1 \input texinfo @c -*- coding: utf-8; mode: texinfo; -*-
2 @setfilename music-glosssary.info
3 @settitle Music Glossary
4 @documentencoding UTF-8
11 @c see lilypond.tely for info installation note
14 * Glossary: (lilypond/music-glossary). Glossary of music terms.
18 This document is also available in
19 @uref{source/Documentation/user/music-glossary.pdf,PDF}
20 and as @uref{source/Documentation/user/music-glossary-big-page.html,one big page}.
25 @author Christian Mondrup @c Original author of LilyPond glossary
27 @author François Pinard @c Original glossary of GNU music project,
29 @author Mats Bengtsson @c Swedish glossary
30 @author David González @c Spanish glossary
31 @author Bjoern Jacke @c German glossary
32 @author Neil Jerram @c English glossary translations
33 @author Heikki Junes @c Finnish glossary
34 @author Kurtis Kroon @c English glossary maintenance, beg. Oct. 2007
35 @author Adrian Mariano @c Italian glossary
36 @author Han-Wen Nienhuys @c Dutch glossary
37 @author Jan Nieuwenhuizen @c Dutch glossary
39 @c Fixes by Jean-Pierre Coulon and `Dirk', alphabetized by last name, KK, 10/07
40 @c Updates to the German translation by Till Rettig, 12/07
42 Copyright @copyright{} 1999--2007 by the authors
44 Permission is granted to copy, distribute and/or modify this document
45 under the terms of the GNU Free Documentation License, Version 1.1
46 or any later version published by the Free Software Foundation,
47 without Invariant Sections.
52 @c TODO: multiple omfcreators?
54 @omfcreator Christian Mondrup, Kurt Kroon
55 @omfdescription Glossary of musical terms with translations
57 @omfcategory Applications|Publishing
69 This glossary was brought you by
76 @item Christian Mondrup
77 Original author of LilyPond glossary, Danish glossary,
81 Original glossary of GNU music project, French glossary,
82 @item Han-Wen Nienhuys
85 Finnish glossary translations,
86 @item Jan Nieuwenhuizen
93 English glossary translations.
96 Copyright 1999--2007 by the authors
98 Permission is granted to copy, distribute and/or modify this document
99 under the terms of the GNU Free Documentation License, Version 1.1
100 or any later version published by the Free Software Foundation,
101 without Invariant Sections.
107 @c @everyheading @| @thispage @|
108 @c @evenheading @thispage @| @|
109 @c @oddheading @| @| @thispage @|
111 This is the Music Glossary (MG) for GNU LilyPond version @version{}.
112 For more information about how this fits with the other
113 documentation, see @rlearning{About the documentation}.
119 @w{@expansion{}@strong{\word\}}@c
122 @expansion{}@ref{\word\, @strong{\word\}}@c
127 * Musical terms A-Z::
128 * Duration names notes and rests::
135 @node Musical terms A-Z
136 @chapter Musical terms A-Z
138 Languages in this order.
140 @item UK - British English (where it differs from American English)
166 * ancient minor scale::
171 * ascending interval::
173 * augmented interval::
209 * compound interval::
213 * conjunct movement::
226 * descending interval::
229 * diminished interval::
233 * disjunct movement::
235 * dissonant interval::
237 * dominant ninth chord::
238 * dominant seventh chord::
240 * dot (augmentation dot)::
242 * double appoggiatura::
244 * double dotted note::
247 * double time signature::
254 * ecclesiastical mode::
261 * equal temperament::
280 * functional harmony::
296 * inverted interval::
311 * long appoggiatura::
317 * meantone temperament::
324 * mensural notation::
328 * metronomic indication::
340 * multi-measure rest::
370 * polymetric time signature::
375 * Pythagorean comma::
404 * sixty-fourth note::
405 * sixty-fourth rest::
435 * thirty-second note::
436 * thirty-second rest::
443 * transposing instrument::
498 Abbreviated @samp{a2} or @samp{a 2}.
502 @item An indication in orchestral scores that a single part notated on a single
503 staff that normally carries parts for two players (e.g. first and second oboes)
504 is to be played by both players.
506 @item Or conversely, that two pitches or parts notated on a staff that normally
507 carries a single part (e.g. first violin) are to be played by different players,
508 or groups of players (@q{desks}).
522 F: accelerando, en accélérant,
523 D: accelerando, schneller werden,
527 FI: accelerando, kiihdyttäen.
542 FI: aksentti, korostus.
544 The stress of one tone over others.
556 @section acciaccatura
558 A grace note which takes its time from the rest or note preceding the
559 principal note to which it is attached. The acciaccatura is drawn as a
560 small eighth note (quaver) with a line drawn through the flag and
565 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
571 ES: alteración accidental,
573 F: altération accidentelle,
574 D: Versetzungszeichen, Akzidenz,
575 NL: toevallig (verplaatsings)teken,
577 S: tillfälligt förtecken,
578 FI: tilapäinen etumerkki.
580 An accidental has the effect of an @ref{alteration} of a note. A
581 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
582 @ref{whole tone}, a flat lowers it by a semitone and a double flat
583 lowers it by a whole tone. A natural cancels the effect of a previous
584 accidental, or a sharp or flat in the key signature.
586 @lilypond[fragment,notime,line-width=13.0\cm]
587 \set Score.automaticBars = ##f
589 \context Staff \relative c'' {
590 \set Staff.extraNatural = ##f
591 gisis1 gis g! ges geses
594 \override Lyrics .LyricText #'self-alignment-X = #-1
595 "db. sharp" sharp natural flat "db. flat"
611 FI: adagio, hitaasti.
613 It.@: comfortable, easy.
617 @item Slow tempo, slower -- especially in even meter -- than
618 @ref{andante} and faster than @ref{largo}.
620 @item A movement in slow tempo, especially the second (slow) movement
621 of @ref{sonata}s, symphonies, etc.
632 D: Allegro, Schnell, Fröhlich, Lustig,
636 FI: allegro, nopeasti.
638 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
639 tempo, especially the first and last movements of a @ref{sonata}.
649 NL: verhoging of verlaging,
654 An alteration is the modification, raising or lowering, of a note's
655 pitch. It is established by an @ref{accidental}.
668 FI: altto, matala naisääni.
670 A female voice of low range (@emph{contralto}). Originally the alto
671 was a high male voice (hence the name), which by the use of falsetto
672 reached the height of the female voice. This type of voice is also
673 known as @ref{countertenor}.
679 ES: clave de do en tercera,
680 I: chiave di contralto,
681 F: clef d'ut troisième ligne,
682 D: Altschlüssel, Bratschenschlüssel,
688 C clef setting middle C on the middle line of the staff.
705 FI: ambitus, ääniala, soitinala.
707 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
708 Denotes a range of pitches for a given voice in a part of music. It may
709 also denote the pitch range that a musical instrument is capable of playing.
710 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
725 An anacrusis (also known as pickup or upbeat) is an incomplete measure
726 of music before a section of music. It also refers to the initial
727 note(s) of a melody occurring in that incomplete measure.
731 @ref{measure}, @ref{meter}.
733 @lilypond[fragment,line-width=13.0\cm]
737 \partial 4 f4 | bes4. a8 bes4 c |
738 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
742 @node ancient minor scale
743 @section ancient minor scale
745 ES: escala menor natural,
746 I: scala minore naturale,
747 F: forme du mode mineur ancien, troisème mode, mode hellénique,
748 D: reines Moll, natürliches Moll,
749 NL: authentieke mineurtoonladder,
752 FI: luonnollinen molliasteikko.
754 @lilypond[fragment,notime,line-width=13.0\cm]
755 \set Score.automaticBars = ##f
762 @ref{diatonic scale}.
777 Walking tempo/character.
781 @section appoggiatura
785 F: appoggiature, (port de voix),
786 D: Vorschlag, Vorhalt
790 FI: appoggiatura, etuhele.
792 Ornamental note, usually a second, that is melodically connected with
793 the main note following it. In music before the 19th century
794 appoggiature were usually performed on the beat, after that mostly
795 before the beat. While the short appoggiatura is performed as a short
796 note regardless of the duration of the main note the duration of the
797 long appoggiatura is proportional to that of the main note.
799 @lilypond[line-width=13.0\cm]
800 \context Voice \relative c'' {
804 %\override Score.TextScript #'font-style = #'large
805 <d a fis>4_"notation" r
806 { \override Stem #'flag-style = #'()
808 \revert Stem #'flag-style
811 { \override Stem #'flag-style = #'()
813 \revert Stem #'flag-style
816 \cadenzaOn a4 \bar "||" \cadenzaOff
818 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
819 \cadenzaOn a4 \bar "||" \cadenzaOff
823 An appoggiatura may have more notes preceding the main note.
825 @lilypond[line-width=13.0\cm]
829 % \override Score.TextScript #'font-style = #'large
830 \grace { bes16 } as8_"notation" as16 bes as8 g |
831 \grace { as16[( bes] } < c as >4-)
832 \grace { as16[( bes] } < c as >4-) \bar "||"
833 \grace { bes16 } as8_"performance" as16 bes as8 g |
834 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
835 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
847 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
849 DK: arpeggio, akkordbrydning,
851 FI: arpeggio, murtosointu.
853 @lilypond[fragment,line-width=13.0\cm]
854 \context PianoStaff <<
855 \context Staff = SA \relative c'' {
858 r8 g16 c e g, c e r8 g,16 c e g, c e |
859 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
860 \context Staff = SB \relative c' {
862 << \context Voice = va {
864 r16 e8. ( e4) r16 e8. ( e4) |
865 r16 d8. ( d4) r16 d8. ( d4) }
866 \context Voice = vb {
875 @section articulation
884 FI: artikulaatio, ilmaisu.
886 Articulation refers to notation which indicates how a note or notes
887 should be played. Slurs, accents, staccato, and legato are all
888 examples of articulation.
891 @node ascending interval
892 @section ascending interval
894 ES: intervalo ascendente,
895 I: intervallo ascendente,
896 F: intervalle ascendant,
897 D: steigendes Intervall,
898 NL: stijgend interval,
899 DK: stigende interval,
900 S: stigande intervall,
901 FI: nouseva intervalli.
903 A distance between a starting lower note and a higher ending note.
906 @node augmented interval
907 @section augmented interval
909 ES: intervalo aumentado,
910 I: intervallo aumentato,
911 F: intervalle augmenté,
912 D: übermäßiges Intervall,
913 NL: overmatig interval,
914 DK: forstørret interval,
915 S: överstigande intervall,
916 FI: ylinouseva intervalli.
924 @section augmentation
935 @c TODO: add definition.
937 This is a placeholder for augmentation (wrt mensural notation).
941 @ref{diminution}, @ref{mensural notation}.
949 F: manuscrit, autographe
950 D: Autograph, Handschrift,
952 DK: håndskrift, autograf,
954 FI: käsinkirjoitettu nuotti.
958 @item A manuscript written in the composer's own hand.
960 @item Music prepared for photoreproduction by freehand drawing, with
961 the aid of a straightedge ruler and T-square only, which attempts to
962 emulate engraving. This required more skill than did engraving.
1005 ES: barra, línea divisoria,
1006 I: stanghetta, barra (di divisione),
1007 F: barre (de mesure),
1025 FI: baritoni, keskikorkuinen miesääni.
1027 The male voice intermediate between the @ref{bass} and the
1030 @c F: clef de troisième ligne dropped
1034 @section baritone clef
1036 ES: clave de fa en tercera,
1037 I: chiave di baritono,
1038 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1039 D: Baritonschlüssel,
1045 C or F clef setting middle C on the upper staff line.
1049 @ref{C clef}, @ref{F clef}.
1062 FI: basso, matala miesääni.
1066 @item The lowest male voice.
1068 @item Sometimes, especially in jazz music, used as an abbreviation for
1081 ES: clave de fa en cuarta,
1083 F: clef de fa quatrième ligne,
1090 A clef setting with middle C on the first top ledger line.
1109 Line connecting a series of notes (shorter than a quarter note). The
1110 number of beams determines the note value of the connected notes.
1112 @lilypond[fragment,notime,line-width=13.0\cm]
1113 \set Score.automaticBars = ##f
1114 %\override TextScript #'font-style = #'large
1116 g8_"1/8"[ g g g] s16
1117 g16_"1/16"[ g g g] s16
1118 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1119 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1124 @ref{feathered beam}.
1130 ES: tiempo, parte (de compás)
1133 D: Takt, Taktschlag, Zeit (im Takt),
1139 Note value used for counting, most often half-, fourth-, and eighth
1140 notes. The base counting value and the number of them per measure is
1141 indicated at the start of the music.
1143 @lilypond[fragment,line-width=13.0\cm]
1146 \relative c'' { g4 c b a | g1 \bar "||"}
1148 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1153 @section beat repeat
1157 @ref{percent repeat}.
1171 ES: llave, corchete,
1174 D: Klammer, Akkolade,
1175 NL: accolade, teksthaak,
1178 FI: yhdistävä sulkumerkki.
1180 Symbol at the start of a system connecting staves.
1182 Curly braces are used for connecting piano staves, and sometimes for connecting
1183 the staves of like instruments in an orchestral score when written on different
1184 staves (e.g. first and second flutes):
1186 @lilypond[fragment,ragged-right]
1187 \context GrandStaff <<
1188 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1189 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1192 Angular brackets for connecting parts in an orchestral or choral score:
1194 @lilypond[fragment,ragged-right]
1195 \context StaffGroup <<
1196 % \set StaffGroup.minVerticalAlign = #12
1197 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1198 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1225 NL: koper (blazers),
1228 S: brassinstrument, mässingsinstrument,
1231 A family of blown musical instruments made of brass, all using a cup
1232 formed mouth piece. The brass instruments commonly used in a symphony
1233 orchestra are trumpet, trombone, french horn, and tube.
