1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
3 @setfilename music-glossary.info
4 @settitle LilyPond Music Glossary
5 @documentencoding UTF-8
10 This glossary provides definitions and translations of musical
11 terms used in the documentation manuals for LilyPond version
15 @c `Music Glossary' was born 1999-10-04 with git commit 280a0bb...
16 @macro copyrightDeclare
17 Copyright @copyright{} 1999--2010 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
64 * GNU Free Documentation License:: License of this document.
71 @c TOC - tex. Not desired for this manual. -gp
75 @node Musical terms A-Z
76 @chapter Musical terms A-Z
78 Languages in this order.
80 @item UK - British English (where it differs from American English)
109 * ancient minor scale::
114 * ascending interval::
116 * augmented interval::
153 * compound interval::
157 * conjunct movement::
172 * descending interval::
175 * diminished interval::
179 * disjunct movement::
181 * dissonant interval::
185 * dominant ninth chord::
186 * dominant seventh chord::
188 * dot (augmentation dot)::
190 * double appoggiatura::
192 * double dotted note::
195 * double time signature::
202 * ecclesiastical mode::
209 * equal temperament::
230 * functional harmony::
251 * inverted interval::
266 * long appoggiatura::
273 * meantone temperament::
280 * mensural notation::
285 * metronomic indication::
298 * multi-measure rest::
328 * polymetric time signature::
333 * Pythagorean comma::
364 * sixty-fourth note::
365 * sixty-fourth rest::
396 * thirty-second note::
397 * thirty-second rest::
404 * transposing instrument::
458 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
459 @notation{a due} indicates that:
463 @item A single part notated on a single staff that normally carries parts
464 for two players (e.g. first and second oboes) is to be played by both
467 @item Or conversely, that two pitches or parts notated on a staff that
468 normally carries a single part (e.g. first violin) are to be played by
469 different players, or groups of players (@q{desks}).
482 F: accelerando, en accélérant,
483 D: accelerando, schneller werden,
487 FI: accelerando, kiihdyttäen.
489 [Italian: @q{speed up, accelerate}]
491 An increase in the tempo, abbreviated @notation{accel.}
507 FI: aksentti, korostus.
509 The stress of one tone over others.
523 @section acciaccatura
525 ES: mordente de una nota,
527 F: acciaccatura, appoggiature brève,
534 A grace note which takes its time from the rest or note preceding the
535 principal note to which it is attached. The acciaccatura is drawn as a
536 small eighth note (quaver) with a line drawn through the flag and stem.
539 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
545 ES: alteración accidental,
546 I: alterazione, accidente,
547 F: altération accidentelle,
548 D: Versetzungszeichen, Akzidenz,
549 NL: toevallig (verplaatsings)teken,
551 S: tillfälligt förtecken,
552 FI: tilapäinen etumerkki.
554 An accidental alters a note by:
558 @item Raising its pitch:
560 @item By two semitones—@notation{double sharp}
561 @item By one semitone—@notation{sharp}
564 @item Lowering its pitch:
566 @item By one semitone—@notation{flat}
567 @item By two semitones—@notation{double flat}
570 @item Or canceling the effects of the key signature or previous accidentals.
573 @lilypond[quote,notime]
577 \set Staff.extraNatural = ##f
578 gisis1 gis g! ges geses
583 \center-column { double sharp }
589 \center-column { double flat }
595 \override SpacingSpanner
596 #'base-shortest-duration = #(ly:make-moment 1 32)
603 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
616 FI: adagio, hitaasti.
618 [Italian: @q{comfortable, easy}]
622 @item Slow tempo, slower -- especially in even meter -- than
623 @notation{andante} and faster than @notation{largo}.
625 @item A movement in slow tempo, especially the second (slow) movement
626 of sonatas, symphonies, etc.
631 @ref{andante}, @ref{largo}, @ref{sonata}.
639 F: al niente, en mourant,
644 FI: häviten olemattomiin.
646 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
647 that the sound should fade away to nothing.
649 @notation{Al niente} is indicated by circling the tip of the hairpin:
651 @lilypond[quote,relative=2]
652 \override Hairpin #'circled-tip = ##t
658 or with the actual phrase @notation{al niente}:
660 @lilypond[quote,relative=2]
662 \override DynamicTextSpanner #'(bound-details right text) =
663 \markup { \italic { al niente } }
669 Since one does not crescendo @emph{to} nothing, it is not correct to use
670 @notation{al niente} with @notation{crescendo}. Instead, one should use
671 @emph{dal niente} (@notation{@b{from} nothing}).
674 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
682 F: alla breve, à la brève,
683 D: Allabreve, alla breve
689 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
691 Also called @notation{in cut time}. The name derives from mensural
692 notation, where the @notation{tactus} (or beat) is counted on the semibreve
693 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
694 next longest note value, which (in modern usage) effectively halves all note
697 In mensural notation, breves and semibreves can have a ternary relationship,
698 in which case @notation{alla breve} means thrice (not twice) as fast. In
699 practice, this complication may not have mattered, since Gaffurius's system
700 of multiplex proportions makes it easy to explicitly state which proportion
704 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
705 @ref{proportion}, @ref{whole note}.
713 F: allegro, gaiement,
714 D: Allegro, Schnell, Fröhlich, Lustig,
718 FI: allegro, nopeasti.
720 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
721 quick tempo, especially the first and last movements of a sonata.
734 NL: verhoging of verlaging,
739 An alteration is the modification, raising or lowering, of a note's
740 pitch. It is established by an accidental.
742 @c TODO: add second meaning from mensural notation
758 FI: altto, matala naisääni.
760 A female voice of low range (@emph{contralto}). Originally the alto was a
761 high male voice (hence the name), which by castration or the use of falsetto
762 reached the height of the natural female voice. This type of voice is also
763 known as countertenor.
772 ES: clave de do en tercera,
773 I: chiave di contralto,
774 F: clef d'ut troisième ligne,
775 D: Altschlüssel, Bratschenschlüssel,
781 C clef setting middle C on the middle line of the staff.
792 F: ambitus, tessiture,
797 FI: ambitus, ääniala, soitinala.
799 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
800 Denotes a range of pitches for a given voice in a part of music. It may
801 also denote the pitch range that a musical instrument is capable of playing.
802 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
820 An anacrusis (also known as pickup or upbeat) is an incomplete measure
821 of music before a section of music. It also refers to the initial
822 note(s) of a melody occurring in that incomplete measure.
824 @lilypond[quote,relative=1]
835 @ref{measure}, @ref{meter}.
838 @node ancient minor scale
839 @section ancient minor scale
841 ES: escala menor natural,
842 I: scala minore naturale,
843 F: forme du mode mineur ancien, troisème mode, mode hellénique,
844 D: reines Moll, natürliches Moll,
845 NL: authentieke mineurtoonladder,
848 FI: luonnollinen molliasteikko.
850 Also called @q{natural minor scale}.
852 @lilypond[quote,notime,relative=2]
858 @ref{diatonic scale}.
873 [Italian: present participle of @emph{andare}, @q{to walk}]
875 Walking tempo/character.
882 @section appoggiatura
886 F: appoggiature, (port de voix),
887 D: Vorschlag, Vorhalt
888 NL: (korte) voorslag,
891 FI: appoggiatura, etuhele.
893 Ornamental note, usually a second, that is melodically connected with
894 the main note following it. In music before the 19th century
895 appoggiature were usually performed on the beat, after that mostly
896 before the beat. While the short appoggiatura is performed as a short
897 note regardless of the duration of the main note the duration of the
898 long appoggiatura is proportional to that of the main note.
900 @lilypond[quote,relative=2]
903 <d a fis>4_"notation" r
910 \set Score.measurePosition = #ZERO-MOMENT
911 <d, a fis>4_"performance" r
917 An appoggiatura may have more notes preceding the main note.
919 @lilypond[quote,relative=2]
922 \grace bes16 as8-"notation" as16 bes as8 g |
923 \grace { as16[( bes] } <c as>4)
924 \grace { as16[( bes] } <c as>4) \bar "||"
926 \grace bes16 as8-"performance" as16 bes as8 g |
930 as32 bes c8. as32 bes c8.
934 as16 ~ as8. as16 ~ as8.
949 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
951 DK: arpeggio, akkordbrydning,
953 FI: arpeggio, murtosointu.
955 [Italian: @q{harp-like, played like a harp}]
957 @lilypond[quote,line-width=13\cm]
959 \context Staff = "SA" {
963 r8 g16 c e g, c e r8 g,16 c e g, c e
964 r8 a,16 d f a, d f r8 a,16 d f a, d f
968 \context Staff = "SB" {
974 r16 e8. ( e4) r16 e8. ( e4)
975 r16 d8. ( d4) r16 d8. ( d4)
993 @section articulation
1002 FI: artikulaatio, ilmaisu.
1004 Articulation refers to notation which indicates how a note or notes
1005 should be played. Slurs, accents, staccato, and legato are all
1006 examples of articulation.
1009 No cross-references.
1012 @node ascending interval
1013 @section ascending interval
1015 ES: intervalo ascendente,
1016 I: intervallo ascendente,
1017 F: intervalle ascendant,
1018 D: steigendes Intervall,
1019 NL: stijgend interval,
1020 DK: stigende interval,
1021 S: stigande intervall,
1022 FI: nouseva intervalli.
1024 A distance between a starting lower note and a higher ending note.
1027 No cross-references.
1030 @node augmented interval
1031 @section augmented interval
1033 ES: intervalo aumentado,
1034 I: intervallo aumentato,
1035 F: intervalle augmenté,
1036 D: übermäßiges Intervall,
1037 NL: overmatig interval,
1038 DK: forstørret interval,
1039 S: överstigande intervall,
1040 FI: ylinouseva intervalli.
1047 @section augmentation
1056 FI: aika-arvojen pidentäminen.
1058 @c TODO: add definition.
1060 This is a placeholder for augmentation (wrt mensural notation).
1063 @ref{diminution}, @ref{mensural notation}.
1071 F: manuscrit, autographe
1072 D: Autograph, Handschrift,
1074 DK: håndskrift, autograf,
1076 FI: käsinkirjoitettu nuotti.
1080 @item A manuscript written in the composer's own hand.
1082 @item Music prepared for photoreproduction by freehand drawing, with
1083 the aid of a straightedge ruler and T-square only, which attempts to
1084 emulate engraving. This required more skill than did engraving.
1089 No cross-references.
1107 @ref{H}, @ref{Pitch names}
1127 ES: barra, línea divisoria,
1128 I: stanghetta, barra (di divisione),
1129 F: barre (de mesure),
1136 A vertical line through the staff (or through multiple staves) that
1137 separates measures. Used very infrequently during the Renaissance (mostly
1138 in secular music, or in sacred music to indicate congruences between parts
1139 in otherwise-unmetered music).
1155 FI: baritoni, keskikorkuinen miesääni.
1157 The male voice intermediate in pitch between the bass and the tenor.
1159 @c F: clef de troisième ligne dropped
1162 @ref{bass}, @ref{tenor}.
1166 @section baritone clef
1168 ES: clave de fa en tercera,
1169 I: chiave di baritono,
1170 F: clef d'ut cinquième ligne, clef de fa troisième,
1171 D: Baritonschlüssel,
1177 C or F clef setting middle C on the upper staff line.
1180 @ref{C clef}, @ref{F clef}.
1193 FI: basso, matala miesääni.
1197 @item The lowest male voice.
1199 @item Sometimes, especially in jazz music, used as an abbreviation for
1211 ES: clave de fa en cuarta,
1213 F: clef de fa quatrième ligne,
1220 A clef setting with middle C on the first top ledger line.
1229 ES: barra (de corcheas),
1231 F: ligature, barre (de croches),
1238 Line connecting a series of notes (shorter than a quarter note). The
1239 number of beams determines the note value of the connected notes.
1241 @lilypond[quote,notime,relative=2,line-width=13\cm]
1242 g8-"1/8"[ g g g] s16
1243 g16-"1/16"[ g g g] s
1244 g32-"1/32"[ s g s g s g] s16
1245 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1249 @ref{feathered beam}.
1255 ES: tiempo, parte (de compás)
1258 D: Takt, Taktschlag, Zeit (im Takt),
1264 Note value used for counting, most often half-, fourth-, and eighth notes.
1265 The base counting value and the number of them in each measure is indicated
1266 at the start of the music by the @notation{time signature}.
1268 @lilypond[quote,relative=2]
1271 g4 c b a | g1 \bar "||"
1273 g8 d' c | b c a | g4. \bar "||"
1277 @ref{time signature}.
1281 @section beat repeat
1284 @ref{percent repeat}.
1297 ES: llave, corchete,
1300 D: Klammer, Akkolade,
1301 NL: accolade, teksthaak,
1304 FI: yhdistävä sulkumerkki.
1306 Symbol at the start of a system connecting staves.
1308 Curly braces are used for connecting piano staves, and sometimes for connecting
1309 the staves of like instruments in an orchestral score when written on different
1310 staves (e.g. first and second flutes):
1314 \context Staff = "SA" {
1320 \context Staff = "SB" {
1330 Angular brackets for connecting parts in an orchestral or choral score:
1334 \context Staff = "SA" {
1340 \context Staff = "SB" {
1351 No cross-references.
1358 I: parentesi quadra,
1376 NL: koper (blazers),
1379 S: brassinstrument, mässingsinstrument,
1382 A family of blown musical instruments made of brass, all using a cup
1383 formed mouth piece. The brass instruments commonly used in a symphony
1384 orchestra are trumpet, trombone, french horn, and tuba. In marching bands,
1385 sousaphones and contrabass bugles are common.
1388 No cross-references.
1392 @section breath mark
1397 D: Atemzeichen, Trennungszeichen,
1398 NL: repercussieteken,
1399 DK: vejrtrækningstegn,
1403 Indication of where to breathe in vocal and wind instrument parts.
1413 @item US: breve, double-whole note
1414 @item ES: cuadrada, breve
1421 @item FI: brevis, kaksoiskokonuotti
1424 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1426 Mainly used in music from before 1650. In mensural notation, it was a note
1427 of fairly short duration—hence the name, which is Latin for @q{short} or
1428 @q{of short duration}.
