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, 2007-2008
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::
172 * augmented interval::
209 * compound interval::
213 * conjunct movement::
226 * descending interval::
229 * diminished interval::
233 * disjunct movement::
235 * dissonant interval::
239 * dominant ninth chord::
240 * dominant seventh chord::
242 * dot (augmentation dot)::
244 * double appoggiatura::
246 * double dotted note::
249 * double time signature::
256 * ecclesiastical mode::
263 * equal temperament::
284 * functional harmony::
304 * inverted interval::
319 * long appoggiatura::
325 * meantone temperament::
332 * mensural notation::
336 * metronomic indication::
348 * multi-measure rest::
378 * polymetric time signature::
383 * Pythagorean comma::
413 * sixty-fourth note::
414 * sixty-fourth rest::
445 * thirty-second note::
446 * thirty-second rest::
453 * transposing instrument::
508 Abbreviated @samp{a2} or @samp{a 2}.
512 @item An indication in orchestral scores that a single part notated on a single
513 staff that normally carries parts for two players (e.g. first and second oboes)
514 is to be played by both players.
516 @item Or conversely, that two pitches or parts notated on a staff that normally
517 carries a single part (e.g. first violin) are to be played by different players,
518 or groups of players (@q{desks}).
532 F: accelerando, en accélérant,
533 D: accelerando, schneller werden,
537 FI: accelerando, kiihdyttäen.
552 FI: aksentti, korostus.
554 The stress of one tone over others.
566 @section acciaccatura
568 A grace note which takes its time from the rest or note preceding the
569 principal note to which it is attached. The acciaccatura is drawn as a
570 small eighth note (quaver) with a line drawn through the flag and
575 @ref{appoggiatura}, @ref{grace notes}, @ref{ornament}.
581 ES: alteración accidental,
583 F: altération accidentelle,
584 D: Versetzungszeichen, Akzidenz,
585 NL: toevallig (verplaatsings)teken,
587 S: tillfälligt förtecken,
588 FI: tilapäinen etumerkki.
590 An accidental has the effect of an @ref{alteration} of a note. A
591 sharp raises a tone by a @ref{semitone}, a double sharp raises it by a
592 @ref{whole tone}, a flat lowers it by a semitone and a double flat
593 lowers it by a whole tone. A natural cancels the effect of a previous
594 accidental, or a sharp or flat in the key signature.
596 @lilypond[fragment,notime,line-width=13.0\cm]
597 \set Score.automaticBars = ##f
599 \context Staff \relative c'' {
600 \set Staff.extraNatural = ##f
601 gisis1 gis g! ges geses
604 \override Lyrics .LyricText #'self-alignment-X = #-1
605 "db. sharp" sharp natural flat "db. flat"
621 FI: adagio, hitaasti.
623 It.@: comfortable, easy.
627 @item Slow tempo, slower -- especially in even meter -- than
628 @ref{andante} and faster than @ref{largo}.
630 @item A movement in slow tempo, especially the second (slow) movement
631 of @ref{sonata}s, symphonies, etc.
642 D: Allegro, Schnell, Fröhlich, Lustig,
646 FI: allegro, nopeasti.
648 It.@: cheerful. Quick tempo. Also used as a title for pieces in a quick
649 tempo, especially the first and last movements of a @ref{sonata}.
659 NL: verhoging of verlaging,
662 FI: kromaattinen merkki, muunnemerkki.
664 An alteration is the modification, raising or lowering, of a note's
665 pitch. It is established by an @ref{accidental}.
678 FI: altto, matala naisääni.
680 A female voice of low range (@emph{contralto}). Originally the alto
681 was a high male voice (hence the name), which by the use of falsetto
682 reached the height of the female voice. This type of voice is also
683 known as @ref{countertenor}.
689 ES: clave de do en tercera,
690 I: chiave di contralto,
691 F: clef d'ut troisième ligne,
692 D: Altschlüssel, Bratschenschlüssel,
698 C clef setting middle C on the middle line of the staff.
715 FI: ambitus, ääniala, soitinala.
717 [Latin: past participle of @emph{ambire}, @q{to go around}; plural: ambitus]
718 Denotes a range of pitches for a given voice in a part of music. It may
719 also denote the pitch range that a musical instrument is capable of playing.
720 Sometimes anglicized to @emph{ambit} (pl. @emph{ambits}).
735 An anacrusis (also known as pickup or upbeat) is an incomplete measure
736 of music before a section of music. It also refers to the initial
737 note(s) of a melody occurring in that incomplete measure.
741 @ref{measure}, @ref{meter}.
743 @lilypond[fragment,line-width=13.0\cm]
747 \partial 4 f4 | bes4. a8 bes4 c |
748 bes( a) g f | bes4. a8 bes4 c | f,2. \bar "||" }
752 @node ancient minor scale
753 @section ancient minor scale
755 ES: escala menor natural,
756 I: scala minore naturale,
757 F: forme du mode mineur ancien, troisème mode, mode hellénique,
758 D: reines Moll, natürliches Moll,
759 NL: authentieke mineurtoonladder,
762 FI: luonnollinen molliasteikko.
764 @lilypond[fragment,notime,line-width=13.0\cm]
765 \set Score.automaticBars = ##f
772 @ref{diatonic scale}.
787 Walking tempo/character.
791 @section appoggiatura
795 F: appoggiature, (port de voix),
796 D: Vorschlag, Vorhalt
800 FI: appoggiatura, etuhele.
802 Ornamental note, usually a second, that is melodically connected with
803 the main note following it. In music before the 19th century
804 appoggiature were usually performed on the beat, after that mostly
805 before the beat. While the short appoggiatura is performed as a short
806 note regardless of the duration of the main note the duration of the
807 long appoggiatura is proportional to that of the main note.
809 @lilypond[line-width=13.0\cm]
810 \context Voice \relative c'' {
814 %\override Score.TextScript #'font-style = #'large
815 <d a fis>4_"notation" r
816 { \override Stem #'flag-style = #'()
818 \revert Stem #'flag-style
821 { \override Stem #'flag-style = #'()
823 \revert Stem #'flag-style
826 \cadenzaOn a4 \bar "||" \cadenzaOff
828 <d, a fis>4_"performance" r g16 ( fis) e fis a ( g) fis g |
829 \cadenzaOn a4 \bar "||" \cadenzaOff
833 An appoggiatura may have more notes preceding the main note.
835 @lilypond[line-width=13.0\cm]
839 % \override Score.TextScript #'font-style = #'large
840 \grace { bes16 } as8_"notation" as16 bes as8 g |
841 \grace { as16[( bes] } < c as >4-)
842 \grace { as16[( bes] } < c as >4-) \bar "||"
843 \grace { bes16 } as8_"performance" as16 bes as8 g |
844 << \context Voice = va { \stemUp\tieUp as32 bes c8. as32 bes c8. }
845 \context Voice = vb { \stemDown\tieDown as16 ~ as8. as16 ~ as8. } >>
857 D: Arpeggio, Akkordbrechungen, gebro@-chener Akkord,
859 DK: arpeggio, akkordbrydning,
861 FI: arpeggio, murtosointu.
863 @lilypond[fragment,line-width=13.0\cm]
864 \context PianoStaff <<
865 \context Staff = SA \relative c'' {
868 r8 g16 c e g, c e r8 g,16 c e g, c e |
869 r8 a,16 d f a, d f r8 a,16 d f a, d f \bar "||" }
870 \context Staff = SB \relative c' {
872 << \context Voice = va {
874 r16 e8. ( e4) r16 e8. ( e4) |
875 r16 d8. ( d4) r16 d8. ( d4) }
876 \context Voice = vb {
885 @section articulation
894 FI: artikulaatio, ilmaisu.
896 Articulation refers to notation which indicates how a note or notes
897 should be played. Slurs, accents, staccato, and legato are all
898 examples of articulation.
901 @node ascending interval
902 @section ascending interval
904 ES: intervalo ascendente,
905 I: intervallo ascendente,
906 F: intervalle ascendant,
907 D: steigendes Intervall,
908 NL: stijgend interval,
909 DK: stigende interval,
910 S: stigande intervall,
911 FI: nouseva intervalli.
913 A distance between a starting lower note and a higher ending note.
916 @node augmented interval
917 @section augmented interval
919 ES: intervalo aumentado,
920 I: intervallo aumentato,
921 F: intervalle augmenté,
922 D: übermäßiges Intervall,
923 NL: overmatig interval,
924 DK: forstørret interval,
925 S: överstigande intervall,
926 FI: ylinouseva intervalli.
934 @section augmentation
943 FI: augmentaatio, harvennus.
945 @c TODO: add definition.
947 This is a placeholder for augmentation (wrt mensural notation).
951 @ref{diminution}, @ref{mensural notation}.
959 F: manuscrit, autographe
960 D: Autograph, Handschrift,
962 DK: håndskrift, autograf,
964 FI: käsinkirjoitettu nuotti.
968 @item A manuscript written in the composer's own hand.
970 @item Music prepared for photoreproduction by freehand drawing, with
971 the aid of a straightedge ruler and T-square only, which attempts to
972 emulate engraving. This required more skill than did engraving.
1015 ES: barra, línea divisoria,
1016 I: stanghetta, barra (di divisione),
1017 F: barre (de mesure),
1035 FI: baritoni, keskikorkuinen miesääni.
1037 The male voice intermediate between the @ref{bass} and the
1040 @c F: clef de troisième ligne dropped
1044 @section baritone clef
1046 ES: clave de fa en tercera,
1047 I: chiave di baritono,
1048 F: clef d' Ut cinquième ligne, clef de Fa troisième,
1049 D: Baritonschlüssel,
1055 C or F clef setting middle C on the upper staff line.
1059 @ref{C clef}, @ref{F clef}.
1072 FI: basso, matala miesääni.
1076 @item The lowest male voice.
1078 @item Sometimes, especially in jazz music, used as an abbreviation for
1091 ES: clave de fa en cuarta,
1093 F: clef de fa quatrième ligne,
1100 A clef setting with middle C on the first top ledger line.
1119 Line connecting a series of notes (shorter than a quarter note). The
1120 number of beams determines the note value of the connected notes.
1122 @lilypond[fragment,notime,line-width=13.0\cm]
1123 \set Score.automaticBars = ##f
1124 %\override TextScript #'font-style = #'large
1126 g8_"1/8"[ g g g] s16
1127 g16_"1/16"[ g g g] s16
1128 g32_"1/32"[ s32 g32 s32 g32 s32 g32] s16
1129 g64_"1/64"[ s32 g64 s32 g64 s32 g64] s32 }
1134 @ref{feathered beam}.
1140 ES: tiempo, parte (de compás)
1143 D: Takt, Taktschlag, Zeit (im Takt),
1149 Note value used for counting, most often half-, fourth-, and eighth
1150 notes. The base counting value and the number of them per measure is
1151 indicated at the start of the music.
1153 @lilypond[fragment,line-width=13.0\cm]
1156 \relative c'' { g4 c b a | g1 \bar "||"}
1158 \relative c'' { g8 d' c | b c a | g4. \bar "||"}
1163 @section beat repeat
1167 @ref{percent repeat}.
1181 ES: llave, corchete,
1184 D: Klammer, Akkolade,
1185 NL: accolade, teksthaak,
1188 FI: yhdistävä sulkumerkki.
1190 Symbol at the start of a system connecting staves.
1192 Curly braces are used for connecting piano staves, and sometimes for connecting
1193 the staves of like instruments in an orchestral score when written on different
1194 staves (e.g. first and second flutes):
1196 @lilypond[fragment,ragged-right]
1197 \context GrandStaff <<
1198 \relative c''\context Staff = SA { \clef treble g4 e c2 }
1199 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1202 Angular brackets for connecting parts in an orchestral or choral score:
1204 @lilypond[fragment,ragged-right]
1205 \context StaffGroup <<
1206 % \set StaffGroup.minVerticalAlign = #12
1207 \relative c'' \context Staff = SA { \clef treble g4 e c2 }
1208 \relative c \context Staff = SB { \clef bass c1 \bar "|." } >>
1235 NL: koper (blazers),
1238 S: brassinstrument, mässingsinstrument,
1241 A family of blown musical instruments made of brass, all using a cup
1242 formed mouth piece. The brass instruments commonly used in a symphony
1243 orchestra are trumpet, trombone, french horn, and tube.
1247 @section breath mark
1252 D: Atemzeichen, Trennungszeichen,
1253 NL: repercussieteken,
1254 DK: vejrtrækningstegn,
1258 Indication of where to breathe in vocal and wind instrument parts.
1264 ES: cuadrada, breve,
1271 FI: brevis, kaksoiskokonuotti.
1273 Note value twice as long as a whole note. Mainly used in pre-1650 music.
1274 The shortest note value generally used in white mensural notation, hence the
1275 name, which originally meant @q{of short duration}.
1277 @lilypond[fragment,notime,ragged-right]
1278 \set Score.automaticBars = ##f
1279 \relative c'' { g\breve }
1284 @ref{mensural notation}, @ref{note value}.
1318 Clef symbol indicating the position of the middle C. Used on all note
1321 @lilypond[fragment,notime,line-width=13.0\cm]
1322 \set Score.automaticBars = ##f
1323 \override Score.Clef #'full-size-change = ##t
1325 \context Staff \relative c' {
1327 \clef mezzosoprano c
1332 \context Lyrics \lyrics {
1333 \override Lyrics .LyricText #'self-alignment-X = #-1
1334 "Soprano " "Mezzosoprano " "Alto " "Tenor " Baritone
1350 FI: kadenssi, lopuke.
1354 @ref{harmonic cadence}, @ref{functional harmony}.
1367 FI: kadenssi, lopuke.
1369 An extended, improvisatory style section inserted near the end of
1370 movement. The purpose of a cadenza is to give singers or players a
1371 chance to exhibit their technical skill and -- not last -- their
1372 ability to improvise. Since the middle of the 19th century, however,
1373 most cadenzas have been written down by the composer.
1386 FI: kaanon, tarkka jäljittely.
1403 FI: sentti, puolisävelaskeleen sadasosa tasavireisessä
1404 viritysjärjestelmässä.
1406 Logarithmic unit of measurement. 1@tie{}cent is 1/1200 of an octave
1407 (1/100 of an equally tempered @ref{semitone}).
1411 @ref{equal temperament}.
1434 Three or more tones sounding simultaneously. In traditional European music
1435 the base chord is a @emph{triad} consisting of two thirds. @emph{Major}
1436 (major + minor third) as well as @emph{minor} (minor + major third) chords
1437 may be extended with more thirds. Four-tone @emph{seventh chords} and
1438 five-tone @emph{ninth} major chords are most often used as dominants
1439 (functional harmony). Chords having no third above the lower notes to
1440 define their mood are a special case called @q{open chords}. The lack of
1441 the middle third means their quality is ambivalent: neither major nor minor.
1443 @lilypond[fragment,notime,line-width=13.0\cm]
1444 \set Score.automaticBars = ##f
1445 %\override TextScript #'font-style = #'large
1447 \context Staff \relative c'' {
1448 \set Staff.extraNatural = ##f
1469 @ref{functional harmony}, @ref{interval}, @ref{inversion}, @ref{quality},
1473 @node chromatic scale
1474 @section chromatic scale
1476 ES: escala cromática,
1478 F: gamme chromatique,
1479 D: chro@-ma@-ti@-sche Tonleiter,
1480 NL: chromatische toonladder,
1481 DK: kromatisk skala,
1483 FI: kromaattinen asteikko.
1485 A scale consisting of all 12 @ref{semitone}s.
1487 @lilypond[fragment,notime,line-width=13.0\cm]
1488 \set Score.automaticBars = ##f
1489 \relative c' { c1 cis d dis e f fis g gis a ais b c }
1494 @section chromaticism
1505 Use of tones extraneous to a @ref{diatonic scale} (minor, major).
1509 @section church mode
1511 ES: modo eclesiástico,
1512 I: modo ecclesiastico,
1513 F: mode ecclésiastique,
1518 FI: moodi, kirkkosävellaji.
1522 @ref{diatonic scale}.
