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--2012 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::
60 * Non-Western terms A-Z::
65 * GNU Free Documentation License:: License of this document.
72 @c TOC - tex. Not desired for this manual. -gp
76 @node Musical terms A-Z
77 @chapter Musical terms A-Z
79 Languages in this order.
81 @item UK - British English (where it differs from American English)
110 * ancient minor scale::
115 * ascending interval::
117 * augmented interval::
152 * Common Practice Period::
155 * compound interval::
159 * conjunct movement::
174 * descending interval::
177 * diminished interval::
181 * disjunct movement::
183 * dissonant interval::
187 * dominant ninth chord::
188 * dominant seventh chord::
190 * dot (augmentation dot)::
192 * double appoggiatura::
194 * double dotted note::
197 * double time signature::
204 * ecclesiastical mode::
211 * equal temperament::
232 * functional harmony::
253 * inverted interval::
268 * long appoggiatura::
275 * meantone temperament::
282 * mensural notation::
287 * metronomic indication::
300 * multi-measure rest::
330 * polymetric time signature::
336 * Pythagorean comma::
367 * sixty-fourth note::
368 * sixty-fourth rest::
399 * thirty-second note::
400 * thirty-second rest::
407 * transposing instrument::
461 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
462 @notation{a due} indicates that:
466 @item A single part notated on a single staff that normally carries parts
467 for two players (e.g. first and second oboes) is to be played by both
470 @item Or conversely, that two pitches or parts notated on a staff that
471 normally carries a single part (e.g. first violin) are to be played by
472 different players, or groups of players (@q{desks}).
485 F: accelerando, en accélérant,
486 D: accelerando, schneller werden,
490 FI: accelerando, kiihdyttäen.
492 [Italian: @q{speed up, accelerate}]
494 An increase in the tempo, abbreviated @notation{accel.}
510 FI: aksentti, korostus.
512 The stress of one tone over others.
526 @section acciaccatura
528 ES: mordente de una nota,
530 F: acciaccatura, appoggiature brève,
537 A grace note which takes its time from the rest or note preceding the
538 principal note to which it is attached. The acciaccatura is drawn as a
539 small eighth note (quaver) with a line drawn through the flag and stem.
542 @ref{appoggiatura}, @ref{grace notes}, @ref{mordent}, @ref{ornament}.
548 ES: alteración accidental,
549 I: alterazione, accidente,
550 F: altération accidentelle,
551 D: Versetzungszeichen, Akzidenz,
552 NL: toevallig (verplaatsings)teken,
554 S: tillfälligt förtecken,
555 FI: tilapäinen etumerkki.
557 An accidental alters a note by:
561 @item Raising its pitch:
563 @item By two semitones—@notation{double sharp}
564 @item By one semitone—@notation{sharp}
567 @item Lowering its pitch:
569 @item By one semitone—@notation{flat}
570 @item By two semitones—@notation{double flat}
573 @item Or canceling the effects of the key signature or previous accidentals.
576 @lilypond[quote,notime]
580 \set Staff.extraNatural = ##f
581 gisis1 gis g! ges geses
586 \center-column { double sharp }
592 \center-column { double flat }
598 \override SpacingSpanner
599 #'base-shortest-duration = #(ly:make-moment 1 32)
606 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
619 FI: adagio, hitaasti.
621 [Italian: @q{comfortable, easy}]
625 @item Slow tempo, slower -- especially in even meter -- than
626 @notation{andante} and faster than @notation{largo}.
628 @item A movement in slow tempo, especially the second (slow) movement
629 of sonatas, symphonies, etc.
634 @ref{andante}, @ref{largo}, @ref{sonata}.
642 F: al niente, en mourant,
647 FI: häviten olemattomiin.
649 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
650 that the sound should fade away to nothing.
652 @notation{Al niente} is indicated by circling the tip of the hairpin:
654 @lilypond[quote,relative=2]
655 \override Hairpin #'circled-tip = ##t
661 or with the actual phrase @notation{al niente}:
663 @lilypond[quote,relative=2]
665 \override DynamicTextSpanner #'(bound-details right text) =
666 \markup { \italic { al niente } }
672 Since one does not crescendo @emph{to} nothing, it is not correct to use
673 @notation{al niente} with @notation{crescendo}. Instead, one should use
674 @emph{dal niente} (@notation{@b{from} nothing}).
677 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
685 F: alla breve, à la brève,
686 D: Allabreve, alla breve
692 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
694 Also called @notation{in cut time}. The name derives from mensural
695 notation, where the @notation{tactus} (or beat) is counted on the semibreve
696 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
697 next longest note value, which (in modern usage) effectively halves all note
700 In mensural notation, breves and semibreves can have a ternary relationship,
701 in which case @notation{alla breve} means thrice (not twice) as fast. In
702 practice, this complication may not have mattered, since Gaffurius's system
703 of multiplex proportions makes it easy to explicitly state which proportion
707 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
708 @ref{proportion}, @ref{whole note}.
716 F: allegro, gaiement,
717 D: Allegro, Schnell, Fröhlich, Lustig,
721 FI: allegro, nopeasti.
723 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
724 quick tempo, especially the first and last movements of a sonata.
737 NL: verhoging of verlaging,
742 An alteration is the modification, raising or lowering, of a note's
743 pitch. It is established by an accidental.
745 @c TODO: add second meaning from mensural notation
761 FI: altto, matala naisääni.
763 A female voice of low range (@emph{contralto}). Originally the alto was a
764 high male voice (hence the name), which by castration or the use of falsetto
765 reached the height of the natural female voice. This type of voice is also
766 known as countertenor.
775 ES: clave de do en tercera,
776 I: chiave di contralto,
777 F: clef d'ut troisième ligne,
778 D: Altschlüssel, Bratschenschlüssel,
784 C clef setting middle C on the middle line of the staff.
795 F: ambitus, tessiture,
800 FI: ambitus, ääniala, soitinala.
802 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
803 Denotes a range of pitches for a given voice in a part of music. It may
804 also denote the pitch range that a musical instrument is capable of playing.
805 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
823 An anacrusis (also known as pickup or upbeat) is an incomplete measure
824 of music before a section of music. It also refers to the initial
825 note(s) of a melody occurring in that incomplete measure.
827 @lilypond[quote,relative=1]
838 @ref{measure}, @ref{meter}.
841 @node ancient minor scale
842 @section ancient minor scale
844 ES: escala menor natural,
845 I: scala minore naturale,
846 F: forme du mode mineur ancien, troisème mode, mode hellénique,
847 D: reines Moll, natürliches Moll,
848 NL: authentieke mineurtoonladder,
851 FI: luonnollinen molliasteikko.
853 Also called @q{natural minor scale}.
855 @lilypond[quote,notime,relative=2]
861 @ref{diatonic scale}.
876 [Italian: present participle of @emph{andare}, @q{to walk}]
878 Walking tempo/character.
885 @section appoggiatura
889 F: appoggiature, (port de voix),
890 D: Vorschlag, Vorhalt
891 NL: (korte) voorslag,
894 FI: appoggiatura, etuhele.
896 Ornamental note, usually a second, that is melodically connected with
897 the main note following it. In music before the 19th century
898 appoggiature were usually performed on the beat, after that mostly
899 before the beat. While the short appoggiatura is performed as a short
900 note regardless of the duration of the main note the duration of the
901 long appoggiatura is proportional to that of the main note.
903 @lilypond[quote,relative=2]
906 <d a fis>4_"notation" r
913 \set Score.measurePosition = #ZERO-MOMENT
914 <d, a fis>4_"performance" r
920 An appoggiatura may have more notes preceding the main note.
922 @lilypond[quote,relative=2]
925 \grace bes16 as8-"notation" as16 bes as8 g |
926 \grace { as16[( bes] } <c as>4)
927 \grace { as16[( bes] } <c as>4) \bar "||"
929 \grace bes16 as8-"performance" as16 bes as8 g |
933 as32 bes c8. as32 bes c8.
937 as16 ~ as8. as16 ~ as8.
952 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
954 DK: arpeggio, akkordbrydning,
956 FI: arpeggio, murtosointu.
958 [Italian: @q{harp-like, played like a harp}]
960 @lilypond[quote,line-width=13\cm]
962 \context Staff = "SA" {
966 r8 g16 c e g, c e r8 g,16 c e g, c e
967 r8 a,16 d f a, d f r8 a,16 d f a, d f
971 \context Staff = "SB" {
977 r16 e8. ( e4) r16 e8. ( e4)
978 r16 d8. ( d4) r16 d8. ( d4)
996 @section articulation
1005 FI: artikulaatio, ilmaisu.
1007 Articulation refers to notation which indicates how a note or notes
1008 should be played. Slurs, accents, staccato, and legato are all
1009 examples of articulation.
1012 No cross-references.
1015 @node ascending interval
1016 @section ascending interval
1018 ES: intervalo ascendente,
1019 I: intervallo ascendente,
1020 F: intervalle ascendant,
1021 D: steigendes Intervall,
1022 NL: stijgend interval,
1023 DK: stigende interval,
1024 S: stigande intervall,
1025 FI: nouseva intervalli.
1027 A distance between a starting lower note and a higher ending note.
1030 No cross-references.
1034 @section augmentation
1043 FI: aika-arvojen pidentäminen.
1045 @c TODO: add definition.
1047 This is a placeholder for augmentation (wrt mensural notation).
1050 @ref{diminution}, @ref{mensural notation}.
1053 @node augmented interval
1054 @section augmented interval
1056 ES: intervalo aumentado,
1057 I: intervallo aumentato,
1058 F: intervalle augmenté,
1059 D: übermäßiges Intervall,
1060 NL: overmatig interval,
1061 DK: forstørret interval,
1062 S: överstigande intervall,
1063 FI: ylinouseva intervalli.
1074 F: manuscrit, autographe
1075 D: Autograph, Handschrift,
1077 DK: håndskrift, autograf,
1079 FI: käsinkirjoitettu nuotti.
1083 @item A manuscript written in the composer's own hand.
1085 @item Music prepared for photoreproduction by freehand drawing, with
1086 the aid of a straightedge ruler and T-square only, which attempts to
1087 emulate engraving. This required more skill than did engraving.
1092 No cross-references.
1110 @ref{H}, @ref{Pitch names}
1130 ES: barra, línea divisoria,
1131 I: stanghetta, barra (di divisione),
1132 F: barre (de mesure),
1139 A vertical line through the staff (or through multiple staves) that
1140 separates measures. Used very infrequently during the Renaissance (mostly
1141 in secular music, or in sacred music to indicate congruences between parts
1142 in otherwise-unmetered music).
1158 FI: baritoni, keskikorkuinen miesääni.
1160 The male voice intermediate in pitch between the bass and the tenor.
1162 @c F: clef de troisième ligne dropped
1165 @ref{bass}, @ref{tenor}.
1169 @section baritone clef
1171 ES: clave de fa en tercera,
1172 I: chiave di baritono,
1173 F: clef d'ut cinquième ligne, clef de fa troisième,
1174 D: Baritonschlüssel,
1180 C or F clef setting middle C on the upper staff line.
1183 @ref{C clef}, @ref{F clef}.
1196 FI: basso, matala miesääni.
1200 @item The lowest male voice.
1202 @item Sometimes, especially in jazz music, used as an abbreviation for
1214 ES: clave de fa en cuarta,
1216 F: clef de fa quatrième ligne,
1223 A clef setting with middle C on the first top ledger line.
1232 ES: barra (de corcheas),
1234 F: ligature, barre (de croches),
1241 Line connecting a series of notes (shorter than a quarter note). The
1242 number of beams determines the note value of the connected notes.
1244 @lilypond[quote,notime,relative=2,line-width=13\cm]
1245 g8-"1/8"[ g g g] s16
1246 g16-"1/16"[ g g g] s
1247 g32-"1/32"[ s g s g s g] s16
1248 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1252 @ref{feathered beam}.
1258 ES: tiempo, parte (de compás)
1261 D: Takt, Taktschlag, Zeit (im Takt),
1267 Note value used for counting, most often half-, fourth-, and eighth notes.
1268 The base counting value and the number of them in each measure is indicated
1269 at the start of the music by the @notation{time signature}.
1271 @lilypond[quote,relative=2]
1274 g4 c b a | g1 \bar "||"
1276 g8 d' c | b c a | g4. \bar "||"
1280 @ref{time signature}.
1284 @section beat repeat
1287 @ref{percent repeat}.
1300 ES: llave, corchete,
1303 D: Klammer, Akkolade,
1304 NL: accolade, teksthaak,
1307 FI: yhdistävä sulkumerkki.
1309 Symbol at the start of a system connecting staves.
1311 Curly braces are used for connecting piano staves, and sometimes for connecting
1312 the staves of like instruments in an orchestral score when written on different
1313 staves (e.g. first and second flutes):
1317 \context Staff = "SA" {
1323 \context Staff = "SB" {
1333 Angular brackets for connecting parts in an orchestral or choral score:
1337 \context Staff = "SA" {
1343 \context Staff = "SB" {
1354 No cross-references.
1361 I: parentesi quadra,
1379 NL: koper (blazers),
1382 S: brassinstrument, mässingsinstrument,
1385 A family of blown musical instruments made of brass, all using a cup
1386 formed mouth piece. The brass instruments commonly used in a symphony
1387 orchestra are trumpet, trombone, French horn, and tuba. In marching bands,
1388 sousaphones and contrabass bugles are common.
1391 No cross-references.
1395 @section breath mark
1400 D: Atemzeichen, Trennungszeichen,
1401 NL: repercussieteken,
1402 DK: vejrtrækningstegn,
1406 Indication of where to breathe in vocal and wind instrument parts.
1416 @item US: breve, double-whole note
1417 @item ES: cuadrada, breve
1424 @item FI: brevis, kaksoiskokonuotti
1427 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1429 Mainly used in music from before 1650. In mensural notation, it was a note
1430 of fairly short duration—hence the name, which is Latin for @q{short} or
1431 @q{of short duration}.
1433 @lilypond[quote,notime,relative=2]
1438 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1471 Clef symbol indicating the position of the middle C. Used on all note
1474 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1476 \override Staff.Clef #'full-size-change = ##t
1478 \clef mezzosoprano c1
1484 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1485 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1490 No cross-references.
1503 FI: kadenssi, lopuke.
1506 @ref{harmonic cadence}, @ref{functional harmony}.