1430 @lilypond[quote,notime,relative=2]
1435 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1468 Clef symbol indicating the position of the middle C. Used on all note
1471 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1473 \override Staff.Clef #'full-size-change = ##t
1475 \clef mezzosoprano c1
1481 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1482 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1487 No cross-references.
1500 FI: kadenssi, lopuke.
1503 @ref{harmonic cadence}, @ref{functional harmony}.
1516 FI: kadenssi, lopuke.
1518 An extended, improvisatory style section inserted near the end of
1519 movement. The purpose of a cadenza is to give singers or players a
1520 chance to exhibit their technical skill and -- not last -- their
1521 ability to improvise. Since the middle of the 19th century, however,
1522 most cadenzas have been written down by the composer.
1525 No cross-references.
1540 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1542 The break between two musical phrases, sometimes (but not always) marked by a
1543 rest or a breath mark.
1559 FI: kaanon, tarkka jäljittely.
1575 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1576 viritysjärjestelmässä.
1578 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1579 an octave (1/100 of an equally tempered semitone).
1582 @ref{equal temperament}, @ref{semitone}.
1604 Three or more tones sounding simultaneously. In traditional European music
1605 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1606 (major + minor third) as well as @emph{minor} (minor + major third) chords
1607 may be extended with more thirds. Four-tone @emph{seventh chords} and
1608 five-tone @emph{ninth} major chords are most often used as dominants
1609 (functional harmony). Chords having no third above the lower notes to
1610 define their mood are a special case called @q{open chords}. The lack of
1611 the middle third means their quality is ambivalent -- neither major nor
1614 @lilypond[quote,notime,line-width=13.0\cm]
1618 \set Staff.extraNatural = ##f
1639 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1643 @node chromatic scale
1644 @section chromatic scale
1646 ES: escala cromática,
1648 F: gamme chromatique,
1649 D: chro@-ma@-ti@-sche Tonleiter,
1650 NL: chromatische toonladder,
1651 DK: kromatisk skala,
1653 FI: kromaattinen asteikko.
1655 A scale consisting of all 12 semitones.
1657 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1658 c1 cis d dis e f fis g gis a ais b c
1666 @section chromaticism
1677 Using tones extraneous to a diatonic scale (minor, major).
1680 @ref{diatonic scale}.
1684 @section church mode
1686 ES: modo eclesiástico,
1687 I: modo ecclesiastico,
1688 F: mode ecclésiastique, mode d'église,
1693 FI: moodi, kirkkosävellaji.
1696 @ref{diatonic scale}.
1705 D: Schlüssel, Notenschlüssel,
1709 FI: avain, nuottiavain.
1711 The clef indicates which lines of the staff correspond to which
1712 pitches. The three clef symbols in common use are:
1717 \line { The Treble or G clef: }
1719 \line { The Bass or F clef: }
1721 \line { The Alto or C clef: }
1725 \musicglyph #"clefs.G"
1727 \musicglyph #"clefs.F"
1729 \musicglyph #"clefs.C"
1734 Imagine a large staff of 11 lines centered on middle C, sometimes
1735 called a @q{grand staff}, with the bottom line representing low G and
1736 the top line high F:
1741 %-- Note names above treble staff --%
1743 \set printOctaveNames = ##t
1745 \once \override NoteName #'color = #red
1749 %-- Treble Staff --%
1751 \override Staff.Clef #'stencil = ##f
1757 %-- Alto Staff reduced to a single line on middle C --%
1759 \override Staff.StaffSymbol #'line-count = #1
1760 \override Staff.StaffSymbol #'color = #red
1761 \override Staff.Clef #'stencil = ##f
1764 \override NoteHead #'color = #red
1770 \override Staff.Clef #'stencil = ##f
1779 \override SpacingSpanner
1780 #'base-shortest-duration = #(ly:make-moment 1 1)
1781 \override NonMusicalPaperColumn
1782 #'line-break-system-details = #'((alignment-distances . (3 3)))
1783 \override BarLine #'stencil = ##f
1787 \remove "Time_signature_engraver"
1793 Staves of five lines are usually used, and the clef superimposed on them
1794 indicates which five lines have been selected from this @notation{grand
1795 staff}. For example, the treble or G clef indicates that the top five lines
1801 %-- Note names above treble staff --%
1803 \set printOctaveNames = ##t
1805 \once \override NoteName #'color = #red
1810 %-- Treble Staff --%
1812 \once \override Staff.Clef #'stencil = ##f
1815 \override Staff.Clef #'full-size-change = ##t
1816 \set Staff.forceClef = ##t
1820 %-- Alto Staff reduced to a single line on middle C --%
1822 \override Staff.StaffSymbol #'line-count = #1
1823 \override Staff.StaffSymbol #'color = #red
1824 \override Staff.Clef #'stencil = ##f
1827 \override NoteHead #'color = #red
1832 \override Staff.Clef #'stencil = ##f
1840 \override SpacingSpanner
1841 #'base-shortest-duration = #(ly:make-moment 2 1)
1842 \override NonMusicalPaperColumn
1843 #'line-break-system-details = #'((alignment-distances . (3 3)))
1844 \override BarLine #'stencil = ##f
1848 \remove "Time_signature_engraver"
1854 The @q{curl} of the G clef is centered on the line that represents the
1857 In the same way, the bass or F clef indicates that the bottom five lines
1858 have been selected from the @notation{grand staff}, and the alto or C clef
1859 indicates the middle five lines have been selected. This relationship is
1860 shown below, where the notes show an arpeggio on a C major chord.
1865 %-- Treble Staff --%
1873 \override Staff.StaffSymbol #'line-count = #1
1874 \once \override Staff.Clef #'stencil = ##f
1879 \revert Staff.StaffSymbol #'stencil
1880 \override Staff.StaffSymbol #'color = #red
1883 \stopStaff \startStaff
1884 \revert Staff.StaffSymbol #'line-count
1885 \revert Staff.StaffSymbol #'color
1886 \stopStaff \startStaff
1887 \override Staff.Clef #'full-size-change = ##t
1888 \set Staff.forceClef = ##t
1903 \override SpacingSpanner #'base-shortest-duration =
1904 #(ly:make-moment 2 1)
1905 \override NonMusicalPaperColumn
1906 #'line-break-system-details = #'((alignment-distances . (3 3)))
1907 \override BarLine #'stencil = ##f
1911 \remove "Time_signature_engraver"
1918 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1931 FI: klusteri, cluster.
1933 A @emph{cluster} is a range of simultaneously sounding pitches that
1934 may change over time. The set of available pitches to apply usually
1935 depends on the acoustic source. Thus, in piano music, a cluster
1936 typically consists of a continuous range of the semitones as provided
1937 by the piano's fixed set of a chromatic scale. In choral music, each
1938 singer of the choir typically may sing an arbitrary pitch within the
1939 cluster's range that is not bound to any diatonic, chromatic or other
1940 scale. In electronic music, a cluster (theoretically) may even cover
1941 a continuous range of pitches, thus resulting in colored noise, such
1944 Clusters can be denoted in the context of ordinary staff notation by
1945 engraving simple geometrical shapes that replace ordinary notation of
1946 notes. Ordinary notes as musical events specify starting time and
1947 duration of pitches; however, the duration of a note is expressed by
1948 the shape of the note head rather than by the horizontal graphical
1949 extent of the note symbol. In contrast, the shape of a cluster
1950 geometrically describes the development of a range of pitches
1951 (vertical extent) over time (horizontal extent). Still, the
1952 geometrical shape of a cluster covers the area in which any single
1953 pitch contained in the cluster would be notated as an ordinary note.
1955 @lilypond[quote,relative=2]
1956 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1960 No cross-references.
1973 FI: komma, korvinkuultava ero äänenkorkeudessa.
1975 Difference in pitch between a note derived from pure tuning and the
1976 same note derived from some other tuning method.
1979 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1984 @section common meter
1986 Another name for @ref{common time}.
1989 @ref{common time}, @ref{meter}.
1993 @section common time
2004 4/4 time. The symbol, which resembles a capital letter C, comes from
2008 @ref{mensural notation}, @ref{meter}.
2014 ES: intervalo invertido,
2016 F: intervalle complémentaire,
2017 D: Komplementärintervall,
2018 NL: complementair interval,
2019 DK: komplementærinterval,
2020 S: komplementärintervall (?),
2021 FI: täydentävä intervalli.
2024 @ref{inverted interval}.
2027 @node compound interval
2028 @section compound interval
2030 ES: intervalo compuesto,
2031 I: intervallo composto,
2032 F: intervalle composé,
2033 D: weites Intervall,
2034 NL: samengesteld interval,
2035 DK: sammensat interval,
2036 S: sammansatt intervall,
2037 FI: oktaavia laajempi intervalli.
2039 Intervals larger than an octave.
2045 @node compound meter
2046 @section compound meter
2048 ES: compás compuesto, compás de subdivisión ternaria,
2055 FI: kolmijakoinen tahtilaji.
2057 A meter that includes a triplet subdivision within the beat, such as
2061 @ref{meter}, @ref{simple meter}.
2065 @section compound time
2067 ES: compás compuesto, compás de amalgama (def. 2),
2074 FI: yhdistetty tahtilajiosoitus.
2079 A meter that includes a triplet subdivision within the beat: see
2080 @ref{compound meter}.
2083 A time signature that additively combines two or more unequal meters, e.g.,
2084 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2088 @lilypond[quote,line-width=13.0\cm]
2089 #(define ((compound-time one two three num) grob)
2090 (grob-interpret-markup grob
2092 #:override '(baseline-skip . 0)
2095 #:left-column (one num)
2097 #:left-column (two num)
2099 #:left-column (three num)))))
2103 #(set-time-signature 8 8 '(3 2 3))
2104 \override Staff.TimeSignature #'stencil =
2105 #(compound-time "3" "2" "3" "8")
2113 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2117 @section concert pitch
2119 ES: en Do, tono de concierto,
2120 I: intonazione reale,
2121 F: tonalité de concert, en ut,
2126 FI: konserttikorkeus.
2128 The pitch at which the piano and other nontransposing instruments play: such
2129 instruments are said to be @q{in C}. The following list includes some (but not
2130 all) instruments that play in concert pitch:
2132 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2134 @multitable {bassoon} {violoncello}
2135 @headitem Woodwinds @tab Strings
2154 @ignore This needs to be reworked.
2155 The trombones are a special case: although they are said to be @q{in F} (alto or
2156 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2157 their parts' transposition. (In fact, the trombones' parts are written at
2158 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2159 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2163 Instruments that play @q{in C} but in a different octave than what is written
2164 are, technically speaking, @emph{transposing instruments}:
2168 @item piccolo (plays an octave higher than written)
2169 @item celesta (plays an octave higher than written)
2170 @item classical guitar (plays an octave lower than written)
2171 @item double bass (plays an octave lower than written)
2176 @ref{transposing instrument}.
2179 @node conjunct movement
2180 @section conjunct movement
2182 ES: movimiento conjunto,
2184 F: mouvement conjoint,
2185 D: schritt@-weise, stufenweise Bewegung,
2186 NL: stapsgewijze, trapsgewijze beweging,
2187 DK: trinvis bevægelse,
2189 FI: asteittainen liike.
2191 Progressing melodically by intervals of a second, as contrasted with
2192 @emph{disjunct movement}.
2194 @lilypond[quote,relative=2,line-width=13.0\cm]
2197 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2201 @ref{disjunct movement}.
2214 FI: konsonanssi, sopusointi.
2237 @section copying music
2239 A music copyist did fast freehand scores and parts on preprinted staff
2240 lines for performance. Some of their conventions (e.g., the placement
2241 of note heads on stems) varied slightly from those of engravers. Some
2242 of their working methods were superior and could well be adopted by
2245 @c Copying music required more skill than engraving. Flagged for NPOV
2248 No cross-references.
2252 @section counterpoint
2261 FI: kontrapunkti, ääni ääntä vastaan.
2263 From Latin @emph{punctus contra punctum}, note against note. The
2264 combination into a single musical fabric of lines or parts which have
2265 distinct melodic significance. A frequently used polyphonic technique
2266 is imitation, in its strictest form found in the canon needing only
2267 one part to be written down while the other parts are performed with a
2268 given displacement. Imitation is also the contrapuntal technique
2269 used in the @emph{fugue} which, since the music of the baroque era,
2270 has been one of the most popular polyphonic composition methods.
2272 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2274 \context Staff = SA \relative c' {
2278 << \context Voice = rha {
2280 r1 | r2 r8 g'8 bes d, |
2281 cis4 d r8 e!16 f g8 f16 e |
2282 f8 g16 a bes8 a16 g a8
2284 \context Voice = rhb {
2290 \context Staff = SB \relative c' {
2293 << \context Voice = lha {
2295 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2296 r8 a16 g f8 g16 a bes8 g e! cis' |
2299 \context Voice = lhb {
2308 No cross-references.
2312 @section countertenor
2317 D: Countertenor, Kontratenor,
2320 S: kontratenor, counter tenor,
2333 D: Crescendo, lauter werden,
2337 FI: cresendo, voimistuen.
2339 Increasing volume. Indicated by a rightwards opening horizontal wedge
2340 (hairpin) or the abbreviation @notation{cresc.}
2342 @lilypond[quote,relative=2]
2345 g4\< a b c | d1\! \bar "|."
2349 @ref{decrescendo}, @ref{hairpin}.
2357 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2364 Notes belonging to one part printed in another to hint when to start
2365 playing. Usually printed in a smaller type.
2368 Compare: @ref{ossia}.
2377 D: Notenzeiger, Custos,
2383 A custos (plural: custodes) is a staff symbol that appears at the end of a
2384 staff line with monophonic musical contents (i.e., with a single voice). It
2385 anticipates the pitch of the first note of the following line and thus helps
2386 the player or singer to manage line breaks during performance, which
2387 enhances the readability of a score.