1531 D: Schlüssel, Notenschlüssel,
1535 FI: avain, nuottiavain.
1539 @ref{C clef}, @ref{F clef}, @ref{G clef}.
1541 The clef indicates which lines of the staff correspond to which
1542 pitches. The three clef symbols in common use are:
1544 @lilypond[ragged-right,quote]
1547 \line { "The Treble or G clef: " \musicglyph #"clefs.G" }
1548 \line { "The Bass or F clef: " \musicglyph #"clefs.F" }
1549 \line { "The Alto or C clef: " \musicglyph #"clefs.C" }
1554 Imagine a large staff of 11 lines centered on middle C, sometimes
1555 called a @q{grand staff}, with the bottom line representing low G and
1556 the top line high F:
1558 @lilypond[ragged-right,quote]
1561 %-- Treble Staff --%
1563 % Allow this staff to be placed close to the others
1564 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-2 . 2)
1565 % Allow the treble clef to overlap the lower staves:
1566 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1567 \override Staff.Clef #'stencil = ##f % No clef required
1569 s1^\markup { "g," \transparent "g" }
1570 s^ \markup { "b," \transparent "g" }
1571 s^ \markup { "d" \transparent "g" }
1572 s^ \markup { "f" \transparent "g" }
1573 s^ \markup { "a" \transparent "g" }
1574 s^ \markup { \with-color #red c' \transparent "g"}
1575 e'^\markup { "e'" \transparent "g" }
1576 g'^\markup { "g'" \transparent "g" }
1577 b'^\markup { "b'" \transparent "g" }
1578 d''^\markup { "d''" \transparent "g" }
1579 f''^\markup { "f ''" \transparent "g" }
1582 %-- Alto Staff reduced to a single line on middle C --%
1584 \override Staff.StaffSymbol #'line-count = 1 % One line only
1585 \override Staff.StaffSymbol #'color = #red % Coloured red
1586 \override Staff.Clef #'stencil = ##f % No clef required
1589 % Allow this staff to be placed close to the others
1590 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1591 % Specify height to give correct spacing between treble and bass staves
1592 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1594 s1 s s s s % Space along to align horizonatally
1595 \override NoteHead #'color = #red
1597 s1 s s s s s % Keep staff (ie the red line) showing
1601 % Allow this staff to be placed close to the others
1602 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(-3 . 2)
1603 \override Staff.Clef #'stencil = ##f % No clef required
1606 s s s s s s s % Keep staff showing
1610 % Reduce horizontal spacing so semibreves can be used without exceeding 1 line
1611 \context { \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 1 1)
1613 % Reduce apparent vertical size of note heads to permit them to overlap other grobs vertically
1614 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1616 % Remove all barlines
1617 \context { \Score \override BarLine #'stencil = ##f
1619 % Remove time signature from all staves
1620 \context { \Staff \remove Time_signature_engraver
1626 Staves of five lines are usually used, and the clef superimposed on
1627 them indicates which five lines have been selected from this
1628 @samp{grand staff}. For example, the treble or G clef indicates that
1629 the top five lines have been selected:
1631 @lilypond[ragged-right,quote]
1634 %-- Treble Staff --%
1636 % Allow this staff to be placed close to the others
1637 \override Staff.VerticalAxisGroup
1638 #'minimum-Y-extent = #'(0 . 0)
1639 % Allow the treble clef to overlap the lower staves:
1640 % \override Staff.Clef #'Y-extent = #'(0 . 0)
1641 \override Staff.Clef #'stencil = ##f % No clef required here
1643 s1^\markup { "g," \transparent "g" }
1644 s^ \markup { "b," \transparent "g" }
1645 s^ \markup { "d" \transparent "g" }
1646 s^ \markup { "f" \transparent "g" }
1647 s^ \markup { "a" \transparent "g" }
1648 s^ \markup { \with-color #red c' \transparent "g"}
1649 \stopStaff \startStaff
1650 \clef "C" % Dummy to force next clef to be printed
1651 s % Need at least one note for \clef to take effect
1652 \override Staff.Clef #'stencil = ##t % Clef now required
1653 \override Staff.Clef #'Y-extent = #'(0 . 0) % Permit overlap
1655 e'^\markup { "e'" \transparent "g" }
1656 g'^\markup { "g'" \transparent "g" }
1657 b'^\markup { "b'" \transparent "g" }
1658 d''^\markup { "d''" \transparent "g" }
1659 f''^\markup { "f ''" \transparent "g" }
1661 %-- Alto Staff reduced to a single line on middle C --%
1663 \override Staff.StaffSymbol #'line-count = 1 % One line only
1664 \override Staff.StaffSymbol #'color = #red % Coloured red
1665 \override Staff.Clef #'stencil = ##f % No clef required
1668 % Allow this staff to be placed close to the others
1669 \override Staff.VerticalAxisGroup
1670 #'minimum-Y-extent = #'(0 . 0)
1671 % Specify height to give correct spacing between the staves
1672 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1674 s1 s s s s % Space along to align horizonatally
1675 \override NoteHead #'color = #red
1677 % s1 s s s s % Keep staff (ie the red line) showing
1681 % Allow this staff to be placed close to the others
1682 \override Staff.VerticalAxisGroup
1683 #'minimum-Y-extent = #'(0 . 0)
1684 \override Staff.Clef #'stencil = ##f % No clef required
1687 % s s s s s s % Keep staff showing
1691 % Reduce horizontal spacing so semibreves can be used
1692 % without exceeding 1 line
1693 \context { \Score \override SpacingSpanner
1694 #'base-shortest-duration = #(ly:make-moment 1 1)
1696 % Reduce apparent vertical size of note heads to
1697 % permit them to overlap other grobs vertically
1698 \context { \Score \override NoteHead #'Y-extent = #'(0 . 0)
1700 % Remove all barlines
1701 \context { \Score \override BarLine #'stencil = ##f
1703 % Remove time signature from all staves
1704 \context { \Staff \remove Time_signature_engraver
1710 The @q{curl} of the G clef is centered on the line that represents the
1713 In the same way, the bass or F clef indicates that the bottom five
1714 lines have been selected from the @samp{grand staff}, and the alto or
1715 C clef indicates the middle five lines have been selected. This
1716 relationship is shown below, where the notes show an arpeggio on a C
1719 @lilypond[ragged-right,quote]
1722 %-- Treble Staff --%
1723 \new Staff = "G" \with {
1724 \remove Time_signature_engraver
1727 % The following two overrides are required to make the two middle C's overlap
1728 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1729 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1731 \override Staff.Clef #'Y-extent = #'(0 . 0)
1733 s1 s s s s e' g' c''
1736 \new Staff = "C" \with {
1737 \remove Time_signature_engraver
1740 \override Staff.StaffSymbol #'line-count = 1
1741 \override Staff.StaffSymbol #'stencil = ##f
1742 \once \override Staff.Clef #'stencil = ##f
1743 \clef "G" % A frig. This clef is invisible; use G to force the later C clef to be shown
1744 \override Score.BarLine #'stencil = ##f
1746 % The following two overrides are required to align the C staff to the G and F staves
1747 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1748 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1751 \stopStaff \startStaff
1752 \override Staff.VerticalAxisGroup #'Y-extent = #'(-1 . 1)
1753 \revert Staff.StaffSymbol #'stencil
1754 \override Staff.StaffSymbol #'color = #red
1755 b'1 % A frig. This really shows as a middle C in the score
1757 \stopStaff \startStaff
1758 \override Staff.StaffSymbol #'line-count = 5
1759 \override Staff.StaffSymbol #'Y-extent = #'(0 . 0)
1760 \override Staff.Clef #'Y-extent = #'(0 . 0)
1761 \revert Staff.StaffSymbol #'color
1762 \stopStaff \startStaff
1764 s1 s s c e g c' e' g' c''
1767 \new Staff = "F" \with {
1768 \remove Time_signature_engraver
1771 \override Staff.Clef #'Y-extent = #'(0 . 0)
1772 % The following two overrides are required to make the two middle C's overlap
1773 \override Staff.VerticalAxisGroup #'minimum-Y-extent = #'(0 . 0)
1774 \override Staff.VerticalAxisGroup #'Y-extent = #'(-2 . 2)
1782 \Score \override SpacingSpanner #'base-shortest-duration = #(ly:make-moment 2 1)
1785 \Score \override NoteHead #'Y-extent = #'(0 . 0)
1788 \Score \override NoteHead #'minimum-Y-extent = #'(0 . 0)
1805 FI: klusteri, cluster.
1807 A @emph{cluster} is a range of simultaneously sounding pitches that
1808 may change over time. The set of available pitches to apply usually
1809 depends on the acoustic source. Thus, in piano music, a cluster
1810 typically consists of a continuous range of the semitones as provided
1811 by the piano's fixed set of a chromatic scale. In choral music, each
1812 singer of the choir typically may sing an arbitrary pitch within the
1813 cluster's range that is not bound to any diatonic, chromatic or other
1814 scale. In electronic music, a cluster (theoretically) may even cover
1815 a continuous range of pitches, thus resulting in colored noise, such
1818 Clusters can be denoted in the context of ordinary staff notation by
1819 engraving simple geometrical shapes that replace ordinary notation of
1820 notes. Ordinary notes as musical events specify starting time and
1821 duration of pitches; however, the duration of a note is expressed by
1822 the shape of the note head rather than by the horizontal graphical
1823 extent of the note symbol. In contrast, the shape of a cluster
1824 geometrically describes the development of a range of pitches
1825 (vertical extent) over time (horizontal extent). Still, the
1826 geometrical shape of a cluster covers the area in which any single
1827 pitch contained in the cluster would be notated as an ordinary note.
1829 @lilypond[fragment,relative=2,ragged-right]
1830 \makeClusters { <c e> <b f'> <b g'> <c g> <f e> }
1844 FI: komma, korvinkuultava ero äänenkorkeudessa.
1846 Difference in pitch between a note derived from pure tuning and the
1847 same note derived from some other tuning method.
1851 @ref{didymic comma}, @ref{Pythagorean comma}, @ref{syntonic comma},
1856 @section common meter
1866 @section common time
1871 D: Vier-Viertel-Takt,
1877 4/4 time. The symbol, which resembles a capital letter C, derives from
1882 @ref{mensural notation}, @ref{meter}.
1888 ES: intervalo invertido,
1890 F: intervalle complémentaire,
1891 D: Komplementärintervall,
1892 NL: complementair interval,
1893 DK: komplementærinterval,
1894 S: komplementärintervall (?),
1895 FI: täydentävä intervalli.
1899 @ref{inverted interval}.
1902 @node compound interval
1903 @section compound interval
1905 ES: intervalo compuesto,
1906 I: intervallo composto,
1907 F: intervalle composé,
1908 D: weites Intervall,
1909 NL: samengesteld interval,
1910 DK: sammensat interval,
1911 S: sammansatt intervall,
1912 FI: oktaavia laajempi intervalli.
1914 Intervals larger than an octave.
1921 @node compound meter
1922 @section compound meter
1924 ES: compás compuesto, compás de subdivisión ternaria,
1931 FI: kolmijakoinen rytmi.
1933 A meter that includes a triplet subdivision within the beat, such as
1938 @ref{meter}, @ref{simple meter}.
1942 @section compound time
1944 ES: compás compuesto, compás de amalgama (def. 2),
1947 D: Dreiertakt, Wechseltakt,
1956 A meter that includes a triplet subdivision within the beat: see
1957 @ref{compound meter}.
1960 A time signature that additively combines two or more unequal meters, e.g.
1961 "3/8 + 2/8" instead of "5/8". Sometimes called additive time signatures.
1963 @lilypond[fragment,line-width=13.0\cm]
1964 #(define (compound-time grob one two three num)
1966 (ly:grob-layout grob)
1967 '(((baseline-skip . 2)
1969 (font-family . number)))
1971 #:line ( #:column (one) "+" #:column (two num) "+" #:column (three)))))
1975 #(set-time-signature 8 8 '(3 2 3))
1976 \override Staff.TimeSignature #'stencil
1977 = #(lambda (grob) (compound-time grob "3" "2" "3" "8"))
1978 #(override-auto-beam-setting '(end 1 8 8 8) 3 8)
1979 #(override-auto-beam-setting '(end 1 8 8 8) 5 8)
1980 \set Staff.beatGrouping = #'(3 2 3)
1982 c8 d e f4 d8 c bes | c4 g'8 e c f4. \bar "||"
1990 @ref{compound meter}, @ref{meter}.
1994 @section concert pitch
1996 ES: en Do, afinación de concierto,
2005 The pitch at which the piano and other nontransposing instruments play: such
2006 instruments are said to be @q{in C}. The following list includes some (but not
2007 all) instruments that play in concert pitch:
2021 @item tenor trombone
2036 The trombones are a special case: although they are said to be @q{in F} (alto or
2037 bass) or @q{in B-flat} (tenor), this refers to their fundamental note, not to
2038 their parts' transposition. (In fact, the trombones' parts are written at
2039 concert pitch with an appropriate clef -- alto, tenor or bass.) This differs
2040 from other instruments @q{in F}, @q{in B-flat}, and so on, which are transposing
2043 Instruments that play @q{in C} but in a different octave than what is written
2044 are, technically speaking, @emph{transposing instruments}:
2048 @item piccolo (plays an octave higher)
2049 @item celesta (plays an octave higher)
2050 @item double-bass (plays an octave lower)
2056 @ref{transposing instrument}.
2059 @node conjunct movement
2060 @section conjunct movement
2062 ES: movimiento conjunto,
2064 F: mouvement conjoint,
2065 D: schritt@-weise, stufenweise Bewegung,
2066 NL: stapsgewijze, trapsgewijze beweging,
2067 DK: trinvis bevægelse,
2069 FI: asteittainen liike.
2071 Progressing melodically by intervals of a second. The opposite of a
2072 @ref{disjunct movement}.
2074 @lilypond[fragment,line-width=13.0\cm]
2075 \key g \major \time 4/4
2076 \relative c'' { g4 g g a | b2 a | g4 b a a | g1 \bar "||" }
2090 FI: konsonanssi, sopusointi.
2115 @section copying music
2117 A music copyist did fast freehand scores and parts on preprinted staff
2118 lines for performance. Some of their conventions (e.g., the placement
2119 of note heads on stems) varied slightly from those of engravers. Some
2120 of their working methods were superior and could well be adopted by
2123 @c Copying music required more skill than engraving. Flagged for NPOV
2127 @section counterpoint
2136 FI: kontrapunkti, ääni ääntä vastaan.
2138 From Latin @emph{punctus contra punctum}, note against note. The
2139 combination into a single musical fabric of lines or parts which have
2140 distinct melodic significance. A frequently used polyphonic technique
2141 is imitation, in its strictest form found in the canon needing only
2142 one part to be written down while the other parts are performed with a
2143 given displacement. Imitation is also the contrapunctal technique
2144 used in the @emph{fugue} which, since the music of the baroque era,
2145 has been one of the most popular polyphonic composition methods.
