1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
5 @documentencoding UTF-8
10 @c see lilypond.tely for info installation note
13 * Glossary: (lilypond/music-glossary). Glossary of music terms.
17 This document is also available in
18 @uref{source/Documentation/user/music-glossary.pdf,PDF}
19 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
24 @author Christian Mondrup @c Original author of LilyPond glossary
26 @author François Pinard @c Original glossary of GNU music project,
28 @author Mats Bengtsson @c Swedish glossary
29 @author David González @c Spanish glossary
30 @author Bjoern Jacke @c German glossary
31 @author Neil Jerram @c English glossary translations
32 @author Heikki Junes @c Finnish glossary
33 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
34 @author Adrian Mariano @c Italian glossary
35 @author Han-Wen Nienhuys @c Dutch glossary
36 @author Jan Nieuwenhuizen @c Dutch glossary
38 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 Copyright @copyright{} 1999--2007 by the authors
43 Permission is granted to copy, distribute and/or modify this document
44 under the terms of the GNU Free Documentation License, Version 1.1
45 or any later version published by the Free Software Foundation,
46 without Invariant Sections.
51 @c FIXME: multiple omfcreators?
53 @omfcreator Christian Mondrup
54 @omfdescription Glossary of musical terms with translations
56 @omfcategory Applications|Publishing
68 This glossary was brought you by
75 @item Christian Mondrup
76 Original author of LilyPond glossary, Danish glossary,
80 Original glossary of GNU music project, French glossary,
81 @item Han-Wen Nienhuys
84 Finnish glossary translations,
85 @item Jan Nieuwenhuizen
92 English glossary translations.
95 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 @include macros.itexi
116 @w{@expansion{}@strong{\word\}}@c
119 @expansion{}@ref{\word\, @strong{\word\}}@c
124 * Musical terms A-Z::
125 * Duration names notes and rests::
129 @node Musical terms A-Z
130 @chapter Musical terms A-Z
132 Languages in this order.
139 @item UK - British English
158 * ancient minor scale::
163 * ascending interval::
164 * augmented interval::
196 * compound interval::
198 * conjunct movement::
211 * descending interval::
213 * diminished interval::
216 * disjunct movement::
218 * dissonant interval::
219 * dominant ninth chord::
220 * dominant seventh chord::
223 * dot (augmentation dot)::
225 * double appoggiatura::
227 * double dotted note::
237 * ecclesiastical mode::
244 * equal temperament::
260 * functional harmony::
275 * inverted interval::
288 * long appoggiatura::
294 * meantone temperament::
302 * metronomic indication::
313 * multi-measure rest::
340 * Pythagorean comma::
363 * short appoggiatura::
367 * sixty-fourth note::
368 * sixty-fourth rest::
397 * thirty-second note::
398 * thirty-second rest::
453 FI: aksentti, korostus.
455 The stress of one tone over others.
469 ES: alteración accidental,
471 F: altération accidentelle,
472 D: Vorzeichen, Versetzungszeichen, Akzidenz,
473 NL: toevallig (verplaatsings)teken,
475 S: tillfälligt förtecken,
476 FI: tilapäinen etumerkki.
478 An accidental has the effect of an @ref{alteration} of a note. A
479 sharp raises a tone by a @ref{semitone}, a double sharp raises it by
480 a @ref{whole tone}, a flat lowers it by a semitone and a double flat
481 lowers it by a whole tone. A natural cancels the effect of a previous
484 @lilypond[fragment,notime,line-width=13.0\cm]
485 \set Score.automaticBars = ##f
487 \context Staff \relative c'' {
488 \set Staff.extraNatural = ##f
489 gisis1 gis g! ges geses
492 \override Lyrics .LyricText #'self-alignment-X = #-1
493 "db. sharp" sharp natural flat "db. flat"
504 F: accelerando, en accélérant,
505 D: accelerando, schneller werden,
509 FI: accelerando, kiihdyttäen.
524 FI: adagio, hitaasti.
526 It.@: comfortable, easy.
527 1.@tie{}Slow tempo, slower -- especially in even meter -- than
528 @ref{andante} and faster than @ref{largo}.
529 2.@tie{}A movement in slow tempo, especially the second (slow) movement of
530 @ref{sonata}s, symphonies, etc.
539 D: Allegro, Schnell, Fröhlich, Lustig,
543 FI: allegro, nopeasti.
545 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
546 tempo, especially the first and last movements of a @ref{sonata}.
556 NL: verhoging of verlaging,
561 An alteration is the modification, raising or lowering, of a note's
562 pitch. It is established by an @ref{accidental}.
575 FI: altto, matala naisääni.
577 A female voice of low range (@emph{contralto}). Originally the alto was a
578 high male voice (hence the name), which by the use of falsetto reached the
579 height of the female voice. This type of voice is also known as
586 ES: clave de do en tercera,
587 I: chiave di contralto,
588 F: clef d'ut troisième ligne,
589 D: Altschlüssel, Bratschenschlüssel,
595 C clef setting middle C on the middle line of the staff.
612 FI: ambitus, ääniala, soitinala.
614 The term ambit (from latin: ambitus, plural: ambitus) denotes a range
615 of pitches for a given voice in a part of music. It may also denote
616 the pitch range that a musical instrument is capable of playing.
631 An anacrusis (also known as pickup or upbeat) is an incomplete measure
632 of music before a section of music. It also refers to the initial note(s)
633 of a melody occurring in that incomplete measure.
637 @ref{measure}, @ref{meter}.
639 @lilypond[fragment,line-width=13.0\cm]
643 \partial 4 f4 | bes4. a8 bes4 c |
644 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
648 @node ancient minor scale
649 @section ancient minor scale
651 ES: escala menor antigua,
652 I: scala minore naturale,
653 F: forme du mode mineur ancien, troisème mode, mode hellénique
655 NL: authentieke mineurtoonladder,
658 FI: luonnollinen molliasteikko.
662 @ref{diatonic scale}.
664 @lilypond[fragment,notime,line-width=13.0\cm]
665 \set Score.automaticBars = ##f
683 Walking tempo/character.
687 @section appoggiatura
691 F: appoggiature, (port de voix),
696 FI: appoggiatura, etuhele.
698 Ornamental note, usually a second, that is melodically connected with the
699 main note following it. In music before the 19th century appoggiature were
700 usually performed on the beat, after that mostly before the beat. While the
701 short appoggiatura is performed as a short note regardless of the duration of
702 the main note the duration of the long appoggiatura is proportional to that of
705 @lilypond[line-width=13.0\cm]
706 \context Voice \relative c'' {
710 %\override Score.TextScript #'font-style = #'large
711 <d a fis>4_"notation" r
712 { \override Stem #'flag-style = #'()
714 \revert Stem #'flag-style
717 { \override Stem #'flag-style = #'()
719 \revert Stem #'flag-style
722 \cadenzaOn a4 \bar "||" \cadenzaOff
724 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
725 \cadenzaOn a4 \bar "||" \cadenzaOff
729 An appoggiatura may have more notes preceding the main note.
731 @lilypond[line-width=13.0\cm]
735 % \override Score.TextScript #'font-style = #'large
736 \grace { bes16 } as8_"notation" as16 bes as8 g |
737 \grace { as16[( bes] } < c as >4-)
738 \grace { as16[( bes] } < c as >4-) \bar "||"
739 \grace { bes16 } as8_"performance" as16 bes as8 g |
740 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
741 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
753 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
755 DK: arpeggio, akkordbrydning,
757 FI: arpeggio, murtosointu.
759 @lilypond[fragment,line-width=13.0\cm]
760 \context PianoStaff <<
761 \context Staff = SA \relative c'' {
764 r8 g16 c e g, c e r8 g,16 c e g, c e |
765 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
766 \context Staff = SB \relative c' {
768 << \context Voice = va {
770 r16 e8. ( e4) r16 e8. ( e4) |
771 r16 d8. ( d4) r16 d8. ( d4) }
772 \context Voice = vb {
781 @section articulation
792 Articulation refers to notation which indicates how a note or notes should
793 be played. Slurs, accents, staccato, and legato are all examples of
797 @node ascending interval
798 @section ascending interval
800 ES: intervalo ascendente,
801 I: intervallo ascendente,
802 F: intervalle ascendant,
803 D: steigendes Intervall,
804 NL: stijgend interval,
805 DK:@w{ }stigende interval,
806 S: stigande intervall,
807 FI: nouseva intervalli.
809 A distance between a starting lower note and a higher ending note.
812 @node augmented interval
813 @section augmented interval
815 ES: intervalo aumentado,
816 I: intervallo aumentato,
817 F: intervalle augmenté,
818 D: übermäßiges Intervall,
819 NL: overmatig interval,
820 DK: forstørret interval,
821 S: överstigande intervall,
822 FI: ylinouseva intervalli.
834 F: manuscrit, autographe
835 D: Autograph, Handschrift,
837 DK: håndskrift, autograf,
839 FI: käsinkirjoitettu nuotti.
841 1.@tie{}A manuscript in the composer's own hand.
842 2.@tie{}Music prepared for photoreproduction by freehand drawing,
843 with the aid of a straightedge ruler and T-square only,
844 which attempts to emulate engraving.
845 This required more skill than did engraving.
884 ES: barra, línea divisoria,
885 I: stanghetta, barra (di divisione),
886 F: barre (de mesure),
904 FI: baritoni, keskikorkuinen miesääni.
906 The male voice intermediate between the @ref{bass} and the
909 @c F: clef de troisième ligne dropped
913 @section baritone clef
915 ES: clave de fa en tercera,
916 I: chiave di baritono,
917 F: clef d' Ut cinquième ligne, clef de Fa troisième,
924 C or F clef setting middle C on the upper staff line.
928 @ref{C clef}, @ref{F clef}.
934 ES: clave de fa en cuarta,
936 F: clef de fa quatrième ligne,
943 A clef setting with middle C on the first top ledger line.
960 FI: basso, matala miesääni.
962 1.@tie{}The lowest male voice.
963 2.@tie{}Sometimes, especially in jazz music, used as
964 an abbreviation for double bass.
983 Line connecting a series of notes (shorter than a quarter note).
984 The number of beams determines the note value of the connected notes.
986 @lilypond[fragment,notime,line-width=13.0\cm]
987 \set Score.automaticBars = ##f
988 %\override TextScript #'font-style = #'large
991 g16_"1/16"[ g g g] s16
992 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
993 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
998 @ref{feathered beam}.