2389 Custodes were frequently used in music notation until the 16th century.
2390 There were different appearences for different notation styles. Nowadays,
2391 they have survived only in special forms of musical notation such as the
2392 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2394 @lilypond[quote,ragged-right]
2397 \override Staff.Custos #'neutral-direction = #DOWN
2398 \override Staff.Custos #'style = #'hufnagel
2405 \consists "Custos_engraver"
2412 No cross-references.
2445 F: da capo, depuis le commencement,
2446 D: da capo, von Anfang,
2450 FI: da capo, alusta.
2452 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2453 the beginning to the end or to a certain place marked @emph{fine}.
2456 No cross-references.
2462 ES: dal niente, de la nada,
2469 FI: tyhjästä ilmaantuen.
2471 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2472 that the sound should gradually increase from nothing.
2483 F: dal segno, depuis le signe,
2484 D: dal segno, ab dem Zeichen,
2488 FI: dal segno, lähtien merkistä.
2490 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2491 another place frequently near the beginning marked by a sign
2494 @lilypond[quote,relative=2]
2502 \musicglyph #"scripts.segno"
2508 No cross-references.
2512 @section decrescendo
2516 D: Decrescendo, leiser werden,
2520 FI: decresendo, hiljentyen.
2522 Decreasing tone volume. Indicated by a leftwards opening horizontal
2523 wedge (hairpin) or the abbreviation @notation{decresc.}
2525 @lilypond[quote,relative=2]
2528 d4\> c b a | g1 \! \bar "|."
2532 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2535 @node descending interval
2536 @section descending interval
2538 ES: intervalo descendente,
2539 I: intervallo discendente,
2540 F: intervalle descendant,
2541 D: fallendes Intervall, absteigendes Intervall,
2542 NL: dalend interval,
2543 DK: faldende interval,
2544 S: fallande intervall,
2545 FI: laskeva intervalli.
2547 A distance between a starting higher note and a lower ending note.
2550 No cross-references.
2553 @node diatonic scale
2554 @section diatonic scale
2556 ES: escala diatónica,
2558 F: gamme diatonique,
2559 D: diatonische Tonleiter,
2560 NL: diatonische toonladder,
2561 DK: diatonisk skala,
2563 FI: diatoninen asteikko.
2565 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2566 played on the white keys of a piano keybord are diatonic. These scales
2567 are sometimes called, somewhat inaccurately, @q{church modes}).
2569 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2570 but also to some extent in newer jazz music.
2572 @lilypond[quote,notime,relative=1]
2576 e^"~~ S" f g a b^"~~ S" c
2584 @lilypond[quote,notime,relative=1]
2588 e^"~~ S" f g a b^"~~ S" c d
2596 @lilypond[quote,notime,relative=1]
2599 e1^"~~ S" f g a b^"~~ S" c d e
2607 @lilypond[quote,notime,relative=1]
2611 b^"~~ S" c d e^"~~ S" f
2619 @lilypond[quote,notime,relative=2]
2623 b^"~~ S" c d e^"~~ S" f g
2631 @lilypond[quote,notime,relative=2]
2635 b^"~~ S" c d e^"~~ S" f g a
2643 @lilypond[quote,notime,relative=2]
2646 b1^"~~ S" c d e^"~~ S" f g a b
2654 From the beginning of the 17th century the scales used in European
2655 compositional music are primarily the major and the minor scales. In
2656 the harmonic minor scale type an augmented second (A) occurs between
2657 the 6th and 7th tone.
2659 @lilypond[quote,notime,relative=1]
2663 e^"~~ S" f g a b^"~~ S" c
2671 @lilypond[quote,notime,relative=2]
2675 b^"~~ S" c d e^"~~ S" f g a
2678 "Ancient (or Natural) minor"
2683 @lilypond[quote,notime,relative=2]
2687 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2695 @lilypond[quote,notime,relative=2]
2699 b^"~~ S" c d e fis gis^"~~ S" a
2702 "Melodic minor ascending"
2707 @lilypond[quote,notime,relative=3]
2711 g! f!^"~~ S" e d c^"~~ S" b a
2714 "Melodic minor descending"
2720 @ref{semitone}, @ref{whole tone}.
2724 @section didymic comma
2727 @ref{syntonic comma}.
2730 @node diminished interval
2731 @section diminished interval
2733 ES: intervalo disminuido,
2734 I: intervallo diminuito,
2735 F: intervalle diminué,
2736 D: vermindertes Intervall,
2737 NL: verminderd interval,
2738 DK: formindsket interval,
2739 S: förminskat intervall,
2740 FI: vähennetty intervalli.
2751 F: diminuendo, en diminuant,
2756 FI: diminuendo, hiljentyen.
2758 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2774 FI: aika-arvojen tihennys.
2776 This is a stub for diminution (@emph{wrt} mensural notation).
2779 @ref{augmentation}, @ref{mensural notation}.
2798 @node disjunct movement
2799 @section disjunct movement
2801 ES: movimiento disjunto,
2803 F: mouvement disjoint,
2804 D: sprunghafte Bewegung,
2805 NL: sprongsgewijze beweging,
2806 DK: springende bevægelse,
2807 S: hoppande rörelse,
2808 FI: melodian hyppivä liike.
2810 Progressing melodically by intervals larger than a major second, as contrasted
2811 with conjunct movement.
2813 @lilypond[quote,relative=1]
2817 a4. gis8 b a e cis |
2823 @ref{conjunct movement}.
2829 Another name for @ref{dissonant interval}.
2832 @ref{dissonant interval}, @ref{harmony}.
2835 @node dissonant interval
2836 @section dissonant interval
2838 ES: intervalo disonante, disonancia,
2839 I: intervallo dissonante, dissonanza,
2840 F: intervalle dissonant, dissonance,
2842 NL: dissonant interval, dissonant,
2843 DK: dissonerende interval, dissonans,
2845 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2863 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2864 vertical stroke through part or all of the staff that serves to
2865 structure a chant into phrases and sections. There are four types:
2869 @item @emph{divisio minima}, a short pause
2871 @item @emph{divisio maior}, a medium pause
2873 @item @emph{divisio maxima}, a long pause
2875 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2876 section in a long antiphonal or responsorial chant.
2880 TODO: musical example here?
2883 No cross-references.
2889 ES: elevación [de tono],
2898 Indicator for a indeterminately rising pitch bend. Compare with
2899 @emph{glissando}, which has determinate starting and ending pitches.
2902 @ref{fall}, @ref{glissando}.
2915 FI: dominantti, huippusointu.
2917 The fifth @emph{scale degree} in @emph{functional harmony}.
2920 @ref{functional harmony}, @ref{scale degree}.
2923 @node dominant ninth chord
2924 @section dominant ninth chord
2926 ES: acorde de novena de dominante,
2927 I: accordo di nona di dominante,
2928 F: accord de neuvième de dominante,
2929 D: Domi@-nant@-nonen@-akkord,
2930 NL: dominant noon akkoord,
2931 DK: dominantnoneakkord,
2932 S: dominantnonackord,
2933 FI: dominanttinoonisointu.
2936 @ref{chord}, @ref{functional harmony}.
2939 @node dominant seventh chord
2940 @section dominant seventh chord
2942 ES: acorde de séptima de dominante,
2943 I: accordo di settima di dominante,
2944 F: accord de septième de dominante,
2945 D: Dominantseptakkord,
2946 NL: dominant septiem akkoord,
2947 DK: dominantseptimakkord,
2948 S: dominantseptimackord,
2949 FI: dominanttiseptimisointu.
2952 @ref{chord}, @ref{functional harmony}.
2956 @section dorian mode
2961 D: dorisch, dorischer Kirchenton,
2962 NL: dorische toonladder,
2968 @ref{diatonic scale}.
2971 @node dot (augmentation dot)
2972 @section dot (augmentation dot)
2975 I: punto (di valore),
2977 D: Punkt (Verlängerungspunkt),
2984 @ref{dotted note}, @ref{note value}.
2988 @section dotted note
2990 ES: nota con puntillo,
2994 NL: gepuncteerde noot,
2997 FI: pisteellinen nuotti.
3003 @node double appoggiatura
3004 @section double appoggiatura
3006 ES: apoyatura doble,
3007 I: appoggiatura doppia,
3008 F: appoggiature double,
3009 D: doppelter Vorschlag,
3010 NL: dubbele voorslag,
3011 DK: dobbelt forslag,
3013 FI: kaksoisappogiatura, kaksoisetuhele.
3019 @node double bar line
3020 @section double bar line
3026 NL: dubbele maatstreep,
3029 FI: kaksoistahtiviiva.
3031 Indicates the end of a section within a movement.
3034 No cross-references.
3037 @node double dotted note
3038 @section double dotted note
3040 ES: nota con doble puntillo,
3041 I: nota doppiamente puntata,
3042 F: note doublement pointée,
3043 D: doppelt punktierte Note,
3044 NL: dubbelgepuncteerde noot,
3045 DK: dob@-belt@-punk@-te@-ret node,
3046 S: dub@-bel@-punk@-te@-rad not,
3047 FI: kaksoispisteellinen nuotti.
3054 @section double flat
3063 FI: kaksoisalennusmerkki.
3070 @section double sharp
3072 ES: doble sostenido,
3077 DK: dob@-belt@-kryds,
3079 FI: kaksoisylennysmerkki.
3085 @node double time signature
3086 @section double time signature
3088 ES: compás polimétrico,
3095 FI: kaksois-aika-arvomerkintä.
3098 @ref{polymetric time signature}.
3102 @section double trill
3108 NL: dubbele triller,
3113 A simultaneous trill on two notes, usually in the distance of a third.
3116 No cross-references.
3120 @section duple meter
3124 F: métrique binaire,
3125 D: in zwei, grader Takt,
3126 NL: tweedelige maatsoort,
3161 FI: kesto, aika-arvo.
3170 ES: dinámica, matices,
3173 D: Dynamik, Lautstärke,
3177 FI: äänen voimakkuusvaihtelu, dynamiikka.
3179 The aspect of music relating to degrees of loudness, or changes from
3180 one degree to another. The terms, abbreviations, and symbols used to
3181 indicate this information are called dynamic marks.
3184 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3206 @node ecclesiastical mode
3207 @section ecclesiastical mode
3210 @ref{church mode}, @ref{diatonic scale}.
3214 @section eighth note
3221 @item D: Achtel, Achtelnote
3222 @item NL: achtste noot
3223 @item DK: ottendedelsnode
3224 @item S: åttondelsnot
3225 @item FI: kahdeksasosanuotti
3233 @section eighth rest
3236 @item UK: quaver rest
3237 @item ES: silencio de corchea
3238 @item I: pausa di croma
3239 @item F: demi-soupir
3240 @item D: Achtelpause
3241 @item NL: achtste rust
3242 @item DK: ottendedelspause
3243 @item S: åttonddelspaus
3244 @item FI: kahdeksasosatauko
3254 @c TODO: add languages
3263 FI: tavujen yhdistäminen yhteen ääneen.
3265 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3266 @emph{συναλοιφην} @q{to smear together}].
3268 The singing of several syllables on a single note. Elision may be indicated
3269 by a lyric tie, which looks like (and serves the same function) as a musical
3277 @section embellishment
3289 D: Notenstich, Notendruck
3295 Engraving means incising or etching a metal plate for printing.
3296 Photoengraving means drawing music with ink in a manner similar to
3297 drafting or engineering drawing, using similar tools.
3299 The traditional process of music printing is done through cutting in a
3300 plate of metal. Now also the term for the art of music typesetting.
3303 No cross-references.
3318 Two notes, intervals, or scales are enharmonic if they have different
3319 names but equal pitch.
3321 @lilypond[quote,notime,line-width=13.0\cm]
3325 gis1 as <des g,!> <cis g!>
3329 "g sharp " "a flat " "dim fifth " "augm fourth"
3335 No cross-references.
3338 @node equal temperament
3339 @section equal temperament
3341 ES: temperamento igual,
3342 I: temperamento equabile,
3343 F: tempérament égal,
3344 D: gleichschwebende Stimmung,
3345 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3346 DK: ligesvævende temperatur,
3347 S: liksvävande temperatur,
3350 A tuning system that divides the octave into 12 equal semitones (each of
3351 which is precisely equal to 100 cents).
3354 @ref{cent}, @ref{semitone}, @ref{temperament}.
3357 @node expression mark
3358 @section expression mark
3361 I: segno d'espressione,
3362 F: signe d'expression, indication de nuance,
3364 NL: voordrachtsteken,
3365 DK: foredragsbetegnelse,
3366 S: föredragsbeteckning,
3367 FI: nyanssiosoitus, esitysmerkki.
3369 Performance indications concerning:
3373 @item volume, dynamics (for example, @notation{forte},
3374 @notation{crescendo}),
3376 @item tempo (for example, @notation{andante}, @notation{allegro}).
3381 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3385 @section extender line
3387 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3388 I: linea di estensione,
3389 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3396 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3397 extends text (without indicating the musical @emph{function} of that text).
3399 Used in many contexts, for example:
3403 @item In vocal music to indicate the syllable for a melisma. Called
3404 @q{extension} in the
3405 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3409 In figured bass to indicate that:
3413 @item The extended note should be held through a change in harmony, when applied
3414 to one figure --OR--
3415 @item The chord thus represented should be held above a moving bass line, when
3416 applied to more than one figure.
3417 @item These uses were not completely standardized, and some composers used a
3418 single extender line to indicate the latter case.
3423 In string music to indicate that all notes in the passage thus indicated should
3424 be played on the same string. On the violin, for example, a series of notes to
3425 be played on the G string would be indicated @notation{sul G}, another series to be
3426 played on the D string would be indicated @notation{sul D}, and so on.
3429 With an octave mark to indicate that a passage is to be played higher or lower
3430 by the given number of octaves.
3435 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3436 @ref{octave marking}.
3469 The position between the dots of the key symbol is the line of the F
3470 below central@w{ }C. Used on the third, fourth and fifth note line.
3471 A digit@w{ }8 above the clef symbol indicates that the notes must be
3472 played an octave higher (for example, bass recorder) while 8@w{ }below
3473 the clef symbol indicates playing an octave lower (for example, on the
3476 @lilypond[quote,notime,line-width=13.0\cm]
3479 \override Staff.Clef #'full-size-change = ##t
3502 @ref{baritone clef}, @ref{strings}.