2147 @lilypond[fragment,staffsize=12,line-width=13.0\cm]
2148 \set Score.implicitTimeSignatureVisibility = #all-invisible
2149 \override Score.TimeSignature #'break-visibility = #all-invisible
2150 \context PianoStaff <<
2151 \context Staff = SA \relative c' {
2155 << \context Voice = rha {
2157 r1 | r2 r8 g'8 bes d, |
2158 cis4 d r8 e!16 f g8 f16 e |
2159 f8 g16 a bes8 a16 g a8
2161 \context Voice = rhb {
2167 \context Staff = SB \relative c' {
2170 << \context Voice = lha {
2172 r8 d es g, fis4 g | r8 a16 bes c8 bes16 a bes4 g |
2173 r8 a16 g f8 g16 a bes8 g e! cis' |
2176 \context Voice = lhb {
2186 @section countertenor
2191 D: Countertenor, Kontratenor,
2194 S: kontratenor, counter tenor,
2208 D: Crescendo, lauter werden,
2212 FI: cresendo, voimistuen.
2214 Increasing volume. Indicated by a rightwards opening horizontal wedge
2215 (hairpin) or the abbreviation @samp{cresc.}.
2217 @lilypond[fragment,ragged-right]
2218 \key g \major \time 4/4
2219 \relative c'' { g4 \< a b c | d1\! \bar "|." }
2228 F: petites notes précédent l'entrée d'un instrument, réplique,
2235 In a separate part notes belonging to another part with the purpose of
2236 hinting when to start playing. Usually printed in a smaller type.
2245 D: Notenzeiger, Custos,
2251 A custos (plural: custodes) is a staff symbol that appears at the end
2252 of a staff line with monophonic musical contents (i.e., with a single
2253 voice). It anticipates the pitch of the first note of the following
2254 line and thus helps the player or singer to manage line breaks during
2255 performance, thus enhancing readability of a score.
2257 Custodes were frequently used in music notation until the 16th
2258 century. There were different appearences for different notation
2259 styles. Nowadays, they have survived only in special forms of musical
2260 notation such as via the Editio Vaticana dating back to the beginning
2266 % \override Staff.Custos #'neutral-position = #4
2267 \override Staff.Custos #'neutral-direction = #down
2268 \override Staff.Custos #'style = #'hufnagel
2276 \consists Custos_engraver
2308 F: da capo, depuis le commencement,
2309 D: da capo, von Anfang,
2313 FI: da capo, alusta.
2315 Abbreviated @samp{D.C.}. Indicates that the piece is to be repeated from
2316 the beginning to the end or to a certain place marked @emph{fine}.
2324 F: dal segno, depuis le signe,
2325 D: dal segno, ab dem Zeichen,
2329 FI: dal segno, lähtien merkistä.
2331 Abbreviated @samp{D.S.}. Repetition, not from the beginning, but from
2332 another place frequently near the beginning marked by a sign:
2334 @lilypond[fragment,ragged-right]
2335 %\override TextScript #'font-style = #'large
2336 \override TextScript #'font-shape = #'italic
2337 \key g \major \time 4/4
2342 \line { "D.S. " \tiny \raise #1 \musicglyph #"scripts.segno" } }
2349 @section decrescendo
2353 D: Decrescendo, leiser werden,
2357 FI: decresendo, hiljentyen.
2359 Decreasing tone volume. Indicated by a leftwards opening horizontal
2360 wedge (hairpin) or the abbreviation @samp{decresc.}.
2362 @lilypond[fragment,ragged-right]
2364 \key g \major \time 4/4
2365 d4 \> c b a | g1 \! \bar "|."
2370 @node descending interval
2371 @section descending interval
2373 ES: intervalo descendente,
2374 I: intervallo discendente,
2375 F: intervalle descendant,
2376 D: fallendes Intervall, absteigendes Intervall,
2377 NL: dalend interval,
2378 DK: faldende interval,
2379 S: fallande intervall,
2380 FI: laskeva intervalli.
2382 A distance between a starting higher note and a lower ending note.
2385 @node diatonic scale
2386 @section diatonic scale
2388 ES: escala diatónica,
2390 F: gamme diatonique,
2391 D: diatonische Tonleiter,
2392 NL: diatonische toonladder,
2393 DK: diatonisk skala,
2395 FI: diatoninen asteikko.
2397 A scale consisting of 5@w{ }@ref{whole tone}s and 2@w{ }@ref{semitone}s (S).
2398 Scales played on the white keys of a piano keybord are diatonic; and these
2399 scales are sometimes called, somewhat inaccurately, @q{church modes}).
2401 These @q{modes} are used in Gregorian chant and in pre-baroque early music
2402 but also to some extent in newer jazz music.
2404 @lilypond[fragment,notime,ragged-right]
2405 \set Score.automaticBars = ##f
2406 %\override Score.LyricText #'font-style = #'large
2407 %\override Score.TextScript #'font-style = #'large
2409 \context Staff \relative c' {
2411 \override TextScript #'padding = #-4
2412 e^"~~ S" f g a b^"~~ S" c
2414 \context Lyrics \lyrics {
2420 @lilypond[fragment,notime,ragged-right]
2421 \set Score.automaticBars = ##f
2423 \context Staff \relative c' {
2425 \override TextScript #'padding = #-4
2426 e^"~~ S" f g a b^"~~ S" c d
2434 @lilypond[fragment,notime,ragged-right]
2435 \set Score.automaticBars = ##f
2438 \override TextScript #'padding = #-4
2439 e1^"~~ S" f g a b^"~~ S" c d e
2447 @lilypond[fragment,notime,ragged-right]
2448 \set Score.automaticBars = ##f
2452 \override TextScript #'padding = #-4
2453 b^"~~ S" c d e^"~~ S" f
2461 @lilypond[fragment,notime,ragged-right]
2462 \set Score.automaticBars = ##f
2466 \override TextScript #'padding = #-4
2467 b^"~~ S" c d e^"~~ S" f g }
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
2481 \override TextScript #'padding = #-4
2482 b^"~~ S" c d e^"~~ S" f g a
2490 @lilypond[fragment,notime,ragged-right]
2491 \set Score.automaticBars = ##f
2492 %\override Score.LyricText #'font-style = #'large
2493 %\override Score.TextScript #'font-style = #'large
2496 \override TextScript #'padding = #-4
2497 b1^"~~ S" c d e^"~~ S" f g a b
2505 From the beginning of the 17th century the scales used in European
2506 compositional music are primarily the major and the minor scales. In
2507 the harmonic minor scale type an augmented second (A) occurs between
2508 the 6th and 7th tone.
2510 @lilypond[fragment,notime,ragged-right]
2511 \set Score.automaticBars = ##f
2515 \override TextScript #'padding = #-4
2516 e^"~~ S" f g a b^"~~ S" c
2524 @lilypond[fragment,notime,ragged-right]
2525 \set Score.automaticBars = ##f
2529 \override TextScript #'padding = #-4
2530 b^"~~ S" c d e^"~~ S" f g a
2538 @lilypond[fragment,notime,ragged-right]
2539 \set Score.automaticBars = ##f
2543 \override TextScript #'padding = #-4
2544 b^"~~ S" c d e^"~~ S" f!^"~~ A" gis^"~~ S" a
2546 \context Lyrics \lyrics {
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 b^"~~ S" c d e fis gis^"~~ S" a
2563 "Melodic minor ascending"
2568 @lilypond[fragment,notime,line-width=13.0\cm]
2569 \set Score.automaticBars = ##f
2570 %\override Score.LyricText #'font-style = #'large
2571 %\override Score.TextScript #'font-style = #'large
2575 \override TextScript #'padding = #-4
2576 a g! f!^"~~ S" e d c^"~~ S" b a
2579 "Melodic minor descending"
2586 @section didymic comma
2590 @ref{syntonic comma}.
2593 @node diminished interval
2594 @section diminished interval
2596 ES: intervalo disminuido,
2597 I: intervallo diminuito,
2598 F: intervalle diminué,
2599 D: vermindertes Intervall,
2600 NL: verminderd interval,
2601 DK: formindsket interval,
2602 S: förminskat intervall,
2603 FI: vähennetty intervalli.
2620 FI: diminuendo, hiljentyen.
2633 D: Diminution, Verkleinerung,
2637 FI: diminuutio, tihennys.
2639 @c TODO: add definition
2641 This is a placeholder for diminution (wrt mensural notation).
2645 @ref{augmentation}, @ref{mensural notation}.
2665 @node disjunct movement
2666 @section disjunct movement
2668 ES: movimiento disjunto,
2670 F: mouvement disjoint,
2671 D: sprunghafte Bewegung,
2672 NL: sprongsgewijze beweging,
2673 DK: springende bevægelse,
2674 S: hoppande rörelse,
2675 FI: melodian hyppivä liike.
2677 Progressing melodically by intervals larger than a major second, as
2678 opposed to @ref{conjunct movement}.
2680 @lilypond[fragment,ragged-right]
2685 a4. gis8 b a e cis |
2686 fis2 d4. \bar "||" }
2693 @ref{dissonant interval}.
2696 @node dissonant interval
2697 @section dissonant interval
2699 ES: intervalo disonante, disonancia,
2700 I: intervallo dissonante, dissonanza,
2703 NL: dissonant interval, dissonant,
2704 DK: dissonerende interval, dissonans,
2706 FI: dissonanssi, dissonoiva intervalli, riitasointi.
2725 [Latin: @q{division}: pl. @emph{divisiones}] In Gregorian chant, a
2726 vertical stroke through part or all of the staff that serves to
2727 structure a chant into phrases and sections. There are four types:
2731 @item @emph{divisio minima}, a short pause
2733 @item @emph{divisio maior}, a medium pause
2735 @item @emph{divisio maxima}, a long pause
2737 @item @emph{finalis}, to indicate the end of a chant, or the end of a
2738 section in a long antiphonal or responsorial chant.
2742 TODO: musical example here?
2761 Indicator for a indeterminately rising pitch bend. Compare with
2762 @emph{glissando}, which has determinate starting and ending pitches.
2766 @ref{fall}, @ref{glissando}.
2779 FI: dominantti, huippusointu.
2781 The fifth @ref{scale degree} in @ref{functional harmony}.
2784 @node dominant ninth chord
2785 @section dominant ninth chord
2787 ES: acorde de novena de dominante,
2788 I: accordo di nona di dominante,
2789 F: accord de neuvième dominante,
2790 D: Domi@-nant@-nonen@-akkord,
2791 NL: dominant noon akkoord,
2792 DK: dominantnoneakkord,
2793 S: dominantnonackord,
2794 FI: dominanttinoonisointu.
2798 @ref{chord}, @ref{functional harmony}.
2801 @node dominant seventh chord
2802 @section dominant seventh chord
2804 ES: acorde de séptima de dominante,
2805 I: accordo di settima di dominante,
2806 F: accord de septième dominante,
2807 D: Dominantseptakkord,
2808 NL: dominant septiem akkoord,
2809 DK: dominantseptimakkord,
2810 S: dominantseptimackord,
2811 FI: dominanttiseptimisointu.
2815 @ref{chord}, @ref{functional harmony}.
2819 @section dorian mode
2824 D: dorisch, dorischer Kirchenton,
2825 NL: dorische toonladder,
2832 @ref{diatonic scale}.
2835 @node dot (augmentation dot)
2836 @section dot (augmentation dot)
2839 I: punto (di valore),
2841 D: Punkt (Verlängerungspunkt),
2849 @ref{dotted note}, @ref{note value}.
2853 @section dotted note
2855 ES: nota con puntillo,
2859 NL: gepuncteerde noot,
2862 FI: pisteellinen nuotti.
2869 @node double appoggiatura
2870 @section double appoggiatura
2872 ES: apoyatura doble,
2873 I: appoggiatura doppia,
2874 F: appoggiature double,
2875 D: doppelter Vorschlag,
2876 NL: dubbele voorslag,
2877 DK: dobbelt forslag,
2879 FI: kaksoisappogiatura, kaksoisetuhele.
2886 @node double bar line
2887 @section double bar line
2893 NL: dubbele maatstreep,
2896 FI: kaksoistahtiviiva.
2898 Indicates the end of a section within a movement.
2901 @node double dotted note
2902 @section double dotted note
2904 ES: nota con doble puntillo,
2905 I: nota doppiamente puntata,
2906 F: note doublement pointée,
2907 D: doppelt punktierte Note,
2908 NL: dubbelgepuncteerde noot,
2909 DK: dob@-belt@-punk@-te@-ret node,
2910 S: dub@-bel@-punk@-te@-rad not,
2911 FI: kaksoispisteellinen nuotti.
2919 @section double flat
2928 FI: kaksoisalennusmerkki.
2936 @section double sharp
2938 ES: doble sostenido,
2943 DK: dob@-belt@-kryds,
2945 FI: kaksoisylennysmerkki.
2952 @node double time signature
2953 @section double time signature
2958 D: Doppeltakt, Wechseltakt,
2966 @ref{polymetric time signature}.
2970 @section double trill
2976 NL: dubbele triller,
2981 A simultaneous trill on two notes, usually in the distance of a third.
2985 @section duple meter
2990 D: in zwei, grader Takt,
2991 NL: tweedelige maatsoort,
3028 FI: kesto, aika-arvo.
3038 ES: dinámica, matices,
3041 D: Dynamik, Lautstärke,
3045 FI: dynamiikka, voimakkuusvaihtelut.
3047 The aspect of music relating to degrees of loudness, or changes from
3048 one degree to another. The terms, abbreviations, and symbols used to
3049 indicate this information are called dynamic marks.
3053 @ref{piano}, @ref{forte}, @ref{crescendo}, @ref{decrescendo},
3076 @node ecclesiastical mode
3077 @section ecclesiastical mode
3085 @section eighth note
3092 @item D: Achtel, Achtelnote
3093 @item NL: achtste noot
3094 @item DK: ottendedelsnode
3095 @item S: åttondelsnot
3096 @item FI: kahdeksasosanuotti
3105 @section eighth rest
3108 @item UK: quaver rest
3109 @item ES: silencio de corchea
3110 @item I: pausa di croma
3111 @item F: demi-soupir
3112 @item D: Achtelpause
3113 @item NL: achtste rust
3114 @item DK: ottendedelspause
3115 @item S: åttonddelspaus
3116 @item FI: kahdeksasosatauko
3127 @c TODO: add languages
3132 D: Elision, Auslassung,
3138 More properly synalepha [New Lat. > Gr. συναλοιφη, from Greek συναλοιφην @q{to
3141 The singing of several syllables on a single note. Elision may be indicated
3142 by a lyric tie, which is looks like (and serves the same function) as a
3151 @section embellishment
3164 D: Notenstich, Notendruck
3170 Engraving means incising or etching a metal plate for printing.
3171 Photoengraving means drawing music with ink in a manner similar to
3172 drafting or engineering drawing, using similar tools.
3174 The traditional process of music printing is done through cutting in a
3175 plate of metal. Now also the term for the art of music typesetting.
3190 Two notes, intervals, or scales are enharmonic if they have different
3191 names but equal pitch.
3193 @lilypond[fragment,notime,line-width=13.0\cm]
3194 \set Score.automaticBars = ##f
3196 \context Staff \relative c'' {
3197 gis1 as <des g,!> <cis g!>
3199 \context Lyrics \lyrics {
3200 \override Lyrics .LyricText #'self-alignment-X = #-1
3201 "g sharp " "a flat " "dim fifth " "augm fourth"
3207 @node equal temperament
3208 @section equal temperament
3210 ES: temperamento igual,
3211 I: temperamento equabile,
3212 F: tempérament égal,
3213 D: gleichschwebende Stimmung,
3214 NL: ge@-lijk@-zwe@-ven@-de temperatuur,
3215 DK: ligesvævende temperatur,
3216 S: liksvävande temperatur,
3219 Tuning system dividing the octave into 12 equal @ref{semitone}s
3220 (precisely 100 @ref{cent}s).
3227 @node expression mark
3228 @section expression mark
3231 I: segno d'espressione,
3232 F: signe d'expression, indication de nuance,
3234 NL: voordrachtsteken,
3235 DK: foredragsbetegnelse,
3236 S: föredragsbeteckning,
3237 FI: nyanssiosoitus, esitysmerkki.
3239 Performance indications concerning:
3243 @item volume, dynamics (for example @ref{forte}, @ref{crescendo}),
3245 @item tempo (for example @ref{andante}, @ref{allegro}).