1519 FI: kadenssi, lopuke.
1521 An extended, improvisatory style section inserted near the end of
1522 movement. The purpose of a cadenza is to give singers or players a
1523 chance to exhibit their technical skill and -- not last -- their
1524 ability to improvise. Since the middle of the 19th century, however,
1525 most cadenzas have been written down by the composer.
1528 No cross-references.
1543 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1545 The break between two musical phrases, sometimes (but not always) marked by a
1546 rest or a breath mark.
1562 FI: kaanon, tarkka jäljittely.
1578 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1579 viritysjärjestelmässä.
1581 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1582 an octave (1/100 of an equally tempered semitone).
1585 @ref{equal temperament}, @ref{semitone}.
1607 Three or more tones sounding simultaneously. In traditional European music
1608 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1609 (major + minor third) as well as @emph{minor} (minor + major third) chords
1610 may be extended with more thirds. Four-tone @emph{seventh chords} and
1611 five-tone @emph{ninth} major chords are most often used as dominants
1612 (functional harmony). Chords having no third above the lower notes to
1613 define their mood are a special case called @q{open chords}. The lack of
1614 the middle third means their quality is ambivalent -- neither major nor
1617 @lilypond[quote,notime,line-width=13.0\cm]
1621 \set Staff.extraNatural = ##f
1642 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1646 @node chromatic scale
1647 @section chromatic scale
1649 ES: escala cromática,
1651 F: gamme chromatique,
1652 D: chro@-ma@-ti@-sche Tonleiter,
1653 NL: chromatische toonladder,
1654 DK: kromatisk skala,
1656 FI: kromaattinen asteikko.
1658 A scale consisting of all 12 semitones.
1660 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1661 c1 cis d dis e f fis g gis a ais b c
1669 @section chromaticism
1680 Using tones extraneous to a diatonic scale (minor, major).
1683 @ref{diatonic scale}.
1687 @section church mode
1689 ES: modo eclesiástico,
1690 I: modo ecclesiastico,
1691 F: mode ecclésiastique, mode d'église,
1696 FI: moodi, kirkkosävellaji.
1699 @ref{diatonic scale}.
1708 D: Schlüssel, Notenschlüssel,
1712 FI: avain, nuottiavain.
1714 The clef indicates which lines of the staff correspond to which
1715 pitches. The three clef symbols in common use are:
1720 \line { The Treble or G clef: }
1722 \line { The Bass or F clef: }
1724 \line { The Alto or C clef: }
1728 \musicglyph #"clefs.G"
1730 \musicglyph #"clefs.F"
1732 \musicglyph #"clefs.C"
1737 Imagine a large staff of 11 lines centered on middle C, sometimes
1738 called a @q{grand staff}, with the bottom line representing low G and
1739 the top line high F:
1744 %-- Note names above treble staff --%
1746 \set printOctaveNames = ##t
1748 \once \override NoteName #'color = #red
1752 %-- Treble Staff --%
1754 \override Staff.Clef #'stencil = ##f
1760 %-- Alto Staff reduced to a single line on middle C --%
1762 \override Staff.StaffSymbol #'line-count = #1
1763 \override Staff.StaffSymbol #'color = #red
1764 \override Staff.Clef #'stencil = ##f
1767 \override NoteHead #'color = #red
1773 \override Staff.Clef #'stencil = ##f
1782 \override SpacingSpanner
1783 #'base-shortest-duration = #(ly:make-moment 1 1)
1784 \override NonMusicalPaperColumn
1785 #'line-break-system-details = #'((alignment-distances . (3 3)))
1786 \override BarLine #'stencil = ##f
1790 \remove "Time_signature_engraver"
1796 Staves of five lines are usually used, and the clef superimposed on them
1797 indicates which five lines have been selected from this @notation{grand
1798 staff}. For example, the treble or G clef indicates that the top five lines
1804 %-- Note names above treble staff --%
1806 \set printOctaveNames = ##t
1808 \once \override NoteName #'color = #red
1813 %-- Treble Staff --%
1815 \once \override Staff.Clef #'stencil = ##f
1818 \override Staff.Clef #'full-size-change = ##t
1819 \set Staff.forceClef = ##t
1823 %-- Alto Staff reduced to a single line on middle C --%
1825 \override Staff.StaffSymbol #'line-count = #1
1826 \override Staff.StaffSymbol #'color = #red
1827 \override Staff.Clef #'stencil = ##f
1830 \override NoteHead #'color = #red
1835 \override Staff.Clef #'stencil = ##f
1843 \override SpacingSpanner
1844 #'base-shortest-duration = #(ly:make-moment 2 1)
1845 \override NonMusicalPaperColumn
1846 #'line-break-system-details = #'((alignment-distances . (3 3)))
1847 \override BarLine #'stencil = ##f
1851 \remove "Time_signature_engraver"
1857 The @q{curl} of the G clef is centered on the line that represents the
1860 In the same way, the bass or F clef indicates that the bottom five lines
1861 have been selected from the @notation{grand staff}, and the alto or C clef
1862 indicates the middle five lines have been selected. This relationship is
1863 shown below, where the notes show an arpeggio on a C major chord.
1868 %-- Treble Staff --%
1876 \override Staff.StaffSymbol #'line-count = #1
1877 \once \override Staff.Clef #'stencil = ##f
1882 \revert Staff.StaffSymbol #'stencil
1883 \override Staff.StaffSymbol #'color = #red
1886 \stopStaff \startStaff
1887 \revert Staff.StaffSymbol #'line-count
1888 \revert Staff.StaffSymbol #'color
1889 \stopStaff \startStaff
1890 \override Staff.Clef #'full-size-change = ##t
1891 \set Staff.forceClef = ##t
1906 \override SpacingSpanner #'base-shortest-duration =
1907 #(ly:make-moment 2 1)
1908 \override NonMusicalPaperColumn
1909 #'line-break-system-details = #'((alignment-distances . (3 3)))
1910 \override BarLine #'stencil = ##f
1914 \remove "Time_signature_engraver"
1921 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1934 FI: klusteri, cluster.
1936 A @emph{cluster} is a range of simultaneously sounding pitches that
1937 may change over time. The set of available pitches to apply usually
1938 depends on the acoustic source. Thus, in piano music, a cluster
1939 typically consists of a continuous range of the semitones as provided
1940 by the piano's fixed set of a chromatic scale. In choral music, each
1941 singer of the choir typically may sing an arbitrary pitch within the
1942 cluster's range that is not bound to any diatonic, chromatic or other
1943 scale. In electronic music, a cluster (theoretically) may even cover
1944 a continuous range of pitches, thus resulting in colored noise, such
1947 Clusters can be denoted in the context of ordinary staff notation by
1948 engraving simple geometrical shapes that replace ordinary notation of
1949 notes. Ordinary notes as musical events specify starting time and
1950 duration of pitches; however, the duration of a note is expressed by
1951 the shape of the note head rather than by the horizontal graphical
1952 extent of the note symbol. In contrast, the shape of a cluster
1953 geometrically describes the development of a range of pitches
1954 (vertical extent) over time (horizontal extent). Still, the
1955 geometrical shape of a cluster covers the area in which any single
1956 pitch contained in the cluster would be notated as an ordinary note.
1958 @lilypond[quote,relative=2]
1959 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1963 No cross-references.
1976 FI: komma, korvinkuultava ero äänenkorkeudessa.
1978 Difference in pitch between a note derived from pure tuning and the
1979 same note derived from some other tuning method.
1982 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1987 @section common meter
1989 Another name for @ref{common time}.
1992 @ref{common time}, @ref{meter}.
1995 @node Common Practice Period
1996 @section Common Practice Period
2008 This is a stub for Common Practice Period (CPP).
2011 @ruser{Note names in other languages}.
2015 @section common time
2026 4/4 time. The symbol, which resembles a capital letter C, comes from
2030 @ref{mensural notation}, @ref{meter}.
2036 ES: intervalo invertido,
2038 F: intervalle complémentaire,
2039 D: Komplementärintervall,
2040 NL: complementair interval,
2041 DK: komplementærinterval,
2042 S: komplementärintervall (?),
2043 FI: täydentävä intervalli.
2046 @ref{inverted interval}.
2049 @node compound interval
2050 @section compound interval
2052 ES: intervalo compuesto,
2053 I: intervallo composto,
2054 F: intervalle composé,
2055 D: weites Intervall,
2056 NL: samengesteld interval,
2057 DK: sammensat interval,
2058 S: sammansatt intervall,
2059 FI: oktaavia laajempi intervalli.
2061 Intervals larger than an octave.
2067 @node compound meter
2068 @section compound meter
2070 ES: compás compuesto, compás de subdivisión ternaria,
2077 FI: kolmijakoinen tahtilaji.
2079 A meter that includes a triplet subdivision within the beat, such as
2083 @ref{meter}, @ref{simple meter}.
2087 @section compound time
2089 ES: compás compuesto, compás de amalgama (def. 2),
2092 D: zusammengesetzte Taktart,
2096 FI: yhdistetty tahtilajiosoitus.
2101 A meter that includes a triplet subdivision within the beat: see
2102 @ref{compound meter}.
2105 A time signature that additively combines two or more unequal meters,
2106 e.g., @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time
2111 @lilypond[quote,verbatim]
2114 \compoundMeter #'((3 8) (2 8) (3 8))
2122 @ref{compound meter},
2124 @ref{polymetric time signature}.
2128 @section concert pitch
2130 ES: en Do, tono de concierto,
2131 I: intonazione reale,
2132 F: tonalité de concert, en ut,
2137 FI: konserttikorkeus.
2139 The pitch at which the piano and other nontransposing instruments play: such
2140 instruments are said to be @q{in C}. The following list includes some (but not
2141 all) instruments that play in concert pitch:
2143 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2145 @multitable {bassoon} {violoncello}
2146 @headitem Woodwinds @tab Strings
2165 @ignore This needs to be reworked.
2166 The trombones are a special case: although they are said to be @q{in F} (alto or
2167 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2168 their parts' transposition. (In fact, the trombones' parts are written at
2169 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2170 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2174 Instruments that play @q{in C} but in a different octave than what is written
2175 are, technically speaking, @emph{transposing instruments}:
2179 @item piccolo (plays an octave higher than written)
2180 @item celesta (plays an octave higher than written)
2181 @item classical guitar (plays an octave lower than written)
2182 @item double bass (plays an octave lower than written)
2187 @ref{transposing instrument}.
2190 @node conjunct movement
2191 @section conjunct movement
2193 ES: movimiento conjunto,
2195 F: mouvement conjoint,
2196 D: schritt@-weise, stufenweise Bewegung,
2197 NL: stapsgewijze, trapsgewijze beweging,
2198 DK: trinvis bevægelse,
2200 FI: asteittainen liike.
2202 Progressing melodically by intervals of a second, as contrasted with
2203 @emph{disjunct movement}.
2205 @lilypond[quote,relative=2,line-width=13.0\cm]
2208 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2212 @ref{disjunct movement}.
2225 FI: konsonanssi, sopusointi.
2248 @section copying music
2250 A music copyist did fast freehand scores and parts on preprinted staff
2251 lines for performance. Some of their conventions (e.g., the placement
2252 of note heads on stems) varied slightly from those of engravers. Some
2253 of their working methods were superior and could well be adopted by
2256 @c Copying music required more skill than engraving. Flagged for NPOV
2259 No cross-references.
2263 @section counterpoint
2272 FI: kontrapunkti, ääni ääntä vastaan.
2274 From Latin @emph{punctus contra punctum}, note against note. The
2275 combination into a single musical fabric of lines or parts which have
2276 distinct melodic significance. A frequently used polyphonic technique
2277 is imitation, in its strictest form found in the canon needing only
2278 one part to be written down while the other parts are performed with a
2279 given displacement. Imitation is also the contrapuntal technique
2280 used in the @emph{fugue} which, since the music of the baroque era,
2281 has been one of the most popular polyphonic composition methods.
2283 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2285 \context Staff = SA \relative c' {
2289 << \context Voice = rha {
2291 r1 | r2 r8 g'8 bes d, |
2292 cis4 d r8 e!16 f g8 f16 e |
2293 f8 g16 a bes8 a16 g a8
2295 \context Voice = rhb {
2301 \context Staff = SB \relative c' {
2304 << \context Voice = lha {
2306 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2307 r8 a16 g f8 g16 a bes8 g e! cis' |
2310 \context Voice = lhb {
2319 No cross-references.
2323 @section countertenor
2328 D: Countertenor, Kontratenor,
2331 S: kontratenor, counter tenor,
2344 D: Crescendo, lauter werden,
2348 FI: cresendo, voimistuen.
2350 Increasing volume. Indicated by a rightwards opening horizontal wedge
2351 (hairpin) or the abbreviation @notation{cresc.}
2353 @lilypond[quote,relative=2]
2356 g4\< a b c | d1\! \bar "|."
2360 @ref{decrescendo}, @ref{hairpin}.
2368 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2375 Notes belonging to one part printed in another to hint when to start
2376 playing. Usually printed in a smaller type.
2379 Compare: @ref{ossia}.
2388 D: Notenzeiger, Custos,
2394 A custos (plural: custodes) is a staff symbol that appears at the end of a
2395 staff line with monophonic musical contents (i.e., with a single voice). It
2396 anticipates the pitch of the first note of the following line and thus helps
2397 the player or singer to manage line breaks during performance, which
2398 enhances the readability of a score.
2400 Custodes were frequently used in music notation until the 16th century.
2401 There were different appearances for different notation styles. Nowadays,
2402 they have survived only in special forms of musical notation such as the
2403 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2405 @lilypond[quote,ragged-right]
2408 \override Staff.Custos #'neutral-direction = #DOWN
2409 \override Staff.Custos #'style = #'hufnagel
2416 \consists "Custos_engraver"
2423 No cross-references.
2456 F: da capo, depuis le commencement,
2457 D: da capo, von Anfang,
2461 FI: da capo, alusta.
2463 Abbreviated @notation{D.C.} Indicates that the piece is to be repeated from
2464 the beginning to the end or to a certain place marked @emph{fine}.
2467 No cross-references.
2473 ES: dal niente, de la nada,
2476 D: aus dem Nichts, dal niente,
2480 FI: tyhjästä ilmaantuen.
2482 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2483 that the sound should gradually increase from nothing.
