ragged-right]
1184 \context GrandStaff <<
1185 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1186 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1189 Angular brackets for connecting parts in an orchestral or choral score:
1191 @lilypond[fragment,ragged-right]
1192 \context StaffGroup <<
1193 % \set StaffGroup.minVerticalAlign = #12
1194 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1195 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1222 NL: koper (blazers),
1225 S: brassinstrument, mässingsinstrument,
1228 A family of blown musical instruments made of brass, all using a cup
1229 formed mouth piece. The brass instruments commonly used in a symphony
1230 orchestra are trumpet, trombone, french horn, and tube.
1234 @section breath mark
1239 D: Atemzeichen, Trennungszeichen,
1240 NL: repercussieteken,
1241 DK: vejrtrækningstegn,
1245 Indication of where to breathe in vocal and wind instrument parts.
1251 ES: cuadrada, breve,
1258 FI: brevis, kaksoiskokonuotti.
1260 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1261 The shortest note value generally used in white mensural notation, hence the
1262 name, which originally meant @q{of short duration}.
1264 @lilypond[fragment,notime,ragged-right]
1265 \set Score.automaticBars = ##f
1266 \relative c'' { g\breve }
1271 @ref{mensural notation}, @ref{note value}.
1305 Clef symbol indicating the position of the middle C. Used on all note
1308 @lilypond[fragment,notime,line-width=13.0\cm]
1309 \set Score.automaticBars = ##f
1310 \override Score.Clef #'full-size-change = ##t
1312 \context Staff \relative c' {
1314 \clef mezzosoprano c
1319 \context Lyrics \lyrics {
1320 \override Lyrics .LyricText #'self-alignment-X = #-1
1321 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1337 FI: kadenssi, lopuke.
1341 @ref{harmonic cadence}, @ref{functional harmony}.
1354 FI: kadenssi, lopuke.
1356 An extended, improvisatory style section inserted near the end of
1357 movement. The purpose of a cadenza is to give singers or players a
1358 chance to exhibit their technical skill and -- not last -- their
1359 ability to improvise. Since the middle of the 19th century, however,
1360 most cadenzas have been written down by the composer.
1373 FI: kaanon, tarkka jäljittely.
1390 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1391 viritysjärjestelmässä.
1393 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1394 (1/100 of an equally tempered @ref{semitone}).
1398 @ref{equal temperament}.
1421 Three or more tones sounding simultaneously. In traditional European music the
1422 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1423 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1424 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1425 @emph{ninth} major chords are most often used as dominants (@ref{functional
1426 harmony}). A special case is chords having no third above the lower notes to
1427 define their quality as major or minor: such chords are called @q{open chords}.
1429 @lilypond[fragment,notime,line-width=13.0\cm]
1430 \set Score.automaticBars = ##f
1431 %\override TextScript #'font-style = #'large
1433 \context Staff \relative c'' {
1434 \set Staff.extraNatural = ##f
1454 @node chromatic scale
1455 @section chromatic scale
1457 ES: escala cromática,
1459 F: gamme chromatique,
1460 D: chro@-ma@-ti@-sche Tonleiter,
1461 NL: chromatische toonladder,
1462 DK: kromatisk skala,
1464 FI: kromaattinen asteikko.
1466 A scale consisting of all 12 @ref{semitone}s.
1468 @lilypond[fragment,notime,line-width=13.0\cm]
1469 \set Score.automaticBars = ##f
1470 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1475 @section chromaticism
1486 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1490 @section church mode
1492 ES: modo eclesiástico,
1493 I: modo ecclesiastico,
1494 F: mode ecclésiastique,
1499 FI: moodi, kirkkosävellaji.
1503 @ref{diatonic scale}.
1512 D: Schlüssel, Notenschlüssel,
1516 FI: avain, nuottiavain.
1520 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1522 The clef indicates which lines of the staff correspond to which
1523 pitches. The three clef symbols in common use are:
1525 @lilypond[ragged-right,quote]
1528 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1529 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1530 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1535 Imagine a large staff of 11 lines centered on middle C, sometimes
1536 called a @q{grand staff}, with the bottom line representing low G and
1537 the top line high F:
1539 @lilypond[ragged-right,quote]
1542 %-- Treble Staff --%
1544 % Allow this staff to be placed close to the others
1545 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1546 % Allow the treble clef to overlap the lower staves:
1547 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1548 \override Staff.Clef #'stencil = ##f % No clef required
1550 s1^\markup { "g," \transparent "g" }
1551 s^ \markup { "b," \transparent "g" }
1552 s^ \markup { "d" \transparent "g" }
1553 s^ \markup { "f" \transparent "g" }
1554 s^ \markup { "a" \transparent "g" }
1555 s^ \markup { \with-color #red c' \transparent "g"}
1556 e'^\markup { "e'" \transparent "g" }
1557 g'^\markup { "g'" \transparent "g" }
1558 b'^\markup { "b'" \transparent "g" }
1559 d''^\markup { "d''" \transparent "g" }
1560 f''^\markup { "f ''" \transparent "g" }
1563 %-- Alto Staff reduced to a single line on middle C --%
1565 \override Staff.StaffSymbol #'line-count = 1 % One line only
1566 \override Staff.StaffSymbol #'color = #red % Coloured red
1567 \override Staff.Clef #'stencil = ##f % No clef required
1570 % Allow this staff to be placed close to the others
1571 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1572 % Specify height to give correct spacing between treble and bass staves
1573 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1575 s1 s s s s % Space along to align horizonatally
1576 \override NoteHead #'color = #red
1578 s1 s s s s s % Keep staff (ie the red line) showing
1582 % Allow this staff to be placed close to the others
1583 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1584 \override Staff.Clef #'stencil = ##f % No clef required
1587 s s s s s s s % Keep staff showing
1591 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1592 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1594 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1595 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1597 % Remove all barlines
1598 \context { \Score \override BarLine #'stencil = ##f
1600 % Remove time signature from all staves
1601 \context { \Staff \remove Time_signature_engraver
1607 Staves of five lines are usually used, and the clef superimposed on
1608 them indicates which five lines have been selected from this
1609 @samp{grand staff}. For example, the treble or G clef indicates that
1610 the top five lines have been selected:
1612 @lilypond[ragged-right,quote]
1615 %-- Treble Staff --%
1617 % Allow this staff to be placed close to the others
1618 \override Staff.VerticalAxisGroup
1619 #'minimum-Y-extent = #'(0 . 0)
1620 % Allow the treble clef to overlap the lower staves:
1621 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1622 \override Staff.Clef #'stencil = ##f % No clef required here
1624 s1^\markup { "g," \transparent "g" }
1625 s^ \markup { "b," \transparent "g" }
1626 s^ \markup { "d" \transparent "g" }
1627 s^ \markup { "f" \transparent "g" }
1628 s^ \markup { "a" \transparent "g" }
1629 s^ \markup { \with-color #red c' \transparent "g"}
1630 \stopStaff \startStaff
1631 \clef "C" % Dummy to force next clef to be printed
1632 s % Need at least one note for \clef to take effect
1633 \override Staff.Clef #'stencil = ##t % Clef now required
1634 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1636 e'^\markup { "e'" \transparent "g" }
1637 g'^\markup { "g'" \transparent "g" }
1638 b'^\markup { "b'" \transparent "g" }
1639 d''^\markup { "d''" \transparent "g" }
1640 f''^\markup { "f ''" \transparent "g" }
1642 %-- Alto Staff reduced to a single line on middle C --%
1644 \override Staff.StaffSymbol #'line-count = 1 % One line only
1645 \override Staff.StaffSymbol #'color = #red % Coloured red
1646 \override Staff.Clef #'stencil = ##f % No clef required
1649 % Allow this staff to be placed close to the others
1650 \override Staff.VerticalAxisGroup
1651 #'minimum-Y-extent = #'(0 . 0)
1652 % Specify height to give correct spacing between the staves
1653 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1655 s1 s s s s % Space along to align horizonatally
1656 \override NoteHead #'color = #red
1658 % s1 s s s s % Keep staff (ie the red line) showing
1662 % Allow this staff to be placed close to the others
1663 \override Staff.VerticalAxisGroup
1664 #'minimum-Y-extent = #'(0 . 0)
1665 \override Staff.Clef #'stencil = ##f % No clef required
1668 % s s s s s s % Keep staff showing
1672 % Reduce horizontal spacing so semibreves can be used
1673 % without exceeding 1 line
1674 \context { \Score \override SpacingSpanner
1675 #'base-shortest-duration = #(ly:make-moment 1 1)
1677 % Reduce apparent vertical size of note heads to
1678 % permit them to overlap other grobs vertically
1679 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1681 % Remove all barlines
1682 \context { \Score \override BarLine #'stencil = ##f
1684 % Remove time signature from all staves
1685 \context { \Staff \remove Time_signature_engraver
1691 The @q{curl} of the G clef is centered on the line that represents the
1694 In the same way, the bass or F clef indicates that the bottom five
1695 lines have been selected from the @samp{grand staff}, and the alto or
1696 C clef indicates the middle five lines have been selected. This
1697 relationship is shown below, where the notes show an arpeggio on a C
1700 @lilypond[ragged-right,quote]
1703 %-- Treble Staff --%
1704 \new Staff = "G" \with {
1705 \remove Time_signature_engraver
1708 % The following two overrides are required to make the two middle C's overlap
1709 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1710 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1712 \override Staff.Clef #'Y-extent = #'(0 . 0)
1714 s1 s s s s e' g' c''
1717 \new Staff = "C" \with {
1718 \remove Time_signature_engraver
1721 \override Staff.StaffSymbol #'line-count = 1
1722 \override Staff.StaffSymbol #'stencil = ##f
1723 \once \override Staff.Clef #'stencil = ##f
1724 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1725 \override Score.BarLine #'stencil = ##f
1727 % The following two overrides are required to align the C staff to the G and F staves
1728 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1729 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1732 \stopStaff \startStaff
1733 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1734 \revert Staff.StaffSymbol #'stencil
1735 \override Staff.StaffSymbol #'color = #red
1736 b'1 % A frig. This really shows as a middle C in the score
1738 \stopStaff \startStaff
1739 \override Staff.StaffSymbol #'line-count = 5
1740 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1741 \override Staff.Clef #'Y-extent = #'(0 . 0)
1742 \revert Staff.StaffSymbol #'color
1743 \stopStaff \startStaff
1745 s1 s s c e g c' e' g' c''
1748 \new Staff = "F" \with {
1749 \remove Time_signature_engraver
1752 \override Staff.Clef #'Y-extent = #'(0 . 0)
1753 % The following two overrides are required to make the two middle C's overlap
1754 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1755 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1763 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1766 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1769 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1786 FI: klusteri, cluster.
1788 A @emph{cluster} is a range of simultaneously sounding pitches that
1789 may change over time. The set of available pitches to apply usually
1790 depends on the acoustic source. Thus, in piano music, a cluster
1791 typically consists of a continuous range of the semitones as provided
1792 by the piano's fixed set of a chromatic scale. In choral music, each
1793 singer of the choir typically may sing an arbitrary pitch within the
1794 cluster's range that is not bound to any diatonic, chromatic or other
1795 scale. In electronic music, a cluster (theoretically) may even cover
1796 a continuous range of pitches, thus resulting in colored noise, such
1799 Clusters can be denoted in the context of ordinary staff notation by
1800 engraving simple geometrical shapes that replace ordinary notation of
1801 notes. Ordinary notes as musical events specify starting time and
1802 duration of pitches; however, the duration of a note is expressed by
1803 the shape of the note head rather than by the horizontal graphical
1804 extent of the note symbol. In contrast, the shape of a cluster
1805 geometrically describes the development of a range of pitches
1806 (vertical extent) over time (horizontal extent). Still, the
1807 geometrical shape of a cluster covers the area in which any single
1808 pitch contained in the cluster would be notated as an ordinary note.