3251 @section extender line
3253 ES: línea de extensión [de melisma, de bajo cifrado, etc.],
3255 F: ligne d'extension [de mélisme, de basse chiffrée, etc.],
3262 The generic term for a line (or dash) of arbitrary length that extends
3263 text (without indicating the musical @emph{function} of that text).
3265 Used in many contexts, for example:
3269 @item In vocal music to indicate the syllable for a melisma. Called
3270 @q{extension} in the
3271 @uref{http://www.dolmetsch.com/defse1.htm,Dolmetsch Online Music
3275 In figured bass to indicate that:
3279 @item The extended note should be held through a change in harmony, when applied
3280 to one figure --OR--
3281 @item The chord thus represented should be held above a moving bass line, when
3282 applied to more than one figure.
3283 @item These uses were not completely standardized, and some composers used a
3284 single extender line to indicate the latter case.
3289 In string music to indicate that all notes in the passage thus indicated should
3290 be played on the same string. On the violin, for example, a series of notes to
3291 be played on the G string would be indicated @samp{sul G}, another series to be
3292 played on the D string would be indicated @samp{sul D}, and so on.
3295 With an octave mark to indicate that a passage is to be played higher or lower
3296 by the given number of octaves.
3302 @ref{melisma}, @ref{sul G}, @ref{thorough bass}, @ref{octave mark}, @ref{octave
3337 The position between the dots of the key symbol is the line of the F
3338 below central@w{ }C. Used on the third, fourth and fifth note line.
3339 A digit@w{ }8 above the clef symbol indicates that the notes must be
3340 played an octave higher (for example, bass recorder) while 8@w{ }below
3341 the clef symbol indicates playing an octave lower (for example, on
3342 double bass @ref{strings}).
3344 @lilypond[fragment,notime,line-width=13.0\cm]
3345 \set Score.automaticBars = ##f
3346 \override Staff.Clef #'full-size-change = ##t
3374 @c F: 'point d'orgue' on a note, 'point d'arret' on a rest.
3389 Indicator for a indeterminately falling pitch bend. Compare with
3390 @emph{glissando}, which has determinate starting and ending pitches.
3394 @ref{doit}, @ref{glissando}.
3397 @node feathered beam
3398 @section feathered beam
3402 F: liens de croches en soufflet,
3403 D: gespreizter Balken,
3409 A type of beam used to indicate that a small group of notes should be
3410 played at an increasing or decreasing tempo -- depending on the
3411 direction of @q{feathering} -- but without changing the overall tempo
3416 Internals Reference: @ruser{Manual beams}
3424 F: point d'orgue, point d'arrêt,
3429 FI: fermaatti, pidäke.
3431 Prolonged note or rest of indefinite duration.
3433 @lilypond[fragment,ragged-right]
3436 a4 b c2^\fermata \bar "|."
3459 @section figured bass
3462 I: basso continuo, basso numerato,
3463 F: basse chiffrée, basse continue,
3464 D: Generalbass, bezifferter Bass,
3465 NL: basso continuo, becijferde bas
3468 FI: kenraalibasso, numeroitu basso.
3470 Also called @q{thorough bass}.
3472 A method of indicating an accompaniment part by the bass notes only, together
3473 with figures designating the chief @ref{interval}s and @ref{chord}s to be played
3474 above the bass notes.
3476 @lilypond[fragment,line-width=13.0\cm]
3477 \context GrandStaff <<
3478 \context Staff = lh \relative c'' {
3482 << \context Voice = rha {
3485 \context Voice = rhb {
3487 < bes g >8 as < as f > g < g es > f < d f > es | < g es >4 }
3491 \context Staff = rh \relative c' {
3494 es8 c d bes c as bes16 as g f | es4
3496 \figures { s8 <6> s <4 2> s <6> s16 s <6> <4 2> }
3514 The methodical use of fingers in the playing of instruments.
3521 I: coda (uncinata), bandiera,
3529 Ornament at the end of the stem of a note used for notes with values
3530 less than a quarter note. The number of flags determines the
3533 @lilypond[fragment,notime,ragged-right]
3534 \set Score.automaticBars = ##f
3535 %\override Score.TextScript #'font-style = #'large
3557 An articulation for string players that means the note or passage is to
3558 be played in harmonics.
3564 @item A duct flute similar to the recorder.
3566 @item An organ stop of flute scale at 1' or 2' pitch.
3572 @ref{articulation}, @ref{harmonics}.
3610 FI: forte, voimakkaasti.
3612 Loud, abbreviated @samp{@b{f}}, @emph{fortissimo} (@samp{@b{ff}}) very loud,
3613 @emph{mezzo forte} (@samp{@b{mf}}) medium loud.
3633 @node Frenched score
3634 @section Frenched score
3636 ES: partitura a la francesa,
3639 D: Partitur (ohne leere Takte),
3645 A @q{condensed} score, produced by omitting staves for instruments that are not
3646 playing at the moment, and by moving up additional systems from following pages
3647 to take up the space thus liberated, which reduces the total number of pages
3648 used to print the work.
3650 The specific rules for @q{frenching} a score differ from publisher to publisher.
3651 If you are producing scores for eventual publication by a commercial publisher,
3652 you may wish to procure a copy of their style manual.
3656 @ref{Frenched staff}.
3659 @node Frenched staff
3660 @section Frenched staff
3662 ES: pentagrama a la francesa,
3665 D: Notensystem (ohne leere Takte),
3671 Analogous to Frenched scores (@emph{q.v}), a Frenched staff has unneeded
3672 measures or sections removed. This would be useful for producing, for example,
3673 an @emph{ossia} staff.
3680 @node Frenched staves
3681 @section Frenched staves
3683 ES: pentagramas a la francesa,
3686 D: Notensysteme (ohne leere Takte),
3692 The plural of @ref{Frenched staff}, @emph{q.v.}.
3712 @node functional harmony
3713 @section functional harmony
3715 ES: armonía funcional,
3716 I: armonia funzionale,
3717 F: étude des functions,
3719 NL: functionele harmonie,
3720 DK: funktionsanalyse, funktionsharmonik,
3722 FI: harmoniajärjestelmä.
3724 A system of harmonic analysis. It is based on the idea that, in a
3725 given key, there are only three functionally different chords: tonic
3726 (T, the chord on the first note of the scale), subdominant (S, the
3727 chord on the fourth note), and dominant (D, the chord on the fifth
3728 note). Others are considered to be variants of the base chords.
3730 @lilypond[fragment,notime,line-width=13.0\cm]
3731 \set Score.automaticBars = ##f
3733 \context Voice \relative c'' {
3734 <g e c >1 < a f d > < b g e >
3735 <c a f > < d b g > < e c a > < f d b > }
3736 \context Lyrics \lyrics {
3737 T Sp Dp S D Tp \markup{ D\translate #(cons -2 0) {"|"} } }
3767 D: G-Schlüssel, Violinschlüssel,
3773 A clef symbol indicating the G above middle@w{ }C. Used on the first
3774 and second note lines. A digit 8 above the clef symbol indicates that
3775 the notes must be played an octave higher while 8 below the clef
3776 symbol indicates playing or singing an octave lower (most tenor parts
3777 in choral scores are notated like that).
3779 @lilypond[fragment,notime,ragged-right]
3781 \set Score.automaticBars = ##f
3782 \override Staff.Clef #'full-size-change = ##t
3785 \set Score.proportionalNotationDuration = #(ly:make-moment 1 8)
3795 \context Lyrics \lyrics {
3796 \override Lyrics . LyricText #'X-offset = #-5
3797 "french violin clef"
3816 FI: glissando, liukuen.
3818 Letting the pitch slide fluently from one note to the other.
3822 @section grace notes
3824 ES: notas de adorno,
3827 D: Verzierungen, Vorschläge, Vor@-schlags@-noten,
3833 Notes printed in small types to indicate that their time values are not
3834 counted in the rhythm of the bar.
3838 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
3843 @section grand staff
3845 ES: sistema de piano,
3848 D: Akkolade, Klaviersystem,
3851 S: ackolad, böjd klammer,
3852 FI: kaksoisnuottiviivasto.
3854 A combination of two staves with a brace. Usually used for piano music.
3871 FI: grave, raskaasti.
3898 Letter name used for @samp{B natural} in German and Scandinavian
3899 usage. In the standard usage of these countries, @samp{B} means
3904 @ref{Pitch names}, @ref{B}.
3910 Graphical version of the @notation{crescendo} and @notation{decrescendo}
3915 @ref{crescendo}, @ref{decrescendo}.
3925 D: Halbe, halbe Note,
3940 ES: silencio de blanca,
3954 @node harmonic cadence
3955 @section harmonic cadence
3957 ES: cadencia (armónica),
3958 I: cadenza (armonica),
3959 F: cadence harmonique,
3961 NL: harmonische cadens,
3962 DK: harmonisk kadence,
3963 S: (harmonisk) kadens,
3964 FI: harmoninen kadenssi.
3966 A sequence of chords that terminates a musical phrase or section.
3968 @ref{functional harmony}.
3970 @lilypond[fragment,ragged-right]
3971 \context PianoStaff <<
3972 \context Staff = SA \relative c'' {
3976 \partial 4 < c g e >4 |
3977 < c a f > < b g d > < c g e >2
3980 \context Staff = SB \relative c {
3982 \partial 4 c4 | f, g c2
3997 ES: sonidos del flautín,
3999 F: flageolet, sons harmoniques,
4004 FI: yläsävelsarjan flageoletti-ääni.
4006 The general class of pitches produced by sounding the second or higher
4007 harmonic of a tone producer: string, column of air, and so on.
4009 On stringed instruments, these pitches sound rather flute-like; hence,
4010 their name in languages other than English. They are produced by
4011 lightly touching the string at a node for the desired mode of vibration
4012 while it is being bowed or plucked.
4014 For instruments of the violin family, there are two types of harmonics:
4015 natural harmonics, which are those played on the open string; and
4016 artificial harmonics, which are produced on stopped strings.
4025 D: Harmonie, Zusammenklang,
4029 FI: harmonia, yhteissointi.
4031 Tones sounding simultaneously. Two note harmonies fall into the
4032 categories @emph{consonances} and @emph{dissonances}.
4036 @lilypond[fragment,notime,line-width=13.0\cm]
4037 \set Score.automaticBars = ##f
4038 %\override Score.TextScript #'font-style = #'large
4039 \context Voice \relative c'' {
4052 @lilypond[fragment,notime,line-width=13.0\cm]
4053 \set Score.automaticBars = ##f
4054 %\override Score.TextScript #'font-style = #'large
4055 \context Voice \relative c'' {
4056 <g a>1_"second " s s
4057 <g f'>_"seventh " s s
4062 Three note harmony @ref{chord}.
4077 [From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
4078 the use of three notes of equal value in the time normally occupied by
4079 of two notes of equal value. The resulting rhythm can be expressed in
4080 modern terms as a substitution (for example) of a bar in 3/2 for one
4081 of 6/4, or of a bar in 3/4 for one of 6/8. During the Baroque era,
4082 hemiola is most frequently as a special effect (or @emph{affect}) at
4085 For example, this phrase in 6/4 time
4087 @lilypond[fragment,line-width=13.0\cm]
4091 c2. e | d2 c d | c1. \bar "||" }
4094 may be thought of having alternating time signatures
4096 @lilypond[fragment,line-width=13.0\cm]
4100 c2. e | \time 3/2 d2 c d | \time 6/4 c1. \bar "||" }
4103 and is therefore a polymeter (second definition) of considerable antiquity.
4107 @ref{mensural notation}, @ref{meter}, @ref{polymeter}.
4120 FI: homofonia, yksiäänisyys.
4122 Music in which one voice leads melodically followed by the other
4123 voices more or less in the same rhythm. In contrast to
4139 A group or list of numbers that indicate the number of syllables in a
4140 line of a hymn's verse. Different hymnals have different ways of noting
4141 the hymn meter -- consider a hymn having four lines in two couplets that
4142 alternate between eight and seven syllables. The @emph{English Hymnal}
4143 notes this as 87.@w{ }87. Other hymnals may note it as 8787, 87.87, or
4144 8@w{ }7@w{ }8@w{ }7.
4146 Some frequently-used hymn meters have traditional names:
4150 @item 66.86 is called Short Meter (abbreviated SM or S.M.)
4152 @item 86.86 is called Common Meter (CM or C.M.)
4154 @item 88.88 is called Long Meter (LM or L.M.)
4158 Some hymns and their tunes are doubled versions of a simpler meter: for
4159 easier reading, a hymn with a meter of 87.87.87.87 is usually written
4160 87.87D. The traditional names above also have doubled versions:
4164 @item 66.86.66.86 is Double Short Meter (DSM or D.S.M.)
4166 @item 86.86.86.86 is Double Common Meter (DCM or D.C.M.)
4168 @item 88.88.88.88 is Double Long Meter (DLM or D.L.M.)
4184 FI: intervalli, kahden sävelen korkeusero.
4186 Difference in pitch between two notes. Intervals may be perfect,
4187 minor, major, diminished, or augmented. The augmented fourth and the
4188 diminished fifth are identical (@ref{enharmonic}) and are called
4189 @emph{tritonus} because they consist of three @ref{whole tone}s. The
4190 addition of such two intervals forms an octave.
4192 @lilypond[fragment,notime,line-width=13.0\cm]
4193 \set Score.automaticBars = ##f
4195 \context Voice \relative c'' {
4205 \context Lyrics \lyrics {
4206 "unison " "second " "second " "second "
4207 "third " "third " "third " "third"
4212 @lilypond[fragment,notime,line-width=13.0\cm]
4213 \set Score.automaticBars = ##f
4215 \context Staff \relative c'' {
4226 "fourth " "fourth " "fifth " "fifth "
4227 "sixth " "sixth " "sixth " "sixth"
4232 @lilypond[fragment,notime,line-width=13.0\cm]
4233 \set Score.automaticBars = ##f
4235 \context Staff \relative c'' {
4236 < gis f'! >1^"dimin"
4245 \context Lyrics \lyrics {
4246 "seventh " "seventh " "seventh " "octave "
4247 "ninth " "ninth " "tenth " "tenth"
4259 D: Umkehrung (Akkord),
4263 FI: (kolmisoinnun) käännös.
4265 When the bass is not the same as the root, the chord is inverted. The number
4266 of inversions that a chord can have is one fewer than the number of
4267 constituent notes. Triads, for example, (having three constituent notes) can
4268 have three positions, two of which are inversions:
4272 The root note is in the bass, and above that are the third and the fifth. A
4273 triad built on the first scale degree, for example, is marked @notation{I}.
4275 @item First inversion
4276 The third is in the bass, and above it are the fifth and the root. This
4277 creates an interval of a sixth and a third above the bass note, and so is
4278 marked in figured Roman notation as @notation{6/3}. This is commonly
4279 abbreviated to @notation{I6} (or @notation{Ib}) since the sixth is the
4280 characteristic interval of the inversion, and so always implies
4283 @item Second inversion
4284 The fifth is in the bass, and above it are the root and the third. This
4285 creates an interval of a sixth and a fourth above the bass note, and so is
4286 marked as @notation{I6/4} or @notation{Ic}. Second inversion is the most
4287 unstable chord position.