2494 F: dal segno, depuis le signe,
2495 D: dal segno, ab dem Zeichen,
2499 FI: dal segno, lähtien merkistä.
2501 Abbreviated @notation{D.S.} Repetition, not from the beginning, but from
2502 another place frequently near the beginning marked by a sign
2505 @lilypond[quote,relative=2]
2513 \musicglyph #"scripts.segno"
2519 No cross-references.
2523 @section decrescendo
2527 D: Decrescendo, leiser werden,
2531 FI: decresendo, hiljentyen.
2533 Decreasing tone volume. Indicated by a leftwards opening horizontal
2534 wedge (hairpin) or the abbreviation @notation{decresc.}
2536 @lilypond[quote,relative=2]
2539 d4\> c b a | g1 \! \bar "|."
2543 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2546 @node descending interval
2547 @section descending interval
2549 ES: intervalo descendente,
2550 I: intervallo discendente,
2551 F: intervalle descendant,
2552 D: fallendes Intervall, absteigendes Intervall,
2553 NL: dalend interval,
2554 DK: faldende interval,
2555 S: fallande intervall,
2556 FI: laskeva intervalli.
2558 A distance between a starting higher note and a lower ending note.
2561 No cross-references.
2564 @node diatonic scale
2565 @section diatonic scale
2567 ES: escala diatónica,
2569 F: gamme diatonique,
2570 D: diatonische Tonleiter,
2571 NL: diatonische toonladder,
2572 DK: diatonisk skala,
2574 FI: diatoninen asteikko.
2576 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2577 played on the white keys of a piano keyboard are diatonic. These scales
2578 are sometimes called, somewhat inaccurately, @q{church modes}).
2580 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2581 but also to some extent in newer jazz music.
2583 @lilypond[quote,notime,relative=1]
2587 e^"~~ S" f g a b^"~~ S" c
2595 @lilypond[quote,notime,relative=1]
2599 e^"~~ S" f g a b^"~~ S" c d
2607 @lilypond[quote,notime,relative=1]
2610 e1^"~~ S" f g a b^"~~ S" c d e
2618 @lilypond[quote,notime,relative=1]
2622 b^"~~ S" c d e^"~~ S" f
2630 @lilypond[quote,notime,relative=2]
2634 b^"~~ S" c d e^"~~ S" f g
2642 @lilypond[quote,notime,relative=2]
2646 b^"~~ S" c d e^"~~ S" f g a
2654 @lilypond[quote,notime,relative=2]
2657 b1^"~~ S" c d e^"~~ S" f g a b
2665 From the beginning of the 17th century the scales used in European
2666 compositional music are primarily the major and the minor scales. In
2667 the harmonic minor scale type an augmented second (A) occurs between
2668 the 6th and 7th tone.
2670 @lilypond[quote,notime,relative=1]
2674 e^"~~ S" f g a b^"~~ S" c
2682 @lilypond[quote,notime,relative=2]
2686 b^"~~ S" c d e^"~~ S" f g a
2689 "Ancient (or Natural) minor"
2694 @lilypond[quote,notime,relative=2]
2698 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2706 @lilypond[quote,notime,relative=2]
2710 b^"~~ S" c d e fis gis^"~~ S" a
2713 "Melodic minor ascending"
2718 @lilypond[quote,notime,relative=3]
2722 g! f!^"~~ S" e d c^"~~ S" b a
2725 "Melodic minor descending"
2731 @ref{semitone}, @ref{whole tone}.
2735 @section didymic comma
2738 @ref{syntonic comma}.
2741 @node diminished interval
2742 @section diminished interval
2744 ES: intervalo disminuido,
2745 I: intervallo diminuito,
2746 F: intervalle diminué,
2747 D: vermindertes Intervall,
2748 NL: verminderd interval,
2749 DK: formindsket interval,
2750 S: förminskat intervall,
2751 FI: vähennetty intervalli.
2762 F: diminuendo, en diminuant,
2767 FI: diminuendo, hiljentyen.
2769 Abbreviated @emph{dim.} It indicates a decrease in tone volume.
2785 FI: aika-arvojen tihennys.
2787 This is a stub for diminution (@emph{wrt} mensural notation).
2790 @ref{augmentation}, @ref{mensural notation}.
2809 @node disjunct movement
2810 @section disjunct movement
2812 ES: movimiento disjunto,
2814 F: mouvement disjoint,
2815 D: sprunghafte Bewegung,
2816 NL: sprongsgewijze beweging,
2817 DK: springende bevægelse,
2818 S: hoppande rörelse,
2819 FI: melodian hyppivä liike.
2821 Progressing melodically by intervals larger than a major second, as contrasted
2822 with conjunct movement.
2824 @lilypond[quote,relative=1]
2828 a4. gis8 b a e cis |
2834 @ref{conjunct movement}.
2840 Another name for @ref{dissonant interval}.
2843 @ref{dissonant interval}, @ref{harmony}.
2846 @node dissonant interval
2847 @section dissonant interval
2849 ES: intervalo disonante, disonancia,
2850 I: intervallo dissonante, dissonanza,
2851 F: intervalle dissonant, dissonance,
2853 NL: dissonant interval, dissonant,
2854 DK: dissonerende interval, dissonans,
2856 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2874 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2875 vertical stroke through part or all of the staff that serves to
2876 structure a chant into phrases and sections. There are four types:
2880 @item @emph{divisio minima}, a short pause
2882 @item @emph{divisio maior}, a medium pause
2884 @item @emph{divisio maxima}, a long pause
2886 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2887 section in a long antiphonal or responsorial chant.
2891 TODO: musical example here?
2894 No cross-references.
2900 ES: elevación [de tono],
2903 D: Glissando zu unbestimmter Tonhöhe,
2909 Indicator for a indeterminately rising pitch bend. Compare with
2910 @emph{glissando}, which has determinate starting and ending pitches.
2913 @ref{fall}, @ref{glissando}.
2926 FI: dominantti, huippusointu.
2928 The fifth @emph{scale degree} in @emph{functional harmony}.
2931 @ref{functional harmony}, @ref{scale degree}.
2934 @node dominant ninth chord
2935 @section dominant ninth chord
2937 ES: acorde de novena de dominante,
2938 I: accordo di nona di dominante,
2939 F: accord de neuvième de dominante,
2940 D: Domi@-nant@-nonen@-akkord,
2941 NL: dominant noon akkoord,
2942 DK: dominantnoneakkord,
2943 S: dominantnonackord,
2944 FI: dominanttinoonisointu.
2947 @ref{chord}, @ref{functional harmony}.
2950 @node dominant seventh chord
2951 @section dominant seventh chord
2953 ES: acorde de séptima de dominante,
2954 I: accordo di settima di dominante,
2955 F: accord de septième de dominante,
2956 D: Dominantseptakkord,
2957 NL: dominant septiem akkoord,
2958 DK: dominantseptimakkord,
2959 S: dominantseptimackord,
2960 FI: dominanttiseptimisointu.
2963 @ref{chord}, @ref{functional harmony}.
2967 @section dorian mode
2972 D: dorisch, dorischer Kirchenton,
2973 NL: dorische toonladder,
2979 @ref{diatonic scale}.
2982 @node dot (augmentation dot)
2983 @section dot (augmentation dot)
2986 I: punto (di valore),
2988 D: Punkt (Verlängerungspunkt),
2995 @ref{dotted note}, @ref{note value}.
2999 @section dotted note
3001 ES: nota con puntillo,
3005 NL: gepuncteerde noot,
3008 FI: pisteellinen nuotti.
3014 @node double appoggiatura
3015 @section double appoggiatura
3017 ES: apoyatura doble,
3018 I: appoggiatura doppia,
3019 F: appoggiature double,
3020 D: doppelter Vorschlag,
3021 NL: dubbele voorslag,
3022 DK: dobbelt forslag,
3024 FI: kaksoisappogiatura, kaksoisetuhele.
3030 @node double bar line
3031 @section double bar line
3037 NL: dubbele maatstreep,
3040 FI: kaksoistahtiviiva.
3042 Indicates the end of a section within a movement.
3045 No cross-references.
3048 @node double dotted note
3049 @section double dotted note
3051 ES: nota con doble puntillo,
3052 I: nota doppiamente puntata,
3053 F: note doublement pointée,
3054 D: doppelt punktierte Note,
3055 NL: dubbelgepuncteerde noot,
3056 DK: dob@-belt@-punk@-te@-ret node,
3057 S: dub@-bel@-punk@-te@-rad not,
3058 FI: kaksoispisteellinen nuotti.
3065 @section double flat
3074 FI: kaksoisalennusmerkki.
3081 @section double sharp
3083 ES: doble sostenido,
3088 DK: dob@-belt@-kryds,
3090 FI: kaksoisylennysmerkki.
3096 @node double time signature
3097 @section double time signature
3099 ES: compás polimétrico,
3102 D: zusammengesetzte Taktart,
3106 FI: kaksois-aika-arvomerkintä.
3109 @ref{polymetric time signature}.
3113 @section double trill
3119 NL: dubbele triller,
3124 A simultaneous trill on two notes, usually in the distance of a third.
3127 No cross-references.
3131 @section duple meter
3135 F: métrique binaire,
3136 D: in zwei, grader Takt,
3137 NL: tweedelige maatsoort,
3172 FI: kesto, aika-arvo.
3181 ES: dinámica, matices,
3184 D: Dynamik, Lautstärke,
3188 FI: äänen voimakkuusvaihtelu, dynamiikka.
3190 The aspect of music relating to degrees of loudness, or changes from
3191 one degree to another. The terms, abbreviations, and symbols used to
3192 indicate this information are called dynamic marks.
3195 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3217 @node ecclesiastical mode
3218 @section ecclesiastical mode
3221 @ref{church mode}, @ref{diatonic scale}.
3225 @section eighth note
3232 @item D: Achtel, Achtelnote
3233 @item NL: achtste noot
3234 @item DK: ottendedelsnode
3235 @item S: åttondelsnot
3236 @item FI: kahdeksasosanuotti
3244 @section eighth rest
3247 @item UK: quaver rest
3248 @item ES: silencio de corchea
3249 @item I: pausa di croma
3250 @item F: demi-soupir
3251 @item D: Achtelpause
3252 @item NL: achtste rust
3253 @item DK: ottendedelspause
3254 @item S: åttonddelspaus
3255 @item FI: kahdeksasosatauko
3265 @c TODO: add languages
3274 FI: tavujen yhdistäminen yhteen ääneen.
3276 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3277 @emph{συναλοιφην} @q{to smear together}].
3279 The singing of several syllables on a single note. Elision may be indicated
3280 by a lyric tie, which looks like (and serves the same function) as a musical
3288 @section embellishment
3300 D: Notenstich, Notendruck
3306 Engraving means incising or etching a metal plate for printing.
3307 Photoengraving means drawing music with ink in a manner similar to
3308 drafting or engineering drawing, using similar tools.
3310 The traditional process of music printing is done through cutting in a
3311 plate of metal. Now also the term for the art of music typesetting.
3314 No cross-references.
3329 Two notes, intervals, or scales are enharmonic if they have different
3330 names but equal pitch.
3332 @lilypond[quote,notime,line-width=13.0\cm]
3336 gis1 as <des g,!> <cis g!>
3340 "g sharp " "a flat " "dim fifth " "augm fourth"
3346 No cross-references.
3349 @node equal temperament
3350 @section equal temperament
3352 ES: temperamento igual,
3353 I: temperamento equabile,
3354 F: tempérament égal,
3355 D: gleichschwebende Stimmung,
3356 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3357 DK: ligesvævende temperatur,
3358 S: liksvävande temperatur,
3361 A tuning system that divides the octave into 12 equal semitones (each of
3362 which is precisely equal to 100 cents).
3365 @ref{cent}, @ref{semitone}, @ref{temperament}.
3368 @node expression mark
3369 @section expression mark
3372 I: segno d'espressione,
3373 F: signe d'expression, indication de nuance,
3375 NL: voordrachtsteken,
3376 DK: foredragsbetegnelse,
3377 S: föredragsbeteckning,
3378 FI: nyanssiosoitus, esitysmerkki.
3380 Performance indications concerning:
3384 @item volume, dynamics (for example, @notation{forte},
3385 @notation{crescendo}),
3387 @item tempo (for example, @notation{andante}, @notation{allegro}).
3392 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3396 @section extender line
3398 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3399 I: linea di estensione,
3400 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3407 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3408 extends text (without indicating the musical @emph{function} of that text).
3410 Used in many contexts, for example:
3414 @item In vocal music to indicate the syllable for a melisma. Called
3415 @q{extension} in the
3416 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3420 In figured bass to indicate that:
3424 @item The extended note should be held through a change in harmony, when applied
3425 to one figure --OR--
3426 @item The chord thus represented should be held above a moving bass line, when
3427 applied to more than one figure.
3428 @item These uses were not completely standardized, and some composers used a
3429 single extender line to indicate the latter case.
3434 In string music to indicate that all notes in the passage thus indicated should
3435 be played on the same string. On the violin, for example, a series of notes to
3436 be played on the G string would be indicated @notation{sul G}, another series to be
3437 played on the D string would be indicated @notation{sul D}, and so on.
3440 With an octave mark to indicate that a passage is to be played higher or lower
3441 by the given number of octaves.
3446 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3447 @ref{octave marking}.
3480 The position between the dots of the key symbol is the line of the F
3481 below central@w{ }C. Used on the third, fourth and fifth note line.
3482 A digit@w{ }8 above the clef symbol indicates that the notes must be
3483 played an octave higher (for example, bass recorder) while 8@w{ }below
3484 the clef symbol indicates playing an octave lower (for example, on the
3487 @lilypond[quote,notime,line-width=13.0\cm]
3490 \override Staff.Clef #'full-size-change = ##t
3513 @ref{baritone clef}, @ref{strings}.
3519 ES: caída [de tono],
3522 D: Glissando zu unbestimmter Tonhöhe nach unten,
3528 Indicator for a indeterminately falling pitch bend. Compare with
3529 @emph{glissando}, which has determinate starting and ending pitches.
3532 @ref{doit}, @ref{glissando}.
3535 @node feathered beam
3536 @section feathered beam
3538 ES: barra progresiva,
3540 F: ligature en soufflet, lien de croches en soufflet,
3541 D: gespreizter Balken,
3547 A type of beam used to indicate that a small group of notes should be
3548 played at an increasing or decreasing tempo -- depending on the
3549 direction of @q{feathering} -- but without changing the overall tempo
3553 Internals Reference: @ruser{Manual beams}
3559 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3563 F: point d'orgue, point d'arrêt,
3568 FI: fermaatti, pidäke.
3570 Prolonged note or rest of indefinite duration.
3572 @lilypond[quote,relative=2]
3579 No cross-references.
3599 @section figured bass
3602 I: basso continuo, basso numerato,
3603 F: basse chiffrée, basse continue,
3604 D: Generalbass, bezifferter Bass,
3605 NL: basso continuo, becijferde bas
3608 FI: kenraalibasso, numeroitu basso.
3610 Also called @q{thorough bass}.
3612 A method of indicating an accompaniment part by the bass notes only,
3613 together with figures designating the chief intervals and chords to be
3614 played above the bass notes.
