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--2009 by the authors
24 @c TODO: multiple omfcreators?
26 @omfcreator Christian Mondrup, Kurt Kroon
27 @omfdescription Glossary of musical terms with translations
29 @omfcategory Applications|Publishing
34 @lilyTitlePage{Music Glossary}
38 @c @everyheading @| @thispage @|
39 @c @evenheading @thispage @| @|
40 @c @oddheading @| @| @thispage @|
45 @w{@expansion{}@strong{\word\}}@c
49 @expansion{}@ref{\word\, @strong{\word\}}@c
58 * Duration names notes and rests::
64 * GNU Free Documentation License:: License of this document.
71 @c TOC - tex. Not desired for this manual. -gp
75 @node Musical terms A-Z
76 @chapter Musical terms A-Z
78 Languages in this order.
80 @item UK - British English (where it differs from American English)
109 * ancient minor scale::
114 * ascending interval::
116 * augmented interval::
153 * compound interval::
157 * conjunct movement::
172 * descending interval::
175 * diminished interval::
179 * disjunct movement::
181 * dissonant interval::
185 * dominant ninth chord::
186 * dominant seventh chord::
188 * dot (augmentation dot)::
190 * double appoggiatura::
192 * double dotted note::
195 * double time signature::
202 * ecclesiastical mode::
209 * equal temperament::
230 * functional harmony::
251 * inverted interval::
266 * long appoggiatura::
273 * meantone temperament::
280 * mensural notation::
285 * metronomic indication::
298 * multi-measure rest::
328 * polymetric time signature::
333 * Pythagorean comma::
364 * sixty-fourth note::
365 * sixty-fourth rest::
396 * thirty-second note::
397 * thirty-second rest::
404 * transposing instrument::
458 Abbreviated @notation{a2} or @notation{a 2}. In orchestral scores,
459 @notation{a due} indicates that:
463 @item A single part notated on a single staff that normally carries parts
464 for two players (e.g. first and second oboes) is to be played by both
467 @item Or conversely, that two pitches or parts notated on a staff that
468 normally carries a single part (e.g. first violin) are to be played by
469 different players, or groups of players (@q{desks}).
482 F: accelerando, en accélérant,
483 D: accelerando, schneller werden,
487 FI: accelerando, kiihdyttäen.
489 [Italian: @q{speed up, accelerate}]
507 FI: aksentti, korostus.
509 The stress of one tone over others.
523 @section acciaccatura
525 ES: mordente de una nota,
527 F: acciaccatura, appoggiature brève,
534 A grace note which takes its time from the rest or note preceding the
535 principal note to which it is attached. The acciaccatura is drawn as a
536 small eighth note (quaver) with a line drawn through the flag and stem.
539 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
545 ES: alteración accidental,
546 I: alterazione, accidente,
547 F: altération accidentelle,
548 D: Versetzungszeichen, Akzidenz,
549 NL: toevallig (verplaatsings)teken,
551 S: tillfälligt förtecken,
552 FI: tilapäinen etumerkki.
554 An accidental alters a note by:
558 @item Raising its pitch:
560 @item By two semitones—@notation{double sharp}
561 @item By one semitone—@notation{sharp}
564 @item Lowering its pitch:
566 @item By one semitone—@notation{flat}
567 @item By two semitones—@notation{double flat}
570 @item Or canceling the effects of the key signature or previous accidentals.
573 @lilypond[quote,notime]
577 \set Staff.extraNatural = ##f
578 gisis1 gis g! ges geses
583 \center-column { double sharp }
589 \center-column { double flat }
595 \override SpacingSpanner
596 #'base-shortest-duration = #(ly:make-moment 1 32)
603 @ref{alteration}, @ref{semitone}, @ref{whole tone}.
616 FI: adagio, hitaasti.
618 [Italian: @q{comfortable, easy}]
622 @item Slow tempo, slower -- especially in even meter -- than
623 @notation{andante} and faster than @notation{largo}.
625 @item A movement in slow tempo, especially the second (slow) movement
626 of sonatas, symphonies, etc.
631 @ref{andante}, @ref{largo}, @ref{sonata}.
639 F: al niente, en mourant,
644 FI: häviten olemattomiin.
646 [Italian: @q{to nothing}] Used with @notation{decrescendo} to indicate
647 that the sound should fade away to nothing.
649 @notation{Al niente} is indicated by circling the tip of the hairpin:
651 @lilypond[quote,relative=2]
652 \override Hairpin #'circled-tip = ##t
658 or with the actual phrase @notation{al niente}:
660 @lilypond[quote,relative=2]
662 \override DynamicTextSpanner #'(bound-details right text) =
663 \markup { \italic { al niente } }
669 Since one does not crescendo @emph{to} nothing, it is not correct to use
670 @notation{al niente} with @notation{crescendo}. Instead, one should use
671 @emph{dal niente} (@notation{@b{from} nothing}).
674 @ref{crescendo}, @ref{dal niente}, @ref{decrescendo}, @ref{hairpin}.
682 F: alla breve, à la brève,
689 [Italian: @q{on the breve}] Twice as fast as the notation indicates.
691 Also called @notation{in cut-time}. The name derives from mensural
692 notation, where the @notation{tactus} (or beat) is counted on the semibreve
693 (the modern whole note). Counting @q{on the breve} shifts the tactus to the
694 next longest note value, which (in modern usage) effectively halves all note
697 In mensural notation, breves and semibreves can have a ternary relationship,
698 in which case @notation{alla breve} means thrice (not twice) as fast. In
699 practice, this complication may not have mattered, since Gaffurius's system
700 of multiplex proportions makes it easy to explicitly state which proportion
704 @ref{breve}, @ref{hemiola}, @ref{mensural notation}, @ref{note value},
705 @ref{proportion}, @ref{whole note}.
713 F: allegro, gaiement,
714 D: Allegro, Schnell, Fröhlich, Lustig,
718 FI: allegro, nopeasti.
720 [Italian: @q{cheerful}] Quick tempo. Also used as a title for pieces in a
721 quick tempo, especially the first and last movements of a sonata.
734 NL: verhoging of verlaging,
739 An alteration is the modification, raising or lowering, of a note's
740 pitch. It is established by an accidental.
742 @c TODO: add second meaning from mensural notation
758 FI: altto, matala naisääni.
760 A female voice of low range (@emph{contralto}). Originally the alto was a
761 high male voice (hence the name), which by castration or the use of falsetto
762 reached the height of the natural female voice. This type of voice is also
763 known as countertenor.
772 ES: clave de do en tercera,
773 I: chiave di contralto,
774 F: clef d'ut troisième ligne,
775 D: Altschlüssel, Bratschenschlüssel,
781 C clef setting middle C on the middle line of the staff.
792 F: ambitus, tessiture,
797 FI: ambitus, ääniala, soitinala.
799 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
800 Denotes a range of pitches for a given voice in a part of music. It may
801 also denote the pitch range that a musical instrument is capable of playing.
802 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
820 An anacrusis (also known as pickup or upbeat) is an incomplete measure
821 of music before a section of music. It also refers to the initial
822 note(s) of a melody occurring in that incomplete measure.
824 @lilypond[quote,relative=1]
835 @ref{measure}, @ref{meter}.
838 @node ancient minor scale
839 @section ancient minor scale
841 ES: escala menor natural,
842 I: scala minore naturale,
843 F: forme du mode mineur ancien, troisème mode, mode hellénique,
844 D: reines Moll, natürliches Moll,
845 NL: authentieke mineurtoonladder,
848 FI: luonnollinen molliasteikko.
850 Also called @q{natural minor scale}.
852 @lilypond[quote,notime,relative=2]
858 @ref{diatonic scale}.
873 [Italian: present participle of @emph{andare}, @q{to walk}]
875 Walking tempo/character.
882 @section appoggiatura
886 F: appoggiature, (port de voix),
887 D: Vorschlag, Vorhalt
891 FI: appoggiatura, etuhele.
893 Ornamental note, usually a second, that is melodically connected with
894 the main note following it. In music before the 19th century
895 appoggiature were usually performed on the beat, after that mostly
896 before the beat. While the short appoggiatura is performed as a short
897 note regardless of the duration of the main note the duration of the
898 long appoggiatura is proportional to that of the main note.
900 @lilypond[quote,relative=2]
903 <d a fis>4_"notation" r
910 \set Score.measurePosition = #ZERO-MOMENT
911 <d, a fis>4_"performance" r
917 An appoggiatura may have more notes preceding the main note.
919 @lilypond[quote,relative=2]
922 \grace bes16 as8-"notation" as16 bes as8 g |
923 \grace { as16[( bes] } <c as>4)
924 \grace { as16[( bes] } <c as>4) \bar "||"
926 \grace bes16 as8-"performance" as16 bes as8 g |
930 as32 bes c8. as32 bes c8.
934 as16 ~ as8. as16 ~ as8.
949 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
951 DK: arpeggio, akkordbrydning,
953 FI: arpeggio, murtosointu.
955 [Italian: @q{harp-like, played like a harp}]
957 @lilypond[quote,line-width=13\cm]
959 \context Staff = "SA" {
963 r8 g16 c e g, c e r8 g,16 c e g, c e
964 r8 a,16 d f a, d f r8 a,16 d f a, d f
968 \context Staff = "SB" {
974 r16 e8. ( e4) r16 e8. ( e4)
975 r16 d8. ( d4) r16 d8. ( d4)
993 @section articulation
1002 FI: artikulaatio, ilmaisu.
1004 Articulation refers to notation which indicates how a note or notes
1005 should be played. Slurs, accents, staccato, and legato are all
1006 examples of articulation.
1009 No cross-references.
1012 @node ascending interval
1013 @section ascending interval
1015 ES: intervalo ascendente,
1016 I: intervallo ascendente,
1017 F: intervalle ascendant,
1018 D: steigendes Intervall,
1019 NL: stijgend interval,
1020 DK: stigende interval,
1021 S: stigande intervall,
1022 FI: nouseva intervalli.
1024 A distance between a starting lower note and a higher ending note.
1027 No cross-references.
1030 @node augmented interval
1031 @section augmented interval
1033 ES: intervalo aumentado,
1034 I: intervallo aumentato,
1035 F: intervalle augmenté,
1036 D: übermäßiges Intervall,
1037 NL: overmatig interval,
1038 DK: forstørret interval,
1039 S: överstigande intervall,
1040 FI: ylinouseva intervalli.
1047 @section augmentation
1056 FI: aika-arvojen pidentäminen.
1058 @c TODO: add definition.
1060 This is a placeholder for augmentation (wrt mensural notation).
1063 @ref{diminution}, @ref{mensural notation}.
1071 F: manuscrit, autographe
1072 D: Autograph, Handschrift,
1074 DK: håndskrift, autograf,
1076 FI: käsinkirjoitettu nuotti.
1080 @item A manuscript written in the composer's own hand.
1082 @item Music prepared for photoreproduction by freehand drawing, with
1083 the aid of a straightedge ruler and T-square only, which attempts to
1084 emulate engraving. This required more skill than did engraving.
1089 No cross-references.
1107 @ref{H}, @ref{Pitch names}
1127 ES: barra, línea divisoria,
1128 I: stanghetta, barra (di divisione),
1129 F: barre (de mesure),
1136 A vertical line through the staff (or through multiple staves) that
1137 separates measures. Used very infrequently during the Renaissance (mostly
1138 in secular music, or in sacred music to indicate congruences between parts
1139 in otherwise-unmetered music).
1155 FI: baritoni, keskikorkuinen miesääni.
1157 The male voice intermediate in pitch between the bass and the tenor.
1159 @c F: clef de troisième ligne dropped
1162 @ref{bass}, @ref{tenor}.
1166 @section baritone clef
1168 ES: clave de fa en tercera,
1169 I: chiave di baritono,
1170 F: clef d'ut cinquième ligne, clef de fa troisième,
1171 D: Baritonschlüssel,
1177 C or F clef setting middle C on the upper staff line.
1180 @ref{C clef}, @ref{F clef}.
1193 FI: basso, matala miesääni.
1197 @item The lowest male voice.
1199 @item Sometimes, especially in jazz music, used as an abbreviation for
1211 ES: clave de fa en cuarta,
1213 F: clef de fa quatrième ligne,
1220 A clef setting with middle C on the first top ledger line.
1229 ES: barra (de corcheas),
1231 F: ligature, barre (de croches),
1238 Line connecting a series of notes (shorter than a quarter note). The
1239 number of beams determines the note value of the connected notes.
1241 @lilypond[quote,notime,relative=2,line-width=13\cm]
1242 g8-"1/8"[ g g g] s16
1243 g16-"1/16"[ g g g] s
1244 g32-"1/32"[ s g s g s g] s16
1245 g64-"1/64"[ s32 g64 s32 g64 s32 g64] s32
1249 @ref{feathered beam}.
1255 ES: tiempo, parte (de compás)
1258 D: Takt, Taktschlag, Zeit (im Takt),
1264 Note value used for counting, most often half-, fourth-, and eighth notes.
1265 The base counting value and the number of them in each measure is indicated
1266 at the start of the music by the @notation{time signature}.
1268 @lilypond[quote,relative=2]
1271 g4 c b a | g1 \bar "||"
1273 g8 d' c | b c a | g4. \bar "||"
1277 @ref{time signature}.
1281 @section beat repeat
1284 @ref{percent repeat}.
1297 ES: llave, corchete,
1300 D: Klammer, Akkolade,
1301 NL: accolade, teksthaak,
1304 FI: yhdistävä sulkumerkki.
1306 Symbol at the start of a system connecting staves.
1308 Curly braces are used for connecting piano staves, and sometimes for connecting
1309 the staves of like instruments in an orchestral score when written on different
1310 staves (e.g. first and second flutes):
1314 \context Staff = "SA" {
1320 \context Staff = "SB" {
1330 Angular brackets for connecting parts in an orchestral or choral score:
1334 \context Staff = "SA" {
1340 \context Staff = "SB" {
1351 No cross-references.
1358 I: parentesi quadra,
1376 NL: koper (blazers),
1379 S: brassinstrument, mässingsinstrument,
1382 A family of blown musical instruments made of brass, all using a cup
1383 formed mouth piece. The brass instruments commonly used in a symphony
1384 orchestra are trumpet, trombone, french horn, and tuba.
1387 No cross-references.
1391 @section breath mark
1396 D: Atemzeichen, Trennungszeichen,
1397 NL: repercussieteken,
1398 DK: vejrtrækningstegn,
1402 Indication of where to breathe in vocal and wind instrument parts.
1412 @item US: breve, double-whole note
1413 @item ES: cuadrada, breve
1420 @item FI: brevis, kaksoiskokonuotti
1423 Note value: twice the length of a @notation{whole note} (@notation{semibreve}).
1425 Mainly used in music from before 1650. In mensural notation, it was a note
1426 of fairly short duration—hence the name, which is Latin for @q{short} or
1427 @q{of short duration}.
1429 @lilypond[quote,notime,relative=2]
1434 @ref{mensural notation}, @ref{note value}, @ref{semibreve}.
1467 Clef symbol indicating the position of the middle C. Used on all note
1470 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1472 \override Staff.Clef #'full-size-change = ##t
1474 \clef mezzosoprano c1
1480 \override Lyrics . LyricText #'self-alignment-X = #LEFT
1481 "Soprano " "Mezzosoprano " "Alto " "Tenor " "Baritone "
1486 No cross-references.
1499 FI: kadenssi, lopuke.
1502 @ref{harmonic cadence}, @ref{functional harmony}.
1515 FI: kadenssi, lopuke.
1517 An extended, improvisatory style section inserted near the end of
1518 movement. The purpose of a cadenza is to give singers or players a
1519 chance to exhibit their technical skill and -- not last -- their
1520 ability to improvise. Since the middle of the 19th century, however,
1521 most cadenzas have been written down by the composer.