1810 @lilypond[fragment,relative=2,ragged-right]
1811 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1825 FI: komma, korvinkuultava ero äänenkorkeudessa.
1827 Difference in pitch between a note derived from pure tuning and the
1828 same note derived from some other tuning method.
1832 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1837 @section common meter
1847 @section common time
1858 4/4 time. The symbol, which resembles a capital letter C, derives from
1863 @ref{mensural notation}, @ref{meter}.
1869 ES: intervalo invertido,
1871 F: intervalle complémentaire,
1872 D: Komplementärintervall,
1873 NL: complementair interval,
1874 DK: komplementærinterval,
1875 S: komplementärintervall (?),
1876 FI: täydentävä intervalli.
1880 @ref{inverted interval}.
1883 @node compound interval
1884 @section compound interval
1886 ES: intervalo compuesto,
1887 I: intervallo composto,
1888 F: intervalle composé,
1889 D: weites Intervall,
1890 NL: samengesteld interval,
1891 DK: sammensat interval,
1892 S: sammansatt intervall,
1893 FI: oktaavia laajempi intervalli.
1895 Intervals larger than an octave.
1902 @node compound meter
1903 @section compound meter
1914 A meter that includes a triplet subdivision within the beat, such as
1919 @ref{meter}, @ref{simple meter}.
1923 @section compound time
1937 A meter that includes a triplet subdivision within the beat: see
1938 @ref{compound meter}.
1941 A time signature that additively combines two or more unequal meters, e.g.
1942 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1944 @lilypond[fragment,line-width=13.0\cm]
1945 #(define (compound-time grob one two three num)
1947 (ly:grob-layout grob)
1948 '(((baseline-skip . 2)
1950 (font-family . number)))
1952 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1956 #(set-time-signature 8 8 '(3 2 3))
1957 \override Staff.TimeSignature #'stencil
1958 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1959 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1960 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1961 \set Staff.beatGrouping = #'(3 2 3)
1963 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1971 @ref{compound meter}, @ref{meter}.
1975 @section concert pitch
1986 The pitch at which the piano and other nontransposing instruments play: such
1987 instruments are said to be @q{in C}. The following list includes some (but not
1988 all) instruments that play in concert pitch:
2002 @item tenor trombone
2017 The trombones are a special case: although they are said to be @q{in F} (alto or
2018 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2019 their parts' transposition. (In fact, the trombones' parts are written at
2020 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2021 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2024 Instruments that play @q{in C} but in a different octave than what is written
2025 are, technically speaking, @emph{transposing instruments}:
2029 @item piccolo (plays an octave higher)
2030 @item celesta (plays an octave higher)
2031 @item double-bass (plays an octave lower)
2037 @ref{transposing instrument}.
2040 @node conjunct movement
2041 @section conjunct movement
2043 ES: movimiento conjunto,
2045 F: mouvement conjoint,
2046 D: schritt@-weise, stufenweise Bewegung,
2047 NL: stapsgewijze, trapsgewijze beweging,
2048 DK: trinvis bevægelse,
2050 FI: asteittainen liike.
2052 Progressing melodically by intervals of a second. The opposite of a
2053 @ref{disjunct movement}.
2055 @lilypond[fragment,line-width=13.0\cm]
2056 \key g \major \time 4/4
2057 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2071 FI: konsonanssi, sopusointi.
2096 @section counterpoint
2105 FI: kontrapunkti, ääni ääntä vastaan.
2107 From Latin @emph{punctus contra punctum}, note against note. The
2108 combination into a single musical fabric of lines or parts which have
2109 distinct melodic significance. A frequently used polyphonic technique
2110 is imitation, in its strictest form found in the canon needing only
2111 one part to be written down while the other parts are performed with a
2112 given displacement. Imitation is also the contrapunctal technique
2113 used in the @emph{fugue} which, since the music of the baroque era,
2114 has been one of the most popular polyphonic composition methods.
2116 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2117 \set Score.implicitTimeSignatureVisibility = #all-invisible
2118 \override Score.TimeSignature #'break-visibility = #all-invisible
2119 \context PianoStaff <<
2120 \context Staff = SA \relative c' {
2124 << \context Voice = rha {
2126 r1 | r2 r8 g'8 bes d, |
2127 cis4 d r8 e!16 f g8 f16 e |
2128 f8 g16 a bes8 a16 g a8
2130 \context Voice = rhb {
2136 \context Staff = SB \relative c' {
2139 << \context Voice = lha {
2141 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2142 r8 a16 g f8 g16 a bes8 g e! cis' |
2145 \context Voice = lhb {
2155 @section counter tenor
2160 D: Countertenor, Kontratenor,
2163 S: kontratenor, counter tenor,
2172 @section copying music
2174 A music copyist did fast freehand scores and parts on preprinted staff
2175 lines for performance. Some of their conventions (e.g., the placement
2176 of note heads on stems) varied slightly from those of engravers. Some
2177 of their working methods were superior and could well be adopted by
2180 @c Copying music required more skill than engraving. Flagged for NPOV
2189 D: Crescendo, lauter werden,
2193 FI: cresendo, voimistuen.
2195 Increasing volume. Indicated by a rightwards opening horizontal wedge
2196 or the abbreviation @samp{cresc.}.
2198 @lilypond[fragment,ragged-right]
2199 \key g \major \time 4/4
2200 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2209 F: petites notes précédent l'entrée d'un instrument, réplique,
2216 In a separate part notes belonging to another part with the purpose of
2217 hinting when to start playing. Usually printed in a smaller type.
2226 D: Notenzeiger, Custos,
2232 A custos (plural: custodes) is a staff symbol that appears at the end
2233 of a staff line with monophonic musical contents (i.e., with a single
2234 voice). It anticipates the pitch of the first note of the following
2235 line and thus helps the player or singer to manage line breaks during
2236 performance, thus enhancing readability of a score.
2238 Custodes were frequently used in music notation until the 16th
2239 century. There were different appearences for different notation
2240 styles. Nowadays, they have survived only in special forms of musical
2241 notation such as via the Editio Vaticana dating back to the beginning
2247 % \override Staff.Custos #'neutral-position = #4
2248 \override Staff.Custos #'neutral-direction = #down
2249 \override Staff.Custos #'style = #'hufnagel
2257 \consists Custos_engraver
2289 F: da capo, depuis le commencement,
2290 D: da capo, von Anfang,
2294 FI: da capo, alusta.
2296 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2297 the beginning to the end or to a certain place marked @emph{fine}.
2305 F: dal segno, depuis le signe,
2306 D: dal segno, ab dem Zeichen,
2310 FI: dal segno, lähtien merkistä.
2312 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2313 another place frequently near the beginning marked by a sign:
2315 @lilypond[fragment,ragged-right]
2316 %\override TextScript #'font-style = #'large
2317 \override TextScript #'font-shape = #'italic
2318 \key g \major \time 4/4
2323 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2330 @section decrescendo
2334 D: Decrescendo, leiser werden,
2338 FI: decresendo, hiljentyen.
2340 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2341 or the abbreviation @samp{decresc.}.
2343 @lilypond[fragment,ragged-right]
2345 \key g \major \time 4/4
2346 d4 \> c b a | g1 \! \bar "|."
2351 @node descending interval
2352 @section descending interval
2354 ES: intervalo descendente,
2355 I: intervallo discendente,
2356 F: intervalle descendant,
2357 D: fallendes Intervall, absteigendes Intervall,
2358 NL: dalend interval,
2359 DK: faldende interval,
2360 S: fallande intervall,
2361 FI: laskeva intervalli.
2363 A distance between a starting higher note and a lower ending note.
2366 @node diatonic scale
2367 @section diatonic scale
2369 ES: escala diatónica,
2371 F: gamme diatonique,
2372 D: diatonische Tonleiter,
2373 NL: diatonische toonladder,
2374 DK: diatonisk skala,
2376 FI: diatoninen asteikko.
2378 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2379 Scales played on the white keys of a piano keybord are diatonic; and these
2380 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2382 These @q{modes} are used in gregorian chant and in pre-baroque early music
2383 but also to some extent in newer jazz music.
2385 @lilypond[fragment,notime,ragged-right]
2386 \set Score.automaticBars = ##f
2387 %\override Score.LyricText #'font-style = #'large
2388 %\override Score.TextScript #'font-style = #'large
2390 \context Staff \relative c' {
2392 \override TextScript #'padding = #-4
2393 e^"~~ S" f g a b^"~~ S" c
2395 \context Lyrics \lyrics {
2401 @lilypond[fragment,notime,ragged-right]
2402 \set Score.automaticBars = ##f
2404 \context Staff \relative c' {
2406 \override TextScript #'padding = #-4
2407 e^"~~ S" f g a b^"~~ S" c d
2415 @lilypond[fragment,notime,ragged-right]
2416 \set Score.automaticBars = ##f
2419 \override TextScript #'padding = #-4
2420 e1^"~~ S" f g a b^"~~ S" c d e
2428 @lilypond[fragment,notime,ragged-right]
2429 \set Score.automaticBars = ##f
2433 \override TextScript #'padding = #-4
2434 b^"~~ S" c d e^"~~ S" f
2442 @lilypond[fragment,notime,ragged-right]
2443 \set Score.automaticBars = ##f
2447 \override TextScript #'padding = #-4
2448 b^"~~ S" c d e^"~~ S" f g }
2455 @lilypond[fragment,notime,ragged-right]
2456 \set Score.automaticBars = ##f
2457 %\override Score.LyricText #'font-style = #'large
2458 %\override Score.TextScript #'font-style = #'large
2462 \override TextScript #'padding = #-4
2463 b^"~~ S" c d e^"~~ S" f g a
2471 @lilypond[fragment,notime,ragged-right]
2472 \set Score.automaticBars = ##f
2473 %\override Score.LyricText #'font-style = #'large
2474 %\override Score.TextScript #'font-style = #'large
2477 \override TextScript #'padding = #-4
2478 b^"~~ S" c d e^"~~ S" f g a b
2486 From the beginning of the 17th century the scales used in European
2487 compositional music are primarily the major and the minor scales. In
2488 the harmonic minor scale type an augmented second (A) occurs between
2489 the 6th and 7th tone.
2491 @lilypond[fragment,notime,ragged-right]
2492 \set Score.automaticBars = ##f
2496 \override TextScript #'padding = #-4
2497 e^"~~ S" f g a b^"~~ S" c
2505 @lilypond[fragment,notime,ragged-right]
2506 \set Score.automaticBars = ##f
2510 \override TextScript #'padding = #-4
2511 b^"~~ S" c d e^"~~ S" f g a
2519 @lilypond[fragment,notime,ragged-right]
2520 \set Score.automaticBars = ##f
2524 \override TextScript #'padding = #-4
2525 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2527 \context Lyrics \lyrics {
2533 @lilypond[fragment,notime,line-width=13.0\cm]
2534 \set Score.automaticBars = ##f
2535 %\override Score.LyricText #'font-style = #'large
2536 %\override Score.TextScript #'font-style = #'large
2540 \override TextScript #'padding = #-4
2541 b^"~~ S" c d e fis gis^"~~ S"
2542 a g! f!^"~~ S" e d c^"~~ S" b a
2551 @node diminished interval
2552 @section diminished interval
2554 ES: intervalo disminuido,
2555 I: intervallo diminuito,
2556 F: intervalle diminué,
2557 D: vermindertes Intervall,
2558 NL: verminderd interval,
2559 DK: formindsket interval,
2560 S: förminskat intervall,
2561 FI: vähennetty intervalli.
2578 FI: diminuendo, hiljentyen.
2597 @c TODO: add definition
2599 This is a placeholder for diminution (wrt mensural notation).
2603 @ref{augmentation}, @ref{mensural notation}.