3616 @lilypond[quote,line-width=13.0\cm]
3618 \new Staff = "rh" \with {
3620 \override StaffSymbol #'staff-space = #(magstep -3)
3626 \context Voice = "rha" {
3631 \context Voice = "rhb" {
3633 <bes g>8 as <as f> g <g es> f <d f> es
3638 \new Staff = "lh" \relative c' {
3641 es8 c d bes c as bes16 as g f
3645 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3651 @ref{chord}, @ref{interval}.
3666 Figures to the side or above the note that methodically indicate which
3667 fingers to use while playing a passage.
3670 No cross-references.
3677 I: coda (uncinata), bandiera,
3685 Ornament at the end of the stem of a note used for notes with values less
3686 than a quarter note. The number of flags determines the note value.
3688 @lilypond[quote,notime,relative=2]
3711 An articulation for string players that means the note or passage is to
3712 be played in harmonics.
3718 @item A duct flute similar to the recorder.
3720 @item An organ stop of flute scale at 1' or 2' pitch.
3725 @ref{articulation}, @ref{harmonics}.
3761 FI: forte, voimakkaasti.
3765 Abbreviated @notation{@b{f}}. Variants include:
3768 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3769 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3773 No cross-references.
3792 @node Frenched score
3793 @section Frenched score
3795 ES: partitura a la francesa,
3798 D: Orchesterpartitur ohne leere Systeme,
3802 FI: partituuri ilman tyhjiä nuottiviivastoja.
3804 A @q{condensed} score, produced by omitting staves for instruments that are not
3805 playing at the moment, and by moving up additional systems from following pages
3806 to take up the space thus liberated, which reduces the total number of pages
3807 used to print the work.
3809 The specific rules for @q{frenching} a score differ from publisher to publisher.
3810 If you are producing scores for eventual publication by a commercial publisher,
3811 you may wish to procure a copy of their style manual.
3814 @ref{Frenched staff}.
3817 @node Frenched staff
3818 @section Frenched staff
3820 ES: pentagrama a la francesa,
3823 D: zeitweiliges Notensystem,
3827 FI: karsittu nuotinnus.
3829 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3830 Frenched staff has unneeded measures or sections removed. This is useful
3831 for producing, for example, an @emph{ossia} staff.
3837 @node Frenched staves
3838 @section Frenched staves
3840 Plural of @ref{Frenched staff}.
3859 @node functional harmony
3860 @section functional harmony
3862 ES: armonía funcional,
3863 I: armonia funzionale,
3864 F: étude des functions,
3866 NL: functionele harmonie,
3867 DK: funktionsanalyse, funktionsharmonik,
3869 FI: harmoniajärjestelmä.
3871 A system of harmonic analysis.
3873 It is based on the idea that, in a given key, there are only three
3874 functionally different chords: tonic (T, the chord on the first note of the
3875 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3876 chord on the fifth note). Others are considered to be variants of the base
3879 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3881 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3884 <g e c>1 <a f d> <b g e>
3885 <c a f> <d b g> <e c a> <f d b>
3889 \markup { D \translate #'(-2 . 0) | }
3895 No cross-references.
3922 D: G-Schlüssel, Violinschlüssel,
3928 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3929 second note lines. A digit 8 above the clef symbol indicates that the notes
3930 must be played an octave higher while 8 below the clef symbol indicates
3931 playing or singing an octave lower (used most frequently to notate the tenor
3932 part in modern choral scores).
3934 @lilypond[quote,notime]
3936 \override Staff.Clef #'full-size-change = ##t
3937 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3948 "french violin clef"
3956 No cross-references.
3969 FI: glissando, liukuen.
3971 Letting the pitch slide fluently from one note to the other.
3974 No cross-references.
3978 @section grace notes
3980 ES: notas de adorno,
3982 F: ornement, fioriture,
3983 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3989 Notes printed in small types to indicate that their time values are not
3990 counted in the rhythm of the bar.
3993 @ref{acciaccatura}, @ref{appoggiatura}, @ref{mordent}, @ref{ornament}.
3997 @section grand staff
3999 ES: sistema de piano,
4001 F: système [de portées], accolade,
4002 D: Akkolade, Klaviersystem,
4005 S: ackolad, böjd klammer,
4006 FI: kaksoisnuottiviivasto.
4008 A combination of two staves with a brace. Usually used for piano music.
4024 FI: grave, raskaasti.
4026 [Italian] Slow, solemn.
4029 No cross-references.
4053 Letter name used for @notation{B natural} in German and Scandinavian
4054 usage. In the standard usage of these countries, @notation{B} means
4058 @ref{Pitch names}, @ref{B}.
4064 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4067 @lilypond[quote,relative=2]
4074 @ref{crescendo}, @ref{decrescendo}.
4085 @item D: Halbe, halbe Note,
4086 @item NL: halve noot,
4089 @item FI: puolinuotti.
4100 @item UK: minim rest,
4101 @item ES: silencio de blanca,
4102 @item I: pausa di minima,
4103 @item F: demi-pause,
4104 @item D: halbe Pause,
4105 @item NL: halve, rust,
4106 @item DK: halvnodespause,
4108 @item FI: puolitauko.
4115 @node harmonic cadence
4116 @section harmonic cadence
4118 ES: cadencia (armónica),
4119 I: cadenza (armonica),
4120 F: cadence harmonique,
4122 NL: harmonische cadens,
4123 DK: harmonisk kadence,
4124 S: (harmonisk) kadens,
4125 FI: harmoninen kadenssi.
4127 A sequence of chords that terminates a musical phrase or section.
4131 \context Staff = "SA" \relative c'' {
4134 \partial 4 <c g e>4 |
4135 <c a f> <b g d> <c g e>2
4138 \context Staff = "SB" \relative c {
4140 \partial 4 c4 | f, g c2
4152 @ref{functional harmony}.
4158 ES: armónicos, sonidos aflautados,
4160 F: flageolet, sons harmoniques,
4165 FI: harmoniset äänet, huiluäänet.
4167 The general class of pitches produced by sounding the second or higher
4168 harmonic of a tone producer: string, column of air, and so on.
4170 On stringed instruments, these pitches sound rather flute-like; hence,
4171 their name in languages other than English. They are produced by
4172 lightly touching the string at a node for the desired mode of vibration
4173 while it is being bowed or plucked.
4175 For instruments of the violin family, there are two types of harmonics:
4176 natural harmonics, which are those played on the open string; and
4177 artificial harmonics, which are produced on stopped strings.
4180 No cross-references.
4189 D: Harmonie, Zusammenklang,
4193 FI: harmonia, yhteissointi.
4195 Tones sounding simultaneously. Two note harmonies fall into the
4196 categories @emph{consonances} and @emph{dissonances}.
4200 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4212 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4213 <g a>1_"second " s s
4214 <g f'>_"seventh " s s
4218 For harmony that uses three or more notes, see @ref{chord}.
4228 I: emiolia, (rarely hemiola or emiola),
4234 FI: hemioli, 3/2 -suhde.
4236 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4238 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4239 time normally occupied by two. The resulting rhythm can be expressed in modern
4240 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4241 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4242 as a special effect (or @emph{affect}) at cadences.
4244 For example, this phrase in 6/4 time
4246 @lilypond[quote,relative=1,line-width=13.0\cm]
4249 c2. e | d2 c d | c1. \bar "||"
4252 may be thought of having alternating time signatures
4254 @lilypond[quote,relative=1,line-width=13.0\cm]
4264 and is therefore a polymeter (second definition) of considerable antiquity.
4267 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4280 FI: homofonia, yksiäänisyys.
4282 Music in which one voice leads melodically supported by the other voices in
4283 the same rhythm (more or less). In contrast to @emph{polyphony}.
4306 FI: säkeiden tavumäärät.
4308 A group or list of numbers that indicate the number of syllables in a line
4309 of a hymn's verse. Different hymnals have different ways of noting the hymn
4310 meter: for example, consider a hymn that has four lines in two couplets
4311 alternating regularly between eight and seven syllables. The @emph{English
4312 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4313 or 8@w{ }7@w{ }8@w{ }7.
4315 Some frequently-used hymn meters have traditional names:
4318 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4319 @item 86.86 is called Common Meter (CM or C.M.)
4320 @item 88.88 is called Long Meter (LM or L.M.)
4323 Some hymns and their tunes are doubled versions of a simpler meter: for
4324 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4325 87.87D. The traditional names above also have doubled versions:
4328 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4329 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4330 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4334 No cross-references.
4347 FI: intervalli, kahden sävelen korkeusero.
4349 Difference in pitch between two notes. Intervals may be diminished, minor,
4350 perfect, major, or augmented. The augmented fourth and the diminished fifth
4351 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4352 and are called @emph{tritonus} because they consist of three whole tones.
4353 The addition of such two intervals forms an octave.
4355 @lilypond[quote,notime,line-width=13.0\cm]
4357 \context Voice \relative c'' {
4394 \context Lyrics \lyrics {
4396 "second " "second " "second " "second "
4397 "third " "third " "third " "third "
4398 "fourth " "fourth " "fourth "
4399 "fifth " "fifth " "fifth "
4400 "sixth " "sixth " "sixth " "sixth "
4401 "seventh" "seventh" "seventh" "seventh"
4402 "octave " "octave " "octave "
4408 @ref{enharmonic}, @ref{whole tone}.
4423 When a chord sounds with a bass note that differs from the root of the
4424 chord, it is said to be @emph{inverted}. The number of inversions that a
4425 chord can have is one fewer than the number of constituent notes. For
4426 example, triads (which have three constituent notes) can have three
4427 positions, two of which are inversions:
4431 The root note is in the bass, and above that are the third and the fifth. A
4432 triad built on the first scale degree, for example, is marked @notation{I}.
4434 @item First inversion
4435 The third is in the bass, and above it are the fifth and the root. This
4436 creates an interval of a sixth and a third above the bass note, and so is
4437 marked in figured Roman notation as @notation{6/3}. This is commonly
4438 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4439 characteristic interval of the inversion, and so always implies
4442 @item Second inversion
4443 The fifth is in the bass, and above it are the root and the third. This
4444 creates an interval of a sixth and a fourth above the bass note, and so is
4445 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4446 unstable chord position.
4450 No cross-references.
4453 @node inverted interval
4454 @section inverted interval
4456 ES: intervalo invertido,
4457 I: intervallo rivolto,
4458 F: intervalle renversé,
4459 D: umgekehrtes Intervall,
4460 NL: interval inversie,
4461 DK: omvendingsinterval,
4462 S: intervallets omvändning,
4463 FI: käänteisintervalli.
4465 The difference between an interval and an octave.
4467 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4468 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4469 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4470 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4474 No cross-references.
4477 @node just intonation
4478 @section just intonation
4480 ES: entonación justa,
4481 I: intonazione giusta,
4482 F: intonation juste,
4489 Tuning system in which the notes are obtained by adding and subtracting
4490 natural fifths and thirds.
4508 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4509 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4512 @ref{chromatic scale}, @ref{key signature}.
4516 @section key signature
4518 ES: armadura (de la clave),
4519 I: armatura di chiave,
4520 F: armure, armature [de la clé],
4521 D: Vorzeichen, Tonart,
4522 NL: toon@-soort (voortekens),
4525 FI: sävellajiosoitus.
4527 The sharps or flats appearing at the beginning of each staff indicating the
4534 @node laissez vibrer
4535 @section laissez vibrer
4540 D: Laissez vibrer, schwingen lassen,
4546 [French: @q{Let vibrate}] Most frequently associated with harp
4547 parts. Marked @notation{l.v.} in the score.
4550 No cross-references.
4558 F: largo, large, ample,
4559 D: Largo, Langsam, Breit,
4563 FI: largo, hitaasti, leveästi.
4565 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4566 expressiveness. @emph{Larghetto} is less slow than largo.
4570 @section leading note
4581 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4582 called because of its strong tendency to @q{lead up} (resolve upwards)
4583 to the tonic scale degree.
4586 @ref{scale degree}, @ref{semitone}.
4590 @section ledger line
4592 ES: línea adicional,
4593 I: tagli addizionali,
4594 F: ligne supplémentaire,
4601 A ledger line is an extension of the staff.
4603 @lilypond[quote,notime,relative=2]
4610 No cross-references.
4619 D: legato, gebunden,
4625 To be performed (a) without any perceptible interruption between the
4626 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4627 @notation{portato}, or (d) @notation{staccato}.
4629 @lilypond[quote,notime,line-width=13.0\cm]
4631 \context Staff \relative c'' {
4632 c4-( d e-) \bar "||"
4633 c4-- d-- e-- \bar "||"
4634 c4-.-( d-. e-.-) \bar "||"
4635 c4-. d-. e-. \bar "||"
4651 @section legato curve
4654 @ref{slur}, @ref{legato}.
4676 A ligature is a coherent graphical symbol that represents at least two
4677 distinct notes. Ligatures originally appeared in the manuscripts of
4678 Gregorian chant notation around the 9th century to denote ascending or
4679 descending sequences of notes. In early notation, ligatures were used for
4680 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4681 performance in the sense of articulation. With the invention of the metric
4682 system of the white mensural notation, the need for ligatures to denote such
4683 patterns disappeared.
4686 @ref{mensural notation}.
4693 ES: estanque de nenúfares,
4694 I: stagno del giglio,
4695 F: étang de nénuphars, étang de nymphéas,
4697 NL: le@-lie@-vij@-ver,
4702 A pond with lilies floating in it.
4704 Also, the name of a music typesetting program.
4707 No cross-references.
4716 D: Linie, Notenlinie,
4720 FI: viiva, nuottiviiva.
4736 FI: kirjoitetussa äänenkorkeudessa.
4738 [Italian: @q{place}] Instruction to play the following passage at the
4739 written pitch. Cancels octave mark (q.v.).
4742 @ref{octave mark}, @ref{octave marking}.