1004 ES: tiempo, parte (de compás)
1007 D: Takt, Taktschlag, Zeit (im Takt),
1013 Note value used for counting, most often half-, fourth-, and eighth notes.
1014 The base counting value and the number of them per measure is indicated at
1015 the start of the music.
1017 @lilypond[fragment,line-width=13.0\cm]
1020 \relative c'' { g4 c b a | g1 \bar "||"}
1022 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1037 ES: llave, corchete,
1040 D: Klammer, Akkolade,
1041 NL: accolade, teksthaak,
1044 FI: yhdistävä sulkumerkki.
1046 Symbol at the start of a system connecting staves. Curly braces are used
1047 for connecting piano staves, angular brackets for connecting parts in an
1048 orchestral or choral score.
1050 @lilypond[fragment,ragged-right]
1051 \context GrandStaff <<
1052 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1053 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1056 @lilypond[fragment,ragged-right]
1057 \context StaffGroup <<
1058 % \set StaffGroup.minVerticalAlign = #12
1059 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1060 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1070 NL: koper (blazers),
1073 S: brassinstrument, mässingsinstrument,
1076 A family of blown musical instruments made of brass, all using a cup formed
1077 mouth piece. The brass instruments commonly used in a symphony orchestra are
1078 trumpet, trombone, french horn, and tube.
1082 @section breath mark
1087 D: Atemzeichen, Trennungszeichen,
1088 NL: repercussieteken,
1089 DK: vejrtrækningstegn,
1093 Indication of where to breathe in vocal and wind instrument parts.
1098 ES: cuadrada, breve,
1107 @ref{note value}, twice as long as a whole note. Mainly used
1110 @lilypond[fragment,notime,ragged-right]
1111 \set Score.automaticBars = ##f
1112 \relative c'' { g\breve }
1145 Clef symbol indicating the position of the middle C. Used on all note
1148 @lilypond[fragment,notime,line-width=13.0\cm]
1149 \set Score.automaticBars = ##f
1150 \override Score.Clef #'full-size-change = ##t
1152 \context Staff \relative c' {
1154 \clef mezzosoprano c
1159 \context Lyrics \lyrics {
1160 \override Lyrics .LyricText #'self-alignment-X = #-1
1161 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1177 FI: kadenssi, lopuke.
1181 @ref{harmonic cadence}, @ref{functional harmony}.
1194 FI: kadenssi, lopuke.
1196 An extended, improvisatory style section inserted near the end of
1197 movement. The purpose of a cadenza is to give singers or players a chance
1198 to exhibit their technical skill and -- not last -- their ability to
1199 improvise. Since the middle of the 19th century, however, most cadences have
1200 been written down by the composer.
1213 FI: kaanon, tarkka jäljittely.
1230 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1231 viritysjärjestelmässä.
1233 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave (1/100
1234 of an equally tempered @ref{semitone}).
1238 @ref{equal temperament}.
1261 Three or more tones sounding simultaneously. In traditional European music
1263 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major
1265 minor @ref{third}) as well as @emph{minor} (minor + major third)
1266 chords may be extended with more thirds. Four-tone @emph{seventh chords}
1267 and five-tone @emph{ninth} major chords are most often used as dominants
1268 (@ref{functional harmony}). A special case is chords having no
1269 third above the lower notes to define their quality as major or minor. Such
1270 chords are denoted open chords
1272 @lilypond[fragment,notime,line-width=13.0\cm]
1273 \set Score.automaticBars = ##f
1274 %\override TextScript #'font-style = #'large
1276 \context Staff \relative c'' {
1277 \set Staff.extraNatural = ##f
1297 @node chromatic scale
1298 @section chromatic scale
1300 ES: escala cromática,
1302 F: gamme chromatique,
1303 D: chro@-ma@-ti@-sche Tonleiter,
1304 NL: chromatische toonladder,
1305 DK: kromatisk skala,
1307 FI: kromaattinen asteikko.
1309 A scale consisting of all 12 @ref{semitone}s.
1311 @lilypond[fragment,notime,line-width=13.0\cm]
1312 \set Score.automaticBars = ##f
1313 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1318 @section chromaticism
1329 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1333 @section church mode
1335 ES: modo eclesiástico,
1336 I: modo ecclesiastico,
1337 F: mode ecclésiastique,
1342 FI: moodi, kirkkosävellaji.
1346 @ref{diatonic scale}.
1355 D: Schlüssel, Notenschlüssel,
1359 FI: avain, nuottiavain.
1363 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1365 The clef indicates which lines of the staff correspond to which
1366 pitches. The three clef symbols in common use are:
1368 @lilypond[ragged-right,quote]
1371 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1372 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1373 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1378 Imagine a large staff of 11 lines centered on middle C, sometimes
1379 called a @q{grand staff}, with the bottom line representing low G
1380 and the top line high F:
1382 @lilypond[ragged-right,quote]
1385 %-- Treble Staff --%
1387 % Allow this staff to be placed close to the others
1388 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1389 % Allow the treble clef to overlap the lower staves:
1390 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1391 \override Staff.Clef #'stencil = ##f % No clef required
1393 s1^\markup { "g," \transparent "g" }
1394 s^ \markup { "b," \transparent "g" }
1395 s^ \markup { "d" \transparent "g" }
1396 s^ \markup { "f" \transparent "g" }
1397 s^ \markup { "a" \transparent "g" }
1398 s^ \markup { \with-color #red c' \transparent "g"}
1399 e'^\markup { "e'" \transparent "g" }
1400 g'^\markup { "g'" \transparent "g" }
1401 b'^\markup { "b'" \transparent "g" }
1402 d''^\markup { "d''" \transparent "g" }
1403 f''^\markup { "f ''" \transparent "g" }
1406 %-- Alto Staff reduced to a single line on middle C --%
1408 \override Staff.StaffSymbol #'line-count = 1 % One line only
1409 \override Staff.StaffSymbol #'color = #red % Coloured red
1410 \override Staff.Clef #'stencil = ##f % No clef required
1413 % Allow this staff to be placed close to the others
1414 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1415 % Specify height to give correct spacing between treble and bass staves
1416 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1418 s1 s s s s % Space along to align horizonatally
1419 \override NoteHead #'color = #red
1421 s1 s s s s s % Keep staff (ie the red line) showing
1425 % Allow this staff to be placed close to the others
1426 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1427 \override Staff.Clef #'stencil = ##f % No clef required
1430 s s s s s s s % Keep staff showing
1434 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1435 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1437 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1438 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1440 % Remove all barlines
1441 \context { \Score \override BarLine #'stencil = ##f
1443 % Remove time signature from all staves
1444 \context { \Staff \remove Time_signature_engraver
1450 Staves of five lines are usually used, and the clef superimposed on them
1451 indicates which five lines have been selected from this @samp{grand staff}.
1452 For example, the treble or G clef indicates that the top five
1453 lines have been selected:
1455 @lilypond[ragged-right,quote]
1458 %-- Treble Staff --%
1460 % Allow this staff to be placed close to the others
1461 \override Staff.VerticalAxisGroup
1462 #'minimum-Y-extent = #'(0 . 0)
1463 % Allow the treble clef to overlap the lower staves:
1464 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1465 \override Staff.Clef #'stencil = ##f % No clef required here
1467 s1^\markup { "g," \transparent "g" }
1468 s^ \markup { "b," \transparent "g" }
1469 s^ \markup { "d" \transparent "g" }
1470 s^ \markup { "f" \transparent "g" }
1471 s^ \markup { "a" \transparent "g" }
1472 s^ \markup { \with-color #red c' \transparent "g"}
1473 \stopStaff \startStaff
1474 \clef "C" % Dummy to force next clef to be printed
1475 s % Need at least one note for \clef to take effect
1476 \override Staff.Clef #'stencil = ##t % Clef now required
1477 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1479 e'^\markup { "e'" \transparent "g" }
1480 g'^\markup { "g'" \transparent "g" }
1481 b'^\markup { "b'" \transparent "g" }
1482 d''^\markup { "d''" \transparent "g" }
1483 f''^\markup { "f ''" \transparent "g" }
1485 %-- Alto Staff reduced to a single line on middle C --%
1487 \override Staff.StaffSymbol #'line-count = 1 % One line only
1488 \override Staff.StaffSymbol #'color = #red % Coloured red
1489 \override Staff.Clef #'stencil = ##f % No clef required
1492 % Allow this staff to be placed close to the others
1493 \override Staff.VerticalAxisGroup
1494 #'minimum-Y-extent = #'(0 . 0)
1495 % Specify height to give correct spacing between the staves
1496 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1498 s1 s s s s % Space along to align horizonatally
1499 \override NoteHead #'color = #red
1501 % s1 s s s s % Keep staff (ie the red line) showing
1505 % Allow this staff to be placed close to the others
1506 \override Staff.VerticalAxisGroup
1507 #'minimum-Y-extent = #'(0 . 0)
1508 \override Staff.Clef #'stencil = ##f % No clef required
1511 % s s s s s s % Keep staff showing
1515 % Reduce horizontal spacing so semibreves can be used
1516 % without exceeding 1 line
1517 \context { \Score \override SpacingSpanner
1518 #'base-shortest-duration = #(ly:make-moment 1 1)
1520 % Reduce apparent vertical size of note heads to
1521 % permit them to overlap other grobs vertically
1522 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1524 % Remove all barlines
1525 \context { \Score \override BarLine #'stencil = ##f
1527 % Remove time signature from all staves
1528 \context { \Staff \remove Time_signature_engraver
1534 The @q{curl} of the G clef in centered on the line that represents the pitch G.
1536 In the same way, the bass or F clef indicates that the bottom five lines
1537 have been selected from the @samp{grand staff}, and the alto or C clef
1538 indicates the middle five lines have been selected. This relationship is
1539 shown below, where the notes show an arpeggio on a C major chord.