1237 @section breath mark
1242 D: Atemzeichen, Trennungszeichen,
1243 NL: repercussieteken,
1244 DK: vejrtrækningstegn,
1248 Indication of where to breathe in vocal and wind instrument parts.
1254 ES: cuadrada, breve,
1261 FI: brevis, kaksoiskokonuotti.
1263 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1264 The shortest note value generally used in white mensural notation, hence the
1265 name, which originally meant @q{of short duration}.
1267 @lilypond[fragment,notime,ragged-right]
1268 \set Score.automaticBars = ##f
1269 \relative c'' { g\breve }
1274 @ref{mensural notation}, @ref{note value}.
1308 Clef symbol indicating the position of the middle C. Used on all note
1311 @lilypond[fragment,notime,line-width=13.0\cm]
1312 \set Score.automaticBars = ##f
1313 \override Score.Clef #'full-size-change = ##t
1315 \context Staff \relative c' {
1317 \clef mezzosoprano c
1322 \context Lyrics \lyrics {
1323 \override Lyrics .LyricText #'self-alignment-X = #-1
1324 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1340 FI: kadenssi, lopuke.
1344 @ref{harmonic cadence}, @ref{functional harmony}.
1357 FI: kadenssi, lopuke.
1359 An extended, improvisatory style section inserted near the end of
1360 movement. The purpose of a cadenza is to give singers or players a
1361 chance to exhibit their technical skill and -- not last -- their
1362 ability to improvise. Since the middle of the 19th century, however,
1363 most cadenzas have been written down by the composer.
1376 FI: kaanon, tarkka jäljittely.
1393 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1394 viritysjärjestelmässä.
1396 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1397 (1/100 of an equally tempered @ref{semitone}).
1401 @ref{equal temperament}.
1424 Three or more tones sounding simultaneously. In traditional European music the
1425 base chord is a @emph{triad} consisting of 2@w{ }thirds. @emph{Major} (major +
1426 minor @ref{third}) as well as @emph{minor} (minor + major third) chords may be
1427 extended with more thirds. Four-tone @emph{seventh chords} and five-tone
1428 @emph{ninth} major chords are most often used as dominants (@ref{functional
1429 harmony}). A special case is chords having no third above the lower notes to
1430 define their quality as major or minor: such chords are called @q{open chords}.
1432 @lilypond[fragment,notime,line-width=13.0\cm]
1433 \set Score.automaticBars = ##f
1434 %\override TextScript #'font-style = #'large
1436 \context Staff \relative c'' {
1437 \set Staff.extraNatural = ##f
1457 @node chromatic scale
1458 @section chromatic scale
1460 ES: escala cromática,
1462 F: gamme chromatique,
1463 D: chro@-ma@-ti@-sche Tonleiter,
1464 NL: chromatische toonladder,
1465 DK: kromatisk skala,
1467 FI: kromaattinen asteikko.
1469 A scale consisting of all 12 @ref{semitone}s.
1471 @lilypond[fragment,notime,line-width=13.0\cm]
1472 \set Score.automaticBars = ##f
1473 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1478 @section chromaticism
1489 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1493 @section church mode
1495 ES: modo eclesiástico,
1496 I: modo ecclesiastico,
1497 F: mode ecclésiastique,
1502 FI: moodi, kirkkosävellaji.
1506 @ref{diatonic scale}.
1515 D: Schlüssel, Notenschlüssel,
1519 FI: avain, nuottiavain.
1523 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1525 The clef indicates which lines of the staff correspond to which
1526 pitches. The three clef symbols in common use are:
1528 @lilypond[ragged-right,quote]
1531 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1532 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1533 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1538 Imagine a large staff of 11 lines centered on middle C, sometimes
1539 called a @q{grand staff}, with the bottom line representing low G and
1540 the top line high F:
1542 @lilypond[ragged-right,quote]
1545 %-- Treble Staff --%
1547 % Allow this staff to be placed close to the others
1548 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1549 % Allow the treble clef to overlap the lower staves:
1550 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1551 \override Staff.Clef #'stencil = ##f % No clef required
1553 s1^\markup { "g," \transparent "g" }
1554 s^ \markup { "b," \transparent "g" }
1555 s^ \markup { "d" \transparent "g" }
1556 s^ \markup { "f" \transparent "g" }
1557 s^ \markup { "a" \transparent "g" }
1558 s^ \markup { \with-color #red c' \transparent "g"}
1559 e'^\markup { "e'" \transparent "g" }
1560 g'^\markup { "g'" \transparent "g" }
1561 b'^\markup { "b'" \transparent "g" }
1562 d''^\markup { "d''" \transparent "g" }
1563 f''^\markup { "f ''" \transparent "g" }
1566 %-- Alto Staff reduced to a single line on middle C --%
1568 \override Staff.StaffSymbol #'line-count = 1 % One line only
1569 \override Staff.StaffSymbol #'color = #red % Coloured red
1570 \override Staff.Clef #'stencil = ##f % No clef required
1573 % Allow this staff to be placed close to the others
1574 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1575 % Specify height to give correct spacing between treble and bass staves
1576 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1578 s1 s s s s % Space along to align horizonatally
1579 \override NoteHead #'color = #red
1581 s1 s s s s s % Keep staff (ie the red line) showing
1585 % Allow this staff to be placed close to the others
1586 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1587 \override Staff.Clef #'stencil = ##f % No clef required
1590 s s s s s s s % Keep staff showing
1594 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1595 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1597 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1598 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1600 % Remove all barlines
1601 \context { \Score \override BarLine #'stencil = ##f
1603 % Remove time signature from all staves
1604 \context { \Staff \remove Time_signature_engraver
1610 Staves of five lines are usually used, and the clef superimposed on
1611 them indicates which five lines have been selected from this
1612 @samp{grand staff}. For example, the treble or G clef indicates that
1613 the top five lines have been selected:
1615 @lilypond[ragged-right,quote]
1618 %-- Treble Staff --%
1620 % Allow this staff to be placed close to the others
1621 \override Staff.VerticalAxisGroup
1622 #'minimum-Y-extent = #'(0 . 0)
1623 % Allow the treble clef to overlap the lower staves:
1624 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1625 \override Staff.Clef #'stencil = ##f % No clef required here
1627 s1^\markup { "g," \transparent "g" }
1628 s^ \markup { "b," \transparent "g" }
1629 s^ \markup { "d" \transparent "g" }
1630 s^ \markup { "f" \transparent "g" }
1631 s^ \markup { "a" \transparent "g" }
1632 s^ \markup { \with-color #red c' \transparent "g"}
1633 \stopStaff \startStaff
1634 \clef "C" % Dummy to force next clef to be printed
1635 s % Need at least one note for \clef to take effect
1636 \override Staff.Clef #'stencil = ##t % Clef now required
1637 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1639 e'^\markup { "e'" \transparent "g" }
1640 g'^\markup { "g'" \transparent "g" }
1641 b'^\markup { "b'" \transparent "g" }
1642 d''^\markup { "d''" \transparent "g" }
1643 f''^\markup { "f ''" \transparent "g" }
1645 %-- Alto Staff reduced to a single line on middle C --%
1647 \override Staff.StaffSymbol #'line-count = 1 % One line only
1648 \override Staff.StaffSymbol #'color = #red % Coloured red
1649 \override Staff.Clef #'stencil = ##f % No clef required
1652 % Allow this staff to be placed close to the others
1653 \override Staff.VerticalAxisGroup
1654 #'minimum-Y-extent = #'(0 . 0)
1655 % Specify height to give correct spacing between the staves
1656 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1658 s1 s s s s % Space along to align horizonatally
1659 \override NoteHead #'color = #red
1661 % s1 s s s s % Keep staff (ie the red line) showing
1665 % Allow this staff to be placed close to the others
1666 \override Staff.VerticalAxisGroup
1667 #'minimum-Y-extent = #'(0 . 0)
1668 \override Staff.Clef #'stencil = ##f % No clef required
1671 % s s s s s s % Keep staff showing
1675 % Reduce horizontal spacing so semibreves can be used
1676 % without exceeding 1 line
1677 \context { \Score \override SpacingSpanner
1678 #'base-shortest-duration = #(ly:make-moment 1 1)
1680 % Reduce apparent vertical size of note heads to
1681 % permit them to overlap other grobs vertically
1682 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1684 % Remove all barlines
1685 \context { \Score \override BarLine #'stencil = ##f
1687 % Remove time signature from all staves
1688 \context { \Staff \remove Time_signature_engraver
1694 The @q{curl} of the G clef is centered on the line that represents the
1697 In the same way, the bass or F clef indicates that the bottom five
1698 lines have been selected from the @samp{grand staff}, and the alto or
1699 C clef indicates the middle five lines have been selected. This
1700 relationship is shown below, where the notes show an arpeggio on a C
1703 @lilypond[ragged-right,quote]
1706 %-- Treble Staff --%
1707 \new Staff = "G" \with {
1708 \remove Time_signature_engraver
1711 % The following two overrides are required to make the two middle C's overlap
1712 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1713 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1715 \override Staff.Clef #'Y-extent = #'(0 . 0)
1717 s1 s s s s e' g' c''
1720 \new Staff = "C" \with {
1721 \remove Time_signature_engraver
1724 \override Staff.StaffSymbol #'line-count = 1
1725 \override Staff.StaffSymbol #'stencil = ##f
1726 \once \override Staff.Clef #'stencil = ##f
1727 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1728 \override Score.BarLine #'stencil = ##f
1730 % The following two overrides are required to align the C staff to the G and F staves
1731 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1732 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1735 \stopStaff \startStaff
1736 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1737 \revert Staff.StaffSymbol #'stencil
1738 \override Staff.StaffSymbol #'color = #red
1739 b'1 % A frig. This really shows as a middle C in the score
1741 \stopStaff \startStaff
1742 \override Staff.StaffSymbol #'line-count = 5
1743 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1744 \override Staff.Clef #'Y-extent = #'(0 . 0)
1745 \revert Staff.StaffSymbol #'color
1746 \stopStaff \startStaff
1748 s1 s s c e g c' e' g' c''
1751 \new Staff = "F" \with {
1752 \remove Time_signature_engraver
1755 \override Staff.Clef #'Y-extent = #'(0 . 0)
1756 % The following two overrides are required to make the two middle C's overlap
1757 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1758 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1766 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1769 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1772 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1789 FI: klusteri, cluster.
1791 A @emph{cluster} is a range of simultaneously sounding pitches that
1792 may change over time. The set of available pitches to apply usually
1793 depends on the acoustic source. Thus, in piano music, a cluster
1794 typically consists of a continuous range of the semitones as provided
1795 by the piano's fixed set of a chromatic scale. In choral music, each
1796 singer of the choir typically may sing an arbitrary pitch within the
1797 cluster's range that is not bound to any diatonic, chromatic or other
1798 scale. In electronic music, a cluster (theoretically) may even cover
1799 a continuous range of pitches, thus resulting in colored noise, such
1802 Clusters can be denoted in the context of ordinary staff notation by
1803 engraving simple geometrical shapes that replace ordinary notation of
1804 notes. Ordinary notes as musical events specify starting time and
1805 duration of pitches; however, the duration of a note is expressed by
1806 the shape of the note head rather than by the horizontal graphical
1807 extent of the note symbol. In contrast, the shape of a cluster
1808 geometrically describes the development of a range of pitches
1809 (vertical extent) over time (horizontal extent). Still, the
1810 geometrical shape of a cluster covers the area in which any single
1811 pitch contained in the cluster would be notated as an ordinary note.
1813 @lilypond[fragment,relative=2,ragged-right]
1814 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1828 FI: komma, korvinkuultava ero äänenkorkeudessa.
1830 Difference in pitch between a note derived from pure tuning and the
1831 same note derived from some other tuning method.
1835 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1840 @section common meter
1850 @section common time
1861 4/4 time. The symbol, which resembles a capital letter C, derives from
1866 @ref{mensural notation}, @ref{meter}.
1872 ES: intervalo invertido,
1874 F: intervalle complémentaire,
1875 D: Komplementärintervall,
1876 NL: complementair interval,
1877 DK: komplementærinterval,
1878 S: komplementärintervall (?),
1879 FI: täydentävä intervalli.
1883 @ref{inverted interval}.
1886 @node compound interval
1887 @section compound interval
1889 ES: intervalo compuesto,
1890 I: intervallo composto,
1891 F: intervalle composé,
1892 D: weites Intervall,
1893 NL: samengesteld interval,
1894 DK: sammensat interval,
1895 S: sammansatt intervall,
1896 FI: oktaavia laajempi intervalli.
1898 Intervals larger than an octave.
1905 @node compound meter
1906 @section compound meter
1908 ES: compás compuesto, compás de subdivisión ternaria,
1917 A meter that includes a triplet subdivision within the beat, such as
1922 @ref{meter}, @ref{simple meter}.