4745 @node long appoggiatura
4746 @section long appoggiatura
4748 ES: apoyatura larga,
4749 I: appoggiatura lunga,
4750 F: appoggiature longue,
4755 FI: pitkä appoggiatura, pitkä etuhele.
4765 @item US: long, longa,
4768 @item F: longa, longue,
4776 Note value: twice the length of a @notation{breve}.
4778 @lilypond[quote,notime,relative=2]
4779 \override NoteHead #'style = #'mensural
4784 @ref{breve}, @ref{note value}.
4790 ES: ligadura de letra,
4792 F: ligature de mots,
4797 FI: sidonta sanoituksessa.
4799 @c TODO: add languages
4808 ES: letra (de la canción),
4811 D: Liedtext, Gesangstext,
4820 No cross-references.
4836 @ref{diatonic scale}.
4839 @node major interval
4840 @section major interval
4842 ES: intervalo mayor,
4843 I: intervallo maggiore,
4844 F: intervalle majeur,
4845 D: großes Intervall,
4849 FI: suuri intervalli.
4867 Note value: twice the length of a @notation{longa}.
4869 The maxima is the largest duration in use during the 15th and 16th centuries.
4870 Like the longa, the maxima can be either two or three times as long as the
4871 @notation{longa} (called @notation{binary} and @notation{ternary},
4872 respectively). By the late 15th century, most composers used the smaller
4873 proportion by default.
4876 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4879 @node meantone temperament
4880 @section meantone temperament
4882 ES: afinación mesotónica,
4883 I: accordatura mesotonica,
4884 F: tempérament mésotonique,
4885 D: mitteltönige Stimmung,
4886 NL: middenstemming, middentoonstemming,
4887 DK: middeltonetemperatur,
4888 S: medeltonstemperatur,
4889 FI: keskisävelviritys.
4891 Temperament yielding acoustically pure thirds by decreasing the natural
4892 fifth by 16@w{ }cents. Due to the non-circular character of this
4893 temperament only a limited set of keys are playable. Used for tuning
4894 keyboard instruments for performance of pre-1650 music.
4897 @ref{cent}, @ref{temperament}.
4912 A group of beats (units of musical time) the first of which bears an accent.
4913 Such groups in numbers of two or more recur consistently throughout the
4914 composition and are separated from each other by bar lines.
4917 @ref{bar line}, @ref{beat}, @ref{meter}.
4920 @node measure repeat
4921 @section measure repeat
4924 @ref{percent repeat}.
4931 I: mediante, modale,
4941 @item The third @b{scale degree}.
4943 @item A @emph{chord} having its base tone a third from that of another
4944 chord. For example, the tonic chord may be replaced by its lower
4945 mediant (variant tonic).
4950 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4963 FI: melisma, laulettavan tavun sävelkuvio.
4965 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4966 on one syllable, especially as applied to liturgical chant.
4969 No cross-references.
4973 @section melisma line
4975 @c TODO: add languages
4977 ES: línea de melisma,
4978 I: linea del melisma,
4979 F: trait de mélisme, trait de tenue,
4987 @ref{extender line}.
4990 @node melodic cadence
4991 @section melodic cadence
4997 @node mensural notation
4998 @section mensural notation
5000 @c TODO: add languages
5002 ES: notación mensural,
5003 I: notazione mensurale,
5004 F: notation mensurale,
5005 D: Mensuralnotation,
5009 FI: mensuraalinuotinnus.
5011 A system of duration notation whose principles were first established in the
5012 mid-13th century, and that (with various changes) remained in use until about
5013 1600. As such, it is the basis for the notation of rhythms in Western musical
5016 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5017 of the notation's principles, so the notation of this earliest period is called
5018 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5019 and semibreve -- each of which was normally equivalent to three of the next
5022 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5023 added several note values (the minim, semiminim and fusa) and extended Franco's
5024 principles to govern the relationship between these values. They also put the
5025 duple division of note values on an equal footing with the earlier (preferred)
5028 TODO: continue description of French and Italian black notation, and the
5029 relationship betwixt them.
5031 @b{White or void mensural notation}
5033 In the 15th century, hollow (or void) notes began to substitute for the earlier
5034 solid black ones, which were then free to assume the function of red (or
5035 colored) notes in the earlier notation. ...
5037 TODO: add to definition (including summary info on proportional notation)
5040 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5041 @c TODO: more cross-references?
5044 @node mensuration sign
5045 @section mensuration sign
5047 @c TODO: add languages
5049 ES: signo de mensuración,
5051 F: signe de mensuration,
5058 The ancestor of the time signature, mensuration signs were used to indicate the
5059 relationship between two sets of note durations—specifically, the ratio of
5060 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5061 (called @notation{prolatio}).
5063 Each ratio was represented with a single single sign, and was either
5064 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5065 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5066 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5067 represented by a complete circle; applied to the @emph{prolatio}, it was called
5068 @emph{major} and was represented by a dot in the middle of the sign. The binary
5069 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5070 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5071 @emph{minor} and was represented by the lack of an internal dot. There are four
5072 possible combinations, which can be represented in modern time signatures with
5073 and without reduction of note values. (These signs are hard-coded in LilyPond
5077 @item perfect @emph{tempus} with major @emph{prolatio}
5078 Indicated by a complete circle with an internal dot. In modern time signatures,
5081 @item 9/4, with reduction or
5082 @item 9/2, without reduction
5085 @item perfect @emph{tempus} and minor @emph{prolatio}
5086 Indicated by a complete circle without an internal dot. In modern time
5087 signatures, this equals:
5089 @item 3/2, with reduction or
5090 @item 3/1, without reduction
5093 @item imperfect @emph{tempus} and major @emph{prolatio}
5094 Indicated by an incomplete circle with an internal dot. In modern time
5095 signatures, this equals:
5097 @item 6/4, with reduction or
5098 @item 6/2, without reduction
5101 @item imperfect @emph{tempus} and minor @emph{prolatio}
5102 Indicated by an incomplete circle without an internal dot. In modern time
5103 signatures, this equals:
5105 @item 4/4, with reduction or
5106 @item 2/1, without reduction
5110 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5111 with note values reduced from the original semibreve to a modern quarter note.
5112 Being doubly imperfect, this sign represented the (theoretically)
5113 least-preferred mensuration, but it was actually used fairly often.
5115 This system extended to the ratio of longer note values to each other:
5119 @item maxima to longa, called:
5123 @item @notation{modus maximorum},
5124 @item @notation{modus major}, or
5125 @item @notation{maximodus})
5129 @item longa to breve, called:
5133 @item @notation{modus longarum},
5134 @item @notation{modus minor}, or
5135 @item @notation{modus}
5141 In the absence of any other indication, these modes were assumed to be
5142 binary. The mensuration signs only indicated tempus and prolatio, so
5143 composers needed another way to indicate these longer ratios (called modes.
5144 Around the middle of the 15th century started to use groups of rests at the
5145 beginning of the staff, preceding the mensuration sign.
5148 Two mensuration signs have survived to the present day: the C-shaped sign,
5149 which originally designated @notation{tempus imperfectum} and
5150 @notation{prolatio minor} now stands for @notation{common time}; and the
5151 slashed C, which designated the same with @notation{diminution} now stands
5152 for @notation{cut time} (essentially, it has not lost its original meaning).
5155 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5156 @c TODO: more cross-references?
5164 F: indication de mesure, mesure,
5171 The pattern of note values and accents in a composition or a section thereof.
5172 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5173 by grouping beats and by subdividing the primary beat.
5175 @b{By grouping beats}:
5179 @item @b{duple}: groups of two.
5180 @item @b{triple}: groups of three.
5181 @item @b{quadruple}: groups of four. A special case of duple meter.
5182 @item @b{quintuple}: groups of five beats.
5183 @item @b{sextuple} meter: groups of six. A special case of:
5187 @item duple meter, subdivided in three; or
5188 @item triple meter, subdivided in two.
5192 @item @b{septuple} meter: groups of seven.
5197 Other than triple meter and its subdivided variants (see below), meters that
5198 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5199 frequently used prior to the 20th Century.
5201 @b{By subdividing the primary beat}:
5205 @item simple: subdivided in groups of two.
5209 @item duple: 2/2, 2/4, 2/8
5210 @item triple: 3/2, 3/4, 3/8
5211 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5215 @item compound: subdivided in groups of three.
5221 @item quadruple: 12/8
5227 Time signatures are placed at the beginning of a composition (or section) to
5228 indicate the meter. For instance, a piece written in simple triple meter with a
5229 beat on each quarter note is conventionally written with a time signature of
5230 3/4. Here are some combinations of the two classifications above:
5232 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5234 @lilypond[quote,line-width=13.0\cm]
5238 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5241 Simple triple meter:
5243 @lilypond[quote,line-width=13.0\cm]
5247 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5250 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5252 @lilypond[quote,line-width=13.0\cm]
5256 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5259 Simple quintuple meter (B. Marcello, 1686-1739):
5261 @lilypond[quote,line-width=13.0\cm]
5265 r4 cis8 bis ais4 dis c8 ais |
5266 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5269 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5270 the source, with sharps in the accompaniment where the voice has flats and
5273 Compound duple meter (unknown):
5275 @lilypond[quote,line-width=13.0\cm]
5279 f8 f g a bes16 a g f |
5280 g8 g bes a c16 a bes g
5284 Compound triple meter (J.S. Bach, 1685-1750):
5286 @lilypond[quote,line-width=13.0\cm]
5290 r8 g'( a) b( d c) c( e d) |
5291 d( g fis) g( d b) g( a b)
5295 Compound quadruple meter (P. Yon, 1886-1943):
5297 @lilypond[quote,line-width=13.0\cm]
5301 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5302 e4 e8 fis( gis) a b4.~ b4 b8
5307 @b{@q{Monometer} vs Polymeter}
5309 TODO: add information from discussion on lilypond-user related to polymeter.
5313 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5328 Device used to indicate the exact tempo of a piece.
5330 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5331 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5332 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5333 followed acknowledged Winkler as the creator, but by then Mälzel had already
5334 sold many of them, and people had taken to calling it a Mälzel Metronome.
5337 @ref{metronome mark}.
5340 @node metronome mark
5341 @section metronome mark
5343 ES: indicación metronómica,
5344 I: indicazione metronomica,
5345 F: indication métronomique,
5347 NL: metronoom aanduiding,
5349 S: metronomangivelse,
5350 FI: metronomiosoitus.
5352 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5353 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5360 @node metronomic indication
5361 @section metronomic indication
5364 @ref{metronome mark}
5377 FI: kohtalaisen, melko.
5379 [Italian: @q{medium}]
5381 Used to qualify other indications, such as:
5387 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5389 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5395 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5402 No cross-references.
5406 @section mezzo-soprano
5417 The female voice between soprano and contralto.
5420 @ref{soprano}, @ref{contralto}.
5429 D: zweigestrichenes@w{ }c,
5431 DK: enstreget@w{ }c,
5432 S: ettstruket@w{ }c,
5435 First C below the 440 Hz A.
5437 @lilypond[quote,notime,relative=1]
5438 \override Staff.Clef #'full-size-change = ##t
5445 No cross-references.
5461 @ref{diatonic scale}.
5464 @node minor interval
5465 @section minor interval
5467 ES: intervalo menor,
5468 I: intervallo minore,
5469 F: intervalle mineur,
5470 D: kleines Intervall,
5474 FI: pieni intervalli.
5480 @node mixolydian mode
5481 @section mixolydian mode
5484 @ref{diatonic scale}.
5493 D: Kirchentonart, Modus,
5497 FI: moodi, kirkkosävelasteikko.
5500 @ref{church mode}, @ref{diatonic scale}.
5513 FI: modulaatio, sävellajin vaihdos.
5515 Moving from one @ref{key} to another. For example, the second subject
5516 of a @ref{sonata form} movement modulates to the dominant key if the
5517 key is major and to the @ref{relative key} if the key is minor.
5520 No cross-references.
5532 FI: mordent, korukuvio.
5535 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5556 FI: teema, sävelaihe.
5558 The briefest intelligible and self-contained fragment of a musical
5561 @lilypond[quote,line-width=13.0\cm]
5564 \set Score.implicitTimeSignatureVisibility = #all-invisible
5565 \override Score.TimeSignature #'break-visibility = #all-invisible
5568 \partial 8 g16\startGroup fis |
5569 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5570 g8 g,16 a b8 cis d16 s
5574 \Staff \consists "Horizontal_bracket_engraver"
5580 No cross-references.
5595 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5596 several -- more or less -- independent pieces called movements.
5599 No cross-references.
5602 @node multi-measure rest
5603 @section multi-measure rest
5605 ES: compases de espera, silencio multicompás,
5607 F: pause multiple, mesure à compter,
5609 D: mehrtaktige Pause, Kirchenpause,
5612 FI: usean tahdin mittainen tauko.
5614 Multi-measure rests are conventionally typeset with a combination of
5615 longa, breve and whole rests for shorter and a long horizontal bar for
5616 longer spans of rest, with a number above to indicate the duration (in
5617 measures) of the rest. The former style is called @q{Kirchenpausen} in
5618 German, as a reminiscence of its use in Renaissance vocal polyphony.
5620 @lilypond[quote,relative=2]
5622 \set Score.skipBars = ##t
5625 \set Score.skipBars = ##t
5631 @ref{longa}, @ref{breve}.
5640 D: Auflösungszeichen,
5641 NL: herstellingsteken,
5642 DK: op@-løsningstegn,
5643 S: återställningstecken,
5650 @node neighbor tones
5651 @section neighbor tones
5653 @c TODO: add definition.
5665 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5666 @ref{mordent}, @ref{ornament}.
5704 Notes are signs by means of which music is fixed in writing. The term is also
5705 used for the sound indicated by a note, and even for the key of the piano
5706 which produces the sound. However, a clear distinction between the terms tone
5707 and @ref{note} is strongly recommended. Briefly, one sees a note,
5711 No cross-references.
5718 I: testa, testina, capocchia,
5726 A head-like sign which indicates pitch by its position on a @notation{staff}
5727 provided with a @notation{clef}, and duration by a variety of shapes such as
5728 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5729 For percussion instruments (often having no defined pitch) the note head may
5730 indicate the instrument.
5733 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5746 ES: valor, duración,
5748 F: durée, valeur (d'une note),
5753 FI: nuotin aika-arvo.
5755 Note values (durations) are measured as fractions—in modern usage, one-half—of
5756 the next higher note value. The longest duration in current use is the
5757 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5758 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5759 or @notation{maxima} (eight whole notes) may be found.