1541 @lilypond[ragged-right,quote]
1544 %-- Treble Staff --%
1545 \new Staff = "G" \with {
1546 \remove Time_signature_engraver
1549 % The following two overrides are required to make the two middle C's overlap
1550 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1551 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1553 \override Staff.Clef #'Y-extent = #'(0 . 0)
1555 s1 s s s s e' g' c''
1558 \new Staff = "C" \with {
1559 \remove Time_signature_engraver
1562 \override Staff.StaffSymbol #'line-count = 1
1563 \override Staff.StaffSymbol #'stencil = ##f
1564 \once \override Staff.Clef #'stencil = ##f
1565 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1566 \override Score.BarLine #'stencil = ##f
1568 % The following two overrides are required to align the C staff to the G and F staves
1569 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1570 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1573 \stopStaff \startStaff
1574 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1575 \revert Staff.StaffSymbol #'stencil
1576 \override Staff.StaffSymbol #'color = #red
1577 b'1 % A frig. This really shows as a middle C in the score
1579 \stopStaff \startStaff
1580 \override Staff.StaffSymbol #'line-count = 5
1581 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1582 \override Staff.Clef #'Y-extent = #'(0 . 0)
1583 \revert Staff.StaffSymbol #'color
1584 \stopStaff \startStaff
1586 s1 s s c e g c' e' g' c''
1589 \new Staff = "F" \with {
1590 \remove Time_signature_engraver
1593 \override Staff.Clef #'Y-extent = #'(0 . 0)
1594 % The following two overrides are required to make the two middle C's overlap
1595 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1596 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1604 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1607 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1610 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1623 A @emph{cluster} is a range of simultaneously sounding pitches that
1624 may change over time. The set of available pitches to apply usually
1625 depends on the acoustic source. Thus, in piano music, a cluster
1626 typically consists of a continuous range of the semitones as provided
1627 by the piano's fixed set of a chromatic scale. In choral music, each
1628 singer of the choir typically may sing an arbitrary pitch within the
1629 cluster's range that is not bound to any diatonic, chromatic or other
1630 scale. In electronic music, a cluster (theoretically) may even cover
1631 a continuous range of pitches, thus resulting in colored noise, such
1634 Clusters can be denoted in the context of ordinary staff notation by
1635 engraving simple geometrical shapes that replace ordinary notation of
1636 notes. Ordinary notes as musical events specify starting time and
1637 duration of pitches; however, the duration of a note is expressed by
1638 the shape of the note head rather than by the horizontal graphical
1639 extent of the note symbol. In contrast, the shape of a cluster
1640 geometrically describes the development of a range of pitches
1641 (vertical extent) over time (horizontal extent). Still, the
1642 geometrical shape of a cluster covers the area in which any single
1643 pitch contained in the cluster would be notated as an ordinary note.
1645 @lilypond[fragment,relative=2,ragged-right]
1646 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1660 FI: komma, korvinkuultava ero äänenkorkeudessa.
1662 Difference in pitch between a note derived from pure tuning and the same note
1663 derived from some other tuning method.
1671 @section common meter
1678 @node compound interval
1679 @section compound interval
1681 ES: intervalo compuesto,
1682 I: intervallo composto,
1683 F: intervalle composé,
1684 D: weites Intervall,
1685 NL: samengesteld interval,
1686 DK: sammensat interval,
1687 S: sammansatt intervall,
1688 FI: oktaavia laajempi intervalli.
1690 Intervals larger than an octave.
1700 ES: intervalo invertido,
1702 F: intervalle complémentaire,
1703 D: Komplementärintervall,
1704 NL: complementair interval,
1705 DK: komplementærinterval,
1706 S: komplementärintervall (?),
1707 FI: täydentävä intervalli.
1711 @ref{inverted interval}.
1714 @node conjunct movement
1715 @section conjunct movement
1717 ES: movimiento conjunto,
1719 F: mouvement conjoint,
1720 D: schritt@-weise, stufenweise Bewegung,
1721 NL: stapsgewijze, trapsgewijze beweging,
1722 DK: trinvis bevægelse,
1724 FI: asteittainen liike.
1726 Progressing melodically by intervals of a second. The opposite of a
1727 @ref{disjunct movement}.
1729 @lilypond[fragment,line-width=13.0\cm]
1730 \key g \major \time 4/4
1731 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
1745 FI: konsonanssi, sopusointi.
1770 @section counterpoint
1779 FI: kontrapunkti, ääni ääntä vastaan.
1781 From latin @emph{punctus contra punctum}, note against note. The combination
1782 into a single musical fabric of lines or parts which have distinct melodic
1783 significance. A frequently used polyphonic technique is imitation, in its
1784 strictest form found in the canon needing only one part to be written down
1785 while the other parts are performed with a given displacement. Imitation is
1786 also the contrapunctal technique used in the @emph{fugue} which, since the
1787 music of the baroque era, has been one of the most popular polyphonic
1788 composition methods.
1790 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
1791 \set Score.implicitTimeSignatureVisibility = #all-invisible
1792 \override Score.TimeSignature #'break-visibility = #all-invisible
1793 \context PianoStaff <<
1794 \context Staff = SA \relative c' {
1798 << \context Voice = rha {
1800 r1 | r2 r8 g'8 bes d, |
1801 cis4 d r8 e!16 f g8 f16 e |
1802 f8 g16 a bes8 a16 g a8
1804 \context Voice = rhb {
1810 \context Staff = SB \relative c' {
1813 << \context Voice = lha {
1815 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
1816 r8 a16 g f8 g16 a bes8 g e! cis' |
1819 \context Voice = lhb {
1829 @section counter tenor
1834 D: Countertenor, Kontratenor,
1837 S: kontratenor, counter tenor,
1846 @section copying music
1848 A music copyist did fast freehand scores and parts on preprinted staff lines
1849 for performance. Some of their conventions (e.g., the placement of note heads
1850 on stems) varied slightly from those of engravers. Some of their working
1851 methods were superior and could well be adopted by music typesetters. This
1852 required more skill than engraving.
1861 D: Crescendo, lauter werden,
1865 FI: cresendo, voimistuen.
1867 Increasing volume. Indicated by a rightwards opening horizontal wedge or the
1868 abbreviation @samp{cresc.}.
1870 @lilypond[fragment,ragged-right]
1871 \key g \major \time 4/4
1872 \relative c'' { g4 \< a b c | d1\! \bar "|." }
1881 F: petites notes précédent l'entrée d'un instrument, réplique,
1888 In a separate part notes belonging to another part with the purpose of hinting
1889 when to start playing. Usually printed in a smaller type.
1898 A custos is a staff symbol that appears at the end of a staff line
1899 with monophonic musical contents (i.e., with a single voice). It
1900 anticipates the pitch of the first note of the following line and thus
1901 helps the player or singer to manage line breaks during performance,
1902 thus enhancing readability of a score.
1904 Custodes were frequently used in music notation until the 16th
1905 century. There were different appearences for different notation
1906 styles. Nowadays, they have survived only in special forms of musical
1907 notation such as via the editio vaticana dating back to the beginning
1913 % \override Staff.Custos #'neutral-position = #4
1914 \override Staff.Custos #'neutral-direction = #down
1915 \override Staff.Custos #'style = #'hufnagel
1923 \consists Custos_engraver
1953 F: da capo, depuis le commencement,
1954 D: da capo, von Anfang,
1958 FI: da capo, alusta.
1960 The term indicates repetition of the piece from the beginning to the end or
1961 to a certain place marked @emph{fine}. Mostly abbreviated as @samp{D.C.}.
1969 F: dal segno, depuis le signe,
1970 D: dal segno, ab dem Zeichen,
1974 FI: dal segno, lähtien merkistä.
1976 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
1977 another place frequently near the beginning marked by a sign:
1979 @lilypond[fragment,ragged-right]
1980 %\override TextScript #'font-style = #'large
1981 \override TextScript #'font-shape = #'italic
1982 \key g \major \time 4/4
1987 \line { "d.s. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
1994 @section decrescendo
1998 D: Decrescendo, leiser werden,
2002 FI: decresendo, hiljentyen.
2004 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2005 or the abbreviation @samp{decresc.}.
2007 @lilypond[fragment,ragged-right]
2009 \key g \major \time 4/4
2010 d4 \> c b a | g1 \! \bar "|."
2015 @node descending interval
2016 @section descending interval
2018 ES: intervalo descendente,
2019 I: intervallo discendente,
2020 F: intervalle descendant,
2021 D: fallendes Intervall, absteigendes Intervall,
2022 NL: dalend interval,
2023 DK: faldende interval,
2024 S: fallande intervall,
2025 FI: laskeva intervalli.
2027 A distance between a starting higher note and a lower ending note.
2030 @node diatonic scale
2031 @section diatonic scale
2033 ES: escala diatónica,
2035 F: gamme diatonique,
2036 D: diatonische Tonleiter,
2037 NL: diatonische toonladder,
2038 DK: diatonisk skala,
2040 FI: diatoninen asteikko.
2042 A scale consisting of 5@w{ }@ref{whole tone}s and
2043 2@w{ }@ref{semitone}s (S). Scales played on the white keys
2044 of a piano keybord are diatonic.
2046 The church modes are used in gregorial chant and in pre-baroque early
2047 music but also to some extent in newer jazz music.
2049 @lilypond[fragment,notime,ragged-right]
2050 \set Score.automaticBars = ##f
2051 %\override Score.LyricText #'font-style = #'large
2052 %\override Score.TextScript #'font-style = #'large
2054 \context Staff \relative c' {
2056 \override TextScript #'padding = #-4
2057 e^"~~ S" f g a b^"~~ S" c
2059 \context Lyrics \lyrics {
2065 @lilypond[fragment,notime,ragged-right]
2066 \set Score.automaticBars = ##f
2068 \context Staff \relative c' {
2070 \override TextScript #'padding = #-4
2071 e^"~~ S" f g a b^"~~ S" c d
2079 @lilypond[fragment,notime,ragged-right]
2080 \set Score.automaticBars = ##f
2083 \override TextScript #'padding = #-4
2084 e1^"~~ S" f g a b^"~~ S" c d e
2092 @lilypond[fragment,notime,ragged-right]
2093 \set Score.automaticBars = ##f
2097 \override TextScript #'padding = #-4
2098 b^"~~ S" c d e^"~~ S" f
2106 @lilypond[fragment,notime,ragged-right]
2107 \set Score.automaticBars = ##f
2111 \override TextScript #'padding = #-4
2112 b^"~~ S" c d e^"~~ S" f g }
2119 @lilypond[fragment,notime,ragged-right]
2120 \set Score.automaticBars = ##f
2121 %\override Score.LyricText #'font-style = #'large
2122 %\override Score.TextScript #'font-style = #'large
2126 \override TextScript #'padding = #-4
2127 b^"~~ S" c d e^"~~ S" f g a
2135 From the beginning of the 17th century the scales used in European
2136 compositional music are primarily the major and the minor scales. In the
2137 harmonic minor scale type an augmented second (A) occurs between the 6th and
2140 @lilypond[fragment,notime,ragged-right]
2141 \set Score.automaticBars = ##f
2145 \override TextScript #'padding = #-4
2146 e^"~~ S" f g a b^"~~ S" c
2154 @lilypond[fragment,notime,ragged-right]
2155 \set Score.automaticBars = ##f
2159 \override TextScript #'padding = #-4
2160 b^"~~ S" c d e^"~~ S" f g a
2168 @lilypond[fragment,notime,ragged-right]
2169 \set Score.automaticBars = ##f
2173 \override TextScript #'padding = #-4
2174 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2176 \context Lyrics \lyrics {
2182 @lilypond[fragment,notime,line-width=13.0\cm]
2183 \set Score.automaticBars = ##f
2184 %\override Score.LyricText #'font-style = #'large
2185 %\override Score.TextScript #'font-style = #'large
2189 \override TextScript #'padding = #-4
2190 b^"~~ S" c d e fis gis^"~~ S"