3508 ES: caída [de tono],
3517 Indicator for a indeterminately falling pitch bend. Compare with
3518 @emph{glissando}, which has determinate starting and ending pitches.
3521 @ref{doit}, @ref{glissando}.
3524 @node feathered beam
3525 @section feathered beam
3527 ES: barra progresiva,
3529 F: ligature en soufflet, lien de croches en soufflet,
3530 D: gespreizter Balken,
3536 A type of beam used to indicate that a small group of notes should be
3537 played at an increasing or decreasing tempo -- depending on the
3538 direction of @q{feathering} -- but without changing the overall tempo
3542 Internals Reference: @ruser{Manual beams}
3548 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3552 F: point d'orgue, point d'arrêt,
3557 FI: fermaatti, pidäke.
3559 Prolonged note or rest of indefinite duration.
3561 @lilypond[quote,relative=2]
3568 No cross-references.
3588 @section figured bass
3591 I: basso continuo, basso numerato,
3592 F: basse chiffrée, basse continue,
3593 D: Generalbass, bezifferter Bass,
3594 NL: basso continuo, becijferde bas
3597 FI: kenraalibasso, numeroitu basso.
3599 Also called @q{thorough bass}.
3601 A method of indicating an accompaniment part by the bass notes only,
3602 together with figures designating the chief intervals and chords to be
3603 played above the bass notes.
3605 @lilypond[quote,line-width=13.0\cm]
3607 \new Staff = "rh" \with {
3609 \override StaffSymbol #'staff-space = #(magstep -3)
3615 \context Voice = "rha" {
3620 \context Voice = "rhb" {
3622 <bes g>8 as <as f> g <g es> f <d f> es
3627 \new Staff = "lh" \relative c' {
3630 es8 c d bes c as bes16 as g f
3634 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3640 @ref{chord}, @ref{interval}.
3655 Figures to the side or above the note that methodically indicate which
3656 fingers to use while playing a passage.
3659 No cross-references.
3666 I: coda (uncinata), bandiera,
3674 Ornament at the end of the stem of a note used for notes with values less
3675 than a quarter note. The number of flags determines the note value.
3677 @lilypond[quote,notime,relative=2]
3700 An articulation for string players that means the note or passage is to
3701 be played in harmonics.
3707 @item A duct flute similar to the recorder.
3709 @item An organ stop of flute scale at 1' or 2' pitch.
3714 @ref{articulation}, @ref{harmonics}.
3750 FI: forte, voimakkaasti.
3754 Abbreviated @notation{@b{f}}. Variants include:
3757 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3758 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3762 No cross-references.
3781 @node Frenched score
3782 @section Frenched score
3784 ES: partitura a la francesa,
3791 FI: partituuri francesan tapaan.
3793 A @q{condensed} score, produced by omitting staves for instruments that are not
3794 playing at the moment, and by moving up additional systems from following pages
3795 to take up the space thus liberated, which reduces the total number of pages
3796 used to print the work.
3798 The specific rules for @q{frenching} a score differ from publisher to publisher.
3799 If you are producing scores for eventual publication by a commercial publisher,
3800 you may wish to procure a copy of their style manual.
3803 @ref{Frenched staff}.
3806 @node Frenched staff
3807 @section Frenched staff
3809 ES: pentagrama a la francesa,
3816 FI: karsittu nuotinnus.
3818 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3819 Frenched staff has unneeded measures or sections removed. This is useful
3820 for producing, for example, an @emph{ossia} staff.
3826 @node Frenched staves
3827 @section Frenched staves
3829 Plural of @ref{Frenched staff}.
3848 @node functional harmony
3849 @section functional harmony
3851 ES: armonía funcional,
3852 I: armonia funzionale,
3853 F: étude des functions,
3855 NL: functionele harmonie,
3856 DK: funktionsanalyse, funktionsharmonik,
3858 FI: harmoniajärjestelmä.
3860 A system of harmonic analysis.
3862 It is based on the idea that, in a given key, there are only three
3863 functionally different chords: tonic (T, the chord on the first note of the
3864 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3865 chord on the fifth note). Others are considered to be variants of the base
3868 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3870 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3873 <g e c>1 <a f d> <b g e>
3874 <c a f> <d b g> <e c a> <f d b>
3878 \markup { D \translate #'(-2 . 0) | }
3884 No cross-references.
3911 D: G-Schlüssel, Violinschlüssel,
3917 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3918 second note lines. A digit 8 above the clef symbol indicates that the notes
3919 must be played an octave higher while 8 below the clef symbol indicates
3920 playing or singing an octave lower (used most frequently to notate the tenor
3921 part in modern choral scores).
3923 @lilypond[quote,notime]
3925 \override Staff.Clef #'full-size-change = ##t
3926 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3937 "french violin clef"
3945 No cross-references.
3958 FI: glissando, liukuen.
3960 Letting the pitch slide fluently from one note to the other.
3963 No cross-references.
3967 @section grace notes
3969 ES: notas de adorno,
3971 F: ornement, fioriture,
3972 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3978 Notes printed in small types to indicate that their time values are not
3979 counted in the rhythm of the bar.
3982 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3987 @section grand staff
3989 ES: sistema de piano,
3991 F: système [de portées], accolade,
3992 D: Akkolade, Klaviersystem,
3995 S: ackolad, böjd klammer,
3996 FI: kaksoisnuottiviivasto.
3998 A combination of two staves with a brace. Usually used for piano music.
4014 FI: grave, raskaasti.
4016 [Italian] Slow, solemn.
4019 No cross-references.
4043 Letter name used for @notation{B natural} in German and Scandinavian
4044 usage. In the standard usage of these countries, @notation{B} means
4048 @ref{Pitch names}, @ref{B}.
4054 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4057 @lilypond[quote,relative=2]
4064 @ref{crescendo}, @ref{decrescendo}.
4075 @item D: Halbe, halbe Note,
4076 @item NL: halve noot,
4079 @item FI: puolinuotti.
4090 @item UK: minim rest,
4091 @item ES: silencio de blanca,
4092 @item I: pausa di minima,
4093 @item F: demi-pause,
4094 @item D: halbe Pause,
4095 @item NL: halve, rust,
4096 @item DK: halvnodespause,
4098 @item FI: puolitauko.
4105 @node harmonic cadence
4106 @section harmonic cadence
4108 ES: cadencia (armónica),
4109 I: cadenza (armonica),
4110 F: cadence harmonique,
4112 NL: harmonische cadens,
4113 DK: harmonisk kadence,
4114 S: (harmonisk) kadens,
4115 FI: harmoninen kadenssi.
4117 A sequence of chords that terminates a musical phrase or section.
4121 \context Staff = "SA" \relative c'' {
4124 \partial 4 <c g e>4 |
4125 <c a f> <b g d> <c g e>2
4128 \context Staff = "SB" \relative c {
4130 \partial 4 c4 | f, g c2
4142 @ref{functional harmony}.
4148 ES: armónicos, sonidos aflautados,
4150 F: flageolet, sons harmoniques,
4155 FI: harmoniset äänet, huiluäänet.
4157 The general class of pitches produced by sounding the second or higher
4158 harmonic of a tone producer: string, column of air, and so on.
4160 On stringed instruments, these pitches sound rather flute-like; hence,
4161 their name in languages other than English. They are produced by
4162 lightly touching the string at a node for the desired mode of vibration
4163 while it is being bowed or plucked.
4165 For instruments of the violin family, there are two types of harmonics:
4166 natural harmonics, which are those played on the open string; and
4167 artificial harmonics, which are produced on stopped strings.
4170 No cross-references.
4179 D: Harmonie, Zusammenklang,
4183 FI: harmonia, yhteissointi.
4185 Tones sounding simultaneously. Two note harmonies fall into the
4186 categories @emph{consonances} and @emph{dissonances}.
4190 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4202 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4203 <g a>1_"second " s s
4204 <g f'>_"seventh " s s
4208 For harmony that uses three or more notes, see @ref{chord}.
4218 I: emiolia, (rarely hemiola or emiola),
4226 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4228 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4229 time normally occupied by two. The resulting rhythm can be expressed in modern
4230 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4231 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4232 as a special effect (or @emph{affect}) at cadences.
4234 For example, this phrase in 6/4 time
4236 @lilypond[quote,relative=1,line-width=13.0\cm]
4239 c2. e | d2 c d | c1. \bar "||"
4242 may be thought of having alternating time signatures
4244 @lilypond[quote,relative=1,line-width=13.0\cm]
4254 and is therefore a polymeter (second definition) of considerable antiquity.
4257 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4270 FI: homofonia, yksiäänisyys.
4272 Music in which one voice leads melodically supported by the other voices in
4273 the same rhythm (more or less). In contrast to @emph{polyphony}.
4296 FI: säkeiden tavumäärät.
4298 A group or list of numbers that indicate the number of syllables in a line
4299 of a hymn's verse. Different hymnals have different ways of noting the hymn
4300 meter: for example, consider a hymn that has four lines in two couplets
4301 alternating regularly between eight and seven syllables. The @emph{English
4302 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4303 or 8@w{ }7@w{ }8@w{ }7.
4305 Some frequently-used hymn meters have traditional names:
4308 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4309 @item 86.86 is called Common Meter (CM or C.M.)
4310 @item 88.88 is called Long Meter (LM or L.M.)
4313 Some hymns and their tunes are doubled versions of a simpler meter: for
4314 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4315 87.87D. The traditional names above also have doubled versions:
4318 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4319 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4320 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4324 No cross-references.
4337 FI: intervalli, kahden sävelen korkeusero.
4339 Difference in pitch between two notes. Intervals may be diminished, minor,
4340 perfect, major, or augmented. The augmented fourth and the diminished fifth
4341 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4342 and are called @emph{tritonus} because they consist of three whole tones.
4343 The addition of such two intervals forms an octave.
4345 @lilypond[quote,notime,line-width=13.0\cm]
4347 \context Voice \relative c'' {
4384 \context Lyrics \lyrics {
4386 "second " "second " "second " "second "
4387 "third " "third " "third " "third "
4388 "fourth " "fourth " "fourth "
4389 "fifth " "fifth " "fifth "
4390 "sixth " "sixth " "sixth " "sixth "
4391 "seventh" "seventh" "seventh" "seventh"
4392 "octave " "octave " "octave "
4398 @ref{enharmonic}, @ref{whole tone}.
4413 When a chord sounds with a bass note that differs from the root of the
4414 chord, it is said to be @emph{inverted}. The number of inversions that a
4415 chord can have is one fewer than the number of constituent notes. For
4416 example, triads (which have three constituent notes) can have three
4417 positions, two of which are inversions:
4421 The root note is in the bass, and above that are the third and the fifth. A
4422 triad built on the first scale degree, for example, is marked @notation{I}.
4424 @item First inversion
4425 The third is in the bass, and above it are the fifth and the root. This
4426 creates an interval of a sixth and a third above the bass note, and so is
4427 marked in figured Roman notation as @notation{6/3}. This is commonly
4428 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4429 characteristic interval of the inversion, and so always implies
4432 @item Second inversion
4433 The fifth is in the bass, and above it are the root and the third. This
4434 creates an interval of a sixth and a fourth above the bass note, and so is
4435 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4436 unstable chord position.
4440 No cross-references.
4443 @node inverted interval
4444 @section inverted interval
4446 ES: intervalo invertido,
4447 I: intervallo rivolto,
4448 F: intervalle renversé,
4449 D: umgekehrtes Intervall,
4450 NL: interval inversie,
4451 DK: omvendingsinterval,
4452 S: intervallets omvändning,
4453 FI: käänteisintervalli.
4455 The difference between an interval and an octave.
4457 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4458 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4459 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4460 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4464 No cross-references.
4467 @node just intonation
4468 @section just intonation
4470 ES: entonación justa,
4471 I: intonazione giusta,
4472 F: intonation juste,
4479 Tuning system in which the notes are obtained by adding and subtracting
4480 natural fifths and thirds.
4498 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4499 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4502 @ref{chromatic scale}, @ref{key signature}.
4506 @section key signature
4508 ES: armadura (de la clave),
4509 I: armatura di chiave,
4510 F: armure, armature [de la clé],
4511 D: Vorzeichen, Tonart,
4512 NL: toon@-soort (voortekens),
4515 FI: sävellajiosoitus.
4517 The sharps or flats appearing at the beginning of each staff indicating the
4524 @node laissez vibrer
4525 @section laissez vibrer
4536 [French: @q{Let vibrate}] Most frequently associated with harp
4537 parts. Marked @notation{l.v.} in the score.
4540 No cross-references.
4548 F: largo, large, ample,
4549 D: Largo, Langsam, Breit,
4553 FI: largo, hitaasti, leveästi.
4555 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4556 expressiveness. @emph{Larghetto} is less slow than largo.
4560 @section leading note
4571 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4572 called because of its strong tendency to @q{lead up} (resolve upwards)
4573 to the tonic scale degree.
4576 @ref{scale degree}, @ref{semitone}.
4580 @section ledger line
4582 ES: línea adicional,
4583 I: tagli addizionali,
4584 F: ligne supplémentaire,
4591 A ledger line is an extension of the staff.
4593 @lilypond[quote,notime,relative=2]
4600 No cross-references.
4609 D: legato, gebunden,
4615 To be performed (a) without any perceptible interruption between the
4616 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4617 @notation{portato}, or (d) @notation{staccato}.
4619 @lilypond[quote,notime,line-width=13.0\cm]
4621 \context Staff \relative c'' {
4622 c4-( d e-) \bar "||"
4623 c4-- d-- e-- \bar "||"
4624 c4-.-( d-. e-.-) \bar "||"
4625 c4-. d-. e-. \bar "||"
4641 @section legato curve
4644 @ref{slur}, @ref{legato}.
4666 A ligature is a coherent graphical symbol that represents at least two
4667 distinct notes. Ligatures originally appeared in the manuscripts of
4668 Gregorian chant notation around the 9th century to denote ascending or
4669 descending sequences of notes. In early notation, ligatures were used for
4670 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4671 performance in the sense of articulation. With the invention of the metric
4672 system of the white mensural notation, the need for ligatures to denote such
4673 patterns disappeared.