5761 As used in mensural notation, this fraction was more flexible: it could also
5762 be one-third the higher note value. Composers indicated which proportions
5763 to use with various signs—two of which survive to the present day: the
5764 C-shaped sign for @notation{common time}, and the slashed C for
5765 @notation{alla breve} or @notation{cut time}.
5767 @c TODO -- add maxima to this example, in a way that doesn't break it.
5769 @lilypond[quote,notime,line-width=13.0\cm]
5771 \override NoteHead #'style = #'mensural
5772 a\longa_"longa" a\breve_"breve"
5773 \revert NoteHead #'style
5774 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5775 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5778 @c TODO -- add maxima rest to this example
5780 @lilypond[quote,notime,line-width=13.0\cm]
5782 r\longa_"longa" r\breve_"breve"
5783 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5784 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5787 An augmentation dot after a note increases its duration by half; a second dot
5788 increases it by half of the first addition (that is, by a fourth of the original
5789 duration). More dots can be used to add further halved fractions of the
5790 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5792 @lilypond[quote,line-width=13.0\cm]
5795 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5796 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5799 Alternatively note values may be subdivided by other ratios. Most common is
5800 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5801 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5802 dotted notes are also frequently used.
5804 @lilypond[quote,line-width=13.0\cm]
5807 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5808 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5812 @lilypond[quote,line-width=13.0\cm]
5815 \times 3/2 {g4_"duplets" g} |
5817 \times 6/4 {g8_"quadruplets" g g g} |
5818 g8 g g g g4 \bar "||"
5830 @ref{octave marking}.
5845 The interval of an octave, sometimes abbreviated @notation{8ve}.
5847 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5848 bracket, or @notation{loco} see octave marking.
5851 @ref{interval}, @ref{octave marking}.
5855 @section octave mark
5857 ES: indicación de octava,
5859 F: indication d'octave,
5860 D: Oktavierungszeichen,
5866 The phrase, abbreviation, or other mark used (with or without an extender line
5867 or bracket) to indicate that the music is to be played in a different octave:
5871 @item @notation{15ma}: play two octaves higher
5872 @item @notation{8va}: play one octave higher
5873 @item @notation{8vb}: play one octave lower
5874 @item @notation{8va} (written below the passage): unusual, same as
5876 @item @notation{15vb}: play two octaves lower
5877 @item @notation{15va} (written below the passage): unusual, same as
5882 For longer passages, it may be more practical to mark the octave change at the
5883 beginning with a phrase (see the list below for examples), but without a bracket
5884 or extender line. Then, when the music returns to the written pitch, the octave
5885 change is canceled with the word @notation{loco} (q.v.).
5887 To parallel the list above:
5891 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5892 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5893 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5894 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5898 In the phrases above, @notation{quindicesima} is sometimes replaced with
5899 @notation{quindecima}, which is Latin.
5901 The music on an entire staff can be marked to be played in a different octave by
5902 putting a small 8 or 15 above or below the clef at the beginning. This octave
5903 mark can be applied to any clef, but it is most frequently used with the G and F
5907 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5910 @node octave marking
5911 @section octave marking
5920 FI: oktaavamerkintä.
5922 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5923 that it is to be played in a different octave. If applied to the clef at the
5924 beginning of the staff, all music on that staff is to played at the indicated
5927 For a list of the specific marks used, see @ref{octave mark}.
5930 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5934 @section octave sign
5944 I: abbellimento, fioriture,
5945 F: agrément, ornement,
5946 D: Verzierung, Ornament,
5952 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5953 with the diatonic @ref{second} above it. In the music from the
5954 middle of the 19th century and onwards the trill is performed with the main
5955 note first while in the music from the preceding baroque and classic periods
5956 the upper note is played first.
5958 @lilypond[quote,line-width=13.0\cm]
5960 \context Staff = sa {
5962 c2._"pre-1850" b4\trill | c1 \bar "||"
5963 c2._"post-1850" b4\trill | c1 \bar "||"
5967 c2. c32 b c b c b c b | c1
5968 c2. b32 c b c \times 4/5 { b c b c b } | c1
5973 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5974 the @emph{prall} (inverted mordent).
5976 @lilypond[quote,line-width=13.0\cm]
5978 \context Staff = sa {
5980 a4_"turn" b\turn c2 \bar "||"
5981 g4_"mordent" a b\mordent a \bar "||"
5982 e'4_"prall" d\prall c2 \bar "||"
5988 e'4 e32[ d e d ~ d8] c2
5994 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
6003 F: ossia, alternative,
6008 FI: ossia, vaihtoehtoinen esitystapa.
6010 Ossia (otherwise) marks an alternative. It is an added staff or piano
6011 score, usually only a few measures long, which presents another version
6012 of the music, for example for small hands.
6015 Compare: @ref{cue-notes}.
6021 ES: parte, particella,
6028 FI: stemma, instrumenttiosuus.
6032 @item In instrumental or choral music, the music for a single
6033 instrument or voice.
6035 @item in contrapuntal music, a single melodic line in the contrapuntal
6058 @node percent repeat
6059 @section percent repeat
6061 LilyPond-specific term to indicate the repetition of a musical expression on a
6062 single staff, as opposed to the more usual definition of repeat, which affects
6063 all parts. The musical expression can be anything from a single note or note
6064 pattern to one or more measures. There are other names for this symbol:
6069 @item slash mark, or slash repeat
6071 @item measure (or multi-measure) repeat
6075 @lilypond[quote,relative=2,line-width=13.0\cm]
6077 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6078 \repeat percent 2 { c4 e g b_"Measure repeat" }
6079 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6084 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6085 Vermont Music Dictionary}.
6094 D: Schlagzeug, Schlagwerk,
6100 A family of musical instruments which are played on by striking or
6101 shaking. Percussion instruments commonly used in a symphony orchestra are
6102 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6103 tambourine, cymbals, Chinese gong (tam-tam), triangle, celesta, glockenspiel,
6107 No cross-references.
6110 @node perfect interval
6111 @section perfect interval
6113 ES: intervalo justo,
6114 I: intervallo giusto,
6115 F: intervalle juste,
6116 D: reines Intervall,
6120 FI: puhdas intervalli.
6138 A natural division of the melodic line, comparable to a sentence of speech.
6154 FI: fraseeraus, jäsentäminen.
6156 The clear rendering in musical performance of the @notation{phrases} of the
6157 melody. Phrasing may be indicated by a @notation{slur}.
6160 @ref{phrase}, @ref{slur}.
6175 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6176 @emph{mezzo piano} (@b{mp}) medium soft.
6179 No cross-references.
6187 F: anacrouse, levée,
6212 @item The perceived quality of a sound that is primarily a function of its
6213 fundamental frequency.
6215 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6217 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6218 association of a particular frequency with a particular pitch name, e.g., c' =
6234 NL: pizzicato, getokkeld,
6237 FI: pizzicato, näppäillen.
6239 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6243 No cross-references.
6249 ES: compás polimétrico,
6256 FI: monia tahtiosoituksia sisältävä.
6260 @item The @emph{simultaneous} use of two or more meters, in two or more
6263 @item The @emph{successive} use of different meters in one or more parts.
6268 @ref{polymetric} (adj.)
6281 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6283 Characterized by @emph{polymeter}: using two or more metric frameworks
6284 simultaneously or in alternation.
6287 @ref{polymeter} (noun)
6290 @node polymetric time signature
6291 @section polymetric time signature
6293 ES: indicación de compás polimétrico,
6294 I: tempo polimetrico,
6296 D: zusammengesetzte Taktart,
6300 FI: vaihtelevan tahtiosoitusmerkintä.
6302 A time signature that indicates regularly alternating polymetric time.
6314 D: Polyphonie, Mehrstimmigkeit,
6318 FI: polyfonia, moniäänisyys.
6320 Music written in a combination of several simultaneous voices (parts)
6321 of a more or less pronounced individuality.
6330 [Italian: past participle of @emph{portare}, @q{to carry}]
6332 A stroke in which each of several notes is separated slightly within a slur,
6333 without changing the bow's direction. It is used for passages of a
6334 @notation{cantabile} character.
6340 @section power chord
6342 A chord containing only the root and the fifth (possibly in multiple
6343 octaves). Commonly used in guitar music, particularly with electric
6344 guitar and high distortion.
6352 ES: presto, muy rápido,
6354 F: presto, très rapide, enlevé,
6355 D: Presto, Sehr schnell,
6356 NL: presto, Sehr schnell,
6359 FI: presto, hyvin nopeasti.
6363 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6364 denotes the highest possible degree of speed.
6367 No cross-references.
6382 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6383 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6388 @item A ratio that expresses the relationship between the note values that
6389 follow with those that precede;
6391 @item A ratio between the note values of a passage and the @q{normal}
6392 relationship of note values to the metrical pulse. (A special case of the
6397 The most common proportions are:
6400 @item 2:1 (or simply 2), expressed by a vertical line through the
6401 mensuration sign (the origin of the @notation{alla breve} time signature),
6402 or by turning the sign backwards
6403 @item 3:1 (or simply 3)
6404 @item 3:2 (@emph{sesquialtera})
6407 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6410 @item 1:2 cancels 2:1
6411 @item 1:3 cancels 3:1
6412 @item 2:3 cancels 3:2
6416 Gaffurius enumerates five basic types of major:minor proportions and their
6420 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6421 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6423 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6424 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6425 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6427 @item Superpartiens, if the major number is one less than twice the minor
6428 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6430 @item Multiplexsuperparticular, if the major number is one more than twice the
6431 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6434 @item Multiplexsuperpartiens, if the major number is one less than some other
6435 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6436 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6440 He then continues to subdivide each type in various ways. For the multiplex
6441 proportions, for example, he indicates how many times greater the major number
6446 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6447 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6449 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6452 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6453 Example: 4:1, 8:2, and 12:3
6457 Other proportions were possible, but whether they were frequently used is
6462 @item 33:9, @emph{triplasuperbipartientetertias}
6463 @item 51:15, @emph{triplasuperbipartientequintas}
6467 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6470 @ref{mensural notation}.
6473 @node Pythagorean comma
6474 @section Pythagorean comma
6476 ES: coma pitagórica,
6477 I: comma pitagorico,
6478 F: comma pythagoricien,
6479 D: Pythagoräisches Komma,
6480 NL: komma van Pythagoras,
6481 DK: pythagoræisk komma,
6482 S: pytagoreiskt komma,
6483 FI: pytagorinen komma.
6485 Originally, the interval by which the sum of six whole tones exceeds the octave
6486 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6488 Modern acoustical theory defines it as the interval by which twelve fifths
6489 exceed seven octaves. To put it another way: A sequence of fifths that starts
6490 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6491 than the C obtained by adding 7 octaves. The difference between those two
6492 pitches is the Pythagorean comma.
6495 @ref{cent}, @ref{temperament}.
6517 ES: variante [de acorde o intervalo],
6520 D: Modus (Dur oder Moll),
6526 The quality of a triad is determined by the precise arrangement of its
6527 intervals. Tertian triads can be described as a series of three notes. The
6528 first element is the root note (or simply @q{root}) of the chord, the second
6529 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6530 the chord. These are described below:
6532 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6533 @headitem Chord name
6534 @tab Component intervals
6537 @item major triad @tab major third/perfect fifth
6539 @tab C, CM, Cma, Cmaj, CΔ
6540 @item minor triad @tab minor third/perfect fifth
6542 @tab Cm, Cmi, Cmin, C-
6543 @item augmented triad @tab major third/augmented fifth
6546 @item diminished triad @tab minor third/diminished fifth
6548 @tab Cm(♭5), Cº, Cdim
6551 There are various types of seventh chords depending on the quality of the
6552 original chord and the quality of the seventh added.
6554 Five common types of seventh chords have standard symbols. The chord quality
6555 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6556 and D^m7 are all identical). The last three chords are not commonly used
6564 @section quarter note
6569 @item I: semiminima, nera
6571 @item D: Viertel, Viertelnote
6573 @item DK: fjerdedelsnode
6574 @item S: fjärdedelsnot
6575 @item FI: neljäsosanuotti
6583 @section quarter rest
6586 @item UK: crotchet rest
6587 @item ES: silencio de negra
6588 @item I: pausa di semiminima
6590 @item D: Viertelpause
6592 @item DK: fjerdedelspause
6593 @item S: fjärdedelspaus
6594 @item FI: neljäsosatauko
6602 @section quarter tone
6611 FI: neljännessävelaskel.
6613 An interval equal to half a semitone.
6622 ES: cinquillo, quintillo,
6636 @section rallentando
6640 F: rallentando, en ralentissant,
6641 D: rallentando, langsamer werden,
6645 FI: rallerdando, hidastuen.
6647 [Italian: @q{slowing down}]
6649 Slackening in speed, more gradual than @ref{ritardando}. Abbreviated
6657 @section relative key
6660 I: tonalità relativa,
6661 F: tonalité relative,
6663 NL: paralleltoonsoort,
6664 DK: paralleltoneart,
6666 FI: rinnakkaissävellaji.
6668 Major and minor keys that have the same key signature.
6670 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6672 es1_"e flat major" f g as bes c d es
6676 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6678 c1_"c minor" d es f g a! b! c
6683 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6691 F: barre de reprise,
6694 DK: gen@-ta@-gel@-se,
6698 @lilypond[quote,relative=2,line-width=13.0\cm]
6710 No cross-references.
6725 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6726 @c specify the rest's value.
6746 @item Metrical rhythm in which every time value is a multiple or
6747 fraction of a fixed unit of time, called @emph{beat}, and in which the
6748 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6749 The basic scheme of time values is called @emph{meter}.
6751 @item Measured rhythm which lacks regularly recurrent accent. In
6752 modern notation such music appears as a free alternation of different
6755 @item Free rhythm, i.e., the use of temporal values having no common
6756 metrical unit (beat).
6761 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6767 ES: ritardando, retardando,
6769 F: ritardando, en ralentissant,
6770 D: ritardando, langsamer werden,
6774 FI: ritardando, hidastuen,
6776 [Italian: @q{lagging}]
6778 Gradual slowing down, more pronounced than @ref{rallentando}. Mostly
6779 abbreviated to @notation{rit.} or @notation{ritard}.
6788 ES: ritenuto, reteniendo,
6790 F: ritenuto, en retenant,
6795 FI: ritenuto, hidastaen.
6797 Immediate reduction of speed.
6800 No cross-references.
6813 FI: asteikko, sävelasteikko.
6816 @ref{diatonic scale}.