4291 @node inverted interval
4292 @section inverted interval
4294 ES: intervalo invertido,
4295 I: intervallo rivolto,
4296 F: intervalle reversé,
4297 D: umgekehrtes Intervall,
4298 NL: interval inversie,
4299 DK: omvendingsinterval,
4300 S: intervallets omvändning,
4301 FI: käänteisintervalli.
4303 The difference between an interval and an octave.
4305 @lilypond[fragment,notime,line-width=13.0\cm]
4306 \set Score.automaticBars = ##f
4307 %\override Score.TextScript #'font-style = #'large
4308 \context Staff \relative c'' {
4309 < g a >1_"second " s s < g' a, >_"seventh " s s \bar "||"
4310 < g, b >_"third " s s < g' b, >_"sixth " s s \bar "||"
4311 < g, c >_"fourth " s s < g' c, >_"fifth " s s \bar "||"
4316 @node just intonation
4317 @section just intonation
4319 ES: entonación justa,
4320 I: intonazione giusta,
4321 F: intonation juste,
4328 Tuning system in which the notes are obtained by adding and subtracting
4329 natural fifths and thirds.
4346 According to the 12@w{ }tones of the @ref{chromatic scale} there are
4347 12@w{ }keys, one on@w{ }c, one on c-sharp, etc.
4351 @ref{key signature}.
4355 @section key signature
4357 ES: armadura (de la clave),
4358 I: armatura di chiave,
4359 F: armure, armature [de la clé],
4360 D: Vorzeichen, Tonart,
4361 NL: toon@-soort (voortekens),
4364 FI: sävellajiosoitus.
4366 The sharps or flats appearing at the beginning of each staff indicating the
4372 @node laissez vibrer
4373 @section laissez vibrer
4378 D: Laissez vibrer, klingen lassen,
4384 [From French, @q{Let vibrate}]. Most frequently associated with harp
4385 parts. Marked @samp{l.v.} in the score.
4394 D: Largo, Langsam, Breit,
4398 FI: largo, hitaasti, leveästi.
4400 Very slow in tempo, usually combined with great expressiveness.
4401 @emph{Larghetto} is less slow than largo.
4405 @section leading note
4416 The seventh @ref{scale degree}, a @ref{semitone} below the tonic; so
4417 called because of its strong tendency to @q{lead up} (resolve upwards)
4418 to the tonic scale degree.
4422 @section ledger line
4424 ES: línea adicional,
4425 I: tagli addizionali,
4426 F: ligne supplémentaire,
4433 A ledger line is an extension of the staff.
4435 @lilypond[fragment,notime,ragged-right]
4436 \set Score.automaticBars = ##f
4437 \relative c'' { a,1 s c'' }
4447 D: legato, gebunden,
4453 To be performed (a) without any perceptible interruption between the
4454 notes, unlike (b) @emph{leggiero} or @emph{non-legato}, (c)
4455 @emph{portato}, and (d) @ref{staccato}.
4457 @lilypond[fragment,notime,line-width=13.0\cm]
4458 \set Score.automaticBars = ##f
4460 \context Staff \relative c'' {
4461 c4-( d e-) \bar "||"
4462 c4-- d-- e-- \bar "||"
4463 c4-.-( d-. e-.-) \bar "||"
4464 c4-. d-. e-. \bar "||"
4477 @section legato curve
4481 @ref{slur}, @ref{legato}.
4504 A ligature is a coherent graphical symbol that represents at least two
4505 distinct notes. Ligatures originally appeared in the manuscripts of
4506 Gregorian chant notation roughly since the 9th century to denote ascending
4507 or descending sequences of notes. In early notation, ligatures were used
4508 for monophonic tunes (Gregorian chant) and very soon denoted also the way of
4509 performance in the sense of articulation. With the invention of the metric
4510 system of the white mensural notation, the need for ligatures to denote such
4511 patterns disappeared.
4515 @ref{mensural notation}.
4522 ES: estanque de nenúfares,
4523 I: stagno del giglio,
4524 F: étang de nénuphars, étang de nymphéas,
4526 NL: le@-lie@-vij@-ver,
4531 A pond with lilies floating in it.
4532 Also, the name of a music typesetting program.
4541 D: Linie, Notenlinie,
4545 FI: viiva, nuottiviiva.
4564 [From Italian, @q{place}]. Instruction to play the following passage at the
4565 written pitch. Cancels octave mark (q.v.).
4569 @ref{octave mark}, @ref{octave marking}.
4572 @node long appoggiatura
4573 @section long appoggiatura
4575 ES: apoyatura larga,
4576 I: appoggiatura lunga,
4577 F: appoggiature longue,
4582 FI: pitkä appoggiatura, pitkä etuhele.
4601 Note value: double length of @ref{breve}.
4603 @lilypond[fragment,notime,ragged-right]
4604 \set Score.automaticBars = ##f
4606 \override NoteHead #'style = #'mensural
4619 ES: ligadura de letra,
4637 ES: letra (de la canción),
4640 D: Liedtext, Gesangtext,
4661 @ref{diatonic scale}.
4664 @node major interval
4665 @section major interval
4667 ES: intervalo mayor,
4668 I: intervallo maggiore,
4669 F: intervalle majeur,
4670 D: großes Intervall,
4674 FI: suuri intervalli.
4681 @node meantone temperament
4682 @section meantone temperament
4684 ES: afinación mesotónica,
4685 I: accordatura mesotonica,
4686 F: tempérament mésotonique,
4687 D: mitteltönige Stimmung,
4688 NL: middenstemming, middentoonstemming,
4689 DK: middeltonetemperatur,
4690 S: medeltonstemperatur,
4691 FI: keskisävelviritys.
4693 Temperament yielding acoustically pure thirds by decreasing the
4694 natural fifth by 16@w{ }@ref{cent}s. Due to the non-circular
4695 character of this @ref{temperament} only a limited set of keys are
4696 playable. Used for tuning keyboard instruments for performance of
4712 A group of @ref{beat}s (units of musical time) the first of which
4713 bears an accent. Such groups in numbers of two or more recur
4714 consistently throughout the composition and are marked from each other
4720 @node measure repeat
4721 @section measure repeat
4725 @ref{percent repeat}.
4732 I: mediante, modale,
4742 @item The third @b{scale degree}.
4744 @item A @ref{chord} having its base tone a third from that of another
4745 chord. For example, the tonic chord may be replaced by its lower
4746 mediant (variant tonic).
4751 @ref{functional harmony}, @ref{relative key}.
4764 FI: melisma, laulettavan tavun sävelkuvio.
4766 A melisma (plural, from Greek: melismata) is a group of notes or tones
4767 sung on one syllable, especially as applied to liturgical chant.
4771 @section melisma line
4773 ES: línea de melisma,
4784 @ref{extender line}.
4787 @node melodic cadence
4788 @section melodic cadence
4795 @node mensural notation
4796 @section mensural notation
4798 ES: notación mensural,
4801 D: Mensuralnotation,
4805 FI: mensuraalinuottikirjoitus.
4807 A system of duration notation whose principles were first established in the
4808 mid-13th century, and that (with various changes) remained in use until about
4809 1600. As such, it is the basis for the notation of rhythms in Western musical
4812 Franco of Cologne (ca. 1250) is credited with the first systematic explanation
4813 of the notation's principles, so the notation of this earliest period is called
4814 @q{Franconian}. Franco's system made use of three note values -- long, breve,
4815 and semibreve -- each of which was normally equivalent to three of the next
4818 Then, in the first half of the 14th century, Philippe de Vitry and Jehan de Murs
4819 added several note values (the minim, semiminim and fusa) and extended Franco's
4820 principles to govern the relationship between these values. They also put the
4821 duple division of note values on an equal footing with the earlier (preferred)
4824 TODO: continue description of French and Italian black notation, and the
4825 relationship betwixt them.
4827 @b{White or void mensural notation}
4829 In the 15th century, hollow (or void) notes began to substitute for the earlier
4830 solid black ones, which were then free to assume the function of red (or
4831 colored) notes in the earlier notation. ...
4833 TODO: add to definition (including summary info on proportional notation)
4837 @ref{augmentation}, @ref{diminution}, @ref{ligature}, @ref{proportion}.
4838 @c TODO: more cross-references?
4846 F: indication de mesure, mesure,
4853 The pattern of note values and accents in a composition or a section thereof.
4854 There are a couple ways to classify @q{traditional} meter (i.e. not polymeter):
4855 by grouping beats and by subdividing the primary beat.
4857 @b{By grouping beats}:
4861 @item @b{duple}: groups of two.
4862 @item @b{triple}: groups of three.
4863 @item @b{quadruple}: groups of four. A special case of duple meter.
4864 @item @b{quintuple}: groups of five beats.
4865 @item @b{sextuple} meter: groups of six. A special case of:
4869 @item duple meter, subdivided in three; or
4870 @item triple meter, subdivided in two.
4874 @item @b{septuple} meter: groups of seven.
4879 Other than triple meter and its subdivided variants (see below), meters that
4880 feature odd groupings of beats (e.g. quintuple or septuple meter) are not
4881 frequently used prior to the 20th Century.
4883 @b{By subdividing the primary beat}:
4887 @item simple: groups of two.
4891 @item duple: 2/2, 2/4, 2/8
4892 @item triple: 3/2, 3/4, 3/8
4893 @item quadruple: 4/2, 4/4 (also called common time), 4/8
4897 @item compound: groups of three.
4903 @item quadruple: 12/8
4909 Time signatures are placed at the beginning of a composition (or section) to
4910 indicate the meter. For instance, a piece written in simple triple meter with a
4911 beat on each quarter note is conventionally written with a time signature of
4912 3/4. Here are some combinations of the two classifications above:
4914 Simple duple meter (F.J. Haydn, 1732-1809; or a Croatian folk tune):
4916 @lilypond[fragment,line-width=13.0\cm]
4920 g8. a16 b8 a | c b a16( fis) g8 | e' d c b | a2 \bar "||"}
4923 Simple triple meter:
4925 @lilypond[fragment,line-width=13.0\cm]
4929 c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
4932 Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
4934 @lilypond[fragment,line-width=13.0\cm]
4938 g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
4941 Simple quintuple meter (B. Marcello, 1686-1739):
4943 @lilypond[fragment,line-width=13.0\cm]
4947 r4 cis8 bis ais4 dis c8 ais |
4948 aes4 bes8 aes ges4 aes f8 es \bar "||"}
4951 Compound duple meter (unknown):
4953 @lilypond[fragment,line-width=13.0\cm]
4957 f8 f g a bes16 a g f |
4958 g8 g bes a c16 a bes g
4962 Compound triple meter (J.S. Bach, 1685-1750):
4964 @lilypond[fragment,line-width=13.0\cm]
4968 r8 g'( a) b( d c) c( e d) |
4969 d( g fis) g( d b) g( a b)
4973 Compound quadruple meter (P. Yon, 1886-1943):
4975 @lilypond[fragment,line-width=13.0\cm]
4979 b'8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
4980 e4 e8 fis( gis) a b4.~ b4 b8
4984 @b{@q{Monometer} vs Polymeter}
4986 TODO: add information from discussion on lilypond-user related to polymeter.
4990 @ref{accent}, @ref{hemiola}, @ref{note value}, @ref{time signature}
5005 Device indicating the exact tempo of a piece.
5007 Invented ca. 1812 by Dietrich Nikolaus Winkler of Amsterdam, but takes its name
5008 from Johann Nepomuk Mälzel, who copied the device, added a scale of tempo
5009 divisions, and patented it as a "metronome". The inevitable lawsuit that
5010 followed acknowledged Winkler as the creator, but by then Mälzel had already
5011 sold many of them, and people had taken to calling it a Mälzel Metronome.
5015 @ref{metronome mark}.
5018 @node metronome mark
5019 @section metronome mark
5021 ES: indicación metronómica,
5022 I: indicazione metronomica,
5023 F: indication métronomique,
5025 NL: metronoom aanduiding,
5027 S: metronomangivelse,
5028 FI: metronomiosoitus.
5030 Exact tempo indication (in beats per minute). Abbreviated @samp{M.M.} or
5031 @samp{MM}, which is short for Mälzels Metronom (or Mälzel's Mark,
5039 @node metronomic indication
5040 @section metronomic indication
5044 @ref{metronome mark}
5048 @section mezzo-soprano
5059 The female voice between @ref{soprano} and @ref{contralto}.
5068 D: eingestrichenes@w{ }c,
5070 DK: enstreget@w{ }c,
5071 S: ettstruket@w{ }c,
5074 First C below the 440 Hz A.
5076 @lilypond[fragment,notime,ragged-right]
5077 \set Score.automaticBars = ##f
5078 \override Staff.Clef #'full-size-change = ##t
5101 @ref{diatonic scale}.
5104 @node minor interval
5105 @section minor interval
5107 ES: intervalo menor,
5108 I: intervallo minore,
5109 F: intervalle mineur,
5110 D: kleines Intervall,
5114 FI: pieni intervalli.
5121 @node mixolydian mode
5122 @section mixolydian mode
5126 @ref{diatonic scale}.
5135 D: Kirchentonart, Modus,
5139 FI: moodi, kirkkosävelasteikko.
5143 @ref{church mode}, @ref{diatonic scale}.
5156 FI: modulaatio, sävellajin vaihdos.
5158 Moving from one @ref{key} to another. For example, the second subject
5159 of a @ref{sonata form} movement modulates to the dominant key if the
5160 key is major and to the @ref{relative key} if the key is minor.
5172 FI: mordent, korukuvio.
5197 FI: teema, sävelaihe.
5199 The briefest intelligible and self-contained fragment of a musical
5202 @lilypond[line-width=13.0\cm]
5205 \set Score.implicitTimeSignatureVisibility = #all-invisible
5206 \override Score.TimeSignature #'break-visibility = #all-invisible
5209 \partial 8 g16\startGroup fis |
5210 g8\stopGroup d16\startGroup c d8\stopGroup g16 fis g8 b,16 a b8 g'16 fis |
5211 g8 g,16 a b8 cis d16 s
5215 \Staff \consists "Horizontal_bracket_engraver"
5233 Greater musical works like @ref{symphony} and @ref{sonata} most often
5234 consist of several -- more or less -- independant pieces called
5238 @node multi-measure rest
5239 @section multi-measure rest
5241 ES: compases de espera,
5245 D: mehrtaktige Pause, Kirchenpause,
5248 FI: usean tahdin mittainen tauko.
5250 Multi-measure rests are conventionally typeset with a combination of
5251 longa, breve and whole rests for shorter and a long horizontal bar for
5252 longer spans of rest, with a number above to indicate the duration (in
5253 measures) of the rest. The former style is called @q{Kirchenpausen} in
5254 German, as a reminiscence of its use in Renaissance vocal polyphony.
5256 @lilypond[fragment,ragged-right]
5259 \set Score.skipBars = ##t R1*3
5261 \set Score.skipBars = ##t R1*122
5268 @ref{longa}, @ref{breve}.
5277 D: Auflösungszeichen,
5278 NL: herstellingsteken,
5279 DK: op@-løsningstegn,
5280 S: återställningstecken,
5288 @node neighbour tones
5289 @section neighbour tones
5293 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes},
5334 Notes are signs by means of which music is fixed in writing. The term is also
5335 used for the sound indicated by a note, and even for the key of the piano
5336 which produces the sound. However, a clear distinction between the terms tone
5337 and @ref{note} is strongly recommended. Briefly, one sees a note,
5345 I: testa, testina, capocchia,
5353 A head-like sign which indicates pitch by its position on a
5354 @ref{staff} provided with a @ref{clef}, and duration
5355 by a variety of shapes such as hollow or black heads with or without
5356 @ref{stem}s, @ref{flag}s, etc. For percussion
5357 instruments (often having no defined pitch) the note head may indicate the
5372 ES: valor (duración),
5374 F: durée, valeur (d'une note),
5379 FI: nuotin aika-arvo.
5381 Note values (durations) are measured as fractions, normally 1/2, of
5382 the next higher note value. The longest duration normally used is
5383 called @emph{brevis}, but sometimes (mostly in pre-baroque music) the
5384 double-length note value @emph{longa} or the quadruple-length note
5385 value @emph{maxima} are used.
5387 @c TODO -- add maxima to this example, in a way that doesn't break it.