4676 @ref{mensural notation}.
4683 ES: estanque de nenúfares,
4684 I: stagno del giglio,
4685 F: étang de nénuphars, étang de nymphéas,
4687 NL: le@-lie@-vij@-ver,
4692 A pond with lilies floating in it.
4694 Also, the name of a music typesetting program.
4697 No cross-references.
4706 D: Linie, Notenlinie,
4710 FI: viiva, nuottiviiva.
4726 FI: kirjoitetussa äänenkorkeudessa.
4728 [Italian: @q{place}] Instruction to play the following passage at the
4729 written pitch. Cancels octave mark (q.v.).
4732 @ref{octave mark}, @ref{octave marking}.
4735 @node long appoggiatura
4736 @section long appoggiatura
4738 ES: apoyatura larga,
4739 I: appoggiatura lunga,
4740 F: appoggiature longue,
4745 FI: pitkä appoggiatura, pitkä etuhele.
4755 @item US: long, longa,
4758 @item F: longa, longue,
4766 Note value: twice the length of a @notation{breve}.
4768 @lilypond[quote,notime,relative=2]
4769 \override NoteHead #'style = #'mensural
4774 @ref{breve}, @ref{note value}.
4780 ES: ligadura de letra,
4782 F: ligature de mots,
4787 FI: sidonta sanoituksessa.
4789 @c TODO: add languages
4798 ES: letra (de la canción),
4801 D: Liedtext, Gesangtext,
4810 No cross-references.
4826 @ref{diatonic scale}.
4829 @node major interval
4830 @section major interval
4832 ES: intervalo mayor,
4833 I: intervallo maggiore,
4834 F: intervalle majeur,
4835 D: großes Intervall,
4839 FI: suuri intervalli.
4857 Note value: twice the length of a @notation{longa}.
4859 The maxima is the largest duration in use during the 15th and 16th centuries.
4860 Like the longa, the maxima can be either two or three times as long as the
4861 @notation{longa} (called @notation{binary} and @notation{ternary},
4862 respectively). By the late 15th century, most composers used the smaller
4863 proportion by default.
4866 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4869 @node meantone temperament
4870 @section meantone temperament
4872 ES: afinación mesotónica,
4873 I: accordatura mesotonica,
4874 F: tempérament mésotonique,
4875 D: mitteltönige Stimmung,
4876 NL: middenstemming, middentoonstemming,
4877 DK: middeltonetemperatur,
4878 S: medeltonstemperatur,
4879 FI: keskisävelviritys.
4881 Temperament yielding acoustically pure thirds by decreasing the natural
4882 fifth by 16@w{ }cents. Due to the non-circular character of this
4883 temperament only a limited set of keys are playable. Used for tuning
4884 keyboard instruments for performance of pre-1650 music.
4887 @ref{cent}, @ref{temperament}.
4902 A group of beats (units of musical time) the first of which bears an accent.
4903 Such groups in numbers of two or more recur consistently throughout the
4904 composition and are separated from each other by bar lines.
4907 @ref{bar line}, @ref{beat}, @ref{meter}.
4910 @node measure repeat
4911 @section measure repeat
4914 @ref{percent repeat}.
4921 I: mediante, modale,
4931 @item The third @b{scale degree}.
4933 @item A @emph{chord} having its base tone a third from that of another
4934 chord. For example, the tonic chord may be replaced by its lower
4935 mediant (variant tonic).
4940 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4953 FI: melisma, laulettavan tavun sävelkuvio.
4955 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4956 on one syllable, especially as applied to liturgical chant.
4959 No cross-references.
4963 @section melisma line
4965 @c TODO: add languages
4967 ES: línea de melisma,
4968 I: linea del melisma,
4969 F: trait de mélisme, trait de tenue,
4977 @ref{extender line}.
4980 @node melodic cadence
4981 @section melodic cadence
4987 @node mensural notation
4988 @section mensural notation
4990 @c TODO: add languages
4992 ES: notación mensural,
4993 I: notazione mensurale,
4994 F: notation mensurale,
4999 FI: mensuraalinuotinnus.
5001 A system of duration notation whose principles were first established in the
5002 mid-13th century, and that (with various changes) remained in use until about
5003 1600. As such, it is the basis for the notation of rhythms in Western musical
5006 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5007 of the notation's principles, so the notation of this earliest period is called
5008 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5009 and semibreve -- each of which was normally equivalent to three of the next
5012 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5013 added several note values (the minim, semiminim and fusa) and extended Franco's
5014 principles to govern the relationship between these values. They also put the
5015 duple division of note values on an equal footing with the earlier (preferred)
5018 TODO: continue description of French and Italian black notation, and the
5019 relationship betwixt them.
5021 @b{White or void mensural notation}
5023 In the 15th century, hollow (or void) notes began to substitute for the earlier
5024 solid black ones, which were then free to assume the function of red (or
5025 colored) notes in the earlier notation. ...
5027 TODO: add to definition (including summary info on proportional notation)
5030 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5031 @c TODO: more cross-references?
5034 @node mensuration sign
5035 @section mensuration sign
5037 @c TODO: add languages
5039 ES: signo de mensuración,
5041 F: signe de mensuration,
5048 The ancestor of the time signature, mensuration signs were used to indicate the
5049 relationship between two sets of note durations—specifically, the ratio of
5050 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5051 (called @notation{prolatio}).
5053 Each ratio was represented with a single single sign, and was either
5054 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5055 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5056 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5057 represented by a complete circle; applied to the @emph{prolatio}, it was called
5058 @emph{major} and was represented by a dot in the middle of the sign. The binary
5059 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5060 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5061 @emph{minor} and was represented by the lack of an internal dot. There are four
5062 possible combinations, which can be represented in modern time signatures with
5063 and without reduction of note values. (These signs are hard-coded in LilyPond
5067 @item perfect @emph{tempus} with major @emph{prolatio}
5068 Indicated by a complete circle with an internal dot. In modern time signatures,
5071 @item 9/4, with reduction or
5072 @item 9/2, without reduction
5075 @item perfect @emph{tempus} and minor @emph{prolatio}
5076 Indicated by a complete circle without an internal dot. In modern time
5077 signatures, this equals:
5079 @item 3/2, with reduction or
5080 @item 3/1, without reduction
5083 @item imperfect @emph{tempus} and major @emph{prolatio}
5084 Indicated by an incomplete circle with an internal dot. In modern time
5085 signatures, this equals:
5087 @item 6/4, with reduction or
5088 @item 6/2, without reduction
5091 @item imperfect @emph{tempus} and minor @emph{prolatio}
5092 Indicated by an incomplete circle without an internal dot. In modern time
5093 signatures, this equals:
5095 @item 4/4, with reduction or
5096 @item 2/1, without reduction
5100 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5101 with note values reduced from the original semibreve to a modern quarter note.
5102 Being doubly imperfect, this sign represented the (theoretically)
5103 least-preferred mensuration, but it was actually used fairly often.
5105 This system extended to the ratio of longer note values to each other:
5109 @item maxima to longa, called:
5113 @item @notation{modus maximorum},
5114 @item @notation{modus major}, or
5115 @item @notation{maximodus})
5119 @item longa to breve, called:
5123 @item @notation{modus longarum},
5124 @item @notation{modus minor}, or
5125 @item @notation{modus}
5131 In the absence of any other indication, these modes were assumed to be
5132 binary. The mensuration signs only indicated tempus and prolatio, so
5133 composers needed another way to indicate these longer ratios (called modes.
5134 Around the middle of the 15th century started to use groups of rests at the
5135 beginning of the staff, preceding the mensuration sign.
5138 Two mensuration signs have survived to the present day: the C-shaped sign,
5139 which originally designated @notation{tempus imperfectum} and
5140 @notation{prolatio minor} now stands for @notation{common time}; and the
5141 slashed C, which designated the same with @notation{diminution} now stands
5142 for @notation{cut time} (essentially, it has not lost its original meaning).
5145 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5146 @c TODO: more cross-references?
5154 F: indication de mesure, mesure,
5161 The pattern of note values and accents in a composition or a section thereof.
5162 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5163 by grouping beats and by subdividing the primary beat.
5165 @b{By grouping beats}:
5169 @item @b{duple}: groups of two.
5170 @item @b{triple}: groups of three.
5171 @item @b{quadruple}: groups of four. A special case of duple meter.
5172 @item @b{quintuple}: groups of five beats.
5173 @item @b{sextuple} meter: groups of six. A special case of:
5177 @item duple meter, subdivided in three; or
5178 @item triple meter, subdivided in two.
5182 @item @b{septuple} meter: groups of seven.
5187 Other than triple meter and its subdivided variants (see below), meters that
5188 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5189 frequently used prior to the 20th Century.
5191 @b{By subdividing the primary beat}:
5195 @item simple: subdivided in groups of two.
5199 @item duple: 2/2, 2/4, 2/8
5200 @item triple: 3/2, 3/4, 3/8
5201 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5205 @item compound: subdivided in groups of three.
5211 @item quadruple: 12/8
5217 Time signatures are placed at the beginning of a composition (or section) to
5218 indicate the meter. For instance, a piece written in simple triple meter with a
5219 beat on each quarter note is conventionally written with a time signature of
5220 3/4. Here are some combinations of the two classifications above:
5222 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5224 @lilypond[quote,line-width=13.0\cm]
5228 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5231 Simple triple meter:
5233 @lilypond[quote,line-width=13.0\cm]
5237 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5240 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5242 @lilypond[quote,line-width=13.0\cm]
5246 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5249 Simple quintuple meter (B. Marcello, 1686-1739):
5251 @lilypond[quote,line-width=13.0\cm]
5255 r4 cis8 bis ais4 dis c8 ais |
5256 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5259 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5260 the source, with sharps in the accompaniment where the voice has flats and
5263 Compound duple meter (unknown):
5265 @lilypond[quote,line-width=13.0\cm]
5269 f8 f g a bes16 a g f |
5270 g8 g bes a c16 a bes g
5274 Compound triple meter (J.S. Bach, 1685-1750):
5276 @lilypond[quote,line-width=13.0\cm]
5280 r8 g'( a) b( d c) c( e d) |
5281 d( g fis) g( d b) g( a b)
5285 Compound quadruple meter (P. Yon, 1886-1943):
5287 @lilypond[quote,line-width=13.0\cm]
5291 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5292 e4 e8 fis( gis) a b4.~ b4 b8
5297 @b{@q{Monometer} vs Polymeter}
5299 TODO: add information from discussion on lilypond-user related to polymeter.
5303 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5318 Device used to indicate the exact tempo of a piece.
5320 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5321 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5322 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5323 followed acknowledged Winkler as the creator, but by then Mälzel had already
5324 sold many of them, and people had taken to calling it a Mälzel Metronome.
5327 @ref{metronome mark}.
5330 @node metronome mark
5331 @section metronome mark
5333 ES: indicación metronómica,
5334 I: indicazione metronomica,
5335 F: indication métronomique,
5337 NL: metronoom aanduiding,
5339 S: metronomangivelse,
5340 FI: metronomiosoitus.
5342 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5343 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5350 @node metronomic indication
5351 @section metronomic indication
5354 @ref{metronome mark}
5367 FI: kohtalaisen, melko.
5369 [Italian: @q{medium}]
5371 Used to qualify other indications, such as:
5377 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5379 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5385 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5392 No cross-references.
5396 @section mezzo-soprano
5407 The female voice between soprano and contralto.
5410 @ref{soprano}, @ref{contralto}.
5419 D: eingestrichenes@w{ }c,
5421 DK: enstreget@w{ }c,
5422 S: ettstruket@w{ }c,
5425 First C below the 440 Hz A.
5427 @lilypond[quote,notime,relative=1]
5428 \override Staff.Clef #'full-size-change = ##t
5435 No cross-references.
5451 @ref{diatonic scale}.
5454 @node minor interval
5455 @section minor interval
5457 ES: intervalo menor,
5458 I: intervallo minore,
5459 F: intervalle mineur,
5460 D: kleines Intervall,
5464 FI: pieni intervalli.
5470 @node mixolydian mode
5471 @section mixolydian mode
5474 @ref{diatonic scale}.
5483 D: Kirchentonart, Modus,
5487 FI: moodi, kirkkosävelasteikko.
5490 @ref{church mode}, @ref{diatonic scale}.
5503 FI: modulaatio, sävellajin vaihdos.
5505 Moving from one @ref{key} to another. For example, the second subject
5506 of a @ref{sonata form} movement modulates to the dominant key if the
5507 key is major and to the @ref{relative key} if the key is minor.
5510 No cross-references.
5522 FI: mordent, korukuvio.
5545 FI: teema, sävelaihe.
5547 The briefest intelligible and self-contained fragment of a musical
5550 @lilypond[quote,line-width=13.0\cm]
5553 \set Score.implicitTimeSignatureVisibility = #all-invisible
5554 \override Score.TimeSignature #'break-visibility = #all-invisible
5557 \partial 8 g16\startGroup fis |
5558 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5559 g8 g,16 a b8 cis d16 s
5563 \Staff \consists "Horizontal_bracket_engraver"
5569 No cross-references.
5584 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5585 several -- more or less -- independent pieces called movements.
5588 No cross-references.
5591 @node multi-measure rest
5592 @section multi-measure rest
5594 ES: compases de espera, silencio multicompás,
5596 F: pause multiple, mesure à compter,
5598 D: mehrtaktige Pause, Kirchenpause,
5601 FI: usean tahdin mittainen tauko.
5603 Multi-measure rests are conventionally typeset with a combination of
5604 longa, breve and whole rests for shorter and a long horizontal bar for
5605 longer spans of rest, with a number above to indicate the duration (in
5606 measures) of the rest. The former style is called @q{Kirchenpausen} in
5607 German, as a reminiscence of its use in Renaissance vocal polyphony.
5609 @lilypond[quote,relative=2]
5611 \set Score.skipBars = ##t
5614 \set Score.skipBars = ##t
5620 @ref{longa}, @ref{breve}.