1524 No cross-references.
1539 [Latin: from the supine of @emph{caedere} @q{to cut down}]
1541 The break between two musical phrases, sometimes (but not always) marked by a
1542 rest or a breath mark.
1558 FI: kaanon, tarkka jäljittely.
1574 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1575 viritysjärjestelmässä.
1577 Logarithmic unit of measuring pitch differences. 1@tie{}cent is 1/1200 of
1578 an octave (1/100 of an equally tempered semitone).
1581 @ref{equal temperament}, @ref{semitone}.
1603 Three or more tones sounding simultaneously. In traditional European music
1604 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1605 (major + minor third) as well as @emph{minor} (minor + major third) chords
1606 may be extended with more thirds. Four-tone @emph{seventh chords} and
1607 five-tone @emph{ninth} major chords are most often used as dominants
1608 (functional harmony). Chords having no third above the lower notes to
1609 define their mood are a special case called @q{open chords}. The lack of
1610 the middle third means their quality is ambivalent -- neither major nor
1613 @lilypond[quote,notime,line-width=13.0\cm]
1617 \set Staff.extraNatural = ##f
1638 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1642 @node chromatic scale
1643 @section chromatic scale
1645 ES: escala cromática,
1647 F: gamme chromatique,
1648 D: chro@-ma@-ti@-sche Tonleiter,
1649 NL: chromatische toonladder,
1650 DK: kromatisk skala,
1652 FI: kromaattinen asteikko.
1654 A scale consisting of all 12 semitones.
1656 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
1657 c1 cis d dis e f fis g gis a ais b c
1665 @section chromaticism
1676 Using tones extraneous to a diatonic scale (minor, major).
1679 @ref{diatonic scale}.
1683 @section church mode
1685 ES: modo eclesiástico,
1686 I: modo ecclesiastico,
1687 F: mode ecclésiastique, mode d'église,
1692 FI: moodi, kirkkosävellaji.
1695 @ref{diatonic scale}.
1704 D: Schlüssel, Notenschlüssel,
1708 FI: avain, nuottiavain.
1710 The clef indicates which lines of the staff correspond to which
1711 pitches. The three clef symbols in common use are:
1716 \line { The Treble or G clef: }
1718 \line { The Bass or F clef: }
1720 \line { The Alto or C clef: }
1724 \musicglyph #"clefs.G"
1726 \musicglyph #"clefs.F"
1728 \musicglyph #"clefs.C"
1733 Imagine a large staff of 11 lines centered on middle C, sometimes
1734 called a @q{grand staff}, with the bottom line representing low G and
1735 the top line high F:
1740 %-- Note names above treble staff --%
1742 \set printOctaveNames = ##t
1744 \once \override NoteName #'color = #red
1748 %-- Treble Staff --%
1750 \override Staff.Clef #'stencil = ##f
1756 %-- Alto Staff reduced to a single line on middle C --%
1758 \override Staff.StaffSymbol #'line-count = #1
1759 \override Staff.StaffSymbol #'color = #red
1760 \override Staff.Clef #'stencil = ##f
1763 \override NoteHead #'color = #red
1769 \override Staff.Clef #'stencil = ##f
1778 \override SpacingSpanner
1779 #'base-shortest-duration = #(ly:make-moment 1 1)
1780 \override NonMusicalPaperColumn
1781 #'line-break-system-details = #'((alignment-distances . (3 3)))
1782 \override BarLine #'stencil = ##f
1786 \remove "Time_signature_engraver"
1792 Staves of five lines are usually used, and the clef superimposed on them
1793 indicates which five lines have been selected from this @notation{grand
1794 staff}. For example, the treble or G clef indicates that the top five lines
1800 %-- Note names above treble staff --%
1802 \set printOctaveNames = ##t
1804 \once \override NoteName #'color = #red
1809 %-- Treble Staff --%
1811 \once \override Staff.Clef #'stencil = ##f
1814 \override Staff.Clef #'full-size-change = ##t
1815 \set Staff.forceClef = ##t
1819 %-- Alto Staff reduced to a single line on middle C --%
1821 \override Staff.StaffSymbol #'line-count = #1
1822 \override Staff.StaffSymbol #'color = #red
1823 \override Staff.Clef #'stencil = ##f
1826 \override NoteHead #'color = #red
1831 \override Staff.Clef #'stencil = ##f
1839 \override SpacingSpanner
1840 #'base-shortest-duration = #(ly:make-moment 2 1)
1841 \override NonMusicalPaperColumn
1842 #'line-break-system-details = #'((alignment-distances . (3 3)))
1843 \override BarLine #'stencil = ##f
1847 \remove "Time_signature_engraver"
1853 The @q{curl} of the G clef is centered on the line that represents the
1856 In the same way, the bass or F clef indicates that the bottom five lines
1857 have been selected from the @notation{grand staff}, and the alto or C clef
1858 indicates the middle five lines have been selected. This relationship is
1859 shown below, where the notes show an arpeggio on a C major chord.
1864 %-- Treble Staff --%
1872 \override Staff.StaffSymbol #'line-count = #1
1873 \once \override Staff.Clef #'stencil = ##f
1878 \revert Staff.StaffSymbol #'stencil
1879 \override Staff.StaffSymbol #'color = #red
1882 \stopStaff \startStaff
1883 \revert Staff.StaffSymbol #'line-count
1884 \revert Staff.StaffSymbol #'color
1885 \stopStaff \startStaff
1886 \override Staff.Clef #'full-size-change = ##t
1887 \set Staff.forceClef = ##t
1902 \override SpacingSpanner #'base-shortest-duration =
1903 #(ly:make-moment 2 1)
1904 \override NonMusicalPaperColumn
1905 #'line-break-system-details = #'((alignment-distances . (3 3)))
1906 \override BarLine #'stencil = ##f
1910 \remove "Time_signature_engraver"
1917 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1930 FI: klusteri, cluster.
1932 A @emph{cluster} is a range of simultaneously sounding pitches that
1933 may change over time. The set of available pitches to apply usually
1934 depends on the acoustic source. Thus, in piano music, a cluster
1935 typically consists of a continuous range of the semitones as provided
1936 by the piano's fixed set of a chromatic scale. In choral music, each
1937 singer of the choir typically may sing an arbitrary pitch within the
1938 cluster's range that is not bound to any diatonic, chromatic or other
1939 scale. In electronic music, a cluster (theoretically) may even cover
1940 a continuous range of pitches, thus resulting in colored noise, such
1943 Clusters can be denoted in the context of ordinary staff notation by
1944 engraving simple geometrical shapes that replace ordinary notation of
1945 notes. Ordinary notes as musical events specify starting time and
1946 duration of pitches; however, the duration of a note is expressed by
1947 the shape of the note head rather than by the horizontal graphical
1948 extent of the note symbol. In contrast, the shape of a cluster
1949 geometrically describes the development of a range of pitches
1950 (vertical extent) over time (horizontal extent). Still, the
1951 geometrical shape of a cluster covers the area in which any single
1952 pitch contained in the cluster would be notated as an ordinary note.
1954 @lilypond[quote,relative=2]
1955 \makeClusters { <c e>4 <b f'> <b g'> <c g>8 <f e> }
1959 No cross-references.
1972 FI: komma, korvinkuultava ero äänenkorkeudessa.
1974 Difference in pitch between a note derived from pure tuning and the
1975 same note derived from some other tuning method.
1978 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1983 @section common meter
1985 Another name for @ref{common time}.
1988 @ref{common time}, @ref{meter}.
1992 @section common time
2003 4/4 time. The symbol, which resembles a capital letter C, comes from
2007 @ref{mensural notation}, @ref{meter}.
2013 ES: intervalo invertido,
2015 F: intervalle complémentaire,
2016 D: Komplementärintervall,
2017 NL: complementair interval,
2018 DK: komplementærinterval,
2019 S: komplementärintervall (?),
2020 FI: täydentävä intervalli.
2023 @ref{inverted interval}.
2026 @node compound interval
2027 @section compound interval
2029 ES: intervalo compuesto,
2030 I: intervallo composto,
2031 F: intervalle composé,
2032 D: weites Intervall,
2033 NL: samengesteld interval,
2034 DK: sammensat interval,
2035 S: sammansatt intervall,
2036 FI: oktaavia laajempi intervalli.
2038 Intervals larger than an octave.
2044 @node compound meter
2045 @section compound meter
2047 ES: compás compuesto, compás de subdivisión ternaria,
2054 FI: kolmijakoinen tahtilaji.
2056 A meter that includes a triplet subdivision within the beat, such as
2060 @ref{meter}, @ref{simple meter}.
2064 @section compound time
2066 ES: compás compuesto, compás de amalgama (def. 2),
2073 FI: yhdistetty tahtilajiosoitus.
2078 A meter that includes a triplet subdivision within the beat: see
2079 @ref{compound meter}.
2082 A time signature that additively combines two or more unequal meters, e.g.,
2083 @q{3/8 + 2/8} instead of @q{5/8}. Sometimes called additive time signatures.
2087 @lilypond[quote,line-width=13.0\cm]
2088 #(define ((compound-time one two three num) grob)
2089 (grob-interpret-markup grob
2091 #:override '(baseline-skip . 0)
2094 #:left-column (one num)
2096 #:left-column (two num)
2098 #:left-column (three num)))))
2102 #(set-time-signature 8 8 '(3 2 3))
2103 \override Staff.TimeSignature #'stencil =
2104 #(compound-time "3" "2" "3" "8")
2112 @ref{compound meter}, @ref{meter}, @ref{polymetric time signature}.
2116 @section concert pitch
2118 ES: en Do, tono de concierto,
2119 I: intonazione reale,
2120 F: tonalité de concert, en ut,
2125 FI: konserttikorkeus.
2127 The pitch at which the piano and other nontransposing instruments play: such
2128 instruments are said to be @q{in C}. The following list includes some (but not
2129 all) instruments that play in concert pitch:
2131 @c Let's see how easy (or hard) it is to put bulleted lists in tables.
2133 @multitable {bassoon} {violoncello}
2134 @headitem Woodwinds @tab Strings
2153 @ignore This needs to be reworked.
2154 The trombones are a special case: although they are said to be @q{in F} (alto or
2155 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2156 their parts' transposition. (In fact, the trombones' parts are written at
2157 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2158 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2162 Instruments that play @q{in C} but in a different octave than what is written
2163 are, technically speaking, @emph{transposing instruments}:
2167 @item piccolo (plays an octave higher than written)
2168 @item celesta (plays an octave higher than written)
2169 @item classical guitar (plays an octave lower than written)
2170 @item double bass (plays an octave lower than written)
2175 @ref{transposing instrument}.
2178 @node conjunct movement
2179 @section conjunct movement
2181 ES: movimiento conjunto,
2183 F: mouvement conjoint,
2184 D: schritt@-weise, stufenweise Bewegung,
2185 NL: stapsgewijze, trapsgewijze beweging,
2186 DK: trinvis bevægelse,
2188 FI: asteittainen liike.
2190 Progressing melodically by intervals of a second, as contrasted with
2191 @emph{disjunct movement}.
2193 @lilypond[quote,relative=2,line-width=13.0\cm]
2196 g4 g g a | b2 a | g4 b a a | g1 \bar "||"
2200 @ref{disjunct movement}.
2213 FI: konsonanssi, sopusointi.
2236 @section copying music
2238 A music copyist did fast freehand scores and parts on preprinted staff
2239 lines for performance. Some of their conventions (e.g., the placement
2240 of note heads on stems) varied slightly from those of engravers. Some
2241 of their working methods were superior and could well be adopted by
2244 @c Copying music required more skill than engraving. Flagged for NPOV
2247 No cross-references.
2251 @section counterpoint
2260 FI: kontrapunkti, ääni ääntä vastaan.
2262 From Latin @emph{punctus contra punctum}, note against note. The
2263 combination into a single musical fabric of lines or parts which have
2264 distinct melodic significance. A frequently used polyphonic technique
2265 is imitation, in its strictest form found in the canon needing only
2266 one part to be written down while the other parts are performed with a
2267 given displacement. Imitation is also the contrapuntal technique
2268 used in the @emph{fugue} which, since the music of the baroque era,
2269 has been one of the most popular polyphonic composition methods.
2271 @lilypond[quote,staffsize=12,line-width=13.0\cm]
2273 \context Staff = SA \relative c' {
2277 << \context Voice = rha {
2279 r1 | r2 r8 g'8 bes d, |
2280 cis4 d r8 e!16 f g8 f16 e |
2281 f8 g16 a bes8 a16 g a8
2283 \context Voice = rhb {
2289 \context Staff = SB \relative c' {
2292 << \context Voice = lha {
2294 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2295 r8 a16 g f8 g16 a bes8 g e! cis' |
2298 \context Voice = lhb {
2307 No cross-references.
2311 @section countertenor
2316 D: Countertenor, Kontratenor,
2319 S: kontratenor, counter tenor,
2332 D: Crescendo, lauter werden,
2336 FI: cresendo, voimistuen.
2338 Increasing volume. Indicated by a rightwards opening horizontal wedge
2339 (hairpin) or the abbreviation @notation{cresc.}.
2341 @lilypond[quote,relative=2]
2344 g4\< a b c | d1\! \bar "|."
2348 @ref{decrescendo}, @ref{hairpin}.
2356 F: petites notes précédant l'entrée d'un instrument, réplique, @q{à défaut},
2363 Notes belonging to one part printed in another to hint when to start
2364 playing. Usually printed in a smaller type.
2367 Compare: @ref{ossia}.
2376 D: Notenzeiger, Custos,
2382 A custos (plural: custodes) is a staff symbol that appears at the end of a
2383 staff line with monophonic musical contents (i.e., with a single voice). It
2384 anticipates the pitch of the first note of the following line and thus helps
2385 the player or singer to manage line breaks during performance, which
2386 enhances the readability of a score.
2388 Custodes were frequently used in music notation until the 16th century.
2389 There were different appearences for different notation styles. Nowadays,
2390 they have survived only in special forms of musical notation such as the
2391 @emph{Editio Vaticana}, dating from the beginning of the 20th century
2393 @lilypond[quote,ragged-right]
2396 \override Staff.Custos #'neutral-direction = #DOWN
2397 \override Staff.Custos #'style = #'hufnagel
2404 \consists "Custos_engraver"
2411 No cross-references.
2444 F: da capo, depuis le commencement,
2445 D: da capo, von Anfang,
2449 FI: da capo, alusta.
2451 Abbreviated @notation{D.C.}. Indicates that the piece is to be repeated from
2452 the beginning to the end or to a certain place marked @emph{fine}.
2455 No cross-references.
2461 ES: dal niente, de la nada,
2468 FI: tyhjästä ilmaantuen.
2470 [Italian: @q{from nothing}] Used with @notation{crescendo} to indicate
2471 that the sound should gradually increase from nothing.
2482 F: dal segno, depuis le signe,
2483 D: dal segno, ab dem Zeichen,
2487 FI: dal segno, lähtien merkistä.
2489 Abbreviated @notation{D.S.}. Repetition, not from the beginning, but from
2490 another place frequently near the beginning marked by a sign
2493 @lilypond[quote,relative=2]
2501 \musicglyph #"scripts.segno"
2507 No cross-references.
2511 @section decrescendo
2515 D: Decrescendo, leiser werden,
2519 FI: decresendo, hiljentyen.
2521 Decreasing tone volume. Indicated by a leftwards opening horizontal
2522 wedge (hairpin) or the abbreviation @notation{decresc.}.
2524 @lilypond[quote,relative=2]
2527 d4\> c b a | g1 \! \bar "|."
2531 @ref{crescendo}, @ref{diminuendo}, @ref{hairpin}.