2623 @node disjunct movement
2624 @section disjunct movement
2626 ES: movimiento disjunto,
2628 F: mouvement disjoint,
2629 D: sprunghafte Bewegung,
2630 NL: sprongsgewijze beweging,
2631 DK: springende bevægelse,
2632 S: hoppande rörelse,
2633 FI: melodian hyppivä liike.
2635 Progressing melodically by intervals larger than a major second, as
2636 opposed to @ref{conjunct movement}.
2638 @lilypond[fragment,ragged-right]
2643 a4. gis8 b a e cis |
2644 fis2 d4. \bar "||" }
2651 @ref{dissonant interval}.
2654 @node dissonant interval
2655 @section dissonant interval
2657 ES: intervalo disonante, disonancia,
2658 I: intervallo dissonante, dissonanza,
2661 NL: dissonant interval, dissonant,
2662 DK: dissonerende interval, dissonans,
2664 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2671 @node dominant ninth chord
2672 @section dominant ninth chord
2674 ES: acorde de novena de dominante,
2675 I: accordo di nona di dominante,
2676 F: accord de neuvième dominante,
2677 D: Domi@-nant@-nonen@-akkord,
2678 NL: dominant noon akkoord,
2679 DK: dominantnoneakkord,
2680 S: dominantnonackord,
2681 FI: dominanttinoonisointu.
2685 @ref{chord}, @ref{functional harmony}.
2688 @node dominant seventh chord
2689 @section dominant seventh chord
2691 ES: acorde de séptima de dominante,
2692 I: accordo di settima di dominante,
2693 F: accord de septième dominante,
2694 D: Dominantseptakkord,
2695 NL: dominant septiem akkoord,
2696 DK: dominantseptimakkord,
2697 S: dominantseptimackord,
2698 FI: dominanttiseptimisointu.
2702 @ref{chord}, @ref{functional harmony}.
2715 FI: dominantti, huippusointu.
2717 The fifth @ref{scale degree} in @ref{functional harmony}.
2721 @section dorian mode
2726 D: dorisch, dorischer Kirchenton,
2727 NL: dorische toonladder,
2734 @ref{diatonic scale}.
2737 @node dot (augmentation dot)
2738 @section dot (augmentation dot)
2741 I: punto (di valore),
2743 D: Punkt (Verlängerungspunkt),
2751 @ref{dotted note}, @ref{note value}.
2755 @section dotted note
2757 ES: nota con puntillo,
2761 NL: gepuncteerde noot,
2764 FI: pisteellinen nuotti.
2771 @node double appoggiatura
2772 @section double appoggiatura
2774 ES: apoyatura doble,
2775 I: appoggiatura doppia,
2776 F: appoggiature double,
2777 D: doppelter Vorschlag,
2778 NL: dubbele voorslag,
2779 DK: dobbelt forslag,
2781 FI: kaksoisappogiatura, kaksoisetuhele.
2788 @node double bar line
2789 @section double bar line
2795 NL: dubbele maatstreep,
2798 FI: kaksoistahtiviiva.
2800 Indicates the end of a section within a movement.
2803 @node double dotted note
2804 @section double dotted note
2806 ES: nota con doble puntillo,
2807 I: nota doppiamente puntata,
2808 F: note doublement pointée,
2809 D: doppelt punktierte Note,
2810 NL: dubbelgepuncteerde noot,
2811 DK: dob@-belt@-punk@-te@-ret node,
2812 S: dub@-bel@-punk@-te@-rad not,
2813 FI: kaksoispisteellinen nuotti.
2821 @section double flat
2830 FI: kaksoisalennusmerkki.
2838 @section double sharp
2840 ES: doble sostenido,
2845 DK: dob@-belt@-kryds,
2847 FI: kaksoisylennysmerkki.
2854 @node double time signature
2855 @section double time signature
2868 @ref{polymetric time signature}.
2872 @section double trill
2878 NL: dubbele triller,
2883 A simultaneous trill on two notes, usually in the distance of a third.
2887 @section duple meter
2892 D: in zwei, grader Takt,
2893 NL: tweedelige maatsoort,
2930 FI: kesto, aika-arvo.
2938 @section didymic comma
2942 @ref{syntonic comma}.
2951 D: Dynamik, Lautstärke,
2957 The aspect of music relating to degrees of loudness, or changes from
2958 one degree to another. The terms, abbreviations, and symbols used to
2959 indicate this information are called dynamic marks.
2963 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
2986 @node ecclesiastical mode
2987 @section ecclesiastical mode
2995 @section eighth note
3002 @item D: Achtel, Achtelnote
3003 @item NL: achtste noot
3004 @item DK: ottendedelsnode
3005 @item S: åttondelsnot
3006 @item FI: kahdeksasosanuotti
3015 @section eighth rest
3018 @item UK: quaver rest
3019 @item ES: silencio de corchea
3020 @item I: pausa di croma
3021 @item F: demi-soupir
3022 @item D: Achtelpause
3023 @item NL: achtste rust
3024 @item DK: ottendedelspause
3025 @item S: åttonddelspaus
3026 @item FI: kahdeksasosatauko
3037 @c TODO: add languages
3048 The singing of several syllables on a single note. Elision may be indicated
3049 by a lyric tie, which is looks like (and serves the same function) as a
3058 @section embellishment
3071 D: Notenstich, Notendruck
3077 Engraving means incising or etching a metal plate for printing.
3078 Photoengraving means drawing music with ink in a manner similar to
3079 drafting or engineering drawing, using similar tools.
3081 The traditional process of music printing is done through cutting in a
3082 plate of metal. Now also the term for the art of music typesetting.
3097 Two notes, intervals, or scales are enharmonic if they have different
3098 names but equal pitch.
3100 @lilypond[fragment,notime,line-width=13.0\cm]
3101 \set Score.automaticBars = ##f
3103 \context Staff \relative c'' {
3104 gis1 as <des g,!> <cis g!>
3106 \context Lyrics \lyrics {
3107 \override Lyrics .LyricText #'self-alignment-X = #-1
3108 "g sharp " "a flat " "dim fifth " "augm fourth"
3114 @node equal temperament
3115 @section equal temperament
3117 ES: temperamento igual,
3118 I: temperamento equabile,
3119 F: tempérament égal,
3120 D: gleichschwebende Stimmung,
3121 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3122 DK: ligesvævende temperatur,
3123 S: liksvävande temperatur,
3126 Tuning system dividing the octave into 12 equal @ref{semitone}s
3127 (precisely 100 @ref{cent}s).
3134 @node expression mark
3135 @section expression mark
3138 I: segno d'espressione,
3139 F: signe d'expression, indication de nuance,
3141 NL: voordrachtsteken,
3142 DK: foredragsbetegnelse,
3143 S: föredragsbeteckning,
3144 FI: nyanssiosoitus, esitysmerkki.
3146 Performance indications concerning:
3150 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3152 @item tempo (for example @ref{andante}, @ref{allegro}).
3158 @section extender line
3160 ES: línea de extención [de melisma, de bajo cifrado, etc.],
3162 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3169 The generic term for a line (or dash) of arbitrary length that extends
3170 text (without indicating the musical @emph{function} of that text).
3172 Used in many contexts, for example:
3176 @item In vocal music to indicate the syllable for a melisma. Called
3177 @q{extension} in the
3178 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3182 In figured (or thorough) bass to indicate that:
3186 @item The extended note should be held through a change in harmony, when applied
3187 to one figure --OR--
3188 @item The chord thus represented should be held above a moving bass line, when
3189 applied to more than one figure.
3190 @item These uses were not completely standardized, and some composers used a
3191 single extender line to indicate the latter case.
3196 In string music to indicate that all notes in the passage thus indicated should
3197 be played on the same string. On the violin, for example, a series of notes to
3198 be played on the G string would be indicated @samp{sul G}, another series to be
3199 played on the D string would be indicated @samp{sul D}, and so on.
3202 With an octave mark to indicate that a passage is to be played higher or lower
3203 by the given number of octaves.
3209 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3244 The position between the dots of the key symbol is the line of the F
3245 below central@w{ }C. Used on the third, fourth and fifth note line.
3246 A digit@w{ }8 above the clef symbol indicates that the notes must be
3247 played an octave higher (for example, bass recorder) while 8@w{ }below
3248 the clef symbol indicates playing an octave lower (for example, on
3249 double bass @ref{strings}).
3251 @lilypond[fragment,notime,line-width=13.0\cm]
3252 \set Score.automaticBars = ##f
3253 \override Staff.Clef #'full-size-change = ##t
3281 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3284 @node feathered beam
3285 @section feathered beam
3289 F: liens de croches en soufflet,
3290 D: gespreizter Balken,
3296 A type of beam used to indicate that a small group of notes should be
3297 played at an increasing or decreasing tempo -- depending on the
3298 direction of @q{feathering} -- but without changing the overall tempo
3303 Internals Reference: @ruser{Manual beams}
3311 F: point d'orgue, point d'arrêt,
3316 FI: fermaatti, pidäke.
3318 Prolonged note or rest of indefinite duration.
3320 @lilypond[fragment,ragged-right]
3323 a4 b c2^\fermata \bar "|."
3346 @section figured bass
3350 @ref{thorough bass}.
3365 The methodical use of fingers in the playing of instruments.
3372 I: coda (uncinata), bandiera,
3380 Ornament at the end of the stem of a note used for notes with values
3381 less than a quarter note. The number of flags determines the
3384 @lilypond[fragment,notime,ragged-right]
3385 \set Score.automaticBars = ##f
3386 %\override Score.TextScript #'font-style = #'large
3431 FI: forte, voimakkaasti.
3433 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3434 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3454 @node Frenched score
3455 @section Frenched score
3466 A @q{condensed} score, produced by omitting staves for instruments that are not
3467 playing at the moment, and by moving up additional systems from following pages
3468 to take up the space thus liberated, which reduces the total number of pages
3469 used to print the work.
3471 The specific rules for @q{frenching} a score differ from publisher to publisher.
3472 If you are producing scores for eventual publication by a commercial publisher,
3473 you may wish to procure a copy of their style manual.
3477 @ref{Frenched staff}.
3480 @node Frenched staff
3481 @section Frenched staff
3492 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3493 measures or sections removed. This would be useful for producing, for example,
3494 an @emph{ossia} staff.
3501 @node Frenched staves
3502 @section Frenched staves
3513 The plural of @ref{Frenched staff}, @emph{q.v.}.
3533 @node functional harmony
3534 @section functional harmony
3536 ES: armonía funcional,
3537 I: armonia funzionale,
3538 F: étude des functions,
3540 NL: functionele harmonie,
3541 DK: funktionsanalyse, funktionsharmonik,
3543 FI: harmoniajärjestelmä.
3545 A system of harmonic analysis. It is based on the idea that, in a
3546 given key, there are only three functionally different chords: tonic
3547 (T, the chord on the first note of the scale), subdominant (S, the
3548 chord on the fourth note), and dominant (D, the chord on the fifth
3549 note). Others are considered to be variants of the base chords.