2191 a g! f!^"~~ S" e d c^"~~ S" b a
2200 @node diminished interval
2201 @section diminished interval
2203 ES: intervalo disminuido,
2204 I: intervallo diminuito,
2205 F: intervalle diminué,
2206 D: vermindertes Intervall,
2207 NL: verminderd interval,
2208 DK: formindsket interval,
2209 S: förminskat intervall,
2210 FI: vähennetty intervalli.
2227 FI: diminuendo, hiljentyen.
2251 @node disjunct movement
2252 @section disjunct movement
2254 ES: movimiento disjunto,
2256 F: mouvement disjoint,
2257 D: sprunghafte Bewegung,
2258 NL: sprongsgewijze beweging,
2259 DK: springende bevægelse,
2260 S: hoppande rörelse,
2261 FI: melodian hyppivä liike.
2263 Progressing melodically by intervals larger than a major second.
2264 Opposite of @ref{conjunct movement}.
2266 @lilypond[fragment,ragged-right]
2271 a4. gis8 b a e cis |
2272 fis2 d4. \bar "||" }
2279 @ref{dissonant interval}.
2282 @node dissonant interval
2283 @section dissonant interval
2285 ES: intervalo disonante, disonancia,
2286 I: intervallo dissonante, dissonanza,
2289 NL: dissonant interval; dissonant,
2290 DK: dissonerende interval, dissonans,
2292 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2299 @node dominant ninth chord
2300 @section dominant ninth chord
2302 ES: acorde de novena de dominante,
2303 I: accordo di nona di dominante,
2304 F: accord de neuvième dominante,
2305 D: Domi@-nant@-nonen@-akkord,
2306 NL: dominant noon akkoord,
2307 DK: dominantnoneakkord,
2308 S: dominantnonackord,
2309 FI: dominanttinoonisointu.
2313 @ref{chord}, @ref{functional harmony}.
2316 @node dominant seventh chord
2317 @section dominant seventh chord
2319 ES: acorde de séptima de dominante,
2320 I: accordo di settima di dominante,
2321 F: accord de septième dominante,
2322 D: Dominantseptakkord,
2323 NL: dominant septiem akkoord,
2324 DK: dominantseptimakkord,
2325 S: dominantseptimackord,
2326 FI: dominanttiseptimisointu.
2330 @ref{chord}, @ref{functional harmony}.
2343 FI: dominantti, huippusointu.
2345 The fifth @ref{scale degree} in @ref{functional harmony}.
2349 @section dorian mode
2354 D: dorisch, dorischer Kirchenton,
2355 NL: dorische toonladder,
2362 @ref{diatonic scale}.
2365 @node dot (augmentation dot)
2366 @section dot (augmentation dot)
2369 I: punto (di valore),
2371 D: Punkt (Verlängerungspunkt),
2377 @c TODO: fix double redirect -- to "dotted note", and thence to "note value"?
2385 @section dotted note
2387 ES: nota con puntillo,
2391 NL: gepuncteerde noot,
2394 FI: pisteellinen nuotti.
2401 @node double appoggiatura
2402 @section double appoggiatura
2404 ES: apoyatura doble,
2405 I: appoggiatura doppia,
2406 F: appoggiature double,
2407 D: doppelter Vorschlag,
2408 NL: dubbele voorslag,
2409 DK: dobbelt forslag,
2411 FI: kaksoisappogiatura, kaksoisetuhele.
2418 @node double bar line
2419 @section double bar line
2425 NL: dubbele maatstreep,
2428 FI: kaksoistahtiviiva.
2430 Indicates the end of a section within a movement.
2433 @node double dotted note
2434 @section double dotted note
2436 ES: nota con doble puntillo,
2437 I: nota doppiamente puntata,
2438 F: note doublement pointée,
2439 D: doppelt punktierte Note,
2440 NL: dubbelgepuncteerde noot,
2441 DK: dob@-belt@-punk@-te@-ret node,
2442 S: dub@-bel@-punk@-te@-rad not,
2443 FI: kaksoispisteellinen nuotti.
2451 @section double flat
2460 FI: kaksoisalennusmerkki.
2468 @section double sharp
2470 ES: doble sostenido,
2475 DK: dob@-belt@-kryds,
2477 FI: kaksoisylennysmerkki.
2485 @section double trill
2491 NL: dubbele triller,
2496 A simultaneous trill on two notes, usually in the distance of a third.
2500 @section duple meter
2506 NL: tweedelige maatsoort,
2543 FI: kesto, aika-arvo.
2551 @section dydimic comma
2555 @ref{syntonic comma}.
2570 The aspect of music relating to degrees of loudness, or changes from one
2571 degree to another. The terms, abbreviations, and symbols used to indicate
2572 this information are called dynamic marks.
2576 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo}, @ref{diminuendo}.
2596 @node ecclesiastical mode
2597 @section ecclesiastical mode
2605 @section eighth note
2611 D: Achtel, Achtelnote,
2613 DK: ottendedelsnode,
2615 FI: kahdeksasosanuotti.
2623 @section eighth rest
2625 ES: silencio de corchea,
2631 DK: ottendedelspause,
2633 FI: kahdeksasosatauko.
2643 FIXME: languages, definition
2647 @section embellishment
2660 D: Notenstechen, Notendruck
2666 Engraving means incising or etching a metal plate for
2667 printing. Photoengraving means drawing music with ink in a manner
2668 similar to drafting or engineering drawing, using similar tools.
2670 The traditional process of music printing is done through cutting in a
2671 plate of metal. Now also the term for the art of music typesetting.
2686 Two notes, intervals, or scales are enharmonic if they have different names
2689 @lilypond[fragment,notime,line-width=13.0\cm]
2690 \set Score.automaticBars = ##f
2692 \context Staff \relative c'' {
2693 gis1 as <des g,!> <cis g!>
2695 \context Lyrics \lyrics {
2696 \override Lyrics .LyricText #'self-alignment-X = #-1
2697 "g sharp " "a flat " "dim fifth " "augm fourth"
2703 @node equal temperament
2704 @section equal temperament
2706 ES: temperamento igual,
2707 I: temperamento equabile,
2708 F: tempérament égal,
2709 D: gleichschwebende Stimmung,
2710 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
2711 DK: ligesvævende temperatur,
2712 S: liksvävande temperatur,
2715 Tuning system dividing the octave into 12 equal @ref{semitone}s
2716 (precisely 100 @ref{cent}s).
2723 @node expression mark
2724 @section expression mark
2727 I: segno d'espressione,
2728 F: signe d'expression, indication de nuance,
2730 NL: voordrachtsteken,
2731 DK: foredragsbetegnelse,
2732 S: föredragsbeteckning,
2733 FI: nyanssiosoitus, esitysmerkki.
2735 Performance indications concerning 1. volume, dynamics (for example
2736 @ref{forte}, @ref{crescendo}), 2. tempo (for example
2737 @ref{andante}, @ref{allegro}).
2741 @section extender line
2743 FIXME: add languages
2745 ES: línea de extención [de melisma, de bajo cifrado, etc.],
2747 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
2754 The generic term for a line (or dash) of arbitrary length that
2755 extends text (without indicating the musical @emph{function} of
2758 Used in many contexts, for example:
2762 In vocal music to indicate the syllable for a melisma. Called @q{extension}
2764 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music Dictionary}.
2767 In figured (or thorough) bass to indicate that:
2771 @item The extended note should be held through a change in
2772 harmony, when applied to one figure --OR--
2774 @item The chord thus represented should be held above a moving
2775 bass line, when applied to more than one figure.
2777 @item These uses were not completely standardized, and some
2778 composers used a single extender line to indicate the
2784 In string music to indicate that all notes in the passage thus indicated
2785 should be played on the same string. On the violin, for example, a series
2786 of notes to be played on the G string would be indicated @samp{sul G},
2787 another series to be played on the D string would be indicated @samp{sul D},
2794 @ref{melisma}, @ref{sul G}, @ref{thorough bass}
2826 The position between the dots of the key symbol is the line of the F below
2827 central@w{ }C. Used on the third, fourth and fifth note line. A
2828 digit@w{ }8 above the clef symbol indicates that the notes must be played
2829 an octave higher (for example, bass recorder) while 8@w{ }below the clef
2830 symbol indicates playing an octave lower (for example, on double bass
2833 @lilypond[fragment,notime,line-width=13.0\cm]
2834 \set Score.automaticBars = ##f
2835 \override Staff.Clef #'full-size-change = ##t
2863 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
2866 @node feathered beam
2867 @section feathered beam
2878 A type of beam used to indicate that a small group of notes should be
2879 played at an increasing or decreasing tempo -- depending on the
2880 direction of @q{feathering} -- but without changing the overall tempo
2885 Internals Reference: @ruser{Manual beams}
2893 F: point d'orgue, point d'arrêt,
2898 FI: fermaatti, pidäke.
2900 Prolonged note or rest of indefinite duration.
2902 @lilypond[fragment,ragged-right]
2905 a4 b c2^\fermata \bar "|."
2928 @section figured bass
2932 @ref{thorough bass}.