2534 @node descending interval
2535 @section descending interval
2537 ES: intervalo descendente,
2538 I: intervallo discendente,
2539 F: intervalle descendant,
2540 D: fallendes Intervall, absteigendes Intervall,
2541 NL: dalend interval,
2542 DK: faldende interval,
2543 S: fallande intervall,
2544 FI: laskeva intervalli.
2546 A distance between a starting higher note and a lower ending note.
2549 No cross-references.
2552 @node diatonic scale
2553 @section diatonic scale
2555 ES: escala diatónica,
2557 F: gamme diatonique,
2558 D: diatonische Tonleiter,
2559 NL: diatonische toonladder,
2560 DK: diatonisk skala,
2562 FI: diatoninen asteikko.
2564 A scale consisting of 5@w{ }whole tones and 2@w{ }semitones (S). Scales
2565 played on the white keys of a piano keybord are diatonic. These scales
2566 are sometimes called, somewhat inaccurately, @q{church modes}).
2568 These @emph{modes} are used in Gregorian chant and in pre-baroque early music
2569 but also to some extent in newer jazz music.
2571 @lilypond[quote,notime,relative=1]
2575 e^"~~ S" f g a b^"~~ S" c
2583 @lilypond[quote,notime,relative=1]
2587 e^"~~ S" f g a b^"~~ S" c d
2595 @lilypond[quote,notime,relative=1]
2598 e1^"~~ S" f g a b^"~~ S" c d e
2606 @lilypond[quote,notime,relative=1]
2610 b^"~~ S" c d e^"~~ S" f
2618 @lilypond[quote,notime,relative=2]
2622 b^"~~ S" c d e^"~~ S" f g
2630 @lilypond[quote,notime,relative=2]
2634 b^"~~ S" c d e^"~~ S" f g a
2642 @lilypond[quote,notime,relative=2]
2645 b1^"~~ S" c d e^"~~ S" f g a b
2653 From the beginning of the 17th century the scales used in European
2654 compositional music are primarily the major and the minor scales. In
2655 the harmonic minor scale type an augmented second (A) occurs between
2656 the 6th and 7th tone.
2658 @lilypond[quote,notime,relative=1]
2662 e^"~~ S" f g a b^"~~ S" c
2670 @lilypond[quote,notime,relative=2]
2674 b^"~~ S" c d e^"~~ S" f g a
2677 "Ancient (or Natural) minor"
2682 @lilypond[quote,notime,relative=2]
2686 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2694 @lilypond[quote,notime,relative=2]
2698 b^"~~ S" c d e fis gis^"~~ S" a
2701 "Melodic minor ascending"
2706 @lilypond[quote,notime,relative=3]
2710 g! f!^"~~ S" e d c^"~~ S" b a
2713 "Melodic minor descending"
2719 @ref{semitone}, @ref{whole tone}.
2723 @section didymic comma
2726 @ref{syntonic comma}.
2729 @node diminished interval
2730 @section diminished interval
2732 ES: intervalo disminuido,
2733 I: intervallo diminuito,
2734 F: intervalle diminué,
2735 D: vermindertes Intervall,
2736 NL: verminderd interval,
2737 DK: formindsket interval,
2738 S: förminskat intervall,
2739 FI: vähennetty intervalli.
2750 F: diminuendo, en diminuant,
2755 FI: diminuendo, hiljentyen.
2771 FI: aika-arvojen tihennys.
2773 This is a stub for diminution (@emph{wrt} mensural notation).
2776 @ref{augmentation}, @ref{mensural notation}.
2795 @node disjunct movement
2796 @section disjunct movement
2798 ES: movimiento disjunto,
2800 F: mouvement disjoint,
2801 D: sprunghafte Bewegung,
2802 NL: sprongsgewijze beweging,
2803 DK: springende bevægelse,
2804 S: hoppande rörelse,
2805 FI: melodian hyppivä liike.
2807 Progressing melodically by intervals larger than a major second, as contrasted
2808 with conjunct movement.
2810 @lilypond[quote,relative=1]
2814 a4. gis8 b a e cis |
2820 @ref{conjunct movement}.
2826 Another name for @ref{dissonant interval}.
2829 @ref{dissonant interval}, @ref{harmony}.
2832 @node dissonant interval
2833 @section dissonant interval
2835 ES: intervalo disonante, disonancia,
2836 I: intervallo dissonante, dissonanza,
2837 F: intervalle dissonant, dissonance,
2839 NL: dissonant interval, dissonant,
2840 DK: dissonerende interval, dissonans,
2842 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2860 [Latin: @q{division}; pl. @emph{divisiones}] In Gregorian chant, a
2861 vertical stroke through part or all of the staff that serves to
2862 structure a chant into phrases and sections. There are four types:
2866 @item @emph{divisio minima}, a short pause
2868 @item @emph{divisio maior}, a medium pause
2870 @item @emph{divisio maxima}, a long pause
2872 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2873 section in a long antiphonal or responsorial chant.
2877 TODO: musical example here?
2880 No cross-references.
2886 ES: elevación [de tono],
2895 Indicator for a indeterminately rising pitch bend. Compare with
2896 @emph{glissando}, which has determinate starting and ending pitches.
2899 @ref{fall}, @ref{glissando}.
2912 FI: dominantti, huippusointu.
2914 The fifth @emph{scale degree} in @emph{functional harmony}.
2917 @ref{functional harmony}, @ref{scale degree}.
2920 @node dominant ninth chord
2921 @section dominant ninth chord
2923 ES: acorde de novena de dominante,
2924 I: accordo di nona di dominante,
2925 F: accord de neuvième de dominante,
2926 D: Domi@-nant@-nonen@-akkord,
2927 NL: dominant noon akkoord,
2928 DK: dominantnoneakkord,
2929 S: dominantnonackord,
2930 FI: dominanttinoonisointu.
2933 @ref{chord}, @ref{functional harmony}.
2936 @node dominant seventh chord
2937 @section dominant seventh chord
2939 ES: acorde de séptima de dominante,
2940 I: accordo di settima di dominante,
2941 F: accord de septième de dominante,
2942 D: Dominantseptakkord,
2943 NL: dominant septiem akkoord,
2944 DK: dominantseptimakkord,
2945 S: dominantseptimackord,
2946 FI: dominanttiseptimisointu.
2949 @ref{chord}, @ref{functional harmony}.
2953 @section dorian mode
2958 D: dorisch, dorischer Kirchenton,
2959 NL: dorische toonladder,
2965 @ref{diatonic scale}.
2968 @node dot (augmentation dot)
2969 @section dot (augmentation dot)
2972 I: punto (di valore),
2974 D: Punkt (Verlängerungspunkt),
2981 @ref{dotted note}, @ref{note value}.
2985 @section dotted note
2987 ES: nota con puntillo,
2991 NL: gepuncteerde noot,
2994 FI: pisteellinen nuotti.
3000 @node double appoggiatura
3001 @section double appoggiatura
3003 ES: apoyatura doble,
3004 I: appoggiatura doppia,
3005 F: appoggiature double,
3006 D: doppelter Vorschlag,
3007 NL: dubbele voorslag,
3008 DK: dobbelt forslag,
3010 FI: kaksoisappogiatura, kaksoisetuhele.
3016 @node double bar line
3017 @section double bar line
3023 NL: dubbele maatstreep,
3026 FI: kaksoistahtiviiva.
3028 Indicates the end of a section within a movement.
3031 No cross-references.
3034 @node double dotted note
3035 @section double dotted note
3037 ES: nota con doble puntillo,
3038 I: nota doppiamente puntata,
3039 F: note doublement pointée,
3040 D: doppelt punktierte Note,
3041 NL: dubbelgepuncteerde noot,
3042 DK: dob@-belt@-punk@-te@-ret node,
3043 S: dub@-bel@-punk@-te@-rad not,
3044 FI: kaksoispisteellinen nuotti.
3051 @section double flat
3060 FI: kaksoisalennusmerkki.
3067 @section double sharp
3069 ES: doble sostenido,
3074 DK: dob@-belt@-kryds,
3076 FI: kaksoisylennysmerkki.
3082 @node double time signature
3083 @section double time signature
3085 ES: compás polimétrico,
3092 FI: kaksois-aika-arvomerkintä.
3095 @ref{polymetric time signature}.
3099 @section double trill
3105 NL: dubbele triller,
3110 A simultaneous trill on two notes, usually in the distance of a third.
3113 No cross-references.
3117 @section duple meter
3121 F: métrique binaire,
3122 D: in zwei, grader Takt,
3123 NL: tweedelige maatsoort,
3158 FI: kesto, aika-arvo.
3167 ES: dinámica, matices,
3170 D: Dynamik, Lautstärke,
3174 FI: äänen voimakkuusvaihtelu, dynamiikka.
3176 The aspect of music relating to degrees of loudness, or changes from
3177 one degree to another. The terms, abbreviations, and symbols used to
3178 indicate this information are called dynamic marks.
3181 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3203 @node ecclesiastical mode
3204 @section ecclesiastical mode
3207 @ref{church mode}, @ref{diatonic scale}.
3211 @section eighth note
3218 @item D: Achtel, Achtelnote
3219 @item NL: achtste noot
3220 @item DK: ottendedelsnode
3221 @item S: åttondelsnot
3222 @item FI: kahdeksasosanuotti
3230 @section eighth rest
3233 @item UK: quaver rest
3234 @item ES: silencio de corchea
3235 @item I: pausa di croma
3236 @item F: demi-soupir
3237 @item D: Achtelpause
3238 @item NL: achtste rust
3239 @item DK: ottendedelspause
3240 @item S: åttonddelspaus
3241 @item FI: kahdeksasosatauko
3251 @c TODO: add languages
3260 FI: tavujen yhdistäminen yhteen ääneen.
3262 More properly @emph{synalepha} [New Lat. > Gr. @emph{συναλοιφη}, from Greek
3263 @emph{συναλοιφην} @q{to smear together}].
3265 The singing of several syllables on a single note. Elision may be indicated
3266 by a lyric tie, which looks like (and serves the same function) as a musical
3274 @section embellishment
3286 D: Notenstich, Notendruck
3292 Engraving means incising or etching a metal plate for printing.
3293 Photoengraving means drawing music with ink in a manner similar to
3294 drafting or engineering drawing, using similar tools.
3296 The traditional process of music printing is done through cutting in a
3297 plate of metal. Now also the term for the art of music typesetting.
3300 No cross-references.
3315 Two notes, intervals, or scales are enharmonic if they have different
3316 names but equal pitch.
3318 @lilypond[quote,notime,line-width=13.0\cm]
3322 gis1 as <des g,!> <cis g!>
3326 "g sharp " "a flat " "dim fifth " "augm fourth"
3332 No cross-references.
3335 @node equal temperament
3336 @section equal temperament
3338 ES: temperamento igual,
3339 I: temperamento equabile,
3340 F: tempérament égal,
3341 D: gleichschwebende Stimmung,
3342 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3343 DK: ligesvævende temperatur,
3344 S: liksvävande temperatur,
3347 A tuning system that divides the octave into 12 equal semitones (each of
3348 which is precisely equal to 100 cents).
3351 @ref{cent}, @ref{semitone}, @ref{temperament}.
3354 @node expression mark
3355 @section expression mark
3358 I: segno d'espressione,
3359 F: signe d'expression, indication de nuance,
3361 NL: voordrachtsteken,
3362 DK: foredragsbetegnelse,
3363 S: föredragsbeteckning,
3364 FI: nyanssiosoitus, esitysmerkki.
3366 Performance indications concerning:
3370 @item volume, dynamics (for example, @notation{forte},
3371 @notation{crescendo}),
3373 @item tempo (for example, @notation{andante}, @notation{allegro}).
3378 @ref{allegro}, @ref{andante}, @ref{crescendo}, @ref{forte}.
3382 @section extender line
3384 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3385 I: linea di estensione,
3386 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3393 The generic term (in LilyPond) for a line (or dash) of arbitrary length that
3394 extends text (without indicating the musical @emph{function} of that text).
3396 Used in many contexts, for example:
3400 @item In vocal music to indicate the syllable for a melisma. Called
3401 @q{extension} in the
3402 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3406 In figured bass to indicate that:
3410 @item The extended note should be held through a change in harmony, when applied
3411 to one figure --OR--
3412 @item The chord thus represented should be held above a moving bass line, when
3413 applied to more than one figure.
3414 @item These uses were not completely standardized, and some composers used a
3415 single extender line to indicate the latter case.
3420 In string music to indicate that all notes in the passage thus indicated should
3421 be played on the same string. On the violin, for example, a series of notes to
3422 be played on the G string would be indicated @notation{sul G}, another series to be
3423 played on the D string would be indicated @notation{sul D}, and so on.
3426 With an octave mark to indicate that a passage is to be played higher or lower
3427 by the given number of octaves.
3432 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark},
3433 @ref{octave marking}.
3466 The position between the dots of the key symbol is the line of the F
3467 below central@w{ }C. Used on the third, fourth and fifth note line.
3468 A digit@w{ }8 above the clef symbol indicates that the notes must be
3469 played an octave higher (for example, bass recorder) while 8@w{ }below
3470 the clef symbol indicates playing an octave lower (for example, on the
3473 @lilypond[quote,notime,line-width=13.0\cm]
3476 \override Staff.Clef #'full-size-change = ##t
3499 @ref{baritone clef}, @ref{strings}.
3505 ES: caída [de tono],
3514 Indicator for a indeterminately falling pitch bend. Compare with
3515 @emph{glissando}, which has determinate starting and ending pitches.
3518 @ref{doit}, @ref{glissando}.
3521 @node feathered beam
3522 @section feathered beam
3524 ES: barra progresiva,
3526 F: ligature en soufflet, lien de croches en soufflet,
3527 D: gespreizter Balken,
3533 A type of beam used to indicate that a small group of notes should be
3534 played at an increasing or decreasing tempo -- depending on the
3535 direction of @q{feathering} -- but without changing the overall tempo
3539 Internals Reference: @ruser{Manual beams}
3545 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3549 F: point d'orgue, point d'arrêt,
3554 FI: fermaatti, pidäke.
3556 Prolonged note or rest of indefinite duration.
3558 @lilypond[quote,relative=2]
3565 No cross-references.
3585 @section figured bass
3588 I: basso continuo, basso numerato,
3589 F: basse chiffrée, basse continue,
3590 D: Generalbass, bezifferter Bass,
3591 NL: basso continuo, becijferde bas
3594 FI: kenraalibasso, numeroitu basso.
3596 Also called @q{thorough bass}.
3598 A method of indicating an accompaniment part by the bass notes only,
3599 together with figures designating the chief intervals and chords to be
3600 played above the bass notes.
3602 @lilypond[quote,line-width=13.0\cm]
3604 \new Staff = "rh" \with {
3606 \override StaffSymbol #'staff-space = #(magstep -3)
3612 \context Voice = "rha" {
3617 \context Voice = "rhb" {
3619 <bes g>8 as <as f> g <g es> f <d f> es
3624 \new Staff = "lh" \relative c' {
3627 es8 c d bes c as bes16 as g f
3631 s8 <6> s <4 2> s <6> s16 s <6> <4 2>
3637 @ref{chord}, @ref{interval}.
3652 Figures to the side or above the note that methodically indicate which
3653 fingers to use while playing a passage.
3656 No cross-references.
3663 I: coda (uncinata), bandiera,
3671 Ornament at the end of the stem of a note used for notes with values less
3672 than a quarter note. The number of flags determines the note value.
3674 @lilypond[quote,notime,relative=2]
3697 An articulation for string players that means the note or passage is to
3698 be played in harmonics.
3704 @item A duct flute similar to the recorder.
3706 @item An organ stop of flute scale at 1' or 2' pitch.
3711 @ref{articulation}, @ref{harmonics}.
3747 FI: forte, voimakkaasti.
3751 Abbreviated @notation{@b{f}}. Variants include:
3754 @item @emph{mezzo forte}, medium loud (notated @notation{@b{mf}}),
3755 @item @emph{fortissimo}, very loud (notated @notation{@b{ff}}).