5389 @lilypond[fragment,notime,line-width=13.0\cm]
5390 %\override Score.TextScript #'font-style = #'large
5391 \set Score.automaticBars = ##f
5393 \override NoteHead #'style = #'mensural
5394 a\longa_"longa" a\breve_"breve"
5395 \revert NoteHead #'style
5396 a1_"1/1" a2_"1/2" a4_"1/4" s16 a8_"1/8" s16
5397 a16_"1/16" s16 a32_"1/32" s16 a64_"1/64" s32 }
5400 @c TODO -- add maxima rest to this example
5402 @lilypond[fragment,notime,line-width=13.0\cm]
5403 %\override Score.TextScript #'font-style = #'large
5404 \set Score.automaticBars = ##f
5406 r\longa_"longa" r\breve_"breve"
5407 r1_"1/1" r2_"1/2" r4_"1/4" s16 r8_"1/8" s16
5408 r16_"1/16" s16 r32_"1/32" s16 r64_"1/64" s32 }
5411 An augmentation dot after a note multiplies the duration by one and a
5412 half. Another dot adds yet a fourth of the duration.
5414 @lilypond[fragment,line-width=13.0\cm]
5415 %\override Score.TextScript #'font-style = #'large
5418 g4._"pointed" g8 g2 | g4 ~ g8 g g2 \bar "||"
5419 g4.._"double pointed" g16 g2 | g4 ~ g8 ~ g16 g g2 \bar "||" }
5422 Alternatively note values may be subdivided by other ratios. Most common is
5423 subdivision by@w{ }3 (@emph{triplets}) and@w{ }5 (@emph{quintuplets}).
5424 Subdivisions by@w{ }2 (@emph{duplets}) or@w{ }4 (@emph{quadruplets}) of
5425 dotted notes are also frequently used.
5427 @lilypond[fragment,line-width=13.0\cm]
5428 %\override Score.TextScript #'font-style = #'large
5431 \times 2/3 {g8_"triplets" g g} g4 g8 g g4 \bar "||"
5432 \times 2/5 {g8_"quintuplets" g g g g} g4 g8 g g4 \bar "||"
5436 @lilypond[fragment,line-width=13.0\cm]
5439 \times 3/2 {g4_"duplets" g} |
5441 \times 6/4 {g8_"quadruplets" g g g} |
5442 g8 g g g g4 \bar "||"
5452 @ref{octave marking}.
5467 The interval of an octave, sometimes abbreviated @samp{8ve}.
5469 For uses like @emph{all'ottava} or @emph{8va} with an extender line or
5470 bracket, or @samp{loco} see octave marking.
5474 @ref{interval}, @ref{octave marking}.
5478 @section octave mark
5480 ES: indicación de octava,
5483 D: Oktavierungszeichen,
5489 The phrase, abbreviation, or other mark used (with or without an extender line
5490 or bracket) to indicate that the music is to be played in a different octave:
5494 @item @samp{15ma}: play two octaves higher
5495 @item @samp{8va}: play one octave higher
5496 @item @samp{8vb}: play one octave lower
5497 @item @samp{8va} (written below the passage): same as @samp{8vb}
5498 @item @samp{15vb}: play two octaves lower
5499 @item @samp{15va} (written below the passage): same as @samp{15vb}
5503 For longer passages, it may be more practical to mark the octave change at the
5504 beginning with a phrase (see the list below for examples), but without a bracket
5505 or extender line. Then, when the music returns to the written pitch, the octave
5506 change is cancelled with the word @emph{loco} (q.v.).
5508 To parallel the list above:
5512 @item @samp{15ma}: @emph{alla quindicesima (alta)}
5513 @item @samp{8va}: @emph{all'ottava} or @emph{ottava sopra}
5514 @item @samp{8vb}: @emph{ottava bassa}, @emph{ottava sotto}
5515 @item @samp{15vb}: @emph{alla quindicesima (bassa)}
5519 In the phrases above, @emph{quindicesima} is sometimes replaced with
5520 @emph{quindecima}, which is Latin.
5522 Finally, the music on an entire staff can be marked to be played in a different
5523 octave by putting an 8 or 15 above or below the clef at the beginning. This
5524 octave mark can be applied to any clef, but it is most frequently used with the
5529 @ref{F clef}, @ref{G clef}, @ref{loco}, @ref{octave marking}.
5532 @node octave marking
5533 @section octave marking
5542 FI: oktaavamerkintä.
5544 The practice of marking music -- an entire staff, a passage, etc. -- to indicate
5545 that it is to be played in a different octave. If applied to the clef at the
5546 beginning of the staff, all music on that staff is to played at the indicated
5549 For a list of the specific marks used, see @ref{octave mark}.
5553 @ref{interval}, @ref{loco}, @ref{octave}, @ref{octave mark}.
5557 @section octave sign
5568 I: abbellimento, fioriture,
5569 F: agrément, ornement,
5570 D: Verzierung, Ornament,
5576 Most commonly used is the @emph{trill}, the rapid alternation of a given note
5577 with the diatonic @ref{second} above it. In the music from the
5578 middle of the 19th century and onwards the trill is performed with the main
5579 note first while in the music from the preceding baroque and classic periods
5580 the upper note is played first.
5582 @lilypond[fragment,line-width=13.0\cm]
5584 \context Staff = sa {
5585 % \override Score.TextScript #'font-style = #'large
5587 c2._"pre-1850" b4\trill | c1 \bar "||"
5588 c2._"post-1850" b4\trill | c1 \bar "||"
5592 c2. c32 b c b c b c b | c1
5593 c2. b32 c b c \times 4/5 { b c b c b } | c1
5598 Other frequently used ornaments are the @emph{turn}, the @emph{mordent}, and
5600 @emph{prall} (inverted mordent).
5602 @lilypond[fragment,line-width=13.0\cm]
5604 \context Staff = sa {
5605 % \override Score.TextScript #'font-style = #'large
5607 a4_"turn" b\turn c2 \bar "||"
5608 g4_"mordent" a b\mordent a \bar "||"
5609 e'4_"prall" d\prall c2 \bar "||"
5615 e'4 e32[ d e d ~ d8] c2
5622 @ref{acciaccatura}, @ref{appoggiatura}, @ref{grace notes}.
5635 FI: ossia, vaihtoehtoinen esitystapa.
5637 Ossia (otherwise) marks an alternative. It is an added staff or piano
5638 score, usually only a few measures long, which presents another version
5639 of the music, for example for small hands.
5652 FI: stemma, instrumenttiosuus.
5656 @item In instrumental or choral music, the music for a single
5657 instrument or voice.
5659 @item in contrapuntal music, a single melodic line in the contrapuntal
5685 @node percent repeat
5686 @section percent repeat
5688 LilyPond-specific term to indicate the repetition of a musical expression on a
5689 single staff, as opposed to the more usual definition of repeat, which affects
5690 all parts. The musical expression can be anything from a single note or note
5691 pattern to one or more measures. There are other names for this symbol:
5696 @item slash mark, or slash repeat
5698 @item measure (or multi-measure) repeat
5702 @lilypond[fragment,line-width=13.0\cm]
5705 \repeat percent 4 { c4_"Beat (or slash) repeat" }
5706 \repeat percent 2 { c4 e g b_"Measure repeat" }
5707 \repeat percent 2 { c,2 es | f4 fis g c_"Multi-measure repeat" | }
5714 @uref{http://www.music.vt.edu/musicdictionary/textr/Repeat.html,University of
5715 Vermont Music Dictionary}.
5724 D: Schlagzeug, Schlagwerk,
5730 A family of musical instruments which are played on by striking or
5731 shaking. Percussion instruments commonly used in a symphony orchestra are
5732 kettledrums (I: @emph{timpani}, D: @emph{Pauken}), snare drum, bass drum,
5733 tambourine, cymbals, chinese gong (tam-tam), triangle, celesta, glockenspiel,
5737 @node perfect interval
5738 @section perfect interval
5740 ES: intervalo justo,
5741 I: intervallo giusto,
5742 F: intervalle juste,
5743 D: reines Intervall,
5747 FI: puhdas intervalli.
5766 A natural division of the melodic line, comparable to a sentence of speech.
5779 FI: fraseeraus, jäsentäminen.
5781 The clear rendering in musical performance of the @ref{phrase}s of
5782 the melody. Phrasing may be indicated by a @ref{slur}.
5797 @emph{piano} (@b{p}) soft, @emph{pianissimo} (@b{pp}) very soft,
5798 @emph{mezzo piano} (@b{mp}) medium soft.
5806 F: anacrouse, levée,
5832 @item The perceived quality of a sound that is primarily a function of its
5833 fundamental frequency.
5835 @item [FR. ton; DE. Ton; ES. tono] Any point on the continuum of musical pitch.
5837 @item [FR. diapason; DE. Kammerton, Stimmung; ES. diapasón] The standardized
5838 association of a particular frequency with a particular pitch name, e.g., c' =
5855 NL: pizzicato, getokkeld,
5858 FI: pizzicato, näppäillen.
5860 A technique for stringed instruments, abbr. @emph{pizz}. To play by plucking
5867 ES: compás polimétrico,
5878 @item The simultaneous use of two or more meters, in two or more parts.
5880 @item The @emph{successive} use of different meters in one or more parts.
5886 @ref{polymetric} (adj.)
5901 Using two or more metric frameworks simultaneously or in alternation.
5905 @ref{polymeter} (noun)
5908 @node polymetric time signature
5909 @section polymetric time signature
5911 ES: compás polimétrico,
5914 D: polymetrische Taktart,
5918 FI: polymetrinen tahtiosoitus.
5920 A time signature that indicates regularly alternating polymetric time.
5933 D: Polyphonie, Mehrstimmigkeit,
5937 FI: polyfonia, moniäänisyys.
5939 Music written in a combination of several simultaneous voices (parts)
5940 of a more or less pronounced individuality.
5959 D: Presto, Sehr schnell,
5960 NL: presto, Sehr schnell,
5963 FI: presto, hyvin nopeasti.
5965 Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
5966 denotes the highest possible degree of speed.
5975 D: Proportion, proportio,
5981 [From Latin @emph{proportio}] In mensural notation, a ratio that expresses the
5982 relationship between the note values that follow with those that precede; or
5983 between the note values of a passage and the @q{normal} relationship of note
5984 values to the metrical pulse.
5986 @c TODO: add an example or two. O => 4/3, and its modern equivalent
5990 @ref{mensural notation}
5993 @node Pythagorean comma
5994 @section Pythagorean comma
5996 ES: coma pitagórica,
5997 I: comma pitagorico,
5998 F: comma pythagoricien,
5999 D: Pythagoräisches Komma,
6000 NL: komma van Pythagoras,
6001 DK: pythagoræisk komma,
6002 S: pytagoreiskt komma,
6003 FI: pytagorinen komma.
6005 Originally, the interval by which the sum of six whole tones exceeds the octave
6006 -- (9:8)^6 - 2:1 = 531441:524288, or 23.5 cents.
6008 Modern acoustical theory defines it as the interval by which twelve fifths
6009 exceed seven octaves. To put it another way: A sequence of fifths that starts
6010 on C eventually circles back to C. However, this C is 23.5 @ref{cent}s higher
6011 than the C obtained by adding 7 octaves. The difference between those two
6012 pitches is the Pythagorean comma.
6016 @ref{cent}, @ref{temperament}.
6048 The quality of a triad is determined by the precise arrangement of its
6049 intervals. Tertian triads can be described as a series of three notes. The
6050 first element is the root note (or simply @q{root}) of the chord, the second
6051 note is the @q{third} of the chord, and the last note is the @q{fifth} of
6052 the chord. These are described below:
6054 @multitable @columnfractions .10 .35 .35 .20
6056 @headitem Chord name @tab Component intervals
6059 @item major triad @tab major third/perfect fifth
6061 @tab C, CM, Cma, Cmaj, CΔ
6062 @item minor triad @tab minor third/perfect fifth
6064 @tab Cm, Cmi, Cmin, C-
6065 @item augmented triad @tab major third/augmented fifth
6068 @item diminished triad @tab minor third/diminished fifth
6070 @tab Cm(♭5), Cº, Cdim
6073 There are various types of seventh chords depending on the quality of the
6074 original chord and the quality of the seventh added.
6076 Five common types of seventh chords have standard symbols. The chord quality
6077 indications are sometimes superscripted and sometimes not (e.g. Dm7, Dm^7,
6078 and D^m7 are all identical). The last three chords are not commonly used
6087 @section quarter note
6092 @item I: semiminima, nera
6094 @item D: Viertel, Viertelnote
6096 @item DK: fjerdedelsnode
6097 @item S: fjärdedelsnot
6098 @item FI: neljäsosanuotti
6107 @section quarter rest
6110 @item UK: crotchet rest
6111 @item ES: silencio de negra
6112 @item I: pausa di semiminima
6114 @item D: Viertelpause
6116 @item DK: fjerdedelspause
6117 @item S: fjärdedelspaus
6118 @item FI: neljäsosatauko
6127 @section quarter tone
6129 ES: cuarto de tonno,
6136 FI: neljännes sävelaskel.
6138 An interval equal to half a semitone.
6148 ES: cinquillo, quintillo.
6163 @section rallentando
6168 D: rallentando, langsamer werden,
6172 FI: rallerdando, hidastuen.
6174 Abbreviation "rall.".
6180 @section relative key
6183 I: tonalità relativa,
6184 F: tonalité relative,
6186 NL: paralleltoonsoort,
6187 DK: paralleltoneart,
6189 FI: rinnakkaissävellaji.
6191 @ref{major} and @ref{minor} @ref{key}s with the same @ref{key signature}.
6193 @lilypond[fragment,notime,line-width=13.0\cm]
6194 \set Score.automaticBars = ##f
6195 %\override Score.TextScript #'font-style = #'large
6198 es1_"e flat major" f g as bes c d es
6203 @lilypond[fragment,notime,line-width=13.0\cm]
6204 \set Score.automaticBars = ##f
6205 %\override Score.TextScript #'font-style = #'large
6208 c1_"c minor" d es f g a! b! c \bar "||"
6218 F: barre de reprise,
6221 DK: gen@-ta@-gel@-se,
6225 @lilypond[fragment,line-width=13.0\cm]
6229 \repeat volta 2 {g4 g d' d | e e d2 | c4 c b b | a a g2 }
6246 @c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
6247 @c specify the rest's value.
6268 @item Metrical rhythm in which every time value is a multiple or
6269 fraction of a fixed unit of time, called @ref{beat}, and in which the
6270 normal @ref{accent} recurs in regular intervals, called @ref{measure}.
6271 The basic scheme of time values is called @ref{meter}.
6273 @item Measured rhythm which lacks regularly recurrent accent. In
6274 modern notation such music appears as a free alternation of different
6277 @item Free rhythm, i.e., the use of temporal values having no common
6278 metrical unit (beat).
6289 D: ritardando, langsamer werden,
6293 FI: ritardando, hidastuen,
6295 Gradually slackening in speed. Mostly abbreviated to rit.@: or ritard.
6308 FI: ritenuto, hidastaen.
6310 Immediate reduction of speed.
6323 FI: asteikko, sävelasteikko.
6327 @ref{diatonic scale}.
6331 @section scale degree
6333 ES: grado (de la escala),
6334 I: grado della scala,
6335 F: degré [de la gamme],
6337 NL: trap [van de toonladder],
6340 FI: sävelaste, asteikon sävel.
6342 Names and symbols used in harmonic analysis to denote tones of the
6343 scale as roots of chords. The most important are degrees I = tonic
6344 (T), IV = sub@-do@-mi@-nant (S) and V = dominant (D).
6346 @lilypond[fragment,notime,line-width=13.0\cm]
6347 \set Score.automaticBars = ##f
6349 \context Staff \relative c' {
6353 << { I II III IV V VI VII I }
6361 @ref{functional harmony}.