3551 @lilypond[fragment,notime,line-width=13.0\cm]
3552 \set Score.automaticBars = ##f
3554 \context Voice \relative c'' {
3555 <g e c >1 < a f d > < b g e >
3556 <c a f > < d b g > < e c a > < f d b > }
3557 \context Lyrics \lyrics {
3558 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3588 D: G-Schlüssel, Violinschlüssel,
3594 A clef symbol indicating the G above middle@w{ }C. Used on the first
3595 and second note lines. A digit 8 above the clef symbol indicates that
3596 the notes must be played an octave higher while 8 below the clef
3597 symbol indicates playing or singing an octave lower (most tenor parts
3598 in choral scores are notated like that).
3600 @lilypond[fragment,notime,ragged-right]
3602 \set Score.automaticBars = ##f
3603 \override Staff.Clef #'full-size-change = ##t
3606 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3616 \context Lyrics \lyrics {
3617 \override Lyrics . LyricText #'X-offset = #-5
3618 "french violin clef"
3637 FI: glissando, liukuen.
3639 Letting the pitch slide fluently from one note to the other.
3643 @section grace notes
3645 ES: notas de adorno,
3648 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3654 Notes printed in small types to indicate that their time values are not
3655 counted in the rhythm of the bar.
3659 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3664 @section grand staff
3666 ES: sistema de piano,
3669 D: Akkolade, Klaviersystem,
3672 S: ackolad, böjd klammer,
3673 FI: kaksoisnuottiviivasto.
3675 A combination of two staves with a brace. Usually used for piano music.
3692 FI: grave, raskaasti.
3719 Letter name used for @samp{B natural} in German and Scandinavian
3720 usage. In the standard usage of these countries, @samp{B} means
3725 @ref{Pitch names}, @ref{B}
3735 D: Halbe, halbe Note,
3750 ES: silencio de blanca,
3764 @node harmonic cadence
3765 @section harmonic cadence
3767 ES: cadencia (armónica),
3768 I: cadenza (armonica),
3769 F: cadence harmonique,
3771 NL: harmonische cadens,
3772 DK: harmonisk kadence,
3773 S: (harmonisk) kadens,
3774 FI: harmoninen kadenssi.
3776 A sequence of chords that terminates a musical phrase or section.
3778 @ref{functional harmony}.
3780 @lilypond[fragment,ragged-right]
3781 \context PianoStaff <<
3782 \context Staff = SA \relative c'' {
3786 \partial 4 < c g e >4 |
3787 < c a f > < b g d > < c g e >2
3790 \context Staff = SB \relative c {
3792 \partial 4 c4 | f, g c2
3810 D: Harmonie, Zusammenklang,
3814 FI: harmonia, yhteissointi.
3816 Tones sounding simultaneously. Two note harmonies fall into the
3817 categories @emph{consonances} and @emph{dissonances}.
3821 @lilypond[fragment,notime,line-width=13.0\cm]
3822 \set Score.automaticBars = ##f
3823 %\override Score.TextScript #'font-style = #'large
3824 \context Voice \relative c'' {
3837 @lilypond[fragment,notime,line-width=13.0\cm]
3838 \set Score.automaticBars = ##f
3839 %\override Score.TextScript #'font-style = #'large
3840 \context Voice \relative c'' {
3841 <g a>1_"second " s s
3842 <g f'>_"seventh " s s
3847 Three note harmony @ref{chord}.
3862 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3863 the use of three notes of equal value in the time normally occupied by
3864 of two notes of equal value. The resulting rhythm can be expressed in
3865 modern terms as a substitution (for example) of a bar in 3/2 for one
3866 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3867 hemiola is most frequently as a special effect (or @emph{affect}) at
3870 For example, this phrase in 6/4 time
3872 @lilypond[fragment,line-width=13.0\cm]
3876 c2. e | d2 c d | c1. \bar "||" }
3879 may be thought of having alternating time signatures
3881 @lilypond[fragment,line-width=13.0\cm]
3885 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3888 and is therefore a polymeter (second definition) of considerable antiquity.
3892 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3905 FI: homofonia, yksiäänisyys.
3907 Music in which one voice leads melodically followed by the other
3908 voices more or less in the same rhythm. In contrast to
3922 FI: intervalli, kahden sävelen korkeusero.
3924 Difference in pitch between two notes. Intervals may be perfect,
3925 minor, major, diminished, or augmented. The augmented fourth and the
3926 diminished fifth are identical (@ref{enharmonic}) and are called
3927 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3928 addition of such two intervals forms an octave.
3930 @lilypond[fragment,notime,line-width=13.0\cm]
3931 \set Score.automaticBars = ##f
3933 \context Voice \relative c'' {
3943 \context Lyrics \lyrics {
3944 "unison " "second " "second " "second "
3945 "third " "third " "third " "third"
3950 @lilypond[fragment,notime,line-width=13.0\cm]
3951 \set Score.automaticBars = ##f
3953 \context Staff \relative c'' {
3964 "fourth " "fourth " "fifth " "fifth "
3965 "sixth " "sixth " "sixth " "sixth"
3970 @lilypond[fragment,notime,line-width=13.0\cm]
3971 \set Score.automaticBars = ##f
3973 \context Staff \relative c'' {
3974 < gis f'! >1^"dimin"
3983 \context Lyrics \lyrics {
3984 "seventh " "seventh " "seventh " "octave "
3985 "ninth " "ninth " "tenth " "tenth"
3991 @node inverted interval
3992 @section inverted interval
3994 ES: intervalo invertido,
3995 I: intervallo rivolto,
3996 F: intervalle reversé,
3997 D: umgekehrtes Intervall,
3998 NL: interval inversie,
3999 DK: omvendingsinterval,
4000 S: intervallets omvändning,
4001 FI: käänteisintervalli.
4003 The difference between an interval and an octave.
4005 @lilypond[fragment,notime,line-width=13.0\cm]
4006 \set Score.automaticBars = ##f
4007 %\override Score.TextScript #'font-style = #'large
4008 \context Staff \relative c'' {
4009 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4010 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4011 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4016 @node just intonation
4017 @section just intonation
4019 ES: entonación justa,
4020 I: intonazione giusta,
4021 F: intonation juste,
4028 Tuning system in which the notes are obtained by adding and subtracting
4029 natural fifths and thirds.
4046 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4047 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4051 @ref{key signature}.
4055 @section key signature
4057 ES: armadura (de la clave),
4058 I: armatura di chiave,
4059 F: armure, armature [de la clé],
4060 D: Vorzeichen, Tonart,
4061 NL: toon@-soort (voortekens),
4064 FI: sävellajiosoitus.
4066 The sharps or flats appearing at the beginning of each staff indicating the
4072 @node laissez vibrer
4073 @section laissez vibrer
4084 [From French, @q{Let vibrate}]. Most frequently associated with harp
4085 parts. Marked @samp{l.v.} in the score.
4094 D: Largo, Langsam, Breit,
4098 FI: largo, hitaasti, leveästi.
4100 Very slow in tempo, usually combined with great expressiveness.
4101 @emph{Larghetto} is less slow than largo.
4105 @section leading note
4116 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4117 called because of its strong tendency to @q{lead up} (resolve upwards)
4118 to the tonic scale degree.
4122 @section ledger line
4124 ES: línea adicional,
4125 I: tagli addizionali,
4126 F: ligne supplémentaire,
4133 A ledger line is an extension of the staff.
4135 @lilypond[fragment,notime,ragged-right]
4136 \set Score.automaticBars = ##f
4137 \relative c'' { a,1 s c'' }
4147 D: legato, gebunden,
4153 To be performed (a) without any perceptible interruption between the
4154 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4155 @emph{portato}, and (d) @ref{staccato}.
4157 @lilypond[fragment,notime,line-width=13.0\cm]
4158 \set Score.automaticBars = ##f
4160 \context Staff \relative c'' {
4161 c4-( d e-) \bar "||"
4162 c4-- d-- e-- \bar "||"
4163 c4-.-( d-. e-.-) \bar "||"
4164 c4-. d-. e-. \bar "||"
4177 @section legato curve
4181 @ref{slur}, @ref{legato}.
4196 ES: estanque de nenúfares,
4197 I: stagno del giglio,
4198 F: étang de nénuphars, étang de nymphéas,
4200 NL: le@-lie@-vij@-ver,
4205 A pond with lilies floating in it.
4206 Also, the name of a music typesetting program.
4221 A ligature is a coherent graphical symbol that represents at least two
4222 distinct notes. Ligatures originally appeared in the manuscripts of
4223 Gregorian chant notation roughly since the 9th century to denote ascending
4224 or descending sequences of notes. In early notation, ligatures were used
4225 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4226 performance in the sense of articulation. With the invention of the metric
4227 system of the white mensural notation, the need for ligatures to denote such
4228 patterns disappeared.
4232 @ref{mensural notation}.
4241 D: Linie, Notenlinie,
4245 FI: viiva, nuottiviiva.
4264 [From Italian, @q{place}]. Instruction to play the following passage at the
4265 written pitch. Cancels octave mark (q.v.).
4269 @ref{octave mark}, @ref{octave marking}.
4272 @node long appoggiatura
4273 @section long appoggiatura
4275 ES: apoyatura larga,
4276 I: appoggiatura lunga,
4277 F: appoggiature longue,
4282 FI: pitkä appoggiatura, pitkä etuhele.
4301 Note value: double length of @ref{breve}.
4303 @lilypond[fragment,notime,ragged-right]
4304 \set Score.automaticBars = ##f
4306 \override NoteHead #'style = #'mensural
4319 ES: letra (de la canción),
4322 D: Liedtext, Gesangtext,
4341 @c TODO: add languages
4348 @node major interval
4349 @section major interval
4351 ES: intervalo mayor,
4352 I: intervallo maggiore,
4353 F: intervalle majeur,
4354 D: großes Intervall,
4358 FI: suuri intervalli.
4379 @ref{diatonic scale}.
4382 @node meantone temperament
4383 @section meantone temperament
4385 ES: afinación mesotónica,
4386 I: accordatura mesotonica,
4387 F: tempérament mésotonique,
4388 D: mitteltönige Stimmung,
4389 NL: middenstemming, middentoonstemming,
4390 DK: middeltonetemperatur,
4391 S: medeltonstemperatur,
4392 FI: keskisävelviritys.
4394 Temperament yielding acoustically pure thirds by decreasing the
4395 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4396 character of this @ref{temperament} only a limited set of keys are
4397 playable. Used for tuning keyboard instruments for performance of
4413 A group of @ref{beat}s (units of musical time) the first of which
4414 bears an accent. Such groups in numbers of two or more recur
4415 consistently throughout the composition and are marked from each other
4421 @node measure repeat
4422 @section measure repeat
4426 @ref{percent repeat}.
4433 I: mediante, modale,
4443 @item The third @b{scale degree}.
4445 @item A @ref{chord} having its base tone a third from that of another
4446 chord. For example, the tonic chord may be replaced by its lower
4447 mediant (variant tonic).
4452 @ref{functional harmony}, @ref{relative key}.