2947 The methodical use of fingers in the playing of instruments.
2954 I: coda (uncinata), bandiera,
2962 Ornament at the end of the stem of a note used for notes with values
2963 less than a quarter note. The number of flags determines the
2966 @lilypond[fragment,notime,ragged-right]
2967 \set Score.automaticBars = ##f
2968 %\override Score.TextScript #'font-style = #'large
3013 FI: forte, voimakkaasti.
3015 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3016 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3053 @node functional harmony
3054 @section functional harmony
3056 ES: armonía funcional,
3057 I: armonia funzionale,
3058 F: étude des functions,
3060 NL: functionele harmonie,
3061 DK: funktionsanalyse, funktionsharmonik,
3063 FI: harmoniajärjestelmä.
3065 A system of harmonic analysis. It is based on the idea that, in a given key,
3066 there are only three functionally different chords: tonic (T, the chord on the
3067 first note of the scale), subdominant (S, the chord on the fourth note), and
3068 dominant (D, the chord on the fifth note). Others are considered to be
3069 variants of the base chords.
3071 @lilypond[fragment,notime,line-width=13.0\cm]
3072 \set Score.automaticBars = ##f
3074 \context Voice \relative c'' {
3075 <g e c >1 < a f d > < b g e >
3076 <c a f > < d b g > < e c a > < f d b > }
3077 \context Lyrics \lyrics {
3078 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3106 D: G-Schlüssel, Violinschlüssel,
3112 A clef symbol indicating the G above central@w{ }C. Used on the first
3113 and second note lines. A digit 8 above the clef symbol indicates that
3114 the notes must be played an octave higher while 8 below the clef symbol
3115 indicates playing or singing an octave lower (most tenor parts in choral
3116 scores are notated like that).
3118 @lilypond[fragment,notime,ragged-right]
3120 \set Score.automaticBars = ##f
3121 \override Staff.Clef #'full-size-change = ##t
3124 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3134 \context Lyrics \lyrics {
3135 \override Lyrics . LyricText #'X-offset = #-5
3136 "french violin clef"
3155 FI: glissando, liukuen.
3157 Letting the pitch slide fluently from one note to the other.
3161 @section grace notes
3163 ES: notas de adorno,
3166 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3172 Notes printed in small types to indicate that their time values are not
3173 counted in the rhythm of the bar.
3179 @section grand staff
3181 ES: sistema de piano,
3187 S: ackolad, böjd klammer,
3188 FI: kaksoisnuottiviivasto.
3190 A combination of two staves with a brace. Usually used for piano music.
3207 FI: grave, raskaasti.
3232 Letter name used for @samp{B natural} in German and Scandinavian usage. In the
3233 standard usage of these countries, @samp{B} means @samp{B flat}.
3237 @ref{Pitch names}, @ref{B}
3247 D: Halbe, halbe Note,
3261 ES: silencio de blanca,
3276 @node harmonic cadence
3277 @section harmonic cadence
3279 ES: cadencia (armónica),
3280 I: cadenza (armonica),
3281 F: cadence harmonique,
3283 NL: harmonische cadens,
3284 DK: harmonisk kadence,
3285 S: (harmonisk) kadens,
3286 FI: harmoninen kadenssi.
3288 A sequence of chords that terminates a musical phrase or
3291 @ref{functional harmony}.
3293 @lilypond[fragment,ragged-right]
3294 \context PianoStaff <<
3295 \context Staff = SA \relative c'' {
3299 \partial 4 < c g e >4 |
3300 < c a f > < b g d > < c g e >2
3303 \context Staff = SB \relative c {
3305 \partial 4 c4 | f, g c2
3323 D: Harmonie, Zusammenklang,
3327 FI: harmonia, yhteissointi.
3329 Tones sounding simultaneously. Two note harmonies fall into the categories
3330 @emph{consonances} and @emph{dissonances}.
3334 @lilypond[fragment,notime,line-width=13.0\cm]
3335 \set Score.automaticBars = ##f
3336 %\override Score.TextScript #'font-style = #'large
3337 \context Voice \relative c'' {
3350 @lilypond[fragment,notime,line-width=13.0\cm]
3351 \set Score.automaticBars = ##f
3352 %\override Score.TextScript #'font-style = #'large
3353 \context Voice \relative c'' {
3354 <g a>1_"second " s s
3355 <g f'>_"seventh " s s
3360 Three note harmony @ref{chord}.
3373 FI: homofonia, yksiäänisyys.
3375 Music in which one voice leads melodically followed by the other voices more
3376 or less in the same rhythm. In contrast to @ref{polyphony}.
3389 FI: intervalli, kahden sävelen korkeusero.
3391 Difference in pitch between two notes. Intervals may be perfect, minor,
3392 major, diminished, or augmented. The augmented fourth and the diminished fifth
3393 are identical (@ref{enharmonic}) and are called @emph{tritonus} because they
3394 consist of three @ref{whole tone}s. The addition of such two intervals forms an
3397 @lilypond[fragment,notime,line-width=13.0\cm]
3398 \set Score.automaticBars = ##f
3400 \context Voice \relative c'' {
3410 \context Lyrics \lyrics {
3411 "unison " "second " "second " "second "
3412 "third " "third " "third " "third"
3417 @lilypond[fragment,notime,line-width=13.0\cm]
3418 \set Score.automaticBars = ##f
3420 \context Staff \relative c'' {
3431 "fourth " "fourth " "fifth " "fifth "
3432 "sixth " "sixth " "sixth " "sixth"
3437 @lilypond[fragment,notime,line-width=13.0\cm]
3438 \set Score.automaticBars = ##f
3440 \context Staff \relative c'' {
3441 < gis f'! >1^"dimin"
3450 \context Lyrics \lyrics {
3451 "seventh " "seventh " "seventh " "octave "
3452 "ninth " "ninth " "tenth " "tenth"
3458 @node inverted interval
3459 @section inverted interval
3461 ES: intervalo invertido,
3462 I: intervallo rivolto,
3463 F: intervalle reversé,
3464 D: umgekehrtes Intervall,
3465 NL: interval inversie,
3466 DK: omvendingsinterval,
3467 S: intervallets omvändning,
3468 FI: käänteisintervalli.
3470 The difference between an interval and an octave.
3472 @lilypond[fragment,notime,line-width=13.0\cm]
3473 \set Score.automaticBars = ##f
3474 %\override Score.TextScript #'font-style = #'large
3475 \context Staff \relative c'' {
3476 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
3477 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
3478 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
3483 @node just intonation
3484 @section just intonation
3486 ES: entonación justa,
3487 I: intonazione giusta,
3488 F: intonation juste,
3495 Tuning system in which the notes are obtained by adding and subtracting
3496 natural fifths and thirds.
3513 According to the 12@w{ }tones of the @ref{chromatic scale}
3514 there are 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
3518 @ref{key signature}.
3522 @section key signature
3524 ES: armadura (de la clave),
3525 I: armatura di chiave,
3526 F: armure, armature [de la clé],
3527 D: Vorzeichen, Tonart,
3528 NL: toon@-soort (voortekens),
3531 FI: sävellajiosoitus.
3533 The sharps or flats appearing at the beginning of each staff indicating the
3545 D: Largo, Langsam, Breit,
3549 FI: largo, hitaasti, leveästi.
3551 Very slow in tempo, usually combined with great
3552 expressiveness. @emph{Larghetto} is less slow than largo.
3556 @section leading note
3567 The seventh @ref{scale degree}, a @ref{semitone} below
3568 the tonic; so called because of its strong tendency to @q{lead up} (resolve
3569 upwards) to the tonic scale degree.
3573 @section ledger line
3575 ES: línea adicional,
3576 I: tagli addizionali,
3577 F: ligne supplémentaire,
3584 A ledger line is an extension of the staff.
3586 @lilypond[fragment,notime,ragged-right]
3587 \set Score.automaticBars = ##f
3588 \relative c'' { a,1 s c'' }
3604 To be performed (a) without any perceptible interruption between the notes,
3605 unlike (b) @emph{leggiero} or @emph{non-legato}, (c) @emph{portato}, and
3608 @lilypond[fragment,notime,line-width=13.0\cm]
3609 \set Score.automaticBars = ##f
3611 \context Staff \relative c'' {
3612 c4-( d e-) \bar "||"
3613 c4-- d-- e-- \bar "||"
3614 c4-.-( d-. e-.-) \bar "||"
3615 c4-. d-. e-. \bar "||"
3628 @section legato curve
3632 @ref{slur}, @ref{legato}.
3646 ES: estanque de nenúfares,
3647 I: stagno del giglio,
3651 NL: le@-lie@-vij@-ver,
3656 A pond with lilies floating in it, also the name of a music typesetter.
3664 A ligature is a coherent graphical symbol that represents at least two
3665 distinct notes. Ligatures originally appeared in the manuscripts of
3666 Gregorian chant notation roughly since the 9th century to denote
3667 ascending or descending sequences of notes. In early notation,
3668 ligatures were used for monophonic tunes (Gregorian chant) and very
3669 soon denoted also the way of performance in the sense of articulation.
3670 With the invention of the metric system of the white mensural
3671 notation, the need for ligatures to denote such patterns disappeared.
3680 D: Linie, Notenlinie,
3684 FI: viiva, nuottiviiva.
3691 @node long appoggiatura
3692 @section long appoggiatura
3694 ES: apoyatura larga,
3695 I: appoggiatura lunga,
3696 F: appoggiature longue,
3697 D: langer Vorschlag,
3701 FI: pitkä appoggiatura, pitkä etuhele.
3720 Note value: double length of @ref{breve}.
3722 @lilypond[fragment,notime,ragged-right]
3723 \set Score.automaticBars = ##f
3725 \override NoteHead #'style = #'mensural
3738 ES: letra (de la canción),
3751 FIXME: add languages
3758 @node major interval
3759 @section major interval
3761 ES: intervalo mayor,
3762 I: intervallo maggiore,
3763 F: intervalle majeur,
3764 D: großes Intervall,
3768 FI: suuri intervalli.
3789 @ref{diatonic scale}.
3792 @node meantone temperament
3793 @section meantone temperament
3795 ES: afinación mesotónica,
3796 I: accordatura mesotonica,
3797 F: tempérament mésotonique,
3798 D: mitteltönige Stimmung,
3799 NL: middenstemming, middentoonstemming,
3800 DK: middeltonetemperatur,
3801 S: medeltonstemperatur,
3802 FI: keskisävelviritys.
3804 Temperament yielding acoustically pure thirds by decreasing the natural fifth
3805 by 16@w{ }@ref{cent}s. Due to the non-circular character of this
3806 @ref{temperament} only a limited set of keys are playable.