1926 @section compound time
1928 ES: compás compuesto, compás de amalgama (def. 2),
1940 A meter that includes a triplet subdivision within the beat: see
1941 @ref{compound meter}.
1944 A time signature that additively combines two or more unequal meters, e.g.
1945 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1947 @lilypond[fragment,line-width=13.0\cm]
1948 #(define (compound-time grob one two three num)
1950 (ly:grob-layout grob)
1951 '(((baseline-skip . 2)
1953 (font-family . number)))
1955 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1959 #(set-time-signature 8 8 '(3 2 3))
1960 \override Staff.TimeSignature #'stencil
1961 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1962 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1963 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1964 \set Staff.beatGrouping = #'(3 2 3)
1966 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1974 @ref{compound meter}, @ref{meter}.
1978 @section concert pitch
1980 ES: en Do, afinación de concierto,
1989 The pitch at which the piano and other nontransposing instruments play: such
1990 instruments are said to be @q{in C}. The following list includes some (but not
1991 all) instruments that play in concert pitch:
2005 @item tenor trombone
2020 The trombones are a special case: although they are said to be @q{in F} (alto or
2021 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2022 their parts' transposition. (In fact, the trombones' parts are written at
2023 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2024 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2027 Instruments that play @q{in C} but in a different octave than what is written
2028 are, technically speaking, @emph{transposing instruments}:
2032 @item piccolo (plays an octave higher)
2033 @item celesta (plays an octave higher)
2034 @item double-bass (plays an octave lower)
2040 @ref{transposing instrument}.
2043 @node conjunct movement
2044 @section conjunct movement
2046 ES: movimiento conjunto,
2048 F: mouvement conjoint,
2049 D: schritt@-weise, stufenweise Bewegung,
2050 NL: stapsgewijze, trapsgewijze beweging,
2051 DK: trinvis bevægelse,
2053 FI: asteittainen liike.
2055 Progressing melodically by intervals of a second. The opposite of a
2056 @ref{disjunct movement}.
2058 @lilypond[fragment,line-width=13.0\cm]
2059 \key g \major \time 4/4
2060 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2074 FI: konsonanssi, sopusointi.
2099 @section copying music
2101 A music copyist did fast freehand scores and parts on preprinted staff
2102 lines for performance. Some of their conventions (e.g., the placement
2103 of note heads on stems) varied slightly from those of engravers. Some
2104 of their working methods were superior and could well be adopted by
2107 @c Copying music required more skill than engraving. Flagged for NPOV
2111 @section counterpoint
2120 FI: kontrapunkti, ääni ääntä vastaan.
2122 From Latin @emph{punctus contra punctum}, note against note. The
2123 combination into a single musical fabric of lines or parts which have
2124 distinct melodic significance. A frequently used polyphonic technique
2125 is imitation, in its strictest form found in the canon needing only
2126 one part to be written down while the other parts are performed with a
2127 given displacement. Imitation is also the contrapunctal technique
2128 used in the @emph{fugue} which, since the music of the baroque era,
2129 has been one of the most popular polyphonic composition methods.
2131 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2132 \set Score.implicitTimeSignatureVisibility = #all-invisible
2133 \override Score.TimeSignature #'break-visibility = #all-invisible
2134 \context PianoStaff <<
2135 \context Staff = SA \relative c' {
2139 << \context Voice = rha {
2141 r1 | r2 r8 g'8 bes d, |
2142 cis4 d r8 e!16 f g8 f16 e |
2143 f8 g16 a bes8 a16 g a8
2145 \context Voice = rhb {
2151 \context Staff = SB \relative c' {
2154 << \context Voice = lha {
2156 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2157 r8 a16 g f8 g16 a bes8 g e! cis' |
2160 \context Voice = lhb {
2170 @section countertenor
2175 D: Countertenor, Kontratenor,
2178 S: kontratenor, counter tenor,
2192 D: Crescendo, lauter werden,
2196 FI: cresendo, voimistuen.
2198 Increasing volume. Indicated by a rightwards opening horizontal wedge
2199 or the abbreviation @samp{cresc.}.
2201 @lilypond[fragment,ragged-right]
2202 \key g \major \time 4/4
2203 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2212 F: petites notes précédent l'entrée d'un instrument, réplique,
2219 In a separate part notes belonging to another part with the purpose of
2220 hinting when to start playing. Usually printed in a smaller type.
2229 D: Notenzeiger, Custos,
2235 A custos (plural: custodes) is a staff symbol that appears at the end
2236 of a staff line with monophonic musical contents (i.e., with a single
2237 voice). It anticipates the pitch of the first note of the following
2238 line and thus helps the player or singer to manage line breaks during
2239 performance, thus enhancing readability of a score.
2241 Custodes were frequently used in music notation until the 16th
2242 century. There were different appearences for different notation
2243 styles. Nowadays, they have survived only in special forms of musical
2244 notation such as via the Editio Vaticana dating back to the beginning
2250 % \override Staff.Custos #'neutral-position = #4
2251 \override Staff.Custos #'neutral-direction = #down
2252 \override Staff.Custos #'style = #'hufnagel
2260 \consists Custos_engraver
2292 F: da capo, depuis le commencement,
2293 D: da capo, von Anfang,
2297 FI: da capo, alusta.
2299 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2300 the beginning to the end or to a certain place marked @emph{fine}.
2308 F: dal segno, depuis le signe,
2309 D: dal segno, ab dem Zeichen,
2313 FI: dal segno, lähtien merkistä.
2315 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2316 another place frequently near the beginning marked by a sign:
2318 @lilypond[fragment,ragged-right]
2319 %\override TextScript #'font-style = #'large
2320 \override TextScript #'font-shape = #'italic
2321 \key g \major \time 4/4
2326 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2333 @section decrescendo
2337 D: Decrescendo, leiser werden,
2341 FI: decresendo, hiljentyen.
2343 Decreasing tone volume. Indicated by a leftwards opening horizontal wedge
2344 or the abbreviation @samp{decresc.}.
2346 @lilypond[fragment,ragged-right]
2348 \key g \major \time 4/4
2349 d4 \> c b a | g1 \! \bar "|."
2354 @node descending interval
2355 @section descending interval
2357 ES: intervalo descendente,
2358 I: intervallo discendente,
2359 F: intervalle descendant,
2360 D: fallendes Intervall, absteigendes Intervall,
2361 NL: dalend interval,
2362 DK: faldende interval,
2363 S: fallande intervall,
2364 FI: laskeva intervalli.
2366 A distance between a starting higher note and a lower ending note.
2369 @node diatonic scale
2370 @section diatonic scale
2372 ES: escala diatónica,
2374 F: gamme diatonique,
2375 D: diatonische Tonleiter,
2376 NL: diatonische toonladder,
2377 DK: diatonisk skala,
2379 FI: diatoninen asteikko.
2381 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2382 Scales played on the white keys of a piano keybord are diatonic; and these
2383 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2385 These @q{modes} are used in gregorian chant and in pre-baroque early music
2386 but also to some extent in newer jazz music.
2388 @lilypond[fragment,notime,ragged-right]
2389 \set Score.automaticBars = ##f
2390 %\override Score.LyricText #'font-style = #'large
2391 %\override Score.TextScript #'font-style = #'large
2393 \context Staff \relative c' {
2395 \override TextScript #'padding = #-4
2396 e^"~~ S" f g a b^"~~ S" c
2398 \context Lyrics \lyrics {
2404 @lilypond[fragment,notime,ragged-right]
2405 \set Score.automaticBars = ##f
2407 \context Staff \relative c' {
2409 \override TextScript #'padding = #-4
2410 e^"~~ S" f g a b^"~~ S" c d
2418 @lilypond[fragment,notime,ragged-right]
2419 \set Score.automaticBars = ##f
2422 \override TextScript #'padding = #-4
2423 e1^"~~ S" f g a b^"~~ S" c d e
2431 @lilypond[fragment,notime,ragged-right]
2432 \set Score.automaticBars = ##f
2436 \override TextScript #'padding = #-4
2437 b^"~~ S" c d e^"~~ S" f
2445 @lilypond[fragment,notime,ragged-right]
2446 \set Score.automaticBars = ##f
2450 \override TextScript #'padding = #-4
2451 b^"~~ S" c d e^"~~ S" f g }
2458 @lilypond[fragment,notime,ragged-right]
2459 \set Score.automaticBars = ##f
2460 %\override Score.LyricText #'font-style = #'large
2461 %\override Score.TextScript #'font-style = #'large
2465 \override TextScript #'padding = #-4
2466 b^"~~ S" c d e^"~~ S" f g a
2474 @lilypond[fragment,notime,ragged-right]
2475 \set Score.automaticBars = ##f
2476 %\override Score.LyricText #'font-style = #'large
2477 %\override Score.TextScript #'font-style = #'large
2480 \override TextScript #'padding = #-4
2481 b1^"~~ S" c d e^"~~ S" f g a b
2489 From the beginning of the 17th century the scales used in European
2490 compositional music are primarily the major and the minor scales. In
2491 the harmonic minor scale type an augmented second (A) occurs between
2492 the 6th and 7th tone.
2494 @lilypond[fragment,notime,ragged-right]
2495 \set Score.automaticBars = ##f
2499 \override TextScript #'padding = #-4
2500 e^"~~ S" f g a b^"~~ S" c
2508 @lilypond[fragment,notime,ragged-right]
2509 \set Score.automaticBars = ##f
2513 \override TextScript #'padding = #-4
2514 b^"~~ S" c d e^"~~ S" f g a
2522 @lilypond[fragment,notime,ragged-right]
2523 \set Score.automaticBars = ##f
2527 \override TextScript #'padding = #-4
2528 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2530 \context Lyrics \lyrics {
2536 @lilypond[fragment,notime,line-width=13.0\cm]
2537 \set Score.automaticBars = ##f
2538 %\override Score.LyricText #'font-style = #'large
2539 %\override Score.TextScript #'font-style = #'large
2543 \override TextScript #'padding = #-4
2544 b^"~~ S" c d e fis gis^"~~ S" a
2547 "Melodic minor ascending"
2552 @lilypond[fragment,notime,line-width=13.0\cm]
2553 \set Score.automaticBars = ##f
2554 %\override Score.LyricText #'font-style = #'large
2555 %\override Score.TextScript #'font-style = #'large
2559 \override TextScript #'padding = #-4
2560 a g! f!^"~~ S" e d c^"~~ S" b a
2563 "Melodic minor descending"
2570 @section didymic comma
2574 @ref{syntonic comma}.
2577 @node diminished interval
2578 @section diminished interval
2580 ES: intervalo disminuido,
2581 I: intervallo diminuito,
2582 F: intervalle diminué,
2583 D: vermindertes Intervall,
2584 NL: verminderd interval,
2585 DK: formindsket interval,
2586 S: förminskat intervall,
2587 FI: vähennetty intervalli.
2604 FI: diminuendo, hiljentyen.
2623 @c TODO: add definition
2625 This is a placeholder for diminution (wrt mensural notation).
2629 @ref{augmentation}, @ref{mensural notation}.
2649 @node disjunct movement
2650 @section disjunct movement
2652 ES: movimiento disjunto,
2654 F: mouvement disjoint,
2655 D: sprunghafte Bewegung,
2656 NL: sprongsgewijze beweging,
2657 DK: springende bevægelse,
2658 S: hoppande rörelse,
2659 FI: melodian hyppivä liike.
2661 Progressing melodically by intervals larger than a major second, as
2662 opposed to @ref{conjunct movement}.
2664 @lilypond[fragment,ragged-right]
2669 a4. gis8 b a e cis |
2670 fis2 d4. \bar "||" }
2677 @ref{dissonant interval}.
2680 @node dissonant interval
2681 @section dissonant interval
2683 ES: intervalo disonante, disonancia,
2684 I: intervallo dissonante, dissonanza,
2687 NL: dissonant interval, dissonant,
2688 DK: dissonerende interval, dissonans,
2690 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2707 FI: dominantti, huippusointu.
2709 The fifth @ref{scale degree} in @ref{functional harmony}.
2712 @node dominant ninth chord
2713 @section dominant ninth chord
2715 ES: acorde de novena de dominante,
2716 I: accordo di nona di dominante,
2717 F: accord de neuvième dominante,
2718 D: Domi@-nant@-nonen@-akkord,
2719 NL: dominant noon akkoord,
2720 DK: dominantnoneakkord,
2721 S: dominantnonackord,
2722 FI: dominanttinoonisointu.
2726 @ref{chord}, @ref{functional harmony}.
2729 @node dominant seventh chord
2730 @section dominant seventh chord
2732 ES: acorde de séptima de dominante,
2733 I: accordo di settima di dominante,
2734 F: accord de septième dominante,
2735 D: Dominantseptakkord,
2736 NL: dominant septiem akkoord,
2737 DK: dominantseptimakkord,
2738 S: dominantseptimackord,
2739 FI: dominanttiseptimisointu.
2743 @ref{chord}, @ref{functional harmony}.
2747 @section dorian mode
2752 D: dorisch, dorischer Kirchenton,
2753 NL: dorische toonladder,
2760 @ref{diatonic scale}.
2763 @node dot (augmentation dot)
2764 @section dot (augmentation dot)
2767 I: punto (di valore),
2769 D: Punkt (Verlängerungspunkt),
2777 @ref{dotted note}, @ref{note value}.