3759 No cross-references.
3778 @node Frenched score
3779 @section Frenched score
3781 ES: partitura a la francesa,
3788 FI: partituuri francesan tapaan.
3790 A @q{condensed} score, produced by omitting staves for instruments that are not
3791 playing at the moment, and by moving up additional systems from following pages
3792 to take up the space thus liberated, which reduces the total number of pages
3793 used to print the work.
3795 The specific rules for @q{frenching} a score differ from publisher to publisher.
3796 If you are producing scores for eventual publication by a commercial publisher,
3797 you may wish to procure a copy of their style manual.
3800 @ref{Frenched staff}.
3803 @node Frenched staff
3804 @section Frenched staff
3806 ES: pentagrama a la francesa,
3813 FI: karsittu nuotinnus.
3815 [Pl. @emph{Frenched staves}] Analogous to Frenched scores (@emph{q.v}), a
3816 Frenched staff has unneeded measures or sections removed. This is useful
3817 for producing, for example, an @emph{ossia} staff.
3823 @node Frenched staves
3824 @section Frenched staves
3826 Plural of @ref{Frenched staff}.
3845 @node functional harmony
3846 @section functional harmony
3848 ES: armonía funcional,
3849 I: armonia funzionale,
3850 F: étude des functions,
3852 NL: functionele harmonie,
3853 DK: funktionsanalyse, funktionsharmonik,
3855 FI: harmoniajärjestelmä.
3857 A system of harmonic analysis.
3859 It is based on the idea that, in a given key, there are only three
3860 functionally different chords: tonic (T, the chord on the first note of the
3861 scale), subdominant (S, the chord on the fourth note), and dominant (D, the
3862 chord on the fifth note). Others are considered to be variants of the base
3865 TODO: what does the @q{p} mean in Sp, Dp, Tp?
3867 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
3870 <g e c>1 <a f d> <b g e>
3871 <c a f> <d b g> <e c a> <f d b>
3875 \markup { D \translate #'(-2 . 0) | }
3881 No cross-references.
3908 D: G-Schlüssel, Violinschlüssel,
3914 A clef symbol that indicates G above middle@w{ }C. Used on the first and
3915 second note lines. A digit 8 above the clef symbol indicates that the notes
3916 must be played an octave higher while 8 below the clef symbol indicates
3917 playing or singing an octave lower (used most frequently to notate the tenor
3918 part in modern choral scores).
3920 @lilypond[quote,notime]
3922 \override Staff.Clef #'full-size-change = ##t
3923 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3934 "french violin clef"
3942 No cross-references.
3955 FI: glissando, liukuen.
3957 Letting the pitch slide fluently from one note to the other.
3960 No cross-references.
3964 @section grace notes
3966 ES: notas de adorno,
3968 F: ornement, fioriture,
3969 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3975 Notes printed in small types to indicate that their time values are not
3976 counted in the rhythm of the bar.
3979 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3984 @section grand staff
3986 ES: sistema de piano,
3988 F: système [de portées], accolade,
3989 D: Akkolade, Klaviersystem,
3992 S: ackolad, böjd klammer,
3993 FI: kaksoisnuottiviivasto.
3995 A combination of two staves with a brace. Usually used for piano music.
4011 FI: grave, raskaasti.
4013 [Italian] Slow, solemn.
4016 No cross-references.
4040 Letter name used for @notation{B natural} in German and Scandinavian
4041 usage. In the standard usage of these countries, @notation{B} means
4045 @ref{Pitch names}, @ref{B}.
4051 Graphical version of the @notation{crescendo} and @notation{decrescendo}
4054 @lilypond[quote,relative=2]
4061 @ref{crescendo}, @ref{decrescendo}.
4072 @item D: Halbe, halbe Note,
4073 @item NL: halve noot,
4076 @item FI: puolinuotti.
4087 @item UK: minim rest,
4088 @item ES: silencio de blanca,
4089 @item I: pausa di minima,
4090 @item F: demi-pause,
4091 @item D: halbe Pause,
4092 @item NL: halve, rust,
4093 @item DK: halvnodespause,
4095 @item FI: puolitauko.
4102 @node harmonic cadence
4103 @section harmonic cadence
4105 ES: cadencia (armónica),
4106 I: cadenza (armonica),
4107 F: cadence harmonique,
4109 NL: harmonische cadens,
4110 DK: harmonisk kadence,
4111 S: (harmonisk) kadens,
4112 FI: harmoninen kadenssi.
4114 A sequence of chords that terminates a musical phrase or section.
4118 \context Staff = "SA" \relative c'' {
4121 \partial 4 <c g e>4 |
4122 <c a f> <b g d> <c g e>2
4125 \context Staff = "SB" \relative c {
4127 \partial 4 c4 | f, g c2
4139 @ref{functional harmony}.
4145 ES: armónicos, sonidos aflautados,
4147 F: flageolet, sons harmoniques,
4152 FI: harmoniset äänet, huiluäänet.
4154 The general class of pitches produced by sounding the second or higher
4155 harmonic of a tone producer: string, column of air, and so on.
4157 On stringed instruments, these pitches sound rather flute-like; hence,
4158 their name in languages other than English. They are produced by
4159 lightly touching the string at a node for the desired mode of vibration
4160 while it is being bowed or plucked.
4162 For instruments of the violin family, there are two types of harmonics:
4163 natural harmonics, which are those played on the open string; and
4164 artificial harmonics, which are produced on stopped strings.
4167 No cross-references.
4176 D: Harmonie, Zusammenklang,
4180 FI: harmonia, yhteissointi.
4182 Tones sounding simultaneously. Two note harmonies fall into the
4183 categories @emph{consonances} and @emph{dissonances}.
4187 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4199 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4200 <g a>1_"second " s s
4201 <g f'>_"seventh " s s
4205 For harmony that uses three or more notes, see @ref{chord}.
4215 I: emiolia, (rarely hemiola or emiola),
4223 [Greek: in Latin, @emph{sesquialtera}] The ratio 3:2.
4225 Most frequently, a proportion (@emph{q.v.}) of three notes of equal value in the
4226 time normally occupied by two. The resulting rhythm can be expressed in modern
4227 terms as a substitution (for example) of a bar in 3/2 for one of 6/4, or of a
4228 bar in 3/4 for one of 6/8. During the Baroque era, hemiola is most frequently
4229 as a special effect (or @emph{affect}) at cadences.
4231 For example, this phrase in 6/4 time
4233 @lilypond[quote,relative=1,line-width=13.0\cm]
4236 c2. e | d2 c d | c1. \bar "||"
4239 may be thought of having alternating time signatures
4241 @lilypond[quote,relative=1,line-width=13.0\cm]
4251 and is therefore a polymeter (second definition) of considerable antiquity.
4254 @ref{mensural notation}, @ref{meter}, @ref{polymeter}, @ref{proportion}.
4267 FI: homofonia, yksiäänisyys.
4269 Music in which one voice leads melodically supported by the other voices in
4270 the same rhythm (more or less). In contrast to @emph{polyphony}.
4293 FI: säkeiden tavumäärät.
4295 A group or list of numbers that indicate the number of syllables in a line
4296 of a hymn's verse. Different hymnals have different ways of noting the hymn
4297 meter: for example, consider a hymn that has four lines in two couplets
4298 alternating regularly between eight and seven syllables. The @emph{English
4299 Hymnal} notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87,
4300 or 8@w{ }7@w{ }8@w{ }7.
4302 Some frequently-used hymn meters have traditional names:
4305 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4306 @item 86.86 is called Common Meter (CM or C.M.)
4307 @item 88.88 is called Long Meter (LM or L.M.)
4310 Some hymns and their tunes are doubled versions of a simpler meter: for
4311 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4312 87.87D. The traditional names above also have doubled versions:
4315 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4316 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4317 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4321 No cross-references.
4334 FI: intervalli, kahden sävelen korkeusero.
4336 Difference in pitch between two notes. Intervals may be diminished, minor,
4337 perfect, major, or augmented. The augmented fourth and the diminished fifth
4338 are identical (or @emph{enharmonic}) on an equal-tempered twelve-tone scale
4339 and are called @emph{tritonus} because they consist of three whole tones.
4340 The addition of such two intervals forms an octave.
4342 @lilypond[quote,notime,line-width=13.0\cm]
4344 \context Voice \relative c'' {
4381 \context Lyrics \lyrics {
4383 "second " "second " "second " "second "
4384 "third " "third " "third " "third "
4385 "fourth " "fourth " "fourth "
4386 "fifth " "fifth " "fifth "
4387 "sixth " "sixth " "sixth " "sixth "
4388 "seventh" "seventh" "seventh" "seventh"
4389 "octave " "octave " "octave "
4395 @ref{enharmonic}, @ref{whole tone}.
4410 When a chord sounds with a bass note that differs from the root of the
4411 chord, it is said to be @emph{inverted}. The number of inversions that a
4412 chord can have is one fewer than the number of constituent notes. For
4413 example, triads (which have three constituent notes) can have three
4414 positions, two of which are inversions:
4418 The root note is in the bass, and above that are the third and the fifth. A
4419 triad built on the first scale degree, for example, is marked @notation{I}.
4421 @item First inversion
4422 The third is in the bass, and above it are the fifth and the root. This
4423 creates an interval of a sixth and a third above the bass note, and so is
4424 marked in figured Roman notation as @notation{6/3}. This is commonly
4425 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4426 characteristic interval of the inversion, and so always implies
4429 @item Second inversion
4430 The fifth is in the bass, and above it are the root and the third. This
4431 creates an interval of a sixth and a fourth above the bass note, and so is
4432 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4433 unstable chord position.
4437 No cross-references.
4440 @node inverted interval
4441 @section inverted interval
4443 ES: intervalo invertido,
4444 I: intervallo rivolto,
4445 F: intervalle renversé,
4446 D: umgekehrtes Intervall,
4447 NL: interval inversie,
4448 DK: omvendingsinterval,
4449 S: intervallets omvändning,
4450 FI: käänteisintervalli.
4452 The difference between an interval and an octave.
4454 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
4455 <g a>1_"second " s s <g' a,>_"seventh " s s \bar "||"
4456 <g, b>_"third " s s <g' b,>_"sixth " s s \bar "||"
4457 <g, c>_"fourth " s s <g' c,>_"fifth " s s \bar "||"
4461 No cross-references.
4464 @node just intonation
4465 @section just intonation
4467 ES: entonación justa,
4468 I: intonazione giusta,
4469 F: intonation juste,
4476 Tuning system in which the notes are obtained by adding and subtracting
4477 natural fifths and thirds.
4495 According to the 12@w{ }tones of the @emph{chromatic scale} there are
4496 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4499 @ref{chromatic scale}, @ref{key signature}.
4503 @section key signature
4505 ES: armadura (de la clave),
4506 I: armatura di chiave,
4507 F: armure, armature [de la clé],
4508 D: Vorzeichen, Tonart,
4509 NL: toon@-soort (voortekens),
4512 FI: sävellajiosoitus.
4514 The sharps or flats appearing at the beginning of each staff indicating the
4521 @node laissez vibrer
4522 @section laissez vibrer
4533 [French: @q{Let vibrate}] Most frequently associated with harp
4534 parts. Marked @notation{l.v.} in the score.
4537 No cross-references.
4545 F: largo, large, ample,
4546 D: Largo, Langsam, Breit,
4550 FI: largo, hitaasti, leveästi.
4552 [Italian: @q{wide}.] Very slow in tempo, usually combined with great
4553 expressiveness. @emph{Larghetto} is less slow than largo.
4557 @section leading note
4568 The seventh @emph{scale degree}, a @emph{semitone} below the tonic; so
4569 called because of its strong tendency to @q{lead up} (resolve upwards)
4570 to the tonic scale degree.
4573 @ref{scale degree}, @ref{semitone}.
4577 @section ledger line
4579 ES: línea adicional,
4580 I: tagli addizionali,
4581 F: ligne supplémentaire,
4588 A ledger line is an extension of the staff.
4590 @lilypond[quote,notime,relative=2]
4597 No cross-references.
4606 D: legato, gebunden,
4612 To be performed (a) without any perceptible interruption between the
4613 notes, unlike (b) @notation{leggiero} or @notation{non-legato}, (c)
4614 @notation{portato}, or (d) @notation{staccato}.
4616 @lilypond[quote,notime,line-width=13.0\cm]
4618 \context Staff \relative c'' {
4619 c4-( d e-) \bar "||"
4620 c4-- d-- e-- \bar "||"
4621 c4-.-( d-. e-.-) \bar "||"
4622 c4-. d-. e-. \bar "||"
4638 @section legato curve
4641 @ref{slur}, @ref{legato}.
4663 A ligature is a coherent graphical symbol that represents at least two
4664 distinct notes. Ligatures originally appeared in the manuscripts of
4665 Gregorian chant notation around the 9th century to denote ascending or
4666 descending sequences of notes. In early notation, ligatures were used for
4667 monophonic tunes (Gregorian chant) and very soon denoted also the way of
4668 performance in the sense of articulation. With the invention of the metric
4669 system of the white mensural notation, the need for ligatures to denote such
4670 patterns disappeared.
4673 @ref{mensural notation}.
4680 ES: estanque de nenúfares,
4681 I: stagno del giglio,
4682 F: étang de nénuphars, étang de nymphéas,
4684 NL: le@-lie@-vij@-ver,
4689 A pond with lilies floating in it.
4691 Also, the name of a music typesetting program.
4694 No cross-references.
4703 D: Linie, Notenlinie,
4707 FI: viiva, nuottiviiva.
4723 FI: kirjoitetussa äänenkorkeudessa.
4725 [Italian: @q{place}] Instruction to play the following passage at the
4726 written pitch. Cancels octave mark (q.v.).
4729 @ref{octave mark}, @ref{octave marking}.
4732 @node long appoggiatura
4733 @section long appoggiatura
4735 ES: apoyatura larga,
4736 I: appoggiatura lunga,
4737 F: appoggiature longue,
4742 FI: pitkä appoggiatura, pitkä etuhele.
4752 @item US: long, longa,
4755 @item F: longa, longue,
4763 Note value: twice the length of a @notation{breve}.
4765 @lilypond[quote,notime,relative=2]
4766 \override NoteHead #'style = #'mensural
4771 @ref{breve}, @ref{note value}.
4777 ES: ligadura de letra,
4779 F: ligature de mots,
4784 FI: sidonta sanoituksessa.
4786 @c TODO: add languages
4795 ES: letra (de la canción),
4798 D: Liedtext, Gesangtext,
4807 No cross-references.
4823 @ref{diatonic scale}.
4826 @node major interval
4827 @section major interval
4829 ES: intervalo mayor,
4830 I: intervallo maggiore,
4831 F: intervalle majeur,
4832 D: großes Intervall,
4836 FI: suuri intervalli.
4854 Note value: twice the length of a @notation{longa}.
4856 The maxima is the largest duration in use during the 15th and 16th centuries.
4857 Like the longa, the maxima can be either two or three times as long as the
4858 @notation{longa} (called @notation{binary} and @notation{ternary},
4859 respectively). By the late 15th century, most composers used the smaller
4860 proportion by default.
4863 @ref{Duration names notes and rests}, @ref{longa}, @ref{note value}.
4866 @node meantone temperament
4867 @section meantone temperament
4869 ES: afinación mesotónica,
4870 I: accordatura mesotonica,
4871 F: tempérament mésotonique,
4872 D: mitteltönige Stimmung,
4873 NL: middenstemming, middentoonstemming,
4874 DK: middeltonetemperatur,
4875 S: medeltonstemperatur,
4876 FI: keskisävelviritys.
4878 Temperament yielding acoustically pure thirds by decreasing the natural
4879 fifth by 16@w{ }cents. Due to the non-circular character of this
4880 temperament only a limited set of keys are playable. Used for tuning
4881 keyboard instruments for performance of pre-1650 music.