3807 Used for tuning keyboard instruments for performance of pre-1650 music.
3822 A group of @ref{beat}s (units of musical time) the first of which
3823 bears an accent. Such groups in numbers of two or more recur consistently
3824 throughout the composition and are marked from each other by
3834 I: mediante, modale,
3842 1.@tie{}The third @b{scale degree}.
3843 2.@tie{}A @ref{chord} having its base tone
3844 a third from that of another chord. For example, the tonic chord may be
3845 replaced by its lower mediant (variant tonic).
3848 harmony}, @ref{relative key}.
3857 FI: melisma, laulettavan tavun sävelkuvio.
3859 A melisma (plural: melismata) is a group of notes or tones sung on one
3860 syllable in plainsong
3864 @section melisma line
3866 FIXME: add languages
3870 @ref{extender line}.
3873 @node melodic cadence
3874 @section melodic cadence
3886 F: indication de mesure, mesure,
3893 The basic scheme of @ref{note value}s and @ref{accent}s which remains
3894 unaltered throughout a composition or a section of it. For instance,
3895 3/4 meter means that the basic @ref{note value}s are quarter notes and
3896 that a @ref{measure} consists of three of those. According to whether
3897 there are two, three, or four units to the measure, one speaks of
3898 @emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
3899 @emph{quadruple} (4/2, 4/4, 4/8) meter. 4/4 is also called common
3902 @lilypond[fragment,line-width=13.0\cm]
3906 c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
3909 @lilypond[fragment,line-width=13.0\cm]
3913 f8 f f f a16 g a f |
3914 c'8 c c c e16 d e c \bar "||"}
3917 @lilypond[fragment,line-width=13.0\cm]
3921 d4 b8 g b d d c a4 |
3922 g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
3938 Device indicating the exact tempo of a piece.
3944 @node metronomic indication
3945 @section metronomic indication
3947 ES: indicación metronómica,
3948 I: indicazione metronomica,
3949 F: indication métronomique,
3951 NL: metronoom aanduiding,
3953 S: metronomangivelse,
3954 FI: metronomiosoitus.
3956 Exact tempo indication (in beats per minute). Also denoted by
3957 M.M.@: (Mälzels Metronom).
3961 @section mezzo-soprano
3972 The female voice between @ref{soprano} and @ref{contralto}.
3981 D: eingestrichenes@w{ }c,
3983 DK: enstreget@w{ }c,
3984 S: ettstruket@w{ }c,
3987 First C below the 440 Hz A.
3989 @lilypond[fragment,notime,ragged-right]
3990 \set Score.automaticBars = ##f
3991 \override Staff.Clef #'full-size-change = ##t
4014 @ref{diatonic scale}.
4017 @node minor interval
4018 @section minor interval
4020 ES: intervalo menor,
4021 I: intervallo minore,
4022 F: intervalle mineur,
4023 D: kleines Intervall,
4027 FI: pieni intervalli.
4044 FI: moodi, kirkkosävelasteikko.
4048 @ref{church mode}, @ref{diatonic scale}.
4061 FI: modulaatio, sävellajin vaihdos.
4063 Moving from one @ref{key} to another. For example, the second
4064 subject of a @ref{sonata form} movement modulates to the dominant
4065 key if the key is major and to the @ref{relative key} if the key
4078 FI: mordent, korukuvio.
4103 FI: teema, sävelaihe.
4105 The briefest intelligible and self-contained fragment of a musical theme or
4108 @lilypond[line-width=13.0\cm]
4111 \set Score.implicitTimeSignatureVisibility = #all-invisible
4112 \override Score.TimeSignature #'break-visibility = #all-invisible
4115 \partial 8 g16\startGroup fis |
4116 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4117 g8 g,16 a b8 cis d16 s
4121 \Staff \consists "Horizontal_bracket_engraver"
4139 Greater musical works like @ref{symphony} and
4140 @ref{sonata} most often consist of several -- more or less --
4141 independant pieces called movements.
4144 @node multi-measure rest
4145 @section multi-measure rest
4147 ES: compases de espera,
4151 D: mehrtaktige Pause, Kirchenpause,
4154 FI: usean tahdin mittainen tauko.
4156 Multi-measure rests are conventionally typeset with a combination of longa,
4157 breve and whole rests for shorter and a long horizontal bar for longer
4158 spans of rest, with a number above to indicate the duration (in measures)
4159 of the rest. The former style is called @q{Kirchenpausen} in German, as a
4160 reminiscence of its use in Renaissance vocal polyphony.
4162 @lilypond[fragment,ragged-right]
4165 \set Score.skipBars = ##t R1*3
4167 \set Score.skipBars = ##t R1*122
4174 @node mixolydian mode
4175 @section mixolydian mode
4179 @ref{diatonic scale}.
4183 @section natural sign
4188 D: Auflösungszeichen,
4189 NL: herstellingsteken,
4190 DK: op@-løsningstegn,
4191 S: återställningstecken,
4199 @node neighbour tones
4200 @section neighbour tones
4244 Notes are signs by means of which music is fixed in writing. The term is also
4245 used for the sound indicated by a note, and even for the key of the piano
4246 which produces the sound. However, a clear distinction between the terms tone
4247 and @ref{note} is strongly recommended. Briefly, one sees a note,
4255 I: testa, testina, capocchia,
4263 A head-like sign which indicates pitch by its position on a
4264 @ref{staff} provided with a @ref{clef}, and duration
4265 by a variety of shapes such as hollow or black heads with or without
4266 @ref{stem}s, @ref{flag}s, etc. For percussion
4267 instruments (often having no defined pitch) the note head may indicate the
4274 ES: valor (duración),
4276 F: durée, valeur (d'une note),
4281 FI: nuotin aika-arvo.
4283 Note values (durations) are measured as fractions, normally 1/2, of
4284 the next higher note value. The longest duration normally used is
4285 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
4286 double-length note value @emph{longa} or the quadruple-length note
4287 value @emph{maxima} are used.
4289 @c TODO -- add maxima to this example
4291 @lilypond[fragment,notime,line-width=13.0\cm]
4292 %\override Score.TextScript #'font-style = #'large
4293 \set Score.automaticBars = ##f
4295 \override NoteHead #'style = #'mensural
4296 a\longa_"longa" a\breve_"breve"
4297 \revert NoteHead #'style
4298 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
4299 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
4302 @c TODO -- add maxima rest to this example
4304 @lilypond[fragment,notime,line-width=13.0\cm]
4305 %\override Score.TextScript #'font-style = #'large
4306 \set Score.automaticBars = ##f
4308 r\longa_"longa" r\breve_"breve"
4309 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
4310 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
4313 An augmentation dot after a note multiplies the duration by one and a
4314 half. Another dot adds yet a fourth of the duration.
4316 @lilypond[fragment,line-width=13.0\cm]
4317 %\override Score.TextScript #'font-style = #'large
4320 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
4321 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
4324 Alternatively note values may be subdivided by other ratios. Most common is
4325 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
4326 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
4327 dotted notes are also frequently used.
4329 @lilypond[fragment,line-width=13.0\cm]
4330 %\override Score.TextScript #'font-style = #'large
4333 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
4334 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
4338 @lilypond[fragment,line-width=13.0\cm]
4341 \times 3/2 {g4_"duplets" g} |
4343 \times 6/4 {g8_"quadruplets" g g g} |
4344 g8 g g g g4 \bar "||"
4350 @section octave sign
4354 @ref{G clef}, @ref{F clef}.
4378 I: abbellimento, fioriture,
4379 F: agrément, ornement,
4380 D: Verzierung, Ornament,
4386 Most commonly used is the @emph{trill}, the rapid alternation of a given note
4387 with the diatonic @ref{second} above it. In the music from the
4388 middle of the 19th century and onwards the trill is performed with the main
4389 note first while in the music from the preceding baroque and classic periods
4390 the upper note is played first.
4392 @lilypond[fragment,line-width=13.0\cm]
4394 \context Staff = sa {
4395 % \override Score.TextScript #'font-style = #'large
4397 c2._"pre-1850" b4\trill | c1 \bar "||"
4398 c2._"post-1850" b4\trill | c1 \bar "||"
4402 c2. c32 b c b c b c b | c1
4403 c2. b32 c b c \times 4/5 { b c b c b } | c1
4408 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
4410 @emph{prall} (inverted mordent).
4412 @lilypond[fragment,line-width=13.0\cm]
4414 \context Staff = sa {
4415 % \override Score.TextScript #'font-style = #'large
4417 a4_"turn" b\turn c2 \bar "||"
4418 g4_"mordent" a b\mordent a \bar "||"
4419 e'4_"prall" d\prall c2 \bar "||"
4425 e'4 e32[ d e d ~ d8] c2
4445 FI: ossia, vaihtoehtoinen esitystapa.
4447 Ossia (otherwise) marks an alternative. It is an added staff or piano
4448 score, usually only a few measures long, which presents another version
4449 of the music, for example for small hands.
4462 FI: stemma, instrumenttiosuus.
4464 1.@tie{}In instrumental or choral music the music for the single instrument
4465 or voice. 2.@tie{}in contrapuntal music @ref{counterpoint} the single
4466 melodic line of the contrapunctal web.
4491 D: Schlagzeug, Schlagwerk,
4497 A family of musical instruments which are played on by striking or
4498 shaking. Percussion instruments commonly used in a symphony orchestra are
4499 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
4500 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
4504 @node perfect interval
4505 @section perfect interval
4507 ES: intervalo justo,
4508 I: intervallo giusto,
4509 F: intervalle juste,
4510 D: reines Intervall,
4514 FI: puhdas intervalli.
4533 A natural division of the melodic line, comparable to a sentence of speech.
4546 FI: fraseeraus, jäsentäminen.
4548 The clear rendering in musical performance of the @ref{phrase}s of
4549 the melody. Phrasing may be indicated by a @ref{slur}.
4557 F: anacrouse, levée,
4581 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
4582 @emph{mezzo piano} (@b{mp}) medium soft.
4605 NL: pizzicato, getokkeld,
4608 FI: pizzicato, näppäillen.
4610 Play by plucking the strings.
4619 D: Polyphonie, Mehrstimmigkeit,
4623 FI: polyfonia, moniäänisyys.
4625 Music written in a combination of several simultaneous voices (parts) of a
4626 more or less pronounced individuality.