5629 D: Auflösungszeichen,
5630 NL: herstellingsteken,
5631 DK: op@-løsningstegn,
5632 S: återställningstecken,
5639 @node neighbor tones
5640 @section neighbor tones
5642 @c TODO: add definition.
5654 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5693 Notes are signs by means of which music is fixed in writing. The term is also
5694 used for the sound indicated by a note, and even for the key of the piano
5695 which produces the sound. However, a clear distinction between the terms tone
5696 and @ref{note} is strongly recommended. Briefly, one sees a note,
5700 No cross-references.
5707 I: testa, testina, capocchia,
5715 A head-like sign which indicates pitch by its position on a @notation{staff}
5716 provided with a @notation{clef}, and duration by a variety of shapes such as
5717 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5718 For percussion instruments (often having no defined pitch) the note head may
5719 indicate the instrument.
5722 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5735 ES: valor, duración,
5737 F: durée, valeur (d'une note),
5742 FI: nuotin aika-arvo.
5744 Note values (durations) are measured as fractions—in modern usage, one-half—of
5745 the next higher note value. The longest duration in current use is the
5746 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5747 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5748 or @notation{maxima} (eight whole notes) may be found.
5750 As used in mensural notation, this fraction was more flexible: it could also
5751 be one-third the higher note value. Composers indicated which proportions
5752 to use with various signs—two of which survive to the present day: the
5753 C-shaped sign for @notation{common time}, and the slashed C for
5754 @notation{alla breve} or @notation{cut time}.
5756 @c TODO -- add maxima to this example, in a way that doesn't break it.
5758 @lilypond[quote,notime,line-width=13.0\cm]
5760 \override NoteHead #'style = #'mensural
5761 a\longa_"longa" a\breve_"breve"
5762 \revert NoteHead #'style
5763 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5764 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5767 @c TODO -- add maxima rest to this example
5769 @lilypond[quote,notime,line-width=13.0\cm]
5771 r\longa_"longa" r\breve_"breve"
5772 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5773 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5776 An augmentation dot after a note increases its duration by half; a second dot
5777 increases it by half of the first addition (that is, by a fourth of the original
5778 duration). More dots can be used to add further halved fractions of the
5779 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5781 @lilypond[quote,line-width=13.0\cm]
5784 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5785 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5788 Alternatively note values may be subdivided by other ratios. Most common is
5789 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5790 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5791 dotted notes are also frequently used.
5793 @lilypond[quote,line-width=13.0\cm]
5796 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5797 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5801 @lilypond[quote,line-width=13.0\cm]
5804 \times 3/2 {g4_"duplets" g} |
5806 \times 6/4 {g8_"quadruplets" g g g} |
5807 g8 g g g g4 \bar "||"
5819 @ref{octave marking}.
5834 The interval of an octave, sometimes abbreviated @notation{8ve}.
5836 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5837 bracket, or @notation{loco} see octave marking.
5840 @ref{interval}, @ref{octave marking}.
5844 @section octave mark
5846 ES: indicación de octava,
5848 F: indication d'octave,
5855 The phrase, abbreviation, or other mark used (with or without an extender line
5856 or bracket) to indicate that the music is to be played in a different octave:
5860 @item @notation{15ma}: play two octaves higher
5861 @item @notation{8va}: play one octave higher
5862 @item @notation{8vb}: play one octave lower
5863 @item @notation{8va} (written below the passage): unusual, same as
5865 @item @notation{15vb}: play two octaves lower
5866 @item @notation{15va} (written below the passage): unusual, same as
5871 For longer passages, it may be more practical to mark the octave change at the
5872 beginning with a phrase (see the list below for examples), but without a bracket
5873 or extender line. Then, when the music returns to the written pitch, the octave
5874 change is cancelled with the word @notation{loco} (q.v.).
5876 To parallel the list above:
5880 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5881 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5882 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5883 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5887 In the phrases above, @notation{quindicesima} is sometimes replaced with
5888 @notation{quindecima}, which is Latin.
5890 The music on an entire staff can be marked to be played in a different octave by
5891 putting a small 8 or 15 above or below the clef at the beginning. This octave
5892 mark can be applied to any clef, but it is most frequently used with the G and F
5896 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5899 @node octave marking
5900 @section octave marking
5909 FI: oktaavamerkintä.
5911 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5912 that it is to be played in a different octave. If applied to the clef at the
5913 beginning of the staff, all music on that staff is to played at the indicated
5916 For a list of the specific marks used, see @ref{octave mark}.
5919 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5923 @section octave sign
5933 I: abbellimento, fioriture,
5934 F: agrément, ornement,
5935 D: Verzierung, Ornament,
5941 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5942 with the diatonic @ref{second} above it. In the music from the
5943 middle of the 19th century and onwards the trill is performed with the main
5944 note first while in the music from the preceding baroque and classic periods
5945 the upper note is played first.
5947 @lilypond[quote,line-width=13.0\cm]
5949 \context Staff = sa {
5951 c2._"pre-1850" b4\trill | c1 \bar "||"
5952 c2._"post-1850" b4\trill | c1 \bar "||"
5956 c2. c32 b c b c b c b | c1
5957 c2. b32 c b c \times 4/5 { b c b c b } | c1
5962 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5963 the @emph{prall} (inverted mordent).
5965 @lilypond[quote,line-width=13.0\cm]
5967 \context Staff = sa {
5969 a4_"turn" b\turn c2 \bar "||"
5970 g4_"mordent" a b\mordent a \bar "||"
5971 e'4_"prall" d\prall c2 \bar "||"
5977 e'4 e32[ d e d ~ d8] c2
5983 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5991 F: ossia, alternative,
5996 FI: ossia, vaihtoehtoinen esitystapa.
5998 Ossia (otherwise) marks an alternative. It is an added staff or piano
5999 score, usually only a few measures long, which presents another version
6000 of the music, for example for small hands.
6003 Compare: @ref{cue-notes}.
6009 ES: parte, particella,
6016 FI: stemma, instrumenttiosuus.
6020 @item In instrumental or choral music, the music for a single
6021 instrument or voice.
6023 @item in contrapuntal music, a single melodic line in the contrapuntal
6046 @node percent repeat
6047 @section percent repeat
6049 LilyPond-specific term to indicate the repetition of a musical expression on a
6050 single staff, as opposed to the more usual definition of repeat, which affects
6051 all parts. The musical expression can be anything from a single note or note
6052 pattern to one or more measures. There are other names for this symbol:
6057 @item slash mark, or slash repeat
6059 @item measure (or multi-measure) repeat
6063 @lilypond[quote,relative=2,line-width=13.0\cm]
6065 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6066 \repeat percent 2 { c4 e g b_"Measure repeat" }
6067 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6072 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6073 Vermont Music Dictionary}.
6082 D: Schlagzeug, Schlagwerk,
6088 A family of musical instruments which are played on by striking or
6089 shaking. Percussion instruments commonly used in a symphony orchestra are
6090 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6091 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6095 No cross-references.
6098 @node perfect interval
6099 @section perfect interval
6101 ES: intervalo justo,
6102 I: intervallo giusto,
6103 F: intervalle juste,
6104 D: reines Intervall,
6108 FI: puhdas intervalli.
6126 A natural division of the melodic line, comparable to a sentence of speech.
6142 FI: fraseeraus, jäsentäminen.
6144 The clear rendering in musical performance of the @notation{phrases} of the
6145 melody. Phrasing may be indicated by a @notation{slur}.
6148 @ref{phrase}, @ref{slur}.
6163 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6164 @emph{mezzo piano} (@b{mp}) medium soft.
6167 No cross-references.
6175 F: anacrouse, levée,
6200 @item The perceived quality of a sound that is primarily a function of its
6201 fundamental frequency.
6203 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6205 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6206 association of a particular frequency with a particular pitch name, e.g., c' =
6222 NL: pizzicato, getokkeld,
6225 FI: pizzicato, näppäillen.
6227 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6231 No cross-references.
6237 ES: compás polimétrico,
6244 FI: monia tahtiosoituksia sisältävä.
6248 @item The @emph{simultaneous} use of two or more meters, in two or more
6251 @item The @emph{successive} use of different meters in one or more parts.
6256 @ref{polymetric} (adj.)
6269 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6271 Characterized by @emph{polymeter}: using two or more metric frameworks
6272 simultaneously or in alternation.
6275 @ref{polymeter} (noun)
6278 @node polymetric time signature
6279 @section polymetric time signature
6281 ES: indicación de compás polimétrico,
6282 I: tempo polimetrico,
6288 FI: vaihtelevan tahtiosoitusmerkintä.
6290 A time signature that indicates regularly alternating polymetric time.
6302 D: Polyphonie, Mehrstimmigkeit,
6306 FI: polyfonia, moniäänisyys.
6308 Music written in a combination of several simultaneous voices (parts)
6309 of a more or less pronounced individuality.
6318 [Italian: past participle of @emph{portare}, @q{to carry}]
6320 A stroke in which each of several notes is separated slightly within a slur,
6321 without changing the bow's direction. It is used for passages of a
6322 @notation{cantabile} character.
6331 ES: presto, muy rápido,
6333 F: presto, très rapide, enlevé,
6334 D: Presto, Sehr schnell,
6335 NL: presto, Sehr schnell,
6338 FI: presto, hyvin nopeasti.
6342 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6343 denotes the highest possible degree of speed.
6346 No cross-references.
6361 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6362 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6367 @item A ratio that expresses the relationship between the note values that
6368 follow with those that precede;
6370 @item A ratio between the note values of a passage and the @q{normal}
6371 relationship of note values to the metrical pulse. (A special case of the
6376 The most common proportions are:
6379 @item 2:1 (or simply 2), expressed by a vertical line through the
6380 mensuration sign (the origin of the @notation{alla breve} time signature),
6381 or by turning the sign backwards
6382 @item 3:1 (or simply 3)
6383 @item 3:2 (@emph{sesquialtera})
6386 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6389 @item 1:2 cancels 2:1
6390 @item 1:3 cancels 3:1
6391 @item 2:3 cancels 3:2
6395 Gaffurius enumerates five basic types of major:minor proportions and their
6399 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6400 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6402 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6403 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6404 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6406 @item Superpartiens, if the major number is one less than twice the minor
6407 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6409 @item Multiplexsuperparticular, if the major number is one more than twice the
6410 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6413 @item Multiplexsuperpartiens, if the major number is one less than some other
6414 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6415 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6419 He then continues to subdivide each type in various ways. For the multiplex
6420 proportions, for example, he indicates how many times greater the major number
6425 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6426 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6428 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6431 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6432 Example: 4:1, 8:2, and 12:3
6436 Other proportions were possible, but whether they were frequently used is
6441 @item 33:9, @emph{triplasuperbipartientetertias}
6442 @item 51:15, @emph{triplasuperbipartientequintas}
6446 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6449 @ref{mensural notation}.
6452 @node Pythagorean comma
6453 @section Pythagorean comma
6455 ES: coma pitagórica,
6456 I: comma pitagorico,
6457 F: comma pythagoricien,
6458 D: Pythagoräisches Komma,
6459 NL: komma van Pythagoras,
6460 DK: pythagoræisk komma,
6461 S: pytagoreiskt komma,
6462 FI: pytagorinen komma.
6464 Originally, the interval by which the sum of six whole tones exceeds the octave
6465 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6467 Modern acoustical theory defines it as the interval by which twelve fifths
6468 exceed seven octaves. To put it another way: A sequence of fifths that starts
6469 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6470 than the C obtained by adding 7 octaves. The difference between those two
6471 pitches is the Pythagorean comma.
6474 @ref{cent}, @ref{temperament}.
6496 ES: variante [de acorde o intervalo],
6505 The quality of a triad is determined by the precise arrangement of its
6506 intervals. Tertian triads can be described as a series of three notes. The
6507 first element is the root note (or simply @q{root}) of the chord, the second
6508 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6509 the chord. These are described below:
6511 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6512 @headitem Chord name
6513 @tab Component intervals
6516 @item major triad @tab major third/perfect fifth
6518 @tab C, CM, Cma, Cmaj, CΔ
6519 @item minor triad @tab minor third/perfect fifth
6521 @tab Cm, Cmi, Cmin, C-
6522 @item augmented triad @tab major third/augmented fifth
6525 @item diminished triad @tab minor third/diminished fifth
6527 @tab Cm(♭5), Cº, Cdim
6530 There are various types of seventh chords depending on the quality of the
6531 original chord and the quality of the seventh added.
6533 Five common types of seventh chords have standard symbols. The chord quality
6534 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6535 and D^m7 are all identical). The last three chords are not commonly used
6543 @section quarter note
6548 @item I: semiminima, nera
6550 @item D: Viertel, Viertelnote
6552 @item DK: fjerdedelsnode
6553 @item S: fjärdedelsnot
6554 @item FI: neljäsosanuotti
6562 @section quarter rest
6565 @item UK: crotchet rest
6566 @item ES: silencio de negra
6567 @item I: pausa di semiminima
6569 @item D: Viertelpause
6571 @item DK: fjerdedelspause
6572 @item S: fjärdedelspaus
6573 @item FI: neljäsosatauko
6581 @section quarter tone
6590 FI: neljännessävelaskel.
6592 An interval equal to half a semitone.
6601 ES: cinquillo, quintillo,
6615 @section rallentando
6619 F: rallentando, en ralentissant,
6620 D: rallentando, langsamer werden,
6624 FI: rallerdando, hidastuen.
6626 [Italian] A performance indication, abbreviated @notation{rall.}
6633 @section relative key
6636 I: tonalità relativa,
6637 F: tonalité relative,
6639 NL: paralleltoonsoort,
6640 DK: paralleltoneart,
6642 FI: rinnakkaissävellaji.
6644 Major and minor keys that have the same key signature.
6646 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6648 es1_"e flat major" f g as bes c d es
6652 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6654 c1_"c minor" d es f g a! b! c
6659 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6667 F: barre de reprise,
6670 DK: gen@-ta@-gel@-se,
6674 @lilypond[quote,relative=2,line-width=13.0\cm]
6686 No cross-references.
6701 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6702 @c specify the rest's value.