6369 F: à cordes ravallées,
6376 [From Italian, @emph{scordare}, @q{to mistune}.] Unconventional
6377 tuning of stringed instruments, particularly lutes or violins. Used
6382 @item facilitate pitch combinations that would otherwise be difficult
6385 @item alter the characteristic timbre of the instrument, for example,
6386 to increase brilliance
6388 @item reinforce certain sonorities or tonalities by making them
6389 available on open strings
6391 @item imitate other instruments
6397 Tunings that could be called @var{scordatura} first appeared early in
6398 the 16th Century and became commonplace in the 17th.
6407 D: Partitur (full score), Klavierauszug (vocal score),
6413 A copy of orchestral, choral, or chamber music showing what each
6414 instrument is to play, each voice to sing, having each part arranged
6415 one underneath the other on different staves @ref{staff}.
6430 The @ref{interval} between two neigbouring tones of a scale. A
6431 @ref{diatonic scale} consists of alternating @ref{semitone}s and
6432 @ref{whole tone}s, hence the size of a se@-cond depends on the scale
6433 degrees in question.
6448 The interval of a minor second. The (usually) smallest interval in European
6449 composed music. The interval between two neighbouring tones on the piano
6450 keyboard -- including black and white keys -- is a semitone. An octave may
6451 be divided into 12@w{ }semitones.
6453 @lilypond[fragment,notime,line-width=13.0\cm]
6454 \set Score.automaticBars = ##f
6455 \relative c'' { g1 gis s a bes s b! c }
6460 @ref{interval}, @ref{chromatic scale}.
6485 @ref{sextuplet}, @ref{note value}.
6536 D: simile, gleichartig,
6542 [From It, @q{in the same manner}] Performance direction: the music thus marked
6543 is to be played in the same manner (i.e. with the same articulations, dynamics,
6544 etc.) as the music that precedes it.
6548 TODO: Where else could I refer the reader?
6552 @section simple meter
6554 ES: compás simple, compás de subdivisión binaria,
6561 FI: tasajakoinen rytmi.
6563 A meter in which the basic beat is subdivided in two: that is, a meter
6564 that does not include triplet subdivision of the beat.
6568 @ref{compound meter}, @ref{meter}.
6571 @node sixteenth note
6572 @section sixteenth note
6575 @item UK: semiquaver
6576 @item ES: semicorchea
6578 @item F: double croche
6579 @item D: Sechzehntel, Sechzehntelnote
6580 @item NL: zes@-ti@-ende noot
6581 @item DK: sekstendedelsnode
6582 @item S: sextondelsnot
6583 @item FI: kuudestoistaosanuotti
6591 @node sixteenth rest
6592 @section sixteenth rest
6595 @item UK: semiquaver rest
6596 @item ES: silencio de semicorchea
6597 @item I: pausa di semicroma
6598 @item F: quart de soupir
6599 @item D: Sechzehntelpause
6600 @item NL: zestiende rust
6601 @item DK: sekstendedelspause
6602 @item S: sextondelspaus
6603 @item FI: kuudestoistaosatauko
6628 @node sixty-fourth note
6629 @section sixty-fourth note
6632 @item UK: hemidemisemiquaver
6634 @item I: semibiscroma
6635 @item F: quadruple croche
6636 @item D: Vierundsechzigstel, Vierundsechzigstelnote
6637 @item NL: vierenzestigste noot
6638 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-no@-de
6639 @item S: sextiofjärdedelsnot
6640 @item FI: kuudeskymmenesneljäsosanuotti
6648 @node sixty-fourth rest
6649 @section sixty-fourth rest
6652 @item UK: hemidemisemiquaver rest
6653 @item ES: silencio de semifusa
6654 @item I: pausa di semibiscroma
6655 @item F: seizième de soupir
6656 @item D: Vierundsechzigstelpause
6657 @item NL: vierenzestigste rust
6658 @item DK: fi@-re@-og@-tred@-sinds@-ty@-ven@-de@-dels@-pau@-se
6659 @item S: sextiofjärdedelspaus
6660 @item FI: kuudeskymmenesneljäsosatauko
6669 @section slash repeat
6673 @ref{percent repeat}.
6679 ES: ligadura (de expresión),
6680 I: legatura (di portamento or espressiva),
6682 D: Bogen (Legatobogen, Phrasierungsbogen),
6683 NL: fraseringsboog, legatoboog, streekboog,
6684 DK: legatobue, fraseringsbue,
6688 A slur above or below a group of notes indicates that they are to be
6689 played @ref{legato}, e.g., with one stroke of the violin bow or with
6690 one breath in singing.
6694 @section solmization
6703 FI: suhteelliset laulunimet.
6705 General term for systems of designating the degrees of the
6706 @ref{scale}, not by letters, but by syllables (@emph{do} (@emph{ut}),
6707 @emph{re}, @emph{mi}, @emph{fa}, @emph{sol}, @emph{la}, @emph{si}
6725 In its present-day meaning a sonata denotes an instrumental
6726 composition for piano or for some other instrument with piano
6727 accompaniment, which consists of three or four independant pieces,
6732 @section sonata form
6736 F: [en] forme de sonate,
6738 NL: hoofdvorm, sonatevorm,
6743 A form used frequently for single movements of the @ref{sonata},
6744 @ref{symphony}, quartet, etc. A movement written in sonata form falls
6745 into three sections called @emph{exposition}, @emph{development} and
6746 @emph{recapitulation}. In the exposition the composer introduces some
6747 musical ideas, consisting of a number of themes; in the development
6748 section the composer @q{develops} this material, and in the
6749 recapitulation the composer repeats the exposition, with certain
6750 modifications. The exposition contains a number of themes that fall
6751 into two groups, often called first and second subject. Other
6752 melodies occurring in each group are considered as continuations of
6753 these two. The second theme is in another key, normally in the key of
6754 the @ref{dominant} if the @ref{tonic} is @ref{major}, and in the
6755 @ref{relative key} if the tonic is @ref{minor}.
6776 FI: sopraano, korkea naisääni.
6778 The highest female voice.
6786 F: staccato, piqué, détaché,
6791 FI: staccato, lyhyesti, terävästi.
6793 Playing the note(s) short. Staccato is indicated by a dot above or
6794 below the note head.
6796 @lilypond[fragment,ragged-right]
6801 d4-\staccato cis-\staccato b-\staccato cis-\staccato |
6811 I: pentagramma, rigo (musicale),
6813 D: Notensystem, Notenzeile,
6814 NL: (noten)balk, partij,
6819 A staff (plural: staves) is a series of (normally five) horizontal
6820 lines upon and between which the musical notes are written, thus
6821 indicating (in connection with a @ref{clef}) their pitch. Staves for
6822 @ref{percussion} instruments may have fewer lines.
6839 D: Hals, Notenhals, Stiel,
6845 Vertical line above or below a @ref{note head} shorter than a
6850 @lilypond[fragment,notime,line-width=13.0\cm]
6851 \set Score.autoBeaming = ##f
6852 \set Score.automaticBars = ##f
6853 %\override Score.TextScript #'font-style = #'large
6869 D: Stringendo, steigernd,
6873 FI: stringendo, kiihtyen.
6875 [It, @q{pressing}]. Pressing, urging, or hastening the time, as to a
6895 A family of stringed musical instruments played with a bow. Strings
6896 commonly used in a symphony orchestra are violin, viola, violoncello,
6901 @section strong beat
6906 D: betonter Taktteil oder Taktschlag,
6908 D: betonet taktslag,
6909 S: betonat taktslag,
6910 FI: tahdin vahva isku.
6914 @ref{beat}, @ref{accent}, @ref{measure}, @ref{rhythm}.
6918 @section subdominant
6927 FI: subdominantti, alidominantti.
6929 The fourth @ref{scale degree}.
6931 @ref{functional harmony}.
6946 The sixth @ref{scale degree}.
6959 FI: subtoonika, alitoonika.
6961 The seventh @ref{scale degree}.
6967 ES: sobre la cuerda de Sol,
6970 D: auf G, auf der G-Saite,
6976 Indicates that the indicated passage (or note) should be played on the
6981 @section superdominant
6992 The sixth @ref{scale degree}.
7007 The second @ref{scale degree}.
7016 D: Sinfonie, Symphonie,
7022 A symphony may be defined as a @ref{sonata} for orchestra.
7026 @section syncopation
7037 Any deliberate upsetting of the normal pulse of @ref{meter},
7038 @ref{accent}, and @ref{rhythm}. The occidental system of musical
7039 rhythm rests upon the grouping of equal beats into groups of two or
7040 three, with a regularly recurrent accent on the first beat of each
7041 group. Any deviation from this scheme is felt as a disturbance or
7042 contradiction between the underlaying (normal) pulse and the actual
7045 @lilypond[fragment,ragged-right]
7050 e c'4 e,8 c'4 e,8 c' ( | c2)
7055 @node syntonic comma
7056 @section syntonic comma
7058 ES: coma sintónica, coma de Dídimo,
7059 I: comma sintonico (o didimico),
7060 F: comma syntonique,
7061 D: syntonisches Komma,
7062 NL: syntonische komma,
7063 DK: syntonisk komma,
7064 S: syntoniskt komma,
7065 FI: syntoninen komma, terssien taajuusero luonnollisessa ja
7066 Pytagorisessa viritysjärjestelmässä.
7068 Named after Ptolemy's syntonic diatonic genus. Originally, the difference
7069 by which the ditone exceeds the pure major third obtained by Pythagorean
7070 tuning -- (9:8)^2 - 5:4 = 81:80, or 21.5@w{ }cents.
7072 Modern acoustical theory defines it as the interval by which four fifths exceed
7073 the sum of two octaves plus a major third. (3:2)^4 - (2:1)^2 + (5:4)
7075 This comma is also known as the comma of Didymus, or didymic comma.
7079 @ref{Pythagorean comma}
7088 D: Notensystem, Partitur,
7092 FI: nuottijärjestelmä.
7094 The collection of staves (@ref{staff}), two or more, as used for writing
7095 down of keyboard, chamber, choral, or orchestral music.
7099 @section temperament
7104 D: Stimmung, Tem@-pe@-ra@-tur,
7105 NL: stemming, temperatuur,
7108 FI: viritysjärjestelmä.
7110 Systems of tuning in which the intervals deviate from the acoustically
7113 @ref{meantone temperament}, @ref{equal temperament}.
7116 @node tempo indication
7117 @section tempo indication
7119 ES: indicación de tempo,
7120 I: indicazione di tempo,
7121 F: indication de tempo,
7122 D: Zeitmaß, Tempobezeichnung,
7123 NL: tempo aanduiding,
7128 The rate of speed of a composition or a section thereof, ranging from
7129 the slowest to the quickest, as is indicated by tempo marks as
7130 @ref{largo}, @ref{adagio}, @ref{andante}, @ref{allegro}, and
7144 FI: tenori, korkea miesääni.
7146 The highest male voice (apart from @ref{countertenor}).
7169 ES: subrayado (tenuto),
7178 An indication that a particular note should be held for the whole
7179 length, although this can vary depending on the composer and era.
7199 @node thirty-second note
7200 @section thirty-second note
7203 @item UK: demisemiquaver
7206 @item F: triple croche
7207 @item D: Zweiunddreißigstel, Zweiunddreißigstelnote
7208 @item NL: twee-endertig@-ste (32e) noot
7209 @item DK: toogtredivtedelsnode
7210 @item S: trettiotvåondelsnot
7211 @item FI: kolmaskymmeneskahdesosanuotti
7219 @node thirty-second rest
7220 @section thirty-second rest
7223 @item UK: demisemiquaver rest
7224 @item ES: silencio de fusa
7225 @item I: pausa di biscroma
7226 @item F: huitième de soupir
7227 @item D: Zweiunddreissigstel@-pause
7228 @item NL: twee-endertig@-ste (32e) rust
7229 @item DK: toogtredivtedelspause
7230 @item S: trettiotvåondelspaus
7231 @item FI: kolmaskymmeneskahdesosatauko
7240 @section thorough bass
7250 ES: ligadura de prolongación, ligadura de unión,
7251 I: legatura (di valore),
7253 D: Haltebogen, Bindebogen,
7254 NL: overbinding, bindingsboog,
7256 S: bindebåge, överbindning,
7259 A curved line, identical in appearance with the @ref{slur}, which
7260 connects two succesive notes of the same pitch, and which has the
7261 function of uniting them into a single sound (tone) equal to the
7264 @lilypond[fragment,notime,ragged-right]
7265 \set Score.automaticBars = ##f
7266 \relative c'' { g2 ~ g4. }
7278 @node time signature
7279 @section time signature
7281 ES: indicación de compás,
7283 F: chiffrage (chiffres indicateurs), signe de valeur, indication de mesure,
7284 D: Taktangabe, Angabe der Taktart,
7287 S: taktartssignatur,
7290 The sign placed at the beginning of a composition to indicate its
7291 meter. It most often takes the form of a fraction, but a few signs
7292 derived from mensural notation and proportions are also employed.
7296 @ref{mensural notation}, @ref{meter}.
7311 A sound of definite pitch and duration, as distinct from @emph{noise}.
7312 Tone is a primary building material of music.
7314 @c Music from the 20th century may be based on atonal sounds. Meh, not so much
7329 The first @ref{scale degree}.
7333 @ref{functional harmony}.
7336 @node transposing instrument
7337 @section transposing instrument
7339 ES: instrumento transpositor,
7342 D: transponierende Instrumente,
7346 FI: transponoivat soitimet.
7348 Instruments whose notated pitch is different from their sounded pitch. Except
7349 for those whose notated and sounding pitches differ by one or more octaves (to
7350 reduce the number of ledger lines needed), most such instruments are identified
7351 by the letter name of the pitch class of their fundamental. The pitch class is
7352 the note that @emph{sounds} (disregarding the octave in which it sounds) when
7353 the instrument plays a notated C.
7355 For example: when played on the B-flat clarinet, the note middle C @emph{sounds}
7356 the B-flat one tone lower. If played on the A clarinet, the same written
7357 note sounds the A (one and half tones -- a minor third -- lower).
7359 Not all transposing instruments include the pitch class in their name:
7363 @item English horn (in F)
7365 @item Alto flute (in G)
7371 @ref{concert pitch}.
7375 @section transposition
7386 Shifting a melody up or down in pitch, while keeping the same
7389 @lilypond[fragment,line-width=13.0\cm]
7394 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7399 @lilypond[fragment,line-width=13.0\cm]
7402 \transpose c bes \relative c'' {
7404 d4 g,8 a b c | d4 g, g | e' c8 d e fis | g4 g, g \bar "|."
7411 @section treble clef
7414 I: chiave di violino,
7416 D: Violinschlüssel, Sopranschlüssel,
7439 On stringed instruments:
7443 @item The quick reiteration of the same tone, produced by a rapid
7444 up-and-down movement of the bow.
7446 @item Or, the rapid alternation between two notes of a @ref{chord}, usually
7447 in the distance of a third (@ref{interval}).
7451 @lilypond[fragment,notime,ragged-right]
7452 \set Score.automaticBars = ##f
7453 %\override Score.TextScript #'font-style = #'large
7456 f:32 [ e8:16 f:16 g:16 a:16 ] s4
7457 \repeat tremolo 8 { e32_"b" g }
7471 F: triade, accord parfait, accord de trois sons,
7488 F: trille, tremblement, battement (cadence),
7501 @section triple meter
7503 ES: compás ternario,
7506 D: in drei, ungerader Takt,
7507 NL: driedelige maatsoort,
7552 @section tuning fork
7554 ES: diapasón, horquilla de afinación,
7555 I: diapason, corista,
7563 A two-pronged piece of steel used to indicate an absolute pitch, usually for
7564 @emph{A} above middle C (440 cps/Hz), which is the international tuning
7565 standard. Tuning forks for other pitches are available.