2781 @section dotted note
2783 ES: nota con puntillo,
2787 NL: gepuncteerde noot,
2790 FI: pisteellinen nuotti.
2797 @node double appoggiatura
2798 @section double appoggiatura
2800 ES: apoyatura doble,
2801 I: appoggiatura doppia,
2802 F: appoggiature double,
2803 D: doppelter Vorschlag,
2804 NL: dubbele voorslag,
2805 DK: dobbelt forslag,
2807 FI: kaksoisappogiatura, kaksoisetuhele.
2814 @node double bar line
2815 @section double bar line
2821 NL: dubbele maatstreep,
2824 FI: kaksoistahtiviiva.
2826 Indicates the end of a section within a movement.
2829 @node double dotted note
2830 @section double dotted note
2832 ES: nota con doble puntillo,
2833 I: nota doppiamente puntata,
2834 F: note doublement pointée,
2835 D: doppelt punktierte Note,
2836 NL: dubbelgepuncteerde noot,
2837 DK: dob@-belt@-punk@-te@-ret node,
2838 S: dub@-bel@-punk@-te@-rad not,
2839 FI: kaksoispisteellinen nuotti.
2847 @section double flat
2856 FI: kaksoisalennusmerkki.
2864 @section double sharp
2866 ES: doble sostenido,
2871 DK: dob@-belt@-kryds,
2873 FI: kaksoisylennysmerkki.
2880 @node double time signature
2881 @section double time signature
2894 @ref{polymetric time signature}.
2898 @section double trill
2904 NL: dubbele triller,
2909 A simultaneous trill on two notes, usually in the distance of a third.
2913 @section duple meter
2918 D: in zwei, grader Takt,
2919 NL: tweedelige maatsoort,
2956 FI: kesto, aika-arvo.
2966 ES: dinámica, matices,
2969 D: Dynamik, Lautstärke,
2975 The aspect of music relating to degrees of loudness, or changes from
2976 one degree to another. The terms, abbreviations, and symbols used to
2977 indicate this information are called dynamic marks.
2981 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3004 @node ecclesiastical mode
3005 @section ecclesiastical mode
3013 @section eighth note
3020 @item D: Achtel, Achtelnote
3021 @item NL: achtste noot
3022 @item DK: ottendedelsnode
3023 @item S: åttondelsnot
3024 @item FI: kahdeksasosanuotti
3033 @section eighth rest
3036 @item UK: quaver rest
3037 @item ES: silencio de corchea
3038 @item I: pausa di croma
3039 @item F: demi-soupir
3040 @item D: Achtelpause
3041 @item NL: achtste rust
3042 @item DK: ottendedelspause
3043 @item S: åttonddelspaus
3044 @item FI: kahdeksasosatauko
3055 @c TODO: add languages
3066 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3069 The singing of several syllables on a single note. Elision may be indicated
3070 by a lyric tie, which is looks like (and serves the same function) as a
3079 @section embellishment
3092 D: Notenstich, Notendruck
3098 Engraving means incising or etching a metal plate for printing.
3099 Photoengraving means drawing music with ink in a manner similar to
3100 drafting or engineering drawing, using similar tools.
3102 The traditional process of music printing is done through cutting in a
3103 plate of metal. Now also the term for the art of music typesetting.
3118 Two notes, intervals, or scales are enharmonic if they have different
3119 names but equal pitch.
3121 @lilypond[fragment,notime,line-width=13.0\cm]
3122 \set Score.automaticBars = ##f
3124 \context Staff \relative c'' {
3125 gis1 as <des g,!> <cis g!>
3127 \context Lyrics \lyrics {
3128 \override Lyrics .LyricText #'self-alignment-X = #-1
3129 "g sharp " "a flat " "dim fifth " "augm fourth"
3135 @node equal temperament
3136 @section equal temperament
3138 ES: temperamento igual,
3139 I: temperamento equabile,
3140 F: tempérament égal,
3141 D: gleichschwebende Stimmung,
3142 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3143 DK: ligesvævende temperatur,
3144 S: liksvävande temperatur,
3147 Tuning system dividing the octave into 12 equal @ref{semitone}s
3148 (precisely 100 @ref{cent}s).
3155 @node expression mark
3156 @section expression mark
3159 I: segno d'espressione,
3160 F: signe d'expression, indication de nuance,
3162 NL: voordrachtsteken,
3163 DK: foredragsbetegnelse,
3164 S: föredragsbeteckning,
3165 FI: nyanssiosoitus, esitysmerkki.
3167 Performance indications concerning:
3171 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3173 @item tempo (for example @ref{andante}, @ref{allegro}).
3179 @section extender line
3181 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3183 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3190 The generic term for a line (or dash) of arbitrary length that extends
3191 text (without indicating the musical @emph{function} of that text).
3193 Used in many contexts, for example:
3197 @item In vocal music to indicate the syllable for a melisma. Called
3198 @q{extension} in the
3199 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3203 In figured (or thorough) bass to indicate that:
3207 @item The extended note should be held through a change in harmony, when applied
3208 to one figure --OR--
3209 @item The chord thus represented should be held above a moving bass line, when
3210 applied to more than one figure.
3211 @item These uses were not completely standardized, and some composers used a
3212 single extender line to indicate the latter case.
3217 In string music to indicate that all notes in the passage thus indicated should
3218 be played on the same string. On the violin, for example, a series of notes to
3219 be played on the G string would be indicated @samp{sul G}, another series to be
3220 played on the D string would be indicated @samp{sul D}, and so on.
3223 With an octave mark to indicate that a passage is to be played higher or lower
3224 by the given number of octaves.
3230 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3265 The position between the dots of the key symbol is the line of the F
3266 below central@w{ }C. Used on the third, fourth and fifth note line.
3267 A digit@w{ }8 above the clef symbol indicates that the notes must be
3268 played an octave higher (for example, bass recorder) while 8@w{ }below
3269 the clef symbol indicates playing an octave lower (for example, on
3270 double bass @ref{strings}).
3272 @lilypond[fragment,notime,line-width=13.0\cm]
3273 \set Score.automaticBars = ##f
3274 \override Staff.Clef #'full-size-change = ##t
3302 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3305 @node feathered beam
3306 @section feathered beam
3310 F: liens de croches en soufflet,
3311 D: gespreizter Balken,
3317 A type of beam used to indicate that a small group of notes should be
3318 played at an increasing or decreasing tempo -- depending on the
3319 direction of @q{feathering} -- but without changing the overall tempo
3324 Internals Reference: @ruser{Manual beams}
3332 F: point d'orgue, point d'arrêt,
3337 FI: fermaatti, pidäke.
3339 Prolonged note or rest of indefinite duration.
3341 @lilypond[fragment,ragged-right]
3344 a4 b c2^\fermata \bar "|."
3367 @section figured bass
3371 @ref{thorough bass}.
3386 The methodical use of fingers in the playing of instruments.
3393 I: coda (uncinata), bandiera,
3401 Ornament at the end of the stem of a note used for notes with values
3402 less than a quarter note. The number of flags determines the
3405 @lilypond[fragment,notime,ragged-right]
3406 \set Score.automaticBars = ##f
3407 %\override Score.TextScript #'font-style = #'large
3452 FI: forte, voimakkaasti.
3454 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3455 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3475 @node Frenched score
3476 @section Frenched score
3478 ES: partitura a la francesa,
3487 A @q{condensed} score, produced by omitting staves for instruments that are not
3488 playing at the moment, and by moving up additional systems from following pages
3489 to take up the space thus liberated, which reduces the total number of pages
3490 used to print the work.
3492 The specific rules for @q{frenching} a score differ from publisher to publisher.
3493 If you are producing scores for eventual publication by a commercial publisher,
3494 you may wish to procure a copy of their style manual.
3498 @ref{Frenched staff}.
3501 @node Frenched staff
3502 @section Frenched staff
3504 ES: pentagrama a la francesa,
3513 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3514 measures or sections removed. This would be useful for producing, for example,
3515 an @emph{ossia} staff.
3522 @node Frenched staves
3523 @section Frenched staves
3525 ES: pentagramas a la francesa,
3534 The plural of @ref{Frenched staff}, @emph{q.v.}.
3554 @node functional harmony
3555 @section functional harmony
3557 ES: armonía funcional,
3558 I: armonia funzionale,
3559 F: étude des functions,
3561 NL: functionele harmonie,
3562 DK: funktionsanalyse, funktionsharmonik,
3564 FI: harmoniajärjestelmä.
3566 A system of harmonic analysis. It is based on the idea that, in a
3567 given key, there are only three functionally different chords: tonic
3568 (T, the chord on the first note of the scale), subdominant (S, the
3569 chord on the fourth note), and dominant (D, the chord on the fifth
3570 note). Others are considered to be variants of the base chords.
3572 @lilypond[fragment,notime,line-width=13.0\cm]
3573 \set Score.automaticBars = ##f
3575 \context Voice \relative c'' {
3576 <g e c >1 < a f d > < b g e >
3577 <c a f > < d b g > < e c a > < f d b > }
3578 \context Lyrics \lyrics {
3579 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3609 D: G-Schlüssel, Violinschlüssel,
3615 A clef symbol indicating the G above middle@w{ }C. Used on the first
3616 and second note lines. A digit 8 above the clef symbol indicates that
3617 the notes must be played an octave higher while 8 below the clef
3618 symbol indicates playing or singing an octave lower (most tenor parts
3619 in choral scores are notated like that).
3621 @lilypond[fragment,notime,ragged-right]
3623 \set Score.automaticBars = ##f
3624 \override Staff.Clef #'full-size-change = ##t
3627 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3637 \context Lyrics \lyrics {
3638 \override Lyrics . LyricText #'X-offset = #-5
3639 "french violin clef"
3658 FI: glissando, liukuen.
3660 Letting the pitch slide fluently from one note to the other.
3664 @section grace notes
3666 ES: notas de adorno,
3669 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3675 Notes printed in small types to indicate that their time values are not
3676 counted in the rhythm of the bar.
3680 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3685 @section grand staff
3687 ES: sistema de piano,
3690 D: Akkolade, Klaviersystem,
3693 S: ackolad, böjd klammer,
3694 FI: kaksoisnuottiviivasto.
3696 A combination of two staves with a brace. Usually used for piano music.
3713 FI: grave, raskaasti.
3740 Letter name used for @samp{B natural} in German and Scandinavian
3741 usage. In the standard usage of these countries, @samp{B} means
3746 @ref{Pitch names}, @ref{B}
3756 D: Halbe, halbe Note,
3771 ES: silencio de blanca,
3785 @node harmonic cadence
3786 @section harmonic cadence
3788 ES: cadencia (armónica),
3789 I: cadenza (armonica),
3790 F: cadence harmonique,
3792 NL: harmonische cadens,
3793 DK: harmonisk kadence,
3794 S: (harmonisk) kadens,
3795 FI: harmoninen kadenssi.
3797 A sequence of chords that terminates a musical phrase or section.
3799 @ref{functional harmony}.
3801 @lilypond[fragment,ragged-right]
3802 \context PianoStaff <<
3803 \context Staff = SA \relative c'' {
3807 \partial 4 < c g e >4 |
3808 < c a f > < b g d > < c g e >2
3811 \context Staff = SB \relative c {
3813 \partial 4 c4 | f, g c2
3831 D: Harmonie, Zusammenklang,
3835 FI: harmonia, yhteissointi.
3837 Tones sounding simultaneously. Two note harmonies fall into the
3838 categories @emph{consonances} and @emph{dissonances}.
3842 @lilypond[fragment,notime,line-width=13.0\cm]
3843 \set Score.automaticBars = ##f
3844 %\override Score.TextScript #'font-style = #'large
3845 \context Voice \relative c'' {
3858 @lilypond[fragment,notime,line-width=13.0\cm]
3859 \set Score.automaticBars = ##f
3860 %\override Score.TextScript #'font-style = #'large
3861 \context Voice \relative c'' {
3862 <g a>1_"second " s s
3863 <g f'>_"seventh " s s
3868 Three note harmony @ref{chord}.
3883 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
3884 the use of three notes of equal value in the time normally occupied by
3885 of two notes of equal value. The resulting rhythm can be expressed in
3886 modern terms as a substitution (for example) of a bar in 3/2 for one
3887 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
3888 hemiola is most frequently as a special effect (or @emph{affect}) at
3891 For example, this phrase in 6/4 time
3893 @lilypond[fragment,line-width=13.0\cm]
3897 c2. e | d2 c d | c1. \bar "||" }
3900 may be thought of having alternating time signatures
3902 @lilypond[fragment,line-width=13.0\cm]
3906 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
3909 and is therefore a polymeter (second definition) of considerable antiquity.
3913 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
3926 FI: homofonia, yksiäänisyys.
3928 Music in which one voice leads melodically followed by the other
3929 voices more or less in the same rhythm. In contrast to
3943 FI: intervalli, kahden sävelen korkeusero.
3945 Difference in pitch between two notes. Intervals may be perfect,
3946 minor, major, diminished, or augmented. The augmented fourth and the
3947 diminished fifth are identical (@ref{enharmonic}) and are called
3948 @emph{tritonus} because they consist of three @ref{whole tone}s. The
3949 addition of such two intervals forms an octave.