4645 D: Presto, Sehr schnell,
4646 NL: presto, Sehr schnell,
4649 FI: presto, hyvin nopeasti.
4651 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
4652 denotes the highest possible degree of speed.
4655 @node Pythagorean comma
4656 @section Pythagorean comma
4658 ES: coma pitagórica,
4659 I: comma pitagorico,
4660 F: comma pythagoricien,
4661 D: Pythagoräisches Komma,
4662 NL: komma van Pythagoras,
4663 DK: pythagoræisk komma,
4664 S: pytagoreiskt komma,
4665 FI: pytagorinen komma.
4667 A sequence of fifths starting on@w{ }C eventually circles back to@w{ }C,
4668 but this@w{ }C, obtained by adding 12@w{ }fifths, is
4669 24 @ref{cent}s higher than the@w{ }C obtained by adding
4670 7@w{ }octaves. The difference between those two pitches is called the
4692 @section quarter note
4695 I: semiminima, nera,
4698 D: Viertel, Viertelnote,
4702 FI: neljännesosanuotti.
4710 @section quarter rest
4712 ES: silencio de negra,
4713 I: pausa di semiminima,
4718 DK:@w{ }fjerdedelspause,
4720 FI: neljännesosatauko.
4730 ES: cinquillo, quintillo.
4745 @section rallentando
4750 D: rallentando, langsamer werden,
4754 FI: rallerdando, hidastuen.
4756 Abbreviation "rall.".
4762 @section relative key
4765 I: tonalità relativa,
4766 F: tonalité relative,
4768 NL: paralleltoonsoort,
4769 DK: paralleltoneart,
4771 FI: rinnakkaissävellaji.
4773 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
4775 @lilypond[fragment,notime,line-width=13.0\cm]
4776 \set Score.automaticBars = ##f
4777 %\override Score.TextScript #'font-style = #'large
4780 es1_"e flat major" f g as bes c d es
4785 @lilypond[fragment,notime,line-width=13.0\cm]
4786 \set Score.automaticBars = ##f
4787 %\override Score.TextScript #'font-style = #'large
4790 c1_"c minor" d es f g a! b! c \bar "||"
4800 F: barre de reprise,
4803 DK: gen@-ta@-gel@-se,
4807 @lilypond[fragment,line-width=13.0\cm]
4811 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
4815 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
4816 @c specify the rest's value.
4850 @item Metrical rhythm in which every time value is a multiple or
4851 fraction of a fixed unit of time, called @ref{beat}, and in which the
4852 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
4853 The basic scheme of time values is called @ref{meter}.
4855 @item Measured rhythm which lacks regularly recurrent accent. In
4856 modern notation such music appears as a free alternation of different
4859 @item Free rhythm, i.e., the use of temporal values having no common
4860 metrical unit (beat).
4872 D: Ritardando, langsamer werden,
4876 FI: ritardando, hidastuen,
4878 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
4891 FI: ritenuto, hidastaen.
4893 Immediate reduction of speed.
4906 FI: asteikko, sävelasteikko.
4910 @ref{diatonic scale}.
4914 @section scale degree
4916 ES: grado (de la escala),
4917 I: grado della scala,
4918 F: degré [de la gamme],
4920 NL: trap [van de toonladder],
4923 FI: sävelaste, asteikon sävel.
4925 Names and symbols used in harmonic analysis to denote tones of the
4926 scale as roots of chords. The most important are degrees I = tonic
4927 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
4929 @lilypond[fragment,notime,line-width=13.0\cm]
4930 \set Score.automaticBars = ##f
4932 \context Staff \relative c' {
4936 << { I II III IV V VI VII I }
4944 @ref{functional harmony}.
4952 F: à cordes ravallées,
4959 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
4960 tuning of stringed instruments, particularly lutes or violins. Used
4965 @item facilitate pitch combinations that would otherwise be difficult
4968 @item alter the characteristic timbre of the instrument, for example,
4969 to increase brilliance)
4971 @item reinforce certain sonorities or tonalities by making them
4972 available on open strings
4974 @item imitate other instruments
4980 Tunings that could be called @var{scordatura} first appeared early in
4981 the 16th Century and became commonplace in the 17th.
4990 D: Partitur (full score), Klavierauszug (vocal score),
4996 A copy of orchestral, choral, or chamber music showing what each
4997 instrument is to play, each voice to sing, having each part arranged
4998 one underneath the other on different staves @ref{staff}.
5013 The @ref{interval} between two neigbouring tones of a scale. A
5014 @ref{diatonic scale} consists of alternating @ref{semitone}s and
5015 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
5016 degrees in question.
5031 The @ref{interval} of a minor second. The (usually) smallest interval
5032 in European composed music. The interval between two neighbouring
5033 tones on the piano keyboard -- including black and white keys -- is a
5034 semitone. An octave may be divided into 12@w{ }semitones.
5035 @ref{interval}, @ref{chromatic scale}.
5037 @lilypond[fragment,notime,line-width=13.0\cm]
5038 \set Score.automaticBars = ##f
5039 \relative c'' { g1 gis s a bes s b! c }
5110 @node short appoggiatura
5111 @section short appoggiatura
5118 @node sixteenth note
5119 @section sixteenth note
5125 D: Sechzehntel, Sechzehntelnote,
5126 NL: zes@-ti@-ende noot,
5127 DK: sekstendedelsnode,
5129 FI: kuudestoistaosanuotti.
5136 @node sixteenth rest
5137 @section sixteenth rest
5139 ES: silencio de semicorchea,
5140 I: pausa di semicroma,
5142 UK: semiquaver rest,
5143 D: Sechzehntelpause,
5145 DK: sekstendedelspause,
5171 @node sixty-fourth note
5172 @section sixty-fourth note
5176 F: quadruple croche,
5177 UK: hemidemisemiquaver,
5178 D: Vierundsechzigstel, Vierundsechzigstelnote,
5179 NL: vierenzestigste noot,
5180 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de,
5181 S: sextiofjärdedelsnot,
5182 FI: kuudeskymmenesneljäsosanuotti.
5189 @node sixty-fourth rest
5190 @section sixty-fourth rest
5192 ES: silencio de semifusa,
5193 I: pausa di semibiscroma,
5194 F: seizième de soupir,
5195 UK: hemidemisemiquaver rest,
5196 D: Vierundsechzigstelpause,
5197 NL: vierenzestigste rust,
5198 DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se,
5199 S: sextiofjärdedelspaus,
5200 FI: kuudeskymmenesneljäsosatauko.
5211 ES: ligadura (de expresión),
5212 I: legatura (di portamento or espressiva),
5214 D: Bogen, Legatobogen, Phrasierungsbogen,
5215 NL: fraseringsboog, legatoboog, streekboog,
5216 DK: legatobue, fraseringsbue,
5220 A slur above or below a group of notes indicates that they are to be
5221 played @ref{legato}, e.g., with one stroke of the violin bow or with
5222 one breath in singing.
5227 @section solmization
5236 FI: suhteelliset laulunimet.
5238 General term for systems of designating the degrees of the
5239 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
5240 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
5259 In its present-day meaning a sonata denotes an instrumental
5260 composition for piano or for some other instrument with piano
5261 accompaniment, which consists of three or four independant pieces,
5266 @section sonata form
5270 F: [en] forme de sonate,
5272 NL: hoofdvorm, sonatevorm,
5277 A form used frequently for single movements of the @ref{sonata},
5278 @ref{symphony}, quartet, etc. A movement written in sonata form falls
5279 into three sections called @emph{exposition}, @emph{development} and
5280 @emph{recapitulation}. In the exposition the composer introduces some
5281 musical ideas, consisting of a number of themes; in the development
5282 section the composer @q{develops} this material, and in the
5283 recapitulation the composer repeats the exposition, with certain
5284 modifications. The exposition contains a number of themes that fall
5285 into two groups, often called first and second subject. Other
5286 melodies occurring in each group are considered as continuations of
5287 these two. The second theme is in another key, normally in the key of
5288 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
5289 @ref{relative key} if the tonic is @ref{minor}.
5310 FI: sopraano, korkea naisääni.
5312 The highest female voice.
5320 F: staccato, piqué, détaché,
5325 FI: staccato, lyhyesti, terävästi.
5327 Playing the note(s) short. Staccato is indicated by a dot above or
5328 below the note head.
5330 @lilypond[fragment,ragged-right]
5335 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
5345 I: pentagramma, rigo (musicale),
5348 NL: (noten)balk, partij,
5353 A staff (pl. staves) is a series of (normally five) horizontal lines
5354 upon and between which the musical notes are written, thus indicating
5355 (in connection with a @ref{clef}) their pitch. Staves for
5356 @ref{percussion} instruments may have fewer lines.
5373 D: Hals, Notenhals, Stiel,
5379 Vertical line above or below a @ref{note head} shorter than a
5384 @lilypond[fragment,notime,line-width=13.0\cm]
5385 \set Score.autoBeaming = ##f
5386 \set Score.automaticBars = ##f
5387 %\override Score.TextScript #'font-style = #'large
5409 A family of stringed musical instruments played with a bow. Strings
5410 commonly used in a symphony orchestra are violin, viola, violoncello,
5415 @section strong beat
5420 D: betonter Taktteil oder Taktschlag,
5422 D: betonet taktslag,
5423 S: betonat taktslag,
5424 FI: tahdin vahva isku.
5428 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
5432 @section subdominant
5441 FI: subdominantti, alidominantti.
5443 The fourth @ref{scale degree}.
5445 @ref{functional harmony}.
5460 The sixth @ref{scale degree}.
5473 FI: subtoonika, alitoonika.
5475 The seventh @ref{scale degree}.
5490 Indicates that the indicated passage (or note) should be played on the
5495 @section superdominant
5506 The sixth @ref{scale degree}.
5521 The second @ref{scale degree}.
5530 D: Sinfonie, Symphonie,
5536 A symphony may be defined as a @ref{sonata} for orchestra.
5540 @section syncopation
5551 Any deliberate upsetting of the normal pulse of @ref{meter},
5552 @ref{accent}, and @ref{rhythm}. The occidental system of musical
5553 rhythm rests upon the grouping of equal beats into groups of two or
5554 three, with a regularly recurrent accent on the first beat of each
5555 group. Any deviation from this scheme is felt as a disturbance or
5556 contradiction between the underlaying (normal) pulse and the actual
5559 @lilypond[fragment,ragged-right]
5564 e c'4 e,8 c'4 e,8 c' ( | c2)
5570 @node syntonic comma
5571 @section syntonic comma
5574 I: comma sintonico (o didimico),
5575 F: comma syntonique,
5576 D: syntonisches Komma,
5577 NL: syntonische komma,
5578 DK: syntonisk komma,
5579 S: syntoniskt komma,
5580 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
5581 Pytagorisessa viritysjärjestelmässä.
5583 Difference between the natural third and the third obtained by
5584 Pythagorean tuning (@ref{Pythagorean comma}), equal to 22@w{ }cents.
5598 FI: nuottijärjestelmä.
5600 The collection of staves (@ref{staff}), two or more, as used for writing
5601 down of keyboard, chamber, choral, or orchestral music.