4884 @ref{cent}, @ref{temperament}.
4899 A group of beats (units of musical time) the first of which bears an accent.
4900 Such groups in numbers of two or more recur consistently throughout the
4901 composition and are separated from each other by bar lines.
4904 @ref{bar line}, @ref{beat}, @ref{meter}.
4907 @node measure repeat
4908 @section measure repeat
4911 @ref{percent repeat}.
4918 I: mediante, modale,
4928 @item The third @b{scale degree}.
4930 @item A @emph{chord} having its base tone a third from that of another
4931 chord. For example, the tonic chord may be replaced by its lower
4932 mediant (variant tonic).
4937 @ref{chord}, @ref{functional harmony}, @ref{relative key}.
4950 FI: melisma, laulettavan tavun sävelkuvio.
4952 A melisma (Greek: plural @emph{melismata}) is a group of notes or tones sung
4953 on one syllable, especially as applied to liturgical chant.
4956 No cross-references.
4960 @section melisma line
4962 @c TODO: add languages
4964 ES: línea de melisma,
4965 I: linea del melisma,
4966 F: trait de mélisme, trait de tenue,
4974 @ref{extender line}.
4977 @node melodic cadence
4978 @section melodic cadence
4984 @node mensural notation
4985 @section mensural notation
4987 @c TODO: add languages
4989 ES: notación mensural,
4990 I: notazione mensurale,
4991 F: notation mensurale,
4996 FI: mensuraalinuotinnus.
4998 A system of duration notation whose principles were first established in the
4999 mid-13th century, and that (with various changes) remained in use until about
5000 1600. As such, it is the basis for the notation of rhythms in Western musical
5003 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
5004 of the notation's principles, so the notation of this earliest period is called
5005 @q{Franconian}. Franco's system made use of three note values -- long, breve,
5006 and semibreve -- each of which was normally equivalent to three of the next
5009 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
5010 added several note values (the minim, semiminim and fusa) and extended Franco's
5011 principles to govern the relationship between these values. They also put the
5012 duple division of note values on an equal footing with the earlier (preferred)
5015 TODO: continue description of French and Italian black notation, and the
5016 relationship betwixt them.
5018 @b{White or void mensural notation}
5020 In the 15th century, hollow (or void) notes began to substitute for the earlier
5021 solid black ones, which were then free to assume the function of red (or
5022 colored) notes in the earlier notation. ...
5024 TODO: add to definition (including summary info on proportional notation)
5027 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
5028 @c TODO: more cross-references?
5031 @node mensuration sign
5032 @section mensuration sign
5034 @c TODO: add languages
5036 ES: signo de mensuración,
5038 F: signe de mensuration,
5045 The ancestor of the time signature, mensuration signs were used to indicate the
5046 relationship between two sets of note durations—specifically, the ratio of
5047 breves to semibreves (called @notation{tempus}), and of semibreves to minims
5048 (called @notation{prolatio}).
5050 Each ratio was represented with a single single sign, and was either
5051 three-to-one (ternary) or two-to-one (binary), as in modern music notation.
5052 Unlike modern music notation, the @emph{ternary} ratio was the preferred
5053 one—applied to the @emph{tempus}, it was called @emph{perfect}, and was
5054 represented by a complete circle; applied to the @emph{prolatio}, it was called
5055 @emph{major} and was represented by a dot in the middle of the sign. The binary
5056 ratio applied to the @emph{tempus} was called @emph{imperfect}, and was
5057 represented by an incomplete circle; applied to @emph{prolatio}, it was called
5058 @emph{minor} and was represented by the lack of an internal dot. There are four
5059 possible combinations, which can be represented in modern time signatures with
5060 and without reduction of note values. (These signs are hard-coded in LilyPond
5064 @item perfect @emph{tempus} with major @emph{prolatio}
5065 Indicated by a complete circle with an internal dot. In modern time signatures,
5068 @item 9/4, with reduction or
5069 @item 9/2, without reduction
5072 @item perfect @emph{tempus} and minor @emph{prolatio}
5073 Indicated by a complete circle without an internal dot. In modern time
5074 signatures, this equals:
5076 @item 3/2, with reduction or
5077 @item 3/1, without reduction
5080 @item imperfect @emph{tempus} and major @emph{prolatio}
5081 Indicated by an incomplete circle with an internal dot. In modern time
5082 signatures, this equals:
5084 @item 6/4, with reduction or
5085 @item 6/2, without reduction
5088 @item imperfect @emph{tempus} and minor @emph{prolatio}
5089 Indicated by an incomplete circle without an internal dot. In modern time
5090 signatures, this equals:
5092 @item 4/4, with reduction or
5093 @item 2/1, without reduction
5097 The last mensuration sign @emph{looks} like common-time because it @emph{is},
5098 with note values reduced from the original semibreve to a modern quarter note.
5099 Being doubly imperfect, this sign represented the (theoretically)
5100 least-preferred mensuration, but it was actually used fairly often.
5102 This system extended to the ratio of longer note values to each other:
5106 @item maxima to longa, called:
5110 @item @notation{modus maximorum},
5111 @item @notation{modus major}, or
5112 @item @notation{maximodus})
5116 @item longa to breve, called:
5120 @item @notation{modus longarum},
5121 @item @notation{modus minor}, or
5122 @item @notation{modus}
5128 In the absence of any other indication, these modes were assumed to be
5129 binary. The mensuration signs only indicated tempus and prolatio, so
5130 composers needed another way to indicate these longer ratios (called modes.
5131 Around the middle of the 15th century started to use groups of rests at the
5132 beginning of the staff, preceding the mensuration sign.
5135 Two mensuration signs have survived to the present day: the C-shaped sign,
5136 which originally designated @notation{tempus imperfectum} and
5137 @notation{prolatio minor} now stands for @notation{common time}; and the
5138 slashed C, which designated the same with @notation{diminution} now stands
5139 for @notation{cut-time} (essentially, it has not lost its original meaning).
5142 @ref{diminution}, @ref{proportion}, @ref{time signature}.
5143 @c TODO: more cross-references?
5151 F: indication de mesure, mesure,
5158 The pattern of note values and accents in a composition or a section thereof.
5159 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
5160 by grouping beats and by subdividing the primary beat.
5162 @b{By grouping beats}:
5166 @item @b{duple}: groups of two.
5167 @item @b{triple}: groups of three.
5168 @item @b{quadruple}: groups of four. A special case of duple meter.
5169 @item @b{quintuple}: groups of five beats.
5170 @item @b{sextuple} meter: groups of six. A special case of:
5174 @item duple meter, subdivided in three; or
5175 @item triple meter, subdivided in two.
5179 @item @b{septuple} meter: groups of seven.
5184 Other than triple meter and its subdivided variants (see below), meters that
5185 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
5186 frequently used prior to the 20th Century.
5188 @b{By subdividing the primary beat}:
5192 @item simple: subdivided in groups of two.
5196 @item duple: 2/2, 2/4, 2/8
5197 @item triple: 3/2, 3/4, 3/8
5198 @item quadruple: 4/2, 4/4 (also called common time), 4/8
5202 @item compound: subdivided in groups of three.
5208 @item quadruple: 12/8
5214 Time signatures are placed at the beginning of a composition (or section) to
5215 indicate the meter. For instance, a piece written in simple triple meter with a
5216 beat on each quarter note is conventionally written with a time signature of
5217 3/4. Here are some combinations of the two classifications above:
5219 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
5221 @lilypond[quote,line-width=13.0\cm]
5225 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
5228 Simple triple meter:
5230 @lilypond[quote,line-width=13.0\cm]
5234 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
5237 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
5239 @lilypond[quote,line-width=13.0\cm]
5243 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
5246 Simple quintuple meter (B. Marcello, 1686-1739):
5248 @lilypond[quote,line-width=13.0\cm]
5252 r4 cis8 bis ais4 dis c8 ais |
5253 aes4 bes8 aes ges4 aes f8 es \bar "||"}
5256 (Aside: this is an example of @emph{Augenmusik}: the accidentals are thus in
5257 the source, with sharps in the accompaniment where the voice has flats and
5260 Compound duple meter (unknown):
5262 @lilypond[quote,line-width=13.0\cm]
5266 f8 f g a bes16 a g f |
5267 g8 g bes a c16 a bes g
5271 Compound triple meter (J.S. Bach, 1685-1750):
5273 @lilypond[quote,line-width=13.0\cm]
5277 r8 g'( a) b( d c) c( e d) |
5278 d( g fis) g( d b) g( a b)
5282 Compound quadruple meter (P. Yon, 1886-1943):
5284 @lilypond[quote,line-width=13.0\cm]
5288 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
5289 e4 e8 fis( gis) a b4.~ b4 b8
5294 @b{@q{Monometer} vs Polymeter}
5296 TODO: add information from discussion on lilypond-user related to polymeter.
5300 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5315 Device used to indicate the exact tempo of a piece.
5317 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5318 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5319 divisions, and patented it as a @q{metronome}. The inevitable lawsuit that
5320 followed acknowledged Winkler as the creator, but by then Mälzel had already
5321 sold many of them, and people had taken to calling it a Mälzel Metronome.
5324 @ref{metronome mark}.
5327 @node metronome mark
5328 @section metronome mark
5330 ES: indicación metronómica,
5331 I: indicazione metronomica,
5332 F: indication métronomique,
5334 NL: metronoom aanduiding,
5336 S: metronomangivelse,
5337 FI: metronomiosoitus.
5339 Exact tempo indication (in beats per minute). Abbreviated @notation{M.M.} or
5340 @notation{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5347 @node metronomic indication
5348 @section metronomic indication
5351 @ref{metronome mark}
5364 FI: kohtalaisen, melko.
5366 [Italian: @q{medium}]
5368 Used to qualify other indications, such as:
5374 @item @notation{mezzo piano} is @q{medium quiet} (that is, not as quiet as
5376 @item @notation{mezzo forte} is @q{medium loud} (that is, not as loud as
5382 @item Pitchwise, a mezzo-soprano's voice lies between that of contraltos and
5389 No cross-references.
5393 @section mezzo-soprano
5404 The female voice between soprano and contralto.
5407 @ref{soprano}, @ref{contralto}.
5416 D: eingestrichenes@w{ }c,
5418 DK: enstreget@w{ }c,
5419 S: ettstruket@w{ }c,
5422 First C below the 440 Hz A.
5424 @lilypond[quote,notime,relative=1]
5425 \override Staff.Clef #'full-size-change = ##t
5432 No cross-references.
5448 @ref{diatonic scale}.
5451 @node minor interval
5452 @section minor interval
5454 ES: intervalo menor,
5455 I: intervallo minore,
5456 F: intervalle mineur,
5457 D: kleines Intervall,
5461 FI: pieni intervalli.
5467 @node mixolydian mode
5468 @section mixolydian mode
5471 @ref{diatonic scale}.
5480 D: Kirchentonart, Modus,
5484 FI: moodi, kirkkosävelasteikko.
5487 @ref{church mode}, @ref{diatonic scale}.
5500 FI: modulaatio, sävellajin vaihdos.
5502 Moving from one @ref{key} to another. For example, the second subject
5503 of a @ref{sonata form} movement modulates to the dominant key if the
5504 key is major and to the @ref{relative key} if the key is minor.
5507 No cross-references.
5519 FI: mordent, korukuvio.
5542 FI: teema, sävelaihe.
5544 The briefest intelligible and self-contained fragment of a musical
5547 @lilypond[quote,line-width=13.0\cm]
5550 \set Score.implicitTimeSignatureVisibility = #all-invisible
5551 \override Score.TimeSignature #'break-visibility = #all-invisible
5554 \partial 8 g16\startGroup fis |
5555 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5556 g8 g,16 a b8 cis d16 s
5560 \Staff \consists "Horizontal_bracket_engraver"
5566 No cross-references.
5581 Greater musical works like @ref{symphony} and @ref{sonata} most often consist of
5582 several -- more or less -- independent pieces called movements.
5585 No cross-references.
5588 @node multi-measure rest
5589 @section multi-measure rest
5591 ES: compases de espera, silencio multicompás,
5593 F: pause multiple, mesure à compter,
5595 D: mehrtaktige Pause, Kirchenpause,
5598 FI: usean tahdin mittainen tauko.
5600 Multi-measure rests are conventionally typeset with a combination of
5601 longa, breve and whole rests for shorter and a long horizontal bar for
5602 longer spans of rest, with a number above to indicate the duration (in
5603 measures) of the rest. The former style is called @q{Kirchenpausen} in
5604 German, as a reminiscence of its use in Renaissance vocal polyphony.
5606 @lilypond[quote,relative=2]
5608 \set Score.skipBars = ##t
5611 \set Score.skipBars = ##t
5617 @ref{longa}, @ref{breve}.
5626 D: Auflösungszeichen,
5627 NL: herstellingsteken,
5628 DK: op@-løsningstegn,
5629 S: återställningstecken,
5636 @node neighbor tones
5637 @section neighbor tones
5639 @c TODO: add definition.
5651 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5690 Notes are signs by means of which music is fixed in writing. The term is also
5691 used for the sound indicated by a note, and even for the key of the piano
5692 which produces the sound. However, a clear distinction between the terms tone
5693 and @ref{note} is strongly recommended. Briefly, one sees a note,
5697 No cross-references.
5704 I: testa, testina, capocchia,
5712 A head-like sign which indicates pitch by its position on a @notation{staff}
5713 provided with a @notation{clef}, and duration by a variety of shapes such as
5714 hollow or black heads with or without @notation{stems}, @notation{flags}, etc.
5715 For percussion instruments (often having no defined pitch) the note head may
5716 indicate the instrument.
5719 @ref{clef}, @ref{flag}, @ref{staff}, @ref{stem}.
5732 ES: valor, duración,
5734 F: durée, valeur (d'une note),
5739 FI: nuotin aika-arvo.
5741 Note values (durations) are measured as fractions—in modern usage, one-half—of
5742 the next higher note value. The longest duration in current use is the
5743 @notation{breve} (equal to two whole notes), but sometimes (especially in music
5744 dating from the Baroque era or earlier) the @notation{longa} (four whole notes)
5745 or @notation{maxima} (eight whole notes) may be found.
5747 As used in mensural notation, this fraction was more flexible: it could also
5748 be one-third the higher note value. Composers indicated which proportions
5749 to use with various signs—two of which survive to the present day: the
5750 C-shaped sign for @notation{common time}, and the slashed C for
5751 @notation{alla breve} or @notation{cut-time}.
5753 @c TODO -- add maxima to this example, in a way that doesn't break it.
5755 @lilypond[quote,notime,line-width=13.0\cm]
5757 \override NoteHead #'style = #'mensural
5758 a\longa_"longa" a\breve_"breve"
5759 \revert NoteHead #'style
5760 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5761 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5764 @c TODO -- add maxima rest to this example
5766 @lilypond[quote,notime,line-width=13.0\cm]
5768 r\longa_"longa" r\breve_"breve"
5769 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5770 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5773 An augmentation dot after a note increases its duration by half; a second dot
5774 increases it by half of the first addition (that is, by a fourth of the original
5775 duration). More dots can be used to add further halved fractions of the
5776 original note value (1/8, 1/16, etc.), but they are not frequently encountered.
5778 @lilypond[quote,line-width=13.0\cm]
5781 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5782 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5785 Alternatively note values may be subdivided by other ratios. Most common is
5786 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5787 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5788 dotted notes are also frequently used.
5790 @lilypond[quote,line-width=13.0\cm]
5793 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5794 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5798 @lilypond[quote,line-width=13.0\cm]
5801 \times 3/2 {g4_"duplets" g} |
5803 \times 6/4 {g8_"quadruplets" g g g} |
5804 g8 g g g g4 \bar "||"
5816 @ref{octave marking}.