6722 @item Metrical rhythm in which every time value is a multiple or
6723 fraction of a fixed unit of time, called @emph{beat}, and in which the
6724 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6725 The basic scheme of time values is called @emph{meter}.
6727 @item Measured rhythm which lacks regularly recurrent accent. In
6728 modern notation such music appears as a free alternation of different
6731 @item Free rhythm, i.e., the use of temporal values having no common
6732 metrical unit (beat).
6737 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6743 ES: ritardando, retardando,
6745 F: ritardando, en ralentissant,
6746 D: ritardando, langsamer werden,
6750 FI: ritardando, hidastuen,
6752 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6756 No cross-references.
6762 ES: ritenuto, reteniendo,
6764 F: ritenuto, en retenant,
6769 FI: ritenuto, hidastaen.
6771 Immediate reduction of speed.
6774 No cross-references.
6787 FI: asteikko, sävelasteikko.
6790 @ref{diatonic scale}.
6794 @section scale degree
6796 ES: grado (de la escala),
6797 I: grado della scala,
6798 F: degré [de la gamme],
6800 NL: trap [van de toonladder],
6803 FI: sävelaste, asteikon sävel.
6805 Names and symbols used in harmonic analysis to denote tones of the
6806 scale as roots of chords. The most important are degrees I = tonic
6807 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6809 @lilypond[quote,notime,line-width=13.0\cm]
6811 \new Staff \relative c' {
6815 << { I II III IV V VI VII I }
6822 @ref{functional harmony}.
6830 F: à cordes ravallées,
6835 FI: epätavallinen viritys.
6837 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6838 tuning of stringed instruments, particularly lutes or violins. Used
6843 @item facilitate pitch combinations that would otherwise be difficult
6846 @item alter the characteristic timbre of the instrument, for example,
6847 to increase brilliance
6849 @item reinforce certain sonorities or tonalities by making them
6850 available on open strings
6852 @item imitate other instruments
6858 Tunings that could be called @var{scordatura} first appeared early in
6859 the 16th Century and became commonplace in the 17th.
6862 No cross-references.
6870 F: partition, conducteur (full score),
6871 D: Partitur (full score), Klavierauszug (vocal score),
6877 A copy of orchestral, choral, or chamber music showing what each
6878 instrument is to play, each voice to sing, having each part arranged
6879 one underneath the other on different staves @ref{staff}.
6882 No cross-references.
6897 The interval between two neighboring tones of a scale. A diatonic scale
6898 consists of alternating semitones and whole tones, hence the size of a
6899 second depends on the scale degrees in question.
6902 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6909 @item US: whole note,
6913 @item D: Ganze, ganze Note,
6914 @item NL: hele noot,
6917 @item FI: kokonuotti.
6920 Note value: called @notation{whole note} in the US.
6922 The semibreve is the basis for the @notation{tactus} in mensural notation
6923 (i.e. music written before ca. 1600).
6926 @ref{mensural notation}, @ref{note value}.
6941 The interval of a minor second. The (usually) smallest interval in European
6942 composed music. The interval between two neighboring tones on the piano
6943 keyboard -- including black and white keys -- is a semitone. An octave may
6944 be divided into 12@w{ }semitones.
6946 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6947 g1 gis s a bes s b! c
6951 @ref{interval}, @ref{chromatic scale}.
6974 @ref{sextuplet}, @ref{note value}.
7019 ES: simile, similar,
7028 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7029 is to be played in the same manner (i.e. with the same articulations, dynamics,
7030 etc.) as the music that precedes it.
7033 TODO: Where else could I refer the reader?
7037 @section simple meter
7039 ES: compás simple, compás de subdivisión binaria,
7046 FI: kaksijakoinen tahtiosoitus.
7048 A meter in which the basic beat is subdivided in two: that is, a meter
7049 that does not include triplet subdivision of the beat.
7052 @ref{compound meter}, @ref{meter}.
7055 @node sixteenth note
7056 @section sixteenth note
7059 @item UK: semiquaver
7060 @item ES: semicorchea
7062 @item F: double croche
7063 @item D: Sechzehntel, Sechzehntelnote
7064 @item NL: zestiende noot
7065 @item DK: sekstendedelsnode
7066 @item S: sextondelsnot
7067 @item FI: kuudestoistaosanuotti
7074 @node sixteenth rest
7075 @section sixteenth rest
7078 @item UK: semiquaver rest
7079 @item ES: silencio de semicorchea
7080 @item I: pausa di semicroma
7081 @item F: quart de soupir
7082 @item D: Sechzehntelpause
7083 @item NL: zestiende rust
7084 @item DK: sekstendedelspause
7085 @item S: sextondelspaus
7086 @item FI: kuudestoistaosatauko
7109 @node sixty-fourth note
7110 @section sixty-fourth note
7113 @item UK: hemidemisemiquaver
7115 @item I: semibiscroma
7116 @item F: quadruple croche
7117 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7118 @item NL: vierenzestigste noot
7119 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7120 @item S: sextiofjärdedelsnot
7121 @item FI: kuudeskymmenesneljäsosanuotti
7128 @node sixty-fourth rest
7129 @section sixty-fourth rest
7132 @item UK: hemidemisemiquaver rest
7133 @item ES: silencio de semifusa
7134 @item I: pausa di semibiscroma
7135 @item F: seizième de soupir
7136 @item D: Vierundsechzigstelpause
7137 @item NL: vierenzestigste rust
7138 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7139 @item S: sextiofjärdedelspaus
7140 @item FI: kuudeskymmenesneljäsosatauko
7148 @section slash repeat
7151 @ref{percent repeat}.
7157 ES: ligadura de expresión,
7158 I: legatura (di portamento o espressiva),
7160 D: Bogen (Legatobogen, Phrasierungsbogen),
7161 NL: fraseringsboog, legatoboog, streekboog,
7162 DK: legatobue, fraseringsbue,
7166 A slur above or below a group of notes indicates that they are to be
7167 played @ref{legato}, e.g., with one stroke of the violin bow or with
7168 one breath in singing.
7171 No cross-references.
7175 @section solmization
7184 FI: suhteelliset laulunimet.
7186 General term for systems of designating the degrees of the
7187 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7188 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7192 @ref{scale}, @ref{scale degree}.
7207 In its present-day meaning a sonata denotes an instrumental
7208 composition for piano or for some other instrument with piano
7209 accompaniment, which consists of three or four independant pieces,
7213 No cross-references.
7217 @section sonata form
7221 F: [en] forme de sonate,
7223 NL: hoofdvorm, sonatevorm,
7228 A form used frequently for single movements of the @emph{sonata},
7229 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7230 three sections called @notation{exposition}, @notation{development} and
7231 @notation{recapitulation}. In the exposition the composer introduces some
7232 musical ideas, consisting of a number of themes; in the development section the
7233 composer @emph{develops} this material, and in the recapitulation the composer
7234 repeats the exposition, with certain modifications. The exposition contains a
7235 number of themes that fall into two groups, often called first and second
7236 subject. Other melodies occurring in each group are considered as continuations
7237 of these two. The second theme is in another key, normally in the key of the
7238 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7239 @notation{relative key} if the tonic is @notation{minor}.
7242 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7243 @ref{symphony}, @ref{tonic}.
7263 FI: sopraano, korkea naisääni.
7265 The highest female voice.
7268 No cross-references.
7276 F: staccato, piqué, détaché,
7281 FI: staccato, lyhyesti, terävästi.
7283 Playing the note(s) short. Staccato is indicated by a dot above or
7284 below the note head.
7286 @lilypond[quote,relative=2]
7290 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7296 No cross-references.
7303 ES: pentagrama, pauta,
7304 I: pentagramma, rigo (musicale),
7306 D: Notensystem, Notenzeile,
7307 NL: (noten)balk, partij,
7312 A staff (plural: staves) is a series of (normally five) horizontal
7313 lines upon and between which the musical notes are written, thus
7314 indicating (in connection with a @ref{clef}) their pitch. Staves for
7315 @ref{percussion} instruments may have fewer lines.
7318 No cross-references.
7334 D: Hals, Notenhals, Stiel,
7340 Vertical line above or below a @ref{note head} shorter than a
7343 @lilypond[quote,notime,relative=2]
7344 \set Score.autoBeaming = ##f
7358 ES: stringendo, acelerando,
7360 F: stringendo, en accélérant,
7365 FI: kiihdyttäen, nopeuttaen.
7367 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7386 A family of stringed musical instruments played with a bow. Strings
7387 commonly used in a symphony orchestra are violin, viola, violoncello,
7391 No cross-references.
7395 @section strong beat
7400 D: betonter Taktteil oder Taktschlag,
7402 D: betonet taktslag,
7403 S: betonat taktslag,
7404 FI: tahdin vahva isku.
7407 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7411 @section subdominant
7420 FI: subdominantti, alidominantti.
7422 The fourth @notation{scale degree}.
7425 @ref{functional harmony}, @ref{scale degree}.
7440 The sixth @notation{scale degree}.
7443 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7456 FI: subtoonika, alitoonika.
7458 The seventh @ref{scale degree}.
7461 @ref{functional harmony}, @ref{scale degree}.
7467 ES: sobre la cuerda de Sol,
7470 D: auf G, auf der G-Saite,
7476 Indicates that the indicated passage (or note) should be played on the
7480 No cross-references.
7484 @section superdominant
7495 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7498 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7513 The second @ref{scale degree}.
7516 @ref{functional harmony}, @ref{scale degree}.
7525 D: Sinfonie, Symphonie,
7531 A symphony may be defined as a @emph{sonata} for orchestra.
7538 @section syncopation
7549 Any deliberate upsetting of the normal pulse of @ref{meter},
7550 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7551 rhythm rests upon the grouping of equal beats into groups of two or
7552 three, with a regularly recurrent accent on the first beat of each
7553 group. Any deviation from this scheme is felt as a disturbance or
7554 contradiction between the underlaying (normal) pulse and the actual
7557 @lilypond[quote,relative=1]
7560 e16 c'8 e,16 c'8 e,16 c' ~
7565 No cross-references.
7568 @node syntonic comma
7569 @section syntonic comma
7571 ES: coma sintónica, coma de Dídimo,
7572 I: comma sintonico (o didimico),
7573 F: comma syntonique,
7574 D: syntonisches Komma,
7575 NL: syntonische komma,
7576 DK: syntonisk komma,
7577 S: syntoniskt komma,
7578 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7579 Pytagorisessa viritysjärjestelmässä.
7581 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7582 by which the ditone exceeds the pure major third obtained by Pythagorean
7583 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7585 Modern acoustical theory defines it as the interval by which four fifths exceed
7586 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7588 This comma is also known as the comma of Didymus, or didymic comma.
7591 @ref{Pythagorean comma}
7600 D: Notensystem, Partitur,
7604 FI: nuottijärjestelmä.
7606 The collection of staves (@notation{staff}), two or more, as used for writing
7607 down of keyboard, chamber, choral, or orchestral music.
7614 @section temperament
7619 D: Stimmung, Tem@-pe@-ra@-tur,
7620 NL: stemming, temperatuur,
7623 FI: viritysjärjestelmä.
7625 Systems of tuning in which the intervals deviate from the acoustically
7629 @ref{meantone temperament}, @ref{equal temperament}.
7632 @node tempo indication
7633 @section tempo indication
7635 ES: indicación de tempo,
7636 I: indicazione di tempo,
7637 F: indication de tempo,
7638 D: Zeitmaß, Tempobezeichnung,
7639 NL: tempo aanduiding,
7644 The rate of speed of a composition or a section thereof, ranging from the
7645 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7646 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7650 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7664 FI: tenori, korkea miesääni.
7666 The highest @q{natural} male voice (apart from @notation{countertenor}).
7691 ES: subrayado (tenuto),
7700 An indication that a particular note should be held for the whole
7701 length, although this can vary depending on the composer and era.
7704 No cross-references.
7723 @node thirty-second note
7724 @section thirty-second note
7727 @item UK: demisemiquaver
7730 @item F: triple croche
7731 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7732 @item NL: twee@-endertig@-ste (32e) noot
7733 @item DK: toogtredivtedelsnode
7734 @item S: trettiotvåondelsnot
7735 @item FI: kolmaskymmeneskahdesosanuotti
7742 @node thirty-second rest
7743 @section thirty-second rest
7746 @item UK: demisemiquaver rest
7747 @item ES: silencio de fusa
7748 @item I: pausa di biscroma
7749 @item F: huitième de soupir
7750 @item D: Zweiunddreissigstel@-pause
7751 @item NL: twee@-endertig@-ste (32e) rust
7752 @item DK: toogtredivtedelspause
7753 @item S: trettiotvåondelspaus
7754 @item FI: kolmaskymmeneskahdesosatauko
7762 @section thorough bass
7771 ES: ligadura de unión (o de prolongación),
7772 I: legatura (di valore),
7773 F: liaison (de tenue),
7774 D: Haltebogen, Bindebogen,
7775 NL: overbinding, bindingsboog,
7777 S: bindebåge, överbindning,
7780 A curved line, identical in appearance with the @ref{slur}, which
7781 connects two succesive notes of the same pitch, and which has the
7782 function of uniting them into a single sound (tone) equal to the
7785 @lilypond[quote,notime,relative=2]
7797 @node time signature
7798 @section time signature
7800 ES: indicación de compás,
7802 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7803 D: Taktangabe, Angabe der Taktart,
7806 S: taktartssignatur,
7809 The sign placed at the beginning of a composition to indicate its
7810 meter. It most often takes the form of a fraction, but a few signs
7811 derived from mensural notation and proportions are also employed.
7814 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7829 A sound of definite pitch and duration, as distinct from @emph{noise}.
7830 Tone is a primary building material of music.
7832 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7835 No cross-references.
7850 The first @notation{scale degree}.
7853 @ref{functional harmony}, @ref{scale degree}.
7856 @node transposing instrument
7857 @section transposing instrument
7859 ES: instrumento transpositor,
7860 I: strumento traspositore,
7861 F: instrument transpositeur,
7866 FI: transponoitava soitin.
7868 Instruments whose notated pitch is different from their sounded pitch. Except
7869 for those whose notated and sounding pitches differ by one or more octaves (to
7870 reduce the number of ledger lines needed), most such instruments are identified
7871 by the letter name of the pitch class of their fundamental. The pitch class is
7872 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7873 the instrument plays a notated C.