6820 @section scale degree
6822 ES: grado (de la escala),
6823 I: grado della scala,
6824 F: degré [de la gamme],
6826 NL: trap [van de toonladder],
6829 FI: sävelaste, asteikon sävel.
6831 Names and symbols used in harmonic analysis to denote tones of the
6832 scale as roots of chords. The most important are degrees I = tonic
6833 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6835 @lilypond[quote,notime,line-width=13.0\cm]
6837 \new Staff \relative c' {
6840 \lyrics { I II III IV V VI VII I }
6841 \lyrics { T "" "" S D }
6846 @ref{functional harmony}.
6854 F: à cordes ravallées,
6859 FI: epätavallinen viritys.
6861 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6862 tuning of stringed instruments, particularly lutes or violins. Used
6867 @item facilitate pitch combinations that would otherwise be difficult
6870 @item alter the characteristic timbre of the instrument, for example,
6871 to increase brilliance
6873 @item reinforce certain sonorities or tonalities by making them
6874 available on open strings
6876 @item imitate other instruments
6882 Tunings that could be called @var{scordatura} first appeared early in
6883 the 16th Century and became commonplace in the 17th.
6886 No cross-references.
6894 F: partition, conducteur (full score),
6895 D: Partitur (full score), Klavierauszug (vocal score),
6901 A copy of orchestral, choral, or chamber music showing what each
6902 instrument is to play, each voice to sing, having each part arranged
6903 one underneath the other on different staves @ref{staff}.
6906 No cross-references.
6921 The interval between two neighboring tones of a scale. A diatonic scale
6922 consists of alternating semitones and whole tones, hence the size of a
6923 second depends on the scale degrees in question.
6926 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6933 @item US: whole note,
6937 @item D: Ganze, ganze Note, Semibrevis,
6938 @item NL: hele noot,
6941 @item FI: kokonuotti.
6944 Note value: called @notation{whole note} in the US.
6946 The semibreve is the basis for the @notation{tactus} in mensural notation
6947 (i.e. music written before ca. 1600).
6950 @ref{mensural notation}, @ref{note value}.
6965 The interval of a minor second. The (usually) smallest interval in European
6966 composed music. The interval between two neighboring tones on the piano
6967 keyboard -- including black and white keys -- is a semitone. An octave may
6968 be divided into 12@w{ }semitones.
6970 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6971 g1 gis s a bes s b! c
6975 @ref{interval}, @ref{chromatic scale}.
6998 @ref{sextuplet}, @ref{note value}.
7043 ES: simile, similar,
7046 D: simile, gleichartig,
7052 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7053 is to be played in the same manner (i.e. with the same articulations, dynamics,
7054 etc.) as the music that precedes it.
7057 TODO: Where else could I refer the reader?
7061 @section simple meter
7063 ES: compás simple, compás de subdivisión binaria,
7070 FI: kaksijakoinen tahtiosoitus.
7072 A meter in which the basic beat is subdivided in two: that is, a meter
7073 that does not include triplet subdivision of the beat.
7076 @ref{compound meter}, @ref{meter}.
7079 @node sixteenth note
7080 @section sixteenth note
7083 @item UK: semiquaver
7084 @item ES: semicorchea
7086 @item F: double croche
7087 @item D: Sechzehntel, Sechzehntelnote
7088 @item NL: zestiende noot
7089 @item DK: sekstendedelsnode
7090 @item S: sextondelsnot
7091 @item FI: kuudestoistaosanuotti
7098 @node sixteenth rest
7099 @section sixteenth rest
7102 @item UK: semiquaver rest
7103 @item ES: silencio de semicorchea
7104 @item I: pausa di semicroma
7105 @item F: quart de soupir
7106 @item D: Sechzehntelpause
7107 @item NL: zestiende rust
7108 @item DK: sekstendedelspause
7109 @item S: sextondelspaus
7110 @item FI: kuudestoistaosatauko
7133 @node sixty-fourth note
7134 @section sixty-fourth note
7137 @item UK: hemidemisemiquaver
7139 @item I: semibiscroma
7140 @item F: quadruple croche
7141 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7142 @item NL: vierenzestigste noot
7143 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7144 @item S: sextiofjärdedelsnot
7145 @item FI: kuudeskymmenesneljäsosanuotti
7152 @node sixty-fourth rest
7153 @section sixty-fourth rest
7156 @item UK: hemidemisemiquaver rest
7157 @item ES: silencio de semifusa
7158 @item I: pausa di semibiscroma
7159 @item F: seizième de soupir
7160 @item D: Vierundsechzigstelpause
7161 @item NL: vierenzestigste rust
7162 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7163 @item S: sextiofjärdedelspaus
7164 @item FI: kuudeskymmenesneljäsosatauko
7172 @section slash repeat
7175 @ref{percent repeat}.
7181 ES: ligadura de expresión,
7182 I: legatura (di portamento o espressiva),
7184 D: Bogen (Legatobogen, Phrasierungsbogen),
7185 NL: fraseringsboog, legatoboog, streekboog,
7186 DK: legatobue, fraseringsbue,
7190 A slur above or below a group of notes indicates that they are to be
7191 played @ref{legato}, e.g., with one stroke of the violin bow or with
7192 one breath in singing.
7195 No cross-references.
7199 @section solmization
7208 FI: suhteelliset laulunimet.
7210 General term for systems of designating the degrees of the
7211 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7212 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7216 @ref{scale}, @ref{scale degree}.
7231 In its present-day meaning a sonata denotes an instrumental
7232 composition for piano or for some other instrument with piano
7233 accompaniment, which consists of three or four independent pieces,
7237 No cross-references.
7241 @section sonata form
7245 F: [en] forme de sonate,
7247 NL: hoofdvorm, sonatevorm,
7252 A form used frequently for single movements of the @emph{sonata},
7253 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7254 three sections called @notation{exposition}, @notation{development} and
7255 @notation{recapitulation}. In the exposition the composer introduces some
7256 musical ideas, consisting of a number of themes; in the development section the
7257 composer @emph{develops} this material, and in the recapitulation the composer
7258 repeats the exposition, with certain modifications. The exposition contains a
7259 number of themes that fall into two groups, often called first and second
7260 subject. Other melodies occurring in each group are considered as continuations
7261 of these two. The second theme is in another key, normally in the key of the
7262 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7263 @notation{relative key} if the tonic is @notation{minor}.
7266 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7267 @ref{symphony}, @ref{tonic}.
7287 FI: sopraano, korkea naisääni.
7289 The highest female voice.
7292 No cross-references.
7300 F: staccato, piqué, détaché,
7305 FI: staccato, lyhyesti, terävästi.
7307 Playing the note(s) short. Staccato is indicated by a dot above or
7308 below the note head.
7310 @lilypond[quote,relative=2]
7314 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7320 No cross-references.
7327 ES: pentagrama, pauta,
7328 I: pentagramma, rigo (musicale),
7330 D: Notensystem, Notenzeile,
7331 NL: (noten)balk, partij,
7336 A staff (plural: staves) is a series of (normally five) horizontal
7337 lines upon and between which the musical notes are written, thus
7338 indicating (in connection with a @ref{clef}) their pitch. Staves for
7339 @ref{percussion} instruments may have fewer lines.
7341 @lilypond[quote,relative=1]
7362 D: Hals, Notenhals, Stiel,
7368 Vertical line above or below a @ref{note head} shorter than a
7371 @lilypond[quote,notime,relative=2]
7372 \set Score.autoBeaming = ##f
7386 ES: stringendo, acelerando,
7388 F: stringendo, en accélérant,
7393 FI: kiihdyttäen, nopeuttaen.
7395 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7414 A family of stringed musical instruments played with a bow. Strings
7415 commonly used in a symphony orchestra are violin, viola, violoncello,
7419 No cross-references.
7423 @section strong beat
7428 D: betonter Taktteil oder Taktschlag,
7430 D: betonet taktslag,
7431 S: betonat taktslag,
7432 FI: tahdin vahva isku.
7435 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7439 @section subdominant
7448 FI: subdominantti, alidominantti.
7450 The fourth @notation{scale degree}.
7453 @ref{functional harmony}, @ref{scale degree}.
7468 The sixth @notation{scale degree}.
7471 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7484 FI: subtoonika, alitoonika.
7486 The seventh @ref{scale degree}.
7489 @ref{functional harmony}, @ref{scale degree}.
7495 ES: sobre la cuerda de Sol,
7498 D: auf G, auf der G-Saite,
7504 Indicates that the indicated passage (or note) should be played on the
7508 No cross-references.
7512 @section superdominant
7523 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7526 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7541 The second @ref{scale degree}.
7544 @ref{functional harmony}, @ref{scale degree}.
7553 D: Sinfonie, Symphonie,
7559 A symphony may be defined as a @emph{sonata} for orchestra.
7566 @section syncopation
7577 Any deliberate upsetting of the normal pulse of @ref{meter},
7578 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7579 rhythm rests upon the grouping of equal beats into groups of two or
7580 three, with a regularly recurrent accent on the first beat of each
7581 group. Any deviation from this scheme is felt as a disturbance or
7582 contradiction between the underlaying (normal) pulse and the actual
7585 @lilypond[quote,relative=1]
7588 e16 c'8 e,16 c'8 e,16 c' ~
7593 No cross-references.
7596 @node syntonic comma
7597 @section syntonic comma
7599 ES: coma sintónica, coma de Dídimo,
7600 I: comma sintonico (o didimico),
7601 F: comma syntonique,
7602 D: syntonisches Komma,
7603 NL: syntonische komma,
7604 DK: syntonisk komma,
7605 S: syntoniskt komma,
7606 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7607 Pytagorisessa viritysjärjestelmässä.
7609 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7610 by which the ditone exceeds the pure major third obtained by Pythagorean
7611 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7613 Modern acoustical theory defines it as the interval by which four fifths exceed
7614 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7616 This comma is also known as the comma of Didymus, or didymic comma.
7619 @ref{Pythagorean comma}
7628 D: Notensystem, Partitur,
7634 The collection of staves (@notation{staff}), two or more, as used
7635 for writing down keyboard, chamber, choral, or orchestral music;
7636 a section of the score spanning the width of a single page.
7643 @section temperament
7648 D: Stimmung, Tem@-pe@-ra@-tur,
7649 NL: stemming, temperatuur,
7652 FI: viritysjärjestelmä.
7654 Systems of tuning in which the intervals deviate from the acoustically
7658 @ref{meantone temperament}, @ref{equal temperament}.
7661 @node tempo indication
7662 @section tempo indication
7664 ES: indicación de tempo,
7665 I: indicazione di tempo,
7666 F: indication de tempo,
7667 D: Zeitmaß, Tempobezeichnung,
7668 NL: tempo aanduiding,
7673 The rate of speed of a composition or a section thereof, ranging from the
7674 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7675 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7679 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7693 FI: tenori, korkea miesääni.
7695 The highest @q{natural} male voice (apart from @notation{countertenor}).
7720 ES: subrayado (tenuto),
7729 An indication that a particular note should be held for the whole
7730 length, although this can vary depending on the composer and era.
7733 No cross-references.
7752 @node thirty-second note
7753 @section thirty-second note
7756 @item UK: demisemiquaver
7759 @item F: triple croche
7760 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7761 @item NL: twee@-endertig@-ste (32e) noot
7762 @item DK: toogtredivtedelsnode
7763 @item S: trettiotvåondelsnot
7764 @item FI: kolmaskymmeneskahdesosanuotti
7771 @node thirty-second rest
7772 @section thirty-second rest
7775 @item UK: demisemiquaver rest
7776 @item ES: silencio de fusa
7777 @item I: pausa di biscroma
7778 @item F: huitième de soupir
7779 @item D: Zweiunddreissigstel@-pause
7780 @item NL: twee@-endertig@-ste (32e) rust
7781 @item DK: toogtredivtedelspause
7782 @item S: trettiotvåondelspaus
7783 @item FI: kolmaskymmeneskahdesosatauko
7791 @section thorough bass
7800 ES: ligadura de unión (o de prolongación),
7801 I: legatura (di valore),
7802 F: liaison (de tenue),
7803 D: Haltebogen, Bindebogen,
7804 NL: overbinding, bindingsboog,
7806 S: bindebåge, överbindning,
7809 A curved line, identical in appearance with the @ref{slur}, which
7810 connects two succesive notes of the same pitch, and which has the
7811 function of uniting them into a single sound (tone) equal to the
7814 @lilypond[quote,notime,relative=2]
7826 @node time signature
7827 @section time signature
7829 ES: indicación de compás,
7831 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7832 D: Taktangabe, Angabe der Taktart,
7835 S: taktartssignatur,
7838 The sign placed at the beginning of a composition to indicate its
7839 meter. It most often takes the form of a fraction, but a few signs
7840 derived from mensural notation and proportions are also employed.
7843 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7858 A sound of definite pitch and duration, as distinct from @emph{noise}.
7859 Tone is a primary building material of music.
7861 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7864 No cross-references.
7879 The first @notation{scale degree}.
7882 @ref{functional harmony}, @ref{scale degree}.
7885 @node transposing instrument
7886 @section transposing instrument
7888 ES: instrumento transpositor,
7889 I: strumento traspositore,
7890 F: instrument transpositeur,
7891 D: transponierende Instrumente,
7895 FI: transponoitava soitin.
7897 Instruments whose notated pitch is different from their sounded pitch. Except
7898 for those whose notated and sounding pitches differ by one or more octaves (to
7899 reduce the number of ledger lines needed), most such instruments are identified
7900 by the letter name of the pitch class of their fundamental. The pitch class is
7901 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7902 the instrument plays a notated C.
7904 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7905 the B-flat one tone lower. If played on the A clarinet, the same written
7906 note sounds the A (one and half tones -- a minor third -- lower).
7908 Not all transposing instruments include the pitch class in their name:
7911 @item Alto flute (in G)
7912 @item English horn (in F)
7913 @item Saxophones (in B-flat or E-flat)
7916 @ignore Can we do better?
7918 To make matters more complex, some instruments are transposing instruments,
7919 but their players play from parts written at concert pitch. This is the
7920 case for orchestral trombone and tuba players—whereas trombone players in
7921 brass bands treat their parts as if written for a true transposing
7922 instrument in B-flat.
7927 @ref{concert pitch}.