3951 @lilypond[fragment,notime,line-width=13.0\cm]
3952 \set Score.automaticBars = ##f
3954 \context Voice \relative c'' {
3964 \context Lyrics \lyrics {
3965 "unison " "second " "second " "second "
3966 "third " "third " "third " "third"
3971 @lilypond[fragment,notime,line-width=13.0\cm]
3972 \set Score.automaticBars = ##f
3974 \context Staff \relative c'' {
3985 "fourth " "fourth " "fifth " "fifth "
3986 "sixth " "sixth " "sixth " "sixth"
3991 @lilypond[fragment,notime,line-width=13.0\cm]
3992 \set Score.automaticBars = ##f
3994 \context Staff \relative c'' {
3995 < gis f'! >1^"dimin"
4004 \context Lyrics \lyrics {
4005 "seventh " "seventh " "seventh " "octave "
4006 "ninth " "ninth " "tenth " "tenth"
4012 @node inverted interval
4013 @section inverted interval
4015 ES: intervalo invertido,
4016 I: intervallo rivolto,
4017 F: intervalle reversé,
4018 D: umgekehrtes Intervall,
4019 NL: interval inversie,
4020 DK: omvendingsinterval,
4021 S: intervallets omvändning,
4022 FI: käänteisintervalli.
4024 The difference between an interval and an octave.
4026 @lilypond[fragment,notime,line-width=13.0\cm]
4027 \set Score.automaticBars = ##f
4028 %\override Score.TextScript #'font-style = #'large
4029 \context Staff \relative c'' {
4030 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4031 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4032 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4037 @node just intonation
4038 @section just intonation
4040 ES: entonación justa,
4041 I: intonazione giusta,
4042 F: intonation juste,
4049 Tuning system in which the notes are obtained by adding and subtracting
4050 natural fifths and thirds.
4067 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4068 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4072 @ref{key signature}.
4076 @section key signature
4078 ES: armadura (de la clave),
4079 I: armatura di chiave,
4080 F: armure, armature [de la clé],
4081 D: Vorzeichen, Tonart,
4082 NL: toon@-soort (voortekens),
4085 FI: sävellajiosoitus.
4087 The sharps or flats appearing at the beginning of each staff indicating the
4093 @node laissez vibrer
4094 @section laissez vibrer
4105 [From French, @q{Let vibrate}]. Most frequently associated with harp
4106 parts. Marked @samp{l.v.} in the score.
4115 D: Largo, Langsam, Breit,
4119 FI: largo, hitaasti, leveästi.
4121 Very slow in tempo, usually combined with great expressiveness.
4122 @emph{Larghetto} is less slow than largo.
4126 @section leading note
4137 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4138 called because of its strong tendency to @q{lead up} (resolve upwards)
4139 to the tonic scale degree.
4143 @section ledger line
4145 ES: línea adicional,
4146 I: tagli addizionali,
4147 F: ligne supplémentaire,
4154 A ledger line is an extension of the staff.
4156 @lilypond[fragment,notime,ragged-right]
4157 \set Score.automaticBars = ##f
4158 \relative c'' { a,1 s c'' }
4168 D: legato, gebunden,
4174 To be performed (a) without any perceptible interruption between the
4175 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4176 @emph{portato}, and (d) @ref{staccato}.
4178 @lilypond[fragment,notime,line-width=13.0\cm]
4179 \set Score.automaticBars = ##f
4181 \context Staff \relative c'' {
4182 c4-( d e-) \bar "||"
4183 c4-- d-- e-- \bar "||"
4184 c4-.-( d-. e-.-) \bar "||"
4185 c4-. d-. e-. \bar "||"
4198 @section legato curve
4202 @ref{slur}, @ref{legato}.
4225 A ligature is a coherent graphical symbol that represents at least two
4226 distinct notes. Ligatures originally appeared in the manuscripts of
4227 Gregorian chant notation roughly since the 9th century to denote ascending
4228 or descending sequences of notes. In early notation, ligatures were used
4229 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4230 performance in the sense of articulation. With the invention of the metric
4231 system of the white mensural notation, the need for ligatures to denote such
4232 patterns disappeared.
4236 @ref{mensural notation}.
4243 ES: estanque de nenúfares,
4244 I: stagno del giglio,
4245 F: étang de nénuphars, étang de nymphéas,
4247 NL: le@-lie@-vij@-ver,
4252 A pond with lilies floating in it.
4253 Also, the name of a music typesetting program.
4262 D: Linie, Notenlinie,
4266 FI: viiva, nuottiviiva.
4285 [From Italian, @q{place}]. Instruction to play the following passage at the
4286 written pitch. Cancels octave mark (q.v.).
4290 @ref{octave mark}, @ref{octave marking}.
4293 @node long appoggiatura
4294 @section long appoggiatura
4296 ES: apoyatura larga,
4297 I: appoggiatura lunga,
4298 F: appoggiature longue,
4303 FI: pitkä appoggiatura, pitkä etuhele.
4322 Note value: double length of @ref{breve}.
4324 @lilypond[fragment,notime,ragged-right]
4325 \set Score.automaticBars = ##f
4327 \override NoteHead #'style = #'mensural
4340 ES: ligadura de letra,
4349 @c TODO: add languages
4359 ES: letra (de la canción),
4362 D: Liedtext, Gesangtext,
4383 @ref{diatonic scale}.
4386 @node major interval
4387 @section major interval
4389 ES: intervalo mayor,
4390 I: intervallo maggiore,
4391 F: intervalle majeur,
4392 D: großes Intervall,
4396 FI: suuri intervalli.
4403 @node meantone temperament
4404 @section meantone temperament
4406 ES: afinación mesotónica,
4407 I: accordatura mesotonica,
4408 F: tempérament mésotonique,
4409 D: mitteltönige Stimmung,
4410 NL: middenstemming, middentoonstemming,
4411 DK: middeltonetemperatur,
4412 S: medeltonstemperatur,
4413 FI: keskisävelviritys.
4415 Temperament yielding acoustically pure thirds by decreasing the
4416 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4417 character of this @ref{temperament} only a limited set of keys are
4418 playable. Used for tuning keyboard instruments for performance of
4434 A group of @ref{beat}s (units of musical time) the first of which
4435 bears an accent. Such groups in numbers of two or more recur
4436 consistently throughout the composition and are marked from each other
4442 @node measure repeat
4443 @section measure repeat
4447 @ref{percent repeat}.
4454 I: mediante, modale,
4464 @item The third @b{scale degree}.
4466 @item A @ref{chord} having its base tone a third from that of another
4467 chord. For example, the tonic chord may be replaced by its lower
4468 mediant (variant tonic).
4473 @ref{functional harmony}, @ref{relative key}.
4486 FI: melisma, laulettavan tavun sävelkuvio.
4488 A melisma (plural, from Greek: melismata) is a group of notes or tones
4489 sung on one syllable, especially as applied to liturgical chant.
4493 @section melisma line
4495 @c TODO: add languages
4497 ES: línea de melisma,
4508 @ref{extender line}.
4511 @node melodic cadence
4512 @section melodic cadence
4519 @node mensural notation
4520 @section mensural notation
4522 @c TODO: add languages
4524 ES: notación mensural,
4533 A system of duration notation whose principles were first established in the
4534 mid-13th century, and that (with various changes) remained in use until about
4535 1600. As such, it is the basis for the notation of rhythms in Western musical
4538 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4539 of the notation's principles, so the notation of this earliest period is called
4540 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4541 and semibreve -- each of which was normally equivalent to three of the next
4544 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4545 added several note values (the minim, semiminim and fusa) and extended Franco's
4546 principles to govern the relationship between these values. They also put the
4547 duple division of note values on an equal footing with the earlier (preferred)
4550 TODO: continue description of French and Italian black notation, and the
4551 relationship betwixt them.
4553 @b{White or void mensural notation}
4555 In the 15th century, hollow (or void) notes began to substitute for the earlier
4556 solid black ones, which were then free to assume the function of red (or
4557 colored) notes in the earlier notation. ...
4559 TODO: add to definition (including summary info on proportional notation)
4563 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4564 @c TODO: more cross-references?
4572 F: indication de mesure, mesure,
4579 The pattern of note values and accents in a composition or a section thereof.
4580 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4581 by grouping beats and by subdividing the primary beat.
4583 @b{By grouping beats}:
4587 @item @b{duple}: groups of two.
4588 @item @b{triple}: groups of three.
4589 @item @b{quadruple}: groups of four. A special case of duple meter.
4590 @item @b{quintuple}: groups of five beats.
4591 @item @b{sextuple} meter: groups of six. A special case of:
4595 @item duple meter, subdivided in three; or
4596 @item triple meter, subdivided in two.
4600 @item @b{septuple} meter: groups of seven.
4605 Other than triple meter and its subdivided variants (see below), meters that
4606 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4607 frequently used prior to the 20th Century.
4609 @b{By subdividing the primary beat}:
4613 @item simple: groups of two.
4617 @item duple: 2/2, 2/4, 2/8
4618 @item triple: 3/2, 3/4, 3/8
4619 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4623 @item compound: groups of three.
4629 @item quadruple: 12/8
4635 Time signatures are placed at the beginning of a composition (or section) to
4636 indicate the meter. For instance, a piece written in simple triple meter with a
4637 beat on each quarter note is conventionally written with a time signature of
4638 3/4. Here are some combinations of the two classifications above:
4640 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4642 @lilypond[fragment,line-width=13.0\cm]
4646 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4649 Simple triple meter:
4651 @lilypond[fragment,line-width=13.0\cm]
4655 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4658 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4660 @lilypond[fragment,line-width=13.0\cm]
4664 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4667 Simple quintuple meter (B. Marcello, 1686-1739):
4669 @lilypond[fragment,line-width=13.0\cm]
4673 r4 cis8 bis ais4 dis c8 ais |
4674 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4677 Compound duple meter (unknown):
4679 @lilypond[fragment,line-width=13.0\cm]
4683 f8 f g a bes16 a g f |
4684 g8 g bes a c16 a bes g
4688 Compound triple meter (J.S. Bach, 1685-1750):
4690 @lilypond[fragment,line-width=13.0\cm]
4694 r8 g'( a) b( d c) c( e d) |
4695 d( g fis) g( d b) g( a b)
4699 Compound quadruple meter (P. Yon, 1886-1943):
4701 @lilypond[fragment,line-width=13.0\cm]
4705 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4706 e4 e8 fis( gis) a b4.~ b4 b8
4710 @b{@q{Monometer} vs Polymeter}
4712 TODO: add information from discussion on lilypond-user related to polymeter.
4716 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
4731 Device indicating the exact tempo of a piece.
4733 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
4734 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
4735 divisions, and patented it as a "metronome". The inevitable lawsuit that
4736 followed acknowledged Winkler as the creator, but by then Mälzel had already
4737 sold many of them, and people had taken to calling it a Mälzel Metronome.
4741 @ref{metronome mark}.
4744 @node metronome mark
4745 @section metronome mark
4747 ES: indicación metronómica,
4748 I: indicazione metronomica,
4749 F: indication métronomique,
4751 NL: metronoom aanduiding,
4753 S: metronomangivelse,
4754 FI: metronomiosoitus.
4756 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
4757 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
4765 @node metronomic indication
4766 @section metronomic indication
4770 @ref{metronome mark}
4774 @section mezzo-soprano
4785 The female voice between @ref{soprano} and @ref{contralto}.
4794 D: eingestrichenes@w{ }c,
4796 DK: enstreget@w{ }c,
4797 S: ettstruket@w{ }c,
4800 First C below the 440 Hz A.
4802 @lilypond[fragment,notime,ragged-right]
4803 \set Score.automaticBars = ##f
4804 \override Staff.Clef #'full-size-change = ##t
4827 @ref{diatonic scale}.
4830 @node minor interval
4831 @section minor interval
4833 ES: intervalo menor,
4834 I: intervallo minore,
4835 F: intervalle mineur,
4836 D: kleines Intervall,
4840 FI: pieni intervalli.
4847 @node mixolydian mode
4848 @section mixolydian mode
4852 @ref{diatonic scale}.
4861 D: Kirchentonart, Modus,
4865 FI: moodi, kirkkosävelasteikko.
4869 @ref{church mode}, @ref{diatonic scale}.
4882 FI: modulaatio, sävellajin vaihdos.
4884 Moving from one @ref{key} to another. For example, the second subject
4885 of a @ref{sonata form} movement modulates to the dominant key if the
4886 key is major and to the @ref{relative key} if the key is minor.
4898 FI: mordent, korukuvio.
4923 FI: teema, sävelaihe.
4925 The briefest intelligible and self-contained fragment of a musical
4928 @lilypond[line-width=13.0\cm]
4931 \set Score.implicitTimeSignatureVisibility = #all-invisible
4932 \override Score.TimeSignature #'break-visibility = #all-invisible
4935 \partial 8 g16\startGroup fis |
4936 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
4937 g8 g,16 a b8 cis d16 s
4941 \Staff \consists "Horizontal_bracket_engraver"
4959 Greater musical works like @ref{symphony} and @ref{sonata} most often
4960 consist of several -- more or less -- independant pieces called
4964 @node multi-measure rest
4965 @section multi-measure rest
4967 ES: compases de espera,
4971 D: mehrtaktige Pause, Kirchenpause,
4974 FI: usean tahdin mittainen tauko.
4976 Multi-measure rests are conventionally typeset with a combination of
4977 longa, breve and whole rests for shorter and a long horizontal bar for
4978 longer spans of rest, with a number above to indicate the duration (in
4979 measures) of the rest. The former style is called @q{Kirchenpausen} in
4980 German, as a reminiscence of its use in Renaissance vocal polyphony.
4982 @lilypond[fragment,ragged-right]
4985 \set Score.skipBars = ##t R1*3
4987 \set Score.skipBars = ##t R1*122
4994 @ref{longa}, @ref{breve}.