7875 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7876 the B-flat one tone lower. If played on the A clarinet, the same written
7877 note sounds the A (one and half tones -- a minor third -- lower).
7879 Not all transposing instruments include the pitch class in their name:
7882 @item Alto flute (in G)
7883 @item English horn (in F)
7884 @item Saxophones (in B-flat or E-flat)
7887 @ignore Can we do better?
7889 To make matters more complex, some instruments are transposing instruments,
7890 but their players play from parts written at concert pitch. This is the
7891 case for orchestral trombone and tuba players—whereas trombone players in
7892 brass bands treat their parts as if written for a true transposing
7893 instrument in B-flat.
7898 @ref{concert pitch}.
7902 @section transposition
7904 ES: transporte, transposición,
7913 Shifting a melody up or down in pitch, while keeping the same
7916 @lilypond[quote,line-width=13.0\cm]
7921 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7926 @lilypond[quote,line-width=13.0\cm]
7929 \transpose c bes \relative c'' {
7931 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7937 No cross-references.
7941 @section treble clef
7943 ES: clave de sol en segunda,
7944 I: chiave di violino,
7946 D: Violinschlüssel, Sopranschlüssel,
7968 On stringed instruments:
7972 @item The quick reiteration of the same tone, produced by a rapid
7973 up-and-down movement of the bow.
7975 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7976 in the distance of a third (@ref{interval}).
7980 @lilypond[quote,notime,relative=1]
7982 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7983 \repeat tremolo 8 { e32_"b" g }
7995 F: triade, accord parfait, accord de trois sons,
8011 F: trille, tremblement, battement (cadence),
8023 @section triple meter
8025 ES: compás ternario,
8028 D: in drei, ungerader Takt,
8029 NL: driedelige maatsoort,
8071 @section tuning fork
8073 ES: diapasón [de horquilla],
8074 I: diapason, corista,
8082 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8083 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8084 standard. Tuning forks for other pitches are available.
8093 ES: grupo de valoración especial,
8094 I: gruppi irregolari,
8097 NL: Antimetrische figuur,
8102 A non-standard subdivision of a beat or part of a beat, usually
8103 indicated with a bracket and a number indicating the number of
8107 @ref{triplet}, @ref{note value}.
8113 ES: grupeto (circular),
8136 FI: unisono, yksiäänisesti.
8138 Playing of the same notes or the same melody by various instruments
8139 (voices) or by the whole orchestra (choir), either at exactly the same
8140 pitch or in a different octave.
8143 No cross-references.
8151 F: anacrouse, levée,
8172 FI: ääni, lauluääni.
8180 @item @ref{mezzo-soprano}
8181 @item @ref{contralto}
8183 @item @ref{baritone}
8187 @item A melodic layer or part of a polyphonic composition.
8192 No cross-references.
8198 ES: vez, primera y segunda vez,
8205 FI: yksi kertauksen maaleista.
8207 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8208 or second ending. LilyPond extends this idea to any number, and allows any text
8209 (not just a number) -- to serve as the @notation{volta} text.
8212 No cross-references.
8219 I: tempo debole, arsi,
8221 D: unbetonter Taktteil oder Taktschlag,
8223 DK: ubetonet taktslag,
8224 S: obetonat taktslag,
8225 FI: tahdin heikko isku.
8228 @ref{beat}, @ref{measure}, @ref{rhythm}.
8239 @item D: Ganze, ganze Note
8243 @item FI: kokonuotti
8254 @item UK: semibreve rest
8255 @item ES: silencio de redonda
8256 @item I: pausa di semibreve
8258 @item D: ganze Pause, ganztaktige Pause
8260 @item DK: helnodespause
8281 The interval of a major second. The interval between two tones
8282 on the piano keyboard with exactly one key between them -- including
8283 black and white keys -- is a whole tone.
8301 A family of blown wooden musical instruments. Today some of these
8302 instruments are actually made from metal. The woodwind instruments
8303 commonly used in a symphony orchestra are flute, oboe, clarinet,
8304 saxophone, and bassoon.
8307 No cross-references.
8310 @node Duration names notes and rests
8311 @chapter Duration names notes and rests
8313 @multitable @columnfractions .12 .22 .22 .22 .22
8315 @headitem Lang. @tab note name
8319 @item @strong{US} @tab long
8323 @item @strong{UK} @tab longa
8327 @item @strong{ES} @tab longa
8328 @tab silencio de longa
8330 @tab silencio de cuadrada
8331 @item @strong{IT} @tab longa
8335 @item @strong{FR} @tab longa
8336 @tab quadruple-pause
8339 @item @strong{DE} @tab Longa
8343 @item @strong{NL} @tab longa
8347 @item @strong{DK} @tab longa
8348 @tab longanodespause
8350 @tab brevis(nodes)pause
8351 @item @strong{SE} @tab longa
8355 @item @strong{FI} @tab longa-nuotti
8357 @tab brevis-nuotti, kaksoiskoko@-nuotti
8358 @tab brevis-tauko, kaksoiskoko@-tauko
8362 @multitable @columnfractions .12 .22 .22 .22 .22
8364 @headitem Lang. @tab note name
8368 @item @strong{US} @tab whole note
8372 @item @strong{UK} @tab semibreve
8376 @item @strong{ES} @tab redonda
8377 @tab silencio de redonda
8379 @tab silencio de blanca
8380 @item @strong{IT} @tab semibreve
8381 @tab pause di semibreve
8383 @tab pausa di minima
8384 @item @strong{FR} @tab ronde
8388 @item @strong{DE} @tab ganze Note
8392 @item @strong{NL} @tab hele noot
8396 @item @strong{DK} @tab helnode
8400 @item @strong{SE} @tab helnot
8404 @item @strong{FI} @tab kokonuotti
8411 @multitable @columnfractions .12 .22 .22 .22 .22
8413 @headitem Lang. @tab note name
8417 @item @strong{US} @tab quarter note
8421 @item @strong{UK} @tab crotchet
8425 @item @strong{ES} @tab negra
8426 @tab silencio de negra
8428 @tab silencio de corchea
8429 @item @strong{IT} @tab semiminima, nera
8430 @tab pausa di semiminima, pausa di nera
8433 @item @strong{FR} @tab noire
8437 @item @strong{DE} @tab Viertelnote
8441 @item @strong{NL} @tab kwartnoot
8445 @item @strong{DK} @tab fjerdedelsnode
8446 @tab fjerdedelspause
8447 @tab ottendedelsnode
8448 @tab ottendedelspause
8449 @item @strong{SE} @tab fjärdedelsnot
8453 @item @strong{FI} @tab neljäsosa@-nuotti
8454 @tab neljäsosa@-tauko
8455 @tab kahdeksasosa@-nuotti
8456 @tab kahdeksasosa@-tauko
8460 * About the French naming system: @notation{croche} refers to the note's
8461 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8462 @q{doubled hook}, @q{trebled hook}, and so on.
8464 The rest names are based on the @notation{soupir}, or quarter rest.
8465 Subsequent rests are expressed as fractions thereof: half a
8466 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8468 Each of the following tables contains one type of note and its matching rest,
8469 with abbreviations that apply to both notes and rests. Just switch the part
8470 that means @q{note} with the part that means @q{rest}, for example:
8474 @item English: 16th @strong{note}, 16th @strong{rest}
8475 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8476 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8480 Editor's note: I put a dash @q{-} when I could not find a language-specific
8481 abbreviation for a duration name. If you know of one that I missed, please
8482 send it to me, care of the lilypond-user discussion list.
8484 @multitable @columnfractions .10 .35 .35 .20
8486 @headitem Lang. @tab Note name
8489 @item @strong{US} @tab sixteenth note
8492 @item @strong{UK} @tab semiquaver
8493 @tab semiquaver rest
8495 @item @strong{ES} @tab semicorchea
8496 @tab silencio de semicorchea
8498 @item @strong{IT} @tab semicroma
8499 @tab pausa di semicroma
8501 @item @strong{FR} @tab double croche
8502 @tab quart de soupir
8504 @item @strong{DE} @tab Sechzehntelnote
8505 @tab Sechzehntelpause
8507 @item @strong{NL} @tab zes@-ti@-ende noot
8508 @tab zes@-ti@-ende rust
8510 @item @strong{DK} @tab sekstendedelsnode
8511 @tab sekstendedelspause
8513 @item @strong{SE} @tab sextondelsnot
8516 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8517 @tab kuudes@-toistaosa@-tauko
8522 @multitable @columnfractions .10 .35 .35 .20
8524 @headitem Lang. @tab Note name
8527 @item @strong{US} @tab thirty-second note
8528 @tab thirty-second rest
8530 @item @strong{UK} @tab demisemiquaver
8531 @tab demisemiquaver rest
8533 @item @strong{ES} @tab fusa
8534 @tab silencio de fusa
8536 @item @strong{IT} @tab biscroma
8537 @tab pausa di biscroma
8539 @item @strong{FR} @tab triple croche
8540 @tab huitième de soupir
8542 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8543 @tab Zweiunddreißig@-stelpause
8545 @item @strong{NL} @tab twee@-endertigste noot
8546 @tab twee@-endertigste rust
8548 @item @strong{DK} @tab toogtredivtedelsnode
8549 @tab toogtredivtedelspause
8551 @item @strong{SE} @tab trettio@-tvåondelsnot
8552 @tab trettio@-tvåondelspaus
8554 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8555 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8560 @multitable @columnfractions .10 .35 .35 .20
8562 @headitem Lang. @tab Note name
8565 @item @strong{US} @tab sixty-fourth note
8566 @tab sixty-fourth rest
8568 @item @strong{UK} @tab hemidemisemiquaver
8569 @tab hemidemisemiquaver rest
8571 @item @strong{ES} @tab semifusa
8572 @tab silencio de semifusa
8574 @item @strong{IT} @tab semibiscroma
8575 @tab pausa di semibiscroma
8577 @item @strong{FR} @tab quadruple croche
8578 @tab seizième de soupir
8580 @item @strong{DE} @tab Vierundsechzigstelnote
8581 @tab Vierundsechzigstelpause
8583 @item @strong{NL} @tab vierenzestigste noot
8584 @tab vierenzestigste rust
8586 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8587 @tab fireog@-tredsindstyven@-dedelspause
8589 @item @strong{SE} @tab sextiofjärdedelsnot
8590 @tab sextiofjärdedelspaus
8592 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8593 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8598 @multitable @columnfractions .10 .35 .35 .20
8600 @headitem Lang. @tab Note name
8603 @item @strong{US} @tab one-hundred-twenty-eighth note
8604 @tab one-hundred-twenty-eighth rest
8606 @item @strong{UK} @tab semihemidemisemiquaver
8607 @tab semihemidemisemiquaver rest
8609 @item @strong{ES} @tab garrapatea
8610 @tab silencio de garrapatea
8612 @item @strong{IT} @tab fusa
8615 @item @strong{FR} @tab quintuple croche
8616 @tab trente-deuxième de soupir @tab -
8617 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8618 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8619 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8620 @tab honderd@-acht@-en@-twintigste rust
8622 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8623 @tab hundrede@-otte@-og@-tyvendedels@-pause
8625 @item @strong{SE} @tab hundratjugoåttondelsnot
8626 @tab hundratjugoåttondelspaus
8628 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8629 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8634 @multitable @columnfractions .10 .35 .35 .20
8636 @headitem Lang. @tab Note name
8639 @item @strong{US} @tab two-hundred-fifty-sixth note
8640 @tab two-hundred-fifty-sixth rest
8642 @item @strong{UK} @tab demisemihemidemisemiquaver
8643 @tab demisemihemidemisemiquaver rest
8645 @item @strong{ES} @tab semigarrapatea
8646 @tab silencio de semigarrapatea @tab -
8647 @item @strong{IT} @tab semifusa
8648 @tab pausa di semifusa
8650 @item @strong{FR} @tab sextuple croche
8651 @tab soixante-quatrième de soupir @tab -
8652 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8653 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8654 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8655 @tab tweehonderd@-zesenvijftigste rust
8657 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8658 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8660 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8661 @tab tvåhundra@-femtiosjättedelspaus
8663 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8664 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8670 @ref{mensural notation}
8674 @chapter Pitch names
8677 -is/-es endings for Danish per Rune Zedeler, pace,
8678 and for Finnish per Risto Vääräniemi;
8679 -iss/-ess endings for Swedish per Mats Bengtsson
8680 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8682 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8683 multiple lines -- as texinfo needs it to allow enough space for the
8684 table entries. (For the curious, it's a list of the widest items in
8685 each column of the table. Romance pitch names are two characters,
8686 except for g (sol) ... so there you go.)
8689 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8690 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8691 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8692 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8693 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8694 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8695 @tab des @tab des @tab dess @tab des
8696 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8697 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8698 @tab dis @tab dis @tab diss @tab dis
8699 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8700 @tab es @tab es @tab ess @tab es
8701 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8702 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8703 @tab Fes @tab fes @tab fes @tab fess @tab fes
8704 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8705 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8706 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8707 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8708 @tab fis @tab fis @tab fiss @tab fis
8709 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8710 @tab ges @tab ges @tab gess @tab ges
8711 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8712 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8713 @tab Gis @tab gis @tab gis @tab giss @tab gis
8714 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8715 @tab as @tab as @tab ass @tab as
8716 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8717 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8718 @tab ais @tab ais @tab aiss @tab ais
8719 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8720 @tab bes @tab b @tab b @tab b
8721 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8722 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8723 @tab ces @tab ces @tab cess @tab ces
8724 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8725 @tab His @tab bis @tab his @tab hiss @tab his
8729 @node Literature used
8730 @appendix Literature used
8733 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8734 Cambridge: Belknap Press (Harvard University Press), 1944.
8736 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8739 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8740 Terminologie}. Kassel, 1980.
8742 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8743 Current English}, 3rd ed. London: Oxford University Press, 1974.
8745 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8746 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8748 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8749 Cambridge: Belknap Press (Harvard University Press), 1986.
8751 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
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