5831 The interval of an octave, sometimes abbreviated @notation{8ve}.
5833 For uses like @notation{all'ottava} or @notation{8va} with an extender line or
5834 bracket, or @notation{loco} see octave marking.
5837 @ref{interval}, @ref{octave marking}.
5841 @section octave mark
5843 ES: indicación de octava,
5845 F: indication d'octave,
5852 The phrase, abbreviation, or other mark used (with or without an extender line
5853 or bracket) to indicate that the music is to be played in a different octave:
5857 @item @notation{15ma}: play two octaves higher
5858 @item @notation{8va}: play one octave higher
5859 @item @notation{8vb}: play one octave lower
5860 @item @notation{8va} (written below the passage): unusual, same as
5862 @item @notation{15vb}: play two octaves lower
5863 @item @notation{15va} (written below the passage): unusual, same as
5868 For longer passages, it may be more practical to mark the octave change at the
5869 beginning with a phrase (see the list below for examples), but without a bracket
5870 or extender line. Then, when the music returns to the written pitch, the octave
5871 change is cancelled with the word @notation{loco} (q.v.).
5873 To parallel the list above:
5877 @item @notation{15ma}: @notation{alla quindicesima (alta)}
5878 @item @notation{8va}: @notation{all'ottava} or @notation{ottava sopra}
5879 @item @notation{8vb}: @notation{all'ottava bassa}, @notation{ottava sotto}
5880 @item @notation{15vb}: @notation{alla quindicesima (bassa)}
5884 In the phrases above, @notation{quindicesima} is sometimes replaced with
5885 @notation{quindecima}, which is Latin.
5887 The music on an entire staff can be marked to be played in a different octave by
5888 putting a small 8 or 15 above or below the clef at the beginning. This octave
5889 mark can be applied to any clef, but it is most frequently used with the G and F
5893 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5896 @node octave marking
5897 @section octave marking
5906 FI: oktaavamerkintä.
5908 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5909 that it is to be played in a different octave. If applied to the clef at the
5910 beginning of the staff, all music on that staff is to played at the indicated
5913 For a list of the specific marks used, see @ref{octave mark}.
5916 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5920 @section octave sign
5930 I: abbellimento, fioriture,
5931 F: agrément, ornement,
5932 D: Verzierung, Ornament,
5938 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5939 with the diatonic @ref{second} above it. In the music from the
5940 middle of the 19th century and onwards the trill is performed with the main
5941 note first while in the music from the preceding baroque and classic periods
5942 the upper note is played first.
5944 @lilypond[quote,line-width=13.0\cm]
5946 \context Staff = sa {
5948 c2._"pre-1850" b4\trill | c1 \bar "||"
5949 c2._"post-1850" b4\trill | c1 \bar "||"
5953 c2. c32 b c b c b c b | c1
5954 c2. b32 c b c \times 4/5 { b c b c b } | c1
5959 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5960 the @emph{prall} (inverted mordent).
5962 @lilypond[quote,line-width=13.0\cm]
5964 \context Staff = sa {
5966 a4_"turn" b\turn c2 \bar "||"
5967 g4_"mordent" a b\mordent a \bar "||"
5968 e'4_"prall" d\prall c2 \bar "||"
5974 e'4 e32[ d e d ~ d8] c2
5980 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5988 F: ossia, alternative,
5993 FI: ossia, vaihtoehtoinen esitystapa.
5995 Ossia (otherwise) marks an alternative. It is an added staff or piano
5996 score, usually only a few measures long, which presents another version
5997 of the music, for example for small hands.
6000 Compare: @ref{cue-notes}.
6006 ES: parte, particella,
6013 FI: stemma, instrumenttiosuus.
6017 @item In instrumental or choral music, the music for a single
6018 instrument or voice.
6020 @item in contrapuntal music, a single melodic line in the contrapuntal
6043 @node percent repeat
6044 @section percent repeat
6046 LilyPond-specific term to indicate the repetition of a musical expression on a
6047 single staff, as opposed to the more usual definition of repeat, which affects
6048 all parts. The musical expression can be anything from a single note or note
6049 pattern to one or more measures. There are other names for this symbol:
6054 @item slash mark, or slash repeat
6056 @item measure (or multi-measure) repeat
6060 @lilypond[quote,relative=2,line-width=13.0\cm]
6062 \repeat percent 4 { c4_"Beat (or slash) repeat" }
6063 \repeat percent 2 { c4 e g b_"Measure repeat" }
6064 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
6069 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
6070 Vermont Music Dictionary}.
6079 D: Schlagzeug, Schlagwerk,
6085 A family of musical instruments which are played on by striking or
6086 shaking. Percussion instruments commonly used in a symphony orchestra are
6087 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
6088 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
6092 No cross-references.
6095 @node perfect interval
6096 @section perfect interval
6098 ES: intervalo justo,
6099 I: intervallo giusto,
6100 F: intervalle juste,
6101 D: reines Intervall,
6105 FI: puhdas intervalli.
6123 A natural division of the melodic line, comparable to a sentence of speech.
6139 FI: fraseeraus, jäsentäminen.
6141 The clear rendering in musical performance of the @notation{phrases} of the
6142 melody. Phrasing may be indicated by a @notation{slur}.
6145 @ref{phrase}, @ref{slur}.
6160 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
6161 @emph{mezzo piano} (@b{mp}) medium soft.
6164 No cross-references.
6172 F: anacrouse, levée,
6197 @item The perceived quality of a sound that is primarily a function of its
6198 fundamental frequency.
6200 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
6202 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
6203 association of a particular frequency with a particular pitch name, e.g., c' =
6219 NL: pizzicato, getokkeld,
6222 FI: pizzicato, näppäillen.
6224 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
6228 No cross-references.
6234 ES: compás polimétrico,
6241 FI: monia tahtiosoituksia sisältävä.
6245 @item The @emph{simultaneous} use of two or more meters, in two or more
6248 @item The @emph{successive} use of different meters in one or more parts.
6253 @ref{polymetric} (adj.)
6266 FI: monia tahtiosoituksia yhtäaikaa tai peräkkäin sisältävä.
6268 Characterized by @emph{polymeter}: using two or more metric frameworks
6269 simultaneously or in alternation.
6272 @ref{polymeter} (noun)
6275 @node polymetric time signature
6276 @section polymetric time signature
6278 ES: indicación de compás polimétrico,
6279 I: tempo polimetrico,
6285 FI: vaihtelevan tahtiosoitusmerkintä.
6287 A time signature that indicates regularly alternating polymetric time.
6299 D: Polyphonie, Mehrstimmigkeit,
6303 FI: polyfonia, moniäänisyys.
6305 Music written in a combination of several simultaneous voices (parts)
6306 of a more or less pronounced individuality.
6315 [Italian: past participle of @emph{portare}, @q{to carry}]
6317 A stroke in which each of several notes is separated slightly within a slur,
6318 without changing the bow's direction. It is used for passages of a
6319 @notation{cantabile} character.
6328 ES: presto, muy rápido,
6330 F: presto, très rapide, enlevé,
6331 D: Presto, Sehr schnell,
6332 NL: presto, Sehr schnell,
6335 FI: presto, hyvin nopeasti.
6339 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
6340 denotes the highest possible degree of speed.
6343 No cross-references.
6358 [Latin: @emph{proportio}] Described in great detail by Gaffurius, in
6359 @emph{Practica musicae} (published in Milan in 1496). In mensural notation,
6364 @item A ratio that expresses the relationship between the note values that
6365 follow with those that precede;
6367 @item A ratio between the note values of a passage and the @q{normal}
6368 relationship of note values to the metrical pulse. (A special case of the
6373 The most common proportions are:
6376 @item 2:1 (or simply 2), expressed by a vertical line through the
6377 mensuration sign (the origin of the @notation{alla breve} time signature),
6378 or by turning the sign backwards
6379 @item 3:1 (or simply 3)
6380 @item 3:2 (@emph{sesquialtera})
6383 To @q{cancel} any of these, the inverse proportion is applied. Thus:
6386 @item 1:2 cancels 2:1
6387 @item 1:3 cancels 3:1
6388 @item 2:3 cancels 3:2
6392 Gaffurius enumerates five basic types of major:minor proportions and their
6396 @item Multiplex, if the major number is an exact multiple of the minor (2:1,
6397 3:1, 4:2, 6:3); and its inverse, Submultiplex (1:2, 1:3, 2:4, 3:6)
6399 @item Epimoria or Superparticular [orig. @emph{Epimoria seu Superparticularis}],
6400 if the major number is one more than the minor (3:2, 4:3, 5:4); and its
6401 inverse, Subsuperparticular (2:3, 3:4, 4:5)
6403 @item Superpartiens, if the major number is one less than twice the minor
6404 (5:3, 7:4, 9:5, 11:6); and its inverse, subsuperpartiens (3:5, 4:7, 5:9, 6:11)
6406 @item Multiplexsuperparticular, if the major number is one more than twice the
6407 minor (5:2, 7:3, 9:4); and its inverse, Submultiplexsuperparticular (2:5, 3:7,
6410 @item Multiplexsuperpartiens, if the major number is one less than some other
6411 multiple (usually three or four) of the minor (8:3, 11:4, 14:5, 11:3); and its
6412 inverse, Submultiplexsuperpartiens (3:8, 4:11, 5:14, 3:11)
6416 He then continues to subdivide each type in various ways. For the multiplex
6417 proportions, for example, he indicates how many times greater the major number
6422 @item If two times greater, the proportion is @emph{dupla}. If inverted, it's
6423 called @emph{subdupla}. Examples: 2:1, 4:2, and 6:3.
6425 @item If three, @emph{tripla}; and its inversion, @emph{subtripla}. Example:
6428 @item If four, @emph{quadrupla}; and its inversion, @emph{subquadrupla}.
6429 Example: 4:1, 8:2, and 12:3
6433 Other proportions were possible, but whether they were frequently used is
6438 @item 33:9, @emph{triplasuperbipartientetertias}
6439 @item 51:15, @emph{triplasuperbipartientequintas}
6443 @c TODO: add an example or two. O => 4/3, and its modern equivalent
6446 @ref{mensural notation}.
6449 @node Pythagorean comma
6450 @section Pythagorean comma
6452 ES: coma pitagórica,
6453 I: comma pitagorico,
6454 F: comma pythagoricien,
6455 D: Pythagoräisches Komma,
6456 NL: komma van Pythagoras,
6457 DK: pythagoræisk komma,
6458 S: pytagoreiskt komma,
6459 FI: pytagorinen komma.
6461 Originally, the interval by which the sum of six whole tones exceeds the octave
6462 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6464 Modern acoustical theory defines it as the interval by which twelve fifths
6465 exceed seven octaves. To put it another way: A sequence of fifths that starts
6466 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6467 than the C obtained by adding 7 octaves. The difference between those two
6468 pitches is the Pythagorean comma.
6471 @ref{cent}, @ref{temperament}.
6493 ES: variante [de acorde o intervalo],
6502 The quality of a triad is determined by the precise arrangement of its
6503 intervals. Tertian triads can be described as a series of three notes. The
6504 first element is the root note (or simply @q{root}) of the chord, the second
6505 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6506 the chord. These are described below:
6508 @multitable {Chord name} {Component intervals} {Example} {C, CM, Cma, Cmaj, CΔ}
6509 @headitem Chord name
6510 @tab Component intervals
6513 @item major triad @tab major third/perfect fifth
6515 @tab C, CM, Cma, Cmaj, CΔ
6516 @item minor triad @tab minor third/perfect fifth
6518 @tab Cm, Cmi, Cmin, C-
6519 @item augmented triad @tab major third/augmented fifth
6522 @item diminished triad @tab minor third/diminished fifth
6524 @tab Cm(♭5), Cº, Cdim
6527 There are various types of seventh chords depending on the quality of the
6528 original chord and the quality of the seventh added.
6530 Five common types of seventh chords have standard symbols. The chord quality
6531 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6532 and D^m7 are all identical). The last three chords are not commonly used
6540 @section quarter note
6545 @item I: semiminima, nera
6547 @item D: Viertel, Viertelnote
6549 @item DK: fjerdedelsnode
6550 @item S: fjärdedelsnot
6551 @item FI: neljäsosanuotti
6559 @section quarter rest
6562 @item UK: crotchet rest
6563 @item ES: silencio de negra
6564 @item I: pausa di semiminima
6566 @item D: Viertelpause
6568 @item DK: fjerdedelspause
6569 @item S: fjärdedelspaus
6570 @item FI: neljäsosatauko
6578 @section quarter tone
6587 FI: neljännessävelaskel.
6589 An interval equal to half a semitone.
6598 ES: cinquillo, quintillo,
6612 @section rallentando
6616 F: rallentando, en ralentissant,
6617 D: rallentando, langsamer werden,
6621 FI: rallerdando, hidastuen.
6623 [Italian] A performance indication, abbreviated @notation{rall.}.
6630 @section relative key
6633 I: tonalità relativa,
6634 F: tonalité relative,
6636 NL: paralleltoonsoort,
6637 DK: paralleltoneart,
6639 FI: rinnakkaissävellaji.
6641 Major and minor keys that have the same key signature.
6643 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6645 es1_"e flat major" f g as bes c d es
6649 @lilypond[quote,notime,relative=1,line-width=13.0\cm]
6651 c1_"c minor" d es f g a! b! c
6656 @ref{key}, @ref{key signature}, @ref{major}, @ref{minor}.
6664 F: barre de reprise,
6667 DK: gen@-ta@-gel@-se,
6671 @lilypond[quote,relative=2,line-width=13.0\cm]
6683 No cross-references.
6698 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6699 @c specify the rest's value.
6719 @item Metrical rhythm in which every time value is a multiple or
6720 fraction of a fixed unit of time, called @emph{beat}, and in which the
6721 normal @emph{accent} recurs in regular intervals, called @emph{measure}.
6722 The basic scheme of time values is called @emph{meter}.
6724 @item Measured rhythm which lacks regularly recurrent accent. In
6725 modern notation such music appears as a free alternation of different
6728 @item Free rhythm, i.e., the use of temporal values having no common
6729 metrical unit (beat).
6734 @ref{accent}, @ref{beat}, @ref{measure}, @ref{meter}.
6740 ES: ritardando, retardando,
6742 F: ritardando, en ralentissant,
6743 D: ritardando, langsamer werden,
6747 FI: ritardando, hidastuen,
6749 Gradually slackening in speed. Mostly abbreviated to @notation{rit.} or
6753 No cross-references.
6759 ES: ritenuto, reteniendo,
6761 F: ritenuto, en retenant,
6766 FI: ritenuto, hidastaen.
6768 Immediate reduction of speed.
6771 No cross-references.
6784 FI: asteikko, sävelasteikko.
6787 @ref{diatonic scale}.
6791 @section scale degree
6793 ES: grado (de la escala),
6794 I: grado della scala,
6795 F: degré [de la gamme],
6797 NL: trap [van de toonladder],
6800 FI: sävelaste, asteikon sävel.
6802 Names and symbols used in harmonic analysis to denote tones of the
6803 scale as roots of chords. The most important are degrees I = tonic
6804 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6806 @lilypond[quote,notime,line-width=13.0\cm]
6808 \new Staff \relative c' {
6812 << { I II III IV V VI VII I }
6819 @ref{functional harmony}.
6827 F: à cordes ravallées,
6832 FI: epätavallinen viritys.
6834 [Italian: @emph{scordare}, @q{to mistune}] Unconventional
6835 tuning of stringed instruments, particularly lutes or violins. Used
6840 @item facilitate pitch combinations that would otherwise be difficult
6843 @item alter the characteristic timbre of the instrument, for example,
6844 to increase brilliance
6846 @item reinforce certain sonorities or tonalities by making them
6847 available on open strings
6849 @item imitate other instruments
6855 Tunings that could be called @var{scordatura} first appeared early in
6856 the 16th Century and became commonplace in the 17th.