4465 FI: melisma, laulettavan tavun sävelkuvio.
4467 A melisma (plural, from Greek: melismata) is a group of notes or tones
4468 sung on one syllable, especially as applied to liturgical chant.
4472 @section melisma line
4474 @c TODO: add languages
4487 @ref{extender line}.
4490 @node melodic cadence
4491 @section melodic cadence
4498 @node mensural notation
4499 @section mensural notation
4501 @c TODO: add languages
4512 A system of duration notation whose principles were first established in the
4513 mid-13th century, and that (with various changes) remained in use until about
4514 1600. As such, it forms the basis of the notation of rhythms in Western musical
4517 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4518 of the notation's principles, so the notation of this earliest period is called
4519 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4520 and semibreve -- each of which was normally equivalent to three of the next
4523 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4524 added several note values (the minim, semiminim and fusa) and extended Franco's
4525 principles to govern the relationship between these values. They also put the
4526 duple division of note values on an equal footing with the earlier (preferred)
4529 TODO: continue description of French and Italian black notation, and the
4530 relationship betwixt them.
4532 @b{White or void mensural notation}
4534 In the 15th century, hollow (or void) notes began to substitute for the earlier
4535 solid black ones, which were then free to assume the function of red (or
4536 colored) notes in the earlier notation. ...
4538 TODO: add to definition (including summary info on proportional notation)
4542 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4543 @c TODO: more cross-references?
4551 F: indication de mesure, mesure,
4558 The pattern of note values and accents in a composition or a section thereof.
4559 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4560 by grouping beats and by subdividing the primary beat.
4562 @b{By grouping beats}:
4566 @item @b{duple}: groups of two.
4567 @item @b{triple}: groups of three.
4568 @item @b{quadruple}: groups of four. A special case of duple meter.
4569 @item @b{quintuple}: groups of five beats.
4570 @item @b{sextuple} meter: groups of six. A special case of:
4574 @item duple meter, subdivided in three; or
4575 @item triple meter, subdivided in two.
4579 @item @b{septuple} meter: groups of seven.
4584 Other than triple meter and its subdivided variants (see below), meters that
4585 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4586 frequently used prior to the 20th Century.
4588 @b{By subdividing the primary beat}:
4592 @item simple: groups of two.
4596 @item duple: 2/2, 2/4, 2/8
4597 @item triple: 3/2, 3/4, 3/8
4598 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4602 @item compound: groups of three.
4608 @item quadruple: 12/8
4614 Time signatures are placed at the beginning of a composition (or section) to
4615 indicate the meter. For instance, a piece written in simple triple meter with a
4616 beat on each quarter note is conventionally written with a time signature of
4617 3/4. Here are some combinations of the two classifications above:
4619 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4621 @lilypond[fragment,line-width=13.0\cm]
4625 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4628 Simple triple meter:
4630 @lilypond[fragment,line-width=13.0\cm]
4634 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4637 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4639 @lilypond[fragment,line-width=13.0\cm]
4643 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4646 Simple quintuple meter (B. Marcello, 1686-1739):
4648 @lilypond[fragment,line-width=13.0\cm]
4652 r4 cis8 bis ais4 dis c8 ais |
4653 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4656 Compound duple meter (unknown):
4658 @lilypond[fragment,line-width=13.0\cm]
4662 f8 f g a bes16 a g f |
4663 g8 g bes a c16 a bes g
4667 Compound triple meter (J.S. Bach, 1685-1750):
4669 @lilypond[fragment,line-width=13.0\cm]
4673 r8 g'( a) b( d c) c( e d) |
4674 d( g fis) g( d b) g( a b)
4678 Compound quadruple meter (P. Yon, 1886-1943):
4680 @lilypond[fragment,line-width=13.0\cm]
4684 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4685 e4 e8 fis( gis) a b4.~ b4 b8
4689 @b{@q{Monometer} vs Polymeter}
4691 TODO: add information from discussion on lilypond-user related to polymeter.
4695 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4710 Device indicating the exact tempo of a piece.
4712 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4713 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4714 divisions, and patented it as a "metronome". The inevitable lawsuit that
4715 followed acknowledged Winkler as the creator, but by then Mälzel had already
4716 sold many of them, and people had taken to calling it a Mälzel Metronome.
4720 @ref{metronome mark}.
4723 @node metronomic indication
4724 @section metronomic indication
4728 @ref{metronome mark}
4731 @node metronome mark
4732 @section metronome mark
4734 ES: indicación metronómica,
4735 I: indicazione metronomica,
4736 F: indication métronomique,
4738 NL: metronoom aanduiding,
4740 S: metronomangivelse,
4741 FI: metronomiosoitus.
4743 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4744 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4753 @section mezzo-soprano
4764 The female voice between @ref{soprano} and @ref{contralto}.
4773 D: eingestrichenes@w{ }c,
4775 DK: enstreget@w{ }c,
4776 S: ettstruket@w{ }c,
4779 First C below the 440 Hz A.
4781 @lilypond[fragment,notime,ragged-right]
4782 \set Score.automaticBars = ##f
4783 \override Staff.Clef #'full-size-change = ##t
4806 @ref{diatonic scale}.
4809 @node minor interval
4810 @section minor interval
4812 ES: intervalo menor,
4813 I: intervallo minore,
4814 F: intervalle mineur,
4815 D: kleines Intervall,
4819 FI: pieni intervalli.
4832 D: Kirchentonart, Modus,
4836 FI: moodi, kirkkosävelasteikko.
4840 @ref{church mode}, @ref{diatonic scale}.
4853 FI: modulaatio, sävellajin vaihdos.
4855 Moving from one @ref{key} to another. For example, the second subject
4856 of a @ref{sonata form} movement modulates to the dominant key if the
4857 key is major and to the @ref{relative key} if the key is minor.
4869 FI: mordent, korukuvio.
4894 FI: teema, sävelaihe.
4896 The briefest intelligible and self-contained fragment of a musical
4899 @lilypond[line-width=13.0\cm]
4902 \set Score.implicitTimeSignatureVisibility = #all-invisible
4903 \override Score.TimeSignature #'break-visibility = #all-invisible
4906 \partial 8 g16\startGroup fis |
4907 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4908 g8 g,16 a b8 cis d16 s
4912 \Staff \consists "Horizontal_bracket_engraver"
4930 Greater musical works like @ref{symphony} and @ref{sonata} most often
4931 consist of several -- more or less -- independant pieces called
4935 @node multi-measure rest
4936 @section multi-measure rest
4938 ES: compases de espera,
4942 D: mehrtaktige Pause, Kirchenpause,
4945 FI: usean tahdin mittainen tauko.
4947 Multi-measure rests are conventionally typeset with a combination of
4948 longa, breve and whole rests for shorter and a long horizontal bar for
4949 longer spans of rest, with a number above to indicate the duration (in
4950 measures) of the rest. The former style is called @q{Kirchenpausen} in
4951 German, as a reminiscence of its use in Renaissance vocal polyphony.
4953 @lilypond[fragment,ragged-right]
4956 \set Score.skipBars = ##t R1*3
4958 \set Score.skipBars = ##t R1*122
4965 @ref{longa}, @ref{breve}.
4968 @node mixolydian mode
4969 @section mixolydian mode
4973 @ref{diatonic scale}.
4982 D: Auflösungszeichen,
4983 NL: herstellingsteken,
4984 DK: op@-løsningstegn,
4985 S: återställningstecken,
4993 @node neighbour tones
4994 @section neighbour tones
4998 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5039 Notes are signs by means of which music is fixed in writing. The term is also
5040 used for the sound indicated by a note, and even for the key of the piano
5041 which produces the sound. However, a clear distinction between the terms tone
5042 and @ref{note} is strongly recommended. Briefly, one sees a note,
5050 I: testa, testina, capocchia,
5058 A head-like sign which indicates pitch by its position on a
5059 @ref{staff} provided with a @ref{clef}, and duration
5060 by a variety of shapes such as hollow or black heads with or without
5061 @ref{stem}s, @ref{flag}s, etc. For percussion
5062 instruments (often having no defined pitch) the note head may indicate the
5077 ES: valor (duración),
5079 F: durée, valeur (d'une note),
5084 FI: nuotin aika-arvo.
5086 Note values (durations) are measured as fractions, normally 1/2, of
5087 the next higher note value. The longest duration normally used is
5088 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5089 double-length note value @emph{longa} or the quadruple-length note
5090 value @emph{maxima} are used.
5092 @c TODO -- add maxima to this example, in a way that doesn't break it.
5094 @lilypond[fragment,notime,line-width=13.0\cm]
5095 %\override Score.TextScript #'font-style = #'large
5096 \set Score.automaticBars = ##f
5098 \override NoteHead #'style = #'mensural
5099 a\longa_"longa" a\breve_"breve"
5100 \revert NoteHead #'style
5101 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5102 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5105 @c TODO -- add maxima rest to this example
5107 @lilypond[fragment,notime,line-width=13.0\cm]
5108 %\override Score.TextScript #'font-style = #'large
5109 \set Score.automaticBars = ##f
5111 r\longa_"longa" r\breve_"breve"
5112 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5113 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5116 An augmentation dot after a note multiplies the duration by one and a
5117 half. Another dot adds yet a fourth of the duration.
5119 @lilypond[fragment,line-width=13.0\cm]
5120 %\override Score.TextScript #'font-style = #'large
5123 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5124 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5127 Alternatively note values may be subdivided by other ratios. Most common is
5128 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5129 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5130 dotted notes are also frequently used.
5132 @lilypond[fragment,line-width=13.0\cm]
5133 %\override Score.TextScript #'font-style = #'large
5136 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5137 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5141 @lilypond[fragment,line-width=13.0\cm]
5144 \times 3/2 {g4_"duplets" g} |
5146 \times 6/4 {g8_"quadruplets" g g g} |
5147 g8 g g g g4 \bar "||"
5157 @ref{octave marking}.
5172 The interval of an octave, sometimes abbreviated @samp{8ve}.
5174 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5175 bracket, or @samp{loco} see octave marking.
5179 @ref{interval}, @ref{octave marking}.
5183 @section octave mark
5194 The phrase, abbreviation, or other mark used (with or without an extender line
5195 or bracket) to indicate that the music is to be played in a different octave:
5199 @item @samp{15ma}: play two octaves higher
5200 @item @samp{8va}: play one octave higher
5201 @item @samp{8vb}: play one octave lower
5202 @item @samp{8va} (written below the passage): same as @samp{8vb}
5203 @item @samp{15vb}: play two octaves lower
5204 @item @samp{15va} (written below the passage): same as @samp{15vb}
5208 For longer passages, it may be more practical to mark the octave change at the
5209 beginning with a phrase (see the list below for examples), but without a bracket
5210 or extender line. Then, when the music returns to the written pitch, the octave
5211 change is cancelled with the word @emph{loco} (q.v.).
5213 To parallel the list above:
5217 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5218 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5219 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5220 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5224 In the phrases above, @emph{quindicesima} is sometimes replaced with
5225 @emph{quindecima}, which is Latin.