7575 A non-standard subdivision of a beat or part of a beat, usually
7576 indicated with a bracket and a number indicating the number of
7581 @ref{triplet}, @ref{note value}.
7587 ES: grupeto (circular),
7611 FI: unisono, yksiäänisesti.
7613 Playing of the same notes or the same melody by various instruments
7614 (voices) or by the whole orchestra (choir), either at exactly the same
7615 pitch or in a different octave.
7623 F: anacrouse, levée,
7645 FI: ääni, lauluääni.
7655 @item @ref{mezzo-soprano}
7657 @item @ref{contralto}
7661 @item @ref{baritone}
7667 @item A melodic layer or part of a polyphonic composition.
7675 ES: vez, primera y segunda vez,
7678 D: Volta, Wiederholungsklammer,
7684 [From Italian, @q{time} (instance, not duration)]. An ending, such as a first
7685 or second ending. LilyPond extends this idea to any number, and allows any text
7686 (not just a number) -- to serve as the @q{volta} text.
7693 I: tempo debole, arsi,
7695 D: unbetonter Taktteil oder Taktschlag,
7697 DK: ubetonet taktslag,
7698 S: obetonat taktslag,
7699 FI: tahdin heikko isku.
7703 @ref{beat}, @ref{measure}, @ref{rhythm}.
7714 @item D: Ganze, ganze Note
7718 @item FI: kokonuotti
7730 @item UK: semibreve rest
7731 @item ES: silencio de redonda
7732 @item I: pausa di semibreve
7734 @item D: ganze Pause, ganztaktige Pause
7736 @item DK: helnodespause
7758 The interval of a major second. The interval between two tones
7759 on the piano keyboard with exactly one key between them -- including
7760 black and white keys -- is a whole tone.
7779 A family of blown wooden musical instruments. Today some of these
7780 instruments are actually made from metal. The woodwind instruments
7781 commonly used in a symphony orchestra are flute, oboe, clarinet,
7782 saxophone, and bassoon.
7785 @node Duration names notes and rests
7786 @chapter Duration names notes and rests
7788 @multitable @columnfractions .12 .22 .22 .22 .22
7790 @headitem Lang. @tab note name
7794 @item @strong{US} @tab long
7798 @item @strong{UK} @tab longa
7802 @item @strong{ES} @tab longa
7803 @tab silencio de longa
7805 @tab silencio de cuadrada
7806 @item @strong{IT} @tab longa
7810 @item @strong{FR} @tab longa
7811 @tab quadruple-pause
7814 @item @strong{DE} @tab Longa
7818 @item @strong{NL} @tab longa
7822 @item @strong{DK} @tab longa
7823 @tab longanodespause
7825 @tab brevis(nodes)pause
7826 @item @strong{SE} @tab longa
7830 @item @strong{FI} @tab longa-nuotti
7832 @tab brevis-nuotti, kaksoiskokonuotti
7833 @tab brevis-tauko, kaksoiskokotauko
7837 @multitable @columnfractions .12 .22 .22 .22 .22
7839 @headitem Lang. @tab note name
7843 @item @strong{US} @tab whole note
7847 @item @strong{UK} @tab semibreve
7851 @item @strong{ES} @tab redonda
7852 @tab silencio de redonda
7854 @tab silencio de blanca
7855 @item @strong{IT} @tab semibreve
7856 @tab pause di semibreve
7858 @tab pausa di minima
7859 @item @strong{FR} @tab ronde
7863 @item @strong{DE} @tab ganze Note
7867 @item @strong{NL} @tab hele noot
7871 @item @strong{DK} @tab helnode
7875 @item @strong{SE} @tab helnot
7879 @item @strong{FI} @tab kokonuotti
7886 @multitable @columnfractions .12 .22 .22 .22 .22
7888 @headitem Lang. @tab note name
7892 @item @strong{US} @tab quarter note
7896 @item @strong{UK} @tab crotchet
7900 @item @strong{ES} @tab negra
7901 @tab silencio de negra
7903 @tab silencio de corchea
7904 @item @strong{IT} @tab semiminima, nera
7905 @tab pausa di semiminima, pausa di nera
7908 @item @strong{FR} @tab noire
7912 @item @strong{DE} @tab Viertelnote
7916 @item @strong{NL} @tab kwartnoot
7920 @item @strong{DK} @tab fjerdedelsnode
7921 @tab fjerdedelspause
7922 @tab ottendedelsnode
7923 @tab ottendedelspause
7924 @item @strong{SE} @tab fjärdedelsnot
7928 @item @strong{FI} @tab neljäsosanuotti
7930 @tab kahdeksasosanuotti
7931 @tab kahdeksasosatauko
7935 * About the French naming system: @emph{croche} refers to the note's "hook".
7936 Therefore, from the eighth note on, the note names mean @q{hook}, @q{doubled
7937 hook}, @q{trebled hook}, and so on.
7939 The rest names are based on the @emph{soupir}, or quarter rest. Subsequent
7940 rests are expressed as fractions thereof: half a @emph{soupir}, a quarter of
7941 a @emph{soupir}, and so on.
7943 Each of the following tables contains one type of note and its matching rest,
7944 with abbreviations that apply to both notes and rests. Just switch the part
7945 that means @q{note} with the part that means @q{rest}, for example:
7949 @item English: 16th @strong{note}, 16th @strong{rest}
7950 @item German: 32tel-@strong{Note}, 32tel-@strong{Pause}
7951 @item Finnish: 64-osa@strong{nuotti}, 64-osa@strong{tauko}
7955 I put a dash @q{-} when I could not find a language-specific abbreviation for a
7956 duration name. If you know of one that I missed, please send it to me, care of
7957 the lilypond-user discussion list.
7959 @multitable @columnfractions .10 .35 .35 .20
7961 @headitem Lang. @tab Note name
7964 @item @strong{US} @tab sixteenth note
7967 @item @strong{UK} @tab semiquaver
7968 @tab semiquaver rest
7970 @item @strong{ES} @tab semicorchea
7971 @tab silencio de semicorchea
7973 @item @strong{IT} @tab semicroma
7974 @tab pausa di semicroma
7976 @item @strong{FR} @tab double croche
7977 @tab quart de soupir
7979 @item @strong{DE} @tab Sechzehntelnote
7980 @tab Sechzehntelpause
7982 @item @strong{NL} @tab zestiende noot
7985 @item @strong{DK} @tab sekstendedelsnode
7986 @tab sekstendedelspause
7988 @item @strong{SE} @tab sextondelsnot
7991 @item @strong{FI} @tab kuudestoistaosanuotti
7992 @tab kuudestoistaosatauko
7997 @multitable @columnfractions .10 .35 .35 .20
7999 @headitem Lang. @tab Note name
8002 @item @strong{US} @tab thirty-second note
8003 @tab thirty-second rest
8005 @item @strong{UK} @tab demisemiquaver
8006 @tab demisemiquaver rest
8008 @item @strong{ES} @tab fusa
8009 @tab silencio de fusa
8011 @item @strong{IT} @tab biscroma
8012 @tab pausa di biscroma
8014 @item @strong{FR} @tab triple croche
8015 @tab huitième de soupir
8017 @item @strong{DE} @tab Zweiunddreißigstelnote
8018 @tab Zweiunddreißigstelpause
8020 @item @strong{NL} @tab tweeendertigste noot
8021 @tab tweeendertigste rust
8023 @item @strong{DK} @tab toogtredivtedelsnode
8024 @tab toogtredivtedelspause
8026 @item @strong{SE} @tab trettiotvåondelsnot
8027 @tab trettiotvåondelspaus
8029 @item @strong{FI} @tab kolmaskymmeneskahdesosanuotti
8030 @tab kolmaskymmeneskahdesosatauko
8035 @multitable @columnfractions .10 .35 .35 .20
8037 @headitem Lang. @tab Note name
8040 @item @strong{US} @tab sixty-fourth note
8041 @tab sixty-fourth rest
8043 @item @strong{UK} @tab hemidemisemiquaver
8044 @tab hemidemisemiquaver rest
8046 @item @strong{ES} @tab semifusa
8047 @tab silencio de semifusa
8049 @item @strong{IT} @tab semibiscroma
8050 @tab pausa di semibiscroma
8052 @item @strong{FR} @tab quadruple croche
8053 @tab seizième de soupir
8055 @item @strong{DE} @tab Vierundsechzigstelnote
8056 @tab Vierundsechzigstelpause
8058 @item @strong{NL} @tab vierenzestigste noot
8059 @tab vierenzestigste rust
8061 @item @strong{DK} @tab fireogtredsindstyvendedelsnode
8062 @tab fireogtredsindstyvendedelspause
8064 @item @strong{SE} @tab sextiofjärdedelsnot
8065 @tab sextiofjärdedelspaus
8067 @item @strong{FI} @tab kuudeskymmenesneljäsosanuotti
8068 @tab kuudeskymmenesneljäsosatauko
8073 @multitable @columnfractions .10 .35 .35 .20
8075 @headitem Lang. @tab Note name
8078 @item @strong{US} @tab one-hundred-twenty-eighth note
8079 @tab one-hundred-twenty-eighth rest
8081 @item @strong{UK} @tab semihemidemisemiquaver
8082 @tab semihemidemisemiquaver rest
8084 @item @strong{ES} @tab garrapatea
8085 @tab silencio de garrapatea
8087 @item @strong{IT} @tab fusa
8090 @item @strong{FR} @tab quintuple croche
8091 @tab trente-deuxième de soupir @tab -
8092 @item @strong{DE} @tab Hundertundachtundzwanzigstel
8093 @tab Hundertundachtundzwanzigstel @tab 128tel-Note
8094 @item @strong{NL} @tab honderdachtentwintigste noot
8095 @tab honderdachtentwintigste rust
8097 @item @strong{DK} @tab hundredeotteogtyvendedelsnode
8098 @tab hundredeotteogtyvendedelspause
8100 @item @strong{SE} @tab hundratjugoåttondelsnot
8101 @tab hundratjugoåttondelspaus
8103 @item @strong{FI} @tab sadaskahdeskymmeneskahdeksasosanuotti
8104 @tab sadaskahdeskymmeneskahdeksasosatauko
8109 @multitable @columnfractions .10 .35 .35 .20
8111 @headitem Lang. @tab Note name
8114 @item @strong{US} @tab two-hundred-fifty-sixth note
8115 @tab two-hundred-fifty-sixth rest
8117 @item @strong{UK} @tab demisemihemidemisemiquaver
8118 @tab demisemihemidemisemiquaver rest
8120 @item @strong{ES} @tab semigarrapatea
8121 @tab silencio de semigarrapatea @tab -
8122 @item @strong{IT} @tab semifusa
8123 @tab pausa di semifusa
8125 @item @strong{FR} @tab sextuple croche
8126 @tab soixante-quatrième de soupir @tab -
8127 @item @strong{DE} @tab Zweihundertundsechsundfünfzigstelnote
8128 @tab Zweihundertundsechsundfünfzigstel @tab 256tel-Note
8129 @item @strong{NL} @tab tweehonderdzesenvijftigste noot
8130 @tab tweehonderdzesenvijftigste rust
8132 @item @strong{DK} @tab tohundredeseksoghalvtredsendedelsnode
8133 @tab tohundredeseksoghalvtredsendedelspause
8135 @item @strong{SE} @tab tvåhundrafemtiosjättedelsnot
8136 @tab tvåhundrafemtiosjättedelspaus
8138 @item @strong{FI} @tab kahdessadasviideskymmeneskuudesosanuotti
8139 @tab kahdessadasviideskymmeneskuudesosatauko
8146 @ref{mensural notation}
8150 @chapter Pitch names
8152 @c -is/-es endings for Danish per Rune Zedeler
8153 @c and for Finnish per Risto Vääräniemi
8154 @c -iss/-ess endings for Swedish per Mats Bengtsson
8155 @c @columnfractions .105 .145 .125 .125 .125 .125 .125 .125 -->
8157 @multitable {c-sharp} {do sostenido} {do diesis} {ut dièse} {Cis} {cis} {cis} {ciss} {cis}
8159 @tab ES @tab I @tab F @tab D
8160 @tab NL @tab DK @tab S @tab FI
8161 @item @strong{c} @tab do @tab do @tab ut @tab C
8162 @tab c @tab c @tab c @tab c
8163 @item @strong{c-sharp} @tab do sostenido @tab do diesis @tab ut dièse @tab Cis
8164 @tab cis @tab cis @tab ciss @tab cis
8165 @item @strong{d-flat} @tab re bemol @tab re bemolle @tab ré bémol @tab Des
8166 @tab des @tab des @tab dess @tab des
8167 @item @strong{d} @tab re @tab re @tab ré @tab D
8168 @tab d @tab d @tab d @tab d
8169 @item @strong{d-sharp} @tab re sostenido @tab re diesis @tab re dièse @tab Dis
8170 @tab dis @tab dis @tab diss @tab dis
8171 @item @strong{e-flat} @tab mi bemol @tab mi bemolle @tab mi bémol @tab Es
8172 @tab es @tab es @tab ess @tab es
8173 @item @strong{e} @tab mi @tab mi @tab mi @tab E
8174 @tab e @tab e @tab e @tab e
8175 @item @strong{f-flat} = e
8176 @tab fa bemol @tab fa bemolle @tab fa bémol @tab Fes
8177 @tab fes @tab fes @tab fess @tab fes
8178 @item @strong{f} @tab fa @tab fa @tab fa @tab F
8179 @tab f @tab f @tab f @tab f
8180 @item @strong{e-sharp} = f
8181 @tab mi sostenido @tab mi diesis @tab mi dièse @tab Eis
8182 @tab eis @tab eis @tab eiss @tab eis
8183 @item @strong{f-sharp} @tab fa sostenido @tab fa diesis @tab fa dièse @tab Fis
8184 @tab fis @tab fis @tab fiss @tab fis
8185 @item @strong{g-flat} @tab sol bemol @tab sol bemolle @tab sol bémol @tab Ges
8186 @tab ges @tab ges @tab gess @tab ges
8187 @item @strong{g} @tab sol @tab sol @tab sol @tab G
8188 @tab g @tab g @tab g @tab g
8189 @item @strong{g-sharp} @tab sol sostenido @tab sol diesis @tab sol dièse @tab Gis
8190 @tab gis @tab gis @tab giss @tab gis
8191 @item @strong{a-flat} @tab la bemol @tab la bemolle @tab la bémol @tab As
8192 @tab as @tab as @tab ass @tab as
8193 @item @strong{a} @tab la @tab la @tab la @tab A
8194 @tab a @tab a @tab a @tab a
8195 @item @strong{a-sharp} @tab la sostenido @tab la diesis @tab la dièse @tab Ais
8196 @tab ais @tab ais @tab aiss @tab ais
8197 @item @strong{b-flat} @tab si bemol @tab si bemolle @tab si bémol @tab B
8198 @tab bes @tab b @tab b @tab b
8199 @item @strong{b} @tab si @tab si @tab si @tab H
8200 @tab b @tab h @tab h @tab h
8208 @node Literature used
8209 @unnumberedsec Literature used
8212 @item The Harvard Dictionary of Music, London 1944. Many more or less
8213 literal quotes from its articles have been included into the item
8216 @item Hugo Riemanns Musiklexicon, Berlin 1929.
8218 @item Polyglottes Wörterbuch der musikalischen Terminologie, Kassel
8221 @item Oxford Advanced Learner's Dictionary of Current English, Third
8224 @item Webster's Revised Unabridged Dictionary, Springfield 1913.
8226 @item Felix Krohn, Lyhyt musiikkioppi, Porvoo, Helsinki, 1976.
8228 @item Henna Mikkonen, Suvi Rimpiläinen, Konsertissa kävijän taskusanasto, Jyväskylä, 2003
projects / lilypond.git / blob