6859 No cross-references.
6867 F: partition, conducteur (full score),
6868 D: Partitur (full score), Klavierauszug (vocal score),
6874 A copy of orchestral, choral, or chamber music showing what each
6875 instrument is to play, each voice to sing, having each part arranged
6876 one underneath the other on different staves @ref{staff}.
6879 No cross-references.
6894 The interval between two neighboring tones of a scale. A diatonic scale
6895 consists of alternating semitones and whole tones, hence the size of a
6896 second depends on the scale degrees in question.
6899 @ref{diatonic scale}, @ref{interval}, @ref{semitone}, @ref{whole tone}.
6906 @item US: whole note,
6910 @item D: Ganze, ganze Note,
6911 @item NL: hele noot,
6914 @item FI: kokonuotti.
6917 Note value: called @notation{whole note} in the US.
6919 The semibreve is the basis for the @notation{tactus} in mensural notation
6920 (i.e. music written before ca. 1600).
6923 @ref{mensural notation}, @ref{note value}.
6938 The interval of a minor second. The (usually) smallest interval in European
6939 composed music. The interval between two neighboring tones on the piano
6940 keyboard -- including black and white keys -- is a semitone. An octave may
6941 be divided into 12@w{ }semitones.
6943 @lilypond[quote,notime,relative=2,line-width=13.0\cm]
6944 g1 gis s a bes s b! c
6948 @ref{interval}, @ref{chromatic scale}.
6971 @ref{sextuplet}, @ref{note value}.
7016 ES: simile, similar,
7025 [Italian: @q{in the same manner}] Performance direction: the music thus marked
7026 is to be played in the same manner (i.e. with the same articulations, dynamics,
7027 etc.) as the music that precedes it.
7030 TODO: Where else could I refer the reader?
7034 @section simple meter
7036 ES: compás simple, compás de subdivisión binaria,
7043 FI: kaksijakoinen tahtiosoitus.
7045 A meter in which the basic beat is subdivided in two: that is, a meter
7046 that does not include triplet subdivision of the beat.
7049 @ref{compound meter}, @ref{meter}.
7052 @node sixteenth note
7053 @section sixteenth note
7056 @item UK: semiquaver
7057 @item ES: semicorchea
7059 @item F: double croche
7060 @item D: Sechzehntel, Sechzehntelnote
7061 @item NL: zestiende noot
7062 @item DK: sekstendedelsnode
7063 @item S: sextondelsnot
7064 @item FI: kuudestoistaosanuotti
7071 @node sixteenth rest
7072 @section sixteenth rest
7075 @item UK: semiquaver rest
7076 @item ES: silencio de semicorchea
7077 @item I: pausa di semicroma
7078 @item F: quart de soupir
7079 @item D: Sechzehntelpause
7080 @item NL: zestiende rust
7081 @item DK: sekstendedelspause
7082 @item S: sextondelspaus
7083 @item FI: kuudestoistaosatauko
7106 @node sixty-fourth note
7107 @section sixty-fourth note
7110 @item UK: hemidemisemiquaver
7112 @item I: semibiscroma
7113 @item F: quadruple croche
7114 @item D: Vierundsechzigstel, Vierundsechzigstelnote
7115 @item NL: vierenzestigste noot
7116 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
7117 @item S: sextiofjärdedelsnot
7118 @item FI: kuudeskymmenesneljäsosanuotti
7125 @node sixty-fourth rest
7126 @section sixty-fourth rest
7129 @item UK: hemidemisemiquaver rest
7130 @item ES: silencio de semifusa
7131 @item I: pausa di semibiscroma
7132 @item F: seizième de soupir
7133 @item D: Vierundsechzigstelpause
7134 @item NL: vierenzestigste rust
7135 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
7136 @item S: sextiofjärdedelspaus
7137 @item FI: kuudeskymmenesneljäsosatauko
7145 @section slash repeat
7148 @ref{percent repeat}.
7154 ES: ligadura de expresión,
7155 I: legatura (di portamento o espressiva),
7157 D: Bogen (Legatobogen, Phrasierungsbogen),
7158 NL: fraseringsboog, legatoboog, streekboog,
7159 DK: legatobue, fraseringsbue,
7163 A slur above or below a group of notes indicates that they are to be
7164 played @ref{legato}, e.g., with one stroke of the violin bow or with
7165 one breath in singing.
7168 No cross-references.
7172 @section solmization
7181 FI: suhteelliset laulunimet.
7183 General term for systems of designating the degrees of the
7184 @notation{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
7185 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
7189 @ref{scale}, @ref{scale degree}.
7204 In its present-day meaning a sonata denotes an instrumental
7205 composition for piano or for some other instrument with piano
7206 accompaniment, which consists of three or four independant pieces,
7210 No cross-references.
7214 @section sonata form
7218 F: [en] forme de sonate,
7220 NL: hoofdvorm, sonatevorm,
7225 A form used frequently for single movements of the @emph{sonata},
7226 @emph{symphony}, quartet, etc. A movement written in sonata form falls into
7227 three sections called @notation{exposition}, @notation{development} and
7228 @notation{recapitulation}. In the exposition the composer introduces some
7229 musical ideas, consisting of a number of themes; in the development section the
7230 composer @emph{develops} this material, and in the recapitulation the composer
7231 repeats the exposition, with certain modifications. The exposition contains a
7232 number of themes that fall into two groups, often called first and second
7233 subject. Other melodies occurring in each group are considered as continuations
7234 of these two. The second theme is in another key, normally in the key of the
7235 @notation{dominant} if the @notation{tonic} is @notation{major}, and in the
7236 @notation{relative key} if the tonic is @notation{minor}.
7239 @ref{dominant}, @ref{major}, @ref{minor}, @ref{relative key}, @ref{sonata},
7240 @ref{symphony}, @ref{tonic}.
7260 FI: sopraano, korkea naisääni.
7262 The highest female voice.
7265 No cross-references.
7273 F: staccato, piqué, détaché,
7278 FI: staccato, lyhyesti, terävästi.
7280 Playing the note(s) short. Staccato is indicated by a dot above or
7281 below the note head.
7283 @lilypond[quote,relative=2]
7287 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
7293 No cross-references.
7300 ES: pentagrama, pauta,
7301 I: pentagramma, rigo (musicale),
7303 D: Notensystem, Notenzeile,
7304 NL: (noten)balk, partij,
7309 A staff (plural: staves) is a series of (normally five) horizontal
7310 lines upon and between which the musical notes are written, thus
7311 indicating (in connection with a @ref{clef}) their pitch. Staves for
7312 @ref{percussion} instruments may have fewer lines.
7315 No cross-references.
7331 D: Hals, Notenhals, Stiel,
7337 Vertical line above or below a @ref{note head} shorter than a
7340 @lilypond[quote,notime,relative=2]
7341 \set Score.autoBeaming = ##f
7355 ES: stringendo, acelerando,
7357 F: stringendo, en accélérant,
7362 FI: kiihdyttäen, nopeuttaen.
7364 [Italian: @q{pressing}] Pressing, urging, or hastening the time, as to a
7383 A family of stringed musical instruments played with a bow. Strings
7384 commonly used in a symphony orchestra are violin, viola, violoncello,
7388 No cross-references.
7392 @section strong beat
7397 D: betonter Taktteil oder Taktschlag,
7399 D: betonet taktslag,
7400 S: betonat taktslag,
7401 FI: tahdin vahva isku.
7404 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
7408 @section subdominant
7417 FI: subdominantti, alidominantti.
7419 The fourth @notation{scale degree}.
7422 @ref{functional harmony}, @ref{scale degree}.
7437 The sixth @notation{scale degree}.
7440 @ref{functional harmony}, @ref{scale degree}, @ref{superdominant}.
7453 FI: subtoonika, alitoonika.
7455 The seventh @ref{scale degree}.
7458 @ref{functional harmony}, @ref{scale degree}.
7464 ES: sobre la cuerda de Sol,
7467 D: auf G, auf der G-Saite,
7473 Indicates that the indicated passage (or note) should be played on the
7477 No cross-references.
7481 @section superdominant
7492 The sixth @ref{scale degree}. Equivalent to the submediant, q.v.
7495 @ref{functional harmony}, @ref{scale degree}, @ref{submediant}.
7510 The second @ref{scale degree}.
7513 @ref{functional harmony}, @ref{scale degree}.
7522 D: Sinfonie, Symphonie,
7528 A symphony may be defined as a @emph{sonata} for orchestra.
7535 @section syncopation
7546 Any deliberate upsetting of the normal pulse of @ref{meter},
7547 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7548 rhythm rests upon the grouping of equal beats into groups of two or
7549 three, with a regularly recurrent accent on the first beat of each
7550 group. Any deviation from this scheme is felt as a disturbance or
7551 contradiction between the underlaying (normal) pulse and the actual
7554 @lilypond[quote,relative=1]
7557 e16 c'8 e,16 c'8 e,16 c' ~
7562 No cross-references.
7565 @node syntonic comma
7566 @section syntonic comma
7568 ES: coma sintónica, coma de Dídimo,
7569 I: comma sintonico (o didimico),
7570 F: comma syntonique,
7571 D: syntonisches Komma,
7572 NL: syntonische komma,
7573 DK: syntonisk komma,
7574 S: syntoniskt komma,
7575 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7576 Pytagorisessa viritysjärjestelmässä.
7578 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7579 by which the ditone exceeds the pure major third obtained by Pythagorean
7580 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7582 Modern acoustical theory defines it as the interval by which four fifths exceed
7583 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7585 This comma is also known as the comma of Didymus, or didymic comma.
7588 @ref{Pythagorean comma}
7597 D: Notensystem, Partitur,
7601 FI: nuottijärjestelmä.
7603 The collection of staves (@notation{staff}), two or more, as used for writing
7604 down of keyboard, chamber, choral, or orchestral music.
7611 @section temperament
7616 D: Stimmung, Tem@-pe@-ra@-tur,
7617 NL: stemming, temperatuur,
7620 FI: viritysjärjestelmä.
7622 Systems of tuning in which the intervals deviate from the acoustically
7626 @ref{meantone temperament}, @ref{equal temperament}.
7629 @node tempo indication
7630 @section tempo indication
7632 ES: indicación de tempo,
7633 I: indicazione di tempo,
7634 F: indication de tempo,
7635 D: Zeitmaß, Tempobezeichnung,
7636 NL: tempo aanduiding,
7641 The rate of speed of a composition or a section thereof, ranging from the
7642 slowest to the quickest, as is indicated by tempo marks as @notation{largo},
7643 @notation{adagio}, @notation{andante}, @notation{allegro}, and
7647 @ref{adagio}, @ref{allegro}, @ref{andante}, @ref{largo}, @ref{presto}.
7661 FI: tenori, korkea miesääni.
7663 The highest @q{natural} male voice (apart from @notation{countertenor}).
7688 ES: subrayado (tenuto),
7697 An indication that a particular note should be held for the whole
7698 length, although this can vary depending on the composer and era.
7701 No cross-references.
7720 @node thirty-second note
7721 @section thirty-second note
7724 @item UK: demisemiquaver
7727 @item F: triple croche
7728 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
7729 @item NL: twee@-endertig@-ste (32e) noot
7730 @item DK: toogtredivtedelsnode
7731 @item S: trettiotvåondelsnot
7732 @item FI: kolmaskymmeneskahdesosanuotti
7739 @node thirty-second rest
7740 @section thirty-second rest
7743 @item UK: demisemiquaver rest
7744 @item ES: silencio de fusa
7745 @item I: pausa di biscroma
7746 @item F: huitième de soupir
7747 @item D: Zweiunddreissigstel@-pause
7748 @item NL: twee@-endertig@-ste (32e) rust
7749 @item DK: toogtredivtedelspause
7750 @item S: trettiotvåondelspaus
7751 @item FI: kolmaskymmeneskahdesosatauko
7759 @section thorough bass
7768 ES: ligadura de unión (o de prolongación),
7769 I: legatura (di valore),
7770 F: liaison (de tenue),
7771 D: Haltebogen, Bindebogen,
7772 NL: overbinding, bindingsboog,
7774 S: bindebåge, överbindning,
7777 A curved line, identical in appearance with the @ref{slur}, which
7778 connects two succesive notes of the same pitch, and which has the
7779 function of uniting them into a single sound (tone) equal to the
7782 @lilypond[quote,notime,relative=2]
7794 @node time signature
7795 @section time signature
7797 ES: indicación de compás,
7799 F: métrique, chiffrage (chiffres indicateurs), indication de mesure,
7800 D: Taktangabe, Angabe der Taktart,
7803 S: taktartssignatur,
7806 The sign placed at the beginning of a composition to indicate its
7807 meter. It most often takes the form of a fraction, but a few signs
7808 derived from mensural notation and proportions are also employed.
7811 @ref{mensural notation}, @ref{mensuration sign}, @ref{meter}.
7826 A sound of definite pitch and duration, as distinct from @emph{noise}.
7827 Tone is a primary building material of music.
7829 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7832 No cross-references.
7847 The first @notation{scale degree}.
7850 @ref{functional harmony}, @ref{scale degree}.
7853 @node transposing instrument
7854 @section transposing instrument
7856 ES: instrumento transpositor,
7857 I: strumento traspositore,
7858 F: instrument transpositeur,
7863 FI: transponoitava soitin.
7865 Instruments whose notated pitch is different from their sounded pitch. Except
7866 for those whose notated and sounding pitches differ by one or more octaves (to
7867 reduce the number of ledger lines needed), most such instruments are identified
7868 by the letter name of the pitch class of their fundamental. The pitch class is
7869 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7870 the instrument plays a notated C.
7872 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7873 the B-flat one tone lower. If played on the A clarinet, the same written
7874 note sounds the A (one and half tones -- a minor third -- lower).
7876 Not all transposing instruments include the pitch class in their name:
7879 @item Alto flute (in G)
7880 @item English horn (in F)
7881 @item Saxophones (in B-flat or E-flat)
7884 @ignore Can we do better?
7886 To make matters more complex, some instruments are transposing instruments,
7887 but their players play from parts written at concert pitch. This is the
7888 case for orchestral trombone and tuba players—whereas trombone players in
7889 brass bands treat their parts as if written for a true transposing
7890 instrument in B-flat.
7895 @ref{concert pitch}.
7899 @section transposition
7901 ES: transporte, transposición,
7910 Shifting a melody up or down in pitch, while keeping the same
7913 @lilypond[quote,line-width=13.0\cm]
7918 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7923 @lilypond[quote,line-width=13.0\cm]
7926 \transpose c bes \relative c'' {
7928 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7934 No cross-references.
7938 @section treble clef
7940 ES: clave de sol en segunda,
7941 I: chiave di violino,
7943 D: Violinschlüssel, Sopranschlüssel,
7965 On stringed instruments:
7969 @item The quick reiteration of the same tone, produced by a rapid
7970 up-and-down movement of the bow.
7972 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7973 in the distance of a third (@ref{interval}).
7977 @lilypond[quote,notime,relative=1]
7979 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7980 \repeat tremolo 8 { e32_"b" g }
7992 F: triade, accord parfait, accord de trois sons,
8008 F: trille, tremblement, battement (cadence),
8020 @section triple meter
8022 ES: compás ternario,
8025 D: in drei, ungerader Takt,
8026 NL: driedelige maatsoort,
8068 @section tuning fork
8070 ES: diapasón [de horquilla],
8071 I: diapason, corista,
8079 A two-pronged piece of steel used to indicate an absolute pitch, usually for
8080 @emph{A} above middle C (440 cps/Hz), which is the international tuning
8081 standard. Tuning forks for other pitches are available.
8090 ES: grupo de valoración especial,
8091 I: gruppi irregolari,
8099 A non-standard subdivision of a beat or part of a beat, usually
8100 indicated with a bracket and a number indicating the number of
8104 @ref{triplet}, @ref{note value}.