5227 Finally, the music on an entire staff can be marked to be played in a different
5228 octave by putting an 8 or 15 above or below the clef at the beginning. This
5229 octave mark can be applied to any clef, but it is most frequently used with the
5234 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5237 @node octave marking
5238 @section octave marking
5247 FI: oktaavamerkintä.
5249 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5250 that it is to be played in a different octave. If applied to the clef at the
5251 beginning of the staff, all music on that staff is to played at the indicated
5254 For a list of the specific marks used, see @ref{octave mark}.
5258 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5262 @section octave sign
5273 I: abbellimento, fioriture,
5274 F: agrément, ornement,
5275 D: Verzierung, Ornament,
5281 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5282 with the diatonic @ref{second} above it. In the music from the
5283 middle of the 19th century and onwards the trill is performed with the main
5284 note first while in the music from the preceding baroque and classic periods
5285 the upper note is played first.
5287 @lilypond[fragment,line-width=13.0\cm]
5289 \context Staff = sa {
5290 % \override Score.TextScript #'font-style = #'large
5292 c2._"pre-1850" b4\trill | c1 \bar "||"
5293 c2._"post-1850" b4\trill | c1 \bar "||"
5297 c2. c32 b c b c b c b | c1
5298 c2. b32 c b c \times 4/5 { b c b c b } | c1
5303 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5305 @emph{prall} (inverted mordent).
5307 @lilypond[fragment,line-width=13.0\cm]
5309 \context Staff = sa {
5310 % \override Score.TextScript #'font-style = #'large
5312 a4_"turn" b\turn c2 \bar "||"
5313 g4_"mordent" a b\mordent a \bar "||"
5314 e'4_"prall" d\prall c2 \bar "||"
5320 e'4 e32[ d e d ~ d8] c2
5327 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5340 FI: ossia, vaihtoehtoinen esitystapa.
5342 Ossia (otherwise) marks an alternative. It is an added staff or piano
5343 score, usually only a few measures long, which presents another version
5344 of the music, for example for small hands.
5357 FI: stemma, instrumenttiosuus.
5361 @item In instrumental or choral music, the music for a single
5362 instrument or voice.
5364 @item in contrapuntal music, a single melodic line in the contrapuntal
5390 @node percent repeat
5391 @section percent repeat
5393 LilyPond-specific term to indicate the repetition of a musical expression on a
5394 single staff, as opposed to the more usual definition of repeat, which affects
5395 all parts. The musical expression can be anything from a single note or note
5396 pattern to one or more measures. There are other names for this symbol:
5401 @item slash mark, or slash repeat
5403 @item measure (or multi-measure) repeat
5407 @lilypond[fragment,line-width=13.0\cm]
5410 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5411 \repeat percent 2 { c4 e g b_"Measure repeat" }
5412 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5419 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5420 Vermont Music Dictionary}.
5429 D: Schlagzeug, Schlagwerk,
5435 A family of musical instruments which are played on by striking or
5436 shaking. Percussion instruments commonly used in a symphony orchestra are
5437 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5438 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5442 @node perfect interval
5443 @section perfect interval
5445 ES: intervalo justo,
5446 I: intervallo giusto,
5447 F: intervalle juste,
5448 D: reines Intervall,
5452 FI: puhdas intervalli.
5471 A natural division of the melodic line, comparable to a sentence of speech.
5484 FI: fraseeraus, jäsentäminen.
5486 The clear rendering in musical performance of the @ref{phrase}s of
5487 the melody. Phrasing may be indicated by a @ref{slur}.
5495 F: anacrouse, levée,
5519 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5520 @emph{mezzo piano} (@b{mp}) medium soft.
5537 @item The perceived quality of a sound that is primarily a function of its
5538 fundamental frequency.
5540 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5542 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5543 association of a particular frequency with a particular pitch name, e.g., c' =
5560 NL: pizzicato, getokkeld,
5563 FI: pizzicato, näppäillen.
5565 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5583 @item The simultaneous use of two or more meters, in two or more parts.
5585 @item The @emph{successive} use of different meters in one or more parts.
5591 @ref{polymetric} (adj.)
5606 Using two or more metric frameworks simultaneously or in alternation.
5610 @ref{polymeter} (noun)
5613 @node polymetric time signature
5614 @section polymetric time signature
5625 A time signature that indicates regularly alternating polymetric time.
5638 D: Polyphonie, Mehrstimmigkeit,
5642 FI: polyfonia, moniäänisyys.
5644 Music written in a combination of several simultaneous voices (parts)
5645 of a more or less pronounced individuality.
5664 D: Presto, Sehr schnell,
5665 NL: presto, Sehr schnell,
5668 FI: presto, hyvin nopeasti.
5670 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5671 denotes the highest possible degree of speed.
5686 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5687 relationship between the note values that follow with those that precede; or
5688 between the note values of a passage and the @q{normal} relationship of note
5689 values to the metrical pulse.
5691 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5695 @ref{mensural notation}
5698 @node Pythagorean comma
5699 @section Pythagorean comma
5701 ES: coma pitagórica,
5702 I: comma pitagorico,
5703 F: comma pythagoricien,
5704 D: Pythagoräisches Komma,
5705 NL: komma van Pythagoras,
5706 DK: pythagoræisk komma,
5707 S: pytagoreiskt komma,
5708 FI: pytagorinen komma.
5710 A sequence of fifths starting on C eventually circles back to C, but this C,
5711 obtained by adding 12 fifths, is 24 @ref{cent}s higher than the C obtained
5712 by adding 7 octaves. The difference between those two pitches is called the
5717 @ref{cent}, @ref{temperament}.
5737 @section quarter note
5742 @item I: semiminima, nera
5744 @item D: Viertel, Viertelnote
5746 @item DK: fjerdedelsnode
5747 @item S: fjärdedelsnot
5748 @item FI: neljäsosanuotti
5757 @section quarter rest
5760 @item UK: crotchet rest
5761 @item ES: silencio de negra
5762 @item I: pausa di semiminima
5764 @item D: Viertelpause
5766 @item DK: fjerdedelspause
5767 @item S: fjärdedelspaus
5768 @item FI: neljäsosatauko
5777 @section quarter tone
5788 An interval equal to half a semitone.
5798 ES: cinquillo, quintillo.
5813 @section rallentando
5818 D: rallentando, langsamer werden,
5822 FI: rallerdando, hidastuen.
5824 Abbreviation "rall.".
5830 @section relative key
5833 I: tonalità relativa,
5834 F: tonalité relative,
5836 NL: paralleltoonsoort,
5837 DK: paralleltoneart,
5839 FI: rinnakkaissävellaji.
5841 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5843 @lilypond[fragment,notime,line-width=13.0\cm]
5844 \set Score.automaticBars = ##f
5845 %\override Score.TextScript #'font-style = #'large
5848 es1_"e flat major" f g as bes c d es
5853 @lilypond[fragment,notime,line-width=13.0\cm]
5854 \set Score.automaticBars = ##f
5855 %\override Score.TextScript #'font-style = #'large
5858 c1_"c minor" d es f g a! b! c \bar "||"
5868 F: barre de reprise,
5871 DK: gen@-ta@-gel@-se,
5875 @lilypond[fragment,line-width=13.0\cm]
5879 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5896 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5897 @c specify the rest's value.
5918 @item Metrical rhythm in which every time value is a multiple or
5919 fraction of a fixed unit of time, called @ref{beat}, and in which the
5920 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5921 The basic scheme of time values is called @ref{meter}.
5923 @item Measured rhythm which lacks regularly recurrent accent. In
5924 modern notation such music appears as a free alternation of different
5927 @item Free rhythm, i.e., the use of temporal values having no common
5928 metrical unit (beat).
5939 D: ritardando, langsamer werden,
5943 FI: ritardando, hidastuen,
5945 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5958 FI: ritenuto, hidastaen.
5960 Immediate reduction of speed.
5973 FI: asteikko, sävelasteikko.
5977 @ref{diatonic scale}.
5981 @section scale degree
5983 ES: grado (de la escala),
5984 I: grado della scala,
5985 F: degré [de la gamme],
5987 NL: trap [van de toonladder],
5990 FI: sävelaste, asteikon sävel.
5992 Names and symbols used in harmonic analysis to denote tones of the
5993 scale as roots of chords. The most important are degrees I = tonic
5994 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
5996 @lilypond[fragment,notime,line-width=13.0\cm]
5997 \set Score.automaticBars = ##f
5999 \context Staff \relative c' {
6003 << { I II III IV V VI VII I }
6011 @ref{functional harmony}.
6019 F: à cordes ravallées,
6026 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6027 tuning of stringed instruments, particularly lutes or violins. Used
6032 @item facilitate pitch combinations that would otherwise be difficult
6035 @item alter the characteristic timbre of the instrument, for example,
6036 to increase brilliance)
6038 @item reinforce certain sonorities or tonalities by making them
6039 available on open strings
6041 @item imitate other instruments
6047 Tunings that could be called @var{scordatura} first appeared early in
6048 the 16th Century and became commonplace in the 17th.
6057 D: Partitur (full score), Klavierauszug (vocal score),
6063 A copy of orchestral, choral, or chamber music showing what each
6064 instrument is to play, each voice to sing, having each part arranged
6065 one underneath the other on different staves @ref{staff}.
6080 The @ref{interval} between two neigbouring tones of a scale. A
6081 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6082 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6083 degrees in question.
6098 The interval of a minor second. The (usually) smallest interval in European
6099 composed music. The interval between two neighbouring tones on the piano
6100 keyboard -- including black and white keys -- is a semitone. An octave may
6101 be divided into 12@w{ }semitones.
6103 @lilypond[fragment,notime,line-width=13.0\cm]
6104 \set Score.automaticBars = ##f
6105 \relative c'' { g1 gis s a bes s b! c }
6110 @ref{interval}, @ref{chromatic scale}.
6135 @ref{sextuplet}, @ref{note value}.
6192 [From It, @q{in the same manner}] Performance direction: the music thus marked
6193 is to be played in the same manner (i.e. with the same articulations, dynamics,
6194 etc.) as the music that precedes it.
6198 TODO: Where else could I refer the reader?
6202 @section simple meter
6213 A meter in which the basic beat is subdivided in two: that is, a meter
6214 that does not include triplet subdivision of the beat.
6218 @ref{compound meter}, @ref{meter}.
6221 @node sixteenth note
6222 @section sixteenth note
6225 @item UK: semiquaver
6226 @item ES: semicorchea
6228 @item F: double croche
6229 @item D: Sechzehntel, Sechzehntelnote
6230 @item NL: zes@-ti@-ende noot
6231 @item DK: sekstendedelsnode
6232 @item S: sextondelsnot
6233 @item FI: kuudestoistaosanuotti
6241 @node sixteenth rest
6242 @section sixteenth rest
6245 @item UK: semiquaver rest
6246 @item ES: silencio de semicorchea
6247 @item I: pausa di semicroma
6248 @item F: quart de soupir
6249 @item D: Sechzehntelpause
6250 @item NL: zestiende rust
6251 @item DK: sekstendedelspause
6252 @item S: sextondelspaus
6253 @item FI: kuudestoistaosatauko
6278 @node sixty-fourth note
6279 @section sixty-fourth note
6282 @item UK: hemidemisemiquaver
6284 @item I: semibiscroma
6285 @item F: quadruple croche
6286 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6287 @item NL: vierenzestigste noot
6288 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6289 @item S: sextiofjärdedelsnot
6290 @item FI: kuudeskymmenesneljäsosanuotti
6298 @node sixty-fourth rest
6299 @section sixty-fourth rest
6302 @item UK: hemidemisemiquaver rest
6303 @item ES: silencio de semifusa
6304 @item I: pausa di semibiscroma
6305 @item F: seizième de soupir
6306 @item D: Vierundsechzigstelpause
6307 @item NL: vierenzestigste rust
6308 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6309 @item S: sextiofjärdedelspaus
6310 @item FI: kuudeskymmenesneljäsosatauko
6319 @section slash repeat
6323 @ref{percent repeat}.