5003 D: Auflösungszeichen,
5004 NL: herstellingsteken,
5005 DK: op@-løsningstegn,
5006 S: återställningstecken,
5014 @node neighbour tones
5015 @section neighbour tones
5019 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5060 Notes are signs by means of which music is fixed in writing. The term is also
5061 used for the sound indicated by a note, and even for the key of the piano
5062 which produces the sound. However, a clear distinction between the terms tone
5063 and @ref{note} is strongly recommended. Briefly, one sees a note,
5071 I: testa, testina, capocchia,
5079 A head-like sign which indicates pitch by its position on a
5080 @ref{staff} provided with a @ref{clef}, and duration
5081 by a variety of shapes such as hollow or black heads with or without
5082 @ref{stem}s, @ref{flag}s, etc. For percussion
5083 instruments (often having no defined pitch) the note head may indicate the
5098 ES: valor (duración),
5100 F: durée, valeur (d'une note),
5105 FI: nuotin aika-arvo.
5107 Note values (durations) are measured as fractions, normally 1/2, of
5108 the next higher note value. The longest duration normally used is
5109 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5110 double-length note value @emph{longa} or the quadruple-length note
5111 value @emph{maxima} are used.
5113 @c TODO -- add maxima to this example, in a way that doesn't break it.
5115 @lilypond[fragment,notime,line-width=13.0\cm]
5116 %\override Score.TextScript #'font-style = #'large
5117 \set Score.automaticBars = ##f
5119 \override NoteHead #'style = #'mensural
5120 a\longa_"longa" a\breve_"breve"
5121 \revert NoteHead #'style
5122 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5123 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5126 @c TODO -- add maxima rest to this example
5128 @lilypond[fragment,notime,line-width=13.0\cm]
5129 %\override Score.TextScript #'font-style = #'large
5130 \set Score.automaticBars = ##f
5132 r\longa_"longa" r\breve_"breve"
5133 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5134 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5137 An augmentation dot after a note multiplies the duration by one and a
5138 half. Another dot adds yet a fourth of the duration.
5140 @lilypond[fragment,line-width=13.0\cm]
5141 %\override Score.TextScript #'font-style = #'large
5144 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5145 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5148 Alternatively note values may be subdivided by other ratios. Most common is
5149 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5150 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5151 dotted notes are also frequently used.
5153 @lilypond[fragment,line-width=13.0\cm]
5154 %\override Score.TextScript #'font-style = #'large
5157 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5158 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5162 @lilypond[fragment,line-width=13.0\cm]
5165 \times 3/2 {g4_"duplets" g} |
5167 \times 6/4 {g8_"quadruplets" g g g} |
5168 g8 g g g g4 \bar "||"
5178 @ref{octave marking}.
5193 The interval of an octave, sometimes abbreviated @samp{8ve}.
5195 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5196 bracket, or @samp{loco} see octave marking.
5200 @ref{interval}, @ref{octave marking}.
5204 @section octave mark
5206 ES: indicación de octava,
5215 The phrase, abbreviation, or other mark used (with or without an extender line
5216 or bracket) to indicate that the music is to be played in a different octave:
5220 @item @samp{15ma}: play two octaves higher
5221 @item @samp{8va}: play one octave higher
5222 @item @samp{8vb}: play one octave lower
5223 @item @samp{8va} (written below the passage): same as @samp{8vb}
5224 @item @samp{15vb}: play two octaves lower
5225 @item @samp{15va} (written below the passage): same as @samp{15vb}
5229 For longer passages, it may be more practical to mark the octave change at the
5230 beginning with a phrase (see the list below for examples), but without a bracket
5231 or extender line. Then, when the music returns to the written pitch, the octave
5232 change is cancelled with the word @emph{loco} (q.v.).
5234 To parallel the list above:
5238 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5239 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5240 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5241 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5245 In the phrases above, @emph{quindicesima} is sometimes replaced with
5246 @emph{quindecima}, which is Latin.
5248 Finally, the music on an entire staff can be marked to be played in a different
5249 octave by putting an 8 or 15 above or below the clef at the beginning. This
5250 octave mark can be applied to any clef, but it is most frequently used with the
5255 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5258 @node octave marking
5259 @section octave marking
5268 FI: oktaavamerkintä.
5270 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5271 that it is to be played in a different octave. If applied to the clef at the
5272 beginning of the staff, all music on that staff is to played at the indicated
5275 For a list of the specific marks used, see @ref{octave mark}.
5279 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5283 @section octave sign
5294 I: abbellimento, fioriture,
5295 F: agrément, ornement,
5296 D: Verzierung, Ornament,
5302 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5303 with the diatonic @ref{second} above it. In the music from the
5304 middle of the 19th century and onwards the trill is performed with the main
5305 note first while in the music from the preceding baroque and classic periods
5306 the upper note is played first.
5308 @lilypond[fragment,line-width=13.0\cm]
5310 \context Staff = sa {
5311 % \override Score.TextScript #'font-style = #'large
5313 c2._"pre-1850" b4\trill | c1 \bar "||"
5314 c2._"post-1850" b4\trill | c1 \bar "||"
5318 c2. c32 b c b c b c b | c1
5319 c2. b32 c b c \times 4/5 { b c b c b } | c1
5324 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5326 @emph{prall} (inverted mordent).
5328 @lilypond[fragment,line-width=13.0\cm]
5330 \context Staff = sa {
5331 % \override Score.TextScript #'font-style = #'large
5333 a4_"turn" b\turn c2 \bar "||"
5334 g4_"mordent" a b\mordent a \bar "||"
5335 e'4_"prall" d\prall c2 \bar "||"
5341 e'4 e32[ d e d ~ d8] c2
5348 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5361 FI: ossia, vaihtoehtoinen esitystapa.
5363 Ossia (otherwise) marks an alternative. It is an added staff or piano
5364 score, usually only a few measures long, which presents another version
5365 of the music, for example for small hands.
5378 FI: stemma, instrumenttiosuus.
5382 @item In instrumental or choral music, the music for a single
5383 instrument or voice.
5385 @item in contrapuntal music, a single melodic line in the contrapuntal
5411 @node percent repeat
5412 @section percent repeat
5414 LilyPond-specific term to indicate the repetition of a musical expression on a
5415 single staff, as opposed to the more usual definition of repeat, which affects
5416 all parts. The musical expression can be anything from a single note or note
5417 pattern to one or more measures. There are other names for this symbol:
5422 @item slash mark, or slash repeat
5424 @item measure (or multi-measure) repeat
5428 @lilypond[fragment,line-width=13.0\cm]
5431 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5432 \repeat percent 2 { c4 e g b_"Measure repeat" }
5433 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5440 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5441 Vermont Music Dictionary}.
5450 D: Schlagzeug, Schlagwerk,
5456 A family of musical instruments which are played on by striking or
5457 shaking. Percussion instruments commonly used in a symphony orchestra are
5458 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5459 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5463 @node perfect interval
5464 @section perfect interval
5466 ES: intervalo justo,
5467 I: intervallo giusto,
5468 F: intervalle juste,
5469 D: reines Intervall,
5473 FI: puhdas intervalli.
5492 A natural division of the melodic line, comparable to a sentence of speech.
5505 FI: fraseeraus, jäsentäminen.
5507 The clear rendering in musical performance of the @ref{phrase}s of
5508 the melody. Phrasing may be indicated by a @ref{slur}.
5523 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5524 @emph{mezzo piano} (@b{mp}) medium soft.
5532 F: anacrouse, levée,
5558 @item The perceived quality of a sound that is primarily a function of its
5559 fundamental frequency.
5561 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5563 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5564 association of a particular frequency with a particular pitch name, e.g., c' =
5581 NL: pizzicato, getokkeld,
5584 FI: pizzicato, näppäillen.
5586 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5593 ES: compás polimétrico,
5604 @item The simultaneous use of two or more meters, in two or more parts.
5606 @item The @emph{successive} use of different meters in one or more parts.
5612 @ref{polymetric} (adj.)
5627 Using two or more metric frameworks simultaneously or in alternation.
5631 @ref{polymeter} (noun)
5634 @node polymetric time signature
5635 @section polymetric time signature
5637 ES: compás polimétrico,
5646 A time signature that indicates regularly alternating polymetric time.
5659 D: Polyphonie, Mehrstimmigkeit,
5663 FI: polyfonia, moniäänisyys.
5665 Music written in a combination of several simultaneous voices (parts)
5666 of a more or less pronounced individuality.
5685 D: Presto, Sehr schnell,
5686 NL: presto, Sehr schnell,
5689 FI: presto, hyvin nopeasti.
5691 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5692 denotes the highest possible degree of speed.
5707 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5708 relationship between the note values that follow with those that precede; or
5709 between the note values of a passage and the @q{normal} relationship of note
5710 values to the metrical pulse.
5712 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5716 @ref{mensural notation}
5719 @node Pythagorean comma
5720 @section Pythagorean comma
5722 ES: coma pitagórica,
5723 I: comma pitagorico,
5724 F: comma pythagoricien,
5725 D: Pythagoräisches Komma,
5726 NL: komma van Pythagoras,
5727 DK: pythagoræisk komma,
5728 S: pytagoreiskt komma,
5729 FI: pytagorinen komma.
5731 Originally, the interval by which the sum of six whole tones exceeds the octave
5732 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
5734 Modern acoustical theory defines it as the interval by which twelve fifths
5735 exceed seven octaves. To put it another way: A sequence of fifths that starts
5736 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
5737 than the C obtained by adding 7 octaves. The difference between those two
5738 pitches is the Pythagorean comma.
5742 @ref{cent}, @ref{temperament}.
5763 @section quarter note
5768 @item I: semiminima, nera
5770 @item D: Viertel, Viertelnote
5772 @item DK: fjerdedelsnode
5773 @item S: fjärdedelsnot
5774 @item FI: neljäsosanuotti
5783 @section quarter rest
5786 @item UK: crotchet rest
5787 @item ES: silencio de negra
5788 @item I: pausa di semiminima
5790 @item D: Viertelpause
5792 @item DK: fjerdedelspause
5793 @item S: fjärdedelspaus
5794 @item FI: neljäsosatauko
5803 @section quarter tone
5805 ES: cuarto de tonno,
5814 An interval equal to half a semitone.
5824 ES: cinquillo, quintillo.
5839 @section rallentando
5844 D: rallentando, langsamer werden,
5848 FI: rallerdando, hidastuen.
5850 Abbreviation "rall.".
5856 @section relative key
5859 I: tonalità relativa,
5860 F: tonalité relative,
5862 NL: paralleltoonsoort,
5863 DK: paralleltoneart,
5865 FI: rinnakkaissävellaji.
5867 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
5869 @lilypond[fragment,notime,line-width=13.0\cm]
5870 \set Score.automaticBars = ##f
5871 %\override Score.TextScript #'font-style = #'large
5874 es1_"e flat major" f g as bes c d es
5879 @lilypond[fragment,notime,line-width=13.0\cm]
5880 \set Score.automaticBars = ##f
5881 %\override Score.TextScript #'font-style = #'large
5884 c1_"c minor" d es f g a! b! c \bar "||"
5894 F: barre de reprise,
5897 DK: gen@-ta@-gel@-se,
5901 @lilypond[fragment,line-width=13.0\cm]
5905 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
5922 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
5923 @c specify the rest's value.
5944 @item Metrical rhythm in which every time value is a multiple or
5945 fraction of a fixed unit of time, called @ref{beat}, and in which the
5946 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
5947 The basic scheme of time values is called @ref{meter}.
5949 @item Measured rhythm which lacks regularly recurrent accent. In
5950 modern notation such music appears as a free alternation of different
5953 @item Free rhythm, i.e., the use of temporal values having no common
5954 metrical unit (beat).
5965 D: ritardando, langsamer werden,
5969 FI: ritardando, hidastuen,
5971 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
5984 FI: ritenuto, hidastaen.
5986 Immediate reduction of speed.
5999 FI: asteikko, sävelasteikko.
6003 @ref{diatonic scale}.
6007 @section scale degree
6009 ES: grado (de la escala),
6010 I: grado della scala,
6011 F: degré [de la gamme],
6013 NL: trap [van de toonladder],
6016 FI: sävelaste, asteikon sävel.
6018 Names and symbols used in harmonic analysis to denote tones of the
6019 scale as roots of chords. The most important are degrees I = tonic
6020 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6022 @lilypond[fragment,notime,line-width=13.0\cm]
6023 \set Score.automaticBars = ##f
6025 \context Staff \relative c' {
6029 << { I II III IV V VI VII I }
6037 @ref{functional harmony}.
6045 F: à cordes ravallées,
6052 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6053 tuning of stringed instruments, particularly lutes or violins. Used
6058 @item facilitate pitch combinations that would otherwise be difficult
6061 @item alter the characteristic timbre of the instrument, for example,
6062 to increase brilliance)
6064 @item reinforce certain sonorities or tonalities by making them
6065 available on open strings
6067 @item imitate other instruments
6073 Tunings that could be called @var{scordatura} first appeared early in
6074 the 16th Century and became commonplace in the 17th.