8110 ES: grupeto (circular),
8133 FI: unisono, yksiäänisesti.
8135 Playing of the same notes or the same melody by various instruments
8136 (voices) or by the whole orchestra (choir), either at exactly the same
8137 pitch or in a different octave.
8140 No cross-references.
8148 F: anacrouse, levée,
8169 FI: ääni, lauluääni.
8177 @item @ref{mezzo-soprano}
8178 @item @ref{contralto}
8180 @item @ref{baritone}
8184 @item A melodic layer or part of a polyphonic composition.
8189 No cross-references.
8195 ES: vez, primera y segunda vez,
8202 FI: yksi kertauksen maaleista.
8204 [Italian: @q{time} (instance, not duration)] An ending, such as a first
8205 or second ending. LilyPond extends this idea to any number, and allows any text
8206 (not just a number) -- to serve as the @notation{volta} text.
8209 No cross-references.
8216 I: tempo debole, arsi,
8218 D: unbetonter Taktteil oder Taktschlag,
8220 DK: ubetonet taktslag,
8221 S: obetonat taktslag,
8222 FI: tahdin heikko isku.
8225 @ref{beat}, @ref{measure}, @ref{rhythm}.
8236 @item D: Ganze, ganze Note
8240 @item FI: kokonuotti
8251 @item UK: semibreve rest
8252 @item ES: silencio de redonda
8253 @item I: pausa di semibreve
8255 @item D: ganze Pause, ganztaktige Pause
8257 @item DK: helnodespause
8278 The interval of a major second. The interval between two tones
8279 on the piano keyboard with exactly one key between them -- including
8280 black and white keys -- is a whole tone.
8298 A family of blown wooden musical instruments. Today some of these
8299 instruments are actually made from metal. The woodwind instruments
8300 commonly used in a symphony orchestra are flute, oboe, clarinet,
8301 saxophone, and bassoon.
8304 No cross-references.
8307 @node Duration names notes and rests
8308 @chapter Duration names notes and rests
8310 @multitable @columnfractions .12 .22 .22 .22 .22
8312 @headitem Lang. @tab note name
8316 @item @strong{US} @tab long
8320 @item @strong{UK} @tab longa
8324 @item @strong{ES} @tab longa
8325 @tab silencio de longa
8327 @tab silencio de cuadrada
8328 @item @strong{IT} @tab longa
8332 @item @strong{FR} @tab longa
8333 @tab quadruple-pause
8336 @item @strong{DE} @tab Longa
8340 @item @strong{NL} @tab longa
8344 @item @strong{DK} @tab longa
8345 @tab longanodespause
8347 @tab brevis(nodes)pause
8348 @item @strong{SE} @tab longa
8352 @item @strong{FI} @tab longa-nuotti
8354 @tab brevis-nuotti, kaksoiskoko@-nuotti
8355 @tab brevis-tauko, kaksoiskoko@-tauko
8359 @multitable @columnfractions .12 .22 .22 .22 .22
8361 @headitem Lang. @tab note name
8365 @item @strong{US} @tab whole note
8369 @item @strong{UK} @tab semibreve
8373 @item @strong{ES} @tab redonda
8374 @tab silencio de redonda
8376 @tab silencio de blanca
8377 @item @strong{IT} @tab semibreve
8378 @tab pause di semibreve
8380 @tab pausa di minima
8381 @item @strong{FR} @tab ronde
8385 @item @strong{DE} @tab ganze Note
8389 @item @strong{NL} @tab hele noot
8393 @item @strong{DK} @tab helnode
8397 @item @strong{SE} @tab helnot
8401 @item @strong{FI} @tab kokonuotti
8408 @multitable @columnfractions .12 .22 .22 .22 .22
8410 @headitem Lang. @tab note name
8414 @item @strong{US} @tab quarter note
8418 @item @strong{UK} @tab crotchet
8422 @item @strong{ES} @tab negra
8423 @tab silencio de negra
8425 @tab silencio de corchea
8426 @item @strong{IT} @tab semiminima, nera
8427 @tab pausa di semiminima, pausa di nera
8430 @item @strong{FR} @tab noire
8434 @item @strong{DE} @tab Viertelnote
8438 @item @strong{NL} @tab kwartnoot
8442 @item @strong{DK} @tab fjerdedelsnode
8443 @tab fjerdedelspause
8444 @tab ottendedelsnode
8445 @tab ottendedelspause
8446 @item @strong{SE} @tab fjärdedelsnot
8450 @item @strong{FI} @tab neljäsosa@-nuotti
8451 @tab neljäsosa@-tauko
8452 @tab kahdeksasosa@-nuotti
8453 @tab kahdeksasosa@-tauko
8457 * About the French naming system: @notation{croche} refers to the note's
8458 @q{hook}. Therefore, from the eighth note on, the note names mean @q{hook},
8459 @q{doubled hook}, @q{trebled hook}, and so on.
8461 The rest names are based on the @notation{soupir}, or quarter rest.
8462 Subsequent rests are expressed as fractions thereof: half a
8463 @notation{soupir}, a quarter of a @notation{soupir}, and so on.
8465 Each of the following tables contains one type of note and its matching rest,
8466 with abbreviations that apply to both notes and rests. Just switch the part
8467 that means @q{note} with the part that means @q{rest}, for example:
8471 @item English: 16th @strong{note}, 16th @strong{rest}
8472 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
8473 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
8477 Editor's note: I put a dash @q{-} when I could not find a language-specific
8478 abbreviation for a duration name. If you know of one that I missed, please
8479 send it to me, care of the lilypond-user discussion list.
8481 @multitable @columnfractions .10 .35 .35 .20
8483 @headitem Lang. @tab Note name
8486 @item @strong{US} @tab sixteenth note
8489 @item @strong{UK} @tab semiquaver
8490 @tab semiquaver rest
8492 @item @strong{ES} @tab semicorchea
8493 @tab silencio de semicorchea
8495 @item @strong{IT} @tab semicroma
8496 @tab pausa di semicroma
8498 @item @strong{FR} @tab double croche
8499 @tab quart de soupir
8501 @item @strong{DE} @tab Sechzehntelnote
8502 @tab Sechzehntelpause
8504 @item @strong{NL} @tab zes@-ti@-ende noot
8505 @tab zes@-ti@-ende rust
8507 @item @strong{DK} @tab sekstendedelsnode
8508 @tab sekstendedelspause
8510 @item @strong{SE} @tab sextondelsnot
8513 @item @strong{FI} @tab kuudes@-toistaosa@-nuotti
8514 @tab kuudes@-toistaosa@-tauko
8519 @multitable @columnfractions .10 .35 .35 .20
8521 @headitem Lang. @tab Note name
8524 @item @strong{US} @tab thirty-second note
8525 @tab thirty-second rest
8527 @item @strong{UK} @tab demisemiquaver
8528 @tab demisemiquaver rest
8530 @item @strong{ES} @tab fusa
8531 @tab silencio de fusa
8533 @item @strong{IT} @tab biscroma
8534 @tab pausa di biscroma
8536 @item @strong{FR} @tab triple croche
8537 @tab huitième de soupir
8539 @item @strong{DE} @tab Zweiunddreißig@-stelnote
8540 @tab Zweiunddreißig@-stelpause
8542 @item @strong{NL} @tab twee@-endertigste noot
8543 @tab twee@-endertigste rust
8545 @item @strong{DK} @tab toogtredivtedelsnode
8546 @tab toogtredivtedelspause
8548 @item @strong{SE} @tab trettio@-tvåondelsnot
8549 @tab trettio@-tvåondelspaus
8551 @item @strong{FI} @tab kolmas@-kymmenes@-kahdesosa@-nuotti
8552 @tab kolmas@-kymmenes@-kahdesosa@-tauko
8557 @multitable @columnfractions .10 .35 .35 .20
8559 @headitem Lang. @tab Note name
8562 @item @strong{US} @tab sixty-fourth note
8563 @tab sixty-fourth rest
8565 @item @strong{UK} @tab hemidemisemiquaver
8566 @tab hemidemisemiquaver rest
8568 @item @strong{ES} @tab semifusa
8569 @tab silencio de semifusa
8571 @item @strong{IT} @tab semibiscroma
8572 @tab pausa di semibiscroma
8574 @item @strong{FR} @tab quadruple croche
8575 @tab seizième de soupir
8577 @item @strong{DE} @tab Vierundsechzigstelnote
8578 @tab Vierundsechzigstelpause
8580 @item @strong{NL} @tab vierenzestigste noot
8581 @tab vierenzestigste rust
8583 @item @strong{DK} @tab fireog@-tredsindstyven@-dedelsnode
8584 @tab fireog@-tredsindstyven@-dedelspause
8586 @item @strong{SE} @tab sextiofjärdedelsnot
8587 @tab sextiofjärdedelspaus
8589 @item @strong{FI} @tab kuudes@-kymmenes@-neljäsosa@-nuotti
8590 @tab kuudes@-kymmenes@-neljäsosa@-tauko
8595 @multitable @columnfractions .10 .35 .35 .20
8597 @headitem Lang. @tab Note name
8600 @item @strong{US} @tab one-hundred-twenty-eighth note
8601 @tab one-hundred-twenty-eighth rest
8603 @item @strong{UK} @tab semihemidemisemiquaver
8604 @tab semihemidemisemiquaver rest
8606 @item @strong{ES} @tab garrapatea
8607 @tab silencio de garrapatea
8609 @item @strong{IT} @tab fusa
8612 @item @strong{FR} @tab quintuple croche
8613 @tab trente-deuxième de soupir @tab -
8614 @item @strong{DE} @tab Hundert@-achtundzwanzigstel@-note
8615 @tab Hundert@-achtundzwanzigstel@-pause @tab 128tel-Note
8616 @item @strong{NL} @tab honderd@-acht@-en@-twintigste noot
8617 @tab honderd@-acht@-en@-twintigste rust
8619 @item @strong{DK} @tab hundrede@-otte@-og@-tyvendedels@-node
8620 @tab hundrede@-otte@-og@-tyvendedels@-pause
8622 @item @strong{SE} @tab hundratjugoåttondelsnot
8623 @tab hundratjugoåttondelspaus
8625 @item @strong{FI} @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-nuotti
8626 @tab sadas@-kahdes@-kymmenes@-kahdeksasosa@-tauko
8631 @multitable @columnfractions .10 .35 .35 .20
8633 @headitem Lang. @tab Note name
8636 @item @strong{US} @tab two-hundred-fifty-sixth note
8637 @tab two-hundred-fifty-sixth rest
8639 @item @strong{UK} @tab demisemihemidemisemiquaver
8640 @tab demisemihemidemisemiquaver rest
8642 @item @strong{ES} @tab semigarrapatea
8643 @tab silencio de semigarrapatea @tab -
8644 @item @strong{IT} @tab semifusa
8645 @tab pausa di semifusa
8647 @item @strong{FR} @tab sextuple croche
8648 @tab soixante-quatrième de soupir @tab -
8649 @item @strong{DE} @tab Zweihundert@-sechsundfünfzigstel@-note
8650 @tab Zweihundert@-sechsundfünfzigstelpause @tab 256tel-Note
8651 @item @strong{NL} @tab tweehonderd@-zesenvijftigste noot
8652 @tab tweehonderd@-zesenvijftigste rust
8654 @item @strong{DK} @tab tohundrede@-seks@-og@-halvtredsendedels@-node
8655 @tab tohundrede@-seks@-og@-halvtredsendedels@-pause
8657 @item @strong{SE} @tab tvåhundra@-femtiosjättedelsnot
8658 @tab tvåhundra@-femtiosjättedelspaus
8660 @item @strong{FI} @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-nuotti
8661 @tab kahdes@-sadas@-viides@-kymmenes@-kuudesosa@-tauko
8667 @ref{mensural notation}
8671 @chapter Pitch names
8674 -is/-es endings for Danish per Rune Zedeler, pace,
8675 and for Finnish per Risto Vääräniemi;
8676 -iss/-ess endings for Swedish per Mats Bengtsson
8677 originally spaced with @columnfractions .105 .145 .125 .125 .125 .125 .125 .125
8679 NOTE: Please leave the first line as-is -- that is, do not wrap it to
8680 multiple lines -- as texinfo needs it to allow enough space for the
8681 table entries. (For the curious, it's a list of the widest items in
8682 each column of the table. Romance pitch names are two characters,
8683 except for g (sol) ... so there you go.)
8686 @multitable {g-sharp} {sol sostenido} {sol diesis} {sol dièse} {Gis} {gis} {gis} {giss} {gis}
8687 @headitem EN @tab ES @tab I @tab F @tab D @tab NL @tab DK @tab S @tab FI
8688 @item @strong{c} @tab do @tab do @tab ut @tab C @tab c @tab c @tab c @tab c
8689 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse
8690 @tab Cis @tab cis @tab cis @tab ciss @tab cis
8691 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8692 @tab des @tab des @tab dess @tab des
8693 @item @strong{d} @tab re @tab re @tab ré @tab D @tab d @tab d @tab d @tab d
8694 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8695 @tab dis @tab dis @tab diss @tab dis
8696 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8697 @tab es @tab es @tab ess @tab es
8698 @item @strong{e} @tab mi @tab mi @tab mi @tab E @tab e @tab e @tab e @tab e
8699 @item @strong{f-flat} = e @tab fa bemol @tab fa bemolle @tab fa bémol
8700 @tab Fes @tab fes @tab fes @tab fess @tab fes
8701 @item @strong{f} @tab fa @tab fa @tab fa @tab F @tab f @tab f @tab f @tab f
8702 @item @strong{e-sharp} = f @tab mi sostenido @tab mi diesis @tab mi dièse
8703 @tab Eis @tab eis @tab eis @tab eiss @tab eis
8704 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8705 @tab fis @tab fis @tab fiss @tab fis
8706 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8707 @tab ges @tab ges @tab gess @tab ges
8708 @item @strong{g} @tab sol @tab sol @tab sol @tab G @tab g @tab g @tab g @tab g
8709 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse
8710 @tab Gis @tab gis @tab gis @tab giss @tab gis
8711 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8712 @tab as @tab as @tab ass @tab as
8713 @item @strong{a} @tab la @tab la @tab la @tab A @tab a @tab a @tab a @tab a
8714 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8715 @tab ais @tab ais @tab aiss @tab ais
8716 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8717 @tab bes @tab b @tab b @tab b
8718 @item @strong{b} @tab si @tab si @tab si @tab H @tab b @tab h @tab h @tab h
8719 @item @strong{c-flat} = b @tab do bemol @tab do bemolle @tab ut bémol @tab Ces
8720 @tab ces @tab ces @tab cess @tab ces
8721 @item @strong{b-sharp} = c @tab si sostenido @tab si diesis @tab si dièse
8722 @tab His @tab bis @tab his @tab hiss @tab his
8726 @node Literature used
8727 @appendix Literature used
8730 @item Apel, Willi, ed. @cite{The Harvard Dictionary of Music}.
8731 Cambridge: Belknap Press (Harvard University Press), 1944.
8733 @item Krohn, Felix. @cite{Lyhyt musiikkioppi}. Porvoo, Helsinki, Finland:
8736 @item Leuchtmann, Horst, ed. @cite{Polyglottes Wörterbuch der musikalischen
8737 Terminologie}. Kassel, 1980.
8739 @item Hornby, Albert Sydney. @cite{Oxford Advanced Learner's Dictionary of
8740 Current English}, 3rd ed. London: Oxford University Press, 1974.
8742 @item Porter, Noah. @cite{Webster's Revised Unabridged Dictionary}.
8743 Springfield, Massachusetts: G. & C. Merriam Company, 1913.
8745 @item Randall, Don, ed. @cite{The New Harvard Dictionary of Music}.
8746 Cambridge: Belknap Press (Harvard University Press), 1986.
8748 @item Riemann, Hugo. @cite{Musik-lexicon}. Berlin, 1929.
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