6329 ES: ligadura (de expresión),
6330 I: legatura (di portamento or espressiva),
6332 D: Bogen (Legatobogen, Phrasierungsbogen),
6333 NL: fraseringsboog, legatoboog, streekboog,
6334 DK: legatobue, fraseringsbue,
6338 A slur above or below a group of notes indicates that they are to be
6339 played @ref{legato}, e.g., with one stroke of the violin bow or with
6340 one breath in singing.
6344 @section solmization
6353 FI: suhteelliset laulunimet.
6355 General term for systems of designating the degrees of the
6356 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6357 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6375 In its present-day meaning a sonata denotes an instrumental
6376 composition for piano or for some other instrument with piano
6377 accompaniment, which consists of three or four independant pieces,
6382 @section sonata form
6386 F: [en] forme de sonate,
6388 NL: hoofdvorm, sonatevorm,
6393 A form used frequently for single movements of the @ref{sonata},
6394 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6395 into three sections called @emph{exposition}, @emph{development} and
6396 @emph{recapitulation}. In the exposition the composer introduces some
6397 musical ideas, consisting of a number of themes; in the development
6398 section the composer @q{develops} this material, and in the
6399 recapitulation the composer repeats the exposition, with certain
6400 modifications. The exposition contains a number of themes that fall
6401 into two groups, often called first and second subject. Other
6402 melodies occurring in each group are considered as continuations of
6403 these two. The second theme is in another key, normally in the key of
6404 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6405 @ref{relative key} if the tonic is @ref{minor}.
6426 FI: sopraano, korkea naisääni.
6428 The highest female voice.
6436 F: staccato, piqué, détaché,
6441 FI: staccato, lyhyesti, terävästi.
6443 Playing the note(s) short. Staccato is indicated by a dot above or
6444 below the note head.
6446 @lilypond[fragment,ragged-right]
6451 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6461 I: pentagramma, rigo (musicale),
6463 D: Notensystem, Notenzeile,
6464 NL: (noten)balk, partij,
6469 A staff (plural: staves) is a series of (normally five) horizontal
6470 lines upon and between which the musical notes are written, thus
6471 indicating (in connection with a @ref{clef}) their pitch. Staves for
6472 @ref{percussion} instruments may have fewer lines.
6489 D: Hals, Notenhals, Stiel,
6495 Vertical line above or below a @ref{note head} shorter than a
6500 @lilypond[fragment,notime,line-width=13.0\cm]
6501 \set Score.autoBeaming = ##f
6502 \set Score.automaticBars = ##f
6503 %\override Score.TextScript #'font-style = #'large
6525 A family of stringed musical instruments played with a bow. Strings
6526 commonly used in a symphony orchestra are violin, viola, violoncello,
6531 @section strong beat
6536 D: betonter Taktteil oder Taktschlag,
6538 D: betonet taktslag,
6539 S: betonat taktslag,
6540 FI: tahdin vahva isku.
6544 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6548 @section subdominant
6557 FI: subdominantti, alidominantti.
6559 The fourth @ref{scale degree}.
6561 @ref{functional harmony}.
6576 The sixth @ref{scale degree}.
6589 FI: subtoonika, alitoonika.
6591 The seventh @ref{scale degree}.
6600 D: auf G, auf der G-Saite,
6606 Indicates that the indicated passage (or note) should be played on the
6611 @section superdominant
6622 The sixth @ref{scale degree}.
6637 The second @ref{scale degree}.
6646 D: Sinfonie, Symphonie,
6652 A symphony may be defined as a @ref{sonata} for orchestra.
6656 @section syncopation
6667 Any deliberate upsetting of the normal pulse of @ref{meter},
6668 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6669 rhythm rests upon the grouping of equal beats into groups of two or
6670 three, with a regularly recurrent accent on the first beat of each
6671 group. Any deviation from this scheme is felt as a disturbance or
6672 contradiction between the underlaying (normal) pulse and the actual
6675 @lilypond[fragment,ragged-right]
6680 e c'4 e,8 c'4 e,8 c' ( | c2)
6685 @node syntonic comma
6686 @section syntonic comma
6689 I: comma sintonico (o didimico),
6690 F: comma syntonique,
6691 D: syntonisches Komma,
6692 NL: syntonische komma,
6693 DK: syntonisk komma,
6694 S: syntoniskt komma,
6695 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6696 Pytagorisessa viritysjärjestelmässä.
6698 Difference between the natural third and the third obtained by
6699 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
6708 D: Notensystem, Partitur,
6712 FI: nuottijärjestelmä.
6714 The collection of staves (@ref{staff}), two or more, as used for writing
6715 down of keyboard, chamber, choral, or orchestral music.
6719 @section temperament
6724 D: Stimmung, Tem@-pe@-ra@-tur,
6725 NL: stemming, temperatuur,
6728 FI: viritysjärjestelmä.
6730 Systems of tuning in which the intervals deviate from the acoustically
6733 @ref{meantone temperament}, @ref{equal temperament}.
6736 @node tempo indication
6737 @section tempo indication
6739 ES: indicación de tempo,
6740 I: indicazione di tempo,
6741 F: indication de tempo,
6742 D: Zeitmaß, Tempobezeichnung,
6743 NL: tempo aanduiding,
6748 The rate of speed of a composition or a section thereof, ranging from
6749 the slowest to the quickest, as is indicated by tempo marks as
6750 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6764 FI: tenori, korkea miesääni.
6766 The highest male voice (apart from @ref{counter tenor}).
6789 ES: subrayado (tenuto),
6798 An indication that a particular note should be held for the whole
6799 length, although this can vary depending on the composer and era.
6819 @node thirty-second note
6820 @section thirty-second note
6823 @item UK: demisemiquaver
6826 @item F: triple croche
6827 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6828 @item NL: twee-endertig@-ste (32e) noot
6829 @item DK: toogtredivtedelsnode
6830 @item S: trettiotvåondelsnot
6831 @item FI: kolmaskymmeneskahdesosanuotti
6839 @node thirty-second rest
6840 @section thirty-second rest
6843 @item UK: demisemiquaver rest
6844 @item ES: silencio de fusa
6845 @item I: pausa di biscroma
6846 @item F: huitième de soupir
6847 @item D: Zweiunddreissigstel@-pause
6848 @item NL: twee-endertig@-ste (32e) rust
6849 @item DK: toogtredivtedelspause
6850 @item S: trettiotvåondelspaus
6851 @item FI: kolmaskymmeneskahdesosatauko
6860 @section thorough bass
6863 I: basso continuo, basso numerato,
6864 F: basse chiffrée, basse continue,
6865 D: Generalbass, bezifferter Bass,
6866 NL: basso continuo, becijferde bas
6869 FI: kenraalibasso, numeroitu basso.
6871 A method of indicating an accompaniment part by the bass notes only,
6872 together with figures designating the chief @ref{interval}s and
6873 @ref{chord}s to be played above the bass notes.
6875 @lilypond[fragment,line-width=13.0\cm]
6876 \context GrandStaff <<
6877 \context Staff = lh \relative c'' {
6881 << \context Voice = rha {
6884 \context Voice = rhb {
6886 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6890 \context Staff = rh \relative c' {
6893 es8 c d bes c as bes16 as g f | es4
6895 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6904 ES: ligadura de prolongación,
6905 I: legatura (di valore),
6907 D: Haltebogen, Bindebogen,
6908 NL: overbinding, bindingsboog,
6910 S: bindebåge, överbindning,
6913 A curved line, identical in appearance with the @ref{slur}, which
6914 connects two succesive notes of the same pitch, and which has the
6915 function of uniting them into a single sound (tone) equal to the
6918 @lilypond[fragment,notime,ragged-right]
6919 \set Score.automaticBars = ##f
6920 \relative c'' { g2 ~ g4. }
6932 @node time signature
6933 @section time signature
6935 ES: indicación de compás,
6937 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6938 D: Taktangabe, Angabe der Taktart,
6941 S: taktartssignatur,
6944 The sign placed at the beginning of a composition to indicate its
6945 meter. It most often takes the form of a fraction, but a few signs
6946 derived from mensural notation and proportions are also employed.
6950 @ref{mensural notation}, @ref{meter}.
6965 A sound of definite pitch and duration, as distinct from @emph{noise}.
6966 Tone is a primary building material of music.
6968 Music from the 20th century may be based on atonal sounds.
6983 The first @ref{scale degree}.
6987 @ref{functional harmony}.
6990 @node transposing instrument
6991 @section transposing instrument
7002 Instruments whose notated pitch is different from their sounded pitch. Except
7003 for those whose notated and sounding pitches differ by one or more octaves (to
7004 reduce the number of ledger lines needed), most such instruments are identified
7005 by the letter name of the pitch class of their fundamental. The pitch class is
7006 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7007 the instrument plays a notated C.
7009 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7010 the B-flat one tone lower. If played on the A clarinet, the same written
7011 note sounds the A (one and half tones -- a minor third -- lower).
7013 Not all transposing instruments include the pitch class in their name:
7017 @item English horn (in F)
7019 @item Alto flute (in G)
7025 @ref{concert pitch}.
7029 @section transposition
7040 Shifting a melody up or down in pitch, while keeping the same
7043 @lilypond[fragment,line-width=13.0\cm]
7048 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7053 @lilypond[fragment,line-width=13.0\cm]
7056 \transpose c bes \relative c'' {
7058 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7065 @section treble clef
7068 I: chiave di violino,
7070 D: Violinschlüssel, Sopranschlüssel,
7093 On stringed instruments:
7097 @item The quick reiteration of the same tone, produced by a rapid
7098 up-and-down movement of the bow.
7100 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7101 in the distance of a third (@ref{interval}).
7105 @lilypond[fragment,notime,ragged-right]
7106 \set Score.automaticBars = ##f
7107 %\override Score.TextScript #'font-style = #'large
7110 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7111 \repeat tremolo 8 { e32_"b" g }
7125 F: triade, accord parfait, accord de trois sons,
7142 F: trille, tremblement, battement (cadence),
7155 @section triple meter
7157 ES: compás ternario,
7160 D: in drei, ungerader Takt,
7161 NL: driedelige maatsoort,
7206 @section tuning fork
7209 I: diapason, corista,
7217 A two-pronged piece of steel used to indicate absolute pitch. Tuning forks
7218 give the international pitch for the tone @emph{a} (440 vibrations per
7225 A non-standard subdivision of a beat or part of a beat, usually
7226 indicated with a bracket and a number indicating the number of
7231 @ref{triplet}, @ref{note value}.
7261 FI: unisono, yksiäänisesti.
7263 Playing of the same notes or the same melody by various instruments
7264 (voices) or by the whole orchestra (choir), either at exactly the same
7265 pitch or in a different octave.
7273 F: anacrouse, levée,
7295 FI: ääni, lauluääni.
7305 @item @ref{mezzo-soprano}
7307 @item @ref{contralto}
7311 @item @ref{baritone}
7317 @item A melodic layer or part of a polyphonic composition.
7334 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7335 or second ending. LilyPond extends this idea to any number, and allows any text
7336 (not just a number) -- to serve as the @q{volta} text.