5606 @section temperament
5611 D: Stimmung, Tem@-pe@-ra@-tur,
5612 NL: stemming, temperatuur,
5615 FI: viritysjärjestelmä.
5617 Systems of tuning in which the intervals deviate from the acoustically
5620 @ref{meantone temperament}, @ref{equal temperament}.
5623 @node tempo indication
5624 @section tempo indication
5626 ES: indicación de tempo,
5627 I: indicazione di tempo,
5628 F: indication de tempo,
5629 D: Zeitmaß, Tempobezeichnung,
5630 NL: tempo aanduiding,
5635 The rate of speed of a composition or a section thereof, ranging from
5636 the slowest to the quickest, as is indicated by tempo marks as
5637 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
5651 FI: tenori, korkea miesääni.
5653 The highest male voice (apart from @ref{counter tenor}).
5676 ES: subrayado (tenuto),
5685 An indication that a particular note should be held for the whole
5686 length, although this can vary depending on the composer and era.
5706 @node thirty-second note
5707 @section thirty-second note
5713 D: Zweiunddreissigstel, Zweiunddreissigstelnote,
5714 NL: twee-endertig@-ste noot,
5715 DK: toogtredivtedelsnode,
5716 S: trettiotvåondelsnot,
5717 FI: kolmanneskymmeneskahdesosanuotti.
5724 @node thirty-second rest
5725 @section thirty-second rest
5727 ES: silencio de fusa,
5728 I: pausa di biscroma,
5729 F: huitième de soupir,
5730 UK: demisemiquaver rest,
5731 D: Zweiunddreissigstel@-pause,
5733 DK: toogtredivtedelspause,
5734 S: trettiotvåondelspaus,
5735 FI: kolmanneskymmeneskahdesosatauko.
5743 @section thorough bass
5746 I: basso continuo, basso numerato,
5747 F: basse chiffrée, basse continue,
5748 D: Generalbass, bezifferter Bass,
5749 NL: basso continuo, becijferde bas
5752 FI: kenraalibasso, numeroitu basso.
5754 A method of indicating an accompaniment part by the bass notes only,
5755 together with figures designating the chief @ref{interval}s and
5756 @ref{chord}s to be played above the bass notes.
5758 @lilypond[fragment,line-width=13.0\cm]
5759 \context GrandStaff <<
5760 \context Staff = lh \relative c'' {
5764 << \context Voice = rha {
5767 \context Voice = rhb {
5769 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
5773 \context Staff = rh \relative c' {
5776 es8 c d bes c as bes16 as g f | es4
5778 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
5787 ES: ligadura de prolongación,
5788 I: legatura (di valore),
5791 NL: overbinding, bindingsboog,
5793 S: bindebåge, överbindning,
5796 A curved line, identical in appearance with the @ref{slur}, which
5797 connects two succesive notes of the same pitch, and which has the
5798 function of uniting them into a single sound (tone) equal to the
5801 @lilypond[fragment,notime,ragged-right]
5802 \set Score.automaticBars = ##f
5803 \relative c'' { g2 ~ g4. }
5815 @node time signature
5816 @section time signature
5818 ES: indicación de compás,
5820 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
5821 D: Taktangabe, Angabe der Taktart,
5824 S: taktartssignatur,
5844 A sound of definite pitch and duration, as distinct from @emph{noise}.
5845 Tone is a primary building material of music.
5847 Music from the 20th century may be based on atonal sounds.
5862 The first @ref{scale degree}.
5866 @ref{functional harmony}.
5870 @section transposition
5881 Shifting a melody up or down in pitch, while keeping the same
5884 @lilypond[fragment,line-width=13.0\cm]
5889 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5894 @lilypond[fragment,line-width=13.0\cm]
5897 \transpose c bes \relative c'' {
5899 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
5906 @section treble clef
5909 I: chiave di violino,
5911 D: Violinschlüssel, Sopranschlüssel,
5913 DK:@w{ }diskantnøgle,
5934 On stringed instruments (@ref{strings}) the quick reiteration of the
5935 same tone, produced by a rapid up-and-down movement of the bow (a).
5936 The term is also used for the rapid alternation (b) between two notes
5937 of a @ref{chord}, usually in the distance of a third (@ref{interval}).
5939 @lilypond[fragment,notime,ragged-right]
5940 \set Score.automaticBars = ##f
5941 %\override Score.TextScript #'font-style = #'large
5944 f:32 [ e8:16 f:16 g:16 a:16 ] s4
5945 \repeat tremolo 8 { e32_"b" g }
5955 F: triade, accord parfait, accord de trois sons,
5972 F: trille, tremblement, battement (cadence),
5985 @section triple meter
5987 ES: compás ternario,
5991 NL: driedelige maatsoort,
6036 @section tuning fork
6039 I: diapason, corista,
6047 A two-pronged piece of steel used to indicate absolute pitch. Tuning
6048 forks give the international pitch for the tone @emph{a} (440
6049 vibrations per second).
6079 FI: unisono, yksiäänisesti.
6081 Playing of the same notes or the same melody by various instruments
6082 (voices) or by the whole orchestra (choir), either at exactly the same
6083 pitch or in a different octave.
6091 F: anacrouse, levée,
6113 FI: ääni, lauluääni.
6115 1.@tie{}Human voices: @ref{soprano}, @ref{mezzo-soprano},
6116 @ref{contralto}, @ref{tenor}, @ref{baritone}, @ref{bass}.
6117 2.@tie{}A melodic layer or part of a polyphonic composition.
6124 I: tempo debole, arsi,
6126 D: unbetonter Taktteil oder Taktschlag,
6128 DK: ubetonet taktslag,
6129 S: obetonat taktslag,
6130 FI: tahdin heikko isku.
6134 @ref{beat}, @ref{measure}, @ref{rhythm}.
6144 D: Ganze, ganze Note,
6158 ES: silencio de redonda,
6159 I: pausa di semibreve,
6162 D: ganze Pause, ganztaktige Pause,
6186 The @ref{interval} of a major second. The interval between two tones
6187 on the piano keyboard with exactly one key between them -- including
6188 black and white keys -- is a whole tone.
6205 A family of blown wooden musical instruments. Today some of these
6206 instruments are actually made from metal. The woodwind instruments
6207 commonly used in a symphony orchestra are flute, oboe, clarinet,
6208 saxophone, and bassoon.
6213 @node Duration names notes and rests
6214 @chapter Duration names, notes and rests
6217 @item DURATION NAMES, NOTES AND RESTS
6220 @multitable @columnfractions .15 .26 .33 .26
6225 @tab @strong{F (note name / rest name)}
6235 @c extra @items make this table harder to read, so I removed them.
6237 @item @strong{longa}
6250 @item @strong{breve}
6253 @tab brève / double-pause
6263 @item @strong{whole}
6273 @tab koko@-nuotti/@w{-tauko}
6279 @tab blanche / demi-pause
6286 @tab puoli@-nuotti/@w{-tauko}
6289 @item @strong{quarter}
6299 @tab neljännesosa@-nuotti/@w{-tauko}
6302 @item @strong{eighth}
6305 @tab croche / demi-soupir
6312 @tab kahdeksasosa@-nuotti/@w{-tauko}
6315 @item @strong{sixteenth}
6318 @tab double croche / quart de soupir
6325 @tab kuudestoistaosa@-nuotti/@w{-tauko}
6328 @item @strong{thirty-second}
6331 @tab triple croche / huitième de soupir
6333 @tab Zweiunddreissigstel
6334 @tab tweeendertigste
6335 @tab toogtredivtedel
6337 @tab trettiotvåondel
6338 @tab kolmaskymme@-neskahdesosa@-nuotti/@w{-tauko}
6341 @item @strong{sixty-fourth}
6342 @tab hemidemisemiquaver
6344 @tab quadruple croche / seizième de soupir
6346 @tab Vierundsechzigstel
6347 @tab vierenzestigste
6348 @tab fireogtred@-sindstyvendedel
6350 @tab sextiofjärdedel
6351 @tab kuudeskymme@-nesneljäsosa@-nuotti/@w{-tauko}
6360 @chapter Pitch names
6366 @c @multitable @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
6367 @c the extra @item's between each row makes the table hard to read ... so I removed them
6369 @multitable @columnfractions .11 .14 .14 .11 .1 .1 .1 .1 .1
6371 @c TODO -- figure out how to make _real_ table headers in TeXinfo
6373 @item @tab @strong{ES} @tab @strong{I} @tab @strong{F} @tab @strong{D}
6374 @tab @strong{NL} @tab @strong{DK} @tab @strong{S} @tab @strong{FI}
6376 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c
6379 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut
6380 dièse @tab Cis @tab cis @tab cis @tab cis @tab cis
6382 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol
6383 @tab Des @tab des @tab des @tab des @tab des
6385 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d
6388 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol
6389 @tab Es @tab es @tab es @tab es @tab es
6391 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e
6394 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f
6397 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g
6400 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol
6401 @tab As @tab as @tab as @tab as @tab as
6403 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a
6406 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la
6407 dièse @tab Ais @tab ais @tab ais @tab ais @tab ais
6409 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol
6410 @tab B @tab bes @tab b @tab b @tab b
6412 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h
6425 @node Literature used
6426 @unnumberedsec Literature used
6429 @item The Harvard Dictionary of Music, London 1944. Many
6430 more or less literal quotes from its articles have been included into
6431 the item explanation texts.
6433 @item Hugo Riemanns Musiklexicon, Berlin 1929.
6435 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
6438 @item Oxford Advanced Learner's Dictionary of Current English, Third
6441 @item Webster's Revised Unabridged Dictionary, Springfield 1913.