7931 @section transposition
7933 ES: transporte, transposición,
7942 Shifting a melody up or down in pitch, while keeping the same
7945 @lilypond[quote,line-width=13.0\cm]
7950 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7955 @lilypond[quote,line-width=13.0\cm]
7958 \transpose c bes \relative c'' {
7960 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7966 No cross-references.
7970 @section treble clef
7972 ES: clave de sol en segunda,
7973 I: chiave di violino,
7975 D: Violinschlüssel, Sopranschlüssel,
7997 On stringed instruments:
8001 @item The quick reiteration of the same tone, produced by a rapid
8002 up-and-down movement of the bow.
8004 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
8005 in the distance of a third (@ref{interval}).
8009 @lilypond[quote,notime,relative=1]
8011 f:32 [ e8:16 f:16 g:16 a:16 ] s4
8012 \repeat tremolo 8 { e32_"b" g }
8024 F: triade, accord parfait, accord de trois sons,
8040 F: trille, tremblement, battement (cadence),
8052 @section triple meter
8054 ES: compás ternario,
8057 D: Dreiertakt, ungerader Takt,
8058 NL: driedelige maatsoort,
8100 @section tuning fork
8102 ES: diapasón [de horquilla],
8103 I: diapason, corista,
8109 FI: viritysavain, äänirauta.
8111 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8112 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8113 standard. Tuning forks for other pitches are available.
8122 ES: grupo de valoración especial,
8123 I: gruppi irregolari,
8126 NL: Antimetrische figuur,
8131 A non-standard subdivision of a beat or part of a beat, usually
8132 indicated with a bracket and a number indicating the number of
8136 @ref{triplet}, @ref{note value}.
8142 ES: grupeto (circular),
8165 FI: unisono, yksiäänisesti.
8167 Playing of the same notes or the same melody by various instruments
8168 (voices) or by the whole orchestra (choir), either at exactly the same
8169 pitch or in a different octave.
8172 No cross-references.
8180 F: anacrouse, levée,
8201 FI: ääni, lauluääni.
8209 @item @ref{mezzo-soprano}
8210 @item @ref{contralto}
8212 @item @ref{baritone}
8216 @item A melodic layer or part of a polyphonic composition.
8221 No cross-references.
8227 ES: vez, primera y segunda vez,
8230 D: volta-Klammer, Wiederholungsklammer,
8234 FI: yksi kertauksen maaleista.
8236 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8237 or second ending. LilyPond extends this idea to any number, and allows any text
8238 (not just a number) -- to serve as the @notation{volta} text.
8241 No cross-references.
8248 I: tempo debole, arsi,
8250 D: unbetonter Taktteil oder Taktschlag,
8252 DK: ubetonet taktslag,
8253 S: obetonat taktslag,
8254 FI: tahdin heikko isku.
8257 @ref{beat}, @ref{measure}, @ref{rhythm}.
8268 @item D: Ganze, ganze Note
8272 @item FI: kokonuotti
8283 @item UK: semibreve rest
8284 @item ES: silencio de redonda
8285 @item I: pausa di semibreve
8287 @item D: ganze Pause, ganztaktige Pause
8289 @item DK: helnodespause
8310 The interval of a major second. The interval between two tones
8311 on the piano keyboard with exactly one key between them -- including
8312 black and white keys -- is a whole tone.
8330 A family of blown wooden musical instruments. Today some of these
8331 instruments are actually made from metal. The woodwind instruments
8332 commonly used in a symphony orchestra are flute, oboe, clarinet,
8333 saxophone, and bassoon.
8336 No cross-references.
8339 @node Duration names notes and rests
8340 @chapter Duration names notes and rests
8342 @multitable @columnfractions .12 .22 .22 .22 .22
8344 @headitem Lang. @tab note name
8348 @item @strong{US} @tab long
8352 @item @strong{UK} @tab longa
8356 @item @strong{ES} @tab longa
8357 @tab silencio de longa
8359 @tab silencio de cuadrada
8360 @item @strong{IT} @tab longa
8364 @item @strong{FR} @tab longa
8365 @tab quadruple-pause
8368 @item @strong{DE} @tab Longa
8372 @item @strong{NL} @tab longa
8376 @item @strong{DK} @tab longa
8377 @tab longanodespause
8379 @tab brevis(nodes)pause
8380 @item @strong{SE} @tab longa
8384 @item @strong{FI} @tab longa-nuotti
8386 @tab brevis-nuotti, kaksoiskoko@-nuotti
8387 @tab brevis-tauko, kaksoiskoko@-tauko
8391 @multitable @columnfractions .12 .22 .22 .22 .22
8393 @headitem Lang. @tab note name
8397 @item @strong{US} @tab whole note
8401 @item @strong{UK} @tab semibreve
8405 @item @strong{ES} @tab redonda
8406 @tab silencio de redonda
8408 @tab silencio de blanca
8409 @item @strong{IT} @tab semibreve
8410 @tab pause di semibreve
8412 @tab pausa di minima
8413 @item @strong{FR} @tab ronde
8417 @item @strong{DE} @tab ganze Note
8421 @item @strong{NL} @tab hele noot
8425 @item @strong{DK} @tab helnode
8429 @item @strong{SE} @tab helnot
8433 @item @strong{FI} @tab kokonuotti
8440 @multitable @columnfractions .12 .22 .22 .22 .22
8442 @headitem Lang. @tab note name
8446 @item @strong{US} @tab quarter note
8450 @item @strong{UK} @tab crotchet
8454 @item @strong{ES} @tab negra
8455 @tab silencio de negra
8457 @tab silencio de corchea
8458 @item @strong{IT} @tab semiminima, nera
8459 @tab pausa di semiminima, pausa di nera
8462 @item @strong{FR} @tab noire
8466 @item @strong{DE} @tab Viertelnote
8470 @item @strong{NL} @tab kwartnoot
8474 @item @strong{DK} @tab fjerdedelsnode
8475 @tab fjerdedelspause
8476 @tab ottendedelsnode
8477 @tab ottendedelspause
8478 @item @strong{SE} @tab fjärdedelsnot
8482 @item @strong{FI} @tab neljäsosa@-nuotti
8483 @tab neljäsosa@-tauko
8484 @tab kahdeksasosa@-nuotti
8485 @tab kahdeksasosa@-tauko
8489 * About the French naming system: @notation{croche} refers to the note's
8490 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8491 @q{doubled hook}, @q{trebled hook}, and so on.
8493 The rest names are based on the @notation{soupir}, or quarter rest.
8494 Subsequent rests are expressed as fractions thereof: half a
8495 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8497 Each of the following tables contains one type of note and its matching rest,
8498 with abbreviations that apply to both notes and rests. Just switch the part
8499 that means @q{note} with the part that means @q{rest}, for example:
8503 @item English: 16th @strong{note}, 16th @strong{rest}
8504 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8505 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8509 Editor's note: I put a dash @q{-} when I could not find a language-specific
8510 abbreviation for a duration name. If you know of one that I missed, please
8511 send it to me, care of the lilypond-user discussion list.
8513 @multitable @columnfractions .10 .35 .35 .20
8515 @headitem Lang. @tab Note name
8518 @item @strong{US} @tab sixteenth note
8521 @item @strong{UK} @tab semiquaver
8522 @tab semiquaver rest
8524 @item @strong{ES} @tab semicorchea
8525 @tab silencio de semicorchea
8527 @item @strong{IT} @tab semicroma
8528 @tab pausa di semicroma
8530 @item @strong{FR} @tab double croche
8531 @tab quart de soupir
8533 @item @strong{DE} @tab Sechzehntelnote
8534 @tab Sechzehntelpause
8536 @item @strong{NL} @tab zes@-ti@-ende noot
8537 @tab zes@-ti@-ende rust
8539 @item @strong{DK} @tab sekstendedelsnode
8540 @tab sekstendedelspause
8542 @item @strong{SE} @tab sextondelsnot
8545 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8546 @tab kuudes@-toistaosa@-tauko
8551 @multitable @columnfractions .10 .35 .35 .20
8553 @headitem Lang. @tab Note name
8556 @item @strong{US} @tab thirty-second note
8557 @tab thirty-second rest
8559 @item @strong{UK} @tab demisemiquaver
8560 @tab demisemiquaver rest
8562 @item @strong{ES} @tab fusa
8563 @tab silencio de fusa
8565 @item @strong{IT} @tab biscroma
8566 @tab pausa di biscroma
8568 @item @strong{FR} @tab triple croche
8569 @tab huitième de soupir
8571 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8572 @tab Zweiunddreißig@-stelpause
8574 @item @strong{NL} @tab twee@-endertigste noot
8575 @tab twee@-endertigste rust
8577 @item @strong{DK} @tab toogtredivtedelsnode
8578 @tab toogtredivtedelspause
8580 @item @strong{SE} @tab trettio@-tvåondelsnot
8581 @tab trettio@-tvåondelspaus
8583 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8584 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8589 @multitable @columnfractions .10 .35 .35 .20
8591 @headitem Lang. @tab Note name
8594 @item @strong{US} @tab sixty-fourth note
8595 @tab sixty-fourth rest
8597 @item @strong{UK} @tab hemidemisemiquaver
8598 @tab hemidemisemiquaver rest
8600 @item @strong{ES} @tab semifusa
8601 @tab silencio de semifusa
8603 @item @strong{IT} @tab semibiscroma
8604 @tab pausa di semibiscroma
8606 @item @strong{FR} @tab quadruple croche
8607 @tab seizième de soupir
8609 @item @strong{DE} @tab Vierundsechzigstelnote
8610 @tab Vierundsechzigstelpause
8612 @item @strong{NL} @tab vierenzestigste noot
8613 @tab vierenzestigste rust
8615 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8616 @tab fireog@-tredsindstyven@-dedelspause
8618 @item @strong{SE} @tab sextiofjärdedelsnot
8619 @tab sextiofjärdedelspaus
8621 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8622 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8627 @multitable @columnfractions .10 .35 .35 .20
8629 @headitem Lang. @tab Note name
8632 @item @strong{US} @tab one-hundred-twenty-eighth note
8633 @tab one-hundred-twenty-eighth rest
8635 @item @strong{UK} @tab semihemidemisemiquaver
8636 @tab semihemidemisemiquaver rest
8638 @item @strong{ES} @tab garrapatea
8639 @tab silencio de garrapatea
8641 @item @strong{IT} @tab fusa
8644 @item @strong{FR} @tab quintuple croche
8645 @tab trente-deuxième de soupir @tab -
8646 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8647 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8648 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8649 @tab honderd@-acht@-en@-twintigste rust
8651 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8652 @tab hundrede@-otte@-og@-tyvendedels@-pause
8654 @item @strong{SE} @tab hundratjugoåttondelsnot
8655 @tab hundratjugoåttondelspaus
8657 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8658 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8663 @multitable @columnfractions .10 .35 .35 .20
8665 @headitem Lang. @tab Note name
8668 @item @strong{US} @tab two-hundred-fifty-sixth note
8669 @tab two-hundred-fifty-sixth rest
8671 @item @strong{UK} @tab demisemihemidemisemiquaver
8672 @tab demisemihemidemisemiquaver rest
8674 @item @strong{ES} @tab semigarrapatea
8675 @tab silencio de semigarrapatea @tab -
8676 @item @strong{IT} @tab semifusa
8677 @tab pausa di semifusa
8679 @item @strong{FR} @tab sextuple croche
8680 @tab soixante-quatrième de soupir @tab -
8681 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8682 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8683 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8684 @tab tweehonderd@-zesenvijftigste rust
8686 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8687 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8689 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8690 @tab tvåhundra@-femtiosjättedelspaus
8692 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8693 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8699 @ref{mensural notation}
8703 @chapter Pitch names
8706 -is/-es endings for Danish per Rune Zedeler, pace,
8707 and for Finnish per Risto Vääräniemi;
8708 -iss/-ess endings for Swedish per Mats Bengtsson
8709 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8711 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8712 multiple lines -- as texinfo needs it to allow enough space for the
8713 table entries. (For the curious, it's a list of the widest items in
8714 each column of the table. Romance pitch names are two characters,
8715 except for g (sol) ... so there you go.)
8718 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8719 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8720 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8721 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8722 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8723 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8724 @tab des @tab des @tab dess @tab des
8725 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8726 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8727 @tab dis @tab dis @tab diss @tab dis
8728 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8729 @tab es @tab es @tab ess @tab es
8730 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8731 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8732 @tab Fes @tab fes @tab fes @tab fess @tab fes
8733 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8734 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8735 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8736 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8737 @tab fis @tab fis @tab fiss @tab fis
8738 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8739 @tab ges @tab ges @tab gess @tab ges
8740 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8741 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8742 @tab Gis @tab gis @tab gis @tab giss @tab gis
8743 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8744 @tab as @tab as @tab ass @tab as
8745 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8746 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8747 @tab ais @tab ais @tab aiss @tab ais
8748 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8749 @tab bes @tab b @tab b @tab b
8750 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8751 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8752 @tab ces @tab ces @tab cess @tab ces
8753 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8754 @tab His @tab bis @tab his @tab hiss @tab his
8758 @node Non-Western terms A-Z
8759 @chapter Non-Western terms A-Z
8779 This is a stub for @code{bayati}.
8783 @ruser{Arabic key signatures}.
8790 This is a stub for @code{iraq}.
8794 @ruser{Arabic key signatures}.
8801 This is a stub for @code{kurd}.
8805 @ruser{Arabic key signatures}.
8812 This is a stub for @code{makam}.
8816 @ruser{Turkish classical music}.
8823 This is a stub for @code{makamlar}.
8827 @ruser{Turkish classical music}.
8834 This is a stub for @code{maqam}.
8838 @ruser{Arabic music},
8839 @ruser{Arabic key signatures}.
8846 This is a stub for @code{rast}.
8850 @ruser{Arabic key signatures}.
8857 This is a stub for @code{semai}.
8861 @ruser{Arabic key signatures}.
8868 This is a stub for @code{sikah}.
8872 @ruser{Arabic key signatures}.
8879 This is a stub for @code{taqasim}.
8883 @ruser{Arabic key signatures}.
8886 @node Literature used
8887 @appendix Literature used
8890 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8891 Cambridge: Belknap Press (Harvard University Press), 1944.
8893 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8896 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8897 Terminologie}. Kassel, 1980.
8899 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8900 Current English}, 3rd ed. London: Oxford University Press, 1974.
8902 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8903 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8905 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8906 Cambridge: Belknap Press (Harvard University Press), 1986.
8908 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
projects / lilypond.git / blob