6083 D: Partitur (full score), Klavierauszug (vocal score),
6089 A copy of orchestral, choral, or chamber music showing what each
6090 instrument is to play, each voice to sing, having each part arranged
6091 one underneath the other on different staves @ref{staff}.
6106 The @ref{interval} between two neigbouring tones of a scale. A
6107 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6108 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6109 degrees in question.
6124 The interval of a minor second. The (usually) smallest interval in European
6125 composed music. The interval between two neighbouring tones on the piano
6126 keyboard -- including black and white keys -- is a semitone. An octave may
6127 be divided into 12@w{ }semitones.
6129 @lilypond[fragment,notime,line-width=13.0\cm]
6130 \set Score.automaticBars = ##f
6131 \relative c'' { g1 gis s a bes s b! c }
6136 @ref{interval}, @ref{chromatic scale}.
6161 @ref{sextuplet}, @ref{note value}.
6218 [From It, @q{in the same manner}] Performance direction: the music thus marked
6219 is to be played in the same manner (i.e. with the same articulations, dynamics,
6220 etc.) as the music that precedes it.
6224 TODO: Where else could I refer the reader?
6228 @section simple meter
6230 ES: compás simple, compás de subdivisión binaria,
6239 A meter in which the basic beat is subdivided in two: that is, a meter
6240 that does not include triplet subdivision of the beat.
6244 @ref{compound meter}, @ref{meter}.
6247 @node sixteenth note
6248 @section sixteenth note
6251 @item UK: semiquaver
6252 @item ES: semicorchea
6254 @item F: double croche
6255 @item D: Sechzehntel, Sechzehntelnote
6256 @item NL: zes@-ti@-ende noot
6257 @item DK: sekstendedelsnode
6258 @item S: sextondelsnot
6259 @item FI: kuudestoistaosanuotti
6267 @node sixteenth rest
6268 @section sixteenth rest
6271 @item UK: semiquaver rest
6272 @item ES: silencio de semicorchea
6273 @item I: pausa di semicroma
6274 @item F: quart de soupir
6275 @item D: Sechzehntelpause
6276 @item NL: zestiende rust
6277 @item DK: sekstendedelspause
6278 @item S: sextondelspaus
6279 @item FI: kuudestoistaosatauko
6304 @node sixty-fourth note
6305 @section sixty-fourth note
6308 @item UK: hemidemisemiquaver
6310 @item I: semibiscroma
6311 @item F: quadruple croche
6312 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6313 @item NL: vierenzestigste noot
6314 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6315 @item S: sextiofjärdedelsnot
6316 @item FI: kuudeskymmenesneljäsosanuotti
6324 @node sixty-fourth rest
6325 @section sixty-fourth rest
6328 @item UK: hemidemisemiquaver rest
6329 @item ES: silencio de semifusa
6330 @item I: pausa di semibiscroma
6331 @item F: seizième de soupir
6332 @item D: Vierundsechzigstelpause
6333 @item NL: vierenzestigste rust
6334 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6335 @item S: sextiofjärdedelspaus
6336 @item FI: kuudeskymmenesneljäsosatauko
6345 @section slash repeat
6349 @ref{percent repeat}.
6355 ES: ligadura (de expresión),
6356 I: legatura (di portamento or espressiva),
6358 D: Bogen (Legatobogen, Phrasierungsbogen),
6359 NL: fraseringsboog, legatoboog, streekboog,
6360 DK: legatobue, fraseringsbue,
6364 A slur above or below a group of notes indicates that they are to be
6365 played @ref{legato}, e.g., with one stroke of the violin bow or with
6366 one breath in singing.
6370 @section solmization
6379 FI: suhteelliset laulunimet.
6381 General term for systems of designating the degrees of the
6382 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6383 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6401 In its present-day meaning a sonata denotes an instrumental
6402 composition for piano or for some other instrument with piano
6403 accompaniment, which consists of three or four independant pieces,
6408 @section sonata form
6412 F: [en] forme de sonate,
6414 NL: hoofdvorm, sonatevorm,
6419 A form used frequently for single movements of the @ref{sonata},
6420 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6421 into three sections called @emph{exposition}, @emph{development} and
6422 @emph{recapitulation}. In the exposition the composer introduces some
6423 musical ideas, consisting of a number of themes; in the development
6424 section the composer @q{develops} this material, and in the
6425 recapitulation the composer repeats the exposition, with certain
6426 modifications. The exposition contains a number of themes that fall
6427 into two groups, often called first and second subject. Other
6428 melodies occurring in each group are considered as continuations of
6429 these two. The second theme is in another key, normally in the key of
6430 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6431 @ref{relative key} if the tonic is @ref{minor}.
6452 FI: sopraano, korkea naisääni.
6454 The highest female voice.
6462 F: staccato, piqué, détaché,
6467 FI: staccato, lyhyesti, terävästi.
6469 Playing the note(s) short. Staccato is indicated by a dot above or
6470 below the note head.
6472 @lilypond[fragment,ragged-right]
6477 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6487 I: pentagramma, rigo (musicale),
6489 D: Notensystem, Notenzeile,
6490 NL: (noten)balk, partij,
6495 A staff (plural: staves) is a series of (normally five) horizontal
6496 lines upon and between which the musical notes are written, thus
6497 indicating (in connection with a @ref{clef}) their pitch. Staves for
6498 @ref{percussion} instruments may have fewer lines.
6515 D: Hals, Notenhals, Stiel,
6521 Vertical line above or below a @ref{note head} shorter than a
6526 @lilypond[fragment,notime,line-width=13.0\cm]
6527 \set Score.autoBeaming = ##f
6528 \set Score.automaticBars = ##f
6529 %\override Score.TextScript #'font-style = #'large
6551 A family of stringed musical instruments played with a bow. Strings
6552 commonly used in a symphony orchestra are violin, viola, violoncello,
6557 @section strong beat
6562 D: betonter Taktteil oder Taktschlag,
6564 D: betonet taktslag,
6565 S: betonat taktslag,
6566 FI: tahdin vahva isku.
6570 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6574 @section subdominant
6583 FI: subdominantti, alidominantti.
6585 The fourth @ref{scale degree}.
6587 @ref{functional harmony}.
6602 The sixth @ref{scale degree}.
6615 FI: subtoonika, alitoonika.
6617 The seventh @ref{scale degree}.
6623 ES: sobre la cuerda de Sol,
6626 D: auf G, auf der G-Saite,
6632 Indicates that the indicated passage (or note) should be played on the
6637 @section superdominant
6648 The sixth @ref{scale degree}.
6663 The second @ref{scale degree}.
6672 D: Sinfonie, Symphonie,
6678 A symphony may be defined as a @ref{sonata} for orchestra.
6682 @section syncopation
6693 Any deliberate upsetting of the normal pulse of @ref{meter},
6694 @ref{accent}, and @ref{rhythm}. The occidental system of musical
6695 rhythm rests upon the grouping of equal beats into groups of two or
6696 three, with a regularly recurrent accent on the first beat of each
6697 group. Any deviation from this scheme is felt as a disturbance or
6698 contradiction between the underlaying (normal) pulse and the actual
6701 @lilypond[fragment,ragged-right]
6706 e c'4 e,8 c'4 e,8 c' ( | c2)
6711 @node syntonic comma
6712 @section syntonic comma
6714 ES: coma sintónica, coma de Dídimo,
6715 I: comma sintonico (o didimico),
6716 F: comma syntonique,
6717 D: syntonisches Komma,
6718 NL: syntonische komma,
6719 DK: syntonisk komma,
6720 S: syntoniskt komma,
6721 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
6722 Pytagorisessa viritysjärjestelmässä.
6724 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
6725 by which the ditone exceeds the pure major third obtained by Pythagorean
6726 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
6728 Modern acoustical theory defines it as the interval by which four fifths exceed
6729 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
6731 This comma is also known as the comma of Didymus, or didymic comma.
6735 @ref{Pythagorean comma}
6744 D: Notensystem, Partitur,
6748 FI: nuottijärjestelmä.
6750 The collection of staves (@ref{staff}), two or more, as used for writing
6751 down of keyboard, chamber, choral, or orchestral music.
6755 @section temperament
6760 D: Stimmung, Tem@-pe@-ra@-tur,
6761 NL: stemming, temperatuur,
6764 FI: viritysjärjestelmä.
6766 Systems of tuning in which the intervals deviate from the acoustically
6769 @ref{meantone temperament}, @ref{equal temperament}.
6772 @node tempo indication
6773 @section tempo indication
6775 ES: indicación de tempo,
6776 I: indicazione di tempo,
6777 F: indication de tempo,
6778 D: Zeitmaß, Tempobezeichnung,
6779 NL: tempo aanduiding,
6784 The rate of speed of a composition or a section thereof, ranging from
6785 the slowest to the quickest, as is indicated by tempo marks as
6786 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
6800 FI: tenori, korkea miesääni.
6802 The highest male voice (apart from @ref{countertenor}).
6825 ES: subrayado (tenuto),
6834 An indication that a particular note should be held for the whole
6835 length, although this can vary depending on the composer and era.
6855 @node thirty-second note
6856 @section thirty-second note
6859 @item UK: demisemiquaver
6862 @item F: triple croche
6863 @item D: Zweiunddreissigstel, Zweiunddreissigstelnote
6864 @item NL: twee-endertig@-ste (32e) noot
6865 @item DK: toogtredivtedelsnode
6866 @item S: trettiotvåondelsnot
6867 @item FI: kolmaskymmeneskahdesosanuotti
6875 @node thirty-second rest
6876 @section thirty-second rest
6879 @item UK: demisemiquaver rest
6880 @item ES: silencio de fusa
6881 @item I: pausa di biscroma
6882 @item F: huitième de soupir
6883 @item D: Zweiunddreissigstel@-pause
6884 @item NL: twee-endertig@-ste (32e) rust
6885 @item DK: toogtredivtedelspause
6886 @item S: trettiotvåondelspaus
6887 @item FI: kolmaskymmeneskahdesosatauko
6896 @section thorough bass
6899 I: basso continuo, basso numerato,
6900 F: basse chiffrée, basse continue,
6901 D: Generalbass, bezifferter Bass,
6902 NL: basso continuo, becijferde bas
6905 FI: kenraalibasso, numeroitu basso.
6907 Also called @q{figured bass}.
6909 A method of indicating an accompaniment part by the bass notes only, together
6910 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
6911 above the bass notes.
6913 @lilypond[fragment,line-width=13.0\cm]
6914 \context GrandStaff <<
6915 \context Staff = lh \relative c'' {
6919 << \context Voice = rha {
6922 \context Voice = rhb {
6924 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
6928 \context Staff = rh \relative c' {
6931 es8 c d bes c as bes16 as g f | es4
6933 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
6942 ES: ligadura de prolongación, ligadura de unión,
6943 I: legatura (di valore),
6945 D: Haltebogen, Bindebogen,
6946 NL: overbinding, bindingsboog,
6948 S: bindebåge, överbindning,
6951 A curved line, identical in appearance with the @ref{slur}, which
6952 connects two succesive notes of the same pitch, and which has the
6953 function of uniting them into a single sound (tone) equal to the
6956 @lilypond[fragment,notime,ragged-right]
6957 \set Score.automaticBars = ##f
6958 \relative c'' { g2 ~ g4. }
6970 @node time signature
6971 @section time signature
6973 ES: indicación de compás,
6975 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
6976 D: Taktangabe, Angabe der Taktart,
6979 S: taktartssignatur,
6982 The sign placed at the beginning of a composition to indicate its
6983 meter. It most often takes the form of a fraction, but a few signs
6984 derived from mensural notation and proportions are also employed.
6988 @ref{mensural notation}, @ref{meter}.
7003 A sound of definite pitch and duration, as distinct from @emph{noise}.
7004 Tone is a primary building material of music.
7006 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7021 The first @ref{scale degree}.
7025 @ref{functional harmony}.
7028 @node transposing instrument
7029 @section transposing instrument
7031 ES: instrumento transpositor,
7040 Instruments whose notated pitch is different from their sounded pitch. Except
7041 for those whose notated and sounding pitches differ by one or more octaves (to
7042 reduce the number of ledger lines needed), most such instruments are identified
7043 by the letter name of the pitch class of their fundamental. The pitch class is
7044 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7045 the instrument plays a notated C.
7047 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7048 the B-flat one tone lower. If played on the A clarinet, the same written
7049 note sounds the A (one and half tones -- a minor third -- lower).
7051 Not all transposing instruments include the pitch class in their name:
7055 @item English horn (in F)
7057 @item Alto flute (in G)
7063 @ref{concert pitch}.
7067 @section transposition
7078 Shifting a melody up or down in pitch, while keeping the same
7081 @lilypond[fragment,line-width=13.0\cm]
7086 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7091 @lilypond[fragment,line-width=13.0\cm]
7094 \transpose c bes \relative c'' {
7096 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7103 @section treble clef
7106 I: chiave di violino,
7108 D: Violinschlüssel, Sopranschlüssel,
7131 On stringed instruments:
7135 @item The quick reiteration of the same tone, produced by a rapid
7136 up-and-down movement of the bow.
7138 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7139 in the distance of a third (@ref{interval}).