7343 I: tempo debole, arsi,
7345 D: unbetonter Taktteil oder Taktschlag,
7347 DK: ubetonet taktslag,
7348 S: obetonat taktslag,
7349 FI: tahdin heikko isku.
7353 @ref{beat}, @ref{measure}, @ref{rhythm}.
7364 @item D: Ganze, ganze Note
7368 @item FI: kokonuotti
7380 @item UK: semibreve rest
7381 @item ES: silencio de redonda
7382 @item I: pausa di semibreve
7384 @item D: ganze Pause, ganztaktige Pause
7386 @item DK: helnodespause
7408 The interval of a major second. The interval between two tones
7409 on the piano keyboard with exactly one key between them -- including
7410 black and white keys -- is a whole tone.
7429 A family of blown wooden musical instruments. Today some of these
7430 instruments are actually made from metal. The woodwind instruments
7431 commonly used in a symphony orchestra are flute, oboe, clarinet,
7432 saxophone, and bassoon.
7435 @node Duration names notes and rests
7436 @chapter Duration names notes and rests
7438 @multitable @columnfractions .12 .22 .22 .22 .22
7440 @headitem Lang. @tab note name
7444 @item @strong{US} @tab long
7448 @item @strong{UK} @tab longa
7452 @item @strong{ES} @tab longa
7453 @tab silencio de longa
7455 @tab silencio de cuadrada
7456 @item @strong{IT} @tab longa
7460 @item @strong{FR} @tab longa
7461 @tab quadruple-pause
7464 @item @strong{DE} @tab Longa
7468 @item @strong{NL} @tab longa
7472 @item @strong{DK} @tab longa
7473 @tab longanodespause
7475 @tab brevis(nodes)pause
7476 @item @strong{SE} @tab longa
7480 @item @strong{FI} @tab longa-nuotti
7482 @tab brevis-nuotti, kaksoiskokonuotti
7483 @tab brevis-tauko, kaksoiskokotauko
7487 @multitable @columnfractions .12 .22 .22 .22 .22
7489 @headitem Lang. @tab note name
7493 @item @strong{US} @tab whole note
7497 @item @strong{UK} @tab semibreve
7501 @item @strong{ES} @tab redonda
7502 @tab silencio de redonda
7504 @tab silencio de blanca
7505 @item @strong{IT} @tab semibreve
7506 @tab pause di semibreve
7508 @tab pausa di minima
7509 @item @strong{FR} @tab ronde
7513 @item @strong{DE} @tab ganze Note
7517 @item @strong{NL} @tab hele noot
7521 @item @strong{DK} @tab helnode
7525 @item @strong{SE} @tab helnot
7529 @item @strong{FI} @tab kokonuotti
7536 @multitable @columnfractions .12 .22 .22 .22 .22
7538 @headitem Lang. @tab note name
7542 @item @strong{US} @tab quarter note
7546 @item @strong{UK} @tab crotchet
7550 @item @strong{ES} @tab negra
7551 @tab silencio de negra
7553 @tab silencio de corchea
7554 @item @strong{IT} @tab semiminima, nera
7555 @tab pausa di semiminima, pausa di nera
7558 @item @strong{FR} @tab noire
7562 @item @strong{DE} @tab Viertelnote
7566 @item @strong{NL} @tab kwartnoot
7570 @item @strong{DK} @tab fjerdedelsnode
7571 @tab fjerdedelspause
7572 @tab ottendedelsnode
7573 @tab ottendedelspause
7574 @item @strong{SE} @tab fjärdedelsnot
7578 @item @strong{FI} @tab neljäsosanuotti
7580 @tab kahdeksasosanuotti
7581 @tab kahdeksasosatauko
7585 * About the French naming system: @emph{croche} refers to the note's "hook".
7586 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7587 hook}, @q{trebled hook}, and so on.
7589 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7590 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7591 a @emph{soupir}, and so on.
7593 Each of the following tables contains one type of note and its matching rest,
7594 with abbreviations that apply to both notes and rests. Just switch the part
7595 that means @q{note} with the part that means @q{rest}, for example:
7599 @item English: 16th @strong{note}, 16th @strong{rest}
7600 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7601 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7605 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7606 duration name. If you know of one that I missed, please send it to me, care of
7607 the lilypond-user discussion list.
7609 @multitable @columnfractions .10 .35 .35 .20
7611 @headitem Lang. @tab Note name
7614 @item @strong{US} @tab sixteenth note
7617 @item @strong{UK} @tab semiquaver
7618 @tab semiquaver rest
7620 @item @strong{ES} @tab semicorchea
7621 @tab silencio de semicorchea
7623 @item @strong{IT} @tab semicroma
7624 @tab pausa di semicroma
7626 @item @strong{FR} @tab double croche
7627 @tab quart de soupir
7629 @item @strong{DE} @tab Sechzehntelnote
7630 @tab Sechzehntelpause
7632 @item @strong{NL} @tab zestiende noot
7635 @item @strong{DK} @tab sekstendedelsnode
7636 @tab sekstendedelspause
7638 @item @strong{SE} @tab sextondelsnot
7641 @item @strong{FI} @tab kuudestoistaosanuotti
7642 @tab kuudestoistaosatauko
7647 @multitable @columnfractions .10 .35 .35 .20
7649 @headitem Lang. @tab Note name
7652 @item @strong{US} @tab thirty-second note
7653 @tab thirty-second rest
7655 @item @strong{UK} @tab demisemiquaver
7656 @tab demisemiquaver rest
7658 @item @strong{ES} @tab fusa
7659 @tab silencio de fusa
7661 @item @strong{IT} @tab biscroma
7662 @tab pausa di biscroma
7664 @item @strong{FR} @tab triple croche
7665 @tab huitième de soupir
7667 @item @strong{DE} @tab Zweiunddreißigstelnote
7668 @tab Zweiunddreißigstelpause
7670 @item @strong{NL} @tab tweeendertigste noot
7671 @tab tweeendertigste rust
7673 @item @strong{DK} @tab toogtredivtedelsnode
7674 @tab toogtredivtedelspause
7676 @item @strong{SE} @tab trettiotvåondelsnot
7677 @tab trettiotvåondelspaus
7679 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7680 @tab kolmaskymmeneskahdesosatauko
7685 @multitable @columnfractions .10 .35 .35 .20
7687 @headitem Lang. @tab Note name
7690 @item @strong{US} @tab sixty-fourth note
7691 @tab sixty-fourth rest
7693 @item @strong{UK} @tab hemidemisemiquaver
7694 @tab hemidemisemiquaver rest
7696 @item @strong{ES} @tab semifusa
7697 @tab silencio de semifusa
7699 @item @strong{IT} @tab semibiscroma
7700 @tab pausa di semibiscroma
7702 @item @strong{FR} @tab quadruple croche
7703 @tab seizième de soupir
7705 @item @strong{DE} @tab Vierundsechzigstelnote
7706 @tab Vierundsechzigstelpause
7708 @item @strong{NL} @tab vierenzestigste noot
7709 @tab vierenzestigste rust
7711 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7712 @tab fireogtredsindstyvendedelspause
7714 @item @strong{SE} @tab sextiofjärdedelsnot
7715 @tab sextiofjärdedelspaus
7717 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7718 @tab kuudeskymmenesneljäsosatauko
7723 @multitable @columnfractions .10 .35 .35 .20
7725 @headitem Lang. @tab Note name
7728 @item @strong{US} @tab one-hundred-twenty-eighth note
7729 @tab one-hundred-twenty-eighth rest
7731 @item @strong{UK} @tab semihemidemisemiquaver
7732 @tab semihemidemisemiquaver rest
7734 @item @strong{ES} @tab garrapatea
7735 @tab silencio de garrapatea
7737 @item @strong{IT} @tab fusa
7740 @item @strong{FR} @tab quintuple croche
7741 @tab trente-deuxième de soupir @tab -
7742 @item @strong{DE} @tab Hundertundachtundzwanzigstel
7743 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7744 @item @strong{NL} @tab honderdachtentwintigste noot
7745 @tab honderdachtentwintigste rust
7747 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7748 @tab hundredeotteogtyvendedelspause
7750 @item @strong{SE} @tab hundratjugoåttondelsnot
7751 @tab hundratjugoåttondelspaus
7753 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7754 @tab sadaskahdeskymmeneskahdeksasosatauko
7759 @multitable @columnfractions .10 .35 .35 .20
7761 @headitem Lang. @tab Note name
7764 @item @strong{US} @tab two-hundred-fifty-sixth note
7765 @tab two-hundred-fifty-sixth rest
7767 @item @strong{UK} @tab demisemihemidemisemiquaver
7768 @tab demisemihemidemisemiquaver rest
7770 @item @strong{ES} @tab semigarrapatea
7771 @tab silencio de semigarrapatea @tab -
7772 @item @strong{IT} @tab semifusa
7773 @tab pausa di semifusa
7775 @item @strong{FR} @tab sextuple croche
7776 @tab soixante-quatrième de soupir @tab -
7777 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
7778 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7779 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7780 @tab tweehonderdzesenvijftigste rust
7782 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7783 @tab tohundredeseksoghalvtredsendedelspause
7785 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7786 @tab tvåhundrafemtiosjättedelspaus
7788 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7789 @tab kahdessadasviideskymmeneskuudesosatauko
7796 @ref{mensural notation}
7800 @chapter Pitch names
7802 @c -is/-es endings for Danish per Rune Zedeler
7803 @c and for Finnish per Risto Vääräniemi
7804 @c -iss/-ess endings for Swedish per Mats Bengtsson
7805 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7807 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7809 @tab ES @tab I @tab F @tab D
7810 @tab NL @tab DK @tab S @tab FI
7811 @item @strong{c} @tab do @tab do @tab ut @tab C
7812 @tab c @tab c @tab c @tab c
7813 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7814 @tab cis @tab cis @tab ciss @tab cis
7815 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7816 @tab des @tab des @tab dess @tab des
7817 @item @strong{d} @tab re @tab re @tab ré @tab D
7818 @tab d @tab d @tab d @tab d
7819 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7820 @tab dis @tab dis @tab diss @tab dis
7821 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7822 @tab es @tab es @tab ess @tab es
7823 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7824 @tab e @tab e @tab e @tab e
7825 @item @strong{f-flat} = e
7826 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7827 @tab fes @tab fes @tab fess @tab fes
7828 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7829 @tab f @tab f @tab f @tab f
7830 @item @strong{e-sharp} = f
7831 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7832 @tab eis @tab eis @tab eiss @tab eis
7833 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7834 @tab fis @tab fis @tab fiss @tab fis
7835 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7836 @tab ges @tab ges @tab gess @tab ges
7837 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7838 @tab g @tab g @tab g @tab g
7839 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7840 @tab gis @tab gis @tab giss @tab gis
7841 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7842 @tab as @tab as @tab ass @tab as
7843 @item @strong{a} @tab la @tab la @tab la @tab A
7844 @tab a @tab a @tab a @tab a
7845 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7846 @tab ais @tab ais @tab aiss @tab ais
7847 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7848 @tab bes @tab b @tab b @tab b
7849 @item @strong{b} @tab si @tab si @tab si @tab H
7850 @tab b @tab h @tab h @tab h
7858 @node Literature used
7859 @unnumberedsec Literature used
7862 @item The Harvard Dictionary of Music, London 1944. Many more or less
7863 literal quotes from its articles have been included into the item
7866 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7868 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7871 @item Oxford Advanced Learner's Dictionary of Current English, Third
7874 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7876 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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