7143 @lilypond[fragment,notime,ragged-right]
7144 \set Score.automaticBars = ##f
7145 %\override Score.TextScript #'font-style = #'large
7148 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7149 \repeat tremolo 8 { e32_"b" g }
7163 F: triade, accord parfait, accord de trois sons,
7180 F: trille, tremblement, battement (cadence),
7193 @section triple meter
7195 ES: compás ternario,
7198 D: in drei, ungerader Takt,
7199 NL: driedelige maatsoort,
7244 @section tuning fork
7246 ES: diapasón, horquilla de afinación,
7247 I: diapason, corista,
7255 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7256 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7257 standard. Tuning forks for other pitches are available.
7267 A non-standard subdivision of a beat or part of a beat, usually
7268 indicated with a bracket and a number indicating the number of
7273 @ref{triplet}, @ref{note value}.
7279 ES: grupeto (circular),
7303 FI: unisono, yksiäänisesti.
7305 Playing of the same notes or the same melody by various instruments
7306 (voices) or by the whole orchestra (choir), either at exactly the same
7307 pitch or in a different octave.
7315 F: anacrouse, levée,
7337 FI: ääni, lauluääni.
7347 @item @ref{mezzo-soprano}
7349 @item @ref{contralto}
7353 @item @ref{baritone}
7359 @item A melodic layer or part of a polyphonic composition.
7367 ES: vez, primera y segunda vez,
7376 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7377 or second ending. LilyPond extends this idea to any number, and allows any text
7378 (not just a number) -- to serve as the @q{volta} text.
7385 I: tempo debole, arsi,
7387 D: unbetonter Taktteil oder Taktschlag,
7389 DK: ubetonet taktslag,
7390 S: obetonat taktslag,
7391 FI: tahdin heikko isku.
7395 @ref{beat}, @ref{measure}, @ref{rhythm}.
7406 @item D: Ganze, ganze Note
7410 @item FI: kokonuotti
7422 @item UK: semibreve rest
7423 @item ES: silencio de redonda
7424 @item I: pausa di semibreve
7426 @item D: ganze Pause, ganztaktige Pause
7428 @item DK: helnodespause
7450 The interval of a major second. The interval between two tones
7451 on the piano keyboard with exactly one key between them -- including
7452 black and white keys -- is a whole tone.
7471 A family of blown wooden musical instruments. Today some of these
7472 instruments are actually made from metal. The woodwind instruments
7473 commonly used in a symphony orchestra are flute, oboe, clarinet,
7474 saxophone, and bassoon.
7477 @node Duration names notes and rests
7478 @chapter Duration names notes and rests
7480 @multitable @columnfractions .12 .22 .22 .22 .22
7482 @headitem Lang. @tab note name
7486 @item @strong{US} @tab long
7490 @item @strong{UK} @tab longa
7494 @item @strong{ES} @tab longa
7495 @tab silencio de longa
7497 @tab silencio de cuadrada
7498 @item @strong{IT} @tab longa
7502 @item @strong{FR} @tab longa
7503 @tab quadruple-pause
7506 @item @strong{DE} @tab Longa
7510 @item @strong{NL} @tab longa
7514 @item @strong{DK} @tab longa
7515 @tab longanodespause
7517 @tab brevis(nodes)pause
7518 @item @strong{SE} @tab longa
7522 @item @strong{FI} @tab longa-nuotti
7524 @tab brevis-nuotti, kaksoiskokonuotti
7525 @tab brevis-tauko, kaksoiskokotauko
7529 @multitable @columnfractions .12 .22 .22 .22 .22
7531 @headitem Lang. @tab note name
7535 @item @strong{US} @tab whole note
7539 @item @strong{UK} @tab semibreve
7543 @item @strong{ES} @tab redonda
7544 @tab silencio de redonda
7546 @tab silencio de blanca
7547 @item @strong{IT} @tab semibreve
7548 @tab pause di semibreve
7550 @tab pausa di minima
7551 @item @strong{FR} @tab ronde
7555 @item @strong{DE} @tab ganze Note
7559 @item @strong{NL} @tab hele noot
7563 @item @strong{DK} @tab helnode
7567 @item @strong{SE} @tab helnot
7571 @item @strong{FI} @tab kokonuotti
7578 @multitable @columnfractions .12 .22 .22 .22 .22
7580 @headitem Lang. @tab note name
7584 @item @strong{US} @tab quarter note
7588 @item @strong{UK} @tab crotchet
7592 @item @strong{ES} @tab negra
7593 @tab silencio de negra
7595 @tab silencio de corchea
7596 @item @strong{IT} @tab semiminima, nera
7597 @tab pausa di semiminima, pausa di nera
7600 @item @strong{FR} @tab noire
7604 @item @strong{DE} @tab Viertelnote
7608 @item @strong{NL} @tab kwartnoot
7612 @item @strong{DK} @tab fjerdedelsnode
7613 @tab fjerdedelspause
7614 @tab ottendedelsnode
7615 @tab ottendedelspause
7616 @item @strong{SE} @tab fjärdedelsnot
7620 @item @strong{FI} @tab neljäsosanuotti
7622 @tab kahdeksasosanuotti
7623 @tab kahdeksasosatauko
7627 * About the French naming system: @emph{croche} refers to the note's "hook".
7628 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7629 hook}, @q{trebled hook}, and so on.
7631 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7632 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7633 a @emph{soupir}, and so on.
7635 Each of the following tables contains one type of note and its matching rest,
7636 with abbreviations that apply to both notes and rests. Just switch the part
7637 that means @q{note} with the part that means @q{rest}, for example:
7641 @item English: 16th @strong{note}, 16th @strong{rest}
7642 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7643 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7647 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7648 duration name. If you know of one that I missed, please send it to me, care of
7649 the lilypond-user discussion list.
7651 @multitable @columnfractions .10 .35 .35 .20
7653 @headitem Lang. @tab Note name
7656 @item @strong{US} @tab sixteenth note
7659 @item @strong{UK} @tab semiquaver
7660 @tab semiquaver rest
7662 @item @strong{ES} @tab semicorchea
7663 @tab silencio de semicorchea
7665 @item @strong{IT} @tab semicroma
7666 @tab pausa di semicroma
7668 @item @strong{FR} @tab double croche
7669 @tab quart de soupir
7671 @item @strong{DE} @tab Sechzehntelnote
7672 @tab Sechzehntelpause
7674 @item @strong{NL} @tab zestiende noot
7677 @item @strong{DK} @tab sekstendedelsnode
7678 @tab sekstendedelspause
7680 @item @strong{SE} @tab sextondelsnot
7683 @item @strong{FI} @tab kuudestoistaosanuotti
7684 @tab kuudestoistaosatauko
7689 @multitable @columnfractions .10 .35 .35 .20
7691 @headitem Lang. @tab Note name
7694 @item @strong{US} @tab thirty-second note
7695 @tab thirty-second rest
7697 @item @strong{UK} @tab demisemiquaver
7698 @tab demisemiquaver rest
7700 @item @strong{ES} @tab fusa
7701 @tab silencio de fusa
7703 @item @strong{IT} @tab biscroma
7704 @tab pausa di biscroma
7706 @item @strong{FR} @tab triple croche
7707 @tab huitième de soupir
7709 @item @strong{DE} @tab Zweiunddreißigstelnote
7710 @tab Zweiunddreißigstelpause
7712 @item @strong{NL} @tab tweeendertigste noot
7713 @tab tweeendertigste rust
7715 @item @strong{DK} @tab toogtredivtedelsnode
7716 @tab toogtredivtedelspause
7718 @item @strong{SE} @tab trettiotvåondelsnot
7719 @tab trettiotvåondelspaus
7721 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
7722 @tab kolmaskymmeneskahdesosatauko
7727 @multitable @columnfractions .10 .35 .35 .20
7729 @headitem Lang. @tab Note name
7732 @item @strong{US} @tab sixty-fourth note
7733 @tab sixty-fourth rest
7735 @item @strong{UK} @tab hemidemisemiquaver
7736 @tab hemidemisemiquaver rest
7738 @item @strong{ES} @tab semifusa
7739 @tab silencio de semifusa
7741 @item @strong{IT} @tab semibiscroma
7742 @tab pausa di semibiscroma
7744 @item @strong{FR} @tab quadruple croche
7745 @tab seizième de soupir
7747 @item @strong{DE} @tab Vierundsechzigstelnote
7748 @tab Vierundsechzigstelpause
7750 @item @strong{NL} @tab vierenzestigste noot
7751 @tab vierenzestigste rust
7753 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
7754 @tab fireogtredsindstyvendedelspause
7756 @item @strong{SE} @tab sextiofjärdedelsnot
7757 @tab sextiofjärdedelspaus
7759 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
7760 @tab kuudeskymmenesneljäsosatauko
7765 @multitable @columnfractions .10 .35 .35 .20
7767 @headitem Lang. @tab Note name
7770 @item @strong{US} @tab one-hundred-twenty-eighth note
7771 @tab one-hundred-twenty-eighth rest
7773 @item @strong{UK} @tab semihemidemisemiquaver
7774 @tab semihemidemisemiquaver rest
7776 @item @strong{ES} @tab garrapatea
7777 @tab silencio de garrapatea
7779 @item @strong{IT} @tab fusa
7782 @item @strong{FR} @tab quintuple croche
7783 @tab trente-deuxième de soupir @tab -
7784 @item @strong{DE} @tab Hundertundachtundzwanzigstel
7785 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
7786 @item @strong{NL} @tab honderdachtentwintigste noot
7787 @tab honderdachtentwintigste rust
7789 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
7790 @tab hundredeotteogtyvendedelspause
7792 @item @strong{SE} @tab hundratjugoåttondelsnot
7793 @tab hundratjugoåttondelspaus
7795 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
7796 @tab sadaskahdeskymmeneskahdeksasosatauko
7801 @multitable @columnfractions .10 .35 .35 .20
7803 @headitem Lang. @tab Note name
7806 @item @strong{US} @tab two-hundred-fifty-sixth note
7807 @tab two-hundred-fifty-sixth rest
7809 @item @strong{UK} @tab demisemihemidemisemiquaver
7810 @tab demisemihemidemisemiquaver rest
7812 @item @strong{ES} @tab semigarrapatea
7813 @tab silencio de semigarrapatea @tab -
7814 @item @strong{IT} @tab semifusa
7815 @tab pausa di semifusa
7817 @item @strong{FR} @tab sextuple croche
7818 @tab soixante-quatrième de soupir @tab -
7819 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
7820 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
7821 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
7822 @tab tweehonderdzesenvijftigste rust
7824 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
7825 @tab tohundredeseksoghalvtredsendedelspause
7827 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
7828 @tab tvåhundrafemtiosjättedelspaus
7830 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
7831 @tab kahdessadasviideskymmeneskuudesosatauko
7838 @ref{mensural notation}
7842 @chapter Pitch names
7844 @c -is/-es endings for Danish per Rune Zedeler
7845 @c and for Finnish per Risto Vääräniemi
7846 @c -iss/-ess endings for Swedish per Mats Bengtsson
7847 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
7849 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
7851 @tab ES @tab I @tab F @tab D
7852 @tab NL @tab DK @tab S @tab FI
7853 @item @strong{c} @tab do @tab do @tab ut @tab C
7854 @tab c @tab c @tab c @tab c
7855 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
7856 @tab cis @tab cis @tab ciss @tab cis
7857 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
7858 @tab des @tab des @tab dess @tab des
7859 @item @strong{d} @tab re @tab re @tab ré @tab D
7860 @tab d @tab d @tab d @tab d
7861 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
7862 @tab dis @tab dis @tab diss @tab dis
7863 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
7864 @tab es @tab es @tab ess @tab es
7865 @item @strong{e} @tab mi @tab mi @tab mi @tab E
7866 @tab e @tab e @tab e @tab e
7867 @item @strong{f-flat} = e
7868 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
7869 @tab fes @tab fes @tab fess @tab fes
7870 @item @strong{f} @tab fa @tab fa @tab fa @tab F
7871 @tab f @tab f @tab f @tab f
7872 @item @strong{e-sharp} = f
7873 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
7874 @tab eis @tab eis @tab eiss @tab eis
7875 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
7876 @tab fis @tab fis @tab fiss @tab fis
7877 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
7878 @tab ges @tab ges @tab gess @tab ges
7879 @item @strong{g} @tab sol @tab sol @tab sol @tab G
7880 @tab g @tab g @tab g @tab g
7881 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
7882 @tab gis @tab gis @tab giss @tab gis
7883 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
7884 @tab as @tab as @tab ass @tab as
7885 @item @strong{a} @tab la @tab la @tab la @tab A
7886 @tab a @tab a @tab a @tab a
7887 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
7888 @tab ais @tab ais @tab aiss @tab ais
7889 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
7890 @tab bes @tab b @tab b @tab b
7891 @item @strong{b} @tab si @tab si @tab si @tab H
7892 @tab b @tab h @tab h @tab h
7900 @node Literature used
7901 @unnumberedsec Literature used
7904 @item The Harvard Dictionary of Music, London 1944. Many more or less
7905 literal quotes from its articles have been included into the item
7908 @item Hugo Riemanns Musiklexicon, Berlin 1929.
7910 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
7913 @item Oxford Advanced Learner's Dictionary of Current English, Third
7916 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
